https://caseycarsel.com Casey Carsel Tue, 23 Jul 2024 11:35:51 +0000 https://caseycarsel.com en https://caseycarsel.com/Home Sat, 17 Aug 2019 21:58:06 +0000 Casey Carsel https://caseycarsel.com/Home Casey Larkin Mazer Carsel︎ &nbsp; &nbsp;&nbsp; ︎&nbsp; &nbsp; &nbsp; Info&nbsp; &nbsp; &nbsp;Contact window.dataLayer = window.dataLayer || []; function gtag(){dataLayer.push(arguments);} gtag('js', new Date()); gtag('config', 'UA-149683899-3'); Writing Individual artworks and series who knit you Untitled BabushkasWandering Jew Beneath that, the paving stonesNO HARD FEELINGS “Knobl III”: knobl—soup! To Me You’re BeautifulWe Will Outlive Them He Had His Lunch and I Had Mine cry, without words It begins in a fall No one belongs heremore than anxious I N V UThe Art YardIs it better yet? Selected solo exhibitions I can’t shake the stranger out of you&nbsp; Lights and Perfections The Eternal you’d be home by now “Knobl II”: Knobl Hearts “Knobl One”:&nbsp;Shum Klum When a poor man eats a chicken, one of them is sick (but we sing, we still sing) Rather owe youthan not pay you <img width="5304" height="7952" width_o="5304" height_o="7952" data-src="https://freight.cargo.site/t/original/i/3f2f7376cb678401c28990258039d765a2e1cf2218be64a7895f72c3896bc679/Qs-Workshop-42-copy.jpg" data-mid="189282187" border="0" src="https://freight.cargo.site/w/1000/i/3f2f7376cb678401c28990258039d765a2e1cf2218be64a7895f72c3896bc679/Qs-Workshop-42-copy.jpg" /> https://caseycarsel.com/info Sat, 17 Aug 2019 20:56:00 +0000 Casey Carsel https://caseycarsel.com/info window.dataLayer = window.dataLayer || []; function gtag(){dataLayer.push(arguments);} gtag('js', new Date()); gtag('config', 'G-FGS3YZHK5Y'); Casey Carsel is a Aotearoa-born Jewish artist and writer drawn to the sharp beauty of the fragments of history that tumble down to the present moment. In their experimental and interdisciplinary practice, they seek to unravel the complex constructions of cultural belonging and home in the Jewish diaspora, from stories to jokes to the clothes on one’s back and the food on one’s table. What is cherished and how is it held? What is left behind? What is lost in translation? Carsel’s work ventures towards the pivotal intersection between art and craft, while staying grounded in queerness and doikayt. The works that result are imbued by dybbuks, golems, ancestors, and the visual, oral, and written languages that hold them. While Carsel’s research has previously traversed topics including garlic, jokes, and the Holocaust, they have recently been investigating the images, objects, and words that Jewish communities have historically designated as protective and powerful, and the stories invoked therein.&nbsp; Carsel earned an MFA in Writing from the School of the Art Institute of Chicago and a BFA from Elam School of Fine Arts, University of Auckland. They have presented ceramics, textiles, and paper-cut works in solo exhibitions at institutions such as Comfort Station, Chicago; Co-Prosperity, Chicago; RM Gallery, Auckland; and Blue Oyster Gallery, Dunedin. Their works of fiction and nonfiction have also been published by Takahē, The Documentarian, Bus Projects, and others. They have facilitated workshops for a range of audiences, including those of the Poetry Foundation, the Tides Institute &amp; Museum of Art, America House Kyiv, and Dnipro National University, and held residencies and fellowships with major institutions, including Fulbright, New York Public Library, Folger Shakespeare Library, and Ragdale.A diasporist participant in queer Jewish spirals towards future histories, Carsel lives their life between their chosen whānau in Tāmaki Makaurau and Ohio, where they are pursuing a PhD in Art History on Jewish apotropaics in early modern Ashkenaz at The Ohio State University. Join the (occasional) mailing list: EDUCATION Master of Fine Arts in Writing (2017–2019) School of the Art Institute of Chicago (SAIC), Chicago, IL., USA Bachelor of Fine Arts with First Class Honours (2012–2016) Elam School of Fine Arts, University of Auckland, New Zealand SELECTED EXHIBITIONS2026Feygele, The Pool Room, Auckland (solo, forthcoming) 2025 I can’t shake the stranger out of you, CoCA Centre of Contemporary Art Toi Moroki, Christchurch (solo) AiR3, The Arts House Trust, Auckland 