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Contents for December 28, 2009
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1. Eunice Golden, FF Member, at Guild Hall, East Hampton, NY, thru Jan. 17
2. Heather Woodbury, FF Alumn, at Echo Curio, Los Angeles, beginning Jan. 9, and more
3. Shirin Neshat, Yoko Ono, FF Alumns, on NYC taxicabs, January 2010
4. Nina Sobell, FF Alumn, at Mackenzie Post, Toronto, Ontario, Dec. 29
5. Coco Fusco, Annie Sprinkle, Diane Torr, Martha Wilson, FF Alumns, at A.I.R. Gallery, Brooklyn, opening Jan. 7, 2010
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1. Eunice Golden, FF Member, at Guild Hall, East Hampton, NY, thru Jan. 17

Guild Hall Museum of East Hampton
Permanent Collection
Acquires
Eunice Golden's "Landscape #160"
On Exhibit through January 17, 2010
Museum Hours: Fri-Sat 11am-5pm / Sunday 12pm-5pm

"Eunice Golden's Landscape #160 also falls into the amazing category due to context. Golden's mixed media work was done in 1972 and represents an early feminist perspective on sexuality (in this case, male sexuality). Its a deserving painting..."

Marion Wolberg Weiss, Art Commentary "Acquisitions" Dan's Papers Nov. 20, 2009

Eunice Golden's iconic painting, Landscape #160 is now on view in "ACQUISITIONS" for the permanent collection, Guild Hall Museum, East Hampton, N.Y. through January 17, 2010.

LANDSCAPE #160 has a distinguished provenance. The painting was created in 1972 in Golden's studio in the historic Parson's Blacksmith Shop near the Jackson Pollock house on Springs Fireplace Road, East Hampton, NY. It was later exhibited at the Whitney Museum in "Nothing But Nudes", 1977. It is reproduced in the catalog for "Feminist International", 1979 at the Gemeente Museum, The Hague, The Netherlands. LANDSCAPE #160 came full circle when it was included in Guild Hall's exhibition "Personal and Political", 2002.

LANDSCAPE #160 may be viewed as a reproduction on the website of the Sackler Center of Feminist Art, Brooklyn Museum, and in publications such as Lucy Lippard's "From the Center: Feminist Essays on Women's Art", 1976; and the catalog for the exhibition "WACK! Art and the Feminist Revolution" at the Museum of Contemporary Art, L.A, 2007.

Eunice Golden, a pioneering, internationally known feminist artist, since the 1960's, deployed a bold expressionist figuration at the service of a newly emerging sensibility. Golden presented the male body as a primal landscape of struggle and desire. Her work is unusual in the context of early feminism for this straightforward metaphorical representation of men. In the early 1970's Golden began working with performance, body art, photography and film.

Her controversial work challenged entrenched ideologies. Her revolutionary "Male Landscapes" whose underpinnings were psychological and socio-political created a buzz among historians such as Lucy Lippard and Linda Nochlin who were documenting the emergence of feminist artists. Golden's work was influential in providing a catalyst for the inclusion of a multiplicity of art forms and concepts not only for women but also for the art world at large. The renowned artist Ilya Bolotowsky compared her work to that of the poet James Joyce for its intuitive style and frank sexuality.

Golden's Male Landscapes made the sexual colossal yet intimate. Works that followed captured the immediacy of closeness, from portraits of family and art world figures to anthropomorphic studies and the swimmers series. In recent works Golden delved into yet another metamorphosis of visceral sensation in surreal abstract forms. For all the apparent differences in style, content or technique, the common thread in all of Golden's work is the power of intimacy.

Holland Cotter of the New York Times wrote of her paintings and photographs in her exhibition of the late sixties and early seventies at the Mitchell Algus Gallery:

"Ms Golden was among the early feminist artists of the 1960's and 1970's, and this small survey conveys along with the flavor of a distinctive artistic personality, a sense of the political anger, antic humor, and conceptual experimentation that characterized the tangy first wave of the women's movement. The work includes photographs of performance pieces and body art, and half-abstract paintings that demonstrate how delicate, quiet and beautiful political art can be." April 18, 2003.

Website: www.eunicegolden.com
Email: eugolden@optonline.net

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2. Heather Woodbury, FF Alumn, at Echo Curio, Los Angeles, beginning Jan. 9, and more

Fomenting ARTS unlimited, Inc. presents:
Heather Woodbury's AS THE GLOBE WARMS
the new meta-serial for the age of DIY, live and on-line
January 9th, 2010: The episodic marathon begins at Echo Curio in Echo Park, Los Angeles!
A Live, Brand New Half-hour solo performance every Saturday night at
8:00p.m. for 12 weeks. (Resuming for 12 weeks in July, August, Sept.)
AND On-line from January 12th, 2010, continuously every week for 48 weeks!
@ http://www.heatherwoodbury.com
On-line subscribers get in on the (under)ground floor with live local
audiences:

Award-winning independent performer Heather Woodbury creates a brand new, different show, every week live at Echo Curio in Echo Park, Los Angeles for 24 weeks out of the year. And international on-line fans are already subscribing, claiming their place in the audience, and joining the cognoscenti of Los Angeles to watch Heather Woodbury's new serial grow before their eyes.

