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Franklin Furnace's Goings On
August 7, 2006

1. Arlene Raven, FF Member, IN MEMORIAM

2. Norm Magnusson, FF Alumn, at VanBrunt Gallery, Beacon, NY, Aug. 12 - Sept. 4
3. Galinsky, FF Alumn, at Bowery Poetry Club, Aug. 11, 8 pm
4. Gary Corbin, FF Alumn, in NY International Fringe Festival, Aug. 13-26
5. Tobaron Waxman, FF Alumn, at Daila, Jerusalem, through Sept. 1
6. Helène Aylon, Beverly Naidus, Ruth Wallen, FF Alumns, at University of San Francisco, Aug. 21-Oct. 22
7. Ricardo Miranda Zuñiga, FF Alumn, new project now online
8. Roy Colmer, Ree Morton, Elizabeth Murray, Howardena Pindell, Carolee Schneemann, Pat Steir, FF Alumns, at Univ. of North Carolina at Greensboro, thru Oct.15
9. Nicolás Dumit Estévez, FF Alumn, at nyartsmagazine.com


1. Arlene Raven, FF Member, IN MEMORIAM

Friday August 4, 2006

Dear Colleagues,

It is with great sadness that we report the passing on August 1st of Dr. Arlene Raven, member of The Feminist Art Project National Committee.

Arlene Raven, 62, noted feminist writer and art historian died August 1 of cancer. Loving partner of artist Nancy Grossman, devoted sister of Phyllis Gelman, doting stepmother of Laura Corkery, and cherished daughter of Joe and Annette Rubin, Arlene was a friend and mentor to several generations of artists and will be keenly missed by a large and diverse artistic and literary community.

Critic and writer Carey Lovelace has described Raven as “one of the nation’s pioneering historians and advocates of women’s art.” In 1973 Raven co-founded the Feminist Studio Workshop with Judy Chicago and Sheila de Bretteville which was part of the landmark Women’s Building in Los Angeles, a hotbed of women’s culture, which they also launched that same year. There, Raven helped create and edited the influential magazine of women’s culture, Chrysalis.

Raven broke new ground as an art educator at the Feminist Studio Workshop, launching innovative programs based on consciousness-raising. She wrote countless articles promoting women artists both known and unknown, executed an exhaustive number catalogue essays, and curated ambitious exhibitions such as At Home, at the Long Beach Museum, a multi-day performance extravaganza featuring many of the California feminist artists such as Suzanne Lacy, Leslie Labowitz, and Cheri Gaulke. She launched the Lesbian Art Project in 1977, in which she, herself, took part as a performer and was also a founder of the Women’s Art Caucus.

The recipient of numerous honorary degrees, Raven received her BA from Hood College in Frederick, Maryland, and her MA and PhD from Johns Hopkins University, Baltimore, where she met her former husband Timothy Corkery. Raven’s doctoral dissertation was on the Washington Color School. At this time Raven also taught at the Maryland Institute College of Art, and became aware of the early women’s liberation movement, working on one of the first women's journals, Womyn: A Journal of Liberation.

In 1983, she moved to New York to be with artist Nancy Grossman. During the mid-1980s, she was chief art critic for The Village Voice, writing about the contemporary scene from a politically committed perspective. She is a contributing editor for On the Issues: The Progressive Woman's Quarterly and a member of the advisory board of Review. She received a National Endowment for the Arts art critic fellowship in 1980. In 2001 she received the Frank Jewett Mather Award for distinction in art criticism from the College Art Association. An active board member of the International Association of Art Critics, US Chapter, she was presented with a Special Award on May 21, 2006, acknowledging her contribution to the field.

Arlene Raven published nine books on contemporary art and wrote art criticism and literary essays for a wide variety of publications. Among the most notable are Feminist Art Criticism (1991) which she edited with Cassandra Langer and Joanna Frueh, and Art in the Public Interest (1989). She also wrote exhibition catalogues and served as curator for numerous international exhibitions and monographs on artists such as June Wayne, Nancy Grossman and Michele Oka Donner.

