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Contents for October 19, 2020

Weekly Spotlight: Stacy Makishi, FF Alumn, now online at https://vimeo.com/326874876

If you could control the exact moment of your death, would you live your life any differently? Suicide For Beginners is a dead funny manual on how to live. Cartoon characters drawn from the depths of a despairing soul contemplate life, death, desire and crabs. Was it Nietzsche or Mr.Waihau from the Moiiliili Chop Suey House who once said, "He who has a WHY to live, can live with any HOW"? What? Why?!? How?!?!! Find out the answers to these questions and much, much more when you tune in to Stacy Makishi’s 1999 performance, Suicide For Beginners. This 24-minute video documentary is from 1999, when Franklin Furnace first began presenting performance art online, in collaboration with Pseudo Programs, Inc. Written and directed by Stacy Makishi; stills, animation, video and music by Vick Ryder; edited by Thomas Moore.

Please visit this link: https://vimeo.com/326874876

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1. Agnes Denes, Leon Golub, Felix Gonzalez-Torres, Barbara Kruger, Daniel Joseph Martinez, Robert Mapplethorpe, Shirin Neshat, Yoko Ono, Martha Rosler, Dread Scott, Nancy Spero, David Wojnarowicz, FF Alumns, in The New York Times, now online

Please visit this link:
https://www.nytimes.com/2020/10/15/t-magazine/most-influential-protest-art.html?searchResultPosition=1 thank you

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2. Gylbert Coker, FF Alumn, new article

The Guggenheim Museum Cannot let Racism Go

I thought when I wrote my response to the Guggenheim Museum’s 2019 exhibition, “Basquiat’s Defacement: The Untold Story,” that would be the end of the subject. But apparently not. My article, The Guggenheim Museum, BLM, and the Pandemic, that exposes a lack of diversity and inclusion in art business, is still very much on the mind(s) of the Guggenheim Museum, if not the entire art business in the United States.

As most art journals were not interested in the observations and opinions of an African American art scholar, but rather preferred articles written on this subject by white scholars, it was my understanding that the US art business was done with this issue. They (you) had it all under control. These journals had their white writers presenting their interpretation. And yet, here we are again.

It seems that the Guggenheim went and hired a law firm to do an “independent investigation” into how the museum handled the Jean-Michel Basquiat exhibition. The law firm concluded that there was “no evidence” that showed that Chaedria LaBouvier, “was subject to adverse treatment on the basis of her race.” Okay, so before I go any further, let’s be clear. If a company (i.e. the Guggenheim) hires a law firm to do an “investigation” as to their racist policies, i.e. white supremacy, if they are being paid by the company that has requested the investigation, they are going to find that institution has done nothing wrong. You are being paid. You are not ‘independent.
Just a quick refresher here. Chaedria LaBouvier had presented an exhibition at the Williams College Museum of Art back in 2016 in which she presented a Basquiat painting, Defacement, as a way to focus on the issue of police officer killings of black men. In 2013 LaBouvier’s brother, Clinton Allen, had been brutally murdered by a Dallas police officer and she and her mother had become advocates against police violence against black people. The story behind the Basquiat painting was based upon the murder of a young graffiti artist, Michael Stewart who was about Basquiat’s age and color. At the age of 25, Stewart was beaten to death by police officers in New York City.

Guggenheim curator, Nancy Spector saw LaBouvier’s exhibition and realized there was another way to discuss Basquiat’s art, met with LaBouvier and here is where the racism begins. Spector liked the possibilities of having an exhibition that connected with Black Lives Matter. LaBouvier, not having tangible curatorial credentials, liked the possibilities of taking her contextualization of the Basquiat painting and placing it onto a major art platform in which she could advocate for the lives of black people. The collaboration moved to the next level. Spector was the artistic director and chief curator, Joan Young was brought in as the director of curatorial affairs, and LaBouvier became the researcher and “black person.” What could possibly go wrong. According to LaBouvier, the assembling of the exhibition exposed fault lines that she attributed to the Guggenheim’s inexperience with black curators and their perspectives, especially regarding nuances of black life and identity.

