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Elaine Angelopoulos

Elaine Angelopoulos lives and works in New York City. She is an artist with an interdisciplinary approach that bridges her studio practice with audience participation, with select installations and performances. Her work has been exhibited in New York, the United States, and in Europe. Angelopoulos received a Franklin Furnace Fund/Jerome Fellowship in 2014/15. Recently, her work was included in the following group exhibitions: “Inside, Outside, and Beyond”, curated by Antonia Papatzanaki at the Greek Consulate in New York; “Body”, curated by Katya Grokhovsky in the Art in Odd Places Performance Festival and Exhibition in New York City; Currents: “Abortion”, curated by Barbara Zucker, at A.I.R. Gallery in Brooklyn, New York; “Art on the Front Lines” curated by Ronald Feldman, at Ronald Feldman Fine Arts in New York City; and “Utopia=Reality”, in Labin/Istria, Croatia, curated by Lucrezia Domizio de Durini. Angelopoulos has been an advisor and participant in numerous art collectives.

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Concerns about labor, gender, class, racism, and the complex layers of identity within the art world has long been a preoccupation for me as an art worker. I create installations and performances with networks of stories through images, objects, and video media that often invite audience participation. Additionally, I have a history of collaborative participation in activist/artist groups in the New York area, particularly through video documentation, which allowed me to learn about the world through the lens. 


In 2010, I was invited by Eidia House to create an installation into their project space known as Plato’s Cave, that included an editioned multiple. I produced a work that deconstructed the mysteries of labor behind the walls of the gallery I’ve now worked for the past 30 years. My job has traditionally been done by men, that includes heavy lifting, physical maintenance, packing art, building crates, and interfacing with contractors and vendors. 


Protect, Preserve, Perpetuate is a summation of my every day functions on the job at a reputable progressive art gallery in lower Manhattan. Within my installation, a series of floor rubbings that unify all activities that left markings from the past.  Selections of my papers include to-do lists, forms, mementos, and snapshots formed into a gridded scrapbook of controlled performatives. Paper corners secure an artwork that is absent. Actions and embedded memories are traced, rubbed and repeated on paper into an enclosed menagerie that will potentially embed into Plato’s Cave. Like memories, the ecology of time and space mutate the facts that remain.

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