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Contents for January 24, 2012
1. Martha Wilson, Ida Applebroog, Tehching Hsieh, Tom Otterness, Cindy Sherman, William Wegman, Lawrence Weiner, FF Alumns, at Exit Art, March 6 NEW YORK- After 30 amazing years, Exit Art will be closing end of May 2012.
Exit Art has supported and fostered a vibrant, interdisciplinary artistic community in New York, organizing over 200 exhibitions, events, festivals and programs, featuring more than 2,500 artists. Founded in 1982 by Executive Director, Jeanette Ingberman and Artist Director, Papo Colo, Exit Art has grown from a pioneering alternative art space into an innovative cultural center that is committed to supporting artists whose work deals with the socio-political transformations of our time. Exit Art is internationally recognized for its unmatched spirit of inventiveness, curatorial innovation and depth of programming in diverse media. For the remainder of 2012 we will be devoting our programming primarily to "The Legacy Project". "The Legacy Project" consists of the 30 year retrospective, EVERY EXIT IS AN ENTRANCE; two forthcoming publications, Alternative Histories, to be published by MIT Press and Unfinished Memories:
30 Years of Exit Art; and the relocation of our archives to Fales Library Downtown Collection at New York University. "The Legacy Project" will be a unique contribution to the New York alterative arts movement founded in the 1980s.
UPCOMING PROGRAMS AND EVENTS
EXIT WITH A BANG!
Final Gala and Auction
Tuesday, March 6, 2012 / 7-11PM
Exit Art will be hosting a final gala and auction honoring Co-Founders, Jeanette Ingberman and Papo Colo. This year's Gala features Master of Ceremonies Martha Wilson as Barbara Bush; Illusionist JB Benn; and super band, Entering Binocular Mode, comprised of musicians, Ernie Brooks (Modern Lovers,Rhys Chatham), Peter Zummo (Lounge Lizards,Downtown Ensemble), Joyce Bowden (Tom Tom Club, Joey Ramone), Bill Ruyle (Arthur Russell, Spiderman), Dan Archer (Phish producer,Pork Tornado guitarist), with special guest Jerry Harrison (Talking Heads, Modern Lovers).
Many distinguished artists have generously donated work to this year's auction, including Ida Applebroog, Sanford Biggers, Bruce High Quality Foundation, Tehching Hsieh, Julie Mehretu, Tom Otterness, Cindy Sherman, Swoon, William Wegman, Lawrence Weiner, and a special cake baked by Will Cotton. As this will be our final gala and benefit, Exit Art's entire Board will be hosting the gala as the benefit chairs. Exit Art's Board consists of Charles Kremer, Board Chairman; Alberta Arthurs, Board President; Ida Applebroog, Neal Baer, Deborah Colton, Papo Colo, Marilynn Donini, Fairfax Dorn, Mark L. Epstein, Frayda Feldman, Ronald Feldman, Peter F. Frey, Stuart Ginsberg, Jenette Kahn, Eileen Kaminsky, Jerry Kearns, John Koegel, Richard J. Massey, Leslie Moran, Amy Newman, Yigal Ozeri, Mary Anne Staniszewski. This event is being held to raise funds for Exit Art's "The Legacy Project".
EVERY EXIT IS AN ENTRANCE: 30 YEARS OF EXIT ART
March 23-May 25, 2012
Public Events TBA
Exit Art has consistently challenged social, political, aesthetic and curatorial norms. For 30 years Exit Art has organized historical exhibitions; presented the work of young, emerging, under-recognized and mid-career artists; challenged curatorial models; produced experimental theater and performance; and organized national and international film and video programs. Committed early on to experimenting with the convergence of film, video, performance, music, publications, design and visual art, Exit Art remains steadfast in its mission to provide new possibilities and opportunities for both artists and audiences alike.
At the heart of Exit Art is the relationship between co-founders Ingberman and Colo, who met in the late 1970s during a studio visit, fell in love,
founded Exit Art, and dedicated their lives to nurturing a cultural center that responded to some of the most prescient issues of our time. EVERY EXIT IS AN ENTRANCE: 30 Years of Exit Art explores this rich history, from its founding in a loft apartment on Canal Street in 1982 to its years in SoHo at 578 Broadway (1984-1992); from its ten years at 548 Broadway (1992-2002) to its third decade in its current Hell's Kitchen location.