Raven taught and lectured widely and served as artist/scholar in residence for art schools and universities throughout the country. Since 2000 she has been critic in residence at the Rinehart School of Sculpture at the Maryland Institute College of Art. A scholarship in her name has been set up at the Institute to provide support for undergraduate and graduate studies in art history and critical thinking. Donations may be sent to Arlene Raven Scholarship Fund, MICA, 1300 Mount Royal Avenue, Baltimore, Maryland, 21217.

A memorial celebration of her life will be announced.

Thank you to Carey Lovelace who provided the core of this information on Arlene Raven’s life and career.

For further information:

Tiffany Calvert
Project Manager, TheFeministArtProject
Foster Center–Douglass Library
Rutgers University, 8 Chapel Drive
New Brunswick, NJ 08901-8527
732-932-9407 x46
TheFeministArtProject is a national initiative recognizing the aesthetic and intellectual impact of women on the visual arts and culture.

Founding Program Partners are: A.I.R. Gallery, ArtTable, College Art Association, Elizabeth A. Sackler Center - Brooklyn Museum, Maryland Institute College of Art, National Museum of Women in the Arts, Rutgers Institute for Women & Art, Rutgers University and Libraries, Through the Flower, and the Women's Caucus for Art.


2. Norm Magnusson, FF Alumn, at VanBrunt Gallery, Beacon, NY, Aug. 12 - Sept. 4

Norm Magnusson's series of 7 paintings and one sculpture will be opening in Beacon, N.Y. at the Van Brunt Gallery on Saturday, August 12 from 6 to 9 pm. Abandoning the Catholic list, Magnusson has created his own list of seven sins. They are: national arrogance, the tolerance of intolerance, keen sense of environmental entitlement, misallocation of financial blessings, the perversion of the American dream, the desire for risk free living, and how we decide what's good.

Van Brunt Gallery is located at 460 Main St., Beacon, N.Y. For more information, visit www.vanbruntgallery.com or read this review:


Artist's statement:
America’s Seven Deadly Sins

As many artists do, I work in series. And as many artists have done before me, I decided that the seven deadly sins would make an interesting series. It quickly became apparent to me though, that I couldn’t honestly embrace the Catholic list of seven: lust, greed (avarice), envy, sloth, wrath, gluttony, pride.

As an artist, pride is a happily attendant by-product of much of my work. As a father of three heavenly children, I felt that lust had really, finally served me well. As an American and a capitalist, I think that, in addition to its obvious dark side, greed can also be a motivator for good. So I discarded the definitive list of seven and began to create my own; and as I had done for previous projects, I looked to this great country for inspiration. So was born “ America’s Seven Deadly Sins.”

They are not the root sins, from which all others spring (as they are in the original list) and they are not only found here in America, they are simply the most egregious traits this country has to offer.

Here, in no particular order, is my list and a brief description of the sin and the painting that go with it:

Misallocation of financial blessings
Homelessness, healthcare, hunger, education, salary inequities, unredemptive greed. An archaic raccoon trap enticed the raccoon to reach into a box and grab a shiny coin. Once the raccoon held the coin, his clenched fist couldn’t get back out of the box. Inexplicably, the critter would not let go of its treasure to escape.

The perversion of the American dream Lotto mentality, gambling, litigiousness, get rich quick schemes, the stock market. The insidious introduction of systematized luck into the American dream. This painting shows a traditional symbol of craftiness and cunning, the fox, waiting by a rabbit hole for the grand prize to appear. The ground has been cut away and we see there is nothing in the den. The emaciated fox is surrounded by apples and the painting is surrounded by a wheel of fortune on which there are no numbers. The wheel spins in either direction.

The tolerance of Intolerance
Hatred, bigotry, homophobia, misogyny, murder, the death penalty, violence. It’s not actually intolerance, but our society’s tolerance of it that is the true sin. A turtle pulls back into its shell and is inundated by the quick growing weed, poison ivy.

