Topic: Work on View.

July 2017 New Exhibitions

Topics: Work on View
Posted:July 11, 2017 by Julia

 

You are invited to see two new exhibitions of my work: 

Thou Shalt Knot
"Knots are woven into the human experience and they permeate every part of our lives." writes curator Christina Connett, PhD, in her catalogue for the exhibition exploring the legacy of Clifford W. Ashley (author of The Ashley Book of Knots)  and the museum's collection of related historical and contemporary works. As part of the museum's collection, my ceramic "Tied on the Bight" (below) will be featured in the exhibition "Thou Shalt Knot" from July 2017 - June 2018.
 
Location: New Bedford Whaling Museum (USA)

Design Route at Zuiderzee Museum 
Several of my ceramic sculptures and my embroidered cloth sails from my "Immigration" body of work are now on view in the outdoor museum to be discovered along their design route in the sailmaker's atelier where I studied the 17th century craft that inspired me so deeply. My works are on view now ....and permanently:-)
 
Location: Zuiderzee Museum (The Netherlands)

 

Work on view Summer 2017

Topics: Work on View
Posted:June 18, 2017 by Julia

In The Netherlands, three of my drawings from the on-going "And to Harbor" series have been selected by a national jury (including Tracy Metz) for the exhibition "Water" at Museum de Fundatie running through 31 August.
Address: Blijmarkt 20, Zwolle


And, my ceramic sculptures from the collection of the Zuiderzee Museum from my "Immigration" project are on exhibition in the outdoor museum.
Address: Sluisweg 1, Enkhuizen

In America, my charcoal drawings from "And to Harbour" series are also available for purchase at the Atelier Gallery upon request. Contact the Atelier Gallery via email by clicking here.
Address: 200 Bellevue Avenue, Newport, USA

Opening Solo Exhibition at Zuiderzee Museum

Topics: Work on View , Invitation and New(s)
Posted:August 7, 2016 by Julia

You are invited to the private opening of my first Museum exhibition in The Netherlands...!
Since moving to Amsterdam from New York a few years ago, I have been developing a body of work about my emotional experience immigrating to this country and tracing my roots here. I am very excited that one of the places where I conducted my research, the Zuiderzee Museum in Enkhuizen, invited me not only to develop my work into sculptures but also to exhibit the results. 

I hope you will be able to come and celebrate the culmination of this phase of the project and the acquisition of the Zuiderzee Museum of several of my works. I feel very honoured to have my work join their collection, which combines traditional arts and crafts alongside contemporary art and design inspired by it. There will be limited space at the Opening, so please RSVP by clicking the link below

Details
Sunday 21 August from 14:00-17:00
Acquisition Exhibition: Julia Mandle "An Immigration" (on now through 6 November 2016)
Zuiderzee Museum (inside/binnen museum) 

Directions 
RSVP here by email by August 15 

Review in Artscope Magazine

Topics: Work on View and New(s)
Posted:July 18, 2016 by Julia

Review by Suzanne Volmer, Artscope Magazine

"Of Water & Bone: Mother/Daughter Mandle in Newport" 

July/August 2016

 

 

"...The artists' aesthetics have gravitational pull toward process charged with cultural awareness and investigatory layering of content worth contemplating, especially in an election year. Gayle explores global issues of water sustainability and Julia examines the topic of immigration..."

 

 

Exhibition "Of Water & Bone" Newport Art Museum

Topics: Work on View and Invitation
Posted:July 17, 2016 by Julia

OF WATER & BONE
On view from 3 June - 9 August 2016
Newport Art Museum
76 Bellevue Avenue, Newport, Rhode Island
401.848.8200

 

You are invited to 'Of Water & Bone'
I am pleased to welcome you to see my latest exhibition 'Of Water & Bone' on view through August 9 at the Newport Art Museum.  This two-person exhibition opened June 15 and includes recent paintings and new glass works by Gayle Wells Mandle, as well as an entire wall of "Correspondence," which we made during one year in response to each other.