The retrospective exhibition will feature extensive documentation from Exit Art's archives, including posters, promotional and programming graphics, and photographs (and elements) of the innovative in-house exhibition designs employed in past exhibitions, as well as the work of a selection of artists championed over the years. In conjunction with the exhibition, Exit Art is organizing a series of events: film screenings, documented programs of theater and performance, live performance and music, artist talks,
curatorial presentations, panel discussions and more. Also included in the exhibition is a reading library of materials Exit Art has published over the years. Co-founder Papo Colo is organizing a personal exhibition of photographic materials that celebrate the spirit of Exit Art, with a focus on the life of co-founder Jeanette Ingberman.
EVERY EXIT IS AN ENTRANCE: 30 Years of Exit Art curated by Senior Curator Rachel Gugelberger and Assistant Curator Lauren Rosati in collaboration with Artistic Director Papo Colo, with film programming organized by Curatorial Assistant Candice Strongwater.
March 23-May 25, 2012
Artists, Organizations, and Performances TBA
COLLECTIVE PERFORMANCE explores the history of collective practices; the importance of the viewer/audience in achieving the work's goals; the role of documentation, as well as the role that new technologies play in the formation of collective strategies and interaction with the public. By highlighting past performances through the lens of seminal performance artists, commissioning new works and collaborating with non-profit organizations, the exhibition identifies new trends in contemporary performance practices all the while exploring the concept of collective engagement.
Consulting with pioneering performance artists who have exhibited or performed at Exit Art, the exhibition examines the historical precedents, concepts and themes that have shaped collective practices in contemporary performance. With a focus on works that require engagement with an audience or "viewer participation," the exhibitionconsiders the extent to which engagement and interaction with audiences, as well as collaboration - in theory and/or practice -has shaped collective performances in regards to this common goal.
Exit Art has commissioned artists, alternative spaces, a blog on contemporary art and culture, and a curatorial collective to create collective projects at Exit Art for the duration of one week each, providing many with the opportunity to work in a collective manner for the first time. In addition, we will partner with four organizations invited to coordinate their own collective projects. Both artists and organizations are required to utilize the space during gallery hours, Tuesday - Saturday as necessary for their respective projects--as an office, studio, hub, production center, exhibition space, platform, stage, etc. These projects expand notions of collaborative practices in the arts and beyond, and participants are encouraged to culminate their residency with a collective event or performance on the Saturday.
COLLECTIVE PERFORMANCE was conceived by Jeanette Ingberman and Papo Colo, co-founders and curators of Exit Art and is curated by Senior Curator, Rachel Gugelberger; Assistant Curator, Lauren Rosati with curatorial assistant Verity Combe.
ABOUT EXIT ART
Exit Art is an independent vision of contemporary culture that is prepared to react immediately to important issues that affect our lives. We present experimental, historical and unique programming of aesthetic, social, political and environmental issues. Founded in 1982 by Directors Jeanette Ingberman and Papo Colo, Exit Art has grown from a pioneering alternative art space into an innovative cultural center that is committed to supporting artists whose work reflects on the socio-political transformations of our time. Exit Art is internationally recognized for its unmatched spirit of inventiveness, curatorial innovation and depth of programming in diverse media. Exit Art is always changing.
COLLECTIVE PERFORMANCE SUPPORT
Collective Performance is made possible by a major grant from the National
Endowment for the Arts.
GENERAL EXHIBITION SUPPORT
Provided by the Andy Warhol Foundation for the Visual Arts; Bloomberg LP; Foundation for Contemporary Arts; The Greenwall Foundation; Jerome Foundation; Lambent Foundation; Lily Auchinclose Foundation; New York City Department of Cultural Affairs and City Council Speaker Christine C. Quinn; and public funds from the New York State Council on the Arts.
Exit Art | 475 Tenth Ave @ 36th Street, New York, NY 10018 | 212.966.7745 | www.exitart.org | A, C, E to 34th Street Penn Station
Open Tuesday-Friday 10-6 PM and Sat 12-6 PM. Open late Wednesday until 7:30
PM. Closed on Sunday and Monday. $5 suggested donation.
