recent work (2017-)
MEMORY (2016)
MATTER (2014)
SPACE (2012)
TIME (2010)
LIGHT (2008)
SOUND (2006)
CHANGE (2004)
MOVEMENT (2002)
EXPERIENCE (2000)
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memoir II, 9 houses with desks, chairs, lamps, miscellaneous, 9 books, pens, acrylic, audience, 2022
Participants asked to think of personal memories sparked by specific colors---to enter each of 9 different homes, each wholly a different color (black, white, red, yellow, blue, orange, green, light blue, light pink), and to write memories within corresponding colors' books, writing anonymously. Participants each invited to write up to 9 memories, each in different book (different color).
After presentation of this concept complete (Curtis hopes to additionally present this concept on west coast of United States), she will publish 9 color-specific anthologies of the memories collected. (144"x672"x1,032"; each house: 144"x192"x96"; each book: 2"x15"x12")
Amy Stacey Curtis: The Color Of Memory, March 26-April 22, 2022, University of Southern Maine Artist-In-Residence exhibit, former Westbrook High School, Maine
op hand (virtual version) June 1-30, 2021
An interactive, performative work exploring symmetry and entropy, op hand is 9 short acts, some pre-choreographed, -composed, -instructed, other spontaneous with guidance at time of performance. Whether witnessing or performing, all participate on stage/seating installation which is one interconnected structure. The stage is part of the seating, the seating part of the stage, the audience standing to perform, the performers sitting to witness. Each act strives to reflect identical but opposite imagery and sound. However, there are slight, inevitable differences within some acts, while other acts----with removed visual and aural cues---have more-dramatic off-set, out-of-sync, entropy.
Given pandemic, the first presentation of op hand was virtual (presented online from Curtis's studio June 1-30, 2021), the larger-scale in-person version to be presented in the future.
Funded in part by a grant from the Maine Arts Commission, an independent state agency supported by the National Endowment for the Arts, and supported by a grant from the Artist's Resource Trust (Berkshire Taconic Community Foundation).
Click here to view the acts and other programming for op hand.
turn V: an interactive installation for collective space (edition of 99), January 1, 2021-December 31, 2119
turn V is an interactive installation (edition of 99) to be installed and activated in 99 simultaneous homes/offices/classrooms/studios..., each eventually passed on to a next participant... There is a different 9-digit number (toward which 9 cubes are turned periodically, or daily as ritual) for every day of a 99-year span (including 23 leap year days). Each set of "turn V" comes with shelf, 9 cubes, and 9 books, and is editioned, dated, and signed on back of shelf and in each book. Curtis is producing 20 sets of turn V at a time until all 99 sets are placed. To make the collective installation as accessible as possible, for every 20 sets (each $300 plus $20 for shipping), there are 9 sets which are "pay what you can." Curtis will announce when she is ready to recruit the next 20 participants of turn V.
memoir I, October 19-27, 2020
Presented from Curtis's studio, for this 2nd iteration of memoir I, participants were encouraged to submit anonymous, personal memories occurring at any point from their birth year (as early as 1922) to present year, indicating in what year each remembered event took place. In an 18-part, 9-day performance, Curtis was realtime scribe for participants' memories (performance streamed live), writing each anonymous memory in each year's corresponding book, reading aloud those memories participants had given Curtis permission to read (also anonymously). memoir I will be presented again October 2022 or 2023, virtually or in person.
Click here to submit memories for memoir I's next iteration.
mirror IV, wood, metal, acrylic, vinyl, audience, 2020
1,296 cubes, 144 each of 9 different colors (black, red, yellow, blue, orange, green, light blue, light pink, white) set upon 2, side-by-side, horizontal arrays of shelves. Each array holds 648 cubes---72 cubes across, 9 cubes down. At start of exhibit, cubes are set in specific order, left array mirror image of right array.
Audience instructions:
Amy Stacey Curtis: Mirror, February 7-March 29, 2020, 3S Artspace, Portsmouth, New Hampshire. Funded in part by a grant from the Maine Arts Commission, an independent state agency supported by the National Endowment for the Arts. Sponsored by Pierce Aluminum Company.
mirror III, wood, acrylic, vinyl, tape, audience, 2020
990, white 4x4s of 18 different lengths (~2" to ~36") and 2 floor areas outlined---"left" and "right." At start of exhibit, all 4x4s are stagger-stacked in a specific, compact form within left area.
Audience instructions:
Amy Stacey Curtis: Transfer, January 21-April 4, 2020, University of New Hampshire Museum of Art, Durham, New Hampshire
99 objects, variable, wood, acrylic, vinyl, audience, 2020
Ninety-nine small, white shelves (3.5"x3.5"x1.75"), wall installed. At start of exhibit, shelves hold 99 white-painted objects (artist's personal possessions, each unique), each upon different shelf.
Audience pre-instruction:
Audience instructions:
Amy Stacey Curtis: Transfer, January 21-April 4, 2020, University of New Hampshire Museum of Art, Durham, New Hampshire
array I, wood, acrylic, vinyl, audience, 2019
99 white cubes (each .875"x.875"x.875"), each hand-embossed with a number, and 2 white, 99-cube, cube shelves (each 104.75"). At start of exhibit, all 99 cubes fill upper shelf, while lower shelf empty. Cubes on upper shelf are placed in order "1" through "99," left-to-right.
Audience instructions:
One Wall, One Work: Amy Stacey Curtis, June 22-July 26, 2019, Krakow Witkin Gallery, Boston, Massachusetts
clock II, wood, acrylic, vinyl, audience, 2019
60 cubes, each painted half-black and half-white (each 3.25"x3.25"x3.25") set inside a cube frame shelf (255.75"x5"x3"). At start of exhibit, the 60 cubes fill shelf, all white halves facing out.
Audience instructions:
Temporality: The Process Of Time, November 2-February 23, 2019, Center for Maine Contemporary Art, Rockland, Maine
Bates College Museum of Art exhibited drawings from Curtis's series 104,564 Objects and 27 Hours, as well as a new interactive installation.
clock I, wood, steel, acrylic, audience, 2018
Steel ball (3"; 4 pounds) and white pedestal (4'-tall x 1'-wide x 16'-long) with 60 cupules (.5"). At start of exhibit, at start of specified hour during opening reception, Curtis added ball to first slot.
Audience instructions:
Amy Stacey Curtis: Time and Place, October 27-March 23, 2018, Bates College Museum of Art, Lewiston, Maine
MEMORY (2016)
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