Since receiving her MFA in 1997 from the School of the Art Institute of Chicago, Dannielle Tegeder’s work has been presented in over 100 solo and group exhibitions, both nationally and internationally in Paris, Houston, Los Angeles, Berlin, Chicago, and New York. She has participated in numerous group exhibitions including MOMA/PS1, The New Museum, The Brooklyn Museum of Art, and Museum of Contemporary Art in Chicago. Several of her drawings have recently been purchased as part of the Contemporary Drawing Collection at the Museum of Modern Art, and in the permanent collections of The Museum of Contemporary Art in Chicago, and The Weatherspoon Museum of Art in Greensboro, North Carolina. The artist currently lives and works in Brooklyn, New York.
1) The title for your residency at Bose Pacia’s Transparent Studio is Workroom for the New Constructivists. Can you talk about the title and how it encapsulates your conceptual and theoretical approach for this residency?
This project was originally inspired after a studio visit with a friend last year. We had a discussion on the observation that there were a number of artists again working with the formalist qualities of Constructivism. This led to me gathering names of artists internationally over the past year that have become part of a group I am forming called “The New Constructivists,” and also began the process of questioning why.
I was interested in a creating a space I called the “workroom” that would begin that inquiry. During the month, I am having debates, discussions, and collaborations that are part of the desire to answer this question. Next week, I will be having a forum with artist Vincent Como, where we re-read the Malevich’s writings and write our own manifesto for the group.
2) How has Constructivist theory influenced your own work and outlook towards abstraction?
I have always been interested in Abstraction and the Constructivists have always appealed to me formally. However, the idea that Abstraction can be a political tool and statement has influenced my own work. Most of the significant artists from that period including Malevich and many others, also published writings and publications.That is something I am also interested in, and hope to publish my writings and projects after the” Workroom” concludes. I find the theories of the Constructivists in Utopias, Revolution, and social collapse very pertinent to what is happening today in our own society and feel like many artists are also leaning towards these ideas again.
3) For this residency, you are collaborating with several artists of different backgrounds. Can you describe the ways in which the collaborative process has opened up new possibilities or challenges for your own art practice and research?
Being a visual artist and poet, I am interested in the cross disciplinary discussion of that time period. I feel like this is something that has been lost, in how large the art world is at the time.
I am working with a poet, dancers, photographer and others for this project. A main focus of my proposal was to open my practice and extend the idea of the studio, by doing events, discussions, and collaborations. There are a number of exciting possibilities that are happening, I am close to finishing a series of nine abstract photographs that resemble my paintings with Orlando Ureña, and am also in the process of creating a dance performance with Amy Larimer. I wanted to take myself out of the comfort level of my usual space and practice.