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Contents for May 04, 2020

Weekly Spotlight: Bobby Baker, FF Alumn, now online at https://franklinfurnace.contentdm.oclc.org/digital/collection/p17325coll1/id/29/rec/10

In honor of Mother’s Day this coming Sunday May 10, 2020, please visit this link to a 56-minute film of Bobby Baker’s performance, Drawing on a Mother's Experience, presented at Franklin Furnace in Exile at PS122, Manhattan, 1996. Bobby Baker trained as a painter, but soon turned to sugar and cake as a more expressive media for performance. Baker’s autobiographical performance describes her experiences around the time her children were born. As a domestic parody to action painting, she uses a white bed sheet as her canvas with food and drink as paint, each ingredient representing a specific event or episode in the story.

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1. Heather Woodbury, FF Alumn, live online

Dear Earth lovers,
You are invited to AS THE GLOBE WARMS PANEL PALOOZA, a free forum to raise awareness of (and donations for) Covid relief and Extinction Rebellion in the US and UK! With activist culture-makers from Atlanta, Las Vegas, Los Angeles, New York, Miami and London as your guides, join us for a one-of-a-kind exploration of Heather Woodbury’s living novel AS THE GLOBE WARMS.
Launching on EARTH DAY, April 22, the AS THE GLOBE WARMS Panel Palooza is broken into 12 propulsive installments, each focusing on a different chapter starting April 22 and every day until April 30. Take an indoor road trip with us through a vivid ‘American tapestry’ of intersecting lives – as described by Oscar-nominated filmmaker, Debra Granik.
GLOBE’S warm, comic, mournful, wild and anarchic story of everyday people struggling to survive in today’s America on a planet veering toward a social and ecological tipping point, will launch us into an open dialogue about this critical turning point in our lives. Help us imagine what regenerating the life-support system of our entire planet could look and feel like!
All episodes are available either live or recorded via the following links:
Warm regards,
The Globe Team

***Upcoming Live Panels***

Panel Nine: "Something Else"
Date & Time: April 27th @ 3 pm PST/ 5 pm CT/ 6 pm EST/ 11 pm GMT (UK)
Two Viewing Options!
Zoom Link: https://us02web.zoom.us/j/85417739359?pwd=THlpQm5WcWpzbnZHbU81ZzZEbDEzUT09
Password: GLOBE
YouTube Live Link: https://www.youtube.com/watch?v=dCjkN2iDWLk
No Password Required!

Panel Ten: "The Picture Comes Clear"
Date & Time: April 28th @ 3 pm PST/ 5 pm CT/ 6 pm EST/ 11 pm GMT (UK)
Link: https://us02web.zoom.us/j/84147621996?pwd=aVdnRHVCN3FNdVlTSFlKZUV4bDkyUT09
Password: GLOBE

Panel Eleven: "Signs"
Date & Time: April 29th @ 3 pm PST/ 5 pm CT/ 6 pm EST/ 11 pm GMT (UK)
Link: https://us02web.zoom.us/j/85813954157?pwd=cXJyQWNMVWluWlVZYWVxNVM0QlpQdz09
Password: GLOBE

Panel Twelve: "Spin On"
Date & Time: April 30th @ 3 pm PST/ 5 pm CT/ 6 pm EST/ 11 pm GMT (UK)
Two Viewing Options!
Zoom Link: https://us02web.zoom.us/j/86945511419?pwd=N0JkaUVIeEVuQ2M5WDRMTGJFdDV2UT09
Password: GLOBE
YouTube Live Link: https://www.youtube.com/watch?v=P6PkDlMMCRQ
No Password Required!

***Panels to Rewatch***

Panel One: “Welcome to Vane Springs”
Link: https://www.youtube.com/watch?v=6t-aknZS3ZQ&feature=youtu.be
No Password Required!

Panel Two: “Sex, Lies & Extinction”
Link: https://www.youtube.com/watch?v=CQ77Bj-EYgo&feature=youtu.be
No Password Required!

Panel Three: "Caught in the Net"
Link: https://www.youtube.com/watch?v=nHG_KSGJ1eg
No Password Required!

Panel Four: "Where's the Hive?"
Link: Coming Soon!

Panel Five: "Lips Unsewn"
Link: https://www.youtube.com/watch?v=DrVHvkzel6M
No Password Required!

Panel Six: "ChristTeenNet Summit"
Link: https://www.youtube.com/watch?v=KjnUyT0VDx4
No Password Required!

Panel Seven: "The Party's Over"
Link: https://www.youtube.com/watch?v=jfA4pAc1rMI
No Password Required!

Panel Eight: "Flight Patterns"
Link: https://www.youtube.com/watch?v=YJUGtT9tmN4
No Password Required!

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2. Herb Perr, FF Alumn, new publication

Cartoon Graveyard is a new collection of memories, dreams, and reflections on my father’s death. Pages alternate between memories of the period when Herb was still alive but passing back and forth between states of disorientation and fleeting lucidity, and my own alternating states of dreaming and wakefulness in the wake of his passing. It looks heavy but it’s also funny!