Keen sense of environmental entitlement
Environmental shortsightedness in all its forms. Waste, gluttony, selfishness, wanton destruction, rejection of responsible alternatives to the status quo, disposable culture. The central symbolic element here is a fat, young cowbird, sitting in the nest of an approaching mother robin, waiting to be fed. Cowbirds are parasitic nesters; they lay their eggs in other bird’s nests and leave them for the host parent to raise. The young cowbird will push out the other eggs in the nest, and even after having grown larger than the host parent, will still sit in the nest waiting to be fed.

National Arrogance
Meddling in international affairs where we shouldn’t be, and standing idly by when we should be involved. Geographic isolation spurring psychological separatism from the global community. Putting our country’s interests in front of the interests of the world. America is frequently inconsistent in its actions.  This painting shows a cartoonish animal with a head on either end, each one pulling in a different direction, a pushmepullyou of national identity.

The desire for risk free living
The desire for freedom from accountability/repercussions from our words and deeds. Lying, backpeddling, spin, hedging, the “it’s not my fault” mentality, reluctance to admit culpability, hedging, purposeful victimhood, etc. A skunk goes on the offensive only to wallow in a rotten world of his own creation.

How we decide what’s good
Tribal mentality, taking our cues from mass media, not thinking for ourselves, etc. A circus poster advertises a goat who eats garbage. In the background, lemmings fall off a cliff into the ocean.

The Sculpture
It’s a special aspect of our society,
maybe it’s even human nature, but the fact is that for every element of our culture that we as a society define as bad, there are people who take particular pride in being exemplars of that sin. This sculpture is a tongue-in-cheek trophy: a prize for the extra egregious.


3. Galinsky, FF Alumn, at Bowery Poetry Club, August 11, 8 pm

FF Alum Galinsky performs improv comedy at the Bowery Poetry Club 08/11/2006 08:00 PM - The My Little Eyebrow Sisters Comedy at Bowery Poetry Club NYC 308 Bowery, NYC, 10009,US - $6 The Eyebrow Sisters Power Trio consists of Philip Galinsky Robin Selfridge and Robert Galinsky. More info: http://www.mmslam.com/images/eyebrowboweryaugust.jpg


4. Gary Corbin, FF Alumn, in NY International Fringe Festival, August 13-26

Contact: Cleo Brown (212) 929-4825

NEW YORK , NY 10011
(212) 929-4825
EMAIL: artsdenwelcomesu@yahoo.com
Web Site www.garycorbinactor.com/theartsdennewyork


The Gene Frankel Theatre; SUN August 13 @ 7:15; THU August 17 @ 3; SAT August 19 @ 10:15; MON August 21 @ 5:15; SAT August 26 @ 1:30

New York - July 19, 2006: The Arts Den New York will present FOUR ONE-LEGGED MEN as part of the 10th Annual New York International Fringe Festival- FringeNYC a production of The Present Company. FOUR ONE-LEGGED MEN, caused New York Theatre Wire to rave, "Only a master storyteller can keep an audience focused on the subject and object of the oration. It’s rare, when it happens to you, you remember. Gary Corbin’s stellar one man performance is that kind of performance. Don't miss it! and Backstage to say, "In a bravura performance, Corbin plays a delusional Vietnam veteran. His final dance on one leg must be seen to be believed." Have you ever seen a one-legged man dancing to Ike & Tina Turner’s Proud Mary? You will never hear that song the same way again afterwards! This one-man play, written and performed by Gary Corbin and directed by William Martin tells the stories of four right-leg amputees from different backgrounds, seasons and eras. After a successful run in Buffalo, it premiered in October, 2005 in New York at The Producer's Club, and recently caused a sensation in Montreal. It will run at the Gene Frankel Theatre (Venue #14) whose address is 24 Bond Street (between Lafayette & The Bowery).

FOUR ONE-LEGGED MEN consists of four vignettes about characters people consider disabled, but are dealing with universal situations in life as well. Actor and playwright Gary Corbin received funding from The New York Foundation for the Arts' Gregory Millard Fellowship,the Franklin Furnace and Jerome Foundation's Performance Art Fund and a Theater Commission from The New York State Arts Council. Corbin is a right leg amputee and 30-year cancer survivor who decided to create an opportunity for himself in response to the extremely limited roles offered to actors with disabilities.