2023&nbsp; Lights and Perfections, Comfort Station, Chicago (solo) The Eternal, Studio One Toi Tū, Auckland (solo)&nbsp; 2022 you’d be home by now, Wormhole, Edgecumbe (solo) 2021 Terrain Biennial, Evanston Present Tense, Auckland Art Fair 2020 Knobl Hearts, Co-Prosperity, Chicago (solo) 2019 Shum Klum, RM Gallery, Auckland (solo) When a poor man eats a chicken, one of them is sick (but we sing, we still sing), Blue Oyster Gallery, Dunedin (solo) 2017 Rather owe you than not pay you, MEANWHILE onsite, Wellington (solo) He Had His Lunch and I Had Mine, MEANWHILE online, Wellington (solo) 2016 cry, without words, Window Online Gallery, Auckland (solo) What do I want? Where do I stand?, Offsite, Auckland HumanNature, George Fraser Gallery, Auckland The Colour of Your Heart is What Matters, Studio One Toi Tū, Auckland 2014 CityUps, Festival of Transitional Architecture, Christchurch SELECTED CREATIVE WRITING and ART WRITING 2025 “Forty years later (in French),” Landfall (poetry) “Walking Backwards Into The Future,”&nbsp;Poetry Foundation “Elizabeth Newman,” Being, Seeing, Making, Thinking: 50 Years of The Chartwell Project (eds. Sue Gardiner and Megan Shaw, co-published by The Chartwell Collection Trust and Auckland Art Gallery Toi o Tāmaki)“Or else I’m a Jew | a series of abstractions,” Folger Collation 2024“I've been told,” “the stage (try asking again later),”&nbsp;Mayhem&nbsp;“SLOW CLOSE LOOKING: Inside The Davis Street Drawing Room,” TEXTILE: Cloth and Culture 22:4&nbsp;(Routledge) “Unyimeabasi Udoh: Flood” Piccalilli, London “Unyimeabasi Udoh: Bad-Time Party Time” Efraín López, New York “Dream Home,” takahē 2022 “Unbreaking a horizon,” The Documentarian&nbsp; “Safran Foer’s Trachimbrod, Revisited,” Niv “To Build A Home,” West Space, Melbourne 2021 “Haig Aivazian: All of the Lights at The Renaissance Society,” Ocula Magazine “At this point, everybody already knows utopia is no place, but it bears repeating,” Unyimeabasi Udoh: Title Case, Tiger Strikes Asteroid, Chicago “What’s in a name?,” Lumpen 138 2020 To Me You’re Beautiful, Bus Projects, Melbourne Anne Wilson: If We Asked about the Sky and All That Was Formed from Earth, Rhona Hoffman Gallery, Chicago “Cindy Ji Hye Kim: Drawing the Unseen,” Ocula Magazine “Gary Simmons: History as Residue,” Ocula Magazine 2019 “A Translucent Approach,” F Newsmagazine ee ghaoo maange acha ho jai [these wounds must heal], Clark House Initiative, Mumbai “A thousand kisses deep,” The Seen, Chicago“Water and Concrete Part II,” Hamster III, The Physics Room, Christchurch 2018 “Lavender sweat,” “People-walking,” Tipton Poetry Journal, Tipton “Water and Concrete Part I,” Hamster II, The Physics Room 2017 “A Journey Begins,” Temporary Vanua, Adam Art Gallery, Wellington“Ann Shelton In Conversation,” Ocula Magazine SELECTED HONOURS / AWARDS / RESIDENCIES 2026Kiye/Seligmann Cottage Residency, Tides Institute &amp; Museum of Art, Maine (forthcoming) Robert Lord Writers Cottage Residency, Ōtepoti Dunedin 2024 New Jewish Culture Fellowship, remote/New York (–2025) Folger Shakespeare Library Research Fellowship, Washington, D.C. (–2025) RM Writer’s Residency, Auckland Auckland Studio Potters Residency, Auckland 2023 StudioWorks Artist-in-Residence Program, Tides Institute &amp; Museum of Art, Maine Ragdale Visual Artist Residency Award, Lake Forest 2022 Urban Adamah Fellowship, Berkeley New York Public Library Short-Term Research Fellowship in support of the artwork series “For the healthy and for the dead” Barry Hannah Prize (finalist), Yalobusha Review, for the short story “Big Responsibilities” 2021 Fulbright U.S. Creative Writing Grant for nine-month residency in Ukraine DCASE Individual Artists Program Grant towards the contributor fees and printing of Plates Issue 04: Craft 2020 Arts for Illinois Relief Fund for living expenses under COVID-19 2019 SAIC Writing Program Small Grant Award for research travel to New York in support of Blue Oyster Art Project Space solo exhibition 2018 College Media Association Pinnacle Award: Best Magazine Entertainment Page/Spread SAIC Graduate Dean Professional Development Award for travel to Auckland in support of RM Gallery solo exhibition 2017 SAIC Writing Program Small Grant Award for travel to The Jacob Rader Marcus Center of the American Jewish