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	<title>marahassan.com</title>
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	<pubDate>Sun, 27 Jul 2025 20:09:17 +0000</pubDate>
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		<title>Home Page</title>
				
		<link>https://marahassan.com/Home-Page</link>

		<pubDate>Tue, 02 Jan 2024 02:06:46 +0000</pubDate>

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		<pubDate>Tue, 02 Jan 2024 02:06:47 +0000</pubDate>

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		<description>
Mara Hassan is a curator, writer, and art historian.
 She is currently pursuing a PhD in the Department of Art and Art History at Stanford University. Her research centers anti-portraiture, detritus, critical theory, and transgendered ontologies. &#38;nbsp; She holds a BA in Art History and Queer Studies from UCLA. She was a 2021-2022 post-baccalaureate fellow in the Department of History of Art and Architecture at the University of Pittsburgh. There, she wrote a culminating thesis titled “Morphological Freedom: Greer Lankton’s Abstract Works,” using Lankton’s understudied archive held in Pittsburgh’s The Mattress Factory.&#38;nbsp; Current curatorial projects include: an exhibition on site-specifiticy in Claud Beelman’s Ninth and Broadway Building at 850 S Broadway, Los Angeles, CA (2024); a collection-based exhibition in San Francisco, CA (2024); and a co-curated exhibition on ruination in Arles, France (2025).Current writing projects include: entry texts for the 2024 Whitney Biennial catalogue and a long-form essay on death, memory, and place.</description>
		
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		<title>belly</title>
				
		<link>https://marahassan.com/belly</link>

		<pubDate>Sun, 27 Jul 2025 20:09:17 +0000</pubDate>

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		<description>belly&#38;nbsp;co-organized with Wes HardinBelvedere Hotel, New York, New York. &#38;nbsp;Creighton Baxter, Yiyang Cao, Christopher Gambino, Felix Gonzalez-Torres, Coco Klockner, Craig Jun Li, Marcelline Mandeng Nken, Ren Light Pan, Puppies Puppies (Jade Guanaro Kuriki-Olivo), soiL Thornton, and Zhi Wei Hiu.

&#38;nbsp;

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		<title>THIEVERY</title>
				
		<link>https://marahassan.com/THIEVERY</link>

		<pubDate>Tue, 06 May 2025 23:13:15 +0000</pubDate>

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		<description>THIEVERY&#38;nbsp;
Carlos Agredano
Felix Gonzalez-Torres
Zoe Leonard&#38;nbsp;
Vijay Masharani&#38;nbsp;
Joshua Moreno&#38;nbsp;
P Staff&#38;nbsp;
Jo-ey Tang&#38;nbsp;
Bri Williams&#38;nbsp;May 4, 2025 12:51pm - May 4, 2025 3:46pm&#38;nbsp;Production assistance by: Wren Farrell, Ryan Heath, Jacob Noel, Frankie Faul, Camille Santana Considine, Marcel Alcalá, Lucy Ashton, Joshua Moreno, Heesoo Kwon, Michele D’Aurizio, Matthew Grumbach, Maria Silk, Brittany Newell, Sinéad Horan, and Rel Robinson.&#38;nbsp;

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		<title>LOVESCENE</title>
				
		<link>https://marahassan.com/LOVESCENE</link>

		<pubDate>Tue, 17 Sep 2024 01:21:48 +0000</pubDate>

		<dc:creator>marahassan.com</dc:creator>

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		<description>LOVESCENE&#38;nbsp;
September 13 - November 2, 2024
Co-curated with Wes Hardin
in the basement of En.Zo Metal - 15 N Oxford St. Brooklyn, NY
Artists:&#38;nbsp;











Marcel Alcalá, Miguel Bendaña, Efron Danzig, Deondre Davis, Christopher Gambino, Gogo Graham, Wes Hardin, Mara Hassan, Elizabeth Jaeger, Craig Jun Li, Mark Armijo McKnight, Gozié Ojini, Catalina Ouyang, Ren Light Pan, Shelley Uckotter, Alix Vernet, Willa Wasserman, Quay Quinn Wolf
Installation Photography by Adam Whyte
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		<title>by the lattice </title>
				
		<link>https://marahassan.com/by-the-lattice</link>

		<pubDate>Sun, 17 Dec 2023 07:26:33 +0000</pubDate>

		<dc:creator>marahassan.com</dc:creator>

		<guid isPermaLink="true">https://marahassan.com/by-the-lattice</guid>

		<description>by the lattice&#38;nbsp;
curated by Mara Hassan
Giovanni’s Room, Los Angeles
July 28 - August. 31, 2024Jordan Loeppky-Kolesnik, K.R.M. Mooney, Hamish Pearch, Bat-Ami Rivlin, Solomon Rousseau, P. Staff, Andrew Sungtaek and Carrie Yamaoka

It was in 1938 when Bachelard published his Psychoanalysis of Fire, turning to the element as both a subject of psychoanalysis and an object of phenomenological study. This set in motion his unique, integrated philosophy that looked to the matter that constituted form; he would subsequently turn to the remaining forces of water (1942), air (1943), and earth (1948). By his hand, a hazy groundwork for new materialist thought—complicating the tenets of Cartesian dualism—was securing shape in the former half of the 20th century. &#38;nbsp; 