Spector took LaBouvier’s concept and working with Defacement (The Death of Michael Stewart) as the focal point of the show developed a sensitive exhibition that included a selection of artwork that enhanced the story of police brutality. What went wrong? Somewhere within the creative process there was a failure to communicate. Spector was confident and secure in her curatorial knowledge and experience and we can see the result of her work in the design of the exhibition.

It is a fact that in the 80-year history of the Guggenheim Museum, there has never been a black person hired to the curatorial position. One can remain polite and suggest that there was a failure to communicate. It is possible that Spector had not listened to LaBouvier speak about the murder of her brother by the police. Perhaps she had not made time to meet with LaBouvier’s mother, both women were (are) involved in the organization Mother’s Against Police Brutality? Most importantly Spector did not internalize that LaBouvier spent 15 years on this project. Let me say this again, 15 years. That tells me this project belongs to LaBouvier, handle with care.

Why has it become important for the Guggenheim to have this “independent” investigation? The museum rushed to hire a black curator; their first – Ashley James from the Brooklyn Museum. Did that not put an end to the story? Apparently, not good enough. Then I read in Art World, Veteran Guggenheim Curator Nancy Spector Has Been Cleared of Racial Bias Allegations – But She’s Leaving the Museum Anyway, by Eileen Kinsella (October 8, 2020), that Ms. LaBouvier was threatened by a Guggenheim supporter who informed her that she had better not confront the Guggenheim museum or else. Really? Or else? Can a museum threaten an individual?

What I am attempting to understand here is why? The art business in the United States is controlled by white people; wealthy white people. The art business controls the aesthetics, the interpretation of art, and the art journals. Why has it been necessary to produce this investigation? To whom is the Guggenheim Museum speaking? Is there a backroom conversation challenging the museum’s white supremacy as it pertains to how the museum manages its various satellite museums that we, scholars and curators of color, are unaware? I am perplexed.

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3. Nicolás Dumit Estévez Raful Espejo, FF Alumn, live online Oct. 25-31

CALL FOR PARTICIPANTS FOR ONLINE PERFORMANCE
THE INTERIOR BEAUTY SALON INVITES

www.interiorsalon.com

Join us from home, Oct 25-31, "Eter-7 day process" with Anna Costa e Silva. To participate contact Anna annacostaesilva@gmail.com / WhatsApp +55 21 99406 9009 or IG: @annacostaesilva "Eter" is presented with the Salon as part of Anna's engagement with "In the Wilderness." This event is by donation (pay from your heart) and for one person per night. All proceeds go to the artist.

"'Eter' is an artistic proposition that I started in 2015 during a residency at Phosphorus in São Paulo, in which I posted an open call to sleep at any person’s house and have conversations between consciousness and sleep. I would arrive right before my host’s sleep time and we would dive together into the oniric world, as our conversation becomes less and less rational.

Most of my practice emerges from encounter situations, I feel like my ground is gone in 2020 (I imagine most people feel this way). How do we experiment presence when contact has become something one needs to protect from? I started wondering what would happen to this experience if two people could sleep together through a screen. How would it be to share my sleep time with someone who is an ocean away, or 5 hours in advance?

My residency at the Interior Beauty Salon will start with a 7 day process of 'Eter.' I will be sleeping together through zoom with one person per night. Anyone is welcome to participate – just send me an email or whatsapp to make an appointment annacostaesilva@gmail.com / +55 21 99406 9009"

#annacostaesilva #performanceart #sleeptalking #dreamworks #franklinfurnace #brazilianartist #saopaulo #oniricworld #pipaprize #carljung #creativeinthewilderness #graceexhibitionspace #artinoddplaces #performanceartists

https://www.instagram.com/p/CGR2TVyFYvp/?igshid=oo5c6jz4a6sl

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4. Jean Shin, FF Alumn, at the Asian Art Museum, San Francisco, CA, thru Nov. 30

https://exhibitions.asianart.org/exhibitions/jean-shin-pause/
http://www.jeanshin.com/index.htm

Jean Shin’s exhibition PAUSE, curated by Marc Mayer
has re-opened at the Asian Art Museum in San Francisco
After 6 months shut down, it remains on view through November 30

Using discarded cell phones and computer cables as the material to create a vast landscape of e-waste, Jean Shin's site-specific installation asks how technological innovation contributes to climate change.

