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Contents for May 20, 2013

1. G Douglas Barrett, FF Fund recipient 2012-13, at Incubator Arts Project

G DOUGLAS BARRETT TWO TRANSCRIPTIONS

A record launch event featuring performances and panel discussion around G Douglas Barrett's TWO TRANSCRIPTIONS/ODE TO SCHOENBERG.

Two Transcriptions celebrates the release of G Douglas Barrett's vinyl record project TWO TRANSCRIPTIONS/ODE TO SCHOENBERG, a historical revision of Arnold Schoenberg's 1942 composition Ode to Napoleon performed by artist Zackary Drucker and musician Theo Baer. Featuring a roundtable discussion including activist Che Gossett and musicologist Benjamin Piekut, Two Transcriptions is curated by Justin Luke (Audio Visual Arts gallery) and held at the Incubator Arts Project 131 East 10th Street, New York, New York 10003 on May 25, 2013. Doors open at 8pm; the event is free.

TWO TRANSCRIPTIONS/ODE TO SCHOENBERG is a vinyl record based on Schoenberg's 1942 composition Ode to Napoleon for string quartet, piano, and voice. Schoenberg's piece has an interesting history: the composer arguably over-asserted his authority in writing a letter protesting a recording of the work (originally scored for a male reciter) performed with a female voice. Challenging Schoenberg's position with respect to musical authorship while considering identities beyond the gender binary central to the dispute, a pair of "transcriptions" of Ode to Napoleon feature the voices of performance artist Zackary Drucker, FF Alumn, and musician Theodore Baer, two transgender artists. Scheduled for release May 25; pre-order a copy today.

TWO TRANSCRIPTIONS/ODE TO SCHOENBERG was made possible, in part, by the Franklin Furnace Fund supported by Jerome Foundation; the Lambent Foundation Fund of Tides Foundation, and by public funds from the New York City Department of Cultural Affairs in partnership with the City Council. Additional support provided by The New Spectrum Foundation, Mutable Music, and individual contributions. TWO TRANSCRIPTIONS/ODE TO SCHOENBERG was performed by The FLUX Quartet, Stephen Gosling, Theo Baer, and Zackary Drucker.

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2. MOOSH, FF Intern Alumn, now online at http://screameditions.com/artist.html?cat=54

MOOSH, FF Intern Alumn, is now online at http://screameditions.com/artist.html?cat=54

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3. Jeff McMahon, FF Alumn, at Scottsdale center for Performing Arts, AZ, May 30

Jeff McMahon will be reading his "Two Arguments with my Mother" at The Most of Lit Lounge, Scottsdale Center for the Performing Arts, on May 30 at 7pm. The event will also feature Comedy Central Stage performer Shaz Bennett, Best-selling author Jen Sincero, Stephen Colbert guest Joe Smith, The Moth New York Story Slam Winner Molly McCloy, KJZZ commentator Robrt Pela , Award-winning author Hillary Carlip and more http://www.scottsdaleperformingarts.org/smoca-events.php

Jeff McMahon's essay on Martin Cox photo exhibit published in the May/June issue of The Gay & Lesbian Review. http://www.glreview.com

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4. Agnes Denes, FF Alumn, at MoMA PS1, Long Island City, Queens, NY, thru Sept. 2

The New York Times
Environmental Expo Coming to MoMA PS1
By ALLAN KOZINN

Klaus Biesenbach, the chief curator at large at the Museum of Modern Art, and the director of MoMA PS1, the museum's outpost in Long Island City, will devote the next six months to EXPO 1: New York, a sprawling exploration of the current state of the environment and social and political change.

The festival's centerpiece is "Dark Optimism," a show by about 35 contemporary artists based on the notion, attributed by the museum to the editor of Triple Canopy magazine, that we are on the brink of both the apocalypse and a technological transformation that promises a brighter future. Adrián Villar Rojas, Meg Webster, Agnes Denes, Anna Betbeze and the Fluxus performance artist Joseph Beuys are among the artists whose works are included in the exhibition, which opens at MoMA PS1 on May 12 and runs through Sept. 2.

EXPO 1: New York, Mr. Biesenbach said in a statement, "focuses on some of the most pressing issues of the day set against a backdrop of economic and socio-political concerns that have made a dramatic impact on daily life."

Also among the festival's offerings is an exhibition of Ansel Adams's nature photography, drawn from MoMA's collection; a group exhibition of New York-based young artists, curated by Josh Kline, and EXPO Cinema, which the museum describes as "an evolving program" that will draw on film, video art, games, advertising, pop culture and material created by online visitors.

