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Contents for June 20, 2012
1. Martha Wilson, Sherrie Levine, Ed Ruscha, FF Alumns, at David Zwirner, Manhattan, opening June 28
David Zwirner 525 West 19th Street New York, NY 10011
T 212 727 2070
F 212 727 2072
Much too simple, doubtless. But such is the nature of the real….
Ought we not first learn to fly backward too, or stand still in the air like
— Henry Miller
Stand still like the hummingbird
June 28 – August 3, 2012
Opening reception: Thursday, June 28, 6 – 8 PM
Press preview with Bellatrix Hubert: 10 AM
David Zwirner is pleased to present Stand still like the hummingbird, an exhibition curated by Bellatrix Hubert in the gallery’s 525 and 533 spaces. It takes its title from a collection of short stories and essays by American writer Henry Miller, published in 1962. Known equally for his mysticism and dark humor, Miller proposed the idea of “flying backwards, standing still like a hummingbird” as a lighthearted antidote to the frantic pace of modern society. In borrowing Miller’s title, the exhibition also embraces the paradox at its heart: the hummingbird, of course, only appears inert because we cannot visually process its wing beat quickly enough. Hubert has gathered a careful selection of paintings, sculptures, and videos by artists who engage with contradictions, impossibilities, and the absurd. They also share a concern with understated gestures and formal restraint, which finds its historical starting point in the exhibition with Marcel Duchamp’s Comb (1916/1964). Along with the artist’s other readymades from the early twentieth century, the gray steel comb signaled a dry, deadpan aesthetic, which came to influence a century of art-making. The works in the show are subtle iterations of this lineage, their matter-of-factness alternating between the poetic, funny, and unnerving. Several works from the 1960s and 1970s, the decades where Duchamp gained renewed attention, provide apt examples of how straightforward gestures can be used to yield complex outcomes. Forty-two postcards by On Kawara, stamped by the time he got up on a given day and simply titled I Got Up (1968-1976), offer a map of the artist’s whereabouts that complement other projects in documenting and archiving his existence. Gordon Matta-Clark’s installation, Hair (1972), likewise offers a belated testament to the artist’s physical presence. Cut off on New Year’s Eve following a year of untamed growth, individual strands of his hair were carefully mapped out, numbered according to a three-dimensional grid, and arranged in a wig formation. Photographs document the ritualized performance like a taxonomy of change. Other works forego reference to the personal altogether. They include Bernd and Hilla Becher’s Wassertürme (1967) and a collection of Ed Ruscha’s photobooks (1964-1978), which follow systematic rules for presenting everyday objects in a neutral and objective manner. Mason Williams’s Bus Book (1967), a life-size, black-and-white silkscreen print of a Greyhound bus, adds a trompe l’oeil dimension, but almost appears supernatural despite its candor. Its packaging in an unassuming, small cardboard box seems part of an intricate, tongue-in-cheek ploy. Christopher Williams’s three photographs from 2008 follow similar rules for industrial photography adhered to by photographers such as the Bechers, but manipulate viewers’ expectations in the process. With lengthy titles that list the name of the subject along with camera information, location, and details about the company that manufactured the subject’s shirt, they wryly “collage” together elements from the history of photography. Rodney Graham’s classically composed photographs of majestic oak trees shown upside-down play with the conventions of artistic representation while reminding us that the image projected onto the retina is, in fact, inverted, and subsequently corrected by the brain (Welsh Oaks, 1998). Duchamp’s legacy is explicitly invoked by Sherrie Levine, whose appropriation of iconic Walker Evans photographs stretch the idea of the readymade to include existing artworks (After Walker Evans, 1981). The books and magazine cut-outs arranged on shelves by Carol Bove likewise fall under the category of readymades, and here derive multi-layered meanings from their careful composition next to one another. Amongst the videos on view, two works by Morgan Fisher fuse the banal and the bizarre. In Red Boxing Gloves/Orange Kitchen Gloves (1980), the artist’s hands fondle kitchen and boxing gloves in soft motions that appear at once uncomfortable, erotic, and comical; in Protective Coloration (1979), layers upon layers of colorful disguise—fake teeth, goggles, swimming caps—gradually render Fisher unrecognizable as he silently faces the camera. A different type of uncanniness is provided in Bruce Nauman’s Raw Material with Continuous Shift-MMMM (1991), which incorporates an upside-down, revolving selfportrait that infers a sense of dizziness upon the viewer, while obstructing easy identification. Francis Alÿs’s video Retoque/Painting (2008) shows him repainting by hand fading median strips on a road stretching across the Panama Canal. This mechanical, disciplined act calls attention to the mobility of geographical borders and the obliteration of territorial demarcations, while also presenting a tongue-in-cheek comment on the status of painting and the touch of the artist. Christopher Williams’s 5 ½ hour long Supplement (2003) presents footage from a popular German cooking show without any editing, thus showing seemingly interminable views of bubbling soups and toasts in the making (including a 50 minute long view of a jelly dessert setting).
Abstract works in the exhibition, including paintings by Tomma Abts and Alan Uglow, handwoven linens by Ruth Laskey, and a triangular column by John McCracken adhere to a minimal language while they are also curiously suggestive, playful, and personal. Works by Cady Noland (Institutional Field, 1991) and Robert Gober (Untitled, 2000-2001) are balanced between abstraction and representation: Noland’s metal fence placed flat on the ground becomes an eerie aesthetic form, while Gober’s bronze cast of a block of Styrofoam presents a visual contrast between light and heavy, sculpture and pedestal.
Hubert curated the critically acclaimed group exhibition a point in space is a place for an argument at the gallery in 2007. She has been a partner at David Zwirner since 2002, having joined in 1998. Artists included in the show: Tomma Abts, Francis Alÿs, Bernd and Hilla Becher, Carol Bove, Marcel Duchamp, Morgan Fisher, Robert Gober, Rodney Graham, On Kawara, Ruth Laskey, Sherrie Levine, Gordon Matta-Clark, John McCracken, Bruce Nauman, Cady Noland, Jim Nutt, Thomas Ruff, Ed Ruscha, Alan Uglow, Christopher Williams, Mason Williams, Martha Wilson
For press inquiries and RSVP to the press preview on June 28, please contact
Ben Thornborough at David Zwirner 212-727-2070 email@example.com
2. Yoko Ono, FF Alumn, releases free App, and more
The official Yoko Ono #smilesfilm iPhone App is out now on iTunes and it’s FREE ☺
“My ultimate goal in film-making is to make a film which includes a smiling face snap of every single human being in the world.” yoko ono 1967
Yoko Ono's #smilesfilm iPhone App is now available for download at the iTunes App Store.
Yoko's #smilesfilm iPhone App encourages you to interact in 3 ways:
a. dream – look at recent upload activity on a zoomable world map
b. watch – view the lastest uploaded smile
c. smile – take/upload photos to Instagram & Twitter adding the hashtag #smilesfilm, and geotag location information (so it appears on the map).
Tap and hold your finger on the Map to view smiles from that area.
