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Contents for September 9, 2016

1. Ricardo Dominguez (Electronic Disturbance Theater), Sheryl Oring, FF Alumns, at Southeastern Center for Contemporary Art, Salem, NC, opening Nov. 1

Dispatches - Live News Through Art: New Exhibit from The Southeastern Center for Contemporary Art in Partnership with the Pulitzer Center On Crisis Reporting Winston-Salem, NC, August 29, 2016 - Imagine news stories told through art. Stories such as the 2016 Presidential election, the Black Lives Matter movement, or climate change. What would they say? That’s the idea behind Dispatches, a new, multi-platform exhibition from the Southeastern Center for Contemporary Art (SECCA) bringing together contemporary artists, Pulitzer-Prize winning photojournalists, and new media artists. The exhibition features existing works and five new commissions, or ‘dispatches,’ inviting artists to respond to current events happening in our world. The exhibition includes the work of four journalist grantees of the Pulitzer Center on Crisis Reporting, which is also partnering with SECCA to extend the exhibit’s reach through public talks, school engagements and live, interactive performances during the exhibit run, Nov. 1, 2016 – Feb. 19, 2017. The Pulitzer Center, based in Washington D.C., is an award-winning non-profit journalism organization promoting in-depth engagement with global affairs through the support of international journalism and an innovative program of outreach and education. Dispatches was imagined and curated by Cora Fisher, SECCA’s curator since 2013. Fisher’s inspiration came from exploring how “the space of journalism has changed. Much of modern day reporting is quick response and in the moment. Telling live news stories through art makes us slow down and reflect of the frenetic pace around us.” Artistic response to current events is especially important in our digital culture. The rapid speed and high volume of news reporting makes it difficult to separate truth from fiction. The title of the exhibition raises the question of how you can cultivate thoughtfulness in relation to current events that are presented in a speedy and visually complex format. “We are excited about this partnership with SECCA,” said Jon Sawyer, executive director of the Pulitzer Center and a Winston-Salem native. “In our journalism projects we have used art wherever possible as a means of creating greater engagement with the global issues that affect us all. We welcome the opportunity to work with SECCA, local schools and other institutions in a community that is known as a national leader in the arts.” A dispatch is a journalism term used to describe what’s happening on-the-scene and in real time during conflicts including times of war. Fisher continues “for this exhibit, the word “dispatch” also bears heavier connotations: to kill or to do away with, often suggesting the simultaneity of violence and speed.” The artistic pieces of the exhibit comment on that - Dispatches reveals the battles we fight abroad and at home. Fisher explains “my hope for the exhibit is that attendees will leave with the idea that the time and reflection we give to art can carry over into digesting the news – to look past the headlines and into the stories.”

Artists + Collectives
Doug Ashford, Sayler/Morris (The Canary Project), Mel Chin, Damon Davis, James Whitlow Delano, Ricardo Dominguez (Electronic Disturbance Theater), Hasan Elahi, For Freedoms, LaToya Ruby Frazier, Stacey L. Kirby, Eva and Franco Mattes (0100101110101101.ORG), !Mediengruppe Bitnik, Sheryl Oring, Trevor Paglen, Larry C. Price, Chloe Bass + George Scheer, and iO Tillett Wright.

VII Photo Agency: Ashley Gilbertson, Ron Haviv, Tomas van Houtryve, Ed Kashi, Sarker
Protick, Maciek Nabrdalik, Sim Chi Yin and Danny Wilcox Frazier.
Curated by Cora Fisher

www.secca.org

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2. Mira Schor, FF Alumn, at USC Roski School of Art and Design, opening Sept. 10, and more

Mira Schor, FF Alumn, Solo Exhibition, War Frieze (1991-1994) and “Power” Frieze (2016), CB Gallery, Los Angeles, Sept.10-October 30

CB1 Gallery is proud to announce Mira Schor’s upcoming solo exhibition War Frieze, opening September 10, 2016. This will be the most comprehensive presentation of a major multi- canvas painting installation on the theme of militarism and aggression, conceived and begun by the artist in the immediate aftermath of the First Gulf War in the winter of 1991 and completed in 1994. The total work is over 200 running feet long and has never been seen in its entirety, either publicly or by the artist. CB1 Gallery will present the second half of this major work, at once historic yet with continued resonance in the present day.

This will be the third exhibition of Schor’s work at CB1 Gallery since 2010. In addition to the 1991 – 1994 body of work, CB1 Gallery will also present a new series of works on paper, “Power” Frieze. The exhibition will be on view from September 10 – October 30, 2016. A reception for the artist will be held on Saturday, September 10, 3 – 6 p.m.
In her work from the 1970s to the present, Schor has insisted on the joining of language—discursive, narrative, theoretical and political—with the materiality of paint, marking a unique path in a highly contested territory of visual art. War Frieze is exemplary of her practice. It is also a work which has only been seen in fragments and has yet to be fully understood in its role within a specific critical and historical context, a critical lacunae that we hope this exhibition will redress, expanding the dialogue around the work of an important, unique, yet under-recognized artist.

In War Frieze, the transmission of power in society is represented by the flow of language as body fluid from sexual body part to body part—language embedded into the body of oil paint. The language is public, appropriated from the news, including such phrases as “Area of Denial”–a class of weapon aimed at denying the viability of territory for any living beings. Schor focused on this term because of its multiple meanings and applicability including not only its meaning in warfare, but also the body of painting as an area of denial within postmodernism, the body of woman as an area of denial within patriarchal culture: other phrases and words anchoring the work were suggested by the Clarence Thomas hearings and by the wording of still in play Supreme Court decisions on abortion, including “pub(l)ic” and “Undue Burden.”

In an interview published in conjunction with an exhibition at Horodner Romley Gallery in NYC in 1993, Schor spoke about War Frieze:
I started War Frieze right after the Gulf War. I wanted to make an endless painting, about completely circular militarism and aggressivity. It is a continuation of works in which I represented the transmission of power in society through the transmission of fluids from sexual body part to body part. In War Frieze the fluids became discursive script: sometimes the language, spelling out “area of denial,” or “undue burden” (from the wording of the Supreme Court’s Webster ruling on abortion limits) is blood streaming through scrapped flesh, or milk streaking across barely stained linen. Paint is body-like anyway, it can be messy or fluid, it imparts these bodily traits to the language. War Frieze is a work in progress which has evolved into nearly 200’ of discrete segments of from 1’x8’ to 1x25’. One segment, Pub(l)ic hair, speaks to the Clarence Thomas/Anita Hill hearings and Duchamp’s Fountain. Another spells out “It’s Modernism, Stupid,” inspired by the Clinton campaign motto, “It’s the economy, stupid.” My favorite panel is the red comma. It looks very graphic on a slide, but is in fact very painterly. That led to painting incarnated punctuation marks: cunts, breasts, penises framed by quote marks; red commas and semi-colons set into public hair, embedded in flesh. Markers of printed language are sexualized, and text, which had been so dominant over visuality in feminist theory and art in the 80s, is presented for its visual seductivity and bodily contingency.
In response to her own historical work, Schor will also exhibit a new series of works on paper, collectively titled “Power” Frieze. These drawings feature a new articulation of Schor’s interest in the intersection of political language and private embodiment exemplified by the imagery of War Frieze, now in the form of a phalanx of individual figures, drawn and painted in ink and oil on skin-like tracing paper, addressing the fragility and the resolution of the mortal body as the artist continues painting and writing in the face of toxic masculinity and looming fascism, a continuation of the endless militarism and aggression that was the underlying subject of War Frieze.

Of these recent works, artist and critic Bradley Rubenstein has written, “Schor’s paintings, dark, compactly strong meditations on mortality, power, and language, show an artist wrestling with the big questions. Schor has always been a painter who confronted politics, art history, and painting head-on, and these new paintings don’t veer far from that course….Schor understands the vocabulary of the millennial generation, yet her work suggests that there are traditions in painting that are slowly being degraded or forgotten—lost knowledge coming at great expense to our shared cultural understanding. Schor’s drawings are meditations on time and aging, and on the power of art to transform and transcend the temporal.” Novelist and critic Will Heinrich wrote of Schor’s “Power” Figures, “By stripping the husk from self-image … what Schor reveals is its mysteriously contradictory truth: the anger, frustration, and insecurity that underlie an extravagantly self- deprecating joke like a skeleton with breasts, but also the absurdity that underlies them; the bitter pinch of decay underlying creation, and vice versa; and, especially, the unresolvable tussle between roles that are socially imposed and those that emerge from within.”
http://cb1gallery.com/project/mira-schor-war-frieze-power-frieze/

and

Mira Schor, Lecture: Painting and Writing The Body Politic/The Mind Private
Tuesday, September 13, 2016
6pm-8pm
Free and open to all
Graduate Fine Arts Building (IFT)
3001 S Flower Street at 30th
Los Angeles 90007
Mira Schor is a New York-based artist and writer noted for her advocacy of painting in a post-medium visual culture and for her contributions to feminist art history.