In addition to the art and video exhibitions at MoMA PS 1, the festival will include a component at the VW Dome 2 - a temporary cultural and educational center in the Rockaways, at the southern end of the parking lot between Beach 94th and Beach 95th Streets. Lectures, art exhibitions, video screenings and performances will be presented at the dome in partnerships between the museum and arts organizations in the Rockaways and elsewhere in Queens.

In April, MoMA PS1 will present a series of talks there, also streamed online, about architecture and the environment. The focus of the talks will be the 25 winning proposals selected from those submitted in response to the museum's call for ideas about sustainable waterfront planning and construction, including alternative housing models, rebuilding the boardwalk, protecting the shoreline and community engagement. The proposals, which must be in form of a video under three minutes long, are due next Friday.

EXPO 1 will also include a series of daily lectures, starting May 12, by artists, writers, technologists, economists and ecologists who will discuss the future as they would like to see it. And the Argentine architectural firm a77, which is known for building with recycled and salvaged materials, has been commissioned to build a colony for artists, architects and thinkers who will inhabit it for the duration of the exhibition in the courtyard of MoMA PS1.

March 8, 2013, 12:00 pm

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5. Galinsky, Josh Harris, FF Alumns, now online at youtube.com

Please visit the link below to see Galinsky and Josh Harris' interview with Taylor Mead:

http://www.galinskyplace.com/TaylorMead.htm

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6. Annie Lanzillotto, FF Alumn, now online at hyperallergic.com

Annie Lanzillotto's Franklin Furnace Fund 2012-13 performance is covered at the fully-illustrated link, here:

http://hyperallergic.com/70784/poetry-and-italian-on-the-streets-of-the-east-village/

Poetry and Italian on the Streets of the East Village
by Allison Meier on May 13, 2013
Hyperallergic
http://hyperallergic.com/reviews/street/

New York bristles with energy, and what makes it continually captivating for me is that this spirit comes so much from the people and acts of creation that can just be stumbled upon in the street. Last week in the East Village, at the corner of First Avenue and 7th Street, I saw an enthusiastic crowd chanting along to what seemed to be a lesson in Italian, but was actually a component of a book party for Annie Rachele Lanzillotto.

Leading what was part an art installation and part poetry reading, the New York-based poet and performance artist stood on a step ladder in front of a projection on what is normally advertising space on the side of a building. Lanzillotto read some poems related to her book L Is for Lion, released this year by SUNY Press. The memoir focuses on growing up in the 1960s as a "Bronx tomboy" in a "brutal but humorous" Italian family, leading to her turbulent life of survival, from "cross-dressing on the streets of Egypt" to the hospital cancer ward to 1980s New York and its gay club scene, all pulled through her personal web of "immigration, gay subculture, cancer treatment, mental illness, gender dynamics, drug addiction, domestic violence, and a vast array of Italian-American characters."

The crowd huddled around her street reading was a mix of supporters armed with custom tote bags for the occasion, and the curious passersby of any East Village evening, all with an enthusiasm for poems about Lanzillotto's grandmother's worn hands or an impromptu lesson in Italian expressions. Projections onto buildings definitely possess a readymade impact for any sort of art, but poetry is one of those creative forms that people don't often engage with on a collective level. There's a long discussion in the literary community on the insularity of poetry publishing, yet based on the reactions of the gathered crowd, there's an interest out there on the streets of New York for stories and words, projected three stories high.

Annie Rachele Lanzillotto's L Is for Lion: An Italian Bronx Butch Freedom Memoir is available from SUNY Press.

Thank you.

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7. Michael Bramwell, Mierle Laderman Ukeles, FF Alumns, at The Kitchen, Manhattan, May 30-June 22

Michael Bramwell and Mierle Laderman Ukeles, FF Alumns, have work in the exhibition "Maintenance Required", curated by the Whitney Museum of American Art Independent Study Program Curatorial Fellows. May 30-June 22, 2013 at The Kitchen, 512 W 19th Street, Manhattan.

Maintenance is crucial for the continuation of our physical infrastructure, our society, and our lives. The often repetitive and mundane work of maintenance sustains people, objects, and institutions, and supports our constant struggle against entropy and decay. Ubiquitous but unseen and undervalued, maintenance comprises the essential systems of support that clear the ground for all other forms of work.