You can order Cartoon Graveyard in print or as an ebook on my website: https://www.joeyperr.com/product/cartoongraveyard/

Please note that every print order comes with a complementary ebook download plus I’ve got exciting stamps if you wanna support art and the USPS.

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3. Edward Gómez, FF Alumn, now online at https://bit.ly/3bGVboO
Dear art lovers and media colleagues:

My article about the new book Calder: The Conquest of Space: The Later Years: 1940-1975 (Knopf), by Jed Perl, has been published in HYPERALLERGIC's "Weekend" edition.
This is the second and final volume of Perl's definitive biography of the innovative modern artist who radically transformed the character and function of sculpture.
Perl, the former, longtime art critic for the New Republic, spent more than a decade researching and writing his comprehensive biography of Calder. In this latest volume, the ideas and achievements of an artist who, Perl explains, played an essential role in inventing the art of the 20th century have been discerningly documented — and critically assessed — as never before.
Picking up his story of Calder's life and career where it left off in volume one of this biography, Perl opens this second part of his sweeping narrative by catching up with Calder and his family as they settle in Connecticut in the 1930s and, as World War II erupts in Europe, welcome a steady stream of artists, writers, and thinkers to their home, friends and colleagues who were fleeing persecution and the unfolding conflagration spreading across the continent.
Perl traces the development of Calder's signature mobiles, his experiments with various media and the creation of his stationary "stabile" sculptures, and the ideas and techniques that shaped the large-scale, monumental sculptures the artist produced for cities and institutions around the world.
Calder, Perl writes, "defied many if not all of the conventions of sculpture. The art of the mobile was the art of a verticalist. By making sculpture move, Calder had indeed conquered time.”
You can find my new magazine article here:
https://bit.ly/3bGVboO
I hope you'll enjoy reading this piece.
With best wishes...
EDWARD M. GÓMEZ

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4. Judith Ren-Lay, FF Alumn, now online at https://canwehaveourballback.org/f/judith-ren-lay
Thanks to my friend Wands Phipps, I submitted a poem to an on-line magazine called can we have our ball back and they just published it!
Photo is a still from “Witchcraft Through the Ages” the film I set a score for in 1995.
Good to have something out there!
https://canwehaveourballback.org/f/judith-ren-lay
Hope you are all weathering this strange storm.
Fondly,
J R-L
Judith Ren-Lay
Corporeal Studio, Ltd.
42 Grand Street #1
New York, NY 10013
phone: 212.941.7828
ren-lay@mindspring.com
Judithren-lay.com

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5. Vernita Nemec, FF Alumn, now online at www.viridianartists.com
Vernita Nemec curates online exhibition
Chelsea NY: Viridian Artists is pleased to virtually present the exhibit “Art of Detritus: Recycling with Imagination" featuring fine art made primarily from trash. The heart of this exhibit is the message of the three R's: Reduce/Reuse/Recycle and especially "upcycling" which is the essence of making art from trash. During this time of seclusion, though most galleries, museums & public spaces are closed because of the Corona pandemic, we will remain open virtually to present art and messages of hope through art & communication. The exhibit will be featured virtually on our website, www.viridianartists.com
“Art From Detritus”, curated by Vernita Nemec, serves to enrich the dialogue between art and the lives of ordinary people because we all have too much trash. By focusing on recycling or "upcycling" as their method and source for creating, these artists have made their art making serve as both a message and inspiration. This exhibit reaches beyond the art world, serving as a message not only about art, but also about recycling for the good of the environment, a goal that has become more pressing as we continue to discard packaging and take a new plastic bag each time we buy. Finally, we are beginning to address practically the issue of too much trash by charging for plastic bags, but more must be done. The art in this exhibit intends to serve not as a solution, but as a reminder that we must do something more than we are doing now to stop the proliferation of garbage & trash that is overtaking our environment.
Artists in this exhibit are opening a dialogue with viewers about the importance and usefulness of art as something beyond decoration, but the battle began decades before with artists who used discards because they couldn’t afford the new or because they saw the beauty that encompassed the aged and broken. Artists often cannot afford studio assistants, expensive materials and equipment for art making, but seeing beauty in the discarded, these artists have creatively dealt with the problem of too much trash by using it to create fascinating and unique art. Artists have been using found objects to make art for eons, but now it has become an ostensibly political act.
“Art from Detritus”, or art from trash, was first conceived and curated by Vernita Nemec, an artist/ curator in 1994 in Portland Oregon during the annual conference of the National Recycling Coalition (NRC). Presented there in the lobby of a recycled Sears Roebuck building & the corporate headquarters for municipal waste & recycling, the exhibit has re-occurred with funding from the Kauffman Foundation, the Puffin Foundation and sponsorship by the NRC. The exhibit was presented in Pittsburgh at the Westinghouse headquarters, the Museum of Arts & Crafts and the AIA; in Kansas City MO at the Linda Hall Library of Science, Rockhurst College & the Writer's Place. Phoenix AZ, Turners Falls MA and NYC have all been Detritus exhibition sites since those early years. In NYC, Detritus exhibits have occurred at the Henry Street Abrams Arts Center, Gallery 450, Synagogue for the Arts, John Jay College of Criminal Justice, Farleigh Dickinson University, WAH (Williamsburgh Art Center) and for the fourth time, at Viridian. See more information and images of past Detritus shows at www.ncognita.com.

