Announcing New Artists' Book: Ghost Coast, by Julie Harrison and E.J. McAdams

Granary Books is pleased to announce the publication of a new limited-edition artists' book, Ghost Coast: A Hurricane Sandy Periplus of Lower Manhattan, by the artist Julie Harrison and the poet E.J. McAdams.

To celebrate, join us for the book launch on April 29th at 7pm, with Brooklyn Public Library Presents and the Lower East Side Ecology Center.

"We turned to deep ecology with the production ethos of this book, assessing each step for sustainability in both materials and practices. This attentiveness was a source of sanctuary for us during these tumultuous times, reminding us that small actions and intention do matter, especially when brought to life among community."

9 x 12 in. cloth-covered clamshell box with oxblood cloth lining, containing accordion-fold book printed digitally in cloth over boards and stamped with bronze foil.

This artists' book features a multi-panel 45 in. artwork by Julie Harrison of Manhattan's coastline as impacted by Hurricane Sandy, accompanied by a poem comprised entirely of verbs describing water movement by E.J. McAdams.

From the poet and artist's statement:
"The current boundary of Manhattan is a smooth line of armored coast with a few piers left over from a more industrial waterfront. On October 29, 2012, Hurricane Sandy pummeled New York City, damaging infrastructure, thrusting downtown residents into a blackout, and redrawing the coast of lower Manhattan. This new coast corresponded to the contours of earlier maps before the addition of infill for development, and it introduced aberrant inundations almost a mile inland across the channelized hardscape of the city. GHOST COAST juxtaposes the current and catastrophic coasts, illuminating resonances between and across both. A periplus was a tool for nautical navigation in the ancient world, describing in words the details of the coast including landmarks in harbors, treacherous obstacles below the surface of the water, and reports about the people on land and what they traded. The text of GHOST COAST is a periplus made only of verbs, and therefore of questionable use; the verb agreement is as off-kilter as the ravaged coast. GHOST COAST is an experimental verbal and visual remembrance of the coastline reconfigured by Hurricane Sandy. It is also a warning that the precipitating condition of climate change that led to the flooding and accompanying loss of life has not yet been addressed adequately, and therefore haunts the surfaces of these now dry streets."

This book was produced in an edition of 33 copies. It was printed by Jason Walz at Uncommonbindery on Hahnemühle Agave paper, and accordion-bound in EcoJeans fabric over boards in a cloth-lined clamshell case by John DeMerritt and Emmalee Johnson-Kao at DeMerritt Studios. The text is set in Ryman Eco, an ink-saving typeface designed by Ryman in the United Kingdom. The layout of the poem was designed by Julie Harrison; Kevin Noble photographed Harrison's drawings; and Jason Walz designed the translucent endpapers. M.C. Kinniburgh managed the book's design and production, which was assessed for sustainability at each step.  

A portion of the proceeds of this book have been donated to the Lower East Side Ecology Center.


Review of work in WHITE HOT MAGAZINE, "The Nexus Between Art and Science: Growing a New Naturalism”

I'm thrilled to read the article by Siba Kumar Das about sciart and artists represented by LAMINAproject. He viewed my show at DVAA and says this about it:

[Julie addresses] the relationship of the physical to the mental, and a coastal and landform series that incarnate a Zen-like allusiveness even as they reveal the natural features’ fractal geometries. While seeing the show, I thought I glimpsed the unity the universe has at all levels.


"Brains" by Kathleen Hulser published in Gallery&Studio Magazine

I'm thrilled that the article "Brains" by Kathleen Hulser has been published in the summer issue 2024 of Gallery&Studio magazine! Kathleen is a public historian and educator who has written about art for over 30 years. Thank you Kathleen Hulser and Gallery&Studio magazine! Click here or here to read the article.

"Harrison is a Jules Verne of the brain, traveling through photographs of interior lands made by SEMs (scanning electron microscopes). ... [Her] brain works hard on the science she receives, building an image of mind much more expansive than anything a microscope could render."


Solo Exhibition opens at Southern Vermont Arts Center

I'm excited to announce my solo show, "Landforms and Bodyscapes," is opening at Southern Vermont Arts Center (SVAC) in Manchester VT this Saturday, March 30; it has a long run until July 15, so take a fun drive to Vermont for the afternoon. From Albany 75 mins; from Hudson 1 hr 50 mins; from Bennington 30 mins; from Springfield 2 hrs.

*Made possible with partial support from the Nordisk Kunstnarsenter Dale Residence Award and the Celia & Wally Gilbert Art and Science ResidencecAward at Cold Spring Harbor Laboratory.

Above: Coastal Series (Norway), 2024,  graphite, India ink, printer ink and paper on paper, 25.5 x 156 inches.