Asian Art Museum San Francisco
On view through November 30

Artist Jean Shin during the installation shares insights about exhibition: https://www.youtube.com/watch?v=2gPOaEfYuM0

REVIEW in Art in America
JEAN SHIN’S LATEST INSTALLATION SHOWED THE ENVIRONMENTAL IMPACT OF OUR DESIRE TO CONNECT
https://www.artnews.com/art-in-america/aia-reviews/jean-shin-pause-asian-art-museum-1202685893/

"Pause invited the audience to slow down and reflect. There was a tension between serenity and dread in the space. The installation was not just an archaeological presentation of electronics from the past two decades, but a confrontation with our present dependence on such devices, a spectacle of mass consumerism. Our drive to connect is tethered to a desire for novelty: we want more from our technology. We want to share and consume more information more quickly. And so the companies that employ a substantial portion of the Bay Area’s population innovate and release updates that render previous iterations of their products obsolete." Dorothy R. Santos

Driven by the urgency of the climate crisis, Shin seeks to initiate a conversation by asking “how has technology impacted the environment?”

Coinciding with the exhibition opening, the artist joins in conversation with curator Marc Mayer to discuss the ideas and processes behind the creation of this new work and the ways our consumer habits around technology and digital culture are contributing to climate change.

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5. Verónica Peña, FF Alumn, at ATOA Artists Talk On Art, online talk, Oct. 19

VERÓNICA PEÑA at ATOA Monday Virtual Open Studio
Monday, October 19th, 2020 6:00 - 7:30 pm EST
Link: https://us02web.zoom.us/j/88369590474
Website: https://www.atoanyc.org/

Veronica Peña is an interdisciplinary artist and independent curator from Spain based in the United States. Her work explores themes of absence, separation, and the search for harmony through Performance Art. Peña is interested in migration politics, cross-cultural dialogue, peaceful resistance, liberation, and women’s empowerment. She has performed/exhibited around Europe, Asia, and America. In the U.S.: Pioneer Works(*2020), Smack Mellon Foundation, Queens Museum, Triskelion Arts, Hemispheric Institute, Times Square, Armory Show, Dumbo Arts Festival, Consulate General of Spain in NY, amongst others. She received a Franklin Furnace Fund 2018, leads Performance Art Open Call (9,000 members FB community), and curates “Collective_Becoming” to foster collaboration amongst artists. http://www.veronicapena.com
@Veronica_Pena_Live_Art

For information, contact:
Verónica Peña
http://www.veronicapena.com
veronicapemar@gmail.com
(765) 237-9437

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6. Deborah Edmeades, FF Alumn, at Unit 17, now online

In lieu of a performance that was planned for 30 March 2020, the gallery is pleased to launch a new video work on the website:

https://www.unit17.org/deborahedmeades

A looking is a seeing through. Sourced from one of the founding documents of the Enlightenment, the narrative depicted in The Great Tree of Pagan Superstition, 2020, casts the light through which we unwittingly perceive.

https://deborahedmeades.com/projects/tinted-knowing.html

For our rational worldview was founded, not as we imagine, through an inevitable progressive growing out of the need for religion, but in collusion with Christianity, against a polemical ‘Other’. In a founding document of the Enlightenment, the Historia Critica Philosophiae, Johann Jakob Brucker, a pious Lutheran, defines the new discipline of rational philosophy through the tracing of its history against the perennial influence of pagan ideas. Philosophy’s final breaking away may have spelled the end of theology’s dominion, but not before its prejudice was encoded into the new paradigm.