2. Julie Harrison, FF Alumn, at Lesley Heller Workspace, Manhattan, opening Feb. 1
If you're in town, hope you can stop by Lesley Heller Workspace.
Best Wishes for the New Year!
Lesley Heller Workspace
54 Orchard Street New York, NY 10002
t: 212 410 6120
The Herd Remorse curated by Lenore Malen
Perry Bard, Julie Harrison, Henry Hills, Lenore Malen,
Alix Pearlstein, Maria Zervos
February 1 - March 4, 2012
Opening Reception: Wednesday, February 1, 6-8pm
Lesley Heller Workspace
54 Orchard Street
New York, NY 10002
212 410 6120
Wednesday - Saturday 11 - 6
Sunday 12 - 6
email: julie at julie-harrison.com
3. Rachel Frank. FF Alumn, at International Print Center, Manhattan, opening
Dear friends and colleagues,
I am pleased to announce my artist book, Sleep of Reason will be in the upcoming New Prints 2012/Winter exhibition at the International Print Center New York with an opening reception on Thursday, February 2nd from 6-8. I'm excited to be showing my Women's Studio Workshop publication and I hope you can join me for the opening.
New Prints 2012/Winter
International Print Center New York
508 West 26th Street, 5th Floor
January 28th-March 24th, 2012
Opening reception Thursday, February 2nd, 6-8 pm
4. Laurie Anderson, Eleanor Antin, Martha Rosler, Ed Ruscha, Sol LeWitt, John Baldessari, Andy Warhol, FF Alumns, in The Wall Street Journal, Jan. 17
The Wall Street Journal
JANUARY 17, 2012
Snapshot of a Movement
By RICHARD B. WOODWARD
'Light Years: Conceptual Art and the Photograph 1964-1977," at the Art Institute of Chicago, is the sort of exhibition critics are always urging museums to undertake. It assembles a group of more than 55 artists, only a small portion of whom are commercial superstars (Edward Ruscha, Bruce Nauman, Sol LeWitt, John Baldessari, Sigmar Polke, Anselm Kiefer), in order to re-examine a period of fruitful activity. Before the 1960s, photographs were seldom as welcome in art galleries as they are now. "Light Years" attempts to chart the prehistory of their integration.
Light Years: Conceptual Art And the Photograph, 1964-1977
The Art Institute of Chicago Through March 11
None of these figures-from the U.S., Canada and Europe-are photographers per se, and yet each saw in the medium a way to challenge accepted ways of making, displaying, looking at and thinking about machine-made images. Traditional craft was aggressively rejected in favor of dismantling assumptions. The museum's curator of photography, Matthew Witkovsky, has wanted for several years to do a show about Conceptual photography, and his belief in its importance is reflected in the substantial catalog from Yale University Press.
It is with regret, therefore, that I found the effort less than a pleasure to behold. Walking through the halls for two hours was like marching through a desert, searching in vain for a flowing spring of argument or works that would enliven my sense of the period. Asked to stand and absorb a punishing amount of text in exchange for the occasional treat was an unfair exchange. The demands simply outweighed the rewards.
The installation doesn't help, the cavernous rooms only exaggerating the negligible aesthetic consequence of work not made for such reverential treatment. The selection seems at once profligate and restrictive, the unfamiliar pieces, many of them deservedly obscure, failing to alter the hierarchy other curators have established of leading Conceptual artists, and the absence of video omitting the sharpest new tool artists in the 1960s and '70s used to upset standards of camera-made perception.
The first work, "A Small Film," by Emilio Prini, is a case in point. Pasted on the outside of nine tall white panels, some walled at right angles to form squares, are large black-and-white images of incongruous and somewhat inscrutable things, including the front of a camera and two men conversing. An attempt to link the array into a story or screenplay leads nowhere. Conceived in 1968, the piece had to be remade in 1995. Like a lot of things from the period, it was not originally regarded as especially worthy of preservation.