"Viral Integration" includes three drawings by Julie Harrison at University of California Irvine

University of California, Irvine, “Viral Integration,” February 1 – December 15, 2024 — Inaugural group exhibition curated by elin o'Hara slavick, artist-in-residence, for the new Susan & Henry Samueli College of Health Sciences Hall and Sue & Bill Gross Nursing and Health Sciences Hall. "The exhibit includes more than 100 works by 40 artists from across the United States and Canada – with a central theme of addressing health issues, from the individual human body and disease, treatment and survival to environmental factors and medical systems. Artists address childbirth, AIDS, mental health, cancer, medicine, healthcare workers, surgery, community responses to collective experiences, the practice of care, endometriosis, migraines, coal ash ponds, and much more." (UCI Public Health). Contact eoslavic@gmail.com for more information.

top: three drawings in "Viral Integration" from left to right: Bodies 6215 (2019), Bodies 8049 (2021), Bodies 4256 (2019), graphite and paper on paper, all 18 inches x 24 inches; bottom, flyer designed by Suzanne Slavick.


Nordisk Kunstnarsenter Dale awards Julie Harrison a 2-month Artist-in-Residence

I'm thrilled to have 2-months (January/February) at Nordisk Kunstnarsenter Dale, located in a small Norwegian village on the western coast, Dale i Sunnfjord. It's an honor to have been invited with four other artists, each with our own studio and house high on a hill.

photos above: left, studio for AIRs at Nordisk Kunstnarsenter Dale, from website; right, Dale i Sunnfjord Noway, view from studio, photo by JH.


Six New Drawings Exhibited at Level Gallery in Ridgewood Queens NY

Level Gallery, “The Table,” May 21 – June 4, 2023

photos above: left, Brains 2742, 2022. Graphite, India ink, printer ink, and paper on paper, 9 x 12 inches; right, Brains 2723, 2022. Graphite, India ink, printer ink, and paper on paper, 9 x 12 inches.

I'm excited to show six drawings in the inaugural exhibition at Level Gallery, curated by director Sfera Lewis. Opening May 21 from 5-7pm at 1639 Centre St, Ridgewood, Queens, NY (Halsey stop on the L train), followed by a launch party with live music. Part of the @rockella.space Art Crawl 2023 weekend with open studios, music, dance, and art. Dance performance by Morgan Amirah + Savannah Gaillard.” Contact Level Gallery for more information.


"The Elastic Mind" at Broward College Exhibits Lasting Impressions and Boundary (Radiated Face)

Broward College, “The Elastic Mind,” April 20, 2023 – Sept. 28, 2023 — curated by Kohl King, The South Gallery, Pembroke Pines, Florida.

Two of my early videos are exhibited, both made in collaboration with others.

Lasting Impressions, made with Robert Kleyn, was created in 1981. “Here the simple figure of the house comes alive, as symbol, mask and prop that enables the performers to be ciphers for the camera — to do anything except ‘act.’ ” (RK).

Boundary was made with Neil Zusman in 1980. The curator selected an excerpt, Radiated Face, "a mix of tapes produced during residencies where [we] collaborated in a free form improvisation of performance and media. Staccato images of violence and marching fascists are ‘thrown in’ to Julie’s face, sliced into sections with a special-effects generator, the Jones colorizer and Paik-Abe video synthesizer.” (NZ).

photos above: left, still from video, Boundary, 1980; right, still from video, Lasting Impressions, 1981.


Celia & Wally Gilbert Art and Science Residencey Awarded

I'm thrilled to announce that I have been awarded an artist-in-residence at the preeminent biochemical research laboratory, Cold Spring Harbor Lab, in Long Island. I will spend 16 days there in Februday where I will create a new kind of self-portrait — one that utilizes and is inspired by images of my own body tissue, cells, and neuronal connections sampled from the resources at the lab.

microscopic photograph

"Organic Intelligence: Recent Drawings by Julie Harrison" by Johanna Drucker

Here's what Johanna Drucker says about my work in "Organic Intelligence: Recent Drawings by Julie Harrison," a newly published article from her Substack series JD: ABCs. Drucker is the author of dozens of books including her most recent, Inventing the Alphabet: The Origins of Letters From Antiquity to the Present.

“Julie Harrison’s recent Brain Series drawings are ... more alive than we might imagine any static image could be. You don’t so much look at these drawings as watch them.”

Neuronal Brain Images and Art

Memoir #16: Dances of the Past (Part One), an interview by Alan W. Moore

Alan W. Moore interviewed me for his blog called Art Gangs. He recently authored a fantastic memoir called Art Worker: Doing Time in the NY Artworld (Journal of Aesthetics & Protest, 2022) about his experiences as an art worker during the 1970s and 1980s in downtown Manhattan, then the locus of the avant-garde art world. He recently posted an interview with me, “Memoir #16: Dances of the Past (Part One)” about my involvement with dance, Collaborative Projects and ... um, a few transgressions. Stay tuned for “(Part Two).”

Photograph by Julie Harrison, 1977, from a video made at Live Injection Point (LIP) by Julie Harrison and Cara Brownell, 1977.