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7. Stephanie Brody-Lederman, FF Alumn, at M&M Gallery, Southampton, NY, opening Oct. 24

Please visit this link: https://www.facebook.com/634229801/posts/10158999682384802/?extid=0&d=n
thank you

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8. Aviva Rahmani, FF Alumn, at Governors Island, NYC, thru Nov. 1

Aviva Rahmani created “Hunt for the Lost,” to populate Governors Island with provocative red, white and blue signage. Each sign pleas to find something lost, like, Morality, Freedom, Courage, Joy, Species, Forests, and Birds. The signage is scattered around the island and connected to an installation of painted branches. Seven of the signs are on display in front of the Lower Manhattan Cultural Council building. Visitors pass them by to use the restrooms as they get on and off the ferry. On the front of each sign, is a link to the www.huntforthelost.org website with almost 40 prompts inviting responses with what has been found. The back of each sign prompts how to find what is lost. A map on the website blog shows where the work is installed. Except for coming down for mowing from Tuesday evening to Thursday morning, the signs will be up until Nov. 1, 2020. Thanks to the Trust for Governors Island, Lower Manhattan Cultural Council, New York City Audubon, Earth Matter and the Soils Institute.

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9. Anna Banana, FF Alumn, at ChertLuedde, Berlin, Germany, opening Nov. 1

The exhibit in Berlin is as follows:
Proof Positive Germany is Going Bananas/Revisited
Opening Sunday, Nov. 1- 12 noon - 9 pm/part of "Sunday Open" advertised
in Berlin's Arts News.

Following the fall of the Berlin wall, former East Germans flocked into the Western sector and returned home with their purchases of bananas (amongst other items not available in East Germany during the eastern rule.) My correspondents from the former east Germany sent newspaper clippings of the broken-down wall, streaming with people returning from the western sector with goods not available (spectacularly, bananas!) in the eastern sector during the communist rule.

In 1993, I (Dr. Anna Freud Banana, of Specific Research Inc.,) conducted my 3 1/2 month banana research work in Stuttgart, Berlin, Mannheim, Bremen, Uelzen, Hamburg, Sierksdorf, Minden, Bergish-Gladbach, Kohn, Frankfurt and Budapest, where I asked gallery goers to complete my questionnaire about their banana appetites and to interpret/gestalt the images of
banana peels my 12 card Roar-Shack Banana Peel Test.

Twenty-Seven years later, the ChertLuedde gallery Ritterstrasse 2A, 10969 Berlin, is presenting
an exhibit of the findings from this research work, including loans from Berlin mail artists Lutz
Wholrab and Karla Sachsa who participated in the original survey. Gallerist Jennifer Chert will be standing in for/as Ms. Anna Banana, asking gallery goers to participate in an updated survey of banana consumption in present day Berlin.

Opening Nov. 1 and running for 2 weeks

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10. Judith Bernstein, FF Alumn, at The Box, Los Angeles, CA, thru Dec. 19

Judith Bernstein HOT HANDS
October 3 – December 19, 2020
watch exhibition walkthrough here: https://vimeo.com/468799715

Open by appointment only:
Wednesday – Saturday, 11AM – 6PM
make an appointment online https://calendly.com/theboxla/in-person-gallery-visit
or appointment@theboxla.com // (213) 625-1747

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11. Simone Forti, FF Alumn, live online, Oct. 16

Barnett Cohen & Simone Forti
virtual reading and conversation hosted by JOAN
https://zoom.us/j/99626477909

Friday, October 16, 2020
6PM PST / 9PM EST

JOAN hosts an online conversation between artists Barnett Cohen and Simone Forti as they discuss their poetry exchange, how the pandemic has shifted their practices, and the future of performance post-quarantine. Image courtesy of Barnett Cohen.