"Connected on a fundamental level through biological bonds as mother and daughter, their feelings about the pulse of contemporary life are clarified in individually conceived bodies of work and frequently, artistic collaboration.  Of Water and Bone is their latest joint exhibition, their seventh. The elemental title evokes a looking outward and inward, multiplied by the embodied confidences the artists disclose, and in which they invite us seamlessly to partake." - J. Tonick Champa in exhibition catalogue.

A Bit of Background Info on Dirty Cookies

Topics: Work on View
Posted:January 16, 2015 by Julia

My project 'Dirty Cookies' is currently on view at Pratt Manhattan Gallery:

The dirt cookie on display comes all the way from Port au Prince and represents a story that inspired me more than six years ago. It was a moving story that sparked me to create my project that is also in the gallery.

 

I read an article about a young Haitian mother forced to eat dirt, or rather a dirt cookie, and it stopped me in my tracks. She ate what most of us would refuse to eat in NYC because she had little choice- the cost of food was too high and her infant needed to be fed from her breast. Almost poetically, this mother turned directly to mother earth for the solution. Through further research, I discovered that many of Haiti’s vulnerable do this regularly as a form of survival. It’s a gamble for them because often the dirt is full of harmful pathogens that can cause diarrhea or other illnesses.

 

Having young children, my heart was sick.  Knowing the urgent priority of feeding my infants, I tried to imagine the extremes that this mother was facing.  So I began to research not only about eating soil –- like how farmers taste their soil to understand the flavors of their fruit, or how new born babies in the Caribbean region are given a small taste of the earth to seal their connection to their homeland –- but also about my own relationship to dirt where I was living and working.  At the time, I was working in the Gowanus area, one of the most contaminated areas of Brooklyn. Today I live in a quaint part of Amsterdam near a lush park, under which surprisingly is buried extremely toxic chemical waste, including agent-orange.  I had to ask myself: would it be safe to eat the dirt in these areas? And would it even be safe to grow food in it?

 

My project title carries the same name - Dirty Cookies – and through my project I decided to try to reconnect city dwellers like myself to the dirt by exposing them to the various aspects that make up the complex system of soil beneath our feet.  The live art event is framed as a party around a dinner table. Participants are invited to bring a bag of dirt that they collect from their NYC homes. It begins slowly, inhaling the scent of your own dirt. During the event, I inquire about our attitudes toward dirt –the word as well as the substance. I offer fortune cookies with quotations from various activists, scientists and conservationists to help us consider various perspectives on dirt. One of my favourite writers, William Bryant Logan, has a book on display here and has written, “We depend on dirt to purify and heal the systems that sustain us.”

 

My event also includes two special guests: Murray McBride, a soil scientist, who tests participants’  dirt for fertility and contaminates, and Tricia Martin, a landscape architect who maps and reads their dirt’s narrative.  Following the event, I embroidered napkins to visualize the different lead levels discovered throughout NYC collected by students’ from the Bronx School of Science nearby their homes and analyzed by the Cornell Nutrient Analysis Laboratory.  

 

And while imagining eating city dirt may seem like a ridiculous exercise, consider the pressure cities are facing with future food demands? Consider that the majority of our world’s population are shifting to living in cities and by 2050 the world’s population is projected to increase by 35%. To meet that demand, food production will have to double. That means a lot of pressure on cities to begin producing their own food. In other words, we need city dirt.  

 

- Julia Mandle, 2014


Dust, Dialogue, and Uncertainty

Topics: Work on View , Invitation and New(s)
Posted:December 1, 2014 by Julia

I would like to invite you to the opening of Dust, Dialogue and Uncertainty, which will feature my project Dirty Cookies.

The exhibition Dust, Dialogue and Uncertainty opens on Thursday night December 4 from 6:00-8:00pm.

 

Pratt Manhattan Gallery

144 West 14th Street, 2nd floor

New York, NY 10011 

 

The exhibition is curated by slowLab and presents a range of philosophical and creative positions that suggest more holistic and critical perspectives for addressing the complexity of our ever-accelerating world. 