Schor’s work balances political and theoretical concerns with formalist and material passions. Her work has included major periods in which gendered narrative and representation of the body have been featured, in other periods the focus of her work has been representation of language in drawing and paintings. In both painting and writing, Schor's areas of interest include the gendered production of art history, the analysis and praxis of painting in contemporary culture, and the relationship between political and conceptual concerns with the materiality of expression. Schor's paintings are philosophical meditations on the visual artist as a thinker and on painting as a uniquely sensual space for the visualization of thought itself. She addresses the terms of contemporary psychic, theoretical, and economic spaces as they affect creativity. A central theme is the experience of living in a moment of radical inequality, austerity, and accelerated time, set against the powerful pull of older notions of time, craft, and visual pleasure.

In recent works, Schor confronts mortality in the face of historical ambition and depicts the painter as a transformative link between nature, the body, and language. These works are self-portraits of the Woman Artist--who is, in terms of art world fads, both “too young” and “not dead enough.” These darkly funny and confrontational female “Power” Figures are painted and drawn on fragile tracing paper, creating a contradictory message about power and meaning in relation to feminist identity, female embodiment, the body politic, and links between image, materiality, and language in a manner that is emblematic of her art practice going back to the 1970s.

Schor received her MFA in painting from CalArts in 1973. Her work has been included in exhibitions at the Jewish Museum in New York City, The Hammer Museum, P.S.1, the Neuberger Museum, and the Aldrich Museum. Reviews of recent exhibitions have appeared on Artforum.com, Hyperallergic, Artslant and the New York Times,. Interviews with Schor have appeared on Art21Blog, Bomblog, Hyperallergic, Artinfo, Romanov’s Grave, and Culture Catch. She participated in ARTspace’s Annual Distinguished Artists’ Interviews at the 2013 Annual College Art Association Conference in New York.

Schor is the author of A Decade of Negative Thinking: Essays on Art, Politics, and Daily Life (2009), Wet: On Painting, Feminism, and Art Culture (1997; both Duke University Press), and of the blog A Year of Positive Thinking. She is the co-editor of MEANING: An Anthology of Artists’ Writings, Theory, and Criticism and M/E/A/N/I/N/G Online.
She is the recipient of awards in painting from the Guggenheim, Rockefeller, Marie Walsh Sharpe, and the Pollock-Krasner Foundations as well as of the College Art Association’s Frank Jewett Mather Award in Art Criticism and a Creative Capital / Warhol Foundation Arts Writers Grant. She is an Associate Teaching Professor in Fine Arts at Parsons The New School for Design. She is represented by Lyles and King Gallery in New York City and by CB1 Gallery in Los Angeles.

Mira Schor’s works War Frieze (1991-1994) and “Power” Frieze (2016) will be exhibited in Los Angeles at CB1 Gallery, September 10 through October 30th.

https://roski.usc.edu/events/roski-talks-mira-schor

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3. Kathy Westwater, FF Alumn, at Cornwell Dance Theater, Philadelphia, PA, Sepember. 16-17

World Premiere
of Anywhere

by choreographer Kathy Westwater
with dancers Hadar Ahuvia, Ilona Bito, Amanda Hunt, Alex Romania, and Kathy Westwater

Anywhere extends Westwater's exploration of radical form and structure in the body by asking how a dance might engage with, and itself be, a monument. It features a unique relationship between movement and sound through a sound integration design by Architect Seung-Jae Lee, and music by Henryk Górecki.

Also on the program, a new work created for students of the Temple University Dance Program

presented by Temple University
at Conwell Dance Theater
in Conwell Hall
1801 N. Broad Street, 5th Floor

Friday and Saturday, September 16 & 17
7:30 PM

To buy tickets online, go to https://events.temple.edu/dance-concert-reflectionresponse

www.kathywestwater.org

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4. R. Sikoryak, FF ALumn, at Union Hall, Brooklyn, Sept. 12

Carousel at Union Hall - Brooklyn

Presentations of graphic novels and comics as read by the artists:

Kyle Baker (Nat Turner, Why I Hate Saturn)

Emily Flake (The New Yorker, Mama Tried)

Amy Kurzweil (Flying Couch)

Jeremy Nguyen (Stranger Than Bushwick)

Andrea Tsurumi (Why Would You Do That?)

and more.

Hosted by R. Sikoryak (Masterpiece Comics, Terms and Conditions)

THIS IS AN OFFICIAL 2016 BROOKLYN BOOK FESTIVAL EVENT

Monday, September 12, 2016

Doors: 7:30 pm / Show: 8:00 pm

Union Hall – Brooklyn

702 Union St, Brooklyn, NY 11215

Tickets: $8.00

Event Detail: http://www.unionhallny.com/event/1257079

Purchase https://www.ticketfly.com/purchase/event/1257079

More info: http://carouselslideshow.com

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5. Barbara Rosenthal, FF Alumn, at Central Booking, Manhattan, thru Oct. 30

Barbara Rosenthal, Soft Opening of "Talk Talk" at Central Booking.

Three works by Barbara Rosenthal will be presented Sept 7-Oct 30 at Central Booking artspace, 21 Ludlow St, on the Lower East Side, NYC. The 8-person exhibition is "Talk-Talk," curated by Maddy Rosenberg for the science-based Haber Space on the theme of spoken communication. There will be a "Soft-Opening" during the Lower East Side Gallery Walk, Wed Sept 7, 6-8pm.

a. "MOUTH-A-BET”, 1966-2016. A digital edition-PRINT made from a 1966 pen-and-ink freehand text-drawing of a sentence and alphapbet designed by this artist when Rosenthal was 18 years old from the look of her mouth when she said each letter. This is a digitization of a pen-and-ink sentence that looks like some a code of cursive symbols, and then the key. This is the first time the piece is being presented publicly.

b. TWO VIDEOS, on INSTALLATION LOOP:

“NONSENSE CONVERSATION” (“Unsinn Conversation”), 1988 Barbara Rosenthal and Ola Creston, age 9. Improvisation with brilliant child actress. Premiered The Kitchen, NYC, April, 1988, Screened recently at Directors Lounge, Berlin; Millennium Film Workshop, NYC. VHS original, 1988 DVD remaster 2009 (3min 8sec 8fr)

“I HAVE A NEW YORK ACCENT 1988. A Barbara Rosenthal short performance video, in which her own voice gives way to that of others speaking her word, meaning her same meanings, but showing us that what we believe is really quite variable. Another example of Rosenthal's investigations into self, other selves, humanity, and urban identity. VHS original, 1988 DVD remaster 2009 (1min 37sec 8fr)

Note: These two videos on exhibition and sale here at this time, are a segment of the Special Edition DVDs created in honor of this event: “Talk Talk: Six Videos About Spoken Communication,” which also comprises an additional four shorts:“I Have a NY Accent,” (featuring Hannah Weiner), I Can Talk Burp Talk (featuring Ola Creston), Words Come Out Backwards and How Much Does the Monkey Remember.

LOCATION: HABER SPACE at CENTRAL BOOKING
21 Ludlow St. (F to East Broadway)
Lower East Side / NYC
347-731-6559

MORE INFO:
Barbara Rosenthal
http://en.wikipedia.org/wiki/Barbara_Rosenthal
http://www.barbararosenthal.org/

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6. Peter Baren, FF Alumn, in Marseille, France, Sept. 6-17

Peter Baren, FF Alumn, is performing during 10th Preavis de Desordre Urbain, Marseille, France. 6-17 September 2016.

EDITO by Christine Bouvier, Director of RedPlexus

In the middle ages, the lost traveller that knocked on the door in the middle of the night, was offered a room and lodging. Today, what message do we send to the migrant to the Schengen area? It is in this context from tragic and disinclined to serenity that Preavis de Desordre Urbain (PDU/Notice for Urban Disorder) celebrates its 10th edition! It is by a created Check Point using barriers of construction and tents, designed especially for this situation, that we will take you on board this year.