Investigating the diversity of maintenance tasks, Maintenance Required examines the large-scale systems that construct our daily lives. Durational by nature, maintenance networks provide life-perpetuating mechanisms of care; yet these systems can also invisibly direct or limit life's possibilities, or even become malevolent systems of control. By overcoming our collective blindness toward maintenance activities, we can begin to examine how they condition our lives. Bringing maintenance into view exposes a constantly shifting set of social, political, and affective relations and invites questions about what needs to be maintained and under what conditions that maintenance occurs.

The exhibition takes as its entry point to these issues Mierle Laderman Ukeles's "Manifesto for Maintenance Art" (1969), in which the artist redefines maintenance activities as art. Maintenance Required then focuses on artistic practices that frame and critically engage these often invisible systems of life support. Many of these practices articulate the paradoxical tensions of large-scale systems of maintenance whose power to sustain life may run parallel to the power to constrain it.

The exhibition features works by Michael Bramwell, Goldin+Senneby, Ashley Hunt, Masaru Iwai, Yve Laris Cohen, Sam Lewitt, Park McArthur, Salvage Art Institute, Karin Sander, Taryn Simon, Pilvi Takala, and Mierle Laderman Ukeles.

Maintenance Required is curated by Nina Horisaki-Christens, Andrea Neustein, Victoria Rogers, and Jason Waite, the 2012-13 Helena Rubinstein Curatorial Fellows of the Independent Study Program.

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8. Peter Grzybowski, FF Alumn, at Galeria Dzialan, Warsaw, Poland, opening May 22

Peter Grzybowski
CHANGES

May 22 - June 11, 2013
Opening: Wednesday, May 22, 6 PM

GALERIA DZIAŁAŃ
ul Marco Polo 1
Warsaw 02 777

photography, painting, video

http://www.galeriadzialan.hg.pl/
+48 22 643 65 37

http://grzybowski.org

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9. Ken Aptekar, FF Alumn, at Wasserman Projects, Birmingham, MI, thru June 21

KEN APTEKAR

DON'T STOP: New Digital Works & Paintings
18 May - 21 June 2013

In the Presence of the Artist
Saturday, 18 May, 5-8 pm

Wasserman Projects www.wassermanprojects.com 2163 Cole Street, Birmingham, MI 48009

Wasserman Projects is pleased to announce its third exhibition, "DON'T STOP: New Digital Works and Paintings by Ken Aptekar," opening May 18th, and continuing through June 21, 2013. Born in 1950, Aptekar grew up in Northwest Detroit, received his Bachelor of Fine Arts at the University of Michigan School of Art, then went on to earn an Masters of Fine Arts at Pratt Institute in New York. His work has been shown in museums and galleries around the world. He divides his time between New York and Paris.

Ken Aptekar uses the history of art, primarily classical painting, as his lexicon to bring the past into the present, activating painting to create a dialogue with contemporary viewers. To this end, Aptekar appropriates images from existing works, then transforms the composition, color, and scale, often radically. He links these new interpretations to the original historical sources to express their relevance today. Associations to the images are inscribed boldly floating over the surface of the historic source painting, a form of concrete poetry, inviting the viewer to consider what they are looking at in the context of today's more familiar world. Sometimes humorous, always dissonant, the effect is powerful, and often reverberates in viewers' experiences contemplating other historical works.

About DON'T STOP, Aptekar writes

"Living in both Paris and New York, I have been lucky to experience the cultures of Europe and America with the perspective of an outsider. When I am in Paris, I see life there as an American who was born in Detroit and has lived for nearly 40 years in New York. Back in the States, I look through the lens of the last fifteen years of living more in Paris than New York.

"The works in this series, DON'T STOP, developed out of a desire to reconcile two important differences between life in the two countries. France, the oldest country in Europe, has had kings in charge for most of its existence. Even though it became a republic after the French Revolution, its culture is steeped in its royal origins. Life in France is marked by class, highly developed codes of behavior, easy sensuality, significant state art patronage, refined taste, and strong federal government.

"In contrast Americans regard class difference with skepticism if not denial, and privilege as nothing more than a lucky break. In the US we feel we can become anybody we want unhindered by our family's past, our race or personal history or gender. State support of the arts is deemed a luxury we can't afford. And finally, government in America is a constant battle between State and Federal positions.

"I tried to mash up these differences in my series, DON'T STOP. Fifteen large glossy pictures set democratic American pleasure-taking-disco!-against princely French refinement."