Archives, Cincinnati Albert Krehbiel Scholarship towards studies at SAIC SAIC Enrichment Scholarship towards studies 2016 First Class Honours in Bachelor of Fine Arts degree, Elam School of Fine Arts 2015 Summer Research Scholarship, University of Auckland The Social International Residency for Artists, Christchurch New Zealand Painting and Printmaking Awards (finalist), Hamilton&nbsp; SELECTED PROFESSIONAL EXPERIENCE 2024 Visiting Teaching Artist, Poetry Foundation&nbsp;Forms &amp; Features workshop series Communications Strategy Consultant, Artspace AotearoaPeer Assessor, Fulbright Ukraine Peer Assessor, Folger Shakespeare Library Artist Fellowships 2023 Artistic workshop leader, Tides Institute &amp; Museum of Art Peer Assessor, Chicago Department of Cultural Affairs and Special Events&nbsp;Individual Artists Program Grants, Literature 2021&nbsp; Facilitator, America House Kyiv Creative Writing Workshop Series (–2023) Guest Lecturer, Dnipro National University (as part of nine-month Fulbright grant) (–2022) 2019 Editor, Plates Journal (–2022) Operations Director, 2dcloud (–2021) Co-Founder, SAIC Graduate Writers’ Salon/Moonrise Club, Chicago (–2021) Research Assistant, Anne Wilson, Chicago 2018 Managing Editor, F Newsmagazine, Chicago (–2019)Teaching Assistant, Contemporary Practices, SAIC, Chicago 2017 Editorial Assistant, Ocula Ltd., Auckland/Remote (–2023) 2016 Ceramics Technician, University of Auckland (–2017) 2015Studio Assistant, Biennale of Sydney, Joyce Campbell, Auckland (–2016) SELECTED PRESS AND PROFILES 2023 Aimée Ralfini, “The Art of September/October,” Verve Brian Hieggelke, “Art Top 5: December 2023,” Newcity Joshua Katz, “‘We Will Outlive Them’: The Story of a Song, a Protest Slogan, and the Yiddish Revival,” Smithsonian Folklife Magazine 2022 Lyudmila Sholokhova, “NYPL Researcher Spotlight: Casey Carsel,” New York Public Library Kathy Forsyth, “Stories retold in new exhibition,” The Beacon 2021 Philip Barcio, “Episode 29,” Apocalypse Mixtape “We think you’ll be into this interactive project with emerging artists,” Ensemble Lori Waxman, “60wrd/min COVID Edition: Exo, Olivier, Casey Carsel,” Newcity Becky Hemus, “Present Tense,” The Art Paper Lorna Thornber, “Seven reasons to visit Auckland Art Fair in 2021,” Stuff&nbsp; 2019 Quishile Charan, Garlic and a whole lotta lovin,’ RM Gallery, Auckland Interview, DPAG Late Breakfast, 2 November Interview, OAR FM&nbsp;Arts Hub, 10 October Review, Otago Daily Times, 9 October, Dunedin 2017 Interview, Elamite 2016 Interview, Ready Steady Learn, 25 October, Auckland Interview Artbank, 14 August, Auckland 2014Chris Barton, “A smart way forward for ChCh,“ New Zealand Herald https://caseycarsel.com/contact Sat, 12 Oct 2019 00:19:30 +0000 Casey Carsel https://caseycarsel.com/contact window.dataLayer = window.dataLayer || []; function gtag(){dataLayer.push(arguments);} gtag('js', new Date()); gtag('config', 'G-FGS3YZHK5Y'); Direct all enquiries to hello@caseycarsel.comJoin my (occasional) mailing list: https://caseycarsel.com/writing Tue, 07 Apr 2020 15:08:48 +0000 Casey Carsel https://caseycarsel.com/writing window.dataLayer = window.dataLayer || []; function gtag(){dataLayer.push(arguments);} gtag('js', new Date()); gtag('config', 'G-FGS3YZHK5Y'); SOME PERSONAL ESSAYS, LYRIC ESSAYS, POETRY“Dream Home,” takahē, 2024. “Unbreaking a horizon,” Documentarian, 2022.&nbsp; “Safran Foer’s Trachimbrod, Revisited,” Niv, 2022.&nbsp;To Me You’re Beautiful, Bus Projects, Melbourne, 2021.&nbsp; “Water and Concrete Part II,” Hamster, The Physics Room, Christchurch, 2019.“Water and Concrete Part I,” Hamster, The Physics Room, 2018. “Lavender sweat,” “People-walking,” Tipton Poetry Journal, Tipton, IN., 2018.&nbsp; “No one belongs here more than anxious,” Offsite Online, 2016. “I N V U,” George Fraser Gallery, Auckland, 2016. SOME EXHIBITION TEXTS “Unyimeabasi Udoh: Flood” Piccalilli, London, 2024.&nbsp; “To Build A Home,” Angna Mein, West Space, Melbourne, 2022. “At this point, everybody already knows utopia is no place, but it bears repeating,” Unyimeabasi Udoh: Title Case, Tiger Strikes Asteroid, Chicago, 2021. Anne Wilson: If We Asked about the Sky and All That Was Formed from Earth, Rhona Hoffman Gallery, Chicago, 2020. ee ghaoo maange acha ho jai [these wounds must heal], Clark House Initiative, Mumbai, 2019.