The event starts at Friche la Belle de Mai and it will then migrate to the sea. The red thread of this urban Odyssey: CAN WE ESCAPE BORDERS? (geographical, social, artistic, any kind). More than ever, it is urgent to reappropriate public space. More than ever Notice for Urban Disorder must stay on course and resist ambient fear by asserting its trademark for re - enchant this chaotic world.

PDU is a 'committed' international performance festival that questions the changes in our society defends strong artistic acts that cause debate and reflection, encourages experimentation and poetic and subversive actions invests public space encourages miscegenation of live art from artists and performers networks offers immersive experiences across the city to build social ties and bring audiences.

PDU is also a moment suspended in a society at the edge of implosion, a vital emergency stop, a space of freedom of creation and sharing. So bewildered traveler or not, do not hesitate to make a stop in the CheckPoint, they always offer you something... To the pleasure of sharing all the valuable and cheeky, cheerful and unique moments to celebrate this 10th PREAVIS DE DESORDRE URBAIN!

A CONCEPT: A BIVOUAC urban device "Check-Point" of this 10th edition will migrate from Friche la Belle de Mai into the City center (Réformés Canebière) and towards the Sea (Old Harbour and Espanade J4).

THE ARTISTS:
PETER BAREN (Netherlands) LEDA DALLA & GITSA KONSTANTOUDAKI (Greece) DARIUSZ FODCZUK (Poland) the collective ORNIC'ART (France) DOROTHEA SEROR (Germany) ODM (France) SNAKE (Cameroon) VLOEISTOF (Netherlands). The checkpoint will migrate from the wasteland Friche la Belle de Mai towards the sea. A story emerges on a daily basis during this Odyssey.

PROGRAM: 06- 10 Sep: Daily Activation of the check-point in and around Friche la Belle de Mai/ 10 Sep: launch party/ 12-14 Sep: Canebière – kiosk/ 15- 16 Sep: Old Harbour/ 17 September: final evening at Esplanade J4.

From 12-17 sep: Daily Activation of the check-point at Place des Docks: Morning Plexus, Check Point banquets, open check-in, Red Areas (CF Program)

www.redplexus.org

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7. Sally Greenhouse, FF Alumn, at Dixon Place, Manhattan, Sept. 24

Saturday, September 24 at 7:30pm
The Greenhouse Effect: Resurrected

Estimated runtime: 50 minutes
Free admission

Sally Greenhouse, ''The Thinking Person’s Performance Artist'' (The Boston Globe), returns to Dixon Place after overcoming paralysis, documenting her miraculous recovery from a broken neck with her signature satirical wit.

In this compelling solo-evening-in-progress, Sally Greenhouse shares three excerpts: “Bottoms Up” — captivating au courant socio-political satire with a sexy slant.“Rescued by Ralph Nader”—a hilarious & harrowing cautionary tale of psychiatric chicanery."Trauma Becomes You”—an insider’s guide to breaking your neck.

Dubbed ‘‘mordantly funny’’ by The New York Times, Sally Greenhouse, a graduate of Harvard Divinity School, has previously garnered The Jerome Foundation Fund for Performance Art, a NYSCA award for Best Solo Performance, an endowed fellowship at Yaddo, residential fellowships at The Djerassi Foundation, The Millay Colony, The Massachusetts Cultural Council Artist Grant in Playwriting/New Theatre Works, and the New England Women in Video Award for best cable television program, The Greenhouse Effect. She has received funding from the Lila Wallace Reader’s Digest Fund; and her performance artwork has been archived at Franklin Furnace as well as Live Art London.

A regular at Dixon Place from its inception, Sally Greenhouse has also presented her original monologues at numerous downtown NYC venues, including PS122, Dance Theatre Workshop, DIA Art Foundation, St. Mark’s Poetry Project, Nuyorican Poets Cafe and has been an artist-in-residence at Williamstown Theatre Festival.

www.Dixonplace.org

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8. Stephanie Brody-Lederman, Evelyn Eller, FF Alumns, at Central Booking, Manhattan, opening Sept. 22

"Talk, Talk" an exhibition about speech, curated by Maddy Rosenberg, will be at Central Booking, 21 Ludlow Street, NYC 10002. The show runs from September 7 - October 30, with a reception Thursday, September 22nd 6-8pm. The artists participating in this exhibition are: Brandstifter, Stephanie Brody-Lederman, MJ Caselden, Catherine Clover, Elena Costelian, Gerhild Ebel, Evelyn Eller, Anne Gilman, Sarah Hulsey, Christiana Kazakou, Despo Magoni, Melissa Stern, Diana Wege, Robert Zott

Central Booking, 21 Ludlow Street, NYC 10002, September 7-October 30, 2016

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9. Pope.L, FF Alumn, in 32nd São Paulo Biennal, Brazil, thru Sept. 10

POPE.L IN THE 32ND SÃO PAULO BIENNAL
Baile, a new performance by Pope.L
Vale do Anhangabaú, São Paulo
September 7 - 10, 2016

Mitchell-Innes & Nash is pleased to announce a new performance piece conceived by Pope.L for the 32nd São Paulo Biennal. Performers dressed in Festa de Debutante-inspired constumes will walk and dance in a carefully mapped-out route that addresses political and social circumstances throughout the city of São Paulo. The four-day long, 24-hour a day performance seeks to deal with the theatricality of the recent political frictions and visible social inequalities in Brazil.

The performance will begin at 2:00 pm on September 7th at Vale do Anhangabaú and will end at 2:00 pm on September 10th. For more information on the performance and the São Paulo Biennal, please click here.

http://www.bienal.org.br/evento.php?i=2779

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10. Ray Johnson, FF Alumn, at Valade Family Gallery, Detroit, MI, thru Oct. 8

RAY JOHNSON: THE BOB BOXES

THE RAY JOHNSON ESTATE AND THE COLLEGE FOR CREATIVE STUDIES ARE PLEASED TO ANNOUNCE RAY JOHNSON: THE BOB BOXES FROM SEPTEMBER 10 THROUGH OCTOBER 8, 2016 AT THE VALADE FAMILY GALLERY IN DETROIT.

Ray Johnson: The Bob Boxes is the first show of Ray Johnson's work in his hometown of Detroit since 1975. Johnson was a seminal Pop Art figure in the 1950s, an early conceptualist, and a pioneer of mail art who started his artistic career at Cass Tech High School in Detroit. This exhibition includes thirteen boxes containing his correspondence with artist and friend, Bob Warner, as well as artwork, objects and materials that reference his childhood in the Detroit area.

The Valade Family Gallery is located in the A. Alfred Taubman Center for Design Education at the College for Creative Studies.
460 W. Baltimore
Detroit, MI 48202
Gallery Hours: Wednesday – Saturday, Noon to 5 p.m.

THE RAY JOHNSON ESTATE IS REPRESENTED EXCLUSIVELY BY RICHARD L. FEIGEN & CO.
34 EAST 69TH STREET
NEW YORK, NY 10065
TEL 212-628-0700
FAX 212-249-4574
INFO@RLFEIGEN.COM

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11. Penny Arcade, FF Alumn, at The Abbey Theatre, Dublin, Ireland, Sept. 12-16

Penny Arcade Longing Lasts Longer

The Abbey Theatre Dublin Sept 12-16th part of The Tiger Fringe

http://www.abbeytheatre.ie/whats_on/event/tiger-dublin-fringe-2016-penny-arcade-longing-lasts-longer/

The Abbey Theatre welcomes eminent American Avant-gardist Penny Arcade, who, since the 1960s, has participated in each of the theatrical and cultural movements that have created contemporary performance culture.
Her theatre is fueled by personal memoir, creating performances that are both thought-provoking and subversively funny and she has long sought to make community building and personal transformation the goals of performance. For three decades, the charismatic and magnetic force of nature that is Penny Arcade has brought her own brand of East Village rock ‘n roll showmanship, with her signature combination of performance art, experimental theatre, poetry, comedy to stages around the world. Her newest solo show, Longing Lasts Longer, is a fierce, visionary and ultimately hopeful critique of the gentrification that effects not only cities but ideas and culture. With an exciting sound track comprised of the most iconic music of the past 5 decades mixed live on stage by Arcade's longtime collaborator Steve Zehentner, this is cultural critique you can dance to that will leave you laughing and rocking in your seat. The production won both a Scotsman Fringe First Award and a Herald Angel Award at the 2015 Edinburgh Festival Fringe, and has been performed over 100 times before arriving at The Tiger Fringe as part of an acclaimed world tour that extends until at least the fall of 2017.