His previous works were presented at The Baltimore Playwrights Festival, Dixon Place, Performance Space 122 and The Lower East Side Arts Festival.

For ticket information log onto www.fringenyc.org. You can also call
1-888-FringeNYC (outside New York).


5. Tobaron Waxman, FF Alumn, at Daila, Jerusalem, through Sept. 1

Daila – an intercultural performance space promoting social change through the independent arts, media and educational programs, will be exhibiting works by Tobaron Waxman in their gallery during the World Pride week of events in Jerusalem.

Daila is a non-profit center that opened about 1½ years ago. It is run by a Jewish and Arab team and functions as an alternative cultural center hosting daily lectures, screenings, discussions and performances dedicated to exposing critical voices regarding issues of social, cultural and political concern. Our center’s work is focused on creating a stage and supporting network for organizations, collectives, artists and persons interested in exposing new and alternative discourses seldom available or present in general public discussion.

As an alternative venue in Jerusalem trying to raise issues, ideas and discourses often not available through other channels in the city, Daila found the photography of Waxman to be challenging, thought provoking and mostly pertinent and timely to issues we often discuss and try to raise through the work our center regarding conflict, identity, gender, the notion of ‘other’, and various views on Judaism.

Also showing will be paintings by Gil Yifman, video by Liron Gur.

through September 1

Shlomzion Hamalka 4, West Jerusalem
+972 (0)2 623 4233


6. Helène Aylon, Beverly Naidus, Ruth Wallen, FF Alumns, at University of San Francisco, August 21-October 22

At the University of San Francisco, Thacher Gallery http://www.usfca.edu/library/thacher/
August 21 to October 22, 2006

Using site-specific installations, photography, documented actions, public artworks, and a performance piece, this exhibition turns our attention to the diminishing natural resources and ecosystems on the planet. Bay Area and nationally renown ecoartists include: Helène Aylon, Lauren Elder, Erica Fielder, Basia Irland, Deborah Kennedy, Sant Khalsa, Judith Selby Lang, Richard Lang, Robin Lasser, Melissa Lozano, Linda MacDonald, Kathryn Miller, Beverly Naidus, Sophie Chang Saeed, and Ruth Wallen.

Opening Events:
Thursday, Sept. 7
Artist performance and panel with Melissa Lozano,
Lauren Elder, Basia Irland, and Judith Selby Lang
3–4 p.m., Maraschi Room, Fromm Hall

Opening reception
4–6 p.m., Thacher Gallery, Gleeson Library | Geschke Center

Davies Forum Lectures:
Helène Aylon, Wednesday, Sept. 13
Beverly Naidus, Wednesday, Oct. 11
7–9 p.m., Maraschi Room, Fromm Hall


7. Ricardo Miranda Zuñiga, FF Alumn, new project now online

Copa Sonar: 5 sound performances broadcast live + free beer and wine +over a hundred spectators = a free public event at a highly politicized and contested site in Berlin's mitte.  Organized by Emanuele Guidi, Marco Barotti and Ricardo Miranda Zuñiga in conjunction with sonambiente and tesla. Five experimental sound groups volunteered to overtake a desolate public plaza off of the touristic street Unter din Linden. Performances by ap/xxxxx, B COMPONENT, the rottt (the return of the thinking thing), OLYVETTY, and saal-c are now available for download as
mp3s or high quality aifs - http://www.ambriente.com/copa_sonar/
thank you!


