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ABOUT GOINGS ON: How to subscribe and submit listings

 

 

Goings On: posted week of March 3, 2008

CONTENTS:

1. Stanya Kahn, FF Alumn, in The New York Times & Whitney Biennial
2. Susana Cook, FF Alumn, Festival de Teatro Alternativo, Bogota, Colombia, March 7-9
3. Yana Kraeva, FF Alumn, at SUNY Stony Brook, Long Island, thru Mar. 29
4. Terence Gower, FF Alumn, at The Aldrich Musuem, Ridgefield, CT, opening Mar. 9
5. Jenny Polak, FF Alumn, at Pomegranate Gallery, Manhattan, thru Mar. 29, and more
6. Regina Silveira, FF Alumn, at Museo de Antioquia, Medellin, Colombia, thru May 11
7. Anita Ponton, FF Alumn, at Centre Cultural de la Merce, Girona, Spain, Mar. 6-8
8. Richard Torchia, Andrea Fraser, David Hammons, Laura Parnes, FF Alumns, at Arcadia Univ., Glendale, PA, opening March 5, 6:30 pm
9. Roberta Allen, FF Alumn, at Happy Ending, Manhattan, Mar. 13, 8 pm
10. Ricardo Miranda Zúñiga, FF Alumn, at Vox Populi, Philadelphia, PA, opening Mar. 7
11. Eugene Rodriguez, FF Alumn, at Pawtucket Armory, Rhode Island, and more
12. Lynn Cazabon, FF Alumn, at Montpelier Arts Center, Laurel, MD, Mar. 7-April 25
13. Licio Isolani, FF Alumn, at Pratt, Brooklyn, April 1-2
14. Deborah Garwood, Robin Tewes, FF Alumns, at Philoctetes, Manhattan, thru Apr. 16
15. Liliana Porter, FF Alumn, at Barbara Krakow Gallery, Boston, thru April 19
16. Cheri Gaulke, Jerri Allyn, FF Alumns, at The Bronx Museum, thru August 4
17. Tribute to Arlene Raven, and Mona Hatoum, FF Alumns, at NJ City University, Jersey City, NJ, opening March 5
18. Ruth Hardinger, FF Alumn, at Tama, Manhattan, March 6, 7 pm
19. Lady Pink, FF Alumn, at Ad Hoc Art, Brooklyn, opening March 21, 7-10pm
20. Tiffany Ludwig, FF Alumn, at Bronx River Art Center, Bronx, NY, opening March 7

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1. Stanya Kahn, FF Alumn, in Whitney Biennial at The Armory, March 17, 8 pm

Stanya Kahn and Harry Dodge, video works in the 2008 Whitney Biennial. “Can't Swallow It, Can't Spit It Out” airs at the Museum, opening March 6th. A new piece, All Together Now, screens as part of the Whitney Biennial at the Armory on 72nd Street on March 17th at 8pm with Seth Price

AND here is the text of an illustrated NY Times article from March 2, 2008

Art: Unsettling, in a Funny Sort of Way By Jori Finkel

Los Angeles…Once the screen went black and the applause died down, the chorus of questions began. “Where did you get all the dead animal footage?” one viewer asked. Another asked, “Those blue people in the basement, what are they called?”

This was not your usual question-and-answer session after a film screening. The video artists Harry Dodge and Stanya Kahn had invited friends and collaborators to their home in the Highland Park neighborhood to see the final cut of their new work, “All Together Now,” which makes its official debut on March 17 in New York.

In the past they have hung a large muslin sheet in their backyard for such screenings. This time, because of rainy weather, these artists decided to take the show inside Ms. Kahn’s studio, a former garage behind the house.

What they screened might be described as their most ambitious work to date, a 26-minute piece that took the better part of nine months to complete. It is also their most disturbing work, dispensing with dialogue and taking place in a burnt-out, post-urban version of Los Angeles.

It opens with Ms. Kahn, face bloodied and hair wild, bludgeoning something in a bush. The “blue people” who soon appear (wearing blue hoods over their faces, Ku Klux Klan style) prove surprisingly chummy, working on tasks like chopping wood together. But the imagery is unsettling enough that one guest that night, Julia Bryan-Wilson, said she was planning to add the work to her syllabus for a course at the University of California, Irvine, on the apocalypse in contemporary art.

This video will be screened at the Park Avenue Armory as part of the off-site programming for the Whitney Biennial. The artists’ 2006 work “Can’t Swallow It, Can’t Spit It Out” will play on a loop at the Whitney Museum of American Art. And “California Video,” an exhibition opening on March 15 at the J. Paul Getty Museum in Los Angeles, will include two of their earlier pieces, “Let the Good Times Roll” from 2004 and “Whacker” from 2005.

Yet what promises to be an important year for the couple professionally is also a challenging one personally. After almost 10 years together, including a wedding ceremony and the birth of their son, the two separated last fall. Ms. Dodge, who was born Harriet but now goes by Harry and says she does not identify as “either male or female particularly,” has moved a few blocks away from Ms. Kahn. They said they are “co-parenting” their 3-year-old son and plan to continue collaborating artistically too.

The two first met in 1993 in San Francisco, where they were both part of a low-rent, do-it-yourself, identity-obsessed and queer-inspired performance scene. Ms. Kahn was in a solo show at 848 Community Space, when Ms. Dodge — a co-founder of a cafe-theater called the Bearded Lady — came to see her.

“She was so embodied,” Ms. Dodge said. “One of the things I love is when a performance is so authentic and/or vulnerable that it pierces the skin, the air, the things that mediate between people. It has to do with finding energy in the moment, responding to the right now, the skin of right now, in a way that creates this massive spark or electricity. That was there the first time I saw Stanya perform.”

More recently their goal has been to bring some of that electricity — the energy of live, intimate and improvised performance — into video art, offering an alternative to the slick production values of, say, a Matthew Barney. They began working together after moving to Los Angeles, by way of New York, in 2001.

Their first short, “Winner,” features Ms. Kahn as Lois, a struggling artist who has just won a cruise through a radio call-in contest and is expected to give the cameraman who has tracked her down one good sound bite about how excited she is. Only it emerges that she was actually calling in to request a song, has no intention of taking the cruise and would much rather show him and his audience her lumpy sculptures, stored in the trunk of her car.

