“Constructing Community: Stories & Symbols of Resiliency” Exhibition and Workshop

Above: DOEprojekts’ postcard and banner design, announcing our exhibition and workshop at St. Mary’s Episcopal Church in Harlem, New York City.  Below: St. Mary’s Sanctuary with Ancestor Altar. DOEprojekts banner on the exterior of the church’s fence.

Above: Opening reception of “Constructing Community: Stories & Symbols of Resiliency.” Below: Panoramic photo of the installation.

In “Constructing Community: Stories & Symbols of Resiliency” exhibition in November and December at St. Mary’s Episcopal Church in Harlem, curated by DOEprojekts, artists display the work of resilient communities: 1.Keiskamma Art Project (South Africa); resilience in post-apartheid, 2.Pax Rwanda (Rwanda/USA) resilience in the aftermath of Rwandan Genocide, and 3.DOEprojekts (USA) resilience after the COVID-pandemic. Especially noteworthy in this exhibition are three new works that DOEprojekts purchased from the Keiskamma Art Project titled “Freedom, Equality, and Human Dignity.” Each of the hand-embroidered tapestries measure approximately 24” x 24.”

 

Above: Display of “Freedom, Equality, and Human Dignity,” with detail of “Human Dignity” below. The works are created in circular format. The circle is a “Coreform” in DOEprojekts’ art practice.

 

With our grant from The Upper Manhattan Empowerment Zone (UMEZ), we were able to partner with the St. Mary’s community, by exhibiting embroideries that opened up conversation about resiliency. What is resiliency, what does it look like in NYC, and is it important in 2024? How does it help us do more than “muddle through” in difficult times?

Above: Visitors to the exhibition enjoy both the art and the written stories and symbols that are displayed near the Keiskamma Art Project works as well as the Pax Rwanda embroidered maps on the wall above the table.

Above: DOEprojekts’ Jacquard fabric (used in several art projects during the COVID-19 pandemic) is displayed above the 150 year-old fireplace at St. Mary’s, forming a backdrop for a carved “zero and one” book sculpture. Mounted above is a collaborative work titled “Home” by DOEprojekts and Keiskamma Art Project.

 

Public Workshop  

In conjunction with St. Mary’s Ancestor Altar Sunday, our “Artmaking with Ancestral Symbols” workshop was held on Sunday, Nov 10, 2024, in a pair of adjacent meeting rooms. Participants worked with paper, color pencils, and markers to sketch symbols that related to their ancestral heritages. Those symbols were then worked into collages or used to create cyanotype prints on specially treated paper or cloth.

 

 

Upon completion of their artworks, many workshop participants interpreted their ancestral or familial stories for the others in the group.

 

Workshop participants were pleased with their art stories and symbols, and many stated that they would be taking their works home to display them, and re-telling their ancestral stories to family and friends. DOEprojekts looks forward keeping in touch with St. Mary's Episcopal Church for future exhibitions and workshops.

Creating Cyanotypes in Community

Above: A selection of the two-dozen cyanotype prints created by Deborah Adams Doering and Glenn N. Doering. DOEprojekts participated in three “Earth Matter: Cyanotypes” workshops on Governors Island in 2024.

Imagine prussian-blue cyanotype prints in multiple stages of development are scattered in all directions. We are two of the fifteen printmakers intent upon their craft on a sunny, breezy day on Governors Island, NY; some of us are inside the studio-exhibition space, experimenting with compositions featuring decaying items from nearby compost mounds, and others are outside, combing through garden clippings, searching for appropriate elements that will complete their compositions in the most aesthetic way. 

One goal of the imminent “show” is creating memorable images that will serve as visual reminders that the earth needs help in supporting healthy human and animal life, and that composting is one way to assist. More important than the resulting prints however, is the nascent act of forming a community interested in sharing sustainable practices.

Above: Printmakers display their cyanotype works at the Earth Matter studio workshop.