“A Journey Begins,” Temporary Vanua, Adam Art Gallery, Wellington, 2017.SOME EXHIBITION REVIEWS “SLOW CLOSE LOOKING: Inside The Davis Street Drawing Room,” TEXTILE: Cloth and Culture (Routledge) “Haig Aivazian: All of the Lights at The Renaissance Society,” Ocula Magazine, 2021. “A Thousand Kisses Deep,” The Seen, 2019. “Material World,” F Newsmagazine, 2019. SOME ARTIST CONVERSATIONS“Cindy Ji Hye Kim: Drawing the Unseen,” Ocula Magazine, 2020. “Gary Simmons: History as Residue,” Ocula Magazine, 2020. “Ann Shelton in Conversation,” Ocula Magazine, 2017. SOME ARTIST PROFILES “A Translucent Approach,” F Newsmagazine, 2019. “Nicolas Party,” Ocula.com, 2019. SOME LISTICLES “Armory Week Lowdown: Art Shows to See,“ Ocula Magazine, 2020. “Architectural Baubles: Iconic Structures to Take in from a Safe Distance,” Newcity, 2020. “Artstagram Part II,” F Newsmagazine, 2018. SOME REPORTS / OTHER“What’s in a name?,” Lumpen 138, 2021.&nbsp; “Small Businesses: Planning, Preparing and Responding to COVID-19,” Newcity, 2020.&nbsp;“Chicago City Guide,” Ocula.com, 2019.&nbsp; SOME COPYWRITING Plates Journal, 2019–22 (responsible for all copy, including social media, website, newsletter, and print publication copy). https://caseycarsel.com/who-knit-you Tue, 23 Jul 2024 11:35:51 +0000 Casey Carsel https://caseycarsel.com/who-knit-you Who knit you Developed during a StudioWorks residency at the Tides Institute &amp; Museum of Art in Eastport, Maine, this work is a first foray into paper-cutting—a technique with a significant place in Jewish traditions of craft and storytelling. The work combines apotropaic motifs from Jewish culture with images and histories gathered in the ex-sardine canning town of Eastport.&nbsp;<img width="2505" height="3444" width_o="2505" height_o="3444" data-src="https://freight.cargo.site/t/original/i/2f85a0fe7a11a8aec2f5598847dd00b01b3aa7794a0de46a5173e7d8ba10e970/PXL_20240825_023314499_1.jpg" data-mid="216896205" border="0" src="https://freight.cargo.site/w/1000/i/2f85a0fe7a11a8aec2f5598847dd00b01b3aa7794a0de46a5173e7d8ba10e970/PXL_20240825_023314499_1.jpg" /> Who knit you (2023–4). Ink on hand-cut paper. 31” x 22”.&nbsp; https://caseycarsel.com/Untitled-Babushkas Thu, 23 Feb 2023 00:58:23 +0000 Casey Carsel https://caseycarsel.com/Untitled-Babushkas window.dataLayer = window.dataLayer || []; function gtag(){dataLayer.push(arguments);} gtag('js', new Date()); gtag('config', 'G-FGS3YZHK5Y'); Untitled Babushkas “Untitled Babushkas” is an ongoing series of woven and embroidered babushkas that reimagines the dress code of the Jewish priests of ancient Israel for grannies in the former Soviet Republics. The imagery of Untitled Babushka 1 is based on the pomegranate and its flowers.&nbsp;Untitled Babushka 2 is woven predominantly using the “Danish medallion” tapestry weave, and is additionally inspired by an amuletic Turkish shawl from the early 20th century. <img width="3920" height="2940" width_o="3920" height_o="2940" data-src="https://freight.cargo.site/t/original/i/c7fd461650cf9e6365222bedeb43e64cd14e4290385ac058564e3ff07217faf7/PXL_20230112_072612549.jpg" data-mid="169385736" border="0" src="https://freight.cargo.site/w/1000/i/c7fd461650cf9e6365222bedeb43e64cd14e4290385ac058564e3ff07217faf7/PXL_20230112_072612549.jpg" />Untitled Babushka 1 (2022–2023). Hand-embroidered cotton. 24” x 40”. <img width="4272" height="2848" width_o="4272" height_o="2848" data-src="https://freight.cargo.site/t/original/i/a6228976e2e09b68b54e0d13b2e2873616f8adc679f5284645e1c0ef35fa9cda/IMG_8471.JPG" data-mid="169385737" border="0" src="https://freight.cargo.site/w/1000/i/a6228976e2e09b68b54e0d13b2e2873616f8adc679f5284645e1c0ef35fa9cda/IMG_8471.JPG" /> Untitled Babushka 1 (2022–2023) (detail). Hand-embroidered cotton. 24” x 40”. <img width="4010" height="2664" width_o="4010" height_o="2664" data-src="https://freight.cargo.site/t/original/i/a357c202972c8e1dc48638c91350e1b8da55fd5a8360b2aad3ad94c244c534ba/IMG_8494-copy.JPG" data-mid="169385788" border="0" src="https://freight.cargo.site/w/1000/i/a357c202972c8e1dc48638c91350e1b8da55fd5a8360b2aad3ad94c244c534ba/IMG_8494-copy.JPG" />Untitled Babushka 2&nbsp;(2022–2023). Hand-woven wool and cotton, found objects. 