To return to the main menu at anytime, press the blue swoosh top left.
The App also includes inspirational quotes and sounds from Yoko Ono.
If you have any queries regarding the website or the App, please email firstname.lastname@example.org
#smilesfilm is a worldwide online participatory artwork by Yoko Ono that reflects her pioneering vision of the power of mass participation.
Originally conceived in 1967 as a way of connecting people across the world, this 21st century project invites people to upload images of their smiles to Instagram & Twitter, accompanied by the hashtag #smilesfilm.
Using the hashtag, all the smiles are collated by the #smilesfilm website & app, and are then viewable globally and locally on a world map and together as a film.
#smilesfilm taps into the transformative potential of the smile.
Our smiles change moods and opinions as they radiate positive energy out into the world, creating joy, healing and peace, changing the Universe for the better.
People from cities and countries around the world can freely upload their smiles by mobile phone and computer to the world and its people.
Each time we add our smiles to #smilesfilm, we are creating our future, together.
Give us your smile!
I love you!
London, June 2012
For more information, see http://smilesfilm.com
TO JOIN IN WITH #SMILESFILM:
1. Take or upload a picture on Instagram or Twitter.
IPHONE APP Out Now
To join in with @smilesfilm by @yokoono, tag your Instagram & Twitter photos #smilesfilm & go to http://smilesfilm.com/ ☺
YOKO ONO - TO THE LIGHT - SERPENTINE GALLERY - 21 JUNE TO 9 SEPT 2012
Following successful exhibitions in Tokyo, Berlin and New Delhi, #smilesfilm is being exhibited this summer at the Serpentine Gallery in London with Yoko Ono's show TO THE LIGHT, part of the London 2012 Festival, a spectacular 12-week UK-wide celebration featuring internationally-renowned artists from Midsummer's Day on 21 June to the final day of the Paralympic Games on 9
September 2012. For more information on the Festival programme visit london2012.com/festival.
Various locations in London, UK
Yoko Ono's IMAGINE PEACE message to appear in the UK during 2012 Olympics
IMAGINE PEACE is a public art installation presented by Art Production Fund as part of the London 2012 Festival, a spectacular 12-week nationwide celebration from 21 June to 9 September 2012, bringing together leading artists from across the world. The project will consist of Yoko Ono's IMAGINE PEACE message, translated into 24 world languages, appearing on London 2012 Live Sites screens, and screens at Victoria Park, Hyde Park, and Art on the Underground/Canary Warf. Accompanying this installation is John Lennon's historic anthem Imagine from 1971. Yoko Ono will also have a concurrent solo exhibition entitled To the Light on view from 19 June to 9 September 2012 at Serpentine Gallery.
IMAGINE PEACE is artist Yoko Ono's worldwide initiative of anti-violence. This ongoing project uses internet projects and presence, posters, thoughts, badges, and a multitude of other medias to communicate its message of peace to the global community. Past IMAGINE PEACE projects include the IMAGINE PEACE TOWER in Reykjavik, Iceland (2007) and IMAGINE PEACE for PAUSE at The Cosmopolitan Las Vegas produced by Art Production Fund (2010). The impact of this campaign is tremendous and continues to grow. Over the past few years the artist has also collected over 1 million wishes, to be sent to the IMAGINE PEACE TOWER in Iceland. Yoko Ono has nearly 2.4 million Twitter followers, 2.5 million views on YouTube, as well as hundreds of thousands of supporters through other social media outlets.
To support and spread awareness of this project, Art Production Fund will release special-edition IMAGINE PEACE products as part of the Works on Whatever (WOW) line of artist-designed everyday items. The products will be available at Selfridges during the London 2012 Festival, and all proceeds from sales will support public art. "We are really excited to collaborate with Yoko Ono and Art Production Fund at Selfridges. This is a unique opportunity for us to work with an icon of the twenty-first century and to help bring awareness to her very worthwhile peace programme," said Judd Crane, Director of Womenswear at Selfridges. These IMAGINE PEACE products will be available for a limited time on www.selfridges.com and www.worksonwhatever.com.
"Let us come together to realize a peaceful world." –Yoko Ono
About the Cultural Olympiad and London 2012 Festival
The London 2012 Cultural Olympiad is the largest cultural celebration in the history of the modern Olympic and Paralympic Movements. Spread over four years, it is designed to give everyone in the UK a chance to be part of London 2012 and inspire creativity across all forms of culture, especially among young people.
The culmination of the Cultural Olympiad will be the London 2012 Festival, a spectacular 12-week nationwide celebration bringing together leading artists from across the world, from 21 June through the final day of the Paralympic Games on 9 September. The London 2012 Festival will celebrate the huge range, quality, and accessibility of the UK's world-class culture including dance, music, theatre, the visual arts, fashion, film, and digital innovation, giving the opportunity for people across the UK to celebrate the London 2012 Olympic and Paralympic Games. For more details on the programme and to sign up for information visit www.london2012.com/festival.
Yoko Ono (b. 1933; Tokyo, Japan) lives and works in New York. Ono is an influential artist who pushes the boundaries of the art, film, music, and theatre media. She received the prestigious Golden Lion Award for Lifetime Achievement at the 2009 Venice Biennale.
Art Production Fund (APF) is a 501(c)3 non-profit organization dedicated to commissioning and producing ambitious public art projects, reaching new audiences and expanding awareness through contemporary art. Co-Founders: Yvonne Force Villareal & Doreen Remen; Director: Casey Fremont Crowe. UK Projects Director: Vanessa Arelle.
Prentice Art Communications: T 212 228 4048
Sara@PrenticeArt.com / Shannon@PrenticeArt.com
3. Galinsky, FF Alumn, honored by Women’s Empowerment Summit
Contact: Martha Samson 215-359-5214
WOMEN'S EMPOWERMENT SUMMIT HONORS MAN OF THE WOMEN
NYC’s Most Powerful Women honor Robert Galinsky for his work as “Man of the Women”
NYC (June 12, 2012)—Alycia Kaback, CEO of The IT Factor and the Kaback Talent Academy, has organized the 2nd Annual Women's Empowerment Summit, which honors 20 of the most influential women of today with 100 women from the public who have the opportunity to network and share ideas. This year will mark the founding of “Alycia Kaback’s Man of The Women Award,” which will be presented to one man each year to acknowledge his work in enabling women and girls to do more and do better each day. This year’s award will be Robert Galinsky. The Summit will take place June 23, 2012 at DCTV 87 Lafayette St. New York, NY 10013 from 10AM to 4PM.
The goal of the NYC Women’s Empowerment Summit is to create new bridges and a wider awareness of political, social and economic causes, in order to help women reach their full potential in life. Robert Galinsky has worked tirelessly toward these ends to better the lives of all kinds of people, women, girls, and young men, with organizations such as: the Women's Empowerment Summit, the Becoming I Foundation, the Boys Club of New York City, the We Are Family Foundation, the Three Dot Dash International Peace Summit, the IMPACT Repertory Theater, the Creating WE Institute and many other organizations. For these accomplishments and more, Robert Galinsky is Alycia Kaback’s 1st Man of the Women Recipient.
