Emily Ward Bivens will to share her work with us in advance of jurying our Foundations exhibition next Monday evening, February 4. Each work is conceived in specific relation to its site and audience.An anonymous collective persona inhabits each of The Bridge Club’s works, with each member artist donning wigs, shoes and a variety of carefully selected garments that relate directly to the site and concept of a specific work. She studied biology later switching to art when she realized that there are limits to what science can explain. She is an Associate Professor of 4D and Time-Based Art at the University of Tennessee, Knoxville. Her talk will be at 6:15 pm at the Turchin Center for the Visual Arts Lecture Hall.Emily Ward Bivens is an Associate Professor of 4D arts and Transmedia Design and the Director of Foundations at the University of Tennessee, Knoxville. This video features Guen Montgomery. Exhibitions and performances of Bivens’ individual and collaborative work have been shown in festivals, museums, galleries and washaterias. The Bridge Club’s interdisciplinary installation, video, live performance, and digital media works are site- and context- specific, and each work investigates specific local histories, populations, contexts, stereotypes, expectations, and conflicts. Crown is a two-part video installation. Bivens received her BFA from Colorado State University and her MFA from the University of Colorado in Boulder. While a viewer investigates the nest, three cameras, discreetly fitted into the chandelier above, are filming them.
The hair at her feet is her own hair that she has collected over many years. 2017, performance at The Nerve Performance Art Festival, Ft. Lauderdale, FL*The Bridge Club is a contemporary visual and performance art collaborative, which I co-founded in 2004, consisting of artists Annie Strader, Christine Owen, Emily Bivens, and Julie Wills. Performances and installations have taken place in both traditional and nontraditional venues, incorporating and responding to sites such as a hotel room, a city bus, an abandoned storefront, and a laundromat in addition to the traditional gallery or museum space. She studied biology later changing her major to art when she realized that there were limits to what science can explain. *The Bridge Club is a contemporary visual and performance art collaborative, which I co-founded in 2004, consisting of artists Annie Strader, Christine Owen, Emily Bivens, and Julie Wills. Each work is conceived in specific relation to its site and audience.An anonymous collective persona inhabits each of The Bridge Club’s works, with each member artist donning wigs, shoes and a variety of carefully selected garments that relate directly to the site and concept of a specific work. Each work is conceived in specific relation to its site and audience.An anonymous collective persona inhabits each of The Bridge Club’s works, with each member artist donning wigs, shoes and a variety of carefully selected garments that relate directly to the site and concept of a specific work. Her collaborative work with The Bridge Club has been presented at Press Street for Prospect 3+, New Orleans, LA, Museum of Contemporary Art, Santa Barbara, CA, The Texas Biennial, San Antonio, TX, Currents: The Santa Fe International New Media Festival, Santa Fe, NM and the Lawndale Art Center, Houston, TX.
This starts a cycle of observation that can only be fulfilled when multiple audience members enter the space.This small case with the monogram L.E.G is mounted on the wall.
Costumes were thrifted by Donna Moore and Guen Montgomery.
This work, with text pulled from vintage advertising campaigns, explored the intersections of art, commerce, theatricality and presentation. The petticoats below function as a reintroduction of the material evidence, though mismatched in time and origin. Each work is conceived in specific relation to its site and audience.An anonymous collective persona inhabits each of The Bridge Club’s works, with each member artist donning wigs, shoes, and a variety of carefully selected garments that relate directly to the site and concept of a specific work. After finding this Hoover vacuum, we decided to spend the rest of the afternoon vacuuming. Performances and installations have taken place in both traditional and nontraditional venues, incorporating and responding to sites such as a hotel room, a city bus, an abandoned storefront, and a laundromat in addition to the traditional gallery or museum space. One of the rooms is home to the Abraham Lincoln and Mary Todd courting couch, seen in the lower right corner of the image. It was then played through speakers away from the possum, near the entrance of the gallery. Her childhood bedroom was set apart from her family on the far side of an old house under which a large colony of armadillos would root and cavort all night.