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12. Carolee Schneemann, FF Alumn, Fall 2016 events

Carolee Schneemann
Forthcoming Events Fall 2016

September 9 – October 16
COMING TO POWER: 25 Years Of Sexually X-Plicit Art By Women, re-staging of the landmark feminist exhibition with work by CS and 24 influential feminist artists, first shown at David Zwirner gallery in 1993. Opening reception September 9, 6-9pm.

September 14
Experimental Music and Interdisciplinary Arts: Explorations at the Edge Panel with CS, Alison Knowles, David Behram and Ed Friedman, moderated by Joan LaBarbara. Part of the exhibition A Feast of Astonishments: Charlotte Moorman and the Avant Garde, 1960s-1980s at Grey Art Gallery, NYU 100 Washington Square East, 7:30-9pm.

September 16-18
2015 New York Art Book Fair at MoMA PS1, Release of Carolee’s: Influence/Plagarism/I Forgot Magazine, published by The Artist Institute edited by Jenny Jaskey. 22-25 Jackson Ave, Long Island City, NY.

September 19
Movie in My Head: Bruce Conner and Beyond Film screening including Viet-Flakes at MoMA, NY organized by Giampaolo Bianconi, 5pm.

September 22
Women/Artist/Filmmakers, Inc. (1974-1981) Screening of Plumbline by CS with works by Maria Lassnig, Martha Edelheit, Rosalind Schneider, Silvianna Goldsmith, Doris Chase, Nancy Kendall, Susan Brockman at Petzel Gallery 35 E 67th St, NY. 6-8pm.

September 26
In On or About the Premises: A Panel on the Work of Paul Blackburn featuring short talks by CS, Marcella Durand, George Economou, David Henderson, Simon Smith, and Robert Vas Dias. Moderated by Poetry Project Director Stacy Szymaszek at The Graduate Center, CUNY – 365 5th Ave, NY. 6:30pm.

October 14
Postwar: Art Between the Pacific and the Atlantic, 1945-1965. Exhibition curated by Okwui Enwezor opens at Haus der Kunst in Munich, including works by CS and 180 artists from 50 countries.

October 21-December 3
Further Evidence…Exhibit A, Exhibit B, Schneemann's two-part solo exhibition opens at PPOW and Galerie Lelong featuring critical but lesser-known works of the eighties, nineties and the present. Opening reception Friday October 21, 6-8pm.

November 2
Breaking The Frame documentary film on CS life and work screening in conjunction with the exhibition A Feast of Astonishments: Charlotte Moorman and the Avant Garde, 1960s-1980s at Grey Art Gallery, NYU. 6:30-8:30pm.

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13. Brendan Fernandes, FF Alumn, Fall 2016 events

Dear Friends,

I hope everyone is well and ready to start the Fall season. As I embark on September, I am excited to share a few opportunities that I hope you can attend and participate in. I recently completed a glass art residency at the Museum of Glass in Tacoma Washington. Through this experience I was given the opportunity to work with a world-leading team of glass artists, who helped me realize new ideas in this beautiful material. I will also be participating in groups exhibitions in Toronto and New York: “Yonder” at the Koffler Centre, TO and “Enacting Stillness” at The 8th Floor Gallery, NY. On September 10th I will present a new performance at MoMA as part of Pop Rally, co-hosted by Recess, NY. On September 17th I will be giving a talk with Performance and Dance Scholar, Dr. Amanda Jane Graham, along with a reenactment of “In Touch" at the Brooklyn Museum as we close the exhibition “Disguise: Masks and Global Africa." I will also be reenacting "Reverence" for the Canadian Art Foundation Gala, on September 22nd. Lastly, I am thrilled to have contributed to the publication “Shifter: Dictionary of the Possible" that will launch at the NY Art Book Fair on September 16th. I hope that during this exciting and busy September our paths will cross and we can share some time together. In the meantime, I am sending you my best!

Cheers, Brendan

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14. Linda Stein, FF Member, at Alverno College, Milwaukee, WI, thru Oct. 1, and more

Have Art Will Travel Fall Events

HOLOCAUST HEROES: FIERCE FEMALES
TAPESTRIES AND SCULPTURE BY LINDA STEIN
August 24 – October 1, 2016
Alverno College, Milwaukee, WI
Holocaust Heroes: Fierce Females was launched in 2015. Obsessed with the theme of protection since 9/11, artist-activist Linda Stein has been drawn to researching the Holocaust, finding that while many people have been recognized for their courage during these horrific times, less attention has been placed on the women who made a difference. With her art, she starts conversations of power and vulnerability through a lens of gender, and provokes questions and dialogue about the continuum between the Exemplar and the Perpetrator. The Holocaust Heroes project demonstrates that while most people are bystanders under conditions of terror, there are always a few who defy a malevolent authority and do what they feel is the right thing. If heroes existed during the Holocaust, then certainly we can increase the propensity for individuals to become more empathetic and compassionate under normal conditions.

Thursday, September 15
Artist Lecture: 6pm – 7pm
Reception: 7pm – 8pm

THE FLUIDITY OF GENDER:
SCULPTURE BY LINDA STEIN
September 6 – December 30, 2016
The Holter Museum, Helena, MT
The exhibition explores the continuum between the binaries of masculinity and femininity, while inspiring the compassion, empathy and bravery it takes to become an upstander rather than a bystander. HAWT asks people to re-invent and visualize bravery for themselves, to look at the armor they wear, the safety they seek. The artist says, “with my androgynous forms, I invite the viewer to seek out diversity in unpredictable ways, to ‘try on’ new personal avatars and self-definitions, knowing that every new experience changes the brain’s structure and inspires each of us to a more authentic self.”

Tuesday, September 27
Artist Talk and Body-Swapping Performance: 6pm – 7pm
Reception: 7pm – 8pm

Additional Workshops by HAWT Curricular Team Chair Karen Keifer-Boyd

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15. Ann Hamilton, FF Alumn, at The Fabric Workshop and Museum, Philadelphia, PA, thru Jan. 8, 2017

The Fabric Workshop and Museum

Ann Hamilton
habitus
September 6, 2016–January 8, 2017

Free public reception: September 17, 4–8pm, complimentary bus transportation provided on a continuous loop between project locations
Municipal Pier 9 (121 N Columbus Boulevard) and FWM (1214 Arch Street)

The Fabric Workshop and Museum
Philadelphia
1214 Arch Street
Philadelphia, PA 19107
USA
Hours: Monday–Sunday 10am–6pm,
Saturday–Sunday 12–5pm

T +1 215 561 8888
F +1 215 561 8887
info@fabricworkshopandmuseum.org

fabricworkshopandmuseum.org
Facebook / Twitter / Instagram

Beginning Saturday, September 17, 2016, The Fabric Workshop and Museum (FWM) presents habitus, a new large-scale installation by the artist Ann Hamilton in two locations in Philadelphia: Municipal Pier 9 on the Delaware River, where an environment of cloth, sound, and light animates a venerable 55,000-foot warehouse through October 10, 2016 and The Fabric Workshop and Museum, where an installation of commonplace books, textiles, and other objects related to fabric making recasts three floors through January 8, 2017.

On Saturday, September 17, from 4 to 8pm, a free public reception will be held in both locations.

"The Fabric Workshop and Museum has collaborated with Ann Hamilton twice before, the last her project for the American Pavilion at the 48th Venice Biennale (1999). Both are surely among the most memorable works to grow out of our Artist-in-Residence Program and we are thrilled to collaborate on this very ambitious dual-sited exhibition," says Susan Lubowsky Talbott, interim executive director.

Ann Hamilton began habitus by exploring Philadelphia's textile collections and visiting some of its generations-old textile producers. Seeing looms that have been in operation for decades and watching raw material become a single thread, then a warp, and then a weft of a cloth: these experiences inspired the making of habitus. The artist says, "Just as cloth is a structure binding individual threads into a larger whole, this project is designed to encourage associative links between texts and textiles and their individual forms of knowledge and experience."

For the installation, visitors to Municipal Pier 9 are invited to activate rope and pulley mechanisms to set giant curtains spinning into motion; read two new poems by Philadelphia poet Susan Stewart, projected onto a shipping container; feel the words of the poems, printed on fabric strips and wound on reels, as they unwind continuously through hands; and observe a ball made up of threads pulled from knit sweaters as it ceaselessly rises and falls.