Included in Aptekar's exhibition is a special project for which the artist produced a new work based on a major painting on loan to the gallery from the Detroit Historical Society. Together the works create a dialogue between the past and present, pointing to the struggle to decide how to make Detroit once again.

French explorer, Antoine de la Mothe, known also as Lord Cadillac, set sail for France in 1698 in order to convince King Louis XIV to allow him to found a new settlement in the Great Lakes. Specifically, he was interested in the area south of Lake Huron known as le détroit, or the straits.

Returning to the New World, Cadillac and his men reached the Detroit River on July 23, 1701. The following day, July 24, 1701, the group traveled north on the Detroit River and chose a place to build the settlement. Cadillac named the settlement Fort Ponchartrain du Detroit in honor of King Louis's Minister of Marine.

Ken Aptekar set out to make a work that highlights the artist's home town and his present life divided between the US and France. He hoped to honor Detroit's French past, and and also its identity as the birthplace of Motown, a defining feature of his childhood in the 50s and 60's. Reversing Fernand LeQuesne's 1902 painting, "Louis XIV Delivering to Chevallier de Cadillac the Ordinance & Grant for the Foundation of the City of Detroit," to shift the focus from Louis XIV to Cadillac, Aptekar splashed across his image the title of the 1981 Rick James disco hit, "Give It To Me Baby." Irreverent and jarring in its confrontation with a courtly scene in Versailles, the song title sandblasted on glass over Aptekar's painting reflects both the wild ambitions of Cadillac and Berry Gordy, not to mention the desire to make something out of nothing that drives any artist.

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10. Donald Daedalus, FF Alumn, publishes new e-book, and more

wiPhone, or a Hacker's Diary of Telecommunists (116 pages, Lugubrious, New York 2013), now available through iTunes Bookstore.

Prompted by the overhaul of the Digital Millennium Copyright Act in January 2012, this part-diary, part-customer-service-chat-transcript is now on sale. Hacked from, design for the iPhone and now sold through Apple's distribution network, this book chronicles one year of using the jailbroken device outside of the delegated telecommunication networks. As an incomplete history of the communities that exist in online forums and illegal software sharing, this sarcastic and frustrated book is a gesture of solidarity to anyone who has ever placed on hold.

http://donalddaedalus.com

~New~

Tracing The Path
Of A Ray Of Light
wiPhone
-Or-
A Hacker's Diary
Of Telecommunists

~Upcoming~

Fifth Int'l Artist's Book Exhibition
King St. Stephens Museum
8000 Székesfehérvár, Hungary
May 18 - October 27

Artist in Residence
Campos de Gutierrez
Medellín, Colombia
May 21-July 1

Exhibition
Luis Aristizabal Galería
Cll. 77 No. 12-03
Bogotá, Colombia
July 15 - August 10

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11. Lawrence Graham Brown, FF Alumn, at Schomburg Center, Manhattan, May 28

Lawrence Graham Brown at the Schomburg a Center for Research in Black Culture, New York Public Library May 28, 2013 6:30pm - 8-30pm

Join Jamaican artist Lawrence Graham-Brown for a screening of "Rites of Passage/Sacred Spaces 2012," his recent performance/film. Funded by the Franklin furnace Fund. After the screening, Graham-Brown will be in conversation with Steven G. Fullwood about his insightful views on art, politics, and public performance as a venue for change, expression, and liberation. Light refreshment will be served. This event is Free but please RSVP here: http://www.eventbrite.com/event/5834580387/eorg

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12. Adrianne Wortzel, FF Alumn, at the Whitney Museum of American Art, June 13

Artist Adrianne Wortzel will present her work on a panel entitled "Momentum: Women/Art/Technology: New York," at the Whitney Museum of American Art Film & Video Gallery: Thursday, June 13, 2013, 7:00PM

Presentations will be made by Muriel Magenta, Judith K. Brodsky, Ferris Olin,
Adrianne Wortzel, Janet Echelman, Karolina Sobecka.
Video Excerpts: Evelien Lohbeck, Emilia Forstreuter,
Manu Luksch, Pamela Z., Deborah Kelly, and Isa Gordon.

By invitation only, please direct inquiries to <imeesh@gmail.com>Website: http://www.momentum-women-art-technology.com

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13. Joe Diebes, FF Alumn, at Governors Island, NY, May 26

Visual and Performing Artists at Building 110 Saturday, May 25, 12-5PM
Sunday, May 26, 12-5PM
Building 110: LMCC's Arts Center at Governors Island
Join us for the first 2013 public access weekend at Governors Island! Visit with visual and performing artists who have been working at Building 110: LMCC's Arts Center at Governors Island since March. The weekend will feature behind-the-scenes access to 20 visual artists' studios and a work-in-process showing by cutting-edge performing artists Joe Diebes, Christian Hawkey, and David Levine.