Who: Heather Woodbury is a performance artist and playwright best known for originating epic-length theatre pieces for both solo and ensemble productions. She generates these works by making them up as she goes along - writing at the last minute and then performing semi-improvisational installments for live audiences.

What's As the Globe Warms?

Heather Woodbury's AS THE GLOBE WARMS is TODAY'S expansion of this experiment: The live performances are a half-hour, 24 weeks a year.

Meanwhile ON-LINE, it happens continuously in weekly 15-minute installments, 48 weeks a year.

Heather Woodbury's As the Globe Warms promises to be a character-driven, recession-era free-for-all, riffing on our technology-besotted psyches and our relationship to the eco-system-with lots of lust, adventure and weird encounters for good measure.

Get to this party early: you never know what will unfold moment by moment, week by week. This is an Unpackaged, Unfiltered Entertainment Extravaganza-sponsored exclusively by online-subscribers- the MacEverybody Foundation.

What are these live performance serials like?

"Phenomenal" Chicago Sun-Times
"Like living inside a novel." Richard Linklater, Filmmaker
"Incredible! A one-woman Dickens!" Laurie Anderson, Multi-Media Artist
"A triumph of unfettered creativity!" Terrie Morgan, VARIETY

Woodbury's engrossing sagas What Ever: An American Odyssey and Tale of 2Cities: An American Joyride, broadcast as radio-serials, published as novels and lauded as award-winning epic plays, started out as underground serials- punkish experiments in Downtown NY and East Side L.A. hole-in- the wall spaces where week by week Heather generated new episodes for a tiny group of on-lookers. The original audience for what began as solo marathons written and performed week by week, grew-along with the story-and became part of an ever-expanding cast of characters, on-stage and off.

A Live, Brand New Half-hour solo performance every Saturday night from 8-8:30 p.m. for THREE MONTHS starting Saturday, January 9th, 2010 through Saturday, March 27th, 2010. at Echo Curio 1519 Sunset Blvd. in Echo Park, CA 90026 Admission FREE / DONATIONS accepted. (The live serial resumes July, August, and September, 2010, TBA.)

This project is funded by the MacEverybody Foundation- subscriber-donors to Fomenting ARTS unlimited Incorporated.
On-line subscribers are receiving:
Weekly emails w/ the latest 15-minute episode, broken into short bits Instant access to the entire on-going serial and Weekly invites to on-line chats with Heather and special guests.
Visit www.heatherwoodbury.com to subscribe.

About Heather's earlier works:

"Wildly funny, infinitely sad. as urgently relevant as it is deliriously
enjoyable." Fintan O'Toole, IRISH TIMES

" There is.romance, magic, tragedy and a bracing liberal critique of the world that somehow manages to avoid pessimism and didacticism." Jason Zinoman, NY TIMES

"A mesmerizing affirmation of the generous, liberal humanity of characters steeped in the tradition of anarchistic radicalism." Patrick Brennan, IRISH EXAMINER DUBLIN

"Demonstrates the power of the solo artist in tantalizing flight" Charles McNulty, LA TIMES

"They think and so they are fans." Harold Goldberg, THE VOICE

Heather Woodbury is a performance artist and playwright best known for originating epic-length theatre pieces for both solo and ensemble productions. She generates these works by making them up as she goes along - writing at the last minute and then performing semi-improvisational installments for live audiences. These works combine the narrative and thematic scope of a novel with the immediacy of performance. Her two major pieces also have manifestations in other media: as published novels and as an NPR-broadcast radio serial, hosted by Ira Glass. In 2006 she received the Spalding Gray Award, which recognizes "fearless innovators" who "fully realize both the performing and writing aspects of Mr. Gray's legacy." Other honors include publication by the legendary George Plimpton in his final edition of the Paris Review and publication of What Ever and Tale as "living novels" by Faber/Farrar, Strauss, & Giroux and Semiotext(e). She was a City of Los Angeles Performing Artist Fellow, an N.E.A. Playwright Fellow in residence at the Public Theatre in NYC, and the recipient of a Kennedy Center Fund for New American Plays Award for Tale of 2 Cities: An American Joyride, and an LA Weekly Best Solo Performance of the Year Award for her 4-night, 8-Act, 100-character solo play What Ever: An American Odyssey. She received an OBIE for ensemble performance in the L.A.-N.Y. premiere of her 2-night, 6-Act play Tale of 2Cities: An American Joyride on Multiple Tracks.

www.heatherwoodbury.com
http://www.heatherwoodbury.com

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3. Shirin Neshat, Yoko Ono, FF Alumns, on NYC taxicabs, January 2010

The New York Times
December 26, 2009
Soon You Can Hail an Artist as You Hail a Cab
By CAROL VOGEL
Those moving advertisements atop taxis generally deliver not-so-subtle messages, like which airlines to fly or movies to see, who makes the sexiest blue jeans or the coolest sunglasses. High art they most certainly are not.

