That's So Gay 2019

That's So Gay: Love is a Battlefield

A group exhibition celebrating new works by LGBTQ artists

Reception: Thursday, June 20, 7–10 p.m.
Artists' Talk: Tuesday, July 30, 7–9 p.m.

Alanna Kibbe
Alexa Hatanaka
April Aliermo
Camille Turner
Chandra Melting Tallow
Hampton Gerbrandt
Jah Grey
Karen Miranda Augustine
Leanne Powers
Mishann Lau + Tijiki Morris
Moses Tan
Oluseye + Fraser Collins
S. Bear Bergman
Sarah Sharkey Pearce + Mariangela Piccione

curated by Syrus Marcus Ware

The Gladstone Hotel
1214 Queen Street West, Toronto

Exhibition hours:
Sun–Thurs: 11:00–7:00
Fri–Sat: 11:00–5:00


Black Futures Month poster

Black Futures Month exhibition

Global Pop Up: Toronto, Atlanta, Los Angeles
76 Geary Avenue, Toronto

Reception: 17 February 2019, 7–10 p.m.

Weekdays: 3:00–7:00 p.m.
Weekends: 12:00–4:00 p.m.

Artists: Diseiye Thompson, Gloria Swain, Jasmyn Fyffe, Karen Miranda Augustine, Kike Otuije, Kim Ninkuru, Kyisha Williams, Pete Owusu-Ansah, Ravyn Wngz, Rodney Diverlus


Encyclopedia Brown beaded patch by Karen Miranda Augustine

Patches

I've been creating some beaded patches for my Little Women series on latchkey girls.

Looking back on my own experience, I've been recalling cultural signifiers for myself as a start. Encyclopedia Brown books, I was turned onto after my parent's divorce by my new stepbrother.

Years prior, it was Enid Blyton, Gordon Korman, and Beverly Cleary titles that I would read in succession. But the child detective series was like reading Scooby Doo cartoons with a Hardy Boys edge. And I loved that.


Reverse view of Tambour beading butterfly project

My journey to Lunéville....

Over the past two months, I've been studying Lunéville (Tambour) embroidery under the tutelage of Catherine Sequalino Poitier of CSP Arts Embroidery. She's worked with all the French designer greats: Gauthier, Dior, Givenchy — you name it. It's so flippin' impressive.

This butterfly was the first project she assigned, and it's been the most challenging thing to learn because you're working from the reverse side of the beadwork.

In the photo above, you are looking at the work thread-side up, which is the side I'm working on. The beadwork is beneath the cloth — on the back (as seen below). And so, you have to rely heavily on your other senses — finger dexterity, touch, feel...trust — other than sight alone.

Beaded back of tambour project

First attempt at tambour beaded butterfly

However long it would take Catherine to complete (she said about four hours; I legit LOL'd), for myself, multiply that time by eight (#RealTalk). The incomplete beaded butterfly (above) took over 12 hours across two days. And I still hadn't finished because I frustrated myself.

But I'm committed to impressing her one day. In the meantime, May all beings be happy (below) and May all beings be loved (Take My Tears series) are the first two works I've used the Lunéville technique on.

May all beings be happy by Karen Miranda Augustine

I have new found respect and appreciation for French haute couture embroiders who average seven years to master the technique.

Around the world, there are similar techniques, but they tend not to work reverse side up, like Zardozi embroidery from Persia and India, which is especially lovely and intricate.


2018 Canadian Postcard Project

The 2018 Canadian Postcard Project

Norwell District Secondary School
Palmerston, Ontario

The Canadian Postcard Project (next to my birthday) is my annual favourite! This year, special needs students from Norwell District chose an artist's image that they liked and created an art postcard in response.

20-year-old Holly chose the image from Providence (Take My Tears series), and when I received it in the mail, it just made me feel so happy. I loved her colours and the piece felt like fun, so I added beadwork and stencils to her postcard to express how her postcard made me feel.


Reckitt's Crown Blue beadwork by Karen Miranda Augustine

Or, accidental beaded lace 2.0?

Reckitt's Crown Blue. Laundry bluing. It makes your white's white and is used in ritualistic healing baths. May all beings be protected is the piece it was used in (Take My Tears series).

It took a weekend of sequined and beaded lacemaking, while streaming back-to-back 1950s film noir flicks over double digit hours.

Goddess bless YouTube....


Beaded lacework for Providence

The accidental beaded appliqué maker....

Have been using the Métis technique — haphazard as my approach is — to create beaded appliqués for the door, which is the foundation of my Providence piece (Take My Tears series).


Completed beadwork of five-petal Métis rose

Fait accompli!

A little rough around the edges, but my first trial is done.