Mr. Witkovsky has chosen other artists from the Italian movement of Arte Povera not often mentioned in histories of photography. But many of these works, such as Giuseppe Penone's "Project for Contact Lenses" (1972), in which he photographed himself outfitted with mirrored contact lenses, fail to rise above the usual flotsam of the period. The inclusion of relative unknowns from Eastern Europe, such as Dorá Maurer of Hungary, illustrates that Conceptual photography penetrated the Iron Curtain. Her "Parallel Lines" (1977), a series of photographs Ms. Maurer and a friend took of each other as they raced around balconies on face-to-face buildings, will likely remain nothing more than a historical footnote.
A number of pieces here-by Douglas Huebler, Martha Rosler and Laurie Anderson-were designed for pamphlets or books, not museum walls. Huebler was an artist who set simple tasks and strict parameters for himself. In "Location Piece #2" (1969), he photographed blindly at traffic intersections in New York and Seattle on certain days. The 16 pictures are baldly factual temporal maps and read like a parody of street photography. Along with much of his work, it is best appreciated when seated.
Conceptual art in this period had many tenors and characters, and "Light Years" has balanced solemnity with goofiness, the austere and romantic. A market for Conceptual art hardly existed when these works were made. Not a single one could be called "slick" or "straight." Several of these artists deserve more U.S. acclaim, not least Jan Dibbets from the Netherlands, whose inventive responses to light and space are represented by a pair of lyrical pieces about the ocean.
The charming weirdness of Allen Ruppersberg's "Where's Al?" (1972) is another highlight. Pinned to the wall are 160 small color prints of anonymous people on a beach and 107 typed notecards asking variations on the same question: Has anyone seen their friend Al. It's like a Minimalist comedy, a cross between an Andy Kauffman routine and Steve Reich's stuttering compositions. Eleanor Antin's "Movie Boxes" (1969-70), photos and one-word marquee titles ("Here," "And," "Now") for fake Hollywood movies, are funny and prescient. (Although recent shows about this era in Conceptual art have brought to light more women artists, Mr. Witkovsky cannot dispel the historical fact that it was dominated by men.)
"Light Years" builds on numerous previous exhibitions. It's not as ecumenical as "Information," mounted in 1970 by Kynaston McShine at MoMA, a show where several pieces here had prominent exposure. But it is wider in scope than "Slideshow: Projected Images in Contemporary Art." That valuable show, organized by Darsie Alexander in 2005 at the Baltimore Museum of Art, returned to the '60s and '70s to demonstrate how artists used the narrative rhythms of projected images and words to make work related to but distinct from movies and photography.
Mr. Witkovsky has tried with some success to contain within fences a time in art that wanted to ignore or jump them. But the decision to include slideshows by Robert Barry and Allan Sekula and film pieces by Gordon Matta-Clark and Marcel Broodthaers while excluding video (for reasons of cost and size?) leaves a major hole in the story. Noticeably absent, too, are examples from Andy Warhol, Hollis Frampton, John Pfahl, Mike Mandel, Larry Sultan and Robert Cumming.
Mr. Witkovsky's tightly argued catalog essay strengthens his reputation as one of the country's ablest younger curators (he is only 44 years old). If only "Light Years" didn't read like a geeky mash note written to impress the editors of October magazine, the famously cerebral art journal that began publication in 1976 (not coincidentally the approximate cut-off date for the artists included). A wider public beyond this coterie will not easily hear the high-pitched frequency on which this show communicates.
By the end of my visit I would have been happy to see photographs of kittens or even some grandiloquent paintings by Julian Schnabel, anything not so proud of being self-referential and small time. The show will not travel.
Mr. Woodward is an arts critic in New York.
Copyright 2011 Dow Jones & Company, Inc. All Rights Reserved
5. Nicolás Dumit Estévez, Nao Bustamante, FF Alumns, at Filmoteca de
Andalucia, Cordoba, Spain, Jan. 24-28
IV Ibero-American Video Week
Filmoteca de Andalucía.
C/ Medina y Corella, 5.
14003 - Córdoba, Spain.
January 24-28, 2012.
A Section of the program includes a curatorial selection by Nicolás Dumit
Nao Bustamante, Untitled #1 (from the series Earth People 2507)
Nayda Collazo-Llorens, Amphibian, (2009. 4'12'').
Quintín Rivera Toro (with Ozzie Forbes), Lecturas sobre un perfil
imperfecto, (2008. 5'41'').
Scherezade García, Dios, Patria y libertad, (2001. 4'30'').