Hope you can come to the Opening. Exhibition runs through February 7, 2015.
Best, Julia

Artists and Designers
Alessandra Pomarico, Amy Franceschini
Caroline Nevejan, Fallen Fruit
Fernando García-Dory, Henriëtte Waal
Jeanne van Heeswijk, Judith Wehmeyer van den Boom, 
Jellie Dekker, Jorge Otero-Pailos
Julia Mandle, Lanka Horstink
Lucie Libotte, Ljiljana Rodic-Wiersma
Maria Blaisse, Mayke Nas, Monika Hoinkis


The production of Dirty Cookies 2014 is made possible in part by the generosity of Olivia Douglas & David DiDomenico, Marie Nugent-Head, and Goldman Sachs. The project has been created through the invaluable input and support from Jonathan Matthew Russell-Anelli, Murray McBride from The Department of Crop and Soil Sciences at Cornell University and their program Healthy Soils/Healthy Communities. Support for citywide soil collecting and testing came through the involvement of the AP Environmental Science Students and teachers Julie Mankiewicz and Edward Wren at The Bronx High School of Science. The project would not have been realized without the support from Nathan Elbogen and The Old American Can Factory, Sarah Louise Lilley, and Tricia Martin. The additional ‘dirt’ meditation program was made possible through the involvement of Puntsokla and the access provided by Bill Dillworth and The Earth Room, Dia Center for the Arts. 

Invitation to Gallery 51 opening May 29

Topics: Work on View and Invitation
Posted:May 13, 2014 by Julia

Together with my collaborator Gayle Wells Mandle, I will be opening our exhibition Teetering at Gallery 51. The Gallery, which is located around the corner from MassMOCA, is an active part of the Massachusetts College of Liberal Arts and the Berkshire Cultural Resource Center.  

Don't miss the Gallery talk on Friday which will bring together experts from both fields of the arts and economics to explore the topics including but not limited to imbalance, struggle for equality and the involvement of artists. We will be there too! You can rsvp by calling (413) 664 8718. 

Opening Reception: Thursday, May 29 from 6-8pm 
Gallery Talk: Friday, May 30 from 5-6:30pm
Location: Gallery 51
Address: 51 Main Street, North Adams, MA
Dates: May 29 - June 22, 2014

Invitation to The Apartment, NYC now through May 22

Topics: Work on View and Invitation
Posted:May 13, 2014 by Julia

Please stop by to see my work Rising Tide, which is included in an exhibit organised by the online gallery platform Artsy at the Line in SoHo. The exhibit includes works by Do Ho Suh, Lauren Seiden and Diana Al-Hadid. The exhibit is staged in an unusual way: as a large apartment, which is called "The Apartment" of course.

Location: The Apartment
Address: 76 Greene Street, 3rd floor
Dates: Now through May 22, open Wed 12-8pm and Sat 11-6pm
By Appointment: via email

Tang Museum exhibit opens

Topics: Work on View
Posted:March 23, 2014 by Julia

This week I am pleased to install the work "Study for a Monument" (2012), a large-scale sculpture at the wonderful Tang Museum in upstate New York. The work is a collaboration with Gayle Mandle and featured with other of her paintings in the three-person Alumni Invitational 4 Exhibit. "Study for a Monument" explores the ever increasing dispairities between rich and poor across the globe, evoking the often violent struggle for greater equality, fairness and respect.

 

Location: Tang Museum 

Address: 815 North Broadway, Saratoga Springs, NY

Dates: March 29 - June 15, 2014

Group Exhibition

Topics: Work on View
Posted:August 22, 2013 by Julia

My work "Fabrication of Blindness" (a photograph from my installation of 400 embroidered hoods each for the Guantanamo detainees http://www.juliamandle.com/projects/fabrication-blindness) was included in the following international group exhibition about human rights.