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6. Paul Zelevansky, FF Alumn, now online at http://vimeo.com/65328361 and more

TO THE GREAT BLANKNESS MAILING LIST:

KEEPING IN TOUCH.
HOPING YOU ARE ALL SAFE AND WELL.
ANOTHER PAIR OF SHORT VIDEOS FROM
“MISTER ROGERS FOR ADULTS”

http://vimeo.com/65328361

http://vimeo.com/65332007

PZ, 4/29/20

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7. Kimsooja, FF Alumn, at Wanås Foundation, Knislinge, Sweden, thru Nov. 1

Kimsooja: Sowing into Painting at Wanås Foundation, Sweden

Kimsooja, Sowing into Painting, 2020. Work in progress at Wanås Konst. Courtesy Wanås Konst and Kimsooja Studio. Photo by Mattias Givell
Kimsooja: Sowing into Painting
May 9, 2020 - November 1, 2020
Wanås Foundation - Wanås Konst, Sweden
Artistic Direction: Elisabeth Millqvist & Mattias Givell

The Wanås Foundation presents Sowing Into Painting, a solo exhibition with site-specific installations, film, sculpture and painting by Kimsooja. Wanås Konst is a unique cultural foundation in Southern Sweden, composed of a sculpture park and art galleries on the site of a medieval castle and an organic farm. Kimsooja’s exhibition will incorporate the diversity of the location with newly-conceived works investigating the conceptual relationship between painting, agriculture, and textiles.

"Kimsooja’s approach to stillness has made her an artist we have long wanted to work with as a part of our interest in the qualities of the site and highlighting nature (...). The exhibition takes place during the Covid-19 pandemic, a time of emergency and restrictions. With the body as our basis for being in the world, the exhibition gives room for inaction and meditation on life and art. Her orientation as an artist naturally establishes a dialogue with everything that is going on; the artworks give space for introspection and spirituality beyond religion. She creates a focus on the present that we need right now." - Elisabeth Millqvist

The title for the exhibition, Sowing into Painting, is also the title of Kimsooja’s new planting project. With this new work, Kimsooja expands her perspective on the (agri)cultural, conceptual, and material significance of painting and textiles. Taking advantage of something unique to the site that most art museums cannot offer—the possibility of farming the land, she uses the agricultural planting field surrounding the Wanås Foundation to experiment and cultivate a field of flax plants, a gesture referencing her decades-long exploration into painting as a conceptual art form.

Kimsooja plants two different local varieties of flax that are used to generate linseed oil and linen. Growing flax pulls us back within art history to the flax fibers that were used to manufacture textiles including canvas and linseed oil that is the classic binding agent in artists’ oil paints. By planting a field of flax plants, she metaphorically encapsulates the entire cycle of material production and considers the interplay of impermanence and perpetuity, and of life and art. These plants, which are grown and harvested in a period of several months, will transform into paintings that could last for centuries. Sown at the end of April, the flax fields will grow and change over the course of the exhibition from green sprouts to stalks with sky-blue flowers and seeds. As well as being a physical source of painting materials, the field becomes a fluid tableau, covering the ground in a pattern akin to weaving the earth.

Sowing into Painting is an expansion of the artist’s long fascination with agriculture and painting, evident in her series of Deductive Object works made in the early 90s by wrapping traditional farming tools from Korea and the US in fragments of used clothing, as well as her 1988 painting Agriculture, in which sewn and painted sections allude to abstraction and agrarian land plots simultaneously, and the word 'Agriculture' is written on the surface.

In the Art Gallery space, Kimsooja presents Meta-Painting, a new series of large scale conceptual paintings, through raw canvases of linen, both stretched and folded like bottari, the Korean cloth bundles used to wrap belongings and that have become a characteristic element of her oeuvre with references to migration, displacement, and urgency, as well as a formalistic form that is a three dimensional painting, a sculpture, and an object. Relating to the Sowing into Painting planting project in the nearby fields, these works show the product of the textile process, embodying the full life cycle from seed to flax plant, then transformed into linen canvas and art object. These minimalist paintings link the materiality and structure of the canvases to Kimsooja’s early work as a painter, as seen in sewn and painted works of the 80s and early 90s, to her continuously evolving later work as a conceptual artist using principles of non-doing and non-making.

In the centuries-old hay barn, Kimsooja presents To Breathe, a mirrored floor installation, reflecting and inverting the space. The high vaulted characteristic ceiling and its myriad of supporting beams are converted into a deep chasm, creating a disorienting effect as one walks across its surface. This installation comes out of an inquiry into mirrors as a conceptual investigation going back over twenty years in Kimsooja’s practice, since the 1999 Venice Biennale. On the other side of the building, which is more than 50 meters long, she has worked with stuffing fabrics in cracks and holes in the stone wall, tracing back to her Deductive Object made in conjunction with her residence at MoMA PS1 1993. Her works both occupy the room and leave it empty—the entire space becomes an experience, with this experience being her artwork. She allows the sensorial and conceptual dynamics latent in the architecture to come forward, inviting visitors to look far away and up close.