While the installation at Municipal Pier 9 is on the scale of landscape, the three floors in The Fabric Workshop and Museum are on the scale of thread, needle, and book. Here, a number of new digital prints by Hamilton are displayed along with a selection of historical objects—including literary commonplace books, textile sample books, dolls, and needlework portfolios—borrowed from The Design Center at Philadelphia University, the Free Library of Philadelphia, the Historical Society of Pennsylvania, the Library Company of Philadelphia, the Philadelphia Museum of Art, the Rosenbach Museum & Library, and Winterthur Museum Garden & Library.

Hamilton has also invited the public to submit passages of published writing that reference the social and material life of cloth to Tumblr. The virtual assembly of excerpts will be offset on newsprint and distributed on long shelves in the exhibition for visitors to read and keep, thereby forming another collection.

Following the exhibition period, a comprehensive publication, more an artist's book than a conventional catalogue, will be published by FWM.

About the funders
Major support for Ann Hamilton: habitus has been provided by The Pew Center for Arts & Heritage, with additional support from the Coby Foundation, Ltd., the John S. and James L. Knight Foundation, The Philadelphia Cultural Fund, the National Endowment for the Arts, the Shipley-Miller Foundation, and the Delaware River Waterfront Corporation, which allowed the use of their warehouse for this project and provided invaluable support.

About the artist
The recipient of many honors, including a MacArthur Fellowship (1993), the artist Ann Hamilton is internationally recognized for her large scale, multi-media installations, including the event of a thread, which was staged in 2012 at the Park Avenue Armory in New York. This is her third collaboration with The Fabric Workshop and Museum, an arts institution renowned around the world for its Artist-in-Residence Program, permanent collection, and archive.

Press preview: Friday, September 16, 11:30am
Press contact: Anne Edgar, T 646 336 7230 / anne@anneedgar.com

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16. Anton van Dalen, FF Alumn, now online at hyperallergic.com

http://hyperallergic.com/315184/artist-anton-van-dalen-on-the-east-village-saul-steinberg-and-pigeon-keeping/?utm_source=sumome&utm_medium=email&utm_campaign=sumome_share

Dear family, friends, neighbors and arts community,

This article (link above) came out today on a widely viewed blog about the visual arts.
Interviews for the story were done past July, here at my home and neighborhood.

The text and images succeed in bringing together the various strands of my life and work.
So I thank the writer and editor, Tiernan Morgan, for his insightful contribution.

Anton, with respect and care for you all.

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17. Judith Bernstein, Louise Bourgeois, Mary Beth Edelson, Nicole Eisenman, Joyce Kozloff, Lorraine O’Grady, Yoko Ono, Carolee Schneeman, Cindy Sherman, Nancy Spero, Hannah Wilke, FF Alumns, at Maccarone, Manhattan, thru Oct. 16

COMING TO POWER: 25 Years Of Sexually X-Plicit Art By Women
Maccarone
630 Greenwich Street and 98 Morton Street
September 9 — October 16, 2016
Opening Reception September 9, 6-9pm

Lynda Benglis, Judith Bernstein, Louise Bourgeois, Ellen Cantor, Patricia Cronin, Mary Beth Edelson, Nicole Eisenman, Nancy Fried, Nan Goldin, Nancy Grossman, Pnina Jalon, G.B. Jones, Doris Kloster, Joyce Kozloff, Zoe Leonard, Monica Majoli, Marilyn Minter, Alice Neel, Lorraine O’Grady, Yoko Ono, Carolee Schneemann, Joan Semmel, Cindy Sherman, Nancy Spero, and Hannah Wilke

Video/Film Loop by Maria Beatty, Cicciolina, Azian Nurudin, Holly Hughes, Blush Productions, Kate Dymond, Lynda Benglis and Ona Zee

Video/Film by Abigail Child, Julia Kunin, Barbara Hammer, Peggy Ahwesh, and others

Maccarone Gallery, with Pati Hertling and Julie Tolentino, restage the landmark feminist exhibition COMING TO POWER: 25 Years Of Sexually X-Plicit Art By Women, curated by Ellen Cantor in 1993 at David Zwirner Gallery.

Instigated by Cantor’s vision, COMING TO POWER reflected the bold voices and urgency of iconic female artists’ work from the 60-70’s, pop and porn of the 80’s, and collided with early 90’s sex positive, queer, BDSM, and sex radicals of performance and video art culture.

In the 1993 press release, Cantor states: “In contrast to the previous generation’s more politicized work, the intended impact of the younger artists’ work is to elicit sexual excitement as well as express autonomous pleasure, passion and pain. Together both generations engage in a dialogue previously dominated by men and disallowed to women by the taboos in society.”

Returning to and experiencing this work is a confrontation. It forces us all to face the impact of both the potency of this righteous canon as well as experience its absences, losses, hits, and misses. We look towards this exhibition - its shadow, as well as its future - as a language constructed from both past and future bodies ― bodies of work re-rendered, and bodies simultaneously recognized. We hope to underscore that a “survey of women” is a rigorous transit into the archives’ crevices, spatial discourse, sordid gossip, and recollections.

In this iteration of COMING TO POWER, Hertling and Tolentino draw these important works back together to harness the momentum of intersectional feminism, sexual politics, and queer practice through a performance program that highlights diverse, queer, trans, and genderqueer artists to embolden the discourse of the provocative, sexual self: FlucT, luciana achugar, Kia Labeija, Lion with B L K W Y N T E R, Xandra Ibarra/La Chica Boom, Zackary Drucker & Orlando Tirado, Jim Fletcher, Narcissister, Niv Acosta, and Jen Rosenblit.

As part of the unprecedented Fall 2016 collaboration between Foxy Production, Maccarone, NYU’s 80WSE Gallery, and PARTICIPANT INC, Skowhegan, Electronic Arts Intermix (EAI), and the Museum of Modern Art, with the Estate of Ellen Cantor, seeks to open dialogue surrounding Cantor’s multifaceted and groundbreaking work.

Additionally, Hertling & Tolentino, with Capricious Press will publish I’m Still Coming: Ellen Cantor’s COMING TO POWER 1993 & 2016, featuring commissioned essays by Skowhegan including Tina Zatvisanos, Amalle Dublon, Clara Lopéz Menéndez, Ashton Cooper, Vivian Crockett, Natasha Marie Lorens, Cerith Wyn Evans’ interview with Cantor and more. For more information: cantor.hertling.tolentino.ctop@gmail.com

See performance schedule at www.maccarone.net

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18. Katherine Behar, FF ALumn, at Pera Museum, Istanbul, Turkey, thru Oct. 16

Upcoming Museum Survey in Istanbul

Dear Friends,
I'm writing from Istanbul where I've been visiting as the guest of the Pera Museum. I'm very excited to announce the opening tonight of my first museum survey show, Katherine Behar: Data's Entry. If you are in town, please join me tonight or come by to see the show!
Best wishes,
Katherine

I'm thrilled to announce the opening of my first museum survey exhibition, Katherine Behar: Data's Entry | Veri Girişi at the Pera Museum in Istanbul.

I've been working with two wonderful curators, Fatma Colakoglu and Ulya Soley, to bring together new works alongside past projects for this exhibition.
Pera Museum presents Katherine Behar: Data's Entry, the first museum survey exhibition of this New York-based artist who moves fluidly between sculpture, performance, video, and writing. Behar is drawn to the often confounding—and sometimes rebellious—ways that people and technologies manage to coexist in digital labor. The works in Data's Entry show how working bodies can defy repetitive drudgery: user interfaces fail to fully script human action, machines run amok rather than faithfully automating human labor, and algorithms are crippled by their own exacting logic. Behar has become known for articulating an object-oriented feminist approach to her work. Instead of claiming special importance for human subjectivity, she seeks out solidarities between humans and nonhumans and finds in these connections unexpected traces of traditional gender, racial, and class dynamics.
In three new works inspired by the Suna and Inan Kıraç Foundation's Anatolian Weights and Measures Collection, the artist challenges the metaphor of cloud computing, which suggests that data is atmospheric and weightless. Behar asks, how has our understanding of data perversely evolved to become all measure and no weight? Her animations depict users of cloud computing swallowed in cloud-like growths. In another work, a dancer must negotiate an impossible interface of QWERTY keyboard keys representing data's material presence in the mind-numbing work of data entry. The exhibition also includes robotic vacuums doing the Roomba Rumba; the post-apocalyptic USB sculpture series, E-Waste; 3D-&&, in which a 3D printer grinds out Morse code messages for a herd of computer mouses; and a selection of the artist's parodic and poignant video works.