The following panel of women speakers from all genres of business, workforces and life will be honored for their work in their respective fields: 5-time Billboard winner, Valerie Smaldone; multi-Emmy Winner, Rita Cosby; theatre producer, Pat Addiss; entrepreneur, Isisara Bey, Gayle Naftaly, and Laura Fredricks; fashion designer, Danielle DiFerdinando; media personalities Chelsea Krost, Margaret Luce, Hattie, and Donna Henes; holistic nutritionist, Keri Gans and Sally Kravich; authors, Kristine Gasbarre and Kambri Crews; financial experts, Elle Kaplan and Amanda Steinberg; author and spokesperson Dr. Robyn Odegaard. Our sponsors: Pretzel Crisps, Beauty101, DC Cupcakes, Posh Adornments, Terra Fossil Wines, RelaxZen, ResVes, Kambri Crews, Paradigm Shift, Rickland Orchards, MarketMommy.com, Sleep Squares, Nosotros Us Mag, NYWCC, Sistas The Musical, White Jean PR. For more information visit: http://www.alyciakaback.com/womens-empowerment-summit-2012/.
Alycia Kaback created The IT Factor as the bridge to connect undiscovered talent and budding entrepreneurs with the experts and resources that can help them succeed. The IT Factor operates through its 5 brands: VIP Talent Connect, Kaback Model Management, Colby Models, the Kaback Talent Academy and the NYC Women’s Empowerment Summit. Together these brands form a talent development powerhouse, helping talent get to the next level – both nationally and internationally.
4. Bogdan Perzyński, FF Member, at Kirk Hopper Fine Art, Dallas, TX, thru July 21
B o g d a n P e r z y ń s k i, FF Member, at Kirk Hopper Fine Art, Dallas, Texas, June 16-July 21, 2012.
Three new shows at Kirk Hopper Fine Art, Dallas, Texas
Opening reception Saturday, June 16, 6:30-8:30 p.m.
Daniela Comani - History, Film and Dynamite
Bogdan Perzyński - I Will Have Gold
Melissa Turner Drumm - Deconstructing Gutenberg
In addition to photographic work from the late 1990s, Perzyński will present his recent video “I Will Have Gold.”
In “I Will Have Gold,” (2011) three different women in succession face the camera (and the off-screen artist-director) while cursing. While the first two protagonists fail to muster much performative energy, the third appears to deliver the goods—gold—so to speak. The video summons such settings as the audition and the screen test (whether in Hollywood or in Warhol's factory, for instance) and the notion of staged vs. seemingly “authentic” emotions (perhaps as in some of Nauman's confrontational works) and also the difference between the trained actor and the untrained actor, which could work helpfully in either direction, as in Robert Bresson's use of amateur actors, or John Cassavetes seeking truthful emotions from highly trained actors. Perzynski highlights how vernacular language seems stiff and all too inadequate when put “front and center” in a theatricalized environment, whether in studio isolation or a karaoke stage."
“Bogdan Perzynski: Selected Photographic Documents and Video Works.”
Martin Patrick, PH.D
5. Doug Skinner, FF Alumn, at Jalopy, Brooklyn, June 23
Doug Skinner will join Ralph Hamperian for an evening of Skinner originals.
Doug will be on various instruments; Ralph will be on tuba; you will be in the audience. Included is the world and Brooklyn premiere of "Cinderella's Glass Eye," for tuba and piano, as well as other things you haven't heard yet.
It's on Saturday, June 23, at 10:00. The Whiskey Spitters will precede us at 9:00. Tickets are $10. Jalopy is at 315 Columbia St., in Brooklyn; directions are at jalopy.biz.
6. Stanya Kahn, FF Alumn, at Cornerhouse, Manchester, UK, opening June 22
It's Cool, I'm Good
Sat, 23 June–Sun, 16 September 2012
Preview: Fri, 22 June, 18h
70 Oxford St
Manchester M1 5NH
Hours: Tue–Sat, 12–8pm; Sun, 12–6pm
Cornerhouse, in collaboration with Abandon Normal Devices (AND) Festival, is delighted to present the first European solo exhibition of new and recent work by acclaimed Los Angeles-based artist Stanya Kahn.
Using humour as a central device, It's Cool, I'm Good will present a selection of videos and drawings, characterised by the artist's signature blend of dark comedy, visceral characters, and reluctant optimism. The exhibition includes the premiere of new video commission Who Do You Think You Are.
Absurd, poignant, and darkly comic, Kahn's videos create intimate portraits of compelling subjects as they struggle for success or mere survival despite setbacks, trauma, and destabilised senses of self. The observations, mundane interactions, and edgy jokes of Kahn's characters suggest a deeper consciousness of social alienation, power, and agency.
In some works Kahn plays the protagonist. In It's Cool, I'm Good, the artist is a mysteriously injured "patient" who seduces, harasses, and charms a slew of nurses into visiting, possibly for the last time, LA's boulevards, beaches, and deserts. Personal distress gives rise to a gallows humor in which the body reflects the urban tension and precarious ecology of the landscapes. In Lookin' Good, Feelin' Good Kahn wears a giant foam penis out into the world, externalising stand-up comedy's endless penis jokes with an embodiment that can 'speak' for itself. The artist moves behind the camera for the verité video essays Kathy and Sandra, which feature Kahn's best friend and mother speaking candidly about their lives.
Her most recent video work leaves the world of the living and features objects navigating their own micro-worlds. In Arms are Overrated, two paper puppets skirt the issue of their impending obsolescence, chatting in a haunted theme park, by a pool, in bed. They even try to party, but if you're made of paper, beer and cigarettes will literally kill you.
A new commission Who Do You Think You Are further develops themes of trauma and recovery, and explores the elliptical concept of success. The film, which premieres at this exhibition, features a self-styled self-help guru whose relentlessly optimistic monologue thinly conceals her own vulnerability.
It's Cool, I'm Good will also include over thirty of Kahn's drawings.
Stanya Kahn lives and works in Los Angeles. Recent solo exhibitions include Susanne Vielmetter gallery, Los Angeles and Galleria Perdida/Recess, New York. It's Cool, I'm Good won the jury prize for short fiction at the Migrating Forms Festival, New York in 2010. Kahn's work, and previous work, made in collaboration with Harry Dodge, has shown extensively in group exhibitions including the Orange County Museum of Art; The California Biennial 2010; Future Gallery, Berlin; 2008 Whitney Biennial, New York; Kunsthalle Bonn, Germany; Getty Museum, Los Angeles; The Hayward Gallery, London; ZKM/Center for Art and Media, Karlsruhe, Germany; PS1 Contemporary Art Center, New York; and Elizabeth Dee Gallery, New York.
Co-commissioned by Abandon Normal Devices Festival and Cornerhouse.
Curated by Henriette Huldisch, Associate Curator at Hamburger Bahnhof, Berlin, and Sarah Perks, Director of Programme & Engagement at Cornerhouse, Manchester.