Free with RSVP

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14. Judith Sloan and Warren Lehrer, FF Alumns, at Laguardia Community College, Queens, May 29

Franklin Furnace Alumns:
Judith Sloan and Warren Lehrer
Present EarSay Voices

Building Bridges Through the Arts:

WHEN: Wednesday May 29, doors open at 6:30 PM. Show starts at 6:45 PM.
Ends at 9 PM one intermission.
WHERE: The Little Theatre at LaGuardia Community College
TICKETS: through brownpapertickets.com click HERE <http://earsayvoices.brownpapertickets.com/>

ADVANCE TICKETS ARE $10 for general seating.
SPONSOR TICKETS ARE $25 for preferred seating.
PLEASE BUY TICKETS ONLINE: http://earsayvoices.brownpapertickets.com/

Special Guest Performer: Immortal Technique
Honoring: Sarah Gil, International High School School Leader and Steven Hitt, Managing Director of LaGuardia Performing Arts Center and the Staff.

Special Recognition to Katherine Tabares from Make the Road.

Council Member Jimmy Van Bramer will help kick off the event with remarks about the DREAM ACT!

Excerpts from the play DREAM ACTS: a play about undocumented immigrant youth.
Performed by EarSay Youth Theatre Workshop: Transforming Trauma Into Art a project directed by Judith Sloan in collaboration with the International High School at LaGuardia Community College with student actors from International High School: Celine Abreu, Nicolle Balaco, Jaira Cantor, Dailyn Despradel, Daris Despradel, Rene A. Jaquez, Yonie Montes, Dan Pepito, Tinzin Rigzin, Furba Sherpa. With guest actress from LaGuardia Community College Isabel Maradiegue.

Staged by Catherine Hanna with additional acting coaching Claire Lebowitz, Judith Sloan and the team including NYU Interns: Blanca Vivancos Fernandez-Bugallaland Nanci Tischler.

HOUSE BAND: Miwi LaLupa on Bass, Lynn Ligammari on Sax, Rich Stein on Percussion, Adam Hill on Viola, Chesney Snow Beatboxer, Luke Santy Live Engineer.
Performance excerpts from YO MISS! Teaching Inside the Cultural Divide with Judith Sloan and musician IMMORTAL TECHNIQUE

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15. Babs Reingold, FF Alumn, at ISE Cultural Foundation, Manhattan, May 22

I'm pleased to invite you to a conversation between myself and curator Midori Yoshimoto Ph. D. on "The Last Tree" at the ISE Cultural Foundation, Wednesday, May 22, 6-8pm.

See you at the talk!

ISE CULTURAL FOUNDATION
MAIN GALLERY EXHIBITION ANNOUNCEMENT

Babs Reingold, The Last Tree
May 4-June 28, 2013
Curated by Midori Yoshimoto, Ph.D.
Opening Reception: Friday, May 10, 6-8pm

Artist Talk: Wednesday, May 22, 6-8pm

ISE Cultural Foundation presents an installation by Babs Reingold titled "The Last Tree" curated by Midori Yoshimoto, Gallery Director of the New Jersey City University Gallery.

The Last Tree is a monumental installation of 193 tree stump sculptures encased in metal pails and placed in a grid formation to transform the gallery space into a barren landscape. The number of stumps corresponds to that of the countries in the world, namely, those members of the United Nations. One large tree rises from the grid, as a symbol of the "last tree," which is in danger of its extinction from the earth. The devastated stumps are poised to witness the destruction of the "last tree" - a fate that humanity is bringing onto itself. Accompanying video projections and sounds amplify the urgency of the situation.

The project was originally inspired by the anthropologist Jared Diamond's lecture on his book, Collapse: How Societies Choose to Fail or Succeed (2005), and his question, "What do you imagine the Easter Islander was thinking when he chopped down the last tree?" The artist Babs Reingold makes each of us - the viewer examine this question on a personal and visceral level. At what point do we recognize and act upon our self-destruction? Even though her motifs are trees, they stand-in for a collective humanity. To borrow Reingold's interpretation, The Last Tree ultimately is a "vision of a holocaust of sorts, humans destroying a vital part of themselves." Her intention is a cautionary requiem for humanity.