Katherine Behar: Data's Entry | Veri Girişi
Curated by Fatma Colakoglu and Ulya Soley
September 8–October 16, 2016
Opening Reception: September 7, 2016, 7–9 p.m.
Pera Museum
Meşrutiyet Caddesi No:65
34443 Tepebaşı - Beyoğlu - Istanbul
Tel. + 90 212 334 99 00
Faks. + 90 212 245 95 12
More info: http://www.peramuseum.org/Exhibition/Katherine-Behar/199
To mark the first day of the exhibition, I will give a public lecture about my work titled "Optimized, not Optimistic." I will discuss each of the works in the exhibition, explain my fascination with QWERTY keyboards and data, and lay out a framework for my work in decelerationist aesthetics.

"Optimized, not Optimistic"
Katherine Behar Artist Talk
6:30 PM, September 8, 2016

Pera Museum
Meşrutiyet Caddesi No:65
34443 Tepebaşı - Beyoğlu - Istanbul
Tel. + 90 212 334 99 00
Faks. + 90 212 245 95 12

Free admission, drop in.
The talk will be in English with simultaneous translation to Turkish.
More info: http://www.peramuseum.org/Activity-Detail/Katherine-Behar-Optimized-not-Optimistic/478
I'm also very happy to announce the publication of a bilingual catalogue in conjunction with this exhibition. I'm humbled by the brilliant writers who have contributed essays: Daniel Rosenberg, Patricia Ticineto Clough, Alexander R. Galloway, and Tung-Hui Hu, in addition to the wonderful curators, Fatma Colakoglu and Ulya Soley. This publication introduces these American scholars to Turkish-language readers for the first time.

CONTENTS
4 Sunuş
Suna, İnan & İpek Kıraç
6 Reset Factory Settings
Fatma Çolakoğlu & Ulya Soley
14 Enter Data
Daniel Rosenberg
34 Art in the Datalogical Turn
Patricia Ticineto Clough
49 Artworks
82 Black Box, Black Bloc
Alexander R. Galloway
94 “Seeing Things” in Data Visualization
Katherine Behar
106 Do Nothing; Say Nothing: An Interview with Katherine Behar
Tung-Hui Hu
114 Contributors
116 Acknowledgments

The catalogue will soon be available for purchase on the Pera's website at this link:

http://www.peramuseum.org/Publication/Katherine-Behar-/197/7
Finally, to create the title work of this exhibition, a new performance called Data's Entry, I've been fortunate to work with three immensely talented dancers in Istanbul. Performed by Aslı Bostancı, Melih Kıraç, with understudy Pınar Akyüz, and sound design by my longtime collaborator Shelley Burgon, the performance will take place periodically throughout the exhibition.

Performance Schedule:

http://www.peramuseum.org/Activity-Detail/Data's-Entry/491

Copyright © 2016 Katherine Behar, All rights reserved.

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19. Justin Randolph Thompson, FF Alumn, West Harlem Piers Park, Manhattan, September 10

Frisk the Whiskers and Roll the Dice
Saturday, September 10th 1-3pm

A screening and DJ performance on the BAYLANDER IX 514
West Harlem Piers Park, near the Harlem Fairway Market

Justin Randolph Thompson in collaboration with
Bradly Dever Treadaway, Jason Thompson and Andre Halyard (aka Dre Love)

Curated by Savona Bailey-McClain

This project is part of UTV 2016 West Harlem.

In anticipation of the forthcoming NYC project Friskin’ the Whiskers,this evening is dedicated to the screening of a series of recent performance based videos by Justin Randolph Thompson, Bradly Dever Treadaway and Jason Thompson that embrace elements of Jazz history as a framework for community building and performance as a temporary monument. The video screening program is accompanied by a live DJ performance by Queens born Dre Love spinning the jazz masters and a colorful sonic juxtaposition with poetry and words from NYC jazz history. Dice rolling keeps the performance spirited so bring your horseshoes and rabbit’s feet. Limited edition commemorative cards for the forthcoming performance will be distributed. Come on down togged to the bricks with your best ground grippers.

For more info visit: www.friskinthewhiskers

*This project is a promotional event for Friskin’ the Whiskers. Friskin’ the Whiskers is made possible, in part, by the Franklin Furnace Fund supported by The SHS Foundation, public funds from the New York City Department of Cultural Affairs in partnership with the City Council,

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20. Liliana Porter, FF Alumn, at la galleria Espacio Minimo, Madrid, Spain, opening September 15

LILIANA PORTER
Actualidades / Breaking News

Del 15 de septiembre al 12 de noviembre de 2016
Inauguración: jueves 15 de septiembre a partir de las 18 h

Para celebrar su 25 Aniversario, la galería Espacio Mínimo ha elegido una exposición individual de LILIANA PORTER, artista con la que lleva trabajando desde hace casi dos décadas y con la que inauguró en 2000 su nueva ubicación en Madrid después de ocho años de actividad en Murcia, en dos espacios distintos, donde la artista también expuso con anterioridad.

Actualidades / Breaking News es el título de esta muestra, la séptima individual de la artista en Espacio Mínimo, y coincide con el de su nuevo vídeo que se presenta por primera vez en esta ocasión.
Para esta exposición LILIANA PORTER ha realizado tres cuadros de gran formato, polípticos de cuatro y cinco piezas, en los que aúna pintura, objetos encontrados e instalación, y en los que plasma sus referentes y sus obsesiones para, en palabras de Ana Tiscornia, realizar un ejercicio metalingüístico enfocado en el cuestionamiento de la frontera entre la realidad y su representación o más ajustadamente su enunciación, algo que, como dice Inés Katzenstein, viene haciendo desde que, entre 1968 y 1977 Liliana construye un lenguaje para manifestar la que descubre como su preocupación filosófica fundamental: la pregunta acerca de la naturaleza de la representación y sus consecuencias. Esta pregunta será siempre enunciada desde una posición de extrañamiento que consistirá en presentar al espectador un evento que lo lleve a cuestionar el modo en que usualmente nos relacionamos con la representación.
En estos trabajos la artista insiste en la importancia que desde sus inicios ha concedido al tema del espacio, el fondo como superficie, como soporte, como espacio vacío, como ausencia. En cada caso, la obra socava cualquier llamamiento a una metafísica, esto es, el fondo como territorio estable o estructura fundamental a través de la cual la identidad puede ser trazada, o la representación confirmada, como apunta en otro texto sobre su trabajo Charles Merewether.

Cada uno de los lienzos que se muestran en esta ocasión, las tres pinturas grandes y otras de pequeño formato, trascienden el mero soporte pictórico para actuar como escenario en el que acciones y situaciones tienen lugar. Son espacios, blancos en este caso, donde se recrean para nosotros, espectadores perplejos, esos diálogos imposibles, ese juego de presencias y ausencias, de realidades ilusorias y certeras apariencias que cuestionan constantemente los límites de nuestra percepción. De modo constante, –escribe Tobías Ostrander- Porter estructura nuestra participación activa como espectadores. Como lectores, nos coloca al final de la recepción y búsqueda del significado. Sus obras literalmente nos piden que “actuemos” las interrogantes filosóficas que las motivan y a las que la artista regresa sin descanso. Porter describe con frecuencia como su viejo colaborador virtual y guía, Jorge Luis Borges, hablaba de la facilidad con que uno puede convertirse en un buen escritor, frente a la extrema habilidad necesaria para hacerse un lector de talento. El trabajo de Porter nos reta de manera dinámica para que lo leamos y prolonguemos creativamente sus estrategias hacia nuestras esferas de interés. Lo que serviría de igual forma a la hora de hablar de las obras escultóricas y pequeñas instalaciones que forman parte de este proyecto.

La exposición se completa con el vídeo que le da título y que se presenta por primera vez al público en esta ocasión. Actualidades / Breaking News con idea original y dirección de la artista, recrea la estructura de un periódico, semanal o noticiero con sus distintas secciones. Los personajes provienen de su elenco personal de objetos y figurines con la eventual aparición de una mano humana que subraya la escala de los objetos-actores. Con una duración aproximada de 20 minutos, la obra cuenta con la colaboración de Ana Tiscornia como co-directora, música de Sylvia Meyer y videografía y edición de Federico Lo Bianco.