“Winner” was shot in a day, with video and sound editing finished within a week. It established the standard division of labor between Ms. Kahn, who typically performs, and Ms. Dodge, who typically serves as the male cameraman, staying out of sight but within earshot in a way that he too becomes a character. Otherwise, the two share usually share responsibilities, from costuming and concept development to video and sound editing.

Like many of their pieces “Winner” was largely improvised. “We had this idea of a guy doing an interview with a lady who kept sculpture in her car,” Ms. Dodge said. “But it wasn’t until we drove up to the parking lot to start shooting that we figured out he was from a radio station.”

That the main character doesn’t know what’s coming next (she can’t, for example, remember the call letters of the radio station) is perceptible, creating moments of real suspense and comic resolution. (Lively editing helps.)

“I don’t mean in any way to compare our work to Andy Kaufman’s,” said Ms. Kahn. “But there’s something Kaufmanesque about this desire to empty yourself out and put anything you want in that space.”

The character of Lois returns in “Let the Good Times Roll.” This time she sits in a hotel room in the desert, telling the loopy story of a sex- and drug-fueled night that culminated in her receiving an Ecstasy enema. Glenn Phillips, a contemporary art curator at the Getty who picked it for the “California Video” survey, said it was the first piece he had seen by these artists. He has been finding ways to show it ever since.

“For starters, it’s just hilarious,” he said. “And I’m also interested in the way that humor for them is the mask for more philosophical ideas”: whether it’s an exploration of mind/body duality, the perils of social conformity, or the struggle of one individual to connect with another.

Or, as Ms. Kahn put it: “Entertainment is a way in for us. Our pieces end up not fully fitting any specific genres, but we have deep affinities to traditional entertainment, from vaudeville songs and dances to sketches, jokes, and stand-up comedy, from narrative filmmaking to live rock ‘n’ roll performances.”

Mr. Phillips has also included their video “Whacker,” which falls somewhere between punk performance and theater of the absurd, in the Getty exhibition. Seven minutes long, it features Ms. Kahn buzzing her way through an overgrown hill with an electric weed cutter. By the time she is done, if she is ever done, new weeds will surely have grown in her wake.

“It’s about the feral — the persistence of the weeds, the wild grass that insists on growing,” Ms. Dodge said.

Ms. Kahn added, “And a woman who is as tenacious as the weeds.”

The artists’ early videos made the rounds at indie film festivals before finding a home in the art world in 2006, when the New York dealer Elizabeth Dee gave them their first solo show. That was the first public screening of “Can’t Swallow It, Can’t Spit It Out,” which the Hammer Museum in Los Angeles included in its exhibition “Eden’s Edge” last year and the Whitney also tapped for the coming Biennial.

Shamim Momin, one of the Biennial’s curators, said she imagined that “Can’t Swallow” could become the “sleeper hit” of the show. “We chose it because it was their most resolved piece,” she said, “in terms of pacing, dialogue, rhythm of the dialogue.” She also said she hopes it will resonate with other pieces in the show that share “a sort of oblique or embedded politics, where the artist is responding to a sociopolitical situation without holding a protest sign.”

The artists have described “Can’t Swallow It,” made during the third year of war in Iraq, as their “portrait of civilian anxiety in a time of war.” Ms. Kahn plays a character they call the Valkyrie who wears a Viking helmet and carries a large foam wedge of Swiss cheese through a blighted Los Angeles landscape. Ms. Dodge is the videographer who follows her around, recording her paranoid imaginings, or memories.

Ms. Dodge said the concept grew out of a fascination with the uses of video today. “We always look at who is taking video, and ask ourselves why. And one function is the citizen watch, the idea that you can shoot something like the Rodney King video and change the world.” So they came up with the idea of a cameraman perched outside a hospital who wants to capture some abuse of political power and finds the Viking character instead.

The artists warned against taking the character too literally. “We haven’t resolved it,” Ms. Kahn said. “Maybe she works at a local theme park or maybe she’s homeless.” There’s also the “hazy possibility,” the artists once wrote, that she is actually a Valkyrie who ushers the spirits of slain heroes to Valhalla.

This kind of ambiguity is amplified in their new work, “All Together Now,” in which the characters’ identities are anything but clear. Formlessness competes with narrative, noise vies with music and there are those obfuscating hoods in blue and white. The blue hoods are blank. The white hoods have crude faces drawn on them with tape.

Ms. Dodge described the hoods, which they have used on occasion before, as part of a larger experiment. “What is a performance without language? Without a face?” she asked.

This direction could be risky, considering the praise critics have lavished on Ms. Kahn’s inventive storytelling in the past. “Harry and Stanya could have kept making narrative works without any lag in their career,” Mr. Phillips said. “But here they are purging themselves of almost everything that people have found interesting — language, a certain kind of expressiveness.”

It’s hard to forget that the artists’ relationship was disintegrating while the piece was being made. “Where I see sadness and darkness in the work, it’s on a personal level for me,” Ms. Kahn said.

But both said they see something hopeful in the video as well.

Ms. Kahn’s character appears to live off the land, whether running river water through a siphon or dragging a plant root through her teeth. She sees foraging as a model for their creative process for this video, which was low on budget and high on resourcefulness. (For the animal scenes they made use of local roadkill.)

And “All Together Now” does offer a particular vision of kinship in the aftermath of society. The hooded people, however voiceless and faceless, work together like families. And you see still-hoodless children — including shots of Ms. Kahn and Ms. Dodge’s son, Lenny — playing in the sand.

“Some people have said this is about a new kind of love,” Ms. Dodge said. “I hope it is about that.”

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2. Susana Cook, FF Alumn, Festival de Teatro Alternativo, Bogota, Colombia, March 7-9

Inseguridades de la Seguridad Nacional (Homeland Insecurities) is a powerful political satire that focuses on parallels between the dictatorship in Argentina and the present U.S. administration. Showing how discourse masks state inflicted terror and how torture is made invisible through the manipulations of language , Susana presents politics as a theater of discourse itself, using humor as a tool for exposing the rationales used by those in power to justify oppressions against minorities.