Migdalia Luz Barens-Vera, Cover yourself, (2010. 6'25'').
Coordination, Design and Program:
Filmoteca de Andalucía.
Excmo. Ayto. de Belalcázar.
Fundación Audiovisual de Andalucía.
6. Judith Sloan, FF Alumn, at Joe's Pub, Manhattan, Feb. 16
Judith Sloan's Yo Miss! Teaching Inside the Cultural Divide
Thursday February 16th, 7:30 PM
425 Lafayette Street, New York NY
Advance tickets, reserved seating. $15
Award-winning playwright and actress Judith Sloan collides with revolutionary rapper Immortal Technique. Part documentary, part music, part poetic autobiography, Yo Miss! Teaching Inside the Cultural Divide looks back on Judith's years of teaching in prisons, immigration high schools, and universities. In this sometimes funny, sometimes sad, always truth-seeking performance, Sloan breaks down assumptions that divide teacher and student, student and student, one sub-culture from another, and residents of a polyglot city who live in close proximity but come from conflicting worlds. Through poetry, vivid character portrayals and music, she brings their tales to life along with her own stories revealing the ripple effects of the Holocaust on her family. In addition to her work as an educator, Judith Sloan is an award-winning character actress, oral historian, and radio producer. Fusing the art of theatre and radio, Yo Miss is an eye- and ear-witness account of one artist navigating a maze of miscommunications, memory, and cross-generational dialogues as she finds resilience in the face of tragedy.
A play with music
Conceived and written by Judith Sloan
Directed by Michael Dinwiddie
Music direction Frank London
Performed by Judith Sloan
with Adam Hill and MiWi LaLupa
Live Sound Engineer Luke Santy
Sound direction and design Judith Sloan
Editor at large Warren Lehrer
Yo Miss is a project of EarSay, produced by Judith Sloan developed with support from Viper Records and Morgan Jenness from Abrams Agency. A portion of the proceeds from the Yo Miss! theatre project go to support EarSay's Youth Education project for immigrant and refugee teenagers. "As Sloan helps the students compose their performance, she is also coming full circle with a new work of her own. "Yo Miss! Teaching Inside the Cultural Divide," which she performs with musical collaborators, re-enacts and riffs on her experiences teaching teenagers from myriad worlds: refugee camps, struggling neighborhoods, prisons. It is a performance about performances, a story containing many stories. And suddenly, "Yo Miss!" has another mission: To raise money to keep the story going!
Anne Barnard, The New York Times
For more info: www.earsay.org
7. Katya Grokhovsky, FF Alumn, in Long Island City, Jan. 28-30.
FF alum, Katya Grokhovsky's Project THE ART SCHOOL,
awarded by chashama, spaces to create, OPENS!
January 28th, 2-8pm - Open studios, information about classes
January 29th, 6-11.30pm - evening of performances/exhibition by the artists
by Katya Grokhovsky about the project, her work and her passion for
Monday 30th January, 7-8.30pm
All events at:
26-15 Jackson Ave, LIC, Queens, NY
First Week of Classes from Monday 30th Jan-Feb 5th is up!
For all info abut upcoming classes and events:
8. Lynn Book, FF Alumn, at Experimental Sound Studio, Chicago, IL, Jan. 29
OUTER EAR WINTER 2012 BEGINS
WITH LYNN BOOK & SHAWN DECKER'S
THE PHAEDRA ESCAPES
After another amazing series of intimate performances in Fall 2011, ESS presents a fresh series of six OE shows throughout the winter of 2012-most with some emphasis on innovative deployment of the human voice.
SUNDAY JANUARY 29
LYNN BOOK & SHAWN DECKER
Transmedia and vocal artist Lynn Book, in collaboration with electronic musician and sound artist Shawn Decker, will perform The Phaedra Escapes-a song-cycle that deploys Phaedra as a divining tool to denature the form by way of voluptuous frictions between release and containment, stasis and white hot freedom. Part history and part possibility, Phaedra is both a mythical figure and a contemporary sign of escape. The artists spring her from a Baroque opera where she migrated from Racine's stage, having threaded through centuries of story, including conflicting fragments that Euripides wrote, lost, then wrote again in ancient Greece. Phaedra becomes the ideal escape body for our time, resonant with multiple histories and radiant with propositions for possible futures.
