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Work stemming from the top secret documents that were released to the public last year concerning how the federal government goes about determining who goes onto the so-called "no-fly lists." This has been and still is a very contentious issue, especially in light of the still unfolding political wrangling centered around continued wire-tapping, torture, surveillance, etc, that are carried out by our government and its affiliates. Why and how these lists are made, who manages them, to what ends, and what data and methods are used to place people on or take people off the list is of crucial importance.
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Focusing on housing demographics, especially the single family home and how its typology is instantly understandable. She is interested in arresting that assumption and subverting the read. Conceptually it stems from an early map of Rome called the Nolli map, which identified building and public space of the city as a black and white graphic. The legibility of form and space was instantly understandable, and continues to be an influential map, as a way to see the city from another point of view, and maybe even more importantly, it illustrates best the construction of the city and how the interstitial spaces are utilized and form positive outdoor space. The new paintings take a cue from that rendering, but instead call that form into question through the manipulating of volume and topography. The terrain is at once legible and abstract; the surface is subtle and varied, requiring an investment from the viewer. The manipulation of form and space, collapsing the two in some instances and creating a separation where none exists, begins to resemble an aerial view of a flooded site, but also resembles an organic bloom or oil spill. Conceptually she is interested in pulling together housing demographics with the abstracted representation of the location as a way of talking about the cultural and economic factors that dictate certain statistics, as well as the physical site that exerts a different kind of control. Ultimately, she is interested in how the form is interchangeable, that it isn't the necessarily the physical site but the external factors that shape demographics and our collective assumptions that go along with that.
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Woolery will present two projects: Playing in the Light, a film that looks at the construction of black masculinity and white femininity as represented in 1930s and 40s Hollywood cinema, experimental film of the 1960s, and contemporary American music videos. These “infidelity” films allow viewers to become voyeurs, navigating through protagonists’ desires of otherness. Excerpts of these movies are re-photographed off a television using a super-8 film creating an unusual pulse in the track. The edited footage is then marked, scratched, and stained, heightening the sense of error and hysteria central to the work.
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As a first generation Japanese-American, Yasuko has become interested in how earlier generations and their descendants have fitted into the American mosaic. In general, Japanese Americans are considered to be “quiet” about the unjust treatment they received at the hands of their adopted country in internment camps during World War II. The men served with distinction in fighting against the Germans and subsequently in their country’s wars against Koreans, Chinese, and Vietnamese, enemies who “looked like them.”
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