8. Roy Colmer, Ree Morton, Elizabeth Murray, Howardena Pindell, Carolee Schneemann, Pat Steir, FF Alumns, at Univ. of North Carolina at Greensboro, thru October 15

thru October 15, 2006

Weatherspoon Art Museum
The University of North Carolina at Greensboro
Spring Garden and Tate Streets
PO Box 26170
Greensboro, North Carolina 27402-6170

Organized and circulated by iCI (Independent Curators International), New York
The Weatherspoon Art Museum at the University of North Carolina at Greensboro will be the premiere venue for the exhibition, High Times, Hard Times: New York Painting 1967-1975. In the late 1960s the New York art world was, famously, an exciting place to be. New mediums such as performance and video art were developing, and sculpture was quickly expanding in many different directions. Recapturing the liveliness and urgency of this important moment, High Times, Hard Times: New York Painting 1967-1975 delves into the field of experimental abstract painting at a time when it was beginning to be pressed to its limits. Organized and circulated by iCI and curated by Katy Siegel with David Reed as advisor, the exhibition brings together over forty works by thirty-eight artists living and working in New York from 1967 to 1975. The exhibition debuts at the Weatherspoon Art Museum at the University of North Carolina in Greensboro, North Carolina on August 6, continuing through October 15, 2006. It then travels through August 2008 and will also be hosted by the American University Museum at the Katzen Arts Center in Washington, D.C. (November 21, 2006 – January 21, 2007) and the National Academy Museum in New York City (February 13 – April 22, 2007).

High Times, Hard Times not only captures a tumultuous period of political and social change, but also reflects the impact of the civil rights struggle, student and anti-war activism, and the beginnings of feminism in the art world. Painting is the one element usually left out of this complex narrative, remembered only as a regressive foil to the various new mediums. But this version of the story greatly oversimplifies the situation, effacing painting that earned a place among the most experimental work of the moment, very much in sympathy with the era’s radical aesthetics and politics.

The artists in this exhibition range from well-known figures like Yayoi Kusama, Elizabeth Murray, Blinky Palermo, and Richard Tuttle, to now less-familiar names such as Dan Christensen, Harmony Hammond, Ree Morton, and Alan Shields, who were extremely important at the time, as well as influential for other artists. High Times, Hard Times recovers the thrilling innovations of the period, as well as their social context. Half of the included artists are women, and many are African-American (including Al Loving, Joe Overstreet, Howardena Pindell, and Jack Whitten); these identities are not incidental but essential to grasping the possibilities of the period. (And perhaps part of the reason this painting has been left out of the history books; subsequent painting revivals have been adamantly male—as Joan Snyder complained about macho neo-expressionism’s sudden revival of painting, “It wasn’t ‘neo’ to us.”) Artists from other countries who lived temporarily in New York (Yay oi Kusama, Blinky Palermo, Cesar Paternosto, and Franz Erhard Walther) similarly either were not recognized at the time or, conversely, were afterwards excluded from paintings’ canonical history.

Exhibition Sections
High Times, Hard Times is divided into five groups, with categories that are at once formal and chronological. Beginning with a moment of exuberant “flower power” abstraction circa 1968, these paintings are brightly colored and wildly expressive. In the central sections of the exhibition, painting comes off the wall and incorporates installation, performance, and video, embracing new artistic mediums as well as the spirit of liberation moving through the city. At the very end of the exhibition, these innovations are reincorporated into the more conventional medium of painting proper. Like the political legacy of “the 60s,” these experiments never disappeared completely, but have continued to influence the way artists work and think about painting.

The works in the first group, “Spaced Out,” dating from the late 1960s are large, rectangular, stretched canvases hung on the wall—a format based on conventions challenged later in this exhibition—that elicit the mood of euphoria and optimism so prevalent in the late sixties. This feeling is most clearly evoked by the psychedelic colors and optical effects of the works by Dan Christensen, Ralph Humphrey, and Kenneth Showell.

In the second grouping, “Undone,” artists begin to take painting apart. These paintings are often super-thin or made of soft unsupported cloth (Richard Tuttle, Louise Fishman, Howardena Pindell) and some even come off the wall into the room (Al Loving, Lee Lozano), sit on the floor (Lynda Benglis), or are suspended from the ceiling (Manny Farber). The wild array of structures and formats takes liberties with the medium of painting in ways that challenge its history and expand its future.