It's Cool, I'm Good is part of Abandon Normal Devices (AND), the Northwest's energetic festival of groundbreaking art, digital culture, and new cinema taking place annually across the Northwest of England.
A new catalogue to accompany the exhibition, published by Cornerhouse, will be available online at www.cornerhouse.org/books.
7. Maureen Connor, FF Alumn, at Akbank Art Center, Istanbul, Turkey, thru July 28
31 May–28 July 2012
Akbank Art Center
Istiklal Cad. No: 8
3443 Beyoglu, Istanbul
T +90 212 2523500-01
Curated by Hasan Bulent Kahraman
Contradictions and identity: the plural and the singular
Connor's works are almost entirely like a topography of the periods in which they have been produced. Connor was carrying out an in-depth questioning of the relationships of art-market-capitalism as early as the 1990s. Questions around what an artist remaining outside of market values and mechanisms could produce and provide, and what such an artist's efficiency and impact might be were within her realm of interests. Let us not forget that in this so-called postmodern era, postmodernity itself was described as 'the cultural logic of late capitalism.'
Connor then moved the issue of body and identity, a subject-signifier of capitalism and market—among others. She rendered both of these phenomena tangible through the subject of the female: again, amongst the most debated issues of social theory after the 1990s. With the works she produced that are now presented to the viewers at the exhibition, Connor proposes an array of questions directed towards all of these issues.
The exhibition could be considered to have two layers. Connor is presenting works before 1990, produced and exhibited at a much earlier date, together with recent works. This is a reference to the transformation emphasized earlier, to its projection crystallized in the artist. Almost a Lavoisierian stance: the conservation of matter. In conjuction with that Connor deals with the museum space, and its expression on the human plane as a production area of the artistic platform. This has to be referred to as the relationship between the creative field and consumption.
The second layer of the exhibition is a plane of questioning. At every corner, in every work, the viewer is brought face to face with himself/herself. This could be perceived as a policy of participation. But it is an approach that also involves alienation and abstraction. These could be seen in the example of Narrow Escape. The wealth of the Baroque background is surprising. Roles cut out for femininity coincide completely with the extremely efficient images in the video. This is a correspondence containing all the contradictions covered by the title of the exhibition. While these predefined roles with clear sexual references are revealed on an axis of beauty, award, competition, womb-birth, and food-slimness, the viewer will be questioning himself/herself in terms of the situations in this context.
This exhibition is rich enough in content to be conceived as a test laboratory for the post-structuralist feminist studies of the 1990s, and is also dense enough to become an inventory of post-Lacanian issues. An examination of the female/feminine condition and the politics of the body against the thresholds of identity and consciousness (and of course the unconscious as well) is not an easy process. It requires the artwork to be abstracted from itself, while simultaneously acquiring a philosophical breadth/substance.
However, this is a critical phenomenon. Because at this stage the ontological characteristics of the artwork could be obstructed. Thus, the discourse of the artwork/art that is expected to be active, becomes passive and art assumes the reality of a meta-narrative. Yet, Connor's work crystallizes at a point opposite to this. While the artwork creates its own ontological reality, in Connor's works, the problematics mentioned earlier are formed providing vast expanses for a posteriori readings of the work on a secondary level. Another quality of Connor must be noticed here. Although, this exhibition and Connor's works could be read within the framework of feminist art, or the issues of femininity/body/identity/belonging, they are narratives that seize the shortcomings of the visual ideology and that face up to it.
At a time when 'endism' has become the dominant discourse and the rhetoric of the 'post-ist' era has begun, Maureen Connor's exhibition offers a ground determining that the individual and the singular, the social and the plural could only breed through contradictions, and that lets the viewer define these once more.
8. Sol LeWitt, FF Alumn, at Museum Leuven, Belgium, thru Oct. 14
Sol LeWitt. Colors
June 21–October 14, 2012
M - Museum Leuven
3000 Leuven, Belgium
For the first time in Belgium, M gathers twenty-four color wall drawings by the American conceptual artist Sol LeWitt (1928–2007). Based on LeWitt's detailed instructions and plans, the works are executed on site, directly on the walls of the exhibition space. The monumental drawings, while reminiscent of the Italian Renaissance fresco tradition, mark a groundbreaking departure in the history of contemporary art. For LeWitt, the idea or concept behind an artwork is primary, the execution secondary: "In conceptual art the idea or concept is the most important aspect of the work. When an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes a machine that makes the art" (Sol LeWitt, "Paragraphs on Conceptual Art," in Artforum, June 1967).
Chosen from the ca. 1200 wall drawings created by the artist between 1968 and 2007, the exhibition at M offers a selective overview of LeWitt's radical practice. The works presented here, exclusively in color, have been selected in close collaboration with the LeWitt Collection, Chester, Connecticut, ensuring that each piece perfectly embraces the museum's architecture. The making of the wall drawings at M has been the occasion of an exceptional collaboration between professional drafters trained by the LeWitt studio, local artists, and 61 students from various Belgian art schools.
The selection of works dating from 1969 to 2003 follows overall a chronological order, from the earliest drawings made up of thousands of fine pencil lines, or bolder lines and simple geometric shapes in crayon, to more complex shapes in India ink washes, and finally exuberant systems in acrylic paint. With a distribution of the wall drawings in four consecutive rooms, each corresponding to a medium used by the artist, the exhibition provides an articulated overview of the evolution of LeWitt's practice. A fifth gallery concludes the exhibition with two works mainly in black and white, hinting at both the diversity and consistency of LeWitt's body of work. Furthermore, they link Sol LeWitt. Colors at M to its partner exhibition, Sol LeWitt. Wall Drawings from 1968 to 2007, at Centre Pompidou-Metz, featuring over thirty of LeWitt's wall drawings in black and white.
Béatrice Gross (Independent curator, New York) and Eva Wittocx (Chief Curator, M-Museum Leuven)
Sol LeWitt. Wall Drawings from 1968 to 2007
March 7, 2012–July 29, 2013
In partnership with M-Museum, Centre Pompidou-Metz presents a retrospective exhibition, which features over thirty black and white wall drawings.
Curator: Béatrice Gross.
Also at M - Museum:
June 8–September 2, 2012
The work of Ines Lechleitner (b. 1978, Vienna) encompasses such varied media as photography, video, installation, and drawing. In her work, she analyses the correlation between different forms of communication, such as sound, image, and text. Along with a number of other artists, writers, and academics, Lechleitner's current project concentrates on questions concerning sensory translation. How is one sense connected to another? How can someone else summon up a sensory experience? M is exhibiting a selection from the series Sense Correspondence, as well as a site-specific installation: an ode to the LeWitt exhibition.