Kimsooja, Thread Routes - Chapter II, 2011. Video still from 16mm film transferred into HD format. Courtesy of Kimsooja Studio
Referencing the century-long practice of the agricultural and textile production at Wanås Foundation, three of the six non-narrative chapters of Kimsooja’s first 16mm film series Thread Routes are shown in the Art Gallery. Started in 2010 and shot on five different continents, the films use textiles as a point of investigation into human life, culture, and the natural world.
In the nearby sculpture park, Kimsooja creates A Laundry Field, a new installation extending from her A Laundry Woman series. Kimsooja’s oeuvre is associated with traditional South Korean bedcovers, which she has used in several installations since 90’s. Here, she has instead chosen to work with old-fashioned white sheets that in Sweden are traditionally embroidered with a monogram or decorated with lace—a frame of life that are a part of creating a home and that display care and reflection. Harald Szeeman has described the sheets in Kimsooja’s oeuvre as a "theater for birth and death, our ephemeral condition". In the beech wood forest, the installation becomes a field of memories, of textiles imbued with the body, the couple, the family.

www.kimsooja.com

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8. Shaun Leonardo, FF Alumn, now online at abladeofgrass.org

Please visit this link:

https://www.abladeofgrass.org/articles/shaun-leonardo-prison-covid-19/

Thank you.

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9. Vito Acconci, Laurie Anderson, Alice Aycock, Spalding Gray, Suzanne Harris, Alanna Heiss, Joan Jonas, Richard Nonas, Richard Serra, now online in The New York Times

Please visit this link:

https://www.nytimes.com/2020/04/28/arts/tina-girouard-dead.html?referringSource=articleShare

Thank you.

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10. Barbara Kruger, FF Alumn, now online at The New York Times

Please visit this link and scroll down for Barbara Kruger’s opinion piece:

https://www.nytimes.com/interactive/2020/03/25/opinion/coronavirus-art.html

Thank you.

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11. Ron Athey, Jarrett Earnest, Leigha Mason, Robert Wilson, FF Alumns, now online at brooklynrail.org

Please visit this link:

https://brooklynrail.org/2020/4/in-memoriam?utm_source=Brooklyn+Rail+List+One%3A+Mailing+List&utm_campaign=2603fbaa6c-EMAIL_CAMPAIGN_2020_02_10_10_55_COPY_01&utm_medium=email&utm_term=0_a44895fefe-2603fbaa6c-390880525&mc_cid=2603fbaa6c&mc_eid=8c18deada6

Thank you.

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12. Ana Mendieta, Carolee Schneemann, FF Alumns, now online at www.irrigationveins.com/

Irrigation Veins: Ana Mendieta and Carolee Schneemann
Selected Works 1966 – 1983

Online Exhibition

https://www.irrigationveins.com/

April 30 – May 30, 2020

“These obsessive acts of re-asserting my ties with the earth
are really a manifestation of my thirst for being.”
Ana Mendieta

Galerie Lelong & Co. and P·P·O·W present Irrigation Veins: Ana Mendieta and Carolee Schneemann, Selected Works 1966 – 1983, an online exhibition exploring the artists’ parallel histories, iconographies, and shared affinities for ancient forms and the natural world. Galerie Lelong and P·P·O·W have a history of collaboration and have co-represented Carolee Schneemann since 2017. This will be the first time the two artists are shown together in direct dialogue, an exhibition Schneemann proposed during the last year of her life. In works such as Mendieta’s Volcán (1979) and Schneemann’s Study for Up To and Including Her Limits (1973), both artists harnessed physical action to root themselves into the earth, establishing their ties to the earth and asserting bodily agency in the face of societal restraints and repression.

Both artists identified as painters prior to activating their bodies as material; Mendieta received a MA in painting from the University of Iowa in 1972, and Schneemann received an MFA from the University of Illinois in 1961. Separately, the artists came to the realization that the static nature of painting was insufficient for what their work needed to accomplish. Mendieta explained, “The turning point in art was in 1972, when I realized that my paintings were not real enough for what I want the image to convey and by real, I mean I wanted my images to have power, to be magic.” For Schneemann, who continued to identify as a painter, it was about how to be both “the image and image-maker” and move beyond the confines of the canvas by “breaking the frame.”