LILIANA PORTER (Buenos Aires, Argentina, 1941) estudió en la Escuela Nacional de Bellas Artes de Buenos Aires y, de 1958 a 1961, en la Universidad Iberoamericana de Ciudad de México. En 1964 viajó a New York, donde vive y trabaja actualmente. En 1965 fue co-fundadora de The New York Graphic Workshop con Luis Camnitzer y José Guillermo Castillo. Ha obtenido, entre otras, la Beca Guggenheim en 1980 y la Beca New York Fundation for the Arts en 1985. En 1973 expone individualmente en el Museo de Arte Moderno (MOMA) de New York (sala Proyectos). Ha expuesto desde entonces en importantes museos e instituciones de distintos países y su obra está representada en las colecciones de algunos de los más destacados museos del mundo - Metropolitan Museum of Art, New York, Museum of Modern Art (MOMA), New York, Tate Modern, Londres. Whitney Museum, New York, Brookling Art Museum, Museo de Arte Latinoamericano (MALBA), Buenos Aires, Museo de Arte Contemporáneo, Monterrey, Museo Tamayo de Arte Contemporáneo. Ciudad de México, The Bronx Museum of Arts, New York, University Art Museum,Austin, Fundación Gulbenkian, Lisboa, Museu de Arte Moderna, Rio de Janeiro, Philadelphia Museum of Art, Museo de Bellas Artes, Caracas, La Biblioteque Nationale, París, Museo de Arte Moderno, Buenos Aires, Museo de Arte Moderno, Bogotá, Museo del Barrio, New York, Musée d’Art Contemporaine, Montreal, Instituto Wifredo Lam, La Habana, Smithsonian American Art Museum, Washington DC, Museo Nacional Centro de Arte Reina Sofía, Madrid, Daros Latin American, Zúrich, ATT Corporatiom, New York, Phillip Morris Collection, New York, CIFO (Cisneros Fontanals Art Fundation, Miami, IBM Corporation, New York, The Chase Manhattan Bank, New York, Hong Kong, Buenos Aires...

Para ampliar la información o solicitar imágenes, por favor, contactar con la galería
www.espaciominimo.es galeria@espaciominimo.es Tel: +34 91 467 61 56

Espacio Mínimo
Doctor Fourquet, 17
E-28012 Madrid (Spain)
Tf: 34 91 467 6156
E-mail: galeria@espaciominimo.es
http://www.espaciominimo.es

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21. Ann P. Meredith, FF Alumn, at Leslie-Lohman Museum, Manhattan, Sept. 29

Artist Lecture: Ann P Meredith

September 29, 6-8 pm
Leslie-Lohman Museum
SOHO

Ann P Meredith is an internationally acclaimed socially conscious creative Artist, Writer, Director and Producer who believes that Art, Photography and Film can serve as powerful tools for promoting personal, social, community and global change.* One of the first artists to photograph and film personal interviews women with HIV/AIDS, Ann has worked closely with numerous AIDS organizations across the United States to shed light on the ‘Hidden Population’ of the AIDS Pandemic – Women. Work from her series Until That Last Breath! The Global Face of Women with HIV/AIDS, appears in the current Museum exhibition "A Deeper Dive."

In this artist lecture, Ann will talk broadly about her widely acclaimed artistic practices and her work on women living with AIDS.

The first images one sees when entering the museum are Ann P Meredith's Black and white
photographs of HIV positive women and children from the mid-late 1980's.

Most arresting was Eleana y Rosa, the Ellipse at the White House, Washington D.C. 1988
whichs depicts a gaunt, exhausted looking young girl in the embrace of her mother who crouches beside her.

We need to see these images of HIV positive women of color in Meredith's photographs.

Eric Sutphin - Art in America 7.20.16

The show is particularly valuable for revisiting the work of Ann P Meredith who early on traveled the United States documenting the lives of women living with HIV and AIDS.

-Holland Cotter, The New York Times 8.6.16

Ann's Fine Art Photography is available for purchase in Limited Editions through Swordfish Productions www.annpmeredith.com +1.310.456.4184 specialfilm@gmail.com

Jerry Kajpust
Deputy Director for External Relations
Leslie-Lohman Museum
26 Wooster Street
New York, NY 10013
(212) 431-2609
(646) 544-5065
Jerry@LeslieLohman.org

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22. Yoko Ono, Nam June Paik, Carolee Schneemann, FF Alumns, in The New York Times, Sept. 8

The New York Times
ART & DESIGN | ART REVIEW
Charlotte Moorman, Tradition Disrupter, Is the Focus of Two Shows
By HOLLAND COTTER
SEPT. 8, 2016

“Think Crazy” is sound advice for today’s artists, faced with cookie cutter training and art fair sclerosis. And the phrase did once have some practical application. It was emblazoned, like a logo, across a banner at one of the New York Avant Garde Festivals that took place annually in the city between 1963 and 1980, rounding up feral fringe talent from around the world and letting it loose in places like Grand Central Terminal, Shea Stadium and the Staten Island Ferry.

By fringe, I mean people who worked with esoteric art media (air, bullets, spaghetti) and had names you’d never heard of. While a few participants — John Cage, Yoko Ono, John Lennon, Karlheinz Stockhausen — were big cultural deals, most were not, and the open-door policy made the festival extra-special. Basically, if you proposed a tradition-crushing idea that had brains, passion or politics behind it, you were in.

Given the anarchy that prevailed, the wonder was less that the event was successful than that it happened at all. And it only happened because of one person, the American artist and musician Charlotte Moorman, famous as “the topless cellist,” who invented the festival, produced it and coaxed city officials who didn’t know performance art from police procedurals into endorsing it.

A person of Southern belle charm and limitless faith in the power of community, Ms. Moorman was, above all, a celebrant of disruptive newness. So it makes sense that the new art season opens with exhibitions that celebrate her, two of them. The larger, “A Feast of Astonishments: Charlotte Moorman and the Avant-Garde, 1960s-1980s,” at Grey Art Gallery, New York University, focuses on her career; the other, “Don’t Throw Anything Out,” at the university’s nearby Fales Library, on her life.

Both are demandingly complex, made up of hundreds of objects, videos, photographs and audio recordings, not to mention explanatory labels. But once you plunge in, you’re likely to stay, whether you’re deepening an existing acquaintance with the artist or meeting her, as many people will be, for the first time.

After her death in 1991, at 58, the mainstream art world largely forgot her, or pegged her as a decorative accessory to the work of Nam June Paik, with whom she often collaborated. But with the arrival of a superb biography, by Joan Rothfuss, in 2014, and now these two shows — which come from the Mary and Leigh Block Museum of Art at Northwestern University, where a vast Moorman archive resides — the days of forgetting and misperceiving are over, and a foundational 20th-century art figure is revealed.

Ms. Moorman was born in Little Rock, Ark., in 1933, and was a star from the start. In the Fales show, her picture stands out from those of her classmates in her high school yearbook. They smile; she beams. Dark-haired and, in photographs, statuesque (it’s a shock to learn from her passport, also on view, that she was only 5’ 1”), she’s going places. In 1952, she was crowned Little Rock’s Miss City Beautiful. In the same year, she entered college as a music student, specializing in the cello, which she’d been playing since she was 10. In 1957, bent on a concert career, she moved to Manhattan and enrolled at the Juilliard School. And there her education changed.

One of her classmates, the Japanese violinist Kenji Kobayashi, was hard-wired into the city’s New Music culture. He spent lots of time at a downtown loft that was shared by Ms. Ono and the composer Toshi Ichiyanagi (they were then married), and used as a performance space. Artists like Simone Forti, David Tudor and La Monte Young did their latest things, genre-scrambling work that combined art, action, music and noise. Enthralled by what she saw and heard there, Ms. Moorman entered the scene.

She did so by two paths. On the one hand, she began promoting avant-garde art professionally. In 1961, working for a booking agent, she helped to arrange Ms. Ono’s American solo debut at Carnegie Recital Hall. Two years later, on her own, she masterminded the inaugural Avant Garde Festival. Meanwhile, she was adding new work to her concert repertoire, notably Cage’s “26’ 1499” for a String Player.”

This piece requires a performer to intersperse instrumental music with discretionary nonmusical actions and sounds. Over the years, it became a signature piece for her. (She presented an excerpt on “The Tonight Show Starring Johnny Carson.”) And her marked-up score is one of the Grey exhibition’s archival treasures, though the actions she wrote into it — drinking a Coke, reading instructions from a tampon box, turning an Army practice bomb into a pseudo-cello — infuriated the fastidious Cage, who found them self-aggrandizing.