 

Fórum Eugénio de Almeida of the Eugénio de Almeida Foundation

"Portas Abertas" Exhibition

July 11- August 6, 2013

Evora, Portugal

www.forumea.pt

Summer Selects Exhibit NYC

Topics: Work on View
Posted:August 22, 2013 by Julia

My work "Unraveling" will be included this summer in the group exhibition "Summer Selects" at the Leila Heller Gallery, NYC. 

Gallery Tour February 7

Topics: Work on View and Invitation
Posted:February 4, 2013 by Julia

Following the wonderful Opening night party of our exhibition GAME II, the Leila Heller Gallery has organized some amazing additional events that I hope you will attend.

 

GALLERY TOUR

Thursday, February 7 at 6:30pm
This event is a Gallery Tour led by Jessica Davidson. She will discuss the various artistic processes and stories behind our art work. Both insights and refreshments are provided, what's better?
RSVP: Leila Heller Gallery

Gallery Tour and the Game II exhibition are at Leila Heller Gallery, which is located at 568 West 25th Street, NYC


I strongly encourage you to come!  I know everyone is busy, but try to catch at least one of these events.

Preview of Game II Catalogue

Topics: Work on View
Posted:January 9, 2013 by Julia

The following is an excerpt from the Game II Exhibition catalogue now available and on view (Jan 17 - Feb 16, 2013) at the Leila Heller Gallery, NYC:

Q: Is this the first time you have collaborated on artwork?

Gayle:  Yes, this is the first time we have collaborated on the actual artwork.  Our past three mother/daughter exhibitions have juxtaposed our individual work. However, this is the first exhibition that includes photography and sculpture we have made as collaborators.

During the development of this exhibition, we also made work individually- Julia created new embroidery and drawings and I created my mixed media paintings.

Julia: In my individual works, I allowed myself to reflect upon my own sense of confusion over our time. I constantly ask myself: Where are we heading in this chaos? Are we rising up or falling down? Is “Dissent is the mother of ascent,” as Ralph Nader proposes? Each day has a different prognosis.

In regard to our new depth of collaboration, I would add that this change evolved very naturally. We have always been very open with each other during our individual creative processes. We constantly offer each other critique and suggestions. It amazes me to think back to how organically we moved into creating work together. We easily slipped into each other’s mind during the co-envisioning process of the main sculpture.

Gayle: We were able to work together in our minds and also in materials. We conceived, questioned, disagreed and agreed. But we also got our hands equally dirty: together we found, torched, ripped, tied, documented, collected, designed, disfigured, and assembled each part of the main and miniature sculptures plus the related portraits. 

Q:  What was the context for your other joint exhibitions?

G: The first exhibition (1980’s) was in memory of my mother, Julia’s grandmother Alice Welsh Jenkins.  The show was entitled “Alice, Gayle and Julia”.  Although Alice painted beautiful landscapes, she selected rather political subjects.  Alice often illustrated tragic local news, such as flooding and the mining disasters in her native Pennsylvania.  Our second exhibition (1990’s) was Julia’s and my reflection on the homeless population in Washington, DC using detritus we found on the street. Our last exhibition (GAME I, 2010) was at Leila Heller Gallery uptown.  Julia’s work focused on the ravages to children from the cluster bombs dropped during the Iraq War.  My paintings highlighted the human rights issues, along with the culture I observed while living in the Middle East. 

Q: What inspired you to create Game II?

G: We constantly step back from our work and our world and question it. Sometimes everything seems like a game, including the art world. During the development of this project, Julia and I focused in on the theme of the political playground, especially considering the recent American election.

Invitation to Opening of Exhibit Game II

Topics: Work on View and Invitation
Posted:January 9, 2013 by Julia

Opening Reception

Thursday, January 17, 6:30-8:30 pm

 

Leila Heller is pleased to present, Game II, an exhibition featuring collaborative and individual works of mother-daughter artists Gayle Wells Mandle and Julia Mandle, on view at Leila Heller Gallery from January 17 through February 16, 2013.