He wrote in Water and Dreams: “... when forms, mere perishable forms and vain images—perpetual change of surfaces—are put aside, images of matter are dreamt substantially and intimately. They have weight; they constitute a heart.” Again, in Earth and Reveries of Will, he observed: “[a] kind of objective characterology begins to emerge when we imagine behind form the resistance of matter.” It was the recalcitrant nature of the elements that pulled at Bachelard, his memories, and aspirations; and it was in their agential capacity that he observed a slow, warm affinity. In opposition to the hubris of his contemporaries, he wrote forward an expanded reconsideration of the ontological beyond man. And with this hubris dislodged from aesthetic and natural judgment, materiality itself takes on new shapes and functions, ones that exist beyond their human affordances. &#38;nbsp; 

Such an expansion of formal considerations falls well in line with Robert Morris’ emphasis on phenomenology in his delineation of the minimalist tradition. In his seminal Notes on Sculpture (1966), he spends much time discussing the novelty of his expansion of formal relationships, which make their way out from the confines of unitary objects and towards their constituting spatial and temporal circumstances. Internal formal engagements—between details of color, shape, iconography, and medium—are reterritorialized expansively, and superseded by interactions with light, orientation, and perception. The object becomes just one node of many that when in concert with other nodes, coalesce into a larger phenomenon in which the subject’s body, too, is in dialogue. He writes: 

“While the work must be autonomous in the sense of being a self-contained unit for the formation of the gestalt, the indivisible and undissolvable whole, the major aesthetic terms are not in but dependent upon this autonomous object and exist as unfixed variables that find their specific definition in the particular space and light and physical viewpoint of the spectator.” 

Here, Morris highlights how stable forms gather and produce unstable meaning through their indexing of the environment, as well as viewers’ bodies. Perception and experience construct the object in question, which relies on space and time—axes through which we are also constituted—to find us. &#38;nbsp;

Following Bachelard and Morris, by the lattice takes processed geomaterials that constitute Claud Beelman’s Ninth and Broadway building as a point of departure. Housing Giovanni’s Room, Beelman’s Ninth, and Broadway is structured by steel, copper, iron, and glass, with ferroconcrete and architectural terracotta flesh. The objects in this exhibition are tethered to one another by their engagements with their respective geo-materialities and the spatial circumstances by which they are constituted. A phenomenology of the industrial is, in other words, pursued. Perception and experience are foregrounded through an emphasis on reflection, change, and light. Inspired by the gallery’s views from the 6th floor, the exhibition also deeply considers sunlight’s transitory nature and its engagement with its surrounding high-rises—Beelman’s other children.https://giovannisroomla.com/lattice&#38;nbsp;

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		<title>fuckgirl collapse</title>
				
		<link>https://marahassan.com/fuckgirl-collapse</link>

		<pubDate>Sun, 17 Dec 2023 07:26:33 +0000</pubDate>

		<dc:creator>marahassan.com</dc:creator>

		<guid isPermaLink="true">https://marahassan.com/fuckgirl-collapse</guid>

		<description>fuckgirl collapse&#38;nbsp;

zoe koke
catalina ouyang&#38;nbsp;
winona sloane odette&#38;nbsp;
michelle uckotter&#38;nbsp;
willa wasserman
lyric shen
curated by mara hassan
Room 3357, Los Angeles, CA
Dec. 9, 2023 - Jan. 12, 2024&#38;nbsp;

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		<title>full and pure </title>
				
		<link>https://marahassan.com/full-and-pure</link>

		<pubDate>Sun, 17 Dec 2023 07:26:32 +0000</pubDate>

		<dc:creator>marahassan.com</dc:creator>

		<guid isPermaLink="true">https://marahassan.com/full-and-pure</guid>

		<description>
	Full and Pure: Body, Materiality, Gender
Curated by Mara Hassan
Green Family Art Foundation, Dallas, Texas&#38;nbsp;
June 10 - September 24, 2023&#38;nbsp;
Full and Pure: Body, Materiality, Gender presents a survey of contemporary art reflecting on the
malleability of selfhood, gendered corporeality, and aesthetic forms. This intergenerational group of
artists explores the mutability of the somatic, gender, and matter, reconsidering the possibilities of the
self as an inquiry into what the future can hold for us. 
Artists in Full and Pure include:
Mark Aguhar, Diana Al-Hadid, Marcel Alcalá, Ida Applebroog, Patricia Ayres, Felipe Baeza, Linus Borgo, Seba Calfuqueo, Blake Daniels, Anaïs Duplan, Nicole Eisenman, Alannah Farrell, Helen Frankenthaler, Nash Glynn, Jarrett Key, Maria Lassnig, Leslie Martinez, Ana Mendieta, Manuel Neri, Ludovic Nkoth, Breyer P-Orridge, Ren Light Pan, Daisy Parris, Lydia Pettit, Puppies Puppies (Jade
Guanaro Kuriki-Olivo), Christina Quarles, Mosie Romney, George Rouy, Maja Ruznic, Ilana Savdie, Joan Semmel, Shikeith, Devan Shimoyama, Hugh Steers, Chiffon Thomas, Willa Wasserman, and Kiyan Williams.
click here for more
	
	

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