But for the month of January, Show Media, a Las Vegas company that owns about half the cones adorning New York City's taxis, has decided to give commerce a rest. Instead, roughly 500 cabs will display a different kind of message: artworks by Shirin Neshat, Alex Katz and Yoko Ono.

The project is costing Show Media about $100,000 in lost revenue, but John Amato, one of Show's owners and a contemporary-art fan, said: "I thought it was time to take a step back. January's a slow month. I could have cut my rates but instead I decided to hit the mute button and give something back to the city."

He contacted the Art Production Fund, a nonprofit New York organization that presents art around the city, and asked its co-founders, Yvonne Force Villareal and Doreen Remen, to select artists. They in turn sought out Ms. Neshat, Mr. Katz and Ms. Ono, three New Yorkers known for work that can read both conceptually and physically in a confined space. (The ads measure just 14 by 48 inches.)

The project is called "Art Adds," not just as a play on its advertising origins but also, Ms. Villareal said, because "art adds to the public's vision." Each artist's work will appear on approximately 160 cabs, and each responded to the challenge in very different ways. Mr. Katz has taken two of his recent portraits, both of models who frequently pose for him, and put them together. One is a frontal portrait, the other the back of a woman's head. They are set against a black background. "You can't go wrong with black and yellow," the artist said of the posterlike quality of the design.

Ms. Neshat, an Iranian-born artist known for her social, political and psychological commentary on women in contemporary Islamic societies, said that when she was approached about the project, her first thought was of the Pakistani- and Senegalese-born taxi drivers. "I felt I could make work that was truly non-Western, because it's an extension of what New York is about," Ms. Neshat said. She used the two sides of the so-called cones in different ways. On one there is an illustration of a handshake, the artist's symbol of unity and solidarity. The other shows an eye decorated with a poem titled "I Feel Sorry for the Garden," by Forough Farokhzad, a celebrated female Iranian poet. The poem itself is in Persian and written out in calligraphy in the white of the eye. "It suggests that someone is speaking to you in a language that no one can understand," Ms. Neshat explained. "And although the poem is from the 1960s, it still resonates today." Ms. Ono has also drawn on a vintage idea. She used the theme "The War Is Over," a slogan she and John Lennon used when they took their message of peace around the world in 1969-70, in this case displaying it in English and in sign language. "It's almost like a dance," she said, "the way the message is always in motion."

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4. Nina Sobell, FF Alumn, at Mackenzie Post, Toronto, Ontario, Dec. 29

Mackenzie Post Digital Artist's Residency
Special Event
Final Performance Night and Art Exhibition
Tuesday, December 29
8pm open house with beverages and light snacks
Performance and presentations throughout the evening
$5 donation requested to support residency programming and expenses

On Tuesday evening, performance, audio and video work will be presented in conjunction with a multi-level sound system, featuring several artists and performers; now looking to include:

Simla Civelek poetry, spoken word Nuno Cristo
fado (portuguese guitar, vocals) Katt Emerald spoken word,
performance Suzanne Farkas flute; lighting R.J. Fleck
percussion, sound design, production Anders Mansson piano,
electronics, video Kendall Partington piano, vocals John Shipman
digital video Nina Sobell keyboards, video, performance
Blaine Speigel (blankfoto) analog projections

Work will be presented in multiple spaces on all levels of the house, culiminating in an all-house 3-floor music and performance jam towards the end of the evening.

Several elements of the evening will be recorded and the entire event streamed live to web at:
http://174.136.1.149:8000/
or
http://174.136.1.149:8000/live.ogg

Previously presented and recorded residency programming is already available for listening at the streaming site.

In conjunction with the performance presentations will be the continuing exhibition of the Interweek V Holiday Art Installation. A portion of the proceeds (25%) will be in support of residency programming. Featured artists:

Leif Harmsen, Natalia Kantor, Shawn Skeir, Nina Sobell and Peter Todd.

As part of a new programme that has been initiated - 'Mackenzie Post Digital' - Swedish, Berlin-based pianist, composer and video artist Anders Mansson is resident 30 Nov - 4 Jan, 2010. There is further information about the residency at www.rjfleck.ca with a draft schedule of events.