Written, Directed and Performed by Susana Cook Original Music by Julian Mesri
March 7th at 7-30pm. Teatro Ditirambo
March 9th at 7-30pm. Teatro Acto Latino

For more information: http://www.susanacook.com

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3. Yana Kraeva, FF Alumn, at SUNY Stony Brook, Long Island, thru Mar. 29

Dear Friends,

I would like to invite you to the Thesis Exhibition "What We Wished For" at the Staller Center Art Gallery at Stony Brook University. The show includes the works of four artists who are graduating from Art Department this Spring: Lorena Salcedo-Watson, Amy Marinelli, Ha Na Lee, & Yana K.M.

The show runs through March 29, 2008 Gallery hours: Tuesday - Friday, 12 pm - 4 pm; Saturday, 7 - 9 pm Closed Sunday, Monday, & holidays

Hope to see you there!

Please email me with any questions at yanakr@hotmail.com

Best regards,
Yana

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4. Terence Gower, FF Alumn, at The Aldrich Musuem, Ridgefield, CT, opening Mar. 9

Opening at The Aldrich: Painting the Glass House: Artists Revisit Modern Architecture
Sunday, March 9, 2008; 3 to 5 pm, 2 pm Panel Discussion
Round-Trip Transportation from NYC Available

http://www.aldrichart.org/contact/mail/mailings/PtGHeBlast3.html

The Aldrich Contemporary Art Museum
258 Main Street
Ridgefield, CT 06877
http://www.aldrichart.org

THE ALDRICH PRESENTS PAINTING THE GLASS HOUSE: ARTISTS REVISIT
MODERN ARCHITECTURE

Painting the Glass House: Artists Revisit Modern Architecture—curated by Jessica Hough and Mónica Ramírez-Montagut—will open at The Aldrich on Sunday, March 9, 2008.

The exhibition brings together two-dimensional works (including video) in various media by Alexander Apóstol, Daniel Arsham, Gordon Cheung, David Claerbout, Angela Dufresne, Mark Dziewulski, Christine Erhard, Cyprien Gaillard, Terence Gower, Angelina Gualdoni, Natasha Kissell, Luisa Lambri, Dorit Margreiter, Russell Nachman, Enoc Perez, and Lucy Williams—a collection that explores an interest among emerging artists in architecture of the modern period.

Modern architecture is generally identified with buildings by Le Corbusier, Philip Johnson, Mies van der Rohe, and Frank Lloyd Wright, which represent a period driven by developments in technology, engineering, and the introduction of industrial materials such as iron, steel, concrete, and glass. Architects at this time engaged in a practice that not only incorporated structural innovations, but also encouraged social change.

The artists featured in the exhibition are interested not only in the potential of utopian ideas, but also the sense of a passing idealism that modern architecture now embodies. Hough comments, “The artists are less interested in the built structures themselves and what it might feel like to be inside one, and more interested in the philosophy and idealism they represent. The way in which the buildings signal a possibility of utopia is essential—a future that could have been. Sentimentality runs through much of the work.”

Ramírez-Montagut adds, “This melancholic remembrance comes at a time when great works of modern architecture are at risk due to neglect, deterioration, and demolition. Underlying all the artworks is a feeling of deep admiration for the architects who sought to elevate culture and bring it to the broad masses, yet their sense of failure is also prevalent; the artists’ knowledge of modern architecture’s crisis and demise tints their works with some kind of nostalgia.”

The Aldrich will host an Exhibition Reception on Sunday, March 9, 2008, from 3 to 5 pm. Prior to the opening there will be a 2 pm Panel Discussion: Painting the Glass House: Artists Revisit Modern Architecture, with curators Jessica Hough and Mónica Ramírez-Montagut, along with artists Daniel Arsham, Angela Dufresne, and Terence Gower. The reception is FREE for members. Refreshments will be served. Round-trip transportation from New York City is available; please call the Museum at 203.438.4519 for reservations. Please note that the bus will not arrive in time for the panel discussion. The reception and panel will take place at the Museum located at 258 Main Street, Ridgefield.

A book related to the exhibition is being co-published by The Aldrich Contemporary Art Museum, Mills College Art Museum, and Yale University Press, and is scheduled for a fall 2008 release.

Painting the Glass House: Artists Revisit Modern Architecture has been organized by The Aldrich Contemporary Art Museum with the Yale School of Architecture Gallery. Both The Aldrich and Yale will present a portion of the exhibition in their galleries. The exhibition will travel to Mills College Art Museum in California following its Connecticut debut. Exhibition dates: Yale School of Architecture Gallery (New Haven, CT): February 11 to May 9, 2008; The Aldrich Contemporary Art Museum (Ridgefield, CT): March 9 to July 27, 2008; Mills College Art Museum (Oakland, CA): January 14 to March 22, 2009.

ALSO OPENING AT THE ALDRICH ON SUNDAY, MARCH 9, 2008:

Halsey Burgund: ROUND (on view through July 27, 2008); Gary Panter: Daydream Trap (on view through August 31, 2008); Ester Partegàs: The Invisible (on view through August 10, 2008).

ABOUT THE MUSEUM:
The Aldrich is one of the few non-collecting contemporary art museums in the United States. Founded on Ridgefield’s historic Main Street in 1964, the Museum enjoys the curatorial independence of an alternative space while maintaining the registrarial and art-handling standards of a national institution. Exhibitions feature work by emerging and mid-career artists, and education programs help adults and children to connect to today’s world through contemporary art. The Museum is located at 258 Main Street, Ridgefield, CT 06877. All exhibitions and programs are handicapped accessible. Regular Museum hours are Tuesday through Sunday, 12:00 noon to 5:00 pm. For more information call 203.438.4519.

Contact: Pamela Ruggio
Phone: 203.438.4519
Email: pruggio@aldrichart.org

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5. Jenny Polak, FF Alumn, at Pomegranate Gallery, Manhattan, thru Mar. 29, and more

Dear Friends: my work is in 2 new shows – one opening tonight at the Pomegranate Gallery in Greene st. SoHo: the other on San Antonio TX. Other shows are still ongoing (info at jennypolak.com) at Rutgers’ (Newark) Paul Robeson Gallery/NJIT and the Tompkins Public Library in Ithaca NY. I hope you can have a look..