DOEprojekts participated in “Earth Matter: Cyanotypes” three times during the summer of 2024. The creative workshops and resulting displays arise from the initiative of two individuals: Bryen Pittner and Brian Buckley.

Above: Bryen Pittner and Brian Buckley, in the garden and in the studio.

Bryen Pittner works as “Farm Artist and Facilitator” at the nonprofit Earth Matter NY; EMNY’s mission is to reduce the organic waste misdirected into garbage streams through neighborhood participation in composting, educational workshops, and printmaking shows. In 2023, Bryen contacted “the other Brian” and proposed writing a grant for a series of workshops at the EMNY composting facility. The Lower Manhattan Cultural Council (LMCC), an organization that has supported DOEprojekts with several grants in the past 10 years, approved EMNY’s proposal and funded the 2024 workshop-exhibitions. 

Above: Brian Buckley’s personal art practice includes a variety of cyanotype techniques.

Key to the LMCC grant award is Buckley’s expertise in experimental photography. As part of his art practice, he reinterprets photography’s earliest techniques, particularly cyanotypes and other camera-less methods, which allow for group collaboration and communal gatherings. EMNY’s composting mounds, gardens, and studio-exhibition space prove ideal for Buckley’s sunlight-driven process and product.

The photo-printmaking process, we learned, has several steps that require patience and precision. Cyanotypes require a smooth, stiff, hot-pressed paper, since photo-sensitive chemicals need to adhere to, but not be fully absorbed by, the paper-substrate. We mixed the chemical compound (Ferric ammonium citrate and Potassium ferricyanide) shortly before application to the paper. The chemicals have a low toxicity and support EMNY’s earth-friendly mission. Mixing, applying the chemicals, drying the prepared surface, arranging the compost material, and exposing the composition to the sun, is considered part of the ecological “show.”

Above left: Compostable objects are aesthetically arranged on cotton paper that has been treated with low-toxic, light-sensitive chemicals. Above right: The resulting cyanotype print.

After exposure to the sun, the objects were returned to compost piles and the paper was rinsed in water; the ghostly outlines of various compostables – both human and nature-made – mystically appeared. Our group of printmakers never tired of watching the wizardry; oohing-ahhing at a developing print was an adjacent soundtrack to crickets chirping and bees buzzing. 

One print in particular is magical; the wind caused some of the compostables to shift slightly during the developing process.  Spectral vibrations are part of each object’s outline such that the forms suggest a dialogue between humans and nature. The fully developed print displays a commercial wrapper and a circle-graphic integrated with willowy weeds, a large tree leaf, and a flower. The print advances an abstract of the show’s ecological significance. 

As artists, we want to be supportive of the earth, but often the processes used to create our works can sometimes be toxic. Through community printmaking education using low-toxic printmaking techniques like cyanotypes, artists create aesthetic images, but more importantly, they support each other in the ongoing practices that sustain the earth.

Above left: Printmaking community displayed their cyanotypes at the third Earth Matter Cyanotype workshop. Glenn and Deborah, far right, display their T-shirt cyanotypes.

DOEprojekts exhibits “Pochoirs” folio with CENTRAL BOOKING’s “The Visual Read” at Graceland Arts Centre, UK

DOEprojekts (Deborah and Glenn Doering) is a decade-long member of CENTRAL BOOKING, an international artist-run gallery specializing in the book as art, (especially art & science book art), and collaborations with cultural institutions. DOEprojekts has been curated (by Maddy Rosenberg, artist/curator) into many CENTRAL BOOKING’s exhibitions, the most recent being “The Visual Read” at Graceland Arts Centre, Dumfries, Scotland, UK.

Pochoirs Folio 002 offers individuals and communities ten hand cut pochoirs (pochoir is the French word for stencil). Each pochoir-stencil is designed using DOEprojekts’ basic forms, called Coreforms (circles, horizontal and vertical lines, swashes and dots), as a point of departure and an invitation to participate.