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12. Terry Berkowitz, Chin Chih Yang, FF Alumns, at White Box Harlem, Manhattan, opening Oct. 25

WhiteBox Harlem
Presents
America is on the Ballot
Its third presidential elections chapter

ARTISTS RESPOND TO THE 2020 PRESIDENTIAL ELECTION

Of the many things that Senator John Lewis has been noted for besides his heroic and often dangerous struggle for racial equality, was his strategy of non-violent, civil disobedience that he poetically coined as “good trouble.” The full passage of which his clarion call appears is in a 2018 tweet: “Do not get lost in a sea of despair. Be hopeful, be optimistic. Our struggle is not the struggle of a day, a week, a month, or a year, it is the struggle of a lifetime. Never, ever be afraid to make some noise and get in good trouble, necessary trouble.”

Aime Mpane
Babara Alper
Bradley McCallum
Brian Bellott
Charlee Swanson
Chin Chih Yang
Ebenezer Singh
Enrique Jezik
Ferran Martin
Firoz Mahmud
gua_s
Jacobo Borges
Jean Pierre Muller
Jose Luis Ortiz Tellez
Kamruzzaman ShadhinKaren Giusti
Ke Ming
Lily Kostrzewa
Masaaki Noda
Noritoshi Hirakawa
Oscar Oiwa
Ouma
Pasha Radeski
Pedro Sanchez III
Rirkrit Tiravanija and Tomas Vu
Roland Gebhardt
Rosebud Ebenezer
Sachigusa Yasuda
Sarah Maple
Stefano Cagol
Tania Candiani
Terry Berkowitz
The Renowned Annoying Nun
Tomoni Shintaku
Xu Bing
Yohanna Roa
And others

October 25, 2020
Opening Reception 4-7PM
Limited COVID SAFE ATTENDACE RSVP INFO@WHITEBOXNY.ORG

5PM live conversation with Eleanor Heartney and Good Trouble artists examining the Apocalyptic Imagination in Contemporary Art

Upcoming
November 3rd 7-Midnight
Election Night Performances
RSVP to info@whiteboxny.org
Limited Attendance

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13. Alan Sondheim, FF Alumn, releases new album

Plaguesong - our new ESP CD - Available for preorder!

http://www.alansondheim.org/plaguesong.jpg
https://alansondheim.bandcamp.com/album/plaguesong
http://www.espdisk.com/Plaguesong

Plaguesong, our new ESP CD, is ready for preorder purchase or download. We've been working on this album for months; it's the most perfect album Azure Carter and I have done. The pieces are intimate, close-up, intense, all produced under lockdown. There are 23 interrelated tracks, including songs, pulse-taking, solo mprovisations, and a number of unusual instruments.

For over 25 years, I've offered free music online; now I'm asking if you would purchase one or another form of this album. The individual pieces are aesthetically and musically interlocked, forming a single concept, working through isolation and epidemic. The music is unique. From the liner notes:

"Plaguesong was produced under quarantine; there's minor background sound on occasion. Azure Carter and I worked in a single room, recording with a Zoom H4n, editing in Audition. I've kept pursuing speed and its issues, but I'm also playing through isolation, depression, anxiety, and fear. So there are slow hymn movements, breathing slowly, allowing a kind of exhaustion to determine the lengths of speeded elements. I don't know what kind of music this is, but it's a kind that suits me, and suits Azure as well. It's certainly music that goes closer to the edge than anything I've done before. We've looked out on snow and rain, high winds, violent storms, sunny days. We've known deaths of others. The music sinks into the ground, always getting closer to the roots that make it sound. The room has little resonance; I've ordered that. I've also decided not to name the instruments for the most part; it's the music and space that's
important. It carries a sense of urgency and ululation. It's part of us."

Bios from ESP: "Alan Sondheim made two albums for ESP-Disk in the 60s; he returned to ESP in 2014, and this is his third album since then, the first on ESP to include longtime partner Azure Carter, and his fifth overall on the label. Sondheim, who has prolifically spread his recent musical evolution across a variety of other labels, is an impulsive musical adventurer who uses his dizzying array of instruments for what their sounds can contribute to his musical style; he is not unaware of the traditional performance techniques of his instruments, but he never lets his musical expression be limited by or to those techniques. His band Ritual All 70 was included on the notorious Nurse with Wound list of outsider/avant-garde influences.