Lynn Book has a vibrant stream of transmedia arts practice that cuts across boundaries between performance art, theater, visual art, language, dance, and new music forms resulting in hybrid projects that explore self in the world through embodiment, cultural critique and radical imagination. For more than 25 years, her works have been seen in the U.S. and Europe, and heard internationally, including Roulette, the Kitchen, Bowery Poetry Club and the Knitting Factory in New York City; Hothouse, Experimental Sound Studio, Club Lower Links and the Museum of Contemporary Art in Chicago, the Cleveland Performance Art Festival, South Eastern Center for Contemporary Art in the US, and in Europe at Emmetrop Festival in Bourges, France as well as Vienna, Berlin, Marseilles and recently Art Stays International Festival of Contemporary Art in Slovenia. Lynn lived and worked in Chicago from the mid-80s to the mid 90s where she had the pleasure and privilege of working with many Chicago-based artists including Lou Mallozzi, Robert Metrick, Tatsu Aoki, Kristin Mariani, Michael Zerang, Terri Kapsalis, Sharon Couzin and many others. She currently lives in North Carolina where she develops progressive curriculum at Wake Forest University, and spends the summers, in Europe making performance, music and exhibition based projects and conducting intensive workshops at Transart Institute in Berlin where she is a faculty associate. The work she is developing with Shawn Decker is slated to have its full premiere in Italy in August, 2012 at the Asolo International Art/Film Festival.
Shawn Decker is a composer and artist who creates sound and electronic media installations and writes music for live performance, film, and video. His work has been frequently performed, seen, and heard in the US and Europe at a wide variety of venues. He frequently collaborates with other artists, including most recently Jan Erik-Andersson and Anne Wilson. Recent exhibitions of both solo and collaborative work have shown at venues such as: the Kiasma Museum in Helsinki, the Museum of Art and Design in New York, the Pritzker Pavillion in Chicago's Millenium Park, the Minnesota Museum of American Art, the Victoria and Albert Museum in London, the 2003 Biennial of Electronic Art in Australia, Art Basel Miami, the Klosterruine in Berlin, ISEA2002 in Nagoya, the 21st Century Museum in Kanazawa, Japan, the Indianapolis Museum of Art, CAM Houston , ISEA2000 Paris, the Waino Aalto museum in Turku, Finland and numerous others. Decker is a Professor in the Art and Technology and Sound departments at the School of the Art Institute of Chicago.
SUNDAY JANUARY 29TH, 8PM
ADMISSION: $10/8 STUDENTS/ESS MEMBERS
FREE WITH PURCHASE/RENEWAL OF ESS MEMBERSHIP AT THE DOOR
02.03: The Chicago Bass Ensemble
02.25: Billy Gomberg, Block/Genetti/Young
03.11: Jaap Blonk
04.07: Charlotte Hug
As part of our Sun Ra/El Saturn Commissions series, ESS asked Damon Locks (The Eternals) to create a new artwork responding to ESS's extensive archive of Sun Ra recordings. In lieu of a solo work, he teamed up with writer/performer Terri Kapsalis, The Eternals' Wayne Montana, and animator Rob Shaw to collaborate on an 18-minute video. Throughout the process, Locks has been working on a new series of related prints that will be on display in ESS' Audible Gallery through April 4. At the opening of the exhibition of these prints on Saturday February 4th, the video-Noon Moons-will screen at 7:30 and 8:30pm.
Opening on Saturday, February 4, 2012, 7-9pm
Screenings of the animation at 7:30 & 8:30
ESS is a non-profit organization for the production, promotion, presentation, and preservation of innovative approaches to the sonic arts. ESS programs and services are supported by our members and benefactors, and by the generous support of the Alphawood Foundation, the Gaylord and Dorothy Donnelley Foundation, the DEW Foundation, The MacArthur Fund for Arts and Culture at The Richard H. Driehaus Foundation, the National Endowment for the Arts, the Illinois Arts Council, a state agency, and the Chicago Department of Cultural Affairs and Special Events.
Copyright C 2012 Experimental Sound Studio, All rights reserved.