9. Buzz Spector, FF Alumn, at Zolla/Lieberman Gallery, Chicago, IL, June 30, and more
Please join Sara Ranchouse and Buzz Spector at the Zolla/Lieberman Gallery
325 W Huron St # 1E Chicago, IL 60654 on Saturday, June 30, 12-3PM for a
book signing and publication release party for "Buzzwords: Interviews with
This selection of six interviews spanning nearly thirty years showcases Spector's ideas to do with art, books, libraries and his own history of reading. Spector describes and elucidates his installations, book objects and photographs within an intellectually rich context, provoking stimulating conversation and thought. Spector has designed new page art especially for this publication, including a section that he has individually hand-torn for each book. Other of Spector's book projects will also be on view.
"Buzzwords" is the third in a series that focuses on artists' writings and includes projects conceived particularly for the book format. The first two puclications, "Kaysays: Essays and Interviews by Kay Rosen" and "Plah Plah Pli Plah" by Alison Knowles will also be available to view and purchase.
For more information, please visit: www.sararanchouse.com
or email: email@example.com
Buzz Spector, Reagan Upshaw, and Roberta Upshaw will give a public reading of texts from their time as founder/editors of WhiteWalls on Saturday, July 28, at 7:00 pm, Golden Gallery, 120 Elizabeth St., ground floor, New York, NY 10013.
10. Rhys Chatham and GH Hovagimyan, FF Alumns, at Postmasters Gallery, Manhattan, June 24
a collaborative performance by
Rhys Chatham and GH Hovagimyan
Date: Sunday June 24th
Time: 7 pm
Location: Postmasters Gallery, 459 West 19th St.
Mapped Morphs brings together world renown Minimalist Composer Rhys Chatham and internationally acclaimed New Media artist GH Hovagimyan for a special collaborative performance.
Mr. Chatham will premiere four short works, two for trumpet and two for electric guitar and Mr. Hovagimyan will perform a series of 3D virtual animations using a custom designed NI (Natural Interface) that reacts to his gestures as well as responding to Mr. Chatham’s music.
The performance will last for approximately one hour. Admission is free Seating on a first come first serve basis
11. Marina Abramovic, FF Alumn, in The New York Times, June 13, and more
The New York Times
June 13, 2012
The Devil in Marina Abramovic
Interview by ANDREW GOLDMAN
Watching the new documentary about you, “The Artist Is Present,” got me curious about the economics of performance art. In 2010, you did a show at the Museum of Modern Art, where you sat for 700 hours, staring at visitors. It was seen by as many as 750,000 people, and during that time the museum collected millions in receipts. Did you get a cut of the door, like a musician? I
got so little I don’t even want to tell. I was paid an honorarium of exactly $100,000. It covered one year of my work, plus how much I pay for assistants and office rent.
That seems low.
I made an enormous installation out of the project, which took me one and a half years and some of my own money. They should have this major piece, but they completely ran over me.
Before you got your MoMA show, you wrote an e-mail to Glenn Lowry, the museum’s director, saying: “It was so nice of you to come to dinner last night. You look in good shape and totally sexy.” Is there any career calculus in sending an e-mail like that?
You’re like Rupert Murdoch! Who sent this e-mail? I don’t remember that I said this.
It was in a biography about you by James Westcott, your former assistant.
Good writer, worst assistant. He filed all the files upside down. Glenn Lowry is really one of the best-looking directors, because he takes care of himself. It’s true! I mean, look at the other ones. They are all overweight. I didn’t get that show because I said that Glenn Lowry is sexy. I think it was much more about the quality of the work.
I wouldn’t have suspected otherwise, although you have been described as extremely seductive to men and women alike.
Oh, God. And I am alone as you could be. I am plenty lonely in hotel rooms.
You grew up in the former Yugoslavia, where your parents were high-ranking military officers during Tito’s regime. Your mother initially encouraged your art studies. Did she come to regret that?
She could not take it. I always sent my mother all these huge books I made. When my mother died, I was cleaning her cupboard, and these big books were only 20 pages long. She edited out, maybe burned, every single photograph where I’m naked.
It’s hard to believe that while you were making some of your most provocative work, like “Thomas Lips,” in which you carved a pentagram into your belly with a razor, you were living at home and had a curfew.
I was 29, but I had to be home by 10 in the evening.
My mother will beat me up. There was this one piece where I almost died lying in the burning star. My hair was burning; I was burned everywhere. In the morning, my grandmother was in the kitchen making breakfast. She saw me and thought she saw the pure devil and threw everything on the floor and ran away.
Not long after you and your lover and collaborator, Ulay, broke up in 1988, you got a breast enlargement, which some found to be anathema to the feminist tradition of performance art.
I don’t care. You know, I was 40 years old. I heard that Ulay made pregnant his 25-year-old translator. I was desperate. I felt fat, ugly and unwanted, and this made a huge difference in my life. Why not use technology if you can, if it can build your spirit? And I’m not feminist, by the way. I am just an artist.
You’ve made detailed plans for your funeral, with a coffin each in Belgrade, Amsterdam and New York. The mourners will have no idea which city’s coffin houses the body. Why go through the trouble?
I was friends with Susan Sontag the last four years of her life. She had this amazing charisma and so much energy, but she had a sad little funeral in Père Lachaise in Paris. It was rainy. It was all wrong. And I was thinking, God, she loved life so much. Like the Sufis say, “Life is a dream, and death is waking up.” I went to the lawyer immediately and made this statement of having three Marinas.
All the mourners will be required to wear bright colors. Can you really dictate a dress code for a funeral?
This whole thing is my life. I don’t see why not.
INTERVIEW HAS BEEN CONDENSED AND EDITED.
THE ARTIST IS PRESENT
Opens June 13, 2012
209 West Houston St, New York, NY
Two weeks only
1, 3:15, 5:40, 7:50, 10pm
Opens June 15, 2012
11272 Santa Monica Boulevard, Los Angeles, CA
One week only
Daily 5, 7:30, 9:55; Fri–Sun matinees at 12 and 2:30pm
And coming to theaters nationwide
12. Su Friedrich, FF Member, received Brooklyn Film Festival Audience Award
BROOKLYN FILM FESTIVAL ANNOUNCES
Brooklyn, NY [June 2012] - The Brooklyn Film Festival (BFF) is proud to announce the winners for its annual festival, themed DECOY. The competitive event ran from June 1 through June 10 at indieScreen in Williamsburg and Brooklyn Heights Cinema.
Winners were chosen from 104 film premieres that were selected from over 2,000 submissions coming from 111 countries. This year, BFF featured more than 30 New York City based film directors with over a dozen projects shot in Brooklyn.
Through the resources of industry-related sponsors, the Brooklyn Film Festival awarded the 2012 winners with a total of $57,000 in prizes and film services.
PRIZES SPONSORED BY: Panavision NY, indieScreen, AbelCine, Xeno Lights, Media Services, Avid Technologies, Film Friends, Cinecall Soundtracks, Windmill Studios, Orwo Films, and Grolsch.
GUT RENOVATION by Su Friedrich
13. Agnes Denes, FF Alumn, in The Village Voice, June 13
The Village Voice
Gardening Art Grows into Activism in the Age of Occupy
How green was my alley
By Martha Schwendener
published: June 13, 2012
Radical gardening might sound like an odd topic to discuss in the context of art. Are we talking about artists who garden, or gardening as art? Either way, landscape and gardening are ancient aesthetic pursuits but also central to American art, dating back to the Hudson River School and Frederick Law Olmsted, or more recent projects like Robert Smithson's Floating Island, a kind of garden on a barge that was sketched on paper in 1970 and finally realized in floating form in 2005.