Best,Jenny Polak
http://www.jennypolak.com

ELIGIBLE TRAFFIC
MARCH 7 - APRIL 5, 2008
OPENING RECEPTION
Friday March 7, 5-7pm
at the Trinity University Art Gallery, San Antonio, TX

The exhibition features a group of artists including: David Avalos, Louis Hock, & Elizabeth Sisco, William Betts, Margarita Cabrera, Ann Carlson & Mary Ellen Strom, Pedro Lasch, Yoshua Okon, Jenny Polak, Lordy Rodriguez, and Gary Sweeney

Eligible Traffic is a term that refers to a designation employed by the Department of Defense in which the law regulates the flow of individuals. “Eligible Traffic” addresses the subject of the undocumented immigrant and the legal formalities that differentiate the permitted from the excluded, responding to the current geo-political conflict involving the US/Mexico border.

An experiment in curatorial collaboration, “Eligible Traffic” is a collaboration between the students from Trinity University’s Gallery Practicum seminar and guest curator, NYC-based artist, Steven Lam. Through personal interaction with artists and scholars, the seminar utilizes the exhibition format as a hand-on pedagogical tool addressing topical concerns through the lens of artistic practice.

PIECE PROCESS: Every Wall Shall Fall

Through March 29, 2008
Pomegranate Gallery (supported in part by the Oded Halahmy Foundation)
133 Greene Street
New York NY 10012
212-260-4014
www.pomgallery.com <http://www.pomgallery.com/>

Artists:

Granite Amit, Doris Bittar, Rajie Cook, Abdelali Dahrouch, Joyce Dallal, Hanah Diab, Michele Feder-Nadoff, John Halaka, Kanaan Kanaan, John Pitman-Weber, Jenny Polak, Amie Potsic

Also on view: contemporary Iraqi art from the Gallery collection.

PIECE PROCESS STATEMENT

Formed in 2002, Piece Process is a group of artists, Israeli and Palestinian, Jewish and Arab, men and women, committed to exhibiting together in order to explore the Israel-Palestine conflict and the possibility of peace. Exhibiting in the US, we engage this country’s deeply inequitable involvement in the conflict and our personal ties to it. We share the belief that all co-existence must be based on the principles of human rights and equality. Piece Process underlines the internal processes we undergo; it strengthens our artistic voices, and shows our personal narratives as inextricably intertwined. The diverse work of these artists (through varied media and visual vocabularies) allows Piece Process to bring about, in the spectator’s mind, a broader conceptualization of humans in situations of conflict and a deeper understanding of coexistence.

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6. Regina Silveira, FF Alumn, at Museo de Antioquia, Medellin, Colombia, thru May 11

"Sombra Luminosa" curated by José Roca, at the Museo de Antioquia, in Medellin.
From February 21st to May 11, 2008.

"Sombra Luminosa" com curadoria de José Roca, no Museo de Antioquia, Medellin.
21 de fevereiro a 11 de maio, 2008.

Regina Silveira

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7. Anita Ponton, FF Alumn, at Centre Cultural de la Merce, Girona, Spain, Mar. 6-8

Hello everyone

Below are some details of a new show I am taking part in. It is an annual celebration for Women's Day and features some fabulous artists!

Marking International Womens Day 2008, Gresol present SiNERGiA a special performance event featuring 15 international performance artists. Work will be shown over a 3 day period (6-8th March 2008) in the Centre Cultural de la Merce in the town of Girona, Spain

Participating artists include:

Anita Ponton
Denys Blacker
Fiona Wright
Sandra Johnson
Robin Poitras
Nieves Correa
Isabel Leon
Elvira Santamaria
Maria Cosmos
Anet van Elzen
Danielle van Vree
Leanne Lloyd
Gresolart.com

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8. Richard Torchia, Andrea Fraser, David Hammons, Laura Parnes, FF Alumns, at Arcadia Univ., Glendale, PA, opening March 5, 6:30 pm

I hope you can join us for "Air Kissing: An Exhibition of Contemporary Art about the Art World" opening this Wednesday, March 5, at 6:30 PM with a panel discussion in Arcadia's Little Theatre followed by a public reception.

http://gargoyle.arcadia.edu/gallery/07-08/air-kissing.htm

Curated by Sasha Archibald for Momenta Art (Brooklyn), "Air Kissing" addresses some legitimate grievances about the art world in engaging and entertaining ways. The panel discussion prior to the reception promises to be interesting.

I look forward to seeing you there if you're able to attend.

Thank you. RT

Air Kissing: An Exhibition of Contemporary Art about the Art World

March 5 – April 20

Participating artists: Alex Bag, Conrad Bakker, Brainstormers, BANK, Jennifer Dalton, Elmgreen & Dragset with Lizette Kabré, Andrea Fraser & Jeff Preiss, David Hammons, Jason Irwin, Christian Jankowski, Kalup Linzy, Lee Lozano, James Mills, Elena Nemkova, Carl Pope, William Powhida, William Bryan Purcell, Mira Schor, and Amanda Trager.

Curated by Sasha Archibald.

OPENING EVENT

March 5 at 6:30 p.m, Arcadia University Theatre, Spruance Fine Arts Center. Panel discussion with exhibition curator Sasha Archibald and participating artists James Mills, William Powhida, Mira Schor, and Momenta Art co-director and artist Laura Parnes. Opening reception to follow immediately afterward in the gallery.

About the Exhibition

Featuring 35 works in diverse media by 22 regional and international artists, artist teams and collectives, the show explores the double-bind faced by artists navigating their desire to work (and succeed) in a world they hold in low regard.