Above: “Draw” hand-cut stencil (left) and “Draw” frottage (rubbing) on a found page of a former book.

Each pochoir may be used in multiple ways; each participant decides how to generate physical and psychological movement through their individual creativity. 

Additionally, DOEprojekts has created one frottage (rubbed image) with a wax block for each pochoir, suggesting one way that the pochoir-stencil may be used. Other ways to participate include stippling paint through the stencil or using the stencil to create shadows, and then documenting various effects photographically (stencils may also be used with cyanotype/sun printing papers). Participants may discover limitless creative ways to use these pochoir stencils.

Above: “Pochoir Folio 002” cover (left) and "The Visual Read" entrance at Greacelands Arts Centre, UK.

“The Visual Read” focuses on the breadth and depth of book art of more than 30 distinguished artists from New York and two Scottish guest artists, Hugh Bryden and Linda Mallett. A full list of artists, and video documentation of the exhibition, may be found at this link: https://youtu.be/t_rF6gz9nBo 

Upper Manhattan Empowerment Zone Grant

In April, DOEprojekts was awarded a 2024 UMEZ Arts Engagement Grant. The goal of UMEZ is to connect Upper Manhattan artists with venues and audiences in the same area.

Above: Coreforms hand-cut stencil.

With some of the UMEZ grant funds, DOEprojekts will be hosting a community workshop in upper Manhattan. We will be using some of the techniques and examples shown in the Pochoir Folio. Stay tuned for more information, OR, if you are interested in reserving a place at the workshop, contact us at DOEprojekts@gmail.com. 

DOEprojekts' 2024 Mid-year Review

The year started out with a “bang” for DOEprojekts (Deborah Adams Doering and Glenn N. Doering)! Opportunity knocked in January, and we answered. (And it was not until July that we “caught our breath.”)

Through networking and diligence, and with the help of our New York friend, Ronnie Glattauer and her Viennese nephew-in-law, Walter Glattauer, (and his artist-friend, Peter Baldinger), DOEprojekts was invited by Vienna-based gallerist Michael Bella to install a two-week solo exhibition at “Bellart Galerie” near the world-renowned Upper Belvedere Museum (famous for Gustav Klimt’s The Kiss).

Above left: Exterior of Bellart Galerie. Above Right: Deborah and Glenn Doering, with gallerist Michael Bella in between, in front of the gallery.

Above: Bellart Galerie’s invitation to the opening of “Eye Eat Too.”

Our exhibition, titled “Eye Eat Too,” included a series of monoprints of DOEprojekts’ Coreforms that reference dinner plates, visualizing a German maxim about the aesthetic presentation of food on a plate, “Das Auge isst mit” – translated in English as “the eye eats too.”

Thus, with aesthetic art works and edibles as our theme, we prepared to fly to Vienna with our monoprints and three dozen home-baked, fondant-covered cookies (and a collection of edible-ink pens). Our goal was to offer community participation at the “Eye Eat Too” opening, a trademark of our socially-engaged DOEprojekts. Special thanks to artist friend Beatriz Ledesma for assisting in the cookie creation (and for cat sitting while we were gone). 

Above: Deborah and Beatriz apply the white fondant to our home-baked cookies. We wrapped each cookie individually, and then carefully packed them in a box lined with bubble-wrap.

Just as we had hoped, our “Eye Eat Too” opening reception was well-attended and many cookies were decorated by attendees with an artistic flare. And we were able to practice our German, and the Viennese were able to practice their English.

Above: Eye Eat Too participants created their own “Coreform Kekse” (cookies) during the opening of the exhibition, some inspired by our monoprints.

More photos from the opening and ongoing exhibition:

Above: Opening of the exhibition “Eye Eat Too”

Above: Six of the 25 monoprints displayed in “Eye Eat Too” at the Bellart Galerie

Above: The exhibition included pieces of broken dinner plates that had been repurposed into neck chains

While in Vienna, of course we “had” to participate in its famous coffee culture. So not once, but twice, we went to Café Hawelka, one of Vienna’s most famous traditional large coffee houses. It has been a meeting place for writers and artists of the past and present - famous, infamous, or still undiscovered - run by the Hawelka family for over 80 years.