 

Leila Heller Gallery

568 West 25th Street, NYC

 

The exhibition stems from a warm partnership that they refer to as “mother daughter gasoline” dedicated to making art that speaks for a majority of the world’s people who aspire to greater security, opportunity and justice in the world. Through their work, Gayle and Julia Mandle, attempt to effect change by challenging people of all backgrounds to think more openly and inclusively about the world around them.

Artist's Statement : Lamiya's Last Game

Topics: Work on View
Posted:April 23, 2011 by Julia

Excerpt from the "Game" Exhibition Catalog at LTMH Gallery

 

It’s almost 2011—I am in a battlefield—surrounded by explosions, grey smoke, and falling ash. It’s New Year’s Eve—I am on a balcony—the explosions so close that it is unbelievable. It’s New Year’s—I am a new country—the fireworks are equally exciting and frightening, and are ushering us all into the next year with thoughts that are hopeful and fearful about our family’s future.

 

The everywhere fireworks are not at all like those in NYC where only a very few organizations are licensed to use them.

 

It’s New Year’s Eve—I am in Amsterdam—reflecting back on my American culture.

 

Tonight among these explosions, I have been thinking about America’s obsession with violence and celebration of destruction. Even more so, I have been thinking about the finger pointing and outrage expressed by Americans about the brutality of Muslim suicide bombers. People ask, “How can they do it? How can they believe that they will be redeemed after death?”  Indeed having lived in NYC during September 11th,  I witnessed upclose the awful brutality, devastation and traumatic impact on our population.

 

I stood under the ash that was falling endlessly from our New York sky. 

 

I think that part of the shock comes with an awful surprise as a bomb explodes in an everyday space. Hidden in plain sight: a plane in the sky, a parked car, under the dirt of an intersection, or under clothing.

 

Everyday objects and people become weapons, fatally charged with immense cruelty and gruesome power over innocent civilians.

 

Perhaps it’s the same concept of the deathly everyday space that captured my attention and remorse when I learned about America’s wide use of cluster bombs in Iraq and Afghanistan over the last ten years. Cluster bombs are similar to landmines, which have long been banned in warfare. They are large munitions, which release in mid-air as many as two thousand small submunitions that ‘carpet’ an enemy area. The submunitions or bomblets often don’t explode and remain hidden in the landscape for years, long after the conflict, maintaining their deadly potential.

 

Most victims are children, who often pick up the shiny bomblets and become maimed or are killed when they explode in the children’s curious hands.

 

America, who repeatedly refused to sign an international treaty banning cluster bombs, produces/owns/and uses the largest stockpile of Cluster bombs in the world. Although much of the Iraq war was hidden, I discovered that by 2007 America had already dropped 60,000 pounds of cluster bombs over Iraq. The ‘Coalition Forces’, according to Human Rights Watch, dropped almost two million cluster submunitions in Iraq in the first two months of the war in 2003. Unexploded bomblets littered the land and turned Iraqi landscapes into mine fields. A report by the campaign group Handicap International said that 98% of cluster bomb victims were civilians and a third of the casualties were children.

 

Lamiya Ali was one of these casualties.

 

In fact, on the very same day of my exhibition opening—April 26—eight years ago she was killed by a cluster bomb while she was playing with her four siblings outside their home in Baghdad. This was during the first two months of our invasion of Iraq and the result of just one of almost two million cluster submunitions that we had dropped over the country.

 

Lamiya Ali was six when her life was abruptly ended.

 

My own life was suspended when I encountered Lamiya’s photograph taken by Stephanie Sinclair (of Chicago Tribune). In the photograph, the young girl appears as an angel as she is being washed by a soft veil-like spray of water and prepared for burial. Another photograph (taken by Marco Di Lauro) that I found later in my research, shows Lamiya’s limp and lifeless body, covered in a soiled pink cotton dress, carried in the arms of a relative. Next to her is the half naked lifeless body of her brother Hamza. In the photograph, Hamza has only the sleeve of a blue sweatshirt remaining on his body. He is also being carried by a relative. 

 

He was playing with Lamiya and was also six.