Using self-deprecation, humor, sharp criticism, and a deliberate mix of high culture with low, the artists in “Air Kissing” give voice to a number of legitimate grievances about the art world. Works in the exhibition by Andrea Fraser & Jeff Preiss, Elena Nemkova, and William Powhida take up artists' relationships with collectors while the London-based collective BANK use their unsolicited “Fax-Bak” service to correct the art-babble clichés, grammatical errors, and exaggerated claims of press-releases issued by commercial galleries. Mira Schor's paintings compulsively document the lack of studio time for making work; Alex Bag's video parodies the plight of young art students; and Kalup Linzy's overblown soap opera spoof uses drag to examine the emotional drama of desiring art world success. Conrad Bakker and William Bryan Purcell speak to the stratification of institutional funding, particularly the fact that struggling non-profit galleries often rely on donations from emerging artists no more flush than the gallery. The work of Carl Pope and Amanda Trager addresses the phenomena of art world fame, while the graphs and charts developed by Jennifer Dalton and the Brainstormers (building on research begun by the Guerilla Girls 20 years ago), respectively create a statistical portrait of New York artists and make explicit the continuing gender inequities manifest by gallery exhibitions. Commercial signage by James Mills bespeaks the frenzied art market, as does Jason Irwin's minimalist cube turned racecar, as well as the behind-the-scenes work of art handlers. David Hammons takes a canonical monograph on Duchamp and rebinds it as the Bible, suggesting (among other things) the art world's predilection for accepted dictums. Lizette Kabré's photographs of the opening celebrations of Elmgreen & Dragset's Prada Marfa project—a Prada boutique in the Texas desert—poignantly capture the partygoers' isolation. Lastly, Christian Jankowski records Italian television-based fortune-tellers responding to questions about his forthcoming project for the Venice Biennale. The resulting work—comprised of the televised dialogues between Jankowski and the card-readers—reveals a seemingly irreconcilable gap between the earnest prophecies offered by professional mystics and the strategies of contemporary artists.

The insularity addressed by these and other works in the show highlight the art world's biggest problem, a handicap that leaves it not only embarrassingly homogeneous, but unaware of its own narrow confines. All irony aside, what's to be done? The painter and conceptual artist Lee Lozano took this question seriously, beginning an art world boycott at the height of her fame in the late 60s that she continued for nearly thirty years. Lozano described the strike as "the hardest work I have ever done." As the works in “Air Kissing” attest, staying in the New York art world isn't easy either.

Sasha Archibald is a Brooklyn-based writer and curator. “Air Kissing” was originally presented in November-December 2007 at Momenta Art (Brooklyn), and has been expanded for its installation at Arcadia. First established in Philadelphia in 1986 by Eric Heist, Donna Czapiga and James Mills, Momenta Art is an artist-run charitable institution that works to promote emerging and under-represented artists. In 1992, under the direction of Heist and Laura Parnes, it relocated to New York City and began presenting exhibitions in a variety of temporary venues in Manhattan. In March of 1995 Momenta Art reopened in a permanent exhibition space in Williamsburg, Brooklyn.

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9. Roberta Allen, FF Alumn, at Happy Ending, Manhattan, Mar. 13, 8 pm

I will read Thursday, March 13, 8 PM, Free in the Reading Series Mr. Beller's Neighborhood

at Happy Ending
302 Broome St.
at the intersection of Broome St. & Forsyth St.

212 334-9676

Also reading: Dr. Julia Nevarez, environmental psychologist,
Michele Carlo, writer

Hope you can come!

Best,

Roberta
robertaallen.com

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10. Ricardo Miranda Zúñiga, FF Alumn, at Vox Populi, Philadelphia, PA, opening Mar. 7

On Transmitting Ideology
an installation by Ricardo Miranda Zúñiga Vox Populi

319 A. North 11th Street, 3rd Floor, Philadelphia PA. 19107 March 7 – March 30, 2008 Opening Reception: Friday, March 7th, 6-10pm

As we walk the streets our bodies pierce magnetic fields. On Transmitting Ideology will present an installation of several wooden guns outfitted with radios broadcasting declarations on freedom and transformation in our society. By manipulating historical and contemporary speeches that have targeted mass audiences Ricardo Miranda Zúñiga presents a poignant critique on the construction of consciousness through the rhetoric of ideology and the refrain of leadership. The radio transmissions framed in hand-crafted wooden AK47s and Uzis point to the power that mass media wields in the dissemination of information.

The exhibition will also feature two recent video commissions that question the outcome of popular notions of freedom, liberty and the power of capital. Carreta Nagua, Siglo 21 (2007) is an animation that tells a tale of immigration, aging and cultural and familial loss. Two aging television super heroes, Ultraman and El Chapulin Colorado take the voices of the artist's parents as they look back upon their lives and consider the price of immigration. El Rito Apasionado (2007) takes place in a hotel room where three Guevarrian Neo-Marxist Latino Terror Revolutionaries from Cuba, Nicaragua and Mexico gather to prepare an act against the history of U.S. intervention.

Ricardo Miranda Zúñiga was born of immigrant parents and grew up between Nicaragua and San Francisco and holds degrees from UC Berkeley and Carnegie Mellon University. His work has been presented around the world most recently at the House of World Culture, Berlin; Laboratorio Art-Alameda, Mexico City; the National Center for Contemporary Art, St.

Petersburg, Russia; the New Museum and Momenta Art in New York City.

On Transmitting Ideology will be open to the public Wednesday through Sunday noon – 6pm. For more information please contact Vox Populi: 215

238 1236; http://www.voxpopuligallery.org/

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11. Eugene Rodriguez, FF Alumn, at Pawtucket Armory, Rhode Island, and more

Pawtucket Armory/Arts Exchange
172 Exchange St.
Pawtucket, Rhode Island

For more information
www.reconnectus.org

And

"Experiencing the War in Iraq"
March 6-30, 2008 @Machines with Magnets
400 Main St.