So thank you to our new Viennese friends for making this a memorable experience and welcoming DOEprojekts!

“Tomorrow is the Question” for “A Lot of People” • DOEprojekts participates in Rirkrit Tiravanija’s exhibition at MoMA PS 1, NYC

How to “be” in the last few days of 2023? In late December, we decided to contemplate the “tomorrows” of 2024 – along with/in “A Lot of People.” 

 

Thus, it is fitting that DOEprojekts (Deborah Adams Doering and Glenn N. Doering) explored and participated in artist Rirkrit Tiravanija’s exhibition titled “A Lot of People,” on display at MoMA PS 1, NYC, until March 4, 2024.

Above: A video still from DOEprojekts YouTube channel: https://t.ly/PbiAR

 

Part of the exhibition includes an installation of a ping-pong table with “Tomorrow is the Question” silkscreened in bright yellow on the surface. Tiravanija has exhibited ping-pong tables that visitors can play on since 2008. The tables are silk-screened with “Tomorrow is the Question” in various languages, depending on the location of the exhibition; the statement is one that Rirkrit took from a 1959 jazz album by Ornette Coleman.

Tiravanija’s first installation of this Spanish-language table was in Mexico City, where students of artist/professor Julius Koller arranged themselves in a large question mark in 1978 (seen in large photo-image at right).

We also participated in his project “Untitled 1992-1995” (sometimes called a “situation” by Tiravanija) that offers visitors two versions of Thai Green Curry, one made with Thai ingredients from a specialty grocery store and the other with ingredients purchased from a local New York supermarket.

Above: Glenn is served one of the two versions of Thai Green Curry.

Above: Deborah prepares to eat one of the two versions of Thai Green Curry.

Above: “Untitled 1992-1995,” Tiravanija’s project re-enacted at MoMA PS 1, NYC, in 2023. 

 

Tiravanija has stated “I have, more or less, used the kitchen and cooking as the base from which to conduct an assault on the cultural aesthetics of Western attitudes toward life and living. In the communal act of cooking and eating together, I hope that it is possible to cross physical and imaginary boundaries” (from MoMAPS1.org). We enjoyed eating the two curry dishes in the museum’s gallery turned “community space.”

Other interactive opportunities at MoMA PS 1 included an opportunity to create a visual response to the exhibition and a choice of herbal teas one could prepare for themselves in an orange tent. Orange (or saffron) cloth is often worn by Buddhist monks in Thailand, Tiravanija’s place of birth.

 

We wish our blog readers and DOEprojekts’s supporters a very Happy New Year 2024! We look forward to more interactive projects in the coming months.

"Celebrating 40: Exhibition" • 40 years, 40 works, on 40th Street, New York City

On Sunday, October 1, 2023, Deborah (Adams) and Glenn N. Doering celebrated 40 years of married partnership by displaying 40 of their collaborative artworks (DOEprojekts Art Collaborative) at 410 W. 40th Street in NYC.

Above: “Serviette, Red and Gold,” detail, part of a series of 12 works. Coreforms embroidered on antique linen napkin from Glenn’s paternal grandmother’s trousseau. 

This blog post features excerpts from the essay titled “Coreforms and Keywords: Celebrating 40,” by Neil Tetkowski, a visual artist with social, cultural, and global concerns. Known for his works in clay, he is active in sculpture, installation art, painting, and curating. Tetkowski lives in New York City. Photos by Deborah and Glenn Doering (with select photos by guests of “Celebrating 40.”)

“To flourish and to survive, we humans have invented an endless array of possibilities for language, using both images and words. The artists Deborah Adams Doering and Glenn N. Doering, working together under the name DOEprojekts, have distilled their visual world into a basic language of forms.”