 

These images are so absolutely arresting to me that after I saw them, I committed myself to making a creative response. This is a similar beginning with which most of my work is initiated. I begin with an arresting encounter and I work to create an experience for the public to mark this moment.

 

My project is called “Lamiya’s Last Game.”

 

I began thinking about the connections to my own life: Lamiya is six, the age of my own daughter. My emotions rolled along with so many unrealistic wishes and questions: Who is responsible for the loss of this young girls’ life? I want to bring her back from the dead, I want to reverse history, stop the war game, block the invasion of the country, the brutalization of a generation of Iraqi children. And many people might respond, ‘The Iraq War is over, forget about it. There’s nothing you can do.’ But is that right? Do we allow these atrocities to be forgotten?

 

Don’t we have a responsibility to face up to the devastating invasion of Iraq?

 

In an article called “Iraq: The Unseen War”, Gary Kamiya seemed to answer my question and even included Sinclair’s photograph to prove his point: “A picture of a dead child only represents a fragment of the truth about Iraq—but it is one that we do not have the right to ignore. We believe we have an ethical responsibility to those who have been killed or wounded, whether Iraqis, Americans or those of other nationalities, not to simply pretend that their fate never happened. To face the bitter truth of war is painful. But it is better than hiding one's eyes.” (Published by Salon.com, December 2008).

 

This month, we celebrated my daughter’s sixth birthday.

 

We discussed making a piñata for her birthday party. She wanted me to make a piñata of a dog, fill it with candy and bring it in to school for a ceremonial game with a blindfold and stick. The idea is to blindfold and disorient each child by spinning them and sending them with a stick toward the piñata to try and smash it until the candy comes spilling out. It’s violent. It’s fun. The children rush in like wild animals to grab as much the candy as they can.

 

What my daughter doesn’t know about the piñata is the fascinating history. The pinata traditionally was made for the purpose of redeeming sinners. Pinatas were traditionally made as seven-pointed star, for seven sins, and at New Year’s time (and even before that during Lent) people would play the same game of smashing the piñata, or their sins. The promise of redemption -in the sweet here after of the future- was represented by the reward inside the piñata. The seven-pointed star was also known in Mexico to represent the devil and hitting the shape would make the devil let go of the good things he had taken hold of…allowing the winner to have hope for a new beginning.

 

In this exhibition, I have made two types of piñatas: seven-pointed star and dog shape.

 

The stars I made in ceramic and covered with the hand-cut and embroidered fabrics of traditional Muslim abaya. I tried to approximate the same abaya worn by Lamiya’s mourning relatives from Marco Di Lauro’s photographs. My embroidery is in Arabic of two popular Iraqi children’s songs: Happy Birthday and the other is ‘Koko’s Song’ about a little girl who is lost. Each of my star piñatas is filled with powdered sugar. Plus each piñata contains a type of date seed: one has a set of bronze cast seeds, one of gold seeds, one of real seeds. Each represent different stages of potential of life: which is more valuable?

 

 My daughter and I played this piñata game together.

 

Seen documented in the exhibit photographs, as we each took turns striking the shapes, striking into the darkness with our blindness, we were each looking for something different. I was filled with joy but also violence and anguish. I wanted to break all of those piñatas and believe that I would be redeemed. And what if with all of my strength I could strike the piñata and redeem the loss of this little girl? I try to imagine the things she would have contributed to the world if she were still alive today. What would she have created? What might she and her family be celebrating today?

 

Why was she denied a chance to celebrate a new year?

 

In this horrible war in Iraq, what else could I wish for? Could I strike the piñata and magically make Americans understand the toll of war so that they never would allow the government to enter into another bloody conflict? Could I strike the piñata to redeem the 650,000 estimated Iraqis killed as the result of our invasion, that’s the same number as entire population of Boston? What of the 4,500 US military casualties? The wounded? The tortured? I would wish to strike the piñata and even redeem the miles of destroyed ancient date tree orchards.

 

I know it’s only a game, but if I would give you a stick, what would you wish for?