Installation and performance art are emphasized in “All Over,” the third selection of works that stretch the elastic definition of painting even further, as painters experienced the pressure and possibility of these new artforms. The artists used their bodies and the space of the gallery to incorporate the viewer into the environment of the work. These installations include large floor pieces (Dorothea Rockburne, Franz Erhard Walther) that peel off the wall, spread out and breathe into the room; in some cases the original works will be recreated according to the artist’s instructions. The performance pieces are documented by video (Carolee Schneemann, Yayoi Kusama, Lynda Benglis). Much of this art will be surprising even to scholars and critics of the period, and should elicit reappraisals of some of the lesser-known painters in this exhibition, as well as of the artists more often associated with other mediums and practices.

Film and video exerted their own pull in the early seventies; many if not most avant-garde artists experimented with these new mediums. The fourth group of works, “Interference,” includes paintings that reflect this influence. Using unusual techniques including spraying, iridescence and visual interference, the surfaces of these works suggest filmic effects such as speed, flicker, and distortion (Roy Colmer, Lawrence Stafford, Michael Venezia, Jack Whitten). Many of these painters also used film and video directly, and this section includes film and video works (Roy Colmer, Lynda Benglis) that connect with the paintings through their sense of color and movement.

No artistic culture could indefinitely sustain either the total possibility or the intense doubt of the early 1970s. By the mid-seventies, painters had returned to more traditional stretched-canvas formats, but many brought the innovations of deconstruction, performance and installation with them. In this final group, some of the work, “Bringing It All Back Home,” carries with it a frankly elegiac mood (Joan Snyder), marking the end of the previous moment of limitless horizons. Other paintings are infused with bold color (Mary Heilmann), a celebration of paint’s physical properties (Guy Goodwin, Elizabeth Murray), and even imagery (Pat Steir). While the exhibition’s ending represents a “return” to more traditional forms of painting, it captures not only the discoveries of earlier experiments, but also the tremendous opening-up of painting in the 1970s.

High Times, Hard Times recovers a missing history and provides a broad but detailed context for the monographic surveys recently and currently circulating through major American museums, featuring artists such as Lee Lozano, Manny Farber, Joan Snyder, Elizabeth Murray, Mary Heilmann, and Richard Tuttle. The exhibition also parallels contemporary conditions: many young artists ask, as Al Loving and Richard Tuttle both did in 1968, how painting can matter in a turbulent world. The paintings in this exhibition connect our present moment to a rich and exciting past that continues to resonate today.

Artists in Exhibition
Jo Baer, Lynda Benglis, Dan Christensen, Roy Colmer, Mary Corse, David Diao, Manny Farber, Louise Fishman, Guy Goodwin, Ron Gorchov, Harmony Hammond, Mary Heilmann, Ralph Humphrey, Jane Kaufman, Harriet Korman, Yayoi Kusama, Al Loving, Lee Lozano, Ree Morton, Elizabeth Murray, Joe Overstreet, Blinky Palermo, Cesar Paternosto, Howardena Pindell, Dorothea Rockburne, Carolee Schneemann, Alan Shields, Kenneth Showell, Joan Snyder, Lawrence Stafford, Pat Steir, Richard Tuttle, Richard Van Buren, Michael Venezia, Franz Erhard Walther, Jack Whitten and Peter Young.

Related High Times, Hard Times Events at the Weatherspoon Art Museum:

New York Downtown Films, 7 pm
Thursday, September 7
Suite 212 An electronic collage that presents multiple perspectives of New York's media landscape as a fragmented tour of the city. Nam June Paik, in collaboration with Douglas Davis, Jud Yalkut, and Shigeko Kubota, 1975, re-edited 1977. Courtesy Electronic Arts Intermix (EAI), New York. Color, 30 min.
Participation The Vasulkas’ fascinating portrait of wildly creative people, places and times in New York’s late ‘60s/early ‘70s downtown scene. Steina and Woody Vasulka, 1969-71. Courtesy Electronic Arts Intermix (EAI), New York. B&W, 62 min.

Public Talk - A Conversation with Katy Siegel and David Reed
Sunday, September 17, 2 pm
Katy Siegel and David Reed discuss the New York art world of the 1960s and early 1970s. Book signing follows.