At some point, maybe through him, she met Mr. Paik, a Korean-born composer-performer. And much of the Grey Gallery show, organized over two floors by a collaborative team led by Lisa G. Corrin, the director of the Block Museum, documents their long working partnership. Their fundamental aims as artists were in sync. Both wanted to bring experimental art, with its liberationist potential, to a popular audience. And both were unabashedly willing to go to almost any theatrical length to do so.

The cello, or some version of it, remained Ms. Moorman’s chosen instrument. Standard recital attire and comportment — concert gown, coif, focused expression — were her model for self-presentation. This show of formality served as a foil for the absurdist eroticism that Mr. Paik was bent on infusing into the classical tradition. The dynamic was most dramatically played out in a 1967 New York performance of his “Opera Sextronique,” during which Ms. Moorman played Massenet while dressed in an electrically lighted bikini, and then appeared nude to the waist, before being hauled off to jail by the city vice squad on charges of indecent exposure, and was later convicted.

The incident brought her popular visibility, but of a somewhat dubious kind: as crazy-lady artist, daring but ditsy, and a passive component of a male artist’s work. Some feminist observers were not kind. (Andrea Dworkin called her “a harlot.”) Others, like Ms. Ono and Carolee Schneemann, who knew Ms. Moorman well, saw a political pulse beating under the antic surface of her art, and the dual exhibitions let us see this, too.

References to militarism are frequent. The cello-bomb she put into the Cage piece was there for a reason. Explaining her work and that of her colleagues, in a 1967 interview, she said, “With the assassination of Kennedy, the war, the bomb — well, in times like this, you can’t just expect the kind of art you had before.”

In a breathtaking 1983 video clip, she performs a piece called “Per Arco,” created for her by the Italian composer Giuseppe Chiari. It opens with an audiotape of gunfire and bombing, recorded by the composer during World War II. After a brief silence, Ms. Moorman begins to respond to what she’s just heard, rubbing her cello consolingly, then harshly, then suddenly slamming it with her bow before dissolving in tears. After a 1965 performance in Germany, she had written:

“I have played Chiari’s “Per Arco”
in many countries but this time
I have quite a strange feeling because
I am in the German country
That is bombing Italy on the tape.
Do you recognize your sound
Vietnam Dominican Republic
Mississippi!!”

Ms. Moorman wrote constantly, maybe compulsively, as if that were a way to pin down reality, order it, at least a little. Her ink-and-pencil planning maps for the festivals are so detailed as to baffle the eye. They appear, along with relics of the events, including the original “Think Crazy” banner by the Polish artist Marek Konieczny and dozens of you-are-there photographs by the great artist and avant-garde documenter Peter Moore (1932-1993), at the Grey Gallery. Examples of more personal writing, assembled by Scott Krafft of Northwestern University’s libraries, are at the Fales: annotated shopping lists; quick love notes to her husband, Frank Pileggi (1940-1993); decades’ worth of appointment books; and a double-barrel Rolodex that looks about to burst.

In 1979, she was told she had breast cancer and underwent a mastectomy, from which she seems not to have fully recovered. In the early 1980s, cancer recurred, and the diaries of her last years, written in tight lines on loose scraps of paper, are hour-by-hour accounts of pain endured and relief gained from morphine. She continued to work right to the end as an artist — “If I know I’m performing, I’ll be O.K.,” she writes — and as an advocate for an anti-normal, anti-market, necessarily outsider art. Her last recorded words to Mr. Pileggi — “Don’t throw anything out” — give the show its title. She left behind a mountain of material, much of which was deposited at Northwestern in 2001.

The two exhibitions, as dense as they are with their hundreds of objects, represent a mere fraction of that material, the tip of the Moorman iceberg. Except it isn’t an iceberg. It’s a big, warm, spreading fire, always on the verge of leaping out of control, but crackling with new ideas and new histories.

“A Feast of Astonishments: Charlotte Moorman and the Avant-Garde, 1960s-1980s” runs through Dec. 10 at the Grey Art Gallery, New York University, 100 Washington Square East, Manhattan; 212-998-6780, greyartgallery.nyu.edu. A concurrent exhibition, “Don’t Throw Anything Out,” runs through Dec. 9 at the Fales Library, third floor of Elmer Holmes Bobst Library, New York University, 70 Washington Square South, Manhattan; nyu.edu/library/bobst/research/fales.

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23. Ruth & Marvin Sackner, Carl Andre, Jenny Holzer, FF Alumns, in The New York Times, Sept. 8

The New York Times
ART & DESIGN Art and Words Are Inseparable in the Sackner Collection
Inside Art by ROBIN POGREBIN
SEPT. 8, 2016
For decades, Ruth and Marvin Sackner of Miami collected language-based artworks — typewriter art, artist books, micrography, sound and performance poetry, mail art and experimental calligraphy — amassing what now could be the largest private collection of its kind in the world, theSackner Archive of Concrete and Visual Poetry.
“Words are everything,” said Mr. Sackner, 84, whose wife died last year.
Now, more than 400 pieces are heading to the Pérez Art Museum Miami, a gift and purchase made possible by the John S. and James L. Knight Foundation and by the archive. The collection — which includes the contents of “A Human Document,” a 2013 show that was part of the museum’s inaugural series — will be highlighted in an exhibition in June 2017.
“This is the kind of thing that can be a game changer for us,” the museum’s director, Franklin Sirmans, said, adding that the museum’s holdings included “nothing this concentrated as a body of work.”
The Sackner material, grounded in the early 20th-century European avant-garde, brings together examples of modernist movements like Italian Futurism, Dada, Russian Constructivism and Surrealism.
Highlights include Jenny Holzer’s “Olympian Sign” (1986), a continuous LED scroll of the artist’s aphorisms; Carl Andre’s five notebooks, in which he arranged words as sequential modular units; and Guillaume Apollinaire’s “Peintures de Léopold Survage” (1917), featuring 13 picture poems in the form of motifs like horses, clocks and flowers.
Because the collection was built in Miami, the Knight Foundation said it seemed like an acquisition worth supporting. “Three quarters of us who live there come from someplace else,” said Alberto Ibargüen, the president and chief executive of the foundation. “You really need to find ways to bind people — to explain people — to each other as we invent the new Miami that we want it to be.”
Indeed, Mr. Sirmans hopes the Sackner collection will help make the museum more of a destination. “If you are interested in text as it relates to artwork, you kind of have to come see us to really get a sense of this important collection,” he said. “You have to come through here.”

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24. Siah Armajani, FF Alumn, at Kemper Museum of Contemporary Art, Kansas City, MO, thru Jan. 22, 2017

Siah Armajani: Kemper Museum of Contemporary Art

Alexander Gray Associates is pleased to announce Siah Armajani: Bridge Builder, curated by Erin Dziedzic at the Kemper Museum of Contemporary Art, Kansas City, MO.

September 9, 2016 – January 22, 2017

The structure and concept of the bridge has been a major theme of Siah Armajani’s work for decades. In celebration of Armajani’s Kansas City No. 1 (2000), the exhibition Siah Armajani: Bridge Builder for the first time presents the artist’s exploration of the structural and philosophical underpinning of bridges since the late 1960s. In his works depicting bridges Armajani poetically intertwines social science, art, and architecture to compel the significance of cultural connectivity. The exhibition will include drawings from a series inspired by Kansas City and bridge sculptures from 1968 to the present.

Based in Minneapolis, Minnesota, Armajani draws on the vernacular architecture of the Midwest, examining the structural and theoretical underpinnings of bridges since the late 1960s. He has worked on a number of high-profile projects throughout his career, including the design for the torch of the 1996 Summer Olympic in Atlanta, the New York Staten Island Tower and Bridge, the Irene Hixon Whitney Bridge in Minneapolis, and the Round Gazebo in Nice, France. His art takes many forms ranging from drawing and sculpture to public projects that spur social engagement.

Siah Armajani: Bridge Builder is organized by Kemper Museum of Contemporary Art, and curated by Erin Dziedzic. Ancillary programs, including An Evening with Siah Armajani, Thursday, September 8, at the Kansas City Public Library—Plaza Branch, are scheduled in conjunction with the exhibition. A catalog with accompanying essays by Dziedzic and the artist will debut at the opening talk and will be offered through the Museum Shop.

View all scheduled programs and times: kemperart.org

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Alexander Gray Associates
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Telephone: +1 212 399 2636
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Goings On is compiled weekly by Harley Spiller