The full scope of residency programming can be found at:

http://174.136.1.149/rjfleck.ca/html/event.php?id=25.

Yours Truly,

rj fleck

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5. Coco Fusco, Annie Sprinkle, Diane Torr, Martha Wilson, FF Alumns, at
A.I.R. Gallery, Brooklyn, opening Jan. 7, 2010

THE MAN I WISH I WAS
curator: Kharis Kennedy, jurors: Kat Griefen, Kharis Kennedy, Lauren Ross
January 6 - January 31, 2010
Opening Reception: Thurs., Jan. 7th from 6pm to 8pm

A.I.R. Gallery is pleased to announce The Man I Wish I Was, a partially invitational, partially juried group exhibition featuring work by 18 artists. The exhibition will be on view in Gallery II from January 6 - January 31, 2010. The opening reception will be held on Thursday, January 7 from 6pm to 8pm and is open to the public. Exhibiting artists: Renee Cox, Enid Crow, Kerry Downey, Kelly Flynn, Coco Fusco, Francie Bishop Good, Catherine Kunkemueller, Liz Lessner, Sarah Maple, Sands Murray-Wassink, Dominique Paul, Phranc, Shannon Plumb, Julia Kim Smith, Annie Sprinkle, Diane Torr, Linn Underhill and Martha Wilson. In keeping with the feminist tradition of irreverent internal-critique and self-vigilance the intent of The Man I Wish I Was is to question how gender perception relates to personal identity. The exhibition seeks to reevaluate the traditional feminist strategy of defining identity as something encountered in the first person and to question the roles that an individual might embody beyond those prescribed by social and genetic dictates. The exhibition asks the question: Have we happily reached a post-gender moment, a moment where gender is no longer a relevant signifier and we can comfortably slip into daddy's shoes? The artists in The Man I Wish I Was add compelling work and ideas to this discourse, bringing a range of unanticipated perspectives and interpretations to the exhibition's central concept. The included pieces date from the 1970's to the present and include sculpture, photography, painting, drawing, video and text based work Founded in 1972, A.I.R. Gallery is the first artist-run, not-for-profit art gallery for women artists in the United States. Underscoring, A.I.R. Gallery's on-going commitment to keeping the feminist movement in motion the juried portion of this exhibit was made open to any artist worldwide who self-identify as female.

Jurors:
Lauren Ross, Curator and Director of Arts Programs, Friends of the High Line Kat Griefen, Director, A.I.R. Gallery Kharis Kennedy, Independent Curator and Artist
Note from the curator:
In a lecture series held in conjunction with the opening of "WACK! Art and the Feminist Revolution" the curator Connie Butler noted that the feminist art movement is not a useful term in describing art as it is not an art movement with fixed start and stop dates. She seconded bell hooks' proposal to "deliver [feminist art] from it's fixity and reconnect it to the verb 'to move' with all the restless possibility that word connotes." The hint being that there might be a threat implicit in the canonization of feminist art. The threat that the side-effect of revising history in order to construct a Feminist Art Movement, for the purposes of injecting it into the male genealogy of Art History, may be that it robs the artwork of it's vitality by freezing the very movement that made it revolutionary. So marching on: If I am the heir apparent of a feminism whose work is done, as a girl-child of the 80's why did my most elaborate dreams, my fantasy life of who I could aspire to become, petulantly insist on hovering around figures such as Wonder Woman, Marie Antoinette, Athena, and Cher? Forget president, what does it imply about one's self-perception if one can't hope to rise above cartoon character? Why didn't I imagine myself transformed into Power CEO instead of Athena? After all, despite vigorous plumping of the goddess lore pillow, even a child knows that goddess isn't all it's cracked up to be; the pay is abysmal. In organizing The Man I Wish I Was it was important to me that the exhibition be non-exclusionary and made open to anyone who self-identifies as female. I was committed to the partially invitational, partial juried format because I believe that allowing for a range of works, curating to court the unexpected, is crucial to fostering a dynamic dialogue.

About the Curator: Kharis Kennedy is an artist and 2007-2008 A.I.R. Gallery Fellow. She lives and works between Miami and New York City.

A.I.R. - ADVOCATING FOR WOMEN IN THE ARTS SINCE 1972. A.I.R. Gallery is located at 111Front Street, #228, in the DUMBO neighborhood of Brooklyn.
Gallery hours: Wednesday - Sunday, 11am to 6pm. For directions please see www.airgallery.org. For additional information, please contact Kat Griefen
at A.I.R. Gallery at 212-255-
6651 or kgriefen@airgallery.org.

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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
Angel Nevarez, Program Coordinator
Susie Tofte, Project Cataloguer
Judith L. Woodward, Financial Manager