Other contemporary touchstones include Agnes Denes's Wheatfield—A Confrontation (1982[which is illustrated in the online and print versions of this article]), a two-acre field of wheat planted on a landfill in Battery Park City, and Alan Sonfist's Time Landscape (1978), a wilderness re-created on the corner of West Houston and La Guardia, as well as Mel Chin and Rufus Chaney's Revival Field (1991–93), which used plants to absorb toxic metals from a landfill in Minnesota.
Alongside '60s and '70s garden art, however, arose guerrilla gardening—that is, gardening on land to which you don't own the legal rights. In 1973, Liz Christy and the Green Guerillas took over a vacant lot on the corner of Bowery and Houston, where the BMW Guggenheim Lab was last summer. And Adam Purple's circular Garden of Eden, divided into yin and yang at its center, flourished on the Lower East Side until it was razed by the city in 1986.
The past decade has seen an uptick in garden art with Fritz Haeg's Edible Estates, which revive wartime victory gardens planted in yards and public parks, and local mad-scientist-artist Natalie Jeremijenko, who has proposed growing vegetables in bags slung over apartment balconies, micro-landscapes designed to fit "no parking" spaces, and dispersing seeds with hula hoops. Rebecca Bray and Britta Riley have created hydroponic "Window Farms," and British artist Nils Norman installed a "Radical Gardening Space Reclamation Mobile Field Center" in a 2005 Queens Museum show devoted to gardening.
But the art-gardening impulse seems to be rapidly merging with the activist one. It started in the alternative pedagogical sphere in places like Mildred's Lane, an experimental think tank retreat run by artists J. Morgan Puett and Mark Dion in rural Pennsylvania, which has a session this summer titled "Town & Country II" that explores the new urban-garden movement. In New York, Trade School—an education-for-barter initiative developed by artists Louise Ma, Rich Watts, and Caroline Woolard—had classes on how to become a farmer and urban foraging, while the Public School, another alternative-education initiative, has posted gardening proposals.
Gardening also thrives in the New Museum's bookstore, where a display features George McKay's primer Radical Gardening: Politics, Idealism and Rebellion in the Garden (2011), which describes the garden as "one of the extreme spaces in the contestation of the cityscape, precisely because of its uncompromising greenness." McKay covers the waterfront—gardens tended by suffragettes, prisoners of war, and feminists; peace gardens; hippie and punk gardens; a "Pansy Project" for gardening against homophobia—and cites earlier books like Avant Gardening: Ecological Struggle in the City & the World (1999) and Loisaida: NYC Community Gardens (2006).
Out in the streets, there's a revival of seed bombing in New York, which flourished in the bankrupt '70s and involves people—one artist describes them as "anarchist city planners"—throwing tennis balls coated with seeds (Liz Christy called them "seed grenades") into vacant lots and hard-to-access urban sites. Some bombers use clay and compost balls, a technique developed by Masanobu Fukuoka, a Japanese gardener, microbiologist, and philosopher who borrowed from the ancient practice of tsuchi dango, or "earth dumpling."
But the pivotal element in New York's art-gardening boom might be the Occupy movement. Because if gardening sounds like the domain of the rich—you need space for a garden, after all—Occupy opened up conversations around the commons (that is, shared resources), food justice, sustainability, and corporate control of seed populations. It also served as a reminder, per McKay's "contestation of the cityscape," that there are plenty of vacant lots in the city to be occupied.
A recent weekend of workshops organized by the New York Community Gardening Coalition in conjunction with Occupy groups, titled "Occupy the Land: Unconference" and located in community gardens throughout the city, provided skill-sharing and instruction on everything from growing and composting to the "Garden as Commons" and the "History of Garden Struggles in NYC." Artist Antonio Serna organized several sessions, including one with 596 Acres, which helps people procure vacant public land for community use.
In an informal Unconference presentation, a member of 596 Acres described the group's work as an "art project"—which isn't a stretch, when you think of recent social-practice art initiatives that attempt to connect communities and result in gatherings and teach-ins like the ones during the Unconference. The website for 596 Acres also cites Gordon Matta-Clark's Fake Estates as an inspiration. For the '70s project, the artist purchased small unclaimed bits of land in New York, documented them, and paid the taxes (for a while).
Like many recent art-gardening projects, the Unconference was refreshingly practical and untheoretical—or leaning more toward praxis than theory. But theorizing, one of contemporary art's signature obsessions, isn't far removed. An Unconference session devoted to artists (mostly showing their work in gardens) came with an epigram from Michel Foucault's Of Other Spaces (1967): "The garden is the smallest parcel of the world and then it is the totality of the world." Displayed near McKay's activist tome in the New Museum's bookstore are writings by philosophers like Henri Lefebvre, whose Situationist-approved "La Proclamation de la Commune" (1965) celebrated intermediary spaces in cities: spaces of transition, "surroundings," "thresholds," and "passages"—just the kind of liminal nooks and crannies you imagine guerrilla gardeners and seed bombers occupying.
If gardening is still radical among artists, though, it's because it has been ignored for the most part by institutions—and why I'm both enthusiastic and reluctant to mention it here. Writing about gardening practices among artists opens up space for considering them as art, but it can also serve as the death knell. (Next up: BMW Guggenheim does guerrilla gardening and "Seed Bombing in the Expanded Field," the dissertation.) But if cooking, education, urban planning, and various communal "encounters" have taken their place as acts of art in recent decades, there's no question that the creative interventions of gardeners belong there, too.
14. Nina Kuo, Lorin Roser, FF Alumns, at Crossing Art, Flushing, Queens, thru Aug.14
15. Lawrence Graham-Brown, FF Alumn, now online at
Recent work by Lawrence Graham-Brown has just been published in the International Resource Network in association with City University of New York and the Center for Lesbian and Gay Studies by noted PHD Scholar Angelique V. Nixon entitled Theorizing Homophobias in the Caribbean-Complexities of Place Desire and Belonging. here is the link......http://www.caribbeanhomophobias.org/node/19
16. C. Carr, FF Alumn, at Fales Library, NYU, Manhattan, and more
I am doing a book launch for FIRE IN THE BELLY: THE LIFE AND TIMES OF DAVID WOJNAROWICZ on Tuesday, July 24 – 6:30 at Fales Library. Fales is on the third floor of NYU’s Bobst Library, 70 Washington Square South. Just tell the guard you are coming to this event.
I am doing another event on Thursday, July 26 at the Andrew Edlin Gallery, 134 Tenth Avenue, at 6. This will be a brief reading, a conversation about the book with my friend Amy Sillman, and a screening of David’s short film, Beautiful People. (Part of the B-OUT show curated by Scott Hug.)