Above left: Deborah and Glenn wearing Coreform-printed shirts during the opening of “Celebrating 40.”  Above right: “Celebrate” Blueberry Cheesecake (by Connie Brown), with wine selections. 

Above: “Coreform Camp Shirts,” detail.

Above: Archival prints that are part of the Print and Drawing Collection of the Art Institute of Chicago.

“These Coreforms (horizontal and vertical lines, circles, swashes, and points), as well as cultural keywords (e.g. “Home,” “Community,” “Collaboration”) are the foundations of their art practice.”

Above: “Celebrating 40” installation of small sculptures, each featuring Coreforms, by DOEprojekts.

“Coreforms and Keywords are the common thread that unites DOErings’/DOEprojekts’ collaborative way of creating, living, and engaging the broader world around them. The exhibition “Celebrating 40,” featuring works using DOEprojekts’ Coreforms and Keywords, marks 40 years of artistic collaboration, as well as 40 years of marriage, with 40 artworks exhibited on 40th Street at the Metro Baptist Church in New York City’s “Hell’s Kitchen” neighborhood.”

410 West 40^th Street, Metro B. Church, “Celebrating 40” art in background.

“DOEprojekts’ intent is to elevate consciousness and bring people together through art. The artists have referred to themselves as “subtle activists.” They say, “Our work does not communicate an angry spirit; it doesn’t hit you over the head. It doesn’t scream at you.” Rather, the viewer finds an underlying spirit of reconciliation and healing in their art.”

410 West 40^th Street, visitors/guests discuss “Celebrating 40” art works.

“Their work intends to engage people, prompt introspection, provide an opportunity for self-evaluation, and encourage fun, yes, even fun! After all, what is life without some playful levity, especially during a 40-year relationship?”

 

“In order to materialize a universally intuitive concept, artists must transmute the physical into something else, something we call art. Deborah and Glenn achieve this transmutation, and it can be seen by viewers, participants, and collaborators in a variety of settings.”

 

“The artwork of DOEprojekts in all its many formats and media very naturally brings people together. I am taken by the love seat covered in fabric in the center of their home, complemented by their other works.”

“Coreforms” applied to various objects in the Doering’s home in New York City.

“The fabric pattern is an endless repeat of their Coreforms. Two people may want to sit on these carefully designed symbols; it is fair to surmise that the “sitters” might not give conscious attention to the pattern. But the artful ambiance is evident just the same.” 

“Bead Mandala” (left) and “Wishing You Well” (right)

“’Bead Mandala’ (above left) is a simple work of concentric rings of beads, created and displayed in Doerings’ dining room. The title speaks to ideas solidified by psychologist Carl Jung, who wrote, “Because there are innumerable things beyond the range of human understanding, we constantly use symbolic terms to represent concepts that we cannot define or fully comprehend.” The rich array of cultural meanings for circles include healing, journey, resolution, and infinity. Circles are a universal symbolic form, one that is essential to DOEprojekts and their language of Coreforms.”

 

“’Wishing You Well’ (above right) is a related piece with an even more symbolic approach; we could call it a mandala as well. In this case, the circle is made up of 20 actual chicken wishbones and a 21st broken wishbone in the very middle. (The wishbones were collected over the years by DOEprojekts). The implication is that one wish of good will put things right for 20 others: this time it’s an animal sacrifice for the benefit of twenty others. (It is important to note that sacrifice of one on behalf of many, is a “core” Judeo-Christian concept). All of this may be a reminder that life is temporal and that twenty-one creatures have already been healed into the singular spiral of the universe.”

 

DOEprojekts (Deborah and Glenn Doering) in relationship with Coreforms.

“Language and communication are indeed an endless invention to connect and to feel connected. Deborah and Glenn, as DOEprojekts Art Collaborative, have used their Coreforms and Keywords to unlock the universal qualities that make us human.”

“Art as language … in the future there will only be art.

This common language will carry the message of love.”   

~ Theo van Doesburg (1883-1931)