The limited edition publication for Correspondence, Vol. 1 was released on February 23, 2017 at SARDINE in Brooklyn, New York.
Correspondence, Vol. 1, the culminating publication of 'The Correspondence Project', which was presented at SARDINE in 2015. It was part of the exhibition, personal:interpersonal:connected, curated by Lacey Fekishazy. This collaborative work was conceived and produced by Kate Harding with artists from New York City and Los Angeles (Los Angeles: Michelle Andrade, Sally Bruno, Carole Caroompas, Meg Cranston, Sarah Cromarty, Carla Danes, Monique Prieto. New York City: Nat Castañeda, Lacey Fekishazy with Charlie Hurier, Heidi Hankaniemi, Sarah Heinemann, Mieko Meguro, EllenSiebers, Alisha Wessler. Los Angeles/New York City: Redell & Jimenez).
Correspondence, Vol. 1 has been independently published in this limited edition of 60, with a hand-lettered spine and is available for $25 (plus shipping if necessary).
For more information, or to purchase a copy, please contact firstname.lastname@example.org
From the publication:
Correspondence exists in a to and fro, back and forth, defining a relationship whether intentional or not. Distance is traversed, a line is drawn. Information is carried, presumably read, interpreted and a response is given. Mark making is a process as old as time. Time itself existed before it was marked (depending on who you talk to), but as long as there has been anything at all in existence, relationships have existed. Marks made with any staying power whether in mind or material have always carried information, and as is now with literate culture, carried specific meaning and interpretation. A bird’s tracks in the snow, the wetness of ground, a wind, ocean’s current, stagnation, the letter A.
The letter A is not completely oblivious to the communications of its corporeal cousins whom to understand most fully require an embodied reading. The letter A was fashioned from the head of an ox (turned upside-down) in Sumerian script, and represented Aleph, the most powerful, standing at the head of the Alephbeth. With the standardization of the secondary code of writing, information could be carried, held tight and secret, until revealed by opening a book or unfolding a page.
In 1873, Anna Ticknor founded the Society to Encourage Studies at Home. By gathering her dear friends, as volunteer “correspondents” instead of “teachers,” Ticknor sought to “give away what men had long refused to allow women to buy; a liberal education.” While working within the confines of women’s homebound circumstances, the Society was made up of a lending library and dedicated team of essentially committed pen pals- “a network of women teaching women by mail.” It was called “the silent university.”
A project by Kate Harding with artists from Los Angeles and New York City.
(Los Angeles: Michelle Andrade, Sally Bruno, Carole Caroompas, Meg Cranston, Sarah Cromarty, Carla Danes, Monique Prieto. New York City: Nat Castañeda, Lacey Fekishazy, Heidi Hankaniemi, Sarah Heinemann, Mieko Meguro, Ellen Siebers, Alisha Wessler. Los Angeles/New York City: Redell & Jimenez)
Opening: Saturday, July 11, 2015 as part of personal:interpersonal:connected
(Show runs: July 11 - August 2, 2015)
SARDINE, 248 Stanhope Street, Brooklyn, NY 11237, www.sardinebk.com
Correspondence can be writing or an exchange occurring between things or people, at once indicating individuals and that there is a space between them. A correspondent sends word back, sends meaning back, whether providing news from a distant locale or as a mark on a piece of paper, such as a drawing or letter or map. In any case, there is a to and fro, a back and forth, an affiliation, loose or very direct. In each case, the existence of correspondence and correspondents is dependent upon communication. In hand written letters, how the marks are made, at what angle, with what flourish, how deep the paper is pressed, all lends meaning to the words. The same can be said for the elements of drawing, if we are to distinguish it from letter-writing.
For this project, the structure of a correspondence course is used as structured instigation. Sixteen artists from the two coasts of the United States received identical packets via regular mail with materials and “instructions.” Whether their affiliation is with the east or west coast (or in one case, both), each responded by mailing their materials back in the enclosed self addressed stamped.
The resultant drawings and correspondence materials were included in the installation as well as the instigatory package contents.
Correspondence instagatory drawing. Kate Harding, pencil on paper, limited edition of sixteen sets of two with artist proof. 2 sheets at 8 1/2 x 11 inches, 2015
Kate Harding, Correspondence instagory drawing detail (pg. 1)
Kate Harding, Correspondence instagory drawing detail (pg. 2)
Received Correspondent Packets!
Installation at SARDINE, 2015
Top Row (left to right): Sarah Cromarty, Michelle Andrade, Carla Danes; Center Row (left to right): Sally Bruno, Monique Prieto, Carole Caroompas; Bottom Row: Meg Cranston and binder of supplementary materials.
Top Row (left to right): Lacey Fekishazy & Charlie Hurier, Sarah Heinemann, Nat Castañeda; Center Row (left to right): Mieko Meguro, Ellen Siebers, Redell & Jimenez; Bottom Row (left to right): Heidi Hankaniemi, Alisha Wessler
Kate Harding, Priority