It is telling that Reingold's "trees" are created through laborious processes. Their shells are made of stained silk organza and stuffed with human hair, which the artist has collected from numerous beauty salons over the years. The diversity of hair from anonymous donors carries each person's DNA, which remains even after death. Hence, the use of hair in The Last Tree installation exemplifies a human condition that exists after an environment is destroyed. Upon closer examination, the tree stumps resemble small creatures with lives of their own. Their surfaces have been hand-sewn, with detailed embellishment to give each a unique character.

Over the last eighteen years Reingold has worked with these rather unusual materials in manifold ways to address the issues of beauty, poverty, and environment. Her best known works include a triptych, A Question of Beauty (2007), which chronicled the artist's own hair loss over 365 days, and a major installation, Hung Out In the Projects (2010), which reveals the "wreckage of humans trapped in a poverty." The latter, shown at the Morean Art Center, St. Petersburg, FL, helped earn a 2010 State of Florida Individual Artist Fellowship. Her solo shows include galleries in Los Angeles, Atlanta, Savannah, Buffalo, and St Petersburg; museum shows in Jersey City, Newark, Buffalo, and Tampa. She has works in countless private collections, including Savannah College of Art and Design, as well as in the collections of Newark Museum and Museum of Fine Art, St Petersburg, FL.

ISE Cultural Foundation
555 Broadway, (Prince St. & Spring St.)
New York, NY 10012
Tel: 212.925.1649 / Fax: 212.226.9362
ise@iseny.org http://www.iseny.org
Gallery Hours: Tue-Sat, 11:00AM-6:00PM
No Admission Fee
No RSVP needed
Wheel Chair Access

Directions: http://iseny.org/usr_helio1/hours.php

ISE Cultural Foundation is established in 1984 and a non-profit organization supporting emerging curators and artists.

http://www.babsreingold.com

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16. Ruth Hardinger, FF Alumn, at Masters and Pelavin, Manhattan, thru June 1

Ruth Hardinger's sculpture is in Masters and Pelavin exhibition, Legend Tripping, April 18 - June 1

13 Jay Street, (TriBeCa)

http://masterspelavin.com/current

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17. Anton van Dalen, Leon Golub, Felix Gonzalez-Torres, Barbara Kruger, Lucy Lippard, Robert Longo, Robert Mapplethorpe, Sherin Neshat, Richard Prince, David Salle, Cindy Sherman, Roger Shimomura, Kiki Smith, Nancy Spero, Cindy Sherman, FF Alumns, at The Whitney Museum of American Art, Manhattan, thru Sept. 1

http://whitney.org/Exhibitions/IYouWe

THE WHITNEY PRESENTS I, YOU, WE, A LOOK AT
THE TURBULENT 1980S AND EARLY '90S
-The final installment in a series of exhibitions reassessing the Museum's permanent collection,

I, YOU, WE-three words that strike at the core of how artists perceive themselves, their subjects, and society in general- provides the framework for a survey of art from the 1980s through the early '90s at the Whitney Museum of American Art. Curated by David Kiehl and composed of deeply personal paintings, sculptures, drawings, prints, and photographs culled from the Museum's permanent collection, the show reveals both the individual and collective concerns of this highly charged era, including street/gallery posters from "Concrete Crisis, Urban Images of the '80s, sponsored by PADD (Political Art Documentation/Distribution) in association with EXIT ART which exhibited posters which were simultaneously wheat pasted on the streets.

I, YOU, WE will be on view from April 25 to September 1 in the Museum's second-floor Mildred and Herbert Lee Galleries. The 1980s are often remembered as the time of a burgeoning art market, fueled by equally surging stock prices, although in fact this pivotal period witnessed a widening gap in wealth and ideology throughout the country. Though Wall Street experienced record growths, less prosperous members of society suffered the effects of rapid gentrification and disenfranchisement. This was also a time when the AIDS epidemic ravaged communities, though the disease went largely unacknowledged by politicians, including President Ronald Reagan, who failed to mention its existence until 1987. Within this divided landscape, artists confronted essential questions about identity within their work. In examining their answers, I, YOU, WE explores how notions of race, religion, gender, sexual orientation, and community informed the work of artists throughout this tumultuous timeframe.