 

-Julia Mandle, 2011

 

Game Exhibition Opens : April 27 2011

Topics: Work on View and Invitation
Posted:March 29, 2011 by Julia

LTMH Gallery

39 East 78th Street

New York, NY 

Phone: +1 212 249 7695

Opening 6:00-8:00pm on Wednesday 27 April 2011

The exhibition continues through May 20, 2011 

 

New York - An exhibition of new politically charged work by Gayle Wells Mandle and Julia Mandle entitled GAME will be on view at LTMH Gallery from April 27 through May 21, 2011.  Both artists unceasingly question the world through a lens focused on power struggles in  the Middle East through their painting, sculpture, photography, and works on paper. Both are American artists, mother and daughter, living abroad - Gayle Well Mandle in Qatar and Julia Mandle in Holland - which has sharpened their perspective on the American conflicts in the Arabic world. 

Julia Mandle's new installation of work relating to piñatas explores the dark side of a well-known children's game. Lamiya's Last Game includes photographs, works on paper and fabric, and bronze and ceramic sculpture.Mandle's body of work was inspired by a photograph of a young Iraqi girl's body being prepared for burial taken by Stephanie Sinclair for the Chicago Tribune in 2003. In an uncanny coincidence, the opening date of exhibition marks the anniversary of Lamyia's death eight years ago. She was killed by a cluster bomb on April 27, 2003.  

Piñatas originally were created for redemptive ceremonies whereby revelers would violently strike a ceramic seven-pointed star shape and wish for the sweet hereafter symbolized by the gifts contained within. Taken by the combination of brutality and naivety, Mandle builds on the concept of piñatas to call attention to the youngest victims of America's invasion of Iraq.

Gayle Wells Mandle's mixed media paintings represent the games that people play as individuals, nations, and cultures. One important theme is the discrimination game played by the native Qatari population against the giant labor force of immigrants. A collage entitled Boom Town, 2009, uses photography of construction sites, exploring issues of labor rights. HyperMarket, 2010-11, is an installation of 38 collaged paintings relating to the mega-store game plan that hypes goods from food to electronics. Wells Mandle's mixed media paintings reflect a rapidly growing Gulf State and a changing socio-political environment.

Julia Mandle is currently working in Amsterdam after 15 years in New York City. She is best known for her performance art, which highlights such issues as human rights, urban planning, and environmental issues. Her work has been shown/performed at The New Museum, Cooper-Hewitt National Design Museum, Cabinet, and Storefront for Art and Architecture. Media coverage has included The New York Times, Village Voice, Washington Post and White Wall Magazine. 

Born in Pennsylvania, Gayle Wells Mandle has lived in Doha, Qatar since 2008. She earned her MFA later in life in 1997 at the Rhode Island School of Design.  Since then her work has been shown in numerous exhibitions in the U.S. including at the Addison/Ripley Fine Art in Washington D.C. GAME is her first major exhibition in New York City. In 2010, she curated Beyond the War, an acclaimed exhibition at LTMH Gallery of work by seven Iraqi artists.     

For further information, please contact Anahita Varzi at Anahita@ltmhgallery.com

To view the exhibition catalogue please click here:    

 

Gayle Wells Mandle and Julia Mandle: Game PDF Catalogue 

 

Art Dubai March 16-19 2011

Topics: Work on View
Posted:March 15, 2011 by Julia

I am pleased to have my work on fabric from "Fabrication of Blindness" exhibited by LTMH Gallery at Art Dubai 2011


 Other Exhibiting artists will be:  Roya Farassat, Rachel Hovnanian, Alexis Laurent, Shiva Ahmadi, Afsoon, Soody Sharifi, Gayle Mandle, Kezban Arca Batibeki, Shirin Fakhim, Sissi Farassat, Reza Derakshani, Shoja Azari, Shahram Karimi

