This site is an index of the writing and works of art by the conceptual artist Mary Ellen Carroll. It is always under construction. Please check back on a regular basis as we update it frequently, if not daily. (The text continues below the image. Read on.) Thank you.
January 15, 2022
Mary Ellen Carroll in conversation with Kevin Jones from Alskerkal Avenue for EXPO2022 in Dubai for ‘A Cloud is Nobody’s (Part II) to discuss the work of art as infrastructure. An new video work by Mike Kwok will open the programme.
October 30, 2021 – January 31, 2022
From the PRESS RELEASE
indestructible language — Monumental Red Neon Artwork to Illuminate the Glasgow Skyline During 2021 United Nations Climate Summit in Glasgow for COP26 the large scale neon work that reads: IT IS GREEN THINKS NATURE EVEN IN THE DARK to be installed and actions for the accompanying policy on climate and migration.
The work is on view from 30 October 2021 to 31 January 2022.
The monumental neon artwork, indestructible language, by New York-based conceptual artist and activist Mary Ellen Carroll/MEC studios will launch at 7pm (GMT + 1) on Saturday, October 30, on the eve of UN Climate Conference in Glasgow (COP26)
indestructible language consists of three meter high illuminated red neon characters made of lead-free glass, powered 100% by renewable energy, spelling out the phrase: IT IS GREEN THINKS NATURE EVEN IN THE DARK. The artwork is situated on the roof of The Schoolhouse, an historic Victorian building in the centre of Glasgow, visible from COP 26 and the M8, the busiest motorway in Scotland, where it will be seen by millions both locally and virtually. The installation – that also acts as a beacon – uses language to highlight the multiple meanings and areas of concern around the climate emergency, challenging viewers to respond to the work, to reflect on its many readings alongside their own actions around climate change.
Saturday, October 30, 2021 @ 7 pm (GMT+1) by invitation
indestructible language will be installed on:
The School House, 101 Portman St, Kinning Park, Glasgow G41 1EJ, UK
indestructible language is supported by Kind World Foundation, Love, Tito’s,MCM, Stardust, TransArt Foundation, Turtle Conservancy, Urban Office and Urban Office and private donors including, M. Asselin / J. Meltzer and Melanie Shorin / Greg Feldman, and others who are committed to climate action.
Media Contacts (interviews and other media requests):
Sarah Greenberg, Evergreen Arts, email@example.com, +44 (0)7866543242
Kate Burvill, KBPR, firstname.lastname@example.org, +44 (0)7947754717
The entire Press Release is here: indestructible language)
Instagram / Twitter: @mecstudios #indestructiblelanguage
SUD/NORTE, 2020/2021, 60 x 48 x 1.5 inches, silver leaf and bitumen in water-based medium on linen on airline blanket. Photo by Hatnim Lee.
May 5th and 12th, 2021— Mary Ellen Carroll was guest critic at Harvard in the Graduate School of Design for the Forms of Assembly final semester reviews and the final thesis reviews for the Master in Design Studies (MDes) Program.
April 23, 2021— The Cynthia Hazen Polsky and Leon Polsky Rome Prize for 2020/2021 has been awarded to Mary Ellen Carroll / MEC, studios. The time in Rome will be utilized to work on two bodies of work, both of which make use of the non-visible for PUBBLICA UTILITÀ DUE and Via Longara —radio frequency and the unconscious and mental health. Public seminars will be a part of the work that will be realized when in Rome.
April 22, 2021— “Alter-Realities: Intervening in the Politics of Immigrant Incarceration and Migration Control” / “Alter-realidades: Interviniendo en la política de control y detención de inmigrantes” is a discussion between artists and collaborators about the process of representing immigrant detention and immigration control through art and cultural interventions. Mary Ellen Carroll and Lucas Michael will discuss the call to action DYKWTCA.
December 4, 2020 —Presentation at THE WIRED CITY: Technology is shaping our future. for the 2020 Visions: Next City Conference Mary Ellen Carroll presentation was A Cloud is Nobody’s on the real estate and equitable use of radio frequency and the ongoing work PUBLIC UTILITY 2.0. The other presenters were: Anthony Shannon, most recently co-founded MUVE, along with a team of expert technologists, designers and builders and Rohit (Rit) Aggarwala, is currently the head of Urban Systems at Sidewalk Labs in addition to his post at Columbia University as Adjunct Professor of International and Public Affairs.