When Mendieta and Schneemann finally met in New York in the late 1970s, they had already produced a relay of shared trajectories. In their lifetimes, they were included in numerous publications and exhibitions together including: Lucy Lippard’s “The Pains and Pleasure of Rebirth: European and American Women’s Body Art” in Art in America, 1976; Lippard’s “Quite Contrary: Body, Nature, Ritual in Women’s Art” in Chrysalis, 1977; and Gloria Orenstein’s “Reemergence of the Archetype of the Great Goddess in Art by Contemporary Women” in Heresies, 1978. They both exhibited in Contact: Women and Nature at the Greenwich Library, Greenwich, Connecticut, 1977, and both artists exhibited their works at A.I.R. Gallery and Franklin Furnace. Both had solo exhibitions at A.I.R.: Mendieta in 1979 and 1981 and Schneemann in 1980. At Franklin Furnace, Mendieta presented La Noche, Yemaya in 1978 and Body Tracks in 1982; Schneemann presented ABC – We Print Anything – In the Cards in 1976 and Homerunmuse in 1979.

The works presented touch on the artists’ shared interest in temporal duration, endurance, renewal, saturation of material, and the transformation of the body. In Schneemann’s Study for Up to and Including Her Limits, we see the artist mid-flight in a tree surgeon’s harness. This spontaneous action came from Schneemann’s need to “occupy a place of visual simultaneity, to bring forward evidence of changing multiplicity” within the landscape. In Mendieta’s Volcán, we find a parallel instinct. Mendieta sculpted a female figure with earth, then activated the bodily form with gunpowder. This alchemical reaction ritualistically tied the form in the earth to the sky invoking the spirit of renewal between the earth, sky, and the feminine archetype. Through the works Venus Vector Vocabulary (c.1981 – 83) and Burial Pyramid (1974), we see the artists’ separate paths of investigation into histories of lost archetypes. When speaking at a panel about Mendieta in 2011, Schneemann explained, “So for both of us, it seems there is a phylogeny that recapitulates mythology. It is the sense that there are certain energies and momentums that will be opened and coincidentally discovered and explored: so here’s the explicit body taking the deeper roots of genital sexuality into the recognition of forms of nature, and how we would interact and inhabit those forms of nature.”

Ana Mendieta (1948 – 85) was born in Havana, Cuba, and was exiled to the United States in 1961 with her sister, Raquelín Mendieta. She lived and worked in Iowa, New York City, and Rome. In addition to a MA, Mendieta also received an MFA from the University of Iowa in 1977. She created groundbreaking work in photography, film, video, drawing, sculpture, and site-specific installations. Mendieta’s work has been the subject of seven major museum retrospectives; the most recent was the groundbreaking exhibition of her moving image works, Covered in Time and History: The Films of Ana Mendieta, which was produced by the Katherine E. Nash Gallery, University of Minnesota in 2016; the exhibition traveled to two additional national venues as well as three international museums. Forthcoming solo presentations include Blood Inside Outside, Baltimore Museum of Art; Ochún, Cleveland Museum of Art; and Suspended Fire, Denver Art Museum. Galerie Lelong has been the exclusive representative of the Estate of Ana Mendieta since 1991.

Carolee Schneemann (1939 – 2019) activated the female nude with a multidisciplinary practice that spanned sixty years and included painting, assemblage, performance, and film. She received a B.A. in poetry and philosophy from Bard College and a Master of Fine Arts from the University of Illinois. Originally a painter in the Abstract Expressionist tradition, Schneemann was uninterested in the masculine heroism of New York painters of the time and turned to performance-based work, primarily characterized by research into visual traditions, taboos, and the body of the individual in relation to social bodies. Although renowned for her work in performance and other media, Schneemann began her career as a painter, stating, "I'm a painter. I'm still a painter and I will die a painter. Everything that I have developed has to do with extending visual principles off the canvas." Schneemann has exhibited worldwide, at institutions including the Los Angeles Museum of Contemporary Art; the Whitney Museum of American Art and The Museum of Modern Art, New York; the Centre Georges Pompidou, Paris and the Reina Sofia Museum, Madrid. The comprehensive retrospective, Carolee Schneemann: Kinetic Painting organized by the Museum der Moderne Salzburg, Austria (2015) traveled to the Museum fur Moderne Kunst, Frankfurt,am Main, Germany (2017) and PS1 MoMA, New York (2018). Taking the influential work of the late American artist as a point of departure, Up to and Including Limits: After Carolee Schneemann curated by Sabine Breitwieser opened December 2019 at Muzeum Susch, Switzerland and is on view through June 2020.

Quotes by Ana Mendieta © The Estate of Ana Mendieta Collection, LLC.

Please contact Grace Hong, grace@galerielelong.com for any press enquiries.