Azure Carter is a singer/songwriter living in Providence, RI. She is a frequent collaborator on music, video, and performance with her partner, Alan Sondheim. Before moving to Providence, Carter lived in NYC and performed at numerous venues in the city and elsewhere, including the 92nd Street Y, Dance New Amsterdam, The Bowery Poetry Club, Eyebeam, Jack, and Highwire Gallery. She has recorded six albums; this is her first album with ESP-Disk."

Please consider listening and purchasing - help support our
ongoing musical project of amazing music! And thank you!

Alan Sondheim

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14. Alexander Hahn, Mona Hatoum, FF Alumns, at Kunstmuseum St. Gallen, Switzerland, opening Oct. 24

World on a Wire - Welt am Draht
Kunstmuseum St. Gallen, Switzerland, opening October 24, 2020, through March 07, 2021

Installations with projections of light, ribbons of neon and fluorescent tubes depend on an uninterrupted flow of electricity just like video art. New technical possibilities always offered new artistic possibilities, which were put to use by artists since the late 1960s. Precisely because this rapidly changing technology is part of everyday life and reflects the fast and multifaceted currents of the present, their messages are particularly relevant.

Participating artists:

Karin Karinna Bühler, Silvie & Chérif Defraoui, Rainer Werner Fassbinder, Georg Gatsas, Andy Guhl, Alexander Hahn, Mona Hatoum, Peter Liechti, MANON, Matthew McCaslin, Norbert Möslang, Pipilotti Rist, Keith Sonnier, Aleksandra Signer, Roman Sign
I’m participating with The Bernoulli Itinerary

(1989, b/w video projection and one stripped hanging TV tube or, as in this iteration 4 hanging, stripped TV tubes, sound)

“… When the body is dissected, light again begins to radiate.
The whole room seems to be in flames.
The nails and fingers of those who touch it are all covered with light.
It is not the flesh itself that phosphoresces, but something hidden underneath the skin, a residual light from centuries ago. …
Finally, the body remains dark …”

www.alexanderhahn.com
Instagram: @hahnlx1

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15. Rory Golden, FF Alumn, at Yaddo.org, now online

"The One AM Five Dollar Toe Sucker"

is on Yaddo's inaugural podcast.
https://www.yaddo.org/pilot-episode-why-yaddo/

xo stay strong
Rg

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16. Stephanie Brody-Lederman, FF Alumn, at M&M Gallery, Southampton, NY, opening Oct. 24

Please visit this link: https://www.facebook.com/634229801/posts/10158999682384802/?extid=0&d=n thank you

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17. Nicole Eisenman, David Wojnarowicz, FF Alumns, at Klaus von Nichtssagend Gallery, Manhattan, opening Oct. 23

Mask

featuring work by:

Amna Asghar
Leilah Babirye
Donna Chung
Trenton Doyle Hancock
Nicole Eisenman
Tamara Gonzales
Rachel Harrison
Arnold Kemp
David Kennedy Cutler
Michael Mahalchick
Demetrius Oliver
Sarah Peters
David Torres
Stacy Lynn Waddell
David Wojnarowicz

October 23 - November 28

Klaus von Nichtssagend Gallery is pleased to present a show spotlighting Masks in the practices of 15 contemporary artists. Masks protect and pervert, decorate and distort, provide clues towards identity while potentially obscuring easy readings. The artists in this show approach masks from myriad vantages and explore their multiple meanings through painting, ceramic, sculpture, photography, video, animation, and performance.

For images and information please contact the gallery at klaus@klausgallery.com

Klaus von Nichtssagend Gallery 54 Ludlow Street, New York, NY 10002

212-777-7756
www.klausgallery.com

GALLERY HOURS
Tuesday - Saturday, 11:00AM - 6:00PM

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Goings On is compiled weekly by Harley Spiller