March 26, 2020 — (NOT) OF PUBLIC INTEREST —lecture at Kungl. Konsthögskolan/Royal Institute of Art and the Public Art Agency Sweden for Jonas Dahlberg’s course OF PUBLIC INTEREST
January 15, 2020 — “Over 100 Artists Contribute to Benefit Exhibition Foregrounding the Experiences of Detained Children” for Hyperallergic’s “News” by Valentina Di Lischia on DYKWTCA (Do you know where the children are?) a call to action and exhibition of 100+ unique works of art by 100+ leading visual artists that is organized by the artists and activists Mary Ellen Carroll and Lucas Michael. Each work incorporates, or represents an actual account (in whole or in part) from a child who was separated from their family and detained by the U.S. government. The works of art will travel across the US until after the 2021 election, and the works will be offered for $500 each and the full proceeds donated to immigrant advocacy groups.
Fall 2019 — “A Conversation with Mary Ellen Carroll by David Joselit” for October No. 170 | Fall 2019 p.120-145 A wide-ranging and definitive interview with conceptual artist Mary Ellen Carroll, who is best known for works that transpose land art to urban contexts and to questions of public policy such as zoning and access to free Internet service. Carroll describes her practice in terms of “making architecture perform,” which she does through direct interventions in city streets, such as her rotation of a suburban house in prototype 180 (1999–ongoing) so that it’s back façade was turned to the street, while it’s front faced a public park at the back of the lot, or in Public Utility 2.0 (2015), which sought to provide broadband wireless through unused radio frequencies, otherwise known as Super Wi-Fi, to underserved communities, largely of color, in New Orleans. Carroll is a leading voice at the intersection of urban theory, public policy, and media art, and in this interview, she articulates the several complex layers of her most significant projects to date.
October 8, 2019 — “DEAR WORLD” is the ‘official’ account for Artforum’s “Diary” of the 2019 #ClimateStrikeNYC, the UN Youth Climate Summit, the UN Climate Action Summit, and the 74th Session of the UN General Assembly. The much longer and unedited version is available with more exciting photos at Notetakers from the Situation Room.
September 8 — November 3, 2019 Stranger Approaching is a group exhibition organized by Erin Leland at the Bridget Donahue Gallery. “In the belief that language emerges from lived experience, Stranger Approaching addresses writing through performance.” It will feature performance works from Mary Ellen Carroll’s series MY DEATH IS PENDING… BECAUSE. The works of art that will be featured are LATE (2005) and No. 9 (2017) and will include photographs, drawings, video and other process related works from both series.
February 27, 2019—ARCHITECTS—The Journal of the American Institute of Architects an article by Eva Hagberg featuring Mary Ellen Carroll’s ongoing work and with the ACLU and refugees at the Mexico/Texas border to map the asylum process and immigration policy.
January 1, 2019—Mary Ellen Carroll’s LATE was included in Tod Lippy’s (the Executive Director of the Esopus Foundation and the founder of Esopus Magazine) Top Ten List in the January 2019 issue of ARTFORUM.
Keep on reading on.
On Saturday, November 11, 2017 conceptual artist Mary Ellen Carroll realized “Daringly Unbuilt” at prototype 180. This work marks the culmination of that 18 year project and final performance that Carroll started in 1999 — utilizing policy as a material to make architecture perform. The Guardian did a feature on the performance.
October 1, 2018—OCTOBER No. 165, Summer 2018 – A Questionnaire on Monuments: 49 Responses included Mary Ellen Carroll’s proposal for Prospect.3 in New Orleans and the lampooning of the statue of General Lee.
September 6, 2018—Modes of Mapping, curated by Lisa Panzera at the Shirley Fiterman Art Center at CUNY-BMCC included Mary Ellen Carroll’s PUBLIC UTILITY 2.0.
August 24, 2018—One Meter Above Ground – Climate and Territory Viewed from the Perspective of the République Géniale at Kunstmuseum Bern, August 23-25, 2018, during République Géniale, August 17 – November 11, 2018.
Mary Ellen Carroll’s: “The Difficulty with a Tree“. This was a radio broadcast for RADIO FREE BERN— 88 FM.
June 27, 2018— Mary Ellen Carroll’s Critics’ Pick on the Norwegian Siri Aurdal’s exhibition at the Malmö Konsthall was published by Artforum.
May 7, 2018—The Storefront for Art and Architecture honored conceptual artist Mary Ellen Carroll at their annual benefit LIT — in the Celeste Bartos Forum in the New York Public Library.