No doubt I've inadvertently left names off my long list so feel free to forward. But -- please DO NOT RSVP.
While I hope you can make it to one of these events, I know many of you are out of town this time of year. I will be doing a bookstore reading at a later date, not yet scheduled.
C C A R R
17. Jerome Covington, FF Alumn, releases new album
by Jerome Covington
Using source material from the same 2011 recording sessions that bore "Animism in the Digital Age", "Runic Telemetry" continues down the sometimes luminous, sometimes stygian path as its predecessor. The very real phenomenon of Quantum Listening, that we alter the very state of what we hear by the manner in which we hear it, is further explored here. This theme will resonate with all those who believe that in order to truly understand life, we must listen to our fullest capacity in all moments.
Take a moment to listen to the samples on iTunes, Amazon, eMusic and other digital outlets. And please go ahead and purchase the album there, and forward this email along to friends if you would like to add your support to this project.
Thanks for Listening,
Copyright (C) 2012 Jerome Covington All rights reserved.
18. David Medalla, FF Alumn, at Tate Britain, London, UK, July 11
DAVID MEDALLA'S TALK AT TATE BRITAIN
ON WEDNESDAY, JULY 11, 2012, AT 6:30 P.M.
Filipino artist David Medalla, FF alum, will give a talk at Tate Britain on Millbank in London on Wednesday, July 11, 2012, at 6:30 p.m. The talk, entitled 'Synoptic Realism A Beginner's Course in the School of Cosmic Beauty', is linked to the 'Migrations' exhibition currently running at Tate Britain.
Gilane Tawadros, formerly Director of InIVA (the Institute of International Visual Art).
will introduce David Medalla.
Adam Nankervis, Director of 'another vacant space' in Berlin and Founder of Museum MAN, will deliver the closing remarks.
David Medalla is a legendary figure in world art. He is a pioneer of earth art, kinetic art, conceptual art, performance art, environmental art, participation art, video + film + installation art.
His polymorphic art works have been featured in many iconic exhibitions, including three curated by Harald Szeemann: 'Weiss auf Weiss' at the Kunsthalle in Bern, Switzerland; 'When Attitudes Become Form' at the ICA in London; and the Fifth Documenta Exhibition in 1972 in Kassel, Germany.
Medalla's bubble-machines were shown at the Clocktower Art Gallery in New York in the 'Travels II' exhibition, curated by Chris Dercon, the 'Forece Fields' exhibition, curated by Guy Brett, at MACBA in Barcelona, at the Mori Art Museum in Tokyo, Japan, in the 'Happiness' exhibition curated by David Elliott, and in 'L'Informe', curated by Rosalind Krauss and Yve-Alain Bois, at the Centre Pompidou in Paris.
More recently, Medalla's bubble-machines were shown at the Sydney Biennial and at the New Museum in New York. Marcel Duchamp created a 'Medallic sculpture' in homage to David Medalla. French philosopher Gaston Bachelard presented David Medalla's first performance in Paris at the Academie Raymond Duncan (the brother of Isadora Duncan) in the spring of 1960. French poet Louis Aragon (co-founder with Andre Breton of Surrealism), after seeing Medalla's drawings and paintings, wrote in Medalla's address book 'I love all that you do.' David Medalla edited 'Signals', a newsabulletin of the arts and sciences in the 60s in London. He founded the Exploding Galaxy, a confluence of multi-media artists, in 1967. In 1974, David Medalla co-founded with John Dugger Artists for Democray. From 1975 to 1976, David Medalla co-directed with Nick Payne the Fitzrovia Cultural Centre in London. From the 70s and throughout the 80s, David Medalla collaborated in a diversity of art projects with several international artists, including Oriol de Quadras, Mark Greaves, Enrico Oliviero, Mark Greaves, Kai Hilgemann, Ezio Falcomer and Steve Cripps. In 1991 David Medalla and Adam Nankervis founded the Mondrian Fan Club in New York City. In 1997, while on a boat with Adam Nankervis, en route to Robben Island off the Cape of Good Hope in South Africa, David Medalla conceived the idea of an international participatory art project called the London Biennale. The London Biennale has mounted numerous art events since the start of the new millenium. American poet Mark Van Doren recommended David Medalla (a child prodigy from the Philippines) as a student at Columbia Univeristy in New York. A few years after his arrival in London, Sir William Coldstream appointed David Medalla staff student advisor at the Slade School of Art. David Medalla worked as a lecturer at Chelsea School of Art and Saint Martin's School. David Medalla has also lectured in many educational institutions around the world, including the Sorbonne in Paris, the University of Amsterdam, the University of the Phillippines, the University of Hawai'i in Manoa, the University of Texas in Austin, the University of Nevada in Las Vegas, Boston College of Art and Design, Hunter College of New York, the British School in Rome, and the Academy of Fine Arts in Florence, Italy.
David Medalla performed in the Academy in Venice, the Brera Academy in Milan, and Teatro Filodrammatico of Piacenza, Italy. David Medalla performed with Shoe Taylor-Guinness in the British Museum. Medalla performed at midnight in Kurt Schwitter's MERZ Barn in Cumbria. More recently, David Medalla performed with Adam Nankervis at the HIAP sponsored-event, curated by Marita Muukonnen, in KIASMA the museum of contemporary art in Helsinki, Finland. David Medalla's 'Coral Island Sculpture' photo-montage art work is currently on show in the 'Ends of the Earth : Land Art until 1974' , curated by Philipp Kaiser and Mi Won Kwon, at MOCA Museum of Contemporary Art in Los Angeles, California, USA. David Medalla will give a talk about his new projects including the towers of night-blooming flowers in August 2012 at 'another vacant space' in Berlin. In September 2012 David Medalla and Adam Nankervis will perform their 'Homage to Clarice Lispector' at Galeria Baro in Sao Paulo,
Brazil. In November, the Ateneo de Manila University will confer on David Medalla the 'Gawad ng Lahi' Award, to coincide with his solo show entitled 'Tuloy Po Kayo' ('Please Come In : Welcome ! ') , curated by Ramon Lerma and the Ateneo Art Gallery team, at the Ateneo Art Gallery in Quezon City, metro-Manila, Philippines. This year (2012) several books have been published on David Medalla's art, including a conversation with Nick James, published by CV Archives in London, and a book edited by Purissima Benitez-Johannot published by Vibal Books in the Philippines, with essays on Medalla's art by Guy Brett and Adam Nankervis and an insightful comment on Medalla the nomadic world artist by American writer John Strausbaugh.
19. Linda Montano Pauline Oliveros, F FAlumns, at Deep Listening Institute, Kingston, NY, June 22
WHERE: DEEP LISTENING INSTITUTE: CORNELL ST, KINGSTON NY
WHEN: JUNE 22, FRIDAY EVENING, 7:30PM
HOW: IN PERSON WITH PARTY CLOTHES/FOOD: OR STREAM OR DREAM
BORN TO BE RE-BORN
Pauline Oliveros, Ione and Linda Mary Montano are all decked out to celebrate their birthdays.
