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Contents for November 09, 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. (Text by Eli Duncan, FF Intern, Autumn 2020).

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

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1. Lorraine O’Grady, FF Alumn, now online at https://www.youtube.com/watch?v=xJc_SRsbGS0&ab_channel=JoeBiden

Biden Campaign Draws Inspiration from Lorraine O’Grady’s Art Is … (1983/2009)

To watch the Biden campaign video please visit this link:
https://www.youtube.com/watch?v=xJc_SRsbGS0&ab_channel=JoeBiden

Lorraine O’Grady’s Art Is … (1983/2009) serves as the inspiration for Joe Biden and Kamala Harris’ unifying message after winning the United States presidential election.

Deploying ornate gold frames that pay tribute to O’Grady’s joyful 1983 performance, which took place in Harlem during New York's African American Day Parade, the Biden campaign’s video frames citizens and landscapes of the United States. Like the artist’s earlier performance, the video focuses on individual Americans, uniting their experiences through the shared device of the frame.

O’Grady has written that Art Is … was “undertaken in a spirit of elation which carried over on the day;” this elation is echoed in Biden’s video, which celebrates the indomitable freedom of expression. In an indication of their commitment to this principle, the Biden campaign reached out to the artist and the Gallery before creating the video. Watching the final piece, O’Grady concludes, “I gave to them and they gave to me.”

Sales Inquiries
sales@alexandergray.com
Press Inquiries
press@alexandergray.com
Alexander Gray Associates

Alexander Gray Associates is a contemporary art gallery in New York City and Germantown NY. Through exhibitions, research, and artist representation, the Gallery spotlights artistic movements and artists who emerged in the mid- to late-Twentieth Century. Influential in cultural, social, and political spheres, these artists are notable for creating work that crosses geographic borders, generational contexts and artistic disciplines. Alexander Gray Associates is an organization committed to anti-racist and feminist principles.

Alexander Gray Associates is a member of the Art Dealers Association of America.

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2. Courtney J. Martin, FF Alumn, at 192 Books, online Nov. 10

Cecily Brown and Courtney J. Martin
Tuesday, November 10 at 1pm EST

Watch the live event here: https://paulacoopergallery-studio.com/posts/cecily-brown-and-courtney-martin

Phaidon Press, 192 Books and Paula Cooper Gallery invite you to a virtual conversation between artist Cecily Brown and Courtney J. Martin, Director of the Yale Center for British Art. The event is presented on the occasion of Brown’s one-person exhibition at the gallery—recently extended through December 12—and the publication of the artist’s first major monograph by Phaidon Press—for which Martin contributed an in-depth interview with the artist. The live event will be streamed directly on PCG Studio here, and will be open to questions from the audience.

Cecily Brown by Courtney J. Martin, Francine Prose, and Jason Rosenfeld (Published by Phaidon Press, November 2020)
Pre-order via 192 Books: https://bookshop.org/books/cecily-brown/9781838661045

Cecily Brown is the first—and highly anticipated—monograph on the artist. This richly illustrated publication includes an interview with Brown led by Courtney J. Martin, Director of the Yale Center for British Art in New Haven, and essays on her work by Jason Rosenfeld, Distinguished Chair and Professor of Art History at Marymount College in New York, and New York-based novelist Francine Prose. The title is part of Phaidon’s Contemporary Artists series—which offers comprehensive surveys of individual artists’ work and a range of art writing contributed by an international spectrum of authors, all leading figures in their fields. Celebrating 25 years, the Contemporary Artists series changed the way art is discussed by creating books in strict collaboration with living artists, underpinned by the voice of the artist themselves, cementing the books as essential resources for all those interested in contemporary art, at any level.

Cecily Brown was born in London in 1969 and received her BA in Fine Arts from the Slade School of Art, London, in 1993. Her work is included in renowned public collections such as the Solomon R. Guggenheim Museum, New York; Whitney Museum of American Art, New York; Metropolitan Museum of Art, New York; Brooklyn Museum, New York; National Gallery of Art,Washington, DC; and Tate Gallery, London. A major exhibition of her work is currently on view at Blenheim Palace in Oxfordshire, England through January 3, 2021. Other important one-person exhibitions include “Directions: Cecily Brown,” Hirshhorn Museum and Sculpture Garden, Washington, D.C. (2002); MACRO, Rome (2003); Museo Nacional Centro de Arte Reina Sofía, Madrid (2004); Museum of Modern Art, Oxford (2005); Kunsthalle Mannheim (2005–06); Des Moines