Contemporary Istanbul

Topics: Work on View
Posted:December 7, 2009 by Julia

LEILA TAGHINIA-MILANI HELLER GALLERY 

IS PLEASED TO ANNOUNCE THE EXHIBITION AT
 
CONTEMPORARY ISTANBUL

ISTANBUL CONVENTION AND EXHIBITION CENTER (ICEC)
BOOTHS A108 AND B107
 
OPENING RECEPTION AND PREVIEW:
DECEMBER 2 (BY INVITATION ONLY)
 
GENERAL ADMISSION:
DECEMBER 3
11AM - 10PM
DECEMBER 4 - DECEMBER 6
11AM - 9PM
 
FEATURED ARTISTS IN BOOTH B107:  
 
NEGAR AHKAMI
SHIVA AHMADI
ROYA AKHAVAN
REZA DERAKSHANI
YZ KAMI
JULIA MANDLE
FARAH MONFARADI
SHIRIN NESHAT
FARAH OSSOULI
SADEGH TIRAFKAN
ROB WYNNE
CHARLES HOSSEIN ZENDEROUDI

In-Stitches Exhibition

Topics: Work on View and Invitation
Posted:November 11, 2009 by Julia

Please come to see my work that will be a part of an exciting group show

curated by Beth de Woody.

 

OPENING RECEPTION
Thursday, November 12, 6-8 pm

 

Leila Taghina-Milani Heller Gallery 39 East 78 Street at Madison Avenue, Suite 3001

Gallery Hours: Tues-Sat 11:00-6:00pm

Exhibit Closes: December 19

 

IN STITCHES, curated by Beth Rudin DeWoody, will present works in various media by more than 50 U.S. and international contemporary artists.
 
IN STITCHES focuses on both well-known and emerging artists who incorporate stitching and thread as prominent features in the concept and structure of their work. The artists' process includes wrapping and embroidery as well as assemblage.  The exhibition title is a double entendre of the Shakespearean idiom, and now common expression, when one is laughing so hard that it causes physical pain. While some of the work presents elements of humor, other work explores the role of women in society or questions the threads or painful truths of our social and moral existence.  Threads literally and metaphorically form the connections which tie the artists' works together.
 
The exhibition will include work by Ghada Amer, Ramazan Bayrakoglu, Louise Bourgeois, Nancy Brooks Brody, Ambreen Butt, David Byrne,Margarita Cabrera,Orly Cogan, Adam Cohen,Anita Cooke, Matthew Cox, E.V. Day, Lesley Dill, Chris Duncan, Alinka Echeverria, Tracey Emin, Angelo Filomeno, Robert Forman, Zoi Gaitanidou, Sabrina Gschwandtner, Guerra de la Paz, Selma Gürbüz, Joseph Heidecker, Kent Hendricksen, Todd Knopke, Steven & William Ladd, Mike Latham, Charles LeDray, Pooneh Maghazehe, Julia Mandle, Christian Marclay, Victoria May, Bradley McCallum & Jacqueline Tarry, Thomas McDonell, Darrel Morris, William J. O'Brien,  Maria E. Piñeres, Elaine Reichek, Jacob Robichaux, Gulay Semercioglu, Donna Sharrett, Jean Shin, Chiharu Shiota, Kiki Smith, Devorah Sperber, Berend Strik, Marc Swanson, Frances Trombly, Vadis Turner, Paul Villinski, Andy Warhol, Debora Warner, Megan Whitmarsh, Rob Wynne, and Darius Yektai.
 
Beth Rudin DeWoody is a New York art collector and curator. She is the executive vice president of Rudin Management and on the board of the Whitney Museum of American Art, Brooklyn Academy of Music, Creative Time, The New School, New Yorkers For Children, and the New York Police Foundation. Her other exhibitions include I Won't Grow Up at Cheim & Read, New York, Just What Are They Saying... at the Jonathan Ferrara Gallery, New Orleans, What's Your Hobby? at The Fireplace Project, East Hampton, NY, A House Is Not A Home at Caren Golden Fine Arts, New York, as well as Luxury Goods and It'll cost you...at Kathleen Cullen Fine Arts, New York.