"The brash and often strident, confrontational approaches initiated by artists during this period to address the personal, social, economic, and political concerns of these years have a stirring, thought-provoking relevancy to our present day," says David Kiehl, the Whitney's curator of prints and special exhibitions, who organized the show. Arranged into four sections, the show begins with a gallery devoted to "I." Largely composed of works that address shifting perceptions of personal identityy, this space will contain pieces by John Coplans, Robert Gober, Robert Mapplethorpe, Mark Morrisroe, Catherine Opie, Cindy Sherman, Kiki Smith, Carrie Mae Weems, and Francesca Woodman, among others. Though many of the works are self- portraits, others play with notions of individuality such as Jasper Johns's Racing Thoughts (1983) and Glenn Ligon's 1990 painting Untitled (I Do Not Always Feel Colored).

Moving into the "YOU" section, the perspective shifts outward as works portray intimate interactions between artists and their subjects. Within this section are Sally Mann's pair of photographs of her son in Jessie as Jessie and Jessie as Madonna (1990); Jim Dine's etchings of his wife in Nancy Outside in July IV (1978) and Nancy Outside in July XXI: The Red Frame (1981); and Richard Avedon's portrait, Bill Curry, Drifter, Interstate 40, Yukon Oklahoma 6/16/80 (1980). Included in this section are also works by Peter Hujar, Alfred Leslie, Hung Liu, Andrea Modica, Shirin Neshat, Jack Pierson, Richard Prince, David Salle, and Lorna Simpson.

The most densely packed section, "WE," scrutinizes the fundamental ideologies of contemporary American society as the nation became increasingly polarized. Untitled (We will no longer be seen and not heard) (1985) by Barbara Kruger, selections from the
Yellow No Same (1992) series by Japanese-American artist Roger Shimomura, and
Hollywood Africans (1983) by Jean-Michel Basquiat give voice to marginalized communities. Mean while Barbara Norfleet's photograph Private House, The Bahamas (1982) and Eric Fischl's painting A Visit To/A Visit From/The Island (1983) juxtapose the disparity between haves and have-nots. The section also includes works by Tina Barney, Felix Gonzalez-Torres, Jenny Holzer, Les Levine, Robert Longo, Juan Sanchez and Nancy Spero, as well as two important portfolios created in the Lower East Side-PAD/D's Concrete Crisis and Bullet Space's Your House Is Mine.

The exhibition continues with a gallery devoted to the devastating effect of AIDS within the arts community and country as a whole. Reactions to this disease, from the activism promoted in General Idea's Robert Indiana-inspired posters to the anger in David Wojnarowicz's highly charged One Day, This Kid (1990), provide a stark reminder of AIDS' profound effects on the political landscape and individuals of the time. Other works include Donald Moffett's He Kills Me (1987), Martin Wong's Big Heat (1988), Hugh Steers's Bed Pan (1994), sheets from Sue Coe's AIDS Suite (1994), photographs by Nicholas Nixon from his People with AIDS series and Wojnarowicz's intimate photographs of Peter Hujar minutes after his death.

The final gallery is devoted to Nan Goldin's Ballad of Sexual Dependency (1976-96), a visual diary of Goldin's friends and family. Comprised of approximately 700 slides and an accompanying soundtrack, the work incorporates themes that are interwoven throughout the exhibition.

I, YOU, WE marks the final installment of a two-year exhibition series delving into the Whitney's permanent collection. This series was launched in April 2011 to reassess the Museum's holdings in anticipation of the 2015 opening of our new building in New York's Meatpacking District. Unfolding chronologically, the five exhibitions- Breaking Ground: The Whitney's Founding Collection; Real/Surreal; Signs & Symbols; Sinister Pop; and I, YOU, WE-- have eschewed standard "isms" and general movements frequently used to categorize art history. Instead, the Whitney's curators have sought to reframe both well-known and underappreciated works within the collection in new contexts.

Exhibition Support
Major support for this multipart exhibition series that launched in 2011 and ongoing support for the permanent collection is provided by Bank of America.

