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Jean-Marc Superville Sovak
updated: 11/01/2008
 
 
   
 
 
     
 
Artwork Title
art-medium
art-year
dimensions
Click thumbnails for full view:
 
August 1916 (part 1 of two-part drawing)
August 1916 (detail)
August 3, 1920 (part 1 of two-part drawing)
August 3, 1920 (detail)
July 19, 1935 (1 part of 2-part drawing)
Circa 1920 (part 1 of two-part drawing)
Blazing Saddles
Masculin Feminin
Superfly
Pulp Fiction
 
Portfolio Keywords:  historical, identity, race, documentary, conceptual
 
 
August 1916 (part 1 of two-part drawing) by Jean-Marc Superville Sovak
August 1916 (part 1 of two-part drawing)
graphite on paper
2006
41" x  65" 
August 1916 (detail) by Jean-Marc Superville Sovak
August 1916 (detail)
graphite on paper
2007
41" x  65" 
August 3, 1920 (part 1 of two-part drawing) by Jean-Marc Superville Sovak
August 3, 1920 (part 1 of two-part drawing)
graphite on paper
2007
72" x  42" 
August 3, 1920 (detail) by Jean-Marc Superville Sovak
August 3, 1920 (detail)
graphite on paper
2007
72" x  42" 
July 19, 1935 (1 part of 2-part drawing) by Jean-Marc Superville Sovak
July 19, 1935 (1 part of 2-part drawing)
Graphite on paper
2007
73" x  55" 
Circa 1920 (part 1 of two-part drawing) by Jean-Marc Superville Sovak
Circa 1920 (part 1 of two-part drawing)
graphite on paper
2007
76" x  42" 
Blazing Saddles by Jean-Marc Superville Sovak
Blazing Saddles
graphite on paper
2008
32 " x  20 " 
Masculin Feminin by Jean-Marc Superville Sovak
Masculin Feminin
graphite on paper
2007
30 " x  18 " 
Superfly by Jean-Marc Superville Sovak
Superfly
graphite on paper
2008
25 " x  30 " 
Pulp Fiction by Jean-Marc Superville Sovak
Pulp Fiction
graphite on paper
2008
26 " x  55 " 

Artist Statement

Strange Fruit, Split Seed (drawing series in progress)


Photo documents taken as souvenirs at lynchings throughout America are almost as old as photography itself.  And the mass production and distribution of postcards celebrating crowds of spectators gathered around the kidnapped, maimed, flayed, dismembered, torched and hung remains of a human being's body continued until well into the years of desegregation. 

 

What shocked me when I first saw the book Without Sanctuary; Photographs and Postcards of Lynching in America, even more than the mutilated bodies of the victims, were the confident looks on the faces of the lynch mob staring back at me; the threat was implicit.  But, page after page, what disturbed me most was the sense that in the consumption of these anonymous photographers' schemes to sell penny postcards, I also became a witness. In the act of just looking, my ineffectual presence at the exhibition of a human being's destruction was no different than that of any other spectator.  Like the other participant's affirmation and justification of the inhuman act that had occurred, I also became accomplice to the crime.

 

I asked myself:  How could I avoid the irreversible manipulative effects of the photograph acting upon me?  How could I conversely act upon the photograph? 

 

Drawing, like photography, is an irreversible process. Making a mark, applying pressure to the paper, crushing the fibers, disrupting its structure, is a physical and chemically altering act that remains even if the sooty substance indicating its presence has been erased. Re-editing the photographs, separating the lynched from the lynch mob, is my act of transforming them, to make them neither objects of celebration nor condemnation, to make the viewer neither victim nor participant.  Manually reproducing these photographs has been my way of taking possession of these anonymous objects of terror, defusing the potential threat, dismantling the mechanism of terror, and rendering them more human.  

Artist Bio / CV

M.F.A., Bard College, Annandale on Hudson, NY, 2007

BFA Concordia University, Montreal, Canada, 2003

 

EXHIBITION RECORD

2008                       

-  Works on Paper, Carrie Haddad Gallery, Hudson, NY

 

2007                       

-  “Faculty Plus One”, Columbia-Greene Community College, Hudson, NY                        

-  “Group Show”, Carrie Haddad Gallery, Hudson, NY

 

2006           

-  “Waves of Light 3”, ArtsWalk invitational, curated by G. Kepinski, Hudson, NY           

-  “MFA Thesis Show”, curated by Max Hernández Calvo, Red Hook, NY           

 

2005           

-  “Waves of Light 2”, ArtsWalk invitational, curated by G. Kepinski, Hudson, NY           

 

2003                       

-  “Language Dictionary for Tourists”, VAVGallery, Montreal, Canada

-  “Green”, Leonard & Bina Ellen Gallery, Montreal, Canada

 

 SELECTED VIDEO SCREENINGS

Video Distributor: Videographe Inc., www.videographe.qc.ca

2008

-  Langston Hughes African American Film Festival, Seattle, Washington

2007

-  Shadow Festival, Creative Documentaries, Amsterdam, Netherlands

-  Raw, Video Art & Dining, Monkey Town, Brooklyn, NY

-  Sao Paulo International Short Film Festival, Cinemateca Brasiliera, Sao Paulo, Brazil      

 

2005                       

-  “IFCT” (International Festival of Cinema and Technology), New York, NY

-  Canal LOOP '00, Motorenhalle, Dresden, Germany

 

2004                       

“FIFA” (International Art Film Festival), Montreal, Canada

“Rendez-Vous du Cinéma Québecois”, Montreal, Canada

“Videomix: Teorias de Resistencia”, Madrid, Spain

 

2003                       

“NY Expo”, Anthology Film Archives, New York, NY

“d.u.m.b.o. Short Film and Video Festival”, Brooklyn, NY

 

VISITING ARTIST LECTURES

2007                       

NYFA/Columbia County Council on the Arts, Hudson, NY

Guest Speaker, Artists Working in the Hudson Valley Region Focus Group

 

2005           

Bard College, Department of Film and Electronic Media, Annandale, NY

Guest Lecturer, Introduction to Video Theory and Practice

RESIDENCIES & SCHOLARSHIPS

2004-2006           

Film/Video Department Fellowship, Bard College, Annandale, NY

 

2003                       

Canada Millenium Scholarship Foundation Bursary 

 

2002                       

Watershed Center for the Ceramic Arts; Residency Scholarship, Newcastle, ME