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12. Lynn Cazabon, FF Alumn, at Montpelier Arts Center, Laurel, MD, Mar. 7-April 25

LYNN CAZABON

DILUVIAN

March 7 - April 25

opening reception: Sunday, March 9, 2-4pm

Montpelier Arts Center

Library Gallery
9652 Muirkirk Road
Laurel, MD 20708
301-953-1993

open every day, 10am-5pm
www.pgparks.com

directions from Baltimore: MD-295 S (towards D.C.) take exit for MD-197 (Laurel/Bowie) turn right onto MD-197 Laurel Bowie Road turn left on Muirkirk Rd, center is on right

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13. Licio Isolani, FF Alumn, at Pratt, Brooklyn, April 1-2

INVITED SPEAKERS

Bernhard Blumich
RWTH University of Aachen, Germany
Mauro Bacci

Institute of Applied Physics, Nello Carrara
Florence, Italy
Frima Fox Hofrichter
Chair History of Art and Design, Pratt

Diana Gisolfi
Director of Pratt in Venice,
History of Art and Design, Pratt

Licio Isolani
Fine Arts, Pratt

Deborah Schorsch
The Metropolitan Museum of Art

Lisa Bruno
The Brooklyn Museum of Art

Silvia Centeno
The Metropolitan Museum of Art

Julie Arsoroglu
The Metropolitan Museum of Art

Mary Oey
The Morgan Library

Science & Artists’ Materials, Techniques and Conservation
2nd Science & Art and Symposium at Pratt Institute

April 1st and 2nd , 10 am, ARC E2
Bronze casting workshop

Organized by the School of Liberal Arts and Sciences and the Department of Math & Science

For more information and RSVP

Contact Prof. Eleonora Del Federico
edelfede@pratt.edu
718-636-3764

Thanks to the Alfred P. Sloan Foundation, the Brystol Myers Squibb Foundation, the Andrew W. Mellon Foundation, the Samuel H. Kress Foundation

April 2nd 10:00 am, Room ARC E2

“Science and Artists’ Materials, Techniques and Conservation”

10:00 am

Introduction: Prof. Eleonora Del Federico

10: 10 am.

"What Lies Beneath: Technical Studies of Some 17th-Century Dutch and Flemish Paintings“ Prof. Frima Fox Hofrichter, Chair, History of Art and Design. 10: 35 am.

"Conservation and Recreation: Veronese's Cana from Palladio's Refectory at San Giorgio Maggiore in Venice" Prof. Diana Gisolfi, History of Art and Design and Director of Pratt In Venice.

11 am- 11:15 am Coffee break

11:15 am

"Conserving Egyptian Funerary Materials, How Science Informs Conservation“ Lisa Bruno, Conservation Department, The Brooklyn Museum of Art 11:45 am

“Seeing Meaning in Manufacture--Bronze Statuary from Ancient Egypt" Deborah Schorsch, Department of Objects Conservation, The Metropolitan Museum of Art 12:10 am -2:30 pm-

Lunch break

12:10 pm- 4 pm

Bronze Casting Demonstration, The Metal Shop (Chemistry Building, 3rd Floor

Prof. Licio Isolani, Sculpture, Pratt Institute

2:30 pm.

“Consolidatrion methods for Medieval Illuminated Manuscripts” Mary Oey, Paper Conservation, the Morgan Library

2:55 pm

"What does antibody technology tell us about artists' materials?”Dr. Julie Arasoglu, Department of Scientific Research, The Metropolitan Museum of Art

3:20 – 3:35 pm Coffee Break

3:35 pm ”Non invasive characterization of deterioration processes in daguerreotypes” Dr. Silvia Centeno, Department of Scientific Research, The Metropolitan Museum of Art

4.05 pm

“Lapis lazuli: an old, but not yet fully understood pigment" Dr. Mauro Bacci, head of research, Istituto di Fisica Applicata "Nello Carrara" - IFAC-CNR

Thanks to the Alfred P. Sloan foundation, tthe Andrew W. Mellon Foundation, the Samuel H. Kress Foundation and the Bristol Myers Squibb Foundation

April 2nd, 10: 00 am Room: ARC E2

“Nuclear Magnetic Resonance, Art and Mummies”

10 am. “Nuclear Magnetic Resonance NMR, Art and Mummies”, Prof. Bernhard Blϋmich, RTWH Aachen University

Prof. Bernhard Blϋmich Macromolecular
Chemistry, RWTH Aachen University,
Germany, and developer of the NMR MOUSE.

Prof. Blϋmich will also conduct an NMR

MOUSE tutorial at 12pm in ARC D4

11:00 am. “Collaborative research projects between Pratt, NYU and The Metropolitan Museum of Art”

Prof. Eleonora Del Federico, Pratt Institute, Prof. Alexej Jerschow, New York University and Dr. Silvia Centeno, The Metropolitan Museum of Art and

11:10 am “NMR of Ultramarine Blue and Lapis Lazuli”

Jacob Newman, Chemistry Department, New York University

11:30 am. “Stains on works on paper. Latest results on the NMR studies”

Victoria Russell, Chemistry Department, New York University

11:45 am- Coffee break

12 pm. “How does the NMR MOUSE work?”

NMR MOUSE tutorial

Prof. Berhard Blumich. Chemistry and Art Lab, ARC Building D4

For information and Registration please contact Eleonora Del Federico: edelfede@pratt.edu or the

Department of Mathematics and Science at 718-636-3764

Metal Shop Chemistry Builiding 3rd Floor

Directions to campus: http://www.pratt.edu/campus/brooklyn_campus#

ARC-D4 (Lower Level) Chemistry and Art Lab ARC ARC E-2 (Lower Level)

Digital Arts Department, Main Entrance Subway station

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14. Deborah Garwood, Robin Tewes, FF Alumns, at Philoctetes, Manhattan, thru Apr. 16

THE PHILOCTETES CENTER
FOR THE MULTIDISCIPLINARY STUDY OF IMAGINATION
AT THE NEW YORK PSYCHOANALYTIC INSTITUTE
247 EAST 82ND STREET, NEW YORK, NY 10028
Susanna Coffey, Self Portrait (kiss), 2001
Jenny Dubnau, Self-Portrait with Angry Face, 2005
Phyllis Herfield, Self-Portrait, 2008
Robin Tewes, I Want to be a Housewife, 2002
Deborah Garwood, Who are I (Qui sont-je?) No. 7, 1997,2008

Self Reflection: The True Mirror

WORKS BY

Susanna Coffey, Jenny Dubnau, Deborah Garwood, Phyllis Herfield, Haresh Lalvani, Robin Tewes, and John Walter