RE-BORN: PAULINE OLIVEROS:THE EARLY YEARS , Video: Found images of Oliveros by Montano, edited by Kristina Wolff
RE-BORN : Linda celebrates Pauline' birthday with a video titled: PAULINE OLIVEROS: THE EARLY YEARS; Narrated by Oliveros, Edited by Jackie Heyen.
RE-BORN : Pauline and Linda celebrate their decade birthdays: Pauline,80, May 30th; Linda, 70, January 18th, with a performance: BORN BEYOND SPACE. (Montano will accompany Raka Mukherjee's CD : Raag Mahumanti)
RE-BORN : Pauline and Ione celebrate their May birthdays, Ione, 75, May 28th: Pauline, 80, May 30th with a performance: BORN BEYOND TIME. EGYPT IMAGES.
Please come all decked out in your party clothes and bring your favorite birthday pot-luck food to share. Or stay home, eat popcorn and stream. But be sure to dress fabulously.
20. Lawrence Graham-Brown, FF Alumn, in The Archive, now online
Lawrence Graham-Brown "Sacred Spaces" his recent performance art / experimental theater production has been reviewed by: The Archive, The Leslie Lohman Museum of Gay and Lesbian Art Journal, Summer Issue, 2012 "The performance, as seen by the naked eye, quite literally takes your breath away...... This is art with nothing to hide, and nothing to soften its blow" - Earl Carlile. Here is the link http://www.leslielohman.org/the-archive/no42/LeslieLohmanArchive42.pdf
Happy Summer, Thanks & let's keep supporting "Outsider Art" performances...
21. Marisa Jahn, FF Alumn, selected for apexart Franchise Program 2012-13
Franchise Program 2012-13 winners announced
Three winners this year!
We have expanded our program by introducing a domestic exhibition opportunity. apexart will now present not only the two top-scoring proposals for projects outside of the United States, but also the top-scoring proposal for a project in the United States not in the NYC metro area.
Selected from 200 proposals by 100 jurors from around the world who cast over 3,000 votes, apexart would like to congratulate the winners of the Franchise Program 2012-13 open call!
Presented on roofs in Lima's historic town center, Lima Rooftop Ecology will feature the work of artists and architects in an exhibition examining poverty, historic preservation, and tourism.
Marisa Jahn and Paul Falzone Kampala, Uganda
Video Slink Uganda will present short-form experimental videos by artists from the African Diaspora in Ugandan video halls (or "bibanda"), popular gathering places known for showing pirated movies on DVD. (
Tom McGlynn and Bill Doherty Memphis, Tennessee
Presented in multiple sites in the city, Memphis Social will highlight the local cultural traditions of this vibrant city alongside the work of artists from around the world in an exhibition
designed to inspire debate and catalyze community exchange through art.
Learn more about these projects on our Franchise Program page ( http://apexart.org/franchise.php ) .
22. Denise Green, FF Alumn, at Sundaram Tagore Gallery, Manhattan, June 28
Denise Green, FF Alumn, at Sundaram Tagore Gallery, NY, June 28
LAUNCH AND LECTURE of artist Denise Green’s new publication Denise Green: An Artist’s Odyssey, published by University of Minnesota Press (2012).
Thursday 28 June at 6.00 pm
at Sundaram Tagore Gallery 547 West 27th Street, New York
Denise Green will talk about the ideas in her book at 6.30 pm
In her lecture and in her book Denise Green recounts 40 years of developing a practice in the US, Europe and Australia in an increasingly globalized era. Green outlines how the New York art world has transformed itself from the 1970s to the present and compares the similarities and differences between the scene here and in Europe.
Her lecture is a virtual how-to for aspiring artists seeking an international career.
Green has had over 115 solo shows worldwide including major retrospectives in Germany, Australia and the US.
RSVP by calling 212 677.4520
For more information:
For information on my new book, "Denise Green: An Artist's Odyssey":
23. Mona Hatoum, FF Alumn, receives Joan Miró Prize, and more
22 June–24 September 2012
Opening: Thursday, 21 June, 7:30pm
Fundació Joan Miró
Parc de Montjuïc
On the occasion of the third Joan Miró Prize, awarded in 2011, the Fundació Joan Miró and "la Caixa" Foundation dedicate an exhibition to the work of the winning artist, Mona Hatoum (b. 1952; Beirut, Lebanon). Projection brings together some forty pieces from the last twenty years, with an emphasis on recent works, including a new work entitled Turbulence made especially for this exhibition. The selection and installation of works intends to contradict the commonly-held notions regarding the output of this British-Palestinian artist as well as her position vis-à-vis the geopolitical references that have become synonymous with her production. Including installations, videos, sculptures, photographs, and works on paper, the exhibition expands the semantic field usually associated with Hatoum's work and opens up new possibilities, hints at new meanings, and proposes a complex and renewed reading of her vast body of work.
The exhibition has been curated by Martina Millà, head of Programmes and Projects at Fundació Joan Miró, in close collaboration with the artist.
The Joan Miró Prize is a biennial international contemporary art award organized by Fundació Joan Miró and "la Caixa" Foundation. It consists of a trophy and a cash prize of 70,000 EUR. It stems from the intentions set out in the by-laws of the Fundació Joan Miró to award prizes to assist artists in their work and in the dissemination and recognition of their art, and to carry out any other activities aimed at promoting a better knowledge of art and enhancing the aesthetic sensibilities of present and future generations.
It is also one of the obligations of the Fundació Joan Miró to make known to the public the life and work of Joan Miró, one of the most important artists of the twentieth century. In this respect, the creation of the Joan Miró Prize has helped keep alive Miró's connections with the development of contemporary art, while at the same time distinguishing the winner, whose work is underpinned by the spirit of exploration so characteristic of Miró's art.
The winner is selected by an international jury of specialists in contemporary art, which is newly appointed for each edition of the Prize. Mona Hatoum was chosen as the winner of the Joan Miró Prize by a jury formed by Mr. Alfred Pacquement, Director of the Centre Georges Pompidou; Mr. Vicent Todolí, Director, Tate Modern; Mr. Poul Erik Toejner, Director of the Louisiana Museum of Modern Art; and Ms. Rosa Maria Malet, Director of the Fundació Joan Miró.
By giving the Prize to Mona Hatoum, the jury brought to the forefront an artist's ability to connect personal experience with universal values. Ms. Hatoum was able to singlehandedly open up art practices to non-Western realities while showing the links between Western high culture and transnational political and cultural events. After Hatoum, the art world became a much more open, less self-centered arena. Hatoum's compromise with human values that concern all cultures and societies is similar to Miró's view of mankind after having experienced three devastating wars. It was for these points of confluence that the jury was unanimous in awarding the Joan Miró Prize to Mona Hatoum.
Previous recipients of the Joan Miró Prize have been Olafur Eliasson (2007) and Pipilotti Rist (2009).
A trilingual catalogue (Catalan, Spanish, English) accompanies the exhibition. It includes an essay by Catherine de Zegher.
Goings On is compiled weekly by Harley Spiller