prompt: issue 1, Workbook for a Performance, Audra Wolowiec and Jenni Crain, 2018
Workbook for a Performance is a language-based performance score by Audra Wolowiec, based on interventions of text from Virginia Woolf's The Waves. It invites multiple interpretations, embodied silences, collective performances, and participatory readings. With the words Virginia Woolf wrote in her diary on the day she finished The Waves as another form of prompt, I have never written a book so full of holes and patches; that will need rebuilding.
BOMB Magazine, Audra Wolowiec by Emmalea Russo, 2016
The results do not point at the results—they are rich process and rhythm cues, evidence that language is audible even in its silence, and visible in the margin and spaces of its arranging and rearranging. Wolowiec is not presenting conclusions. She is inviting the viewer to investigate the ineffable.
Hyperallergic, What Isn't There: Audra Wolowiec's Sounds, Scents, Erasures, Thomas Micchelli, 2016
Much of Wolowiec’s work is about what isn’t there. Or, more to the point, the elements that are endowed with shape, surface, and weight often function as delivery systems for those that are not, literally or metaphorically. Sound waves, light beams, and elided texts define the core of her practice.
Feldenkrais Journal, Issue 29 | Voluntary + Involuntary Movements: Somatic Practice in Contemporary Art, interview by Helen Miller
Sound American, Issue 13 | How We Listen | edited by Nate Wooley
Fell. Magazine | Interview
College Art Association (CAA) Art Journal Open, Critical Bibliographies: Poetics of Sound and Language by Audra Wolowiec
The page becomes a destination, a portal, and a place of encounter.
New York Times, Resonant Structures, 2016
Resonant Structures, Stony Brook University, 2016 (pdf)
Reductive Journal, Issue FOUR, 2015
The Poetry Project, Poems and Texts, 2015
La Vague Journal, Negative Exempla, 2015
Harlequin Creature, Issue 7: Letter to Form, 2015
Modern Painters, 24 Artists to Watch in 2015, 2014
Hyperallergic, Public Art in the Sonic Realm, Charles Eppley, 2014
Time Out NY, Hear that honk? It’s the music of the city, Tolly Wright, 2014
DNA Info, Art Exhibit Asks Passersby to Stop and Hear the Music, Janet Uphadhye, 2014
Colorado Public Radio, Sound & Text at Counterpath, Chloe Veltman, 2014
Westword, Sound System, Bree Davies, 2014
The Artist Catalog, Volume 1: Winter Issue, 2013 (pdf)
Gwarlingo, CONCRETE SOUND, collaboration with Christine Shan Shan Hou, 2013
Urbanite Baltimore, Information Interrupted, Cara Ober, 2013
Word Object, Between Language and Form, 2013
Brooklyn Rail, In the Use of Others for the Change, Thomas Micchelli, 2012
Bushwick Daily, Sound and Space of Audra Wolowiec, Katarina Hybenova, 2012
The People’s Microphony Songbook, by Elana Mann, 2012
Thresholds Magazine, Issue 38: Futures, MIT Department of Architecture, 2011 (pdf)
curator of Mumei Journal: Issue FIVE featuring work by Ben Vida, Emmalea Russo, Maria Chavez and Steve Roden.
curator of Sound American: Networks of Listening featuring interviews with Karen Weiser and Sal Randolph.
A A SA ES
(between the sea and the sea)
based on translations of Andalusian Poems, printed on archival paper with screen print cover
limited edition of 20
collaboration with Leon Johnson
zine printed on french newsprint and archival paper with inserts
limited edition of 10
collaboration with Christine Shan Shan Hou
paper and vellum with newsprint insert, hand-stamped cover
edition of 100
editions can also be found under GRAVEL PROJECTS, a collaborative system featuring printed matter, editions and publications.