March 1 – April 16, 2008

ARTISTS’ RECEPTION: Saturday, March 15, 5:30–7:00pm

Visual artists have always received inspiration from the objective world, filtering their vision through cortical processes in both hemispheres of the brain. This shuttling between imaginative and mimetic processes constitutes an ongoing dialogue between the inner and outer worlds of the artist. While representational art and portraiture often impart the attitude of the artist towards his subject—one has only to look at Velazquez’s Las Meninas to see how the point of view of the artist surges to the fore—the tradition of self-portraiture offers the most vivid glimpse into how an artist perceives the self. This act of self-reflection depicts the intermingling of sight and insight, subject and object. What does the gaze into the mirror reveal about the artist? For those of us who don’t record our impressions with brush and paint, what does our relationship to the mirror reveal, how does it impact our imaginative process, and how does it influence our self-conception? The exhibition Self Reflection: The True Mirror illuminates the genesis of artistic identity, and coincides with the roundtable The Mirror and the Lamp (part of the Brainwave Festival held in conjunction with the Rubin Museum, Exit Art, The Graduate Center at CUNY, and the School of Visual Arts), which sets out to explore the neurobiology of imagination. John Walter’s true mirror and Haresh Lalvani’s multi-faceted Infinity Cubed introduce immediate, interactive examples of how we see our own reflection. The artists Susanna Coffey, Jenny Dubnau, Deborah Garwood, and Phyllis Herfield use portraiture to investigate psychic selfhood, while Robin Tewes depicts the emotional resonance of mirrors as objects. Self Reflection: The True Mirror may be viewed Monday through Friday from 11:00 am to 5:00 pm, and by appointment. Please call 646.422.0544 or email info@philoctetes.org

to make arrangements.

Exhibition curated by Hallie Cohen, Chair, Art Department, Marymount Manhattan College.

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15. Liliana Porter, FF Alumn, at Barbara Krakow Gallery, Boston, thru April 19

Barbara Krakow Gallery announces our new exhibition: LILIANA PORTER, through April 19, 2008

Greetings:Barbara Krakow Gallery is pleased to announce our new exhibition:

LILIANA PORTER
thru 19 April, 2008

Liliana Porter's work has strongly approached the literal space, impelled, maybe, by the characteristic bareness and austerity of an aesthetic shaped over many years. Her works approach the literal, the obsessively literal, cautiously leaving behind the literary. In other words, Porter does not call things by their names: she creates a space in which things are their own name. Everything is either object or word, and based on this premise, she articulates a rhetoric and a poetic where language is no more than a constant impossibility and a closeness to something mysterious and impenetrable.

In works from the late 70s Porter explored the idea of writing with objects and/ or drawings of objects, graciously separated by punctuation signs as if the image were a list, pure text presented to be visually devoured. In more recent works, beyond the travesty of a syntax, Porter insists on presenting animated objects, condensing the focus in the specifics of the thing she literalizes, demanding 'from here', from this side of fiction, to continue the game of representation. In this way, each one does what they need to do, or, what they did before being forever fixed on an image: designers design and sweepers sweep, accusers accuse, and a melancholic gazes dismally at a spot on the wall.

Each thing is also a way of naming that thing. By being presented and re-presented in a scene, the figures acquire the density of a metaphor and, in this way, also become figures of the language. These things represent thought strategies, artilleries of the imagination that bring them to a rhetoric ˆ and its metonymic games that exchange parts for the whole in all parts- than to the prolonged breath of a syntax.

In this way Porter raises a rhetorical thought from the literal, a writing style many times understood as literary. And, although, without a doubt, authors such as Borges and Carroll have informed their artistic practices, Porter's works resist being a mere illustration of literary strategies used to prop up fiction. Porter does, however, play with writings, with objects summoned in a space to the point of turning them into ideograms, with sign-scrawls traced on the wall by an idle person.

It is a writing that is a travesty and is merciless with its own scribe, who seems to be its clearer sign. It is not reversible, but it is logical: cause and consequence, before and after are open elements now in the scene. And by opening up, they disarrange, they align or change places, discarding the tyrannical relationship that preceded them. Nonetheless, they resist chaos. Instead, they celebrate the mystery.

José Luis Blondet

LILIANA PORTER was born in Buenos Aires in 1941.

In 1954 she began her studies at the Escuela Nacional de Bellas Artes Manuel Belgrano. (National School of Fine Arts Manuel Belgrano) From 1958 to 1961 she lived with her family in Mexico City, Mexico. At the Universidad Iberoamericana of that city she studied with German artist Mathias Georitz and specialized in engraving techniques with Colombian artist Guillermo Silva Santamaría. Upon her return to Buenos Aires, she continued her training with Fernando López Anaya and Ana María Moncalvo. In 1964 she moved to New York. She worked at the Pratt Graphic Art Center and created the New York Graphic Workshop together with two artists: the Uruguayan Luis Camnitzer and the Venezuelan José Guillermo Castillo. In 1977 she co-founded the Studio Camnitzer-Porter, in Lucca, Italy, where she was also an engraving instructor. In 1980 she received a Guggenheim Fellowship. Since then, she has been granted seven research Fellowships in photography, video and multimedia at the City University of New York (PSC-CUNY). In 1991, the Bronx Museum in New York, presented a retrospective exhibition of her work and achievements.

Beyond coming to see the show in person, all the works in the exhibition are viewable on our website: http://www.barbarakrakowgallery.com/exhibition/current.php

Please feel free to visit, email or call for further information!

Andrew Witkin, Director
Barbara Krakow Gallery
10 Newbury Street
Boston, Massachusetts 02116

P - 617 262 4490
F - 617 262 8971
E - awitkin@barbarakrakowgallery.com
W - www.barbarakrakowgallery.com

Open Tuesday - Saturday 10 - 5:30

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16. Cheri Gaulke, Jerri Allyn, FF Alumns, at The Bronx Museum, thru August 4

I am excited to announce my participation in this exhibition in New York. The work I am showing includes documentation from two collaborative groups I co-founded, Feminist Art Workers (1976-81) and Sisters Of Survival (1981-85). With the WACK! Art and the Feminist Revolution exhibition now in New York (at PS1), it is important to remember that collaboration was also a significant aspect of the feminist art movement. It was in southern California where this work was especially innovated. I am proud to be a part of that history and am delighted that it is beginning to be recognized in this exhibition. For the exhibition, I edited two videos that document FAW and SOS. It was exciting to get together with my collaborators from times past and dig through our archives, select and scan photos, write narration about the work, and even re-stage some performance imagery. Working together was like old times but better. We've all mellowed and, with age and experience, know each other and ourselves so well that we could fall into a productive groove. It was lots of work but I'm really proud of the results. We may even post the two videos on youtube sometime soon. I'd like to especially acknowledge Laurel Klick (my partner in editing the FAW video) and Jerri Allyn, Anne Gauldin and Sue Maberry (my partners in producing the SOS video).