May 1 to August 1, 2018—The Swedish Arts Grants Committee’s Award for Visual and Applied Artists–IASPIS was awarded to New York conceptual artist Mary Ellen Carroll in 2018.
January 10, 2018—NYU’s Fales Library and Collection acquires five works of art by Mary Ellen Carroll.
Mary Ellen Carroll’s (MEC, studios) prolific career as a conceptual artist spans more than twenty years and primarily occupies the disciplines of architecture/design and public policy, writing, performance and film. The foundation of the practice is the investigation of a single, fundamental question: what do we consider a work of art? Carroll frequently works with unsuspecting materials that range from public policy and land use to unused television frequencies as a form of 21st century land art, albeit the valuable and non-visible real estate of radio frequency. She is the recipient of numerous grants and honors, including the Berlin Prize at the American Academy in Berlin for 2016, a Graham Foundation Fellowship for prototype 180 and the AIA’s Artist of the Year Award. She has received a Guggenheim Fellowship, a Pollack/Krasner Award, a Rockefeller Foundation Fellowship and a MacDowell Colony Fellowship. Carroll was also awarded a Pennies From Heaven Award for her contribution to New York City for work that contributes to the cultural realm and is socially visionary. Her work has been exhibited at numerous American and international institutions and galleries, including the Whitney Museum-New York, Generali Foundation-Vienna, Austria, Jacobs Museum-Zurich, Switzerland, ICA Philadelphia, the Renaissance Society-Chicago, ICA-London, Museum für Völkerkunde-Munich, MOMUK-Vienna. Her work belongs in numerous public and private collections.
Teaching, lecturing and public presentations are an important part of Carroll’s work and educational institutions have included architecture and public policy programs at Rice University in Houston, Columbia University in New York, University of California at Irvine, Pusan National University, Busan, South Korea amongst others. Cultural institutions have included: The DIA Art Foundation-New York, MOMA-New York, Museum of Fine Arts-Houston, Alserkal Avenue-Dubai, Busan Museum of Modern Art-South Korea and many others.
Carroll’s ongoing opus prototype 180 is a conceptual work of art and urban alteration that entails a radical form of renovation through the physical revolution and reoccupation of a single family house in the aging, first ring subdivision of Sharpstown in Houston, Texas. In conception and planning for over 10 years, the project is temporally, physically, and structurally organized around its catalytic rotational transformation. While the rotation and relocation of the house on its lot interrupt the relation of the house to its context and to existing street typologies they also signal the altered life of the house as a space devoted to a program that will address the issue of aging neighborhoods and their potential futures. prototype 180 strategically intersects conceptual art projects, social activism, urban legislation and economic processes. Its 180 degree revolution registers aesthetically against a history of critical house alterations and administratively in relation to Houston’s unregulated land use policies and its absence of zoning. It has been exhibited at Columbia University’s GSAPP, Galerie Stadtpark, Krems, Austria and the Generali Foundation, Vienna, Austria. (www.prototype180.org)
A monograph of her work published by SteidlMACK (London and Gottingen) received the AIGA’s 2010 Book of the Year Award. In 2016, Carroll had a new commission for the Yinchuan Museum of Contemporary Art and the first biennial for Ningxia province in China, that was under the artistic direction of Bose Krishnamachari. Carroll realized two works, A Fake Hare Has 24 Gold Teeth and Next Time with Jacky. She realized, No. 18 an architectural insertion and rooftop gardens as a commission for the Busan Biennial in Korea that was directed by Roger Buergel who was the artistic director for Documenta 12 that is still ongoing. Her work was included in the American Pavilion for the Venice Biennale for 2014 for Architecture. Public Utility 2.0 (www.publicutility2.com) was a commission for the triennial Prospect.3 New Orleans that was under the artistic direction of Franklin Sirmans and utilizes unused television frequencies as a material as a 21st century form of land art. She was commissioned to realize Open Outcry and Ground Control that were both included in the exhibition FEAST at the Smart Museum of Art at the University of Chicago and the Blaffer Museum at the University of Houston. She recently lectured at Columbia University’s GSAPP for the symposium EX-SITU and previously at the DIA Foundation in NYC on the artist Fred Sandback as well as the exhibition/symposium, The Legal Medium at Yale Law School in the use of law as a medium. Recent commissions include Alserkal Avenue in Dubai UAE and Yinchuan Biennial in China. Carroll is represented by Galerie Hubert Winter in Vienna, Austria.