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Photo: David Hale

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Installation Shot: Abbas Akhavan, Untitled Garden, 2008/2018. Installation including Emerald Green Arborvitaes, planter, soil, and water, dimensions variable. Courtesy of the artist and Catriona Jeffries, Vancouver. Photo: David Hale

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Pascale Marthine Tayou, Plastic Tree, 2014¬-2018. Branches and plastic bags, dimensions variable. Courtesy of the artist and GALLERIA CONTINUA, San Gimignano / Beijing / Les Moulins. Photo: David Hale:

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Pascale Marthine Tayou, Colored Stones, 2015-2018. Granite setts, paint, dimensions variable. Courtesy of the artist and GALLERIA CONTINUA, San Gimignano / Beijing / Les Moulins. Photo: David Hale

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David Hartt, Negative Space, 2018. Tapestry, 5% Trevira CS, 19% cotton, 28% wool and 38% Acrylic, Edition 1 of 3, 9.5 x 18 ft. (2.9 m x 5.5 m). Commissioned by the Institute for Contemporary Art, Virginia Commonwealth University, with additional support from David Nolan Gallery and Corbett vs. Dempsey. Photo: David Hale

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David Hartt, Artifact, 2017, Aluminum, polycarbonate, steel chains. Image courtesy of the artist and Galerie Thomas Schulte, Berlin.

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Julianne Swartz, Sine Body, 2017. Blown glass, unglazed porcelain, electronics, and sound generated from the objects, dimensions variable. Courtesy of the artist and Josee Bienvenu Gallery. Photo: David Hale

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exhibition

Hedges, Edges, Dirt

Oct 17, 2018 – Jan 6, 2019

October 17, 2018 – January 6, 2019

Hedges, Edges, Dirt considers how we relate to our surroundings and to each other, whether we are rooted in place or in transition.

Five artists—Abbas Akhavan, Jonathas de Andrade, David Hartt, Julianne Swartz, and Pascale Marthine Tayou—are each represented here by a focused body of work. This international group of artists—many of whom live outside their culture of origin—deploys play, beauty, and poetry to complicate and reimagine interrelationships among nature and culture, bodies and spaces.

Their poetic, conceptual, richly material art is presented on the first and second floors of the Markel Center. As you explore, we encourage you to contemplate how the works on view relate to each other and to the space, and to consider these questions: What does it mean to perceive ourselves and others as native or non-native? As welcome guests or invasive species? How do we navigate real or imagined borders and boundaries? How do expressions of power, dominance, and vulnerability permeate our experience of place, self, and others?

Co-curated by ICA Assistant Curator Amber Esseiva and Chief Curator Stephanie Smith.

 

Pascale Marthine Tayou, Plastic Tree, 2014-2015 branches, plastic bags Variable dimensions Exhibition view Art Basel Unlimited - Basel, Switzerland, 2015 Courtesy the artist and GALLERIA CONTINUA, San Gimignano / Beijing / Les Moulins / Habana Photo by Andrea Rossetti

Pascale Marthine Tayou, Plastic Tree, 2014-2015 branches, plastic bags Variable dimensions Exhibition view Art Basel Unlimited - Basel, Switzerland, 2015 Courtesy the artist and GALLERIA CONTINUA, San Gimignano / Beijing / Les Moulins / Habana Photo by Andrea Rossetti

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Opening Events // Fall 2018 Exhibitions

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Artist Talk + Screening: Jonathas de Andrade

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Lunch + Learn: Carol Anne Baker Lajoie

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Topic Tour: Weaving

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Sound Bath Meditation

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Sunday, Nov 4

4:30 PM–5:30 PM

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Conversation with artist David Hartt and political scientist Ravi Perry

Wednesday, Nov 7

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Sound Bath Meditation

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Sunday, Nov 11

4:30 PM–5:30 PM

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Topic Tour: Political Beliefs and the Influence of Art

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1:00 PM–2:00 PM

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Sound Bath Meditation

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For the Love of Art: Amber Esseiva and Making the Everyday Monumental

Wednesday, Dec 5

6:00 PM–7:30 PM

 


#HedgesEdgesDirt

 

Installation Shot: Abbas Akhavan, Untitled Garden, 2008/2018. Installation including Emerald Green Arborvitaes, planter, soil, and water, dimensions variable. Courtesy of the artist and Catriona Jeffries, Vancouver. Photo: David Hale

Abbas Akhavan, Untitled Garden, 2008/2018. Installation including Emerald Green Arborvitaes, planter, soil, and water, dimensions variable. Courtesy of the artist and Catriona Jeffries, Vancouver. Photo: David Hale

David Hartt, Artifact, 2017, Aluminum, polycarbonate, steel chains. Image courtesy of the artist and Galerie Thomas Schulte, Berlin.

David Hartt, Artifact, 2017, Aluminum, polycarbonate, steel chains. Image courtesy of the artist and Galerie Thomas Schulte, Berlin.