Making It Together:

Women's Collaborative Art + Community

Making It Together explores an important chapter in recent history when women artists, inspired by the 1970s Feminist Movement, worked collectively in new ways to engage communities and address social issues.

Guest curator: Carey Lovelace

at The Bronx Museum of the Arts
1040 Grand Concourse
Bronx, NY 10456

through August 4, 2008

Go to the museum website and see a picture of me in my red nun’s habit as anti-nuclear performance art group, Sisters Of Survival, perform our Public Action in Covent Garden, London, in 1983.

http://www.bronxmuseum.org/exhibitions/upcoming.html

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17. Tribute to Arlene Raven, and Mona Hatoum, FF Alumns, at NJ City University, Jersey City, NJ, opening March 5

Please come and join us for the March 5 opening for two women artists exhibitions at NJCU Galleries.

Please note that two exhibitions will open on March 5, 2008 (We will start the reception at the Visual Arts Gallery 5- 6:30 and make a tour to Hepburn Hall to view the Sustaining Vision exhibition around 6:30 - 8).

March – April 2008 program at NJCU Galleries:
The Harold B. Lemmerman Gallery (Hepburn Hall 323):

For images, see http://www.njcu.edu/dept/art/galleries/upcoming_exhibitions_1.asp

Sustaining Vision: A Tribute to Arlene Raven

March 5 – April 16, 2008

Artist reception: March 5, 5 – 8 p.m. (please note the exhibition in the other gallery opens simultaneously.) Artists Panel: March 18, 5:30 – 7 p.m. at Gothic Lounge (Hepburn Hall 202) followed by a reception at the gallery

In tribute to the late art critic Arlene Raven (1944-2006), eight artists—Elaine Angelopoulos, Donna Maria de Creeft, Janet Goldner, Amanda Guest, Judy Hoffman, Kerry Kehoe, Julie McConnell, and Joanne Ungar—have collaborated to create a multimedia art exhibition to celebrate her life and legacy. Over a decade ago, these artists met more in Raven's writing workshops, called "Writing for Artists," to develop writing skills to express their artistic concepts and processes. "Sustaining Vision" refers to Raven's emphasis on promoting one's creativity and nurturing it—respecting it as it might evolve, develop, or change. The artists came to trust themselves as they learned to trust each other using this approach. The work shown here encompasses many media, but all share some interesting convergences, making for a cohesive whole.

Curatorial consultant: Anne Swartz

The Visual Arts Gallery (100 Culver Avenue): For images, see http://www.njcu.edu/dept/art/galleries/upcoming_exhibitions_2.asp

Mother Cuts: Experiments in Film and Video
March 5 - Apr 11, 2008

Opening reception, March 5, 5 -8 p.m.

Introduction of the exhibition by guest curator Siona Wilson & artist talk by Sarah Pucill at 5:30 p.m.

This exhibition will present four different approaches to the idea of maternal distance through exciting and moving works in film and video. Each artist explores very different kinds of social, geographic, political, and economic determinations for the situation of separation, or 'mother cut,' that they present. Mona Hatoum and Mieke Bal ask us to consider questions of economic and political migration and the emotional pangs of longing that result, from both sides of the generational divide. While Sarah Pucill and Mary Kelly touch lightly upon the pleasures of maternal embodiment as a model for a different kind of imagined spectatorship. But all examples present carefully staged experiments in the physical and ethical relationship between camera and subject. The effects of the different kinds of media – 8mm, video, 16mm film, and videoed photography –are foregrounded in all of the works, as is the presence or absence of imagined and actual spectators.

Guest curator: Siona Wilson

Both exhibitions proudly participate in the national initiative, The Feminist Art Project (http://feministartproject.rutgers.edu/) and the Women's History Month Program of NJCU.

Gallery hours for both: Monday- Friday, 11a.m. - 5 p.m. and by appointment

For directions by public transportations and car, visit http://www.njcu.edu/dept/art/galleries/upcoming_exhibitions_1.asp

New Jersey City University Galleries
100 Culver Avenue
Jersey City, NJ 07305
T: 201-200-3246
gallery@njcu.edu
http://www.njcu.edu/dept/art/galleries

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18. Ruth Hardinger, FF Alumn, at Tama, Manhattan, March 6, 7 pm

Please join us

March 6, at 7 PM

for a Conversation with Ruth Hardinger and Stephen Westfall and a Musical Conversation with Jon Gibson
during Hardinger's exhibition

Envoys

Sculpture and Water Color on Paper
At Tama
5 Harrison Street
New York City
(between Hudson and Greenwich St.)
212-566-7030

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19. Lady Pink, FF Alumn, at Ad Hoc Art, Brooklyn, opening March 21, 7-10pm

“Pink / Aiko: Brick Ladies of NYC” opens at Ad Hoc Art on March 21st from 7-10 pm and continues thru April 20. for details please visit adhocart.org

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20. Tiffany Ludwig, FF Alumn, at Bronx River Art Center, Bronx, NY, opening March 7

Bronx River Art Center presents

Trappings: Stories of Women, Power & Clothing
By Two Girls Working: Tiffany Ludwig and Renee Piechocki
Opening reception March 7, 6-9 pm
Continues thru April 12, 2008

For full information please visit twogirlsworking.com and/or bronxriverart.org


Goings On is compiled weekly by Harley Spiller

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Goings On is compiled weekly by Harley Spiller


Franklin Furnace Archive, Inc.
80 Arts - The James E. Davis Arts Building
80 Hanson Place #301
Brooklyn NY 11217-1506 U.S.A.
Tel: 718-398-7255
Fax: 718-398-7256
http://www.franklinfurnace.org
mail@franklinfurnace.org

Martha Wilson, Founding Director
Michael Katchen, Senior Archivist
Harley Spiller, Administrator
Elise Kermani, Program Coordinator
Susie Tofte, Project Cataloguer
Judith L. Woodward, Financial Manager