GALERIE LELONG & CO.
528 WEST 26TH STREET
NEW YORK, NY 10001

T +1 212.315.0470
F +1 212.262.0624
ART@GALERIELELONG.COM

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13. Priscilla Stadler, FF Member, call for participants

Before hearing of covid19, I'd been working on a new series of tree energy drawings called "Rooted", https://www.priscillastadler.com/rooted inspired by the symbiosis between tubular fungi that envelop tree roots, enabling them to exchange nutrients and signals with each other! Or as forest ecologist Dr. Suzanne Simard calls it, the "wood wide web"
So, I've been wondering in this time of extraordinary change and challenges, why think about trees? One reason is the participatory project I'd like to invite you to be part of: The PoeTREE:A Tree I Love. And the old cliche about tree branches surviving when they can bend not break keeps reminding me to be flexible in these times. I hope you'll jump in and join in the tree love
The PoeTREE Invitation

Is there a tree you love? Or one that’s been important in your life? Past or present, near or far? Help create The PoeTREE by writing about it and/or sharing an image of a tree you’ve loved by May 6, 2020 via @atreeilove on Instagram or The PoeTREE: A Tree I Love facebook group, https://www.facebook.com/groups/ThePoeTREE/ or leaving a voicemail with your tree story at 347.443.8492. Or email atreeilove@gmail.com . Artist Priscilla Stadler will gather the tree stories to form a collective tribute to our treasured trees. Tree stories in any language are most welcome

Please spread the word, the invitation, and the tree love

Note: This iteration of The PoeTREE is part of the "Shared Dialogues, Shared Space" project funded by the Korea Art Forum to bring contemporary participatory art practices to Korean and Chinese audiences.

Feel free to use the drawing in conjunction with communicating about the project if you'd like to.

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14. Marilyn R. Rosenberg, FF Alumn, now online at the-otolith.blogspot.com

OTOLITHS A MAGAZINE OF MANY E-THINGS ISSN 1833-623X 20200423
Issue fifty-seven Date of Publication May 1, 2020.
Individual pieces Copyright © 2020 by their respective creators. Editor: Mark Young
https://the-otolith.blogspot.com/2020/04/issue-fifty-seven-southern-autumn-2020_23.html
-Here is Sunday
See 8 new works by Marilyn R. Rosenberg
An Asemic Week
https://the-otolith.blogspot.com/2020/04/marilyn-r-rosenberg_19.html Sunday
An Asemic Week continues-see more asemic images:
https://the-otolith.blogspot.com/2020/04/marilyn-r-rosenberg_20.html
https://the-otolith.blogspot.com/2020/04/marilyn-r-rosenberg_46.html Tuesday
https://the-otolith.blogspot.com/2020/04/marilyn-r-rosenberg_55.html Wednesday
https://the-otolith.blogspot.com/2020/04/marilyn-r-rosenberg_38.html Thursday
https://the-otolith.blogspot.com/2020/04/marilyn-r-rosenberg_78.html Friday
https://the-otolith.blogspot.com/2020/04/marilyn-r-rosenberg_47.html Saturday
https://the-otolith.blogspot.com/2020/04/marilyn-r-rosenberg.html

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15. Stanya Kahn, FF Alumn, online at Wexner Center for the Arts, Columbus, OH, May 8-15

VIELMETTER LOS ANGELES

Stanya Kahn
No Go Backs

May 8 - 15
Limited online screening co-presented
with the Wexner Center for the Arts at https://vielmetter.com/events/stanya-kahn-no-go-backs

Vielmetter Los Angeles and the Wexner Center for the Arts are excited to co-present a limited online screening of Stanya Kahn’s most recent short film, No Go Backs (2020). Available for viewing for one week, the 16mm film is a timely vision of a world on the edge of collapse and the young people set to inherit it. Because the film’s current exhibition at the Wexner Center and its opening at Vielmetter Los Angeles are both on hold due to the global pandemic, Kahn wanted to offer the film for a preview viewing for everyone sheltering in place. The film will be streaming on the gallery's website from May 8 – May 15. A live conversation on Zoom with Wexner Associate Curator of Exhibitions Lucy I. Zimmerman and Curator of the Film/Video Studio Jennifer Lange will be hosted by the Wexner Center and take place on Wednesday, May 13 at 4 PM PDT / 7 PM EDT, RSVP is required (link will be available in coming days).

A 33-minute short, shot on super 16mm with an original soundscore and no dialogue, No Go Backs follows two teenagers (and real-life friends) who leave the city for the wild, only haphazardly prepared. From the heart of the city, they cut an arduous path along sites of California’s historic water wars, traveling north into the monumental landscapes of the Eastern Sierra. In the haunted precarity of a collapsed world, the kids travel in dreamlike states of distraction, malaise, and resilience. As they eventually encounter other kids along shared roads and the prospect of camaraderie in facing the unknown, the film becomes a compressed, allegorical epic about an entire generation that must make a new way forward.

No Go Backs includes music by Alexia Riner, Insect Ark, Eli.So.Drippy, Stanya Kahn, Lil Peep, and Brian Eno. The film was made with the support of a residency in the Wexner Center’s Film/Video Studio and an Emergency Grant from the Foundation for Contemporary Art.