Pascale Marthine Tayou, Plastic Tree, 2014¬-2018. Branches and plastic bags, dimensions variable. Courtesy of the artist and GALLERIA CONTINUA, San Gimignano / Beijing / Les Moulins. Photo: David Hale:

Pascale Marthine Tayou, Plastic Tree, 2014¬-2018. Branches and plastic bags, dimensions variable. Courtesy of the artist and GALLERIA CONTINUA, San Gimignano / Beijing / Les Moulins. Photo: David Hale:

Pascale Marthine Tayou, Colored Stones, 2015-2018. Granite setts, paint, dimensions variable. Courtesy of the artist and GALLERIA CONTINUA, San Gimignano / Beijing / Les Moulins. Photo: David Hale

Pascale Marthine Tayou, Colored Stones, 2015-2018. Granite setts, paint, dimensions variable. Courtesy of the artist and GALLERIA CONTINUA, San Gimignano / Beijing / Les Moulins. Photo: David Hale

Hedges, Edges, Dirt

Julianne Swartz, Sine Body, 2017. Blown glass, unglazed porcelain, electronics, and sound generated from the objects, dimensions variable. Courtesy of the artist and Josee Bienvenu Gallery. Photo: David Hale

David Hartt, Negative Space, 2018. Tapestry, 5% Trevira CS, 19% cotton, 28% wool and 38% Acrylic, Edition 1 of 3, 9.5 x 18 ft. (2.9 m x 5.5 m). Commissioned by the Institute for Contemporary Art, Virginia Commonwealth University, with additional support from David Nolan Gallery and Corbett vs. Dempsey. Photo: David Hale

David Hartt, Negative Space, 2018. Tapestry, 5% Trevira CS, 19% cotton, 28% wool and 38% Acrylic, Edition 1 of 3, 9.5 x 18 ft. (2.9 m x 5.5 m). Commissioned by the Institute for Contemporary Art, Virginia Commonwealth University, with additional support from David Nolan Gallery and Corbett vs. Dempsey. Photo: David Hale

Hedges, Edges, Dirt

Jonathas de Andrade, O Peixe, 2016. 16mm film transferred to 2k, color, sound, 38:00 minutes. Collection of the Museum of Contemporary Art, Chicago, gift of Mary and Earle Ludgin by exchange, 2017.3. Photo: David Hale

Abbas Akhavan, Study for a Curtain, 2015/2018. Installation including plants not native to Richmond, sticks, oscillating fan, and wind chime, dimensions variable. Courtesy of the artist and Catriona Jeffries, Vancouver. Photo: David Hale

Abbas Akhavan, Study for a Curtain, 2015/2018. Installation including plants not native to Richmond, sticks, oscillating fan, and wind chime, dimensions variable. Courtesy of the artist and Catriona Jeffries, Vancouver. Photo: David Hale

ICA Curatorial Intern and Maggie Walker Governor’s School Senior Julia Parks shares her unique perspective on the works and artists of Hedges, Edges, Dirt.

Pascale Marthine Tayou, Colored Stones, 2015-2018. Granite setts, paint, dimensions variable. Courtesy of the artist and GALLERIA CONTINUA, San Gimignano / Beijing / Les Moulins. Photo by David Hale

Blog: Seeing Stones: Pascale Martine Tayou’s “Colored Stones”

Julia Park

Nov 6, 2018

Ripped out of their “correct” place in the street and in the ground, Tayou asks us to examine what we perceive to be permanent in the landscape of our constructed cities and world.

Installation Shot: Abbas Akhavan, Untitled Garden at the ICA. 2018

Blog: Gardens as Domesticated Exclusion: Abbas Akhavan’s “Untitled Garden”

Julia Park

Oct 30, 2018

There is no doubt that the hedges in Untitled Garden are beautiful, even mysterious, feats of horticulture. Beyond this, however, there is a deeper meaning as intended by the artist. What, then, do Akhavan’s hedges mean - especially in the context of Richmond?

The First African Baptist Church Contemporary Choir performs adjacent to Rashid Johnson's

Blog: Rashid Johnson’s “Monument” // What Does It Mean to Activate a Work of Art?

Julia Park

Nov 19, 2018

I sat down on the bench and looked up at Rashid Johnson’s “Monument,” a 20-foot high tower constructed of a metal grid brimming with potted plant life, shea butter sculptures, stacked books, and video monitors. The piece officially kicks off the ICA’s annual Provocations series, which invites artists to interpret the unique True Farr Luck Gallery located on the top floor of the ICA’s Markel Center. The First African Baptist Church Contemporary Choir had just finished performing the last notes of their encore, and the room was alive and buzzing.

Blog: Existing in the Physical Body: Julianne Swartz’s “Sine Body”

Julia Park

Dec 7, 2018

Co-existing with the vessels is strange because it is an experience to which we are not accustomed. In the moment of discomfort, I feel every part of my body. I am almost painfully aware of every innard, limb, and extremity. It is a full sensory experience of the body, which I have not felt in a while.