New York Downtown Films, 7 pm
Thursday, October 5
Lunar Rambles: Brooklyn Bridge One part of a series which documents unannounced performances by Terry Fox in five outdoor locations in New York. The resulting tapes were screened each day as part of a larger installation at The Kitchen. Terry Fox, 1976. Courtesy Electronic Arts Intermix (EAI), New York. Color, 30 min. Food A document to the legendary SoHo restaurant and artists' cooperative, Food, which opened in 1971 and was designed and built largely by artist Gordon Matta-Clark. Matta-Clark, 1972. Courtesy Electronic Arts Intermix (EAI), New York. B&W, 43 min. Chronicles: Family Diaries, I The first of Michel Auder's autobiographical films documenting the events, people and places that have constituted his life. Michel Auder, 1970. Courtesy Electronic Arts Intermix (EAI), New York. B&W, 15 min. excerpt.

About the Curator and Advisor
Guest curator, Katy Siegel, is art history professor at Hunter College and contributing editor of Artforum, and advisor David Reed, is an artist working in New York City.

The 176-page catalogue to accompany the exhibition is co-published by iCI and D.A.P. (Distributed Art Publishers). The publication features scholarly essays by curator Katy Siegel and painter David Reed on the artistic and political context of the work. Additional essays, written by Dawoud Bey and Anna Chave, focus, respectively, on African-American and women artists in the New York art world during this period. Statements from 17 artists in the exhibition, critic Robert Pincus-Witten, and curator Marcia Tucker reflect on the art, its meaning, and the social scene of the New York art world. Color illustrations of each work in the show, along with supplementary historic photographs from the period, are also included.

High Times, Hard Times: New York Painting 1967-1975 is a traveling exhibition organized and circulated by Independent Curators International (iCI). The guest curator is Katy Siegel, with David Reed as advisor. The exhibition, tour, and catalogue are made possible, in part, with support from the Peter Norton Family Foundation, the Harriett Ames Charitable Trust, Milton and Sally Avery Arts Foundation, the Dedalus Foundation, Inc., the iCI International Associates, the iCI Exhibition Partners, Kenneth S. Kuchin, and Gerrit and Sydie Lansing.

About the Weatherspoon Art Museum
The Weatherspoon Art Museum at The University of North Carolina at Greensboro has one of the foremost collections of modern and contemporary art in the Southeast. Through a dynamic annual calendar of exhibitions and educational programs, the Weatherspoon provides an opportunity for audiences to consider artistic, cultural, and social issues of our time as it enriches the life of our university and community. The Weatherspoon Art Museum was founded in 1941. A bequest in 1950 from the renowned collection of Claribel and Etta Cone, which included prints and bronzes by Henri Matisse and other works on paper by American and European modernists, helped to establish the Weatherspoon’s permanent collection. Today, the collection represents all major art movements from the beginning of the 20th century to the present. The Weatherspoon is not only an educational facility serving the students and faculty of UNCG, but is also a nationally recognized art museum serving the Triad co mmunities and art audiences from the state, region and beyond. The museum is accredited by the American Association of Museums and receives support from the North Carolina Art Council, IMLS, Andy Warhol Foundation, the Elizabeth Firestone Graham Foundation, The Tannenbaum-Sternberger Foundation, Community Foundation of Greater Greensboro and numerous businesses and individuals. For more information about the Weatherspoon Art Museum, visit our website at: http://weatherspoon.uncg.edu

Weatherspoon Art Museum
The University of North Carolina at Greensboro
Spring Garden and Tate Streets
PO Box 26170
Greensboro, North Carolina 27402-6170

For more information or additional press images, contact: Loring Mortensen, 336-256-1451, lamorten@uncg.edu


9. Nicolás Dumit Estévez, FF Alumn, at nyartsmagazine.com

Please visit the link below to see a review on the work of Nicolás Dumit Estévez, FF Alumn. Thank you.



Goings On is compiled weekly by Harley Spiller


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