Miranda July is a filmmaker, artist, and writer. July’s collection of stories, No One Belongs Here More Than You, won the Frank O’Connor International Short Story Award and has been published in twenty-three countries. Her writing has appeared in The Paris Review, Harper’s, and The New Yorker; It Chooses You was her first book of non-fiction. She wrote, directed and starred in The Future and Me and You and Everyone We Know—winner of the Camera d’Or at the Cannes Film Festival and a Special Jury Prize at Sundance. July’s participatory art works include the website *Learning to Love You...
The Aspen Art Museum offers a special invitation for a private tour and gathering in the Roof Deck Sculpture Garden to all Aspen Gay Ski Week attendees. On January 23, from 2–2:45 p.m., AAM Learning Director Michelle Dezember will host a free, private tour through the exhibitions, with time to take in mountain views from the top. The museum is also offering 20 percent off all day at SO, our roof-deck café, for anyone participating in Aspen Gay Ski Week.
Memory is a paradoxical thing, central to the formation of the self, yet fugitive and difficult to pin down. Memories become attenuated with the passage of time, yet can come rushing back in an instant under certain conditions. From the simple act of marking time to the recording of complex events, The Residue of Memory examined the diverse ways that events can leave their mark, and how objects and experiences can function as physical traces or intangible points of contact to the past.
For his work free fotolab (2009), for example, British artist Phil Collins posted ads in several European cities, offering individuals free processing and prints from their undeveloped rolls of film in exchange for all rights to the images. The resulting nine-minute slideshow—a selection of vacation photos, family gatherings, and other private moments—presents a strangely affecting montage of anonymous appropriated memories. By contrast, American artist and activist Andrea Bowers explores both the history of activist causes—including environmentalism, immigration advocacy, women’s rights, and civil rights—and their contemporary manifestations. She meticulously redraws images from historical photographs, often editing out the original background and isolating figures from a crowd. By isolating these subjects, Bowers moves away from the particulars of the original events and imbues them with a more universal meaning. Whether personal or public, illustrative or evocative, ephemeral or concrete, the works that made up The Residue of Memory collectively engage with and complicate such apparent dichotomies as distance and proximity, loss and remembrance, the individual and the universal.
Artists in the exhibition included Kristoffer Akselbo, John Baldessari, Andrea Bowers, Phil Collins, Bruce Conner, Roberto Cuoghi, Simon Evans, Lara Favaretto, Paul Graham, Karl Haendel, Susan Hiller, Pierre Huyghe, Friedrich Kunath, Glenn Ligon, Teresa Margolles, Richard Misrach, Richard Prince, Paul Ramírez Jonas, Doris Salcedo, Kaari Upson, and Anna Von Mertens.
General operating support is provided by Colorado Creative Industries. CCI and its activities are made possible through an annual appropriation from the Colorado General Assembly and federal funds from the National Endowment for the Arts.