Experimental Sound Studio
5925 N. Ravenswood
Chicago, IL 60660
9. Marina Abramovic, FF Alumn, at Sundance Film Festival, Park City, UT,
THE ARTIST IS PRESENT
Film World Premiere
at the 2012 Sundance Film Festival
U.S. Documentary Competition
January 20 - 26, 2012
Sean Kelly is thrilled to announce that the captivating new HBO feature-length documentary, MARINA ABRAMOVIĆ THE ARTIST IS PRESENT, will have its world premiere at the 2012 Sundance Film Festival in the U.S. Documentary Competition. The film, from first-time director Matthew Akers, offers an exclusive behind-the-scenes portrait of Abramović, following the artist in the momentous year leading up to her major retrospective at the Museum of Modern Art in New York in 2010.
In addition to providing unprecedented access to Abramović's preparation's for the historic MoMA exhibition, MARINA ABRAMOVIĆ THE ARTIST IS PRESENT weaves archival footage of the artist's early works together with interviews and scenes with commentators and public figures, including: P.S.1 Contemporary Art Center Director and MoMA Chief Curator at Large Klaus Biesenbach; art critic Arthur Danto; OscarR-nominated actor James Franco; Whitney Museum of American Art curator Chrissie Iles; Sean Kelly; writer Tom McEvilley; and performance artist and Abramović''s early partner and creative collaborator Ulay.
MARINA ABRAMOVIĆ THE ARTIST IS PRESENT is an HBO Documentary Films presentation of A Show of Force production, directed by Matthew Akers. The producers are Jeff Dupre and Maro Chermayeff. Director of Photography, Matthew Akers; Co-Directed by Jeff Dupre; Edited by E. Donna Shepherd; Co-Edited by Jim Hession; Original Music by Nathan Halpern; Co-Producer Francesca von Habsburg; For Dakota Group Ltd, Executive Producers Stanley Buchthal, Maja Hoffmann and David Koh; For HBO: Senior Producer for HBO, Nancy Abraham; Executive Producer: Sheila Nevins. The MoMA exhibition The Artist is Present was conceived, titled and organized by Klaus Biesenbach.
For further information on the film and to view a trailer, please visit the film's website.
The film will be screened at the following times and locations during the Sundance Film Festival:
Friday, January 20, 9:00pm at Temple Theatre, Park City
Saturday, January 21, 9:00am at Temple Theatre, Park City
Saturday, January 21, 4:30pm at Holiday Village Cinema IV - Press Screening
Sunday, January 22, 12:00pm at Screening Room, Sundance Resort
Monday, January 23, 3:45pm at Broadway Centre Cinema 3, SLC
Wednesday, January 25, 8:30pm at Library Center Theatre, Park City
Thursday, January 26, 9:30pm at Redstone Cinema 8, Park City
For further information on the above screenings, please visit the Sundance Film Festival Website.
In addition to the Sundance Film Festival, the film will also be included in the Berlin Film Festival's Panorama section, premiering on February 11th at the historic Kino International.
For press inquiries, please contact Maureen Bray at the gallery (212.239.1181) at maureen at skny.com. For all other inquiries, please contact Cécile Panzieri at the gallery (212.239.1181) or at cecile at skny.com.
10. Robin Tewes, FF Alumn, at De Vinne Press Building, Manhattan, Jan. 27
Robin Tewes, FF Alumn, has contributed work to The Weil Cornell Community Clinic Benefit Exhibition "Without a Safety Net", Friday January 27th The historic De Vinne Press Building at 399 Lafayette 8PM-11PM. Beer and wine, light fare, dancing, silent auction, and featuring artists work curated by Eliissa Iberti and a screening of Fly By Night Dance Theatre's Apollo and Dafne. Donation goes to the clinic at http://Weill.cornell.edu/wccc/safetynet. For more information. Catalogue available.
The WCCC is a student-run clinic based at Weill Cornell Medical College that provides high-quality, accessible and coordinated medical, psychiatric and women's services to uninsured adults throughout New York City. Our goal is to extend healthcare access to underserved populations, while also encouraging the spirit of volunteerism and philanthropy among our students, faculty, and staff.
11. Tobaron Waxman, FF Alumn, now online at torontoist.com
Please visit the following link:
Goings On is compiled weekly by Harley Spiller