In the Métis tradition, this beadwork is to be gifted to another woman. After finishing off the back with deerskin and adding a clasp, the beaded brooch was passed onto the mother of a close friend. A woman of the prairies, she said it reminded her of home.


Beadwork: five-petal Métis rose

Métis beading workshop at the Textile Museum

The Textile Museum of Canada's workshop supported the Walking with Our Sisters installation at the Aboriginal Education Centre. The work consists of over 1,900 beaded moccasin vamps, representing the unfinished lives of the 1,181 plus missing/murdered indigenous women.


The Lick event poster

20 years ago today: The Lick

Final talent showcase for At the Crossroads Black women's art magazine (1992–97).


Don't You Forget About Me exhibition

Don't You Forget About Me

A two-person exhibition by
Karen Miranda Augustine & Ilene Sova
Nuit Rose: A Festival of Queer Art & Performance
Artscape Youngplace
180 Shaw Street, 3rd Floor
Toronto

Details on our Tumblr site


FAC Residency

"Take My Tears" artist talk,
Feminist Art Residency

Artscape Gilbraltar Point
Toronto Island
6:30–8:00 p.m.
Fireplace Room


AGO tweet

AGO First Thursdays, "Postcards from the Edge"

Pop-up talk:
"Outsiders: American Photography & Film, 1950s–1980s"
Art Gallery of Ontario, Toronto


OCAD University

Artist talk, OCAD University, Toronto

Studio course: Meta-Figure: The Body in Paint
Instructor: Ilene Sova, Faculty of Art


OCAD University

2015 Feminist Art Conference

FAC Conference guest artist Q&A
Moderated by Sandra Haar
OCAD University, Toronto 


OCAD University

Jean-Michel Basquiat: Now's the Time Symposium

Panelist: "Exploring Basquiat's Legacy"
with Fab 5 Freddy, Christian Campbell, Karen Miranda Augustine, and Dana Michel
Art Gallery of Ontario, Toronto


Funeral drive

Missing Morgan

My favourite cousin passed away. He was a fun, sensitive, easygoing free spirit. And I think I always thought he would be around in this realm in the later years of my life.

His copy of Iron Maiden's A Matter of Life and Death sits on my bookshelf (which is ironic; I wanted him to let me keep it, tbh), while a figurine he gifted me several Christmases ago sits on another. His wish for me, he had said, was for me to find love.

'70s Rod Stewart songs remind me of him, as do remembering him dancing in his building's hallway, back and forth to melodies I couldn't hear.

He was a chef, and after hours, he would dress to the nines, choreograph some quick moves to the music in his head, and hum happily to himself while I sat on my aunt's couch, giggling, watching him while side-eying MASH reruns.

And always with a quick step, spin, and excited smile anticipating the night, he'd be off....


SEEP II exhibition

SEEP II: Mirrors & Mires exhibition

Patriothall Gallery
1D Patriothall
Edinburgh, Scotland
Curated by Sandra Alland

Artists: Karen Miranda Augustine, Ariadna Battich, Alec Herbert, mihee-nathalie lemoine, Tiu Makkonen, Li Moran, Chris Red, Sad Little Man, M. Sage, Alison Smith, Steadfast, Mary Trodden, Del LaGrace Volcano


Exhibition: Outgraced at A Space Gallery

Solo exhibition: Outgraced

Reception: 20 June 2014, 7 to 9 PM
Artist's Talk: 05 July 2014, 2 to 4 PM

A Space Gallery
401 Richmond Sreet West, Suite 110
Toronto
(416) 979-9633


The State of Blackness Conference

The State of Blackness Conference,
OCAD University, Toronto

The State of Blackness Conference brought together artists, critics, and curators to develop art education practices as a way of rectifying the invisibility of Blackness in Canadian art curriculum.

Participants: Karen Miranda Augustine, Deanna Bowen, Sandra Brewster, Charles Campbell, Mark V. Campbell, Wayde Compton, Julie Crooks, Erika DeFreitas, Pamela Edmonds, Dominique Fontaine, Honor Ford-Smith, Richard Fung, Sylvia Hamilton, Jérôme Havre, Ebony L. Haynes, Johanna Householder, Camille A. Isaacs, Michelle Jacques, Alice Ming Wai Jim, Betty Julian, Olivia McGilchrist, Anna Jane McIntyre, Megan Morgan, Charmaine Nelson, Abdi Osman, Michèle Pearson Clarke, AboubakarSanogo, Adrienne Shadd, Dionne Simpson, Rema Tavares, Camille Turner, Gaëtane Verna, Rinaldo Walcott, Genevieve Wallen, Syrus Marcus Ware, and Natalie Wood.