The Whitney Museum is located at 945 Madison Avenue at 75th Street, New York City. Museum hours are: Wednesday, Thursday, Saturday, and Sunday from 11 a.m. to 6 p.m., Friday from 1 p.m. to 9 p.m., closed Monday and Tuesday. General admission: $18. Full-time students and visitors ages 19-25 and 62 & over: $14. Visitors 18 & under and Whitney members: FREE. Admission is pay-what-you-wish on Fridays,6-9 p.m. For general information, please call (212) 570-3600 or visit whitney.org

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18. Martha Wilson to receive 2nd Annual Richard J. Massey Foundation - White Box Arts and Humanities Award, with Christo, Katya Grokhovsky, Alison Knowles, Joseph Kosuth, Robert Longo, Alex Melamid, Lucio Pozzi, Christy Rupp, Carolee Schneemann, Kiki Smith, Javier Tellez, William Wegman, FF Alumns, at ROX, Manhattan, May 21

2013 WHITE BOX SPRING BENEFIT

CELEBRATING ITS 15TH ANNIVERSARY AND HONORING MARTHA WILSON
with the 2nd Annual Richard J. Massey Foundation - White Box Arts and Humanities Award

TUESDAY, MAY 21, 2013 | 7 - 10PM
Location: ROX, 86 Delancey Street (corner of Orchard), NYC

Live Auction Conducted by Phillips' Sarah Krueger

White Box is pleased to announce its 2013 Spring Benefit, honoring the remarkable work and career of pioneering feminist artist and founding director of Franklin Furnace, Martha Wilson, with the 2nd annual Richard J. Massey Foundation - White Box Arts and Humanities Award.

In conjunction with the Arts & Humanities Award, White Box has invited its Honorary Board Member and groundbreaking feminist artist, Carolee Schneemann to create and present Martha Wilson with a unique Scepter artwork.

The Live Auction offers 15 desirable artworks by some of NYs best and world-renowned artists including Christo, Shirin Neshat, Joseph Kosuth, Kiki Smith, William Wegman, Tim Rollins, Spencer Tunick, Andres Serrano and more. The Silent Auction consists of around 60 works, including a specially curated section titled Women's Voices showing an array of exceptional and emerging women artists who are celebrating, one of the most influential women artists of our times, the inimitable Martha Wilson!

Online bidding available at www.whiteboxny.org.???? instead mention: Paddle8

Be on the lookout for the Online Auction launch!

PROGRAM
6 - 7pm | VIP Auction previews, Cocktails and Hors d'Oeuvres
7pm | Doors Open
8pm | Live Auction Begins
8:45pm | Award Presentation by Katya Grokhovsky, FF Alumn, and Opening Remarks
9pm | Award Acceptance and Performance by Martha Wilson
9:15 - 10pm | Special Performances

View the Benefit infomercial HERE!

For more information or VIP previews, email benefit@whiteboxny.org or call 212-714-2347.

OTHER ARTISTS:
Christo | Mac Adams | Conrad Atkinson | Agathe de Baillencourt | David Birkin | Katherine Bradford | Cloete Breytenbach |Mina Cheon | Izumi Chiaraluce | Annabel Daou | Christoph Draeger | Jacob El Hanani | Elliott Erwitt | Jan Frank | Coleen Fitzgibbon | Gabriela Galvan | Francis Goodman | Charlotte Hallberg | Patrick Hamilton | Graciela Iturbide | Gabriel J. Shuldiner | Alfredo Jaar | Redell & Jimenez | Kika Karadi | Alison Knowles | Joseph Kosuth | Anna Kunz | Micha Laury | Robert Longo | Robert Longo | Rachel Malin | Fabian Marcaccio | Alfredo Martinez | Mary Mattingly | Alex Melamid | Arnaldo Morales | Ivan Navarro | Lucio Pozzi | Jaye Rhee | Tim Rollins and K.O.S. | Christy Rupp | Jeffrey S. Hargrave | Andres Serrano | Janice Sloane | Kiki Smith | Ray Smith | Vargas Suarez-Universal | Andrew Sutherland | G.T. Pellizzi | Rob Tarbell | Javier Tellez | Sarah Tse | Peter Wayne Lewis | William Wegman | So Young Yang |

HONORY COMMITTEE: Shiva Lynn Burgos | Alfredo Jaar | Elyse Goldberg | Francisco Goldman | Richard J. Massey | Amy Plumb Oppenheim | Dominic Palfreyman | Alexander Melamid | Tim Rollins

BENEFIT COMMITTEE: Adolfo Doring | Jacob El-Hanani | Jan Frank | Stephanie Gilbert | Marc Lambert | Iris Inhee Moon | Juan Puntes | Asher Remy-Toledo | Peter Ryan | Keith Schweitzer | Rafael Vargas-Suarez | Jason Patrick Voegele

SPONSORS: Bowery & Vine | sparkplugPR | Pies 'n' Thighs | Paddle8 ROX | Cutlog | Phillips | Soho Art Materials | ArtSpace

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Goings On is compiled weekly by Harley Spiller