The exhibition Stanya Kahn: No Go Backs is organized by the Wexner Center and curated by Associate Curator of Exhibitions Lucy I. Zimmerman. For more info, visit: https://wexarts.org/exhibitions/stanya-kahn-no-go-backs

Stanya Kahn is an interdisciplinary artist working primarily in film and video with a practice that includes drawing, sound, writing, performance, sculpture, and installation. Kahn is a 2012 Guggenheim Fellow in Film and Video. Recent solo exhibitions include "No Go Backs," The Wexner Center for the Arts, Columbus, OH; “Stand in the Stream,” MoMA PS1, New York, NY; "I can clearly see yer nuts," The New Museum, New York, NY; “Stand in the Stream,” Susanne Vielmetter Los Angeles Projects, Culver City, CA; "Stanya Kahn: Die Laughing," Marlborough Gallery, New York, NY; "Stanya Kahn," Weiss, Berlin, Germany; “Heatstroke,” The Pit, Los Angeles, CA; "It's Cool, I'm Good," Cornerhouse, Manchester, UK. Select group exhibitions include The Gwangju Biennial (’18), Gwangju, South Korea; "Edens Edge," The Hammer Museum, Los Angeles; “Trigger: Gender as a Tool and a Weapon,” The New Museum, New York; NY; “Laugh-In: Art, Comedy, Performance,” Museum of Contemporary Art San Diego, La Jolla, CA; “Los Angeles – A Fiction,” Astrup Fearnley Museet, Oslo, Norway; California Biennial, Orange County Museum of Art, Newport Beach, CA. Her collaborative work with Harry Dodge has shown at Elizabeth Dee Gallery New York, NY; The 2008 Whitney Biennial, The Whitney Museum of American Art, New York, NY; Sundance Film Festival, Park City, Utah; The Museum of Modern Art, New York, NY; ZKM/Center for Art and Media, Germany, among others. She was a contributing writer and actor in feature film By Hook or By Crook (2001). Her work is in the collections of The Hammer Museum, Los Angeles, CA; The Museum of Modern Art, New York, NY; The Los Angeles County Museum of Art, Los Angeles, CA; The Goetz Collection, Munchen, Germany; among others.

Copyright © 2020 Vielmetter Los Angeles, All rights reserved.
Vielmetter Los Angeles
1700 S Santa Fe Ave #101
Los Angeles, CA 90021

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16. Judith Sloan, Warren Lehrer, FF Alumns, live online tonight May 4, and more

Hello.

As you know most of our in-person public events were postponed or canceled in March and April and probably throughout the summer. Our last public event was March 7th for a reading of Judith Sloan’s IT CAN HAPPEN HERE at Queens Theatre. We didn't know at the time that packing 100 people into a small theater was dangerous. Now we know and as far as we know, everyone who was involved in that show is okay and sheltering in place but we can’t really know about everyone in the audience.

Our hearts go out to all the thousands of people who have died from this frightening Coronavirus, and to the people who have become extremely ill from COVID-19, and have recovered or are recovering, and to everyone who has lost loved ones.

Like many of you who perform and present publicly, things have shifted from cancellation mode to being asked to present remotely via Zoom and other platforms. Warren Lehrer and Dennis J Bernstein did two online readings in April as part of their Five Oceans in a Teaspoon tour, as featured authors with the Alameda Islands Poets and Sacred Grounds Cafe in San Francisco, the longest running open poetry mic in the country. Warren also gave a talk called “Covid-19, There Goes My Carer_Not!” in Poland (via Zoom) through PJAIT the Polish-Japanese Academy of Information Technologies in Warsaw to a global audience. He was joined by Judith Sloan.

We’ll continue to experiment and present in remote space. We invite you to join Warren today for a talk/reading through the Center For Book Arts titled “Writing and Designing in the Face of Hard Times."

Please scroll down below for information about a new podcast: SURGE.

And stay safe, socially distance, wash your hands, don't touch your face. Stay in touch.

Tonight
Monday May 4th at 6:30

Writing and Designing in the Face of Hard Times
with Warren Lehrer
in collaboration with the Center for Book Arts

please sign up here for the zoom event
eventbrite signup
https://centerforbookarts.org/eventbrite-event/writing-and-designing-in-the-face-of-hard-times-with-warren-lehrer/

Writer/Artist Warren Lehrer ruminates on making art in the face of adversity. He will show some inspiring examples of other artists, writers, makers of visual literature who practiced their craft under unthinkable conditions, then focus on examples of his own solo and collaborative works which explore the effects of trauma and hardship on individuals and communities. He’ll read and share excerpts from several of his books and multimedia projects that portray the vagaries and luminescence of character transformed by and in spite of war, displacement, discrimination, criminal injustice, mental illness and other obstacles. Lehrer’s work bridges humor and pathos, writing and picture-making, typography and performance, interior rumination and spoken word, the personal and the political, page and screen. He’ll conclude by showing works by some of his students including a Visual Poetry in Vacant Storefront project to artists’ books that alchemize very difficult experiences into art and literature.

About the Artist:
Warren Lehrer is a writer/designer/book artist known as a pioneer of visual literature and design authorship. Awards include: The Brendan Gill Prize, IPPY Outstanding Book of the Year, Innovative Use of Archives Award, International Book Award for Best New Fiction, three AIGA Book Awards, two Type Directors Club and STA 100 Awards, a Media That Matters Award, grants and fellowships from the NEA, NYSCA, NYFA, Rockefeller, Ford, and Greenwall Foundations. He is a 2016 Honoree of the Center for Book Arts and 2019 Ladislav Sutnar Prize Laureate. His books are in many collections including MoMA, The Getty Museum, Tate Gallery and Georges Pompidou Centre. Lehrer is the Leff Distinguished Professor at SUNY Purchase, a founding faculty member of the Designer As Author MFA program at SVA, and co-founder of EarSay, a non-profit arts organization in Queens, NY.