24” x 40”. <img width="4272" height="2848" width_o="4272" height_o="2848" data-src="https://freight.cargo.site/t/original/i/36b0f9028582ef0f8067174a2b60d95e2da4ba395b033fda67778893f5cc8f3d/IMG_8488.JPG" data-mid="169385804" border="0" src="https://freight.cargo.site/w/1000/i/36b0f9028582ef0f8067174a2b60d95e2da4ba395b033fda67778893f5cc8f3d/IMG_8488.JPG" />Untitled Babushka 2 (2022–2023) (detail). Hand-woven wool and cotton, found objects. 24” x 40”. <img width="2864" height="3812" width_o="2864" height_o="3812" data-src="https://freight.cargo.site/t/original/i/0bca51f79a81363ca3e6394b23983044975e62587705372e9f8a30127cfb2e80/PXL_20240115_190558891_1.JPG" data-mid="202412029" border="0" src="https://freight.cargo.site/w/1000/i/0bca51f79a81363ca3e6394b23983044975e62587705372e9f8a30127cfb2e80/PXL_20240115_190558891_1.JPG" />Untitled Babushka 3 (2023). Hand-quilted, embroidered, and applique’d cotton. 40” x 40”. <img width="1273" height="1908" width_o="1273" height_o="1908" data-src="https://freight.cargo.site/t/original/i/a29d6b37e77d30e5ea8cefd7de129946e4c824e675d31b4a64f1072efd6f5e09/1-copy.jpg" data-mid="202412043" border="0" src="https://freight.cargo.site/w/1000/i/a29d6b37e77d30e5ea8cefd7de129946e4c824e675d31b4a64f1072efd6f5e09/1-copy.jpg" />Untitled Babushka 3 (detail) (2023). Hand-quilted, embroidered, and applique’d cotton. 40” x 40”. Photo: Matavai Taulangau.<img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/35e7dcb7e18c79b423523061593cba9a66d43b284bf944634db04c6ab3c16bd9/PXL_20230112_052525445-copy.jpg" data-mid="169385810" border="0" src="https://freight.cargo.site/w/1000/i/35e7dcb7e18c79b423523061593cba9a66d43b284bf944634db04c6ab3c16bd9/PXL_20230112_052525445-copy.jpg" /> Untitled (amuletic sketch for Babushka 1) (2022–2023). Hand-embroidered cotton. 9” x 14”. https://caseycarsel.com/Wandering-Jew Thu, 23 Feb 2023 00:58:18 +0000 Casey Carsel https://caseycarsel.com/Wandering-Jew window.dataLayer = window.dataLayer || []; function gtag(){dataLayer.push(arguments);} gtag('js', new Date()); gtag('config', 'G-FGS3YZHK5Y'); Wandering Jew The quilt top is pieced in the “Wandering Jew” quilt block pattern, and uses all the fabric the artist took with them to Warsaw, Poland, when they were ordered to evacuate Ukraine in early 2022.&nbsp; <img width="1281" height="1592" width_o="1281" height_o="1592" data-src="https://freight.cargo.site/t/original/i/e6dafbfe31a88ebdabd265ca1d45a619cdecc07ddbc49d5a8b1fa6f992a8765c/Qs-Workshop-114.jpg" data-mid="189283427" border="0" src="https://freight.cargo.site/w/1000/i/e6dafbfe31a88ebdabd265ca1d45a619cdecc07ddbc49d5a8b1fa6f992a8765c/Qs-Workshop-114.jpg" />Wandering Jew (2022). Hand-quilted cotton. 50” x 50”. Photo:&nbsp;Matavai Taulangau.&nbsp; <img width="1281" height="1651" width_o="1281" height_o="1651" data-src="https://freight.cargo.site/t/original/i/ac5cfaa0e7de22c665796d57f41dd9eb20b25be70b32eec626d35b684a5e7598/Qs-Workshop-116.jpg" data-mid="189283582" border="0" src="https://freight.cargo.site/w/1000/i/ac5cfaa0e7de22c665796d57f41dd9eb20b25be70b32eec626d35b684a5e7598/Qs-Workshop-116.jpg" />Wandering Jew (2022). Hand-quilted cotton. 50” x 50”.&nbsp;Photo: Matavai Taulangau. <img width="1281" height="1920" width_o="1281" height_o="1920" data-src="https://freight.cargo.site/t/original/i/8a497360ecf45e8332e1f654c6297466c075f630e2a99f653311136cdd766fc0/Qs-Workshop-26.jpg" data-mid="189283040" border="0" src="https://freight.cargo.site/w/1000/i/8a497360ecf45e8332e1f654c6297466c075f630e2a99f653311136cdd766fc0/Qs-Workshop-26.jpg" /> <img width="1281" height="1920" width_o="1281" height_o="1920" data-src="https://freight.cargo.site/t/original/i/1ff3ea1c6100fcd8da92dd18cefd64d744680ca60304d43fa0ae1c7b1decf40a/Qs-Workshop-30.jpg" data-mid="189283043" border="0" src="https://freight.cargo.site/w/1000/i/1ff3ea1c6100fcd8da92dd18cefd64d744680ca60304d43fa0ae1c7b1decf40a/Qs-Workshop-30.jpg" /> <img width="1281" height="1920" width_o="1281" height_o="1920" data-src="https://freight.cargo.site/t/original/i/4f9a3fc7a1b1bc08759d75d2b3e163f43867f7e28fce6ff0e82ce828e9d35048/Qs-Workshop-34.jpg" data-mid="189283044" border="0" src="https://freight.cargo.site/w/1000/i/4f9a3fc7a1b1bc08759d75d2b3e163f43867f7e28fce6ff0e82ce828e9d35048/Qs-Workshop-34.jpg" /> <img width="1281" height="1920" width_o="1281" height_o="1920" data-src="https://freight.cargo.site/t/original/i/adffbac400bcb7c244d9e93cb140eb87b5ef81170b64b0b55083ec953378d399/Qs-Workshop-37.jpg" data-mid="189283045" border="0" src="https://freight.cargo.site/w/1000/i/adffbac400bcb7c244d9e93cb140eb87b5ef81170b64b0b55083ec953378d399/Qs-Workshop-37.jpg" /> <img width="1281" height="1920" width_o="1281" height_o="1920" data-src="https://freight.cargo.site/t/original/i/b92fc78d6a4fb93ba3a2cf09c4c6c1195ec7a8705f411d122e6194e86d83d35f/Qs-Workshop-51.jpg" data-mid="189283046" border="0" src="https://freight.cargo.site/w/1000/i/b92fc78d6a4fb93ba3a2cf09c4c6c1195ec7a8705f411d122e6194e86d83d35f/Qs-Workshop-51.jpg" /> <img width="1281" height="1920" width_o="1281" height_o="1920" data-src="https://freight.cargo.site/t/original/i/c02a55970e861542385f3f880bf4543824a11321f721ce2d916dadbc1d7ee69d/Qs-Workshop-125.jpg" data-mid="189283047" border="0" src="https://freight.cargo.site/w/1000/i/c02a55970e861542385f3f880bf4543824a11321f721ce2d916dadbc1d7ee69d/Qs-Workshop-125.jpg" /> Wandering Jew (2022) (details). Hand-quilted cotton. 50” x 50”.&nbsp;Photos: Matavai Taulangau. https://caseycarsel.com/Beneath-that Tue, 23 Aug 2022 02:58:29 +0000 Casey Carsel https://caseycarsel.com/Beneath-that window.dataLayer = window.dataLayer || []; function gtag(){dataLayer.push(arguments);} gtag('js', new Date()); gtag('config', 'G-FGS3YZHK5Y'); Beneath that, the paving stones (rose hip amulet) This small embroidered pouch contains dried rose hip berries that the artist gathered at the site of one World War II concentration camp. It was a mental health institution before the war, and it was converted back into a mental health institution after the war. These berries came from a bush near the low-set memorial to the victims of the camp.&nbsp;<img width="2749" height="3550" width_o="2749" height_o="3550" data-src="https://freight.cargo.site/t/original/i/0c9acb8b860d325cffff74407c5856fd4281325662733a558cf0bf5ead052486/PXL_20240115_190930545.JPG" data-mid="202412062" border="0" src="https://freight.cargo.site/w/1000/i/0c9acb8b860d325cffff74407c5856fd4281325662733a558cf0bf5ead052486/PXL_20240115_190930545.JPG" />Beneath that, the paving stones (rose hip amulet) (2022). Hand-embroidered and -sewn cotton, dried rose hip berries. 100mm x 100mm. <img width="2882" height="3094" width_o="2882" height_o="3094" data-src="https://freight.cargo.site/t/original/i/01befdbabacf78cc8d3c663d8d97eb4ad12fbc0d968d0cfc41591d4217a6be59/PXL_20221129_154612095.jpg" data-mid="162217158" border="0" src="https://freight.cargo.site/w/1000/i/01befdbabacf78cc8d3c663d8d97eb4ad12fbc0d968d0cfc41591d4217a6be59/PXL_20221129_154612095.jpg" />Beneath that, the paving stones (rose hip amulet) (2022). Hand-embroidered and -sewn cotton, dried rose hip berries. 100mm x 100mm. https://caseycarsel.com/NO-HARD-FEELINGS Sun, 10 Oct 2021 12:03:21 +0000 Casey Carsel https://caseycarsel.com/NO-HARD-FEELINGS window.dataLayer = window.dataLayer || []; function gtag(){dataLayer.push(arguments);} gtag('js', new Date()); gtag('config', 'G-FGS3YZHK5Y'); NO HARD FEELINGS <img width="504" height="313" width_o="504" height_o="313" data-src="https://freight.cargo.site/t/original/i/dd5855c7f778028b4ebd8b9fa47df63cece48a32603a832cbf8d7ef4749c9801/Terrain-icon-01.png" data-mid="121197003" border="0" data-scale="44" src="https://freight.cargo.site/w/504/i/dd5855c7f778028b4ebd8b9fa47df63cece48a32603a832cbf8d7ef4749c9801/Terrain-icon-01.png" /> In October 2021, Carsel departed from Chicago for Ukraine. However, their leave-taking had already commenced, the COVID-19 pandemic having kept friends and the city itself at a distance for much of the preceding year and a half. NO HARD FEELINGS is a series of embroidered textiles built out of the grief and joy in this closing of one chapter and beginning of another. The installation was presented in homage to Chicago, to the distant (and soon-to-be-distant) loved ones, and to the culture of diaspora into which Carsel was born. They say that Jews are always saying goodbye but never leaving, lingering in the moment that is about to end because, often, in one way or another, there is no going back. In NO HARD FEELINGS, Carsel sought to hone the craft of lingering, creating keepsakes out of a few of the goodbyes that it would otherwise take them the rest of their life to finish. <img width="3024" height="2791" width_o="3024" height_o="2791" data-src="https://freight.cargo.site/t/original/i/c7524b149189470539bac181459b54cd4f5bbcccbdac574dec398c13d50dc30a/PXL_20210930_173538427.JPG" data-mid="121217408" border="0" src="https://freight.cargo.site/w/1000/i/c7524b149189470539bac181459b54cd4f5bbcccbdac574dec398c13d50dc30a/PXL_20210930_173538427.JPG" />NO HARD FEELINGS (2021) (detail). Embroidery on onionskin-, flower-, and acid-dyed cotton, dimensions variable. Exhibition view: 2021 Terrain Biennial, Evanston.&nbsp; <img width="3791" height="2523" width_o="3791" height_o="2523" data-src="https://freight.cargo.site/t/original/i/54da150485d6c4ff157e2b13c672d3116f5c5c9095f1343f55768cee798b32bf/PXL_20210930_181727728.JPG" data-mid="121217762" border="0" src="https://freight.cargo.site/w/1000/i/54da150485d6c4ff157e2b13c672d3116f5c5c9095f1343f55768cee798b32bf/PXL_20210930_181727728.JPG" /> NO HARD FEELINGS (2021) (detail). Embroidery on onionskin-, flower-, and acid-dyed cotton, dimensions variable. Exhibition view: 2021 Terrain Biennial, Evanston. <img width="3243" height="2292" width_o="3243" height_o="2292" data-src="https://freight.cargo.site/t/original/i/a600a97999a5d8604d3aaf77813665cb28b754d0d962e0d21ac6e336610a727d/PXL_20210930_181149813.JPG" data-mid="121217663" border="0" src="https://freight.cargo.site/w/1000/i/a600a97999a5d8604d3aaf77813665cb28b754d0d962e0d21ac6e336610a727d/PXL_20210930_181149813.JPG" /> NO HARD FEELINGS (2021) (detail). Embroidery on onionskin-, flower-, and acid-dyed cotton, dimensions variable. Exhibition view: 2021 Terrain Biennial, Evanston. <img width="3299" height="1861" width_o="3299" height_o="1861" data-src="https://freight.cargo.site/t/original/i/70749bace02fafb745d91b8e2f31d2a05c43b5bc73bd938be02a4dd55a34c9b5/PXL_20210930_181218418_1.JPG" data-mid="121217671" border="0" src="https://freight.cargo.site/w/1000/i/70749bace02fafb745d91b8e2f31d2a05c43b5bc73bd938be02a4dd55a34c9b5/PXL_20210930_181218418_1.JPG" />NO HARD FEELINGS (2021) (detail). Embroidery on onionskin-, flower-, and acid-dyed cotton, dimensions variable. Exhibition view: 2021 Terrain Biennial, Evanston. <img width="3024" height="3272" width_o="3024" height_o="3272" data-src="https://freight.cargo.site/t/original/i/21fb40f605a9228f93a0e5781ba17a196276d6c992b919217e8d7dc50b8cfc21/PXL_20210929_230845515.JPG" data-mid="121217679" border="0" src="https://freight.cargo.site/w/1000/i/21fb40f605a9228f93a0e5781ba17a196276d6c992b919217e8d7dc50b8cfc21/PXL_20210929_230845515.JPG" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/2eb6b804ae5c30b0736e53f881040229eef92539624fefd0541de2581a729a24/PXL_20210929_230947232.JPG" data-mid="121217680" border="0" src="https://freight.cargo.site/w/1000/i/2eb6b804ae5c30b0736e53f881040229eef92539624fefd0541de2581a729a24/PXL_20210929_230947232.JPG" /> <img width="3059" height="2933" width_o="3059" height_o="2933" data-src="https://freight.cargo.site/t/original/i/cf83a34441d7227f4366e98b4e1816811ba228db2800dc7ddfe3dcec4ad4b9c1/PXL_20210930_181230562.JPG" data-mid="121217681" border="0" src="https://freight.cargo.site/w/1000/i/cf83a34441d7227f4366e98b4e1816811ba228db2800dc7ddfe3dcec4ad4b9c1/PXL_20210930_181230562.JPG" /> <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/c0c893c25095fccff7d0644bdafeaff1f166628af865ec2df67d21b8d6889c24/PXL_20210930_181847532.MP.JPG" data-mid="121217683" border="0" src="https://freight.cargo.site/w/1000/i/c0c893c25095fccff7d0644bdafeaff1f166628af865ec2df67d21b8d6889c24/PXL_20210930_181847532.MP.JPG" /> <img width="3024" height="3365" width_o="3024" height_o="3365" data-src="https://freight.cargo.site/t/original/i/a6463d264006a1968e14140f24031def7aca3026c07b29ff97b720c2b6d7d76d/PXL_20210930_181933291.JPG" data-mid="121217684" border="0" src="https://freight.cargo.site/w/1000/i/a6463d264006a1968e14140f24031def7aca3026c07b29ff97b720c2b6d7d76d/PXL_20210930_181933291.JPG" /> <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/1cda2424867a379ea085b79ddbb39620e39c389e98a38834adc7948c7225f115/PXL_20210930_181824513.JPG" data-mid="121217682" border="0" src="https://freight.cargo.site/w/1000/i/1cda2424867a379ea085b79ddbb39620e39c389e98a38834adc7948c7225f115/PXL_20210930_181824513.JPG" /> &nbsp;&nbsp;&nbsp;NO HARD FEELINGS (2021) (details). Embroidery on onionskin-, flower-, and acid-dyed cotton, dimensions variable. Exhibition view: 2021 Terrain Biennial, Evanston. https://caseycarsel.com/knobl-soup Sat, 27 Feb 2021 17:22:08 +0000 Casey Carsel https://caseycarsel.com/knobl-soup window.dataLayer = window.dataLayer || []; function gtag(){dataLayer.push(arguments);} gtag('js', new Date()); gtag('config', 'G-FGS3YZHK5Y'); knobl—soup! Activated by Jordan Davey-Emms For thousands of years, garlic bloomed as a core ingredient of Jewish culture—a cheap food with which to fill a poor stomach, a food of celebration, a food of good health. Garlic is also, however, bound to anti-Semitic propaganda within the concept of foetor Judaicus (”Jewish stink”): a devil-like, sulphurous, garlicky scent supposedly emanating from every Jew. knobl—soup! gathers this sweet and sulphurous history as a starting-point towards constructing at least a small facet of a Jewish identity—past, present, and future—that we can hold in our hands. Let’s hold it in our hands together. Crush it in our palms. Let it linger. Then it will fade and become a song we can sing when we’re feeling nostalgic. <img width="1280" height="1028" width_o="1280" height_o="1028" data-src="https://freight.cargo.site/t/original/i/5f75a3feeb622277cdd99af3124d57864554cded6620088447079fcb235dbf9c/DSC_0018.jpg" data-mid="178612790" border="0" src="https://freight.cargo.site/w/1000/i/5f75a3feeb622277cdd99af3124d57864554cded6620088447079fcb235dbf9c/DSC_0018.jpg" />knobl—soup! (2020–2021). Installation: onionskin-, avocado-, and garlic-dyed cotton, ceramic, thread, garlic, wood, and steel, dimensions variable. Exhibition view: Projects 2021, Auckland Art Fair (2021). Photo: Jordan Davey-Emms.&nbsp; <img width="3872" height="2592" width_o="3872" height_o="2592" data-src="https://freight.cargo.site/t/original/i/3362c7da5070066fb24f644848a4a5faf18cb03b4e75f99308ef73ecf4e3fe47/DSC_0007-copy.JPG" data-mid="102635360" border="0" src="https://freight.cargo.site/w/1000/i/3362c7da5070066fb24f644848a4a5faf18cb03b4e75f99308ef73ecf4e3fe47/DSC_0007-copy.JPG" /> knobl—soup! (detail)&nbsp;(2020–2021). Installation: onionskin-, avocado-, and garlic-dyed cotton, ceramic, thread, garlic, wood, and steel, dimensions variable. Exhibition view: Projects 2021, Auckland Art Fair (2021). Photo: Jordan Davey-Emms. <img width="3767" height="2489" width_o="3767" height_o="2489" data-src="https://freight.cargo.site/t/original/i/ecddf2504fe08e5c6abeb1f356d52cc74f73032dd2c06d30a0062591c82cb349/DSC_0041-copy.JPG" data-mid="102635608" border="0" src="https://freight.cargo.site/w/1000/i/ecddf2504fe08e5c6abeb1f356d52cc74f73032dd2c06d30a0062591c82cb349/DSC_0041-copy.JPG" /> knobl—soup! (detail) (2020–2021). Installation: onionskin-, avocado-, and garlic-dyed cotton, ceramic, thread, garlic, wood, and steel, dimensions variable. Exhibition view: Projects 2021, Auckland Art Fair (2021). Photo: Jordan Davey-Emms. <img width="3872" height="2592" width_o="3872" height_o="2592" data-src="https://freight.cargo.site/t/original/i/f246502be221d82462a1f5ca502c85f5e96a5d50568c7daa6fa4db5cdd3d1ca9/DSC_0040-copy.JPG" data-mid="102635611" border="0" src="https://freight.cargo.site/w/1000/i/f246502be221d82462a1f5ca502c85f5e96a5d50568c7daa6fa4db5cdd3d1ca9/DSC_0040-copy.JPG" />knobl—soup! (detail) (2020–2021). Installation: onionskin-, avocado-, and garlic-dyed cotton, ceramic, thread, garlic, wood, and steel, dimensions variable. Exhibition view: Projects 2021, Auckland Art Fair (2021).&nbsp;Photo: Jordan Davey-Emms. <img width="3872" height="2592" width_o="3872" height_o="2592" data-src="https://freight.cargo.site/t/original/i/fc942a0f8b51677c54ec2ea1eac22f85c24e3b122344277ed2205caf6000e760/DSC_0029-copy.JPG" data-mid="102635619" border="0" src="https://freight.cargo.site/w/1000/i/fc942a0f8b51677c54ec2ea1eac22f85c24e3b122344277ed2205caf6000e760/DSC_0029-copy.JPG" />knobl—soup! (detail) (2020–2021). Installation: onionskin-, avocado-, and garlic-dyed cotton, ceramic, thread, garlic, wood, and steel, dimensions variable. Exhibition view: Projects 2021, Auckland Art Fair (2021). Photo: Jordan Davey-Emms.View exhibition webpageRelated press: “We think you’ll be into this interactive project with emerging artists,” EnsembleBecky Hemus, “Present Tense,” The Art Paper