About the Center for Book Arts:
The Center for Book Arts promotes active explorations of both contemporary and traditional artistic practices related to the book as an art object. The Center seeks to facilitate communication between the book arts community and the larger spheres of contemporary visual and literary arts, while being a model organization locally, nationally, and internationally within the field. We achieve this through exhibitions, classes, public programming, literary presentations, opportunities for artists and writers, publications, and collecting.

In April, Judith Sloan helped edit and mix a podcast
Produced by Josh Penchina & Nora Singley. Created by Shira Entis.

SURGE: An ICU Nurse on the Front Lines of New York City's COVID-19 Epidemic

A New York City nurse's raw account of the mounting distress and heartbreak within her COVID-19 ICU at the height of the pandemic.

Starting in April 2020, as cases surged in the City and decimated its hospitals, the series records post-shift, late-night phone calls between an advanced ICU nurse and her close friend. SURGE is a rare look inside a hospital mired in fear and confusion, and at a savage disease that devastates both patients and the medical professionals who care for them.

https://podcasts.apple.com/us/podcast/surge-icu-nurse-on-front-lines-new-york-citys-covid/id1510025549

EarSay | PO Box 4338, Sunnyside, NY 11104

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17. Susan Kleinberg, FF Alumn, now online at https://vimeo.com/412080622

Please visit this link:

https://vimeo.com/412080622

Thank you.

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18. Jeanine Oleson, FF Alumn, publishes new book

NEW BOOK/EDITION and a PERFORMANCE ON MAY 7th!

Conduct Matters
Release date: April 2020
Publisher: Dancing Foxes Press, Brooklyn, New York
Paperback, 6 x 9 inches
104 pages / 65 color illustrations
US $22
ISBN 9781733688901
Edited by Karen Kelly and Barbara Schroeder
With texts by Connie Butler, Jaleh Mansoor, and K-Sue Park
Distributed by D.A.P.

Hello!

I am so excited to announce the arrival of my new book, Conduct Matters. The book explores a recent body of work that takes conduction as a material, political, musical, and ethical phenomenon. Featuring essays by Connie Butler, Jaleh Mansoor and K-Sue Park alongside the scripts of video and performance works including a collaboration with an ensemble cast of people and objects who take the production cycle of copper as the ground to examine communication, technology, and the sensory. Conduct Matters was a project at the Hammer Museum that included an exhibition, performances, events and a residency that you can read about here. The book was published by the amazing Dancing Foxes Press and was designed by nicole killian. You can purchase a copy from Dancing Foxes Press, D.A.P./Artbook or ME.

I also made a letterpress edition made with 10 Grand Press to help fundraise the many costs associated with book (see below). It's a beautiful letterpress poster on 100 wt. French paper, 12 x 18 inches with two folds. It's available with or without metallic accents for $65 which includes the book (shipping and handling inc. in the US/int'l is an additional charge). Please email, Venmo (@Jeanine-Oleson) or PayPal me with address and which option you'd like.

Finally, I'm doing an online performance "at" The Kitchen for their recent Broadcasts Series on Thursday, May 7th at 6 pm. In honor of the book and to figure out how to work with so much screen space lately, I've joined with a few long-time collaborators–Beth Griffith, Diwa Tamrong and Lisa Reynolds. We're endeavoring to use the space of the screen to re-examine many ideas from Conduct Matters about alienation and embodiment. You can watch it live on their page or if you're a Twitch user, on the Kitchen's page there. I'm excited to figure out some material on-screen and have been thinking of it as a strange return to early live television.

I'm really happy to have all of this in the world despite what this world is right now (where conduct really does matter.) I hope you're all doing well in difficult circumstances and sending you wishes for your good health.

Very Bestest,
Jeanine

Copyright © Jeanine Oleson Studio, All rights reserved.
info@jeanineoleson.com
jeanineoleson.com
IG: @jeanineoleson
Our mailing address is:
Jeanine Oleson Studio
20 Jay Street #303B
Brooklyn, NY 11201

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19. Howardena Pindell, FF Alumn, now online in the New York Times

Please visit this link:

https://www.nytimes.com/2020/05/03/arts/design/howardena-pindell-lawsuit.html

Thank you.

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20. Taylor Mac, FF Alumn, now online in the New York Times

Please visit this link:

https://www.nytimes.com/2020/04/28/theater/taylor-mac-quarantine.html

Thank you.

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21. Harley Spiller, FF Alumn, now online at https://bleat.network/

Please visit this link to a 30 minute radio interview with Harley Spiller by Garry Lee Wright of Pandemic Pirate Radio, Chicago, Illinois.

https://bleat.network/

Thank you.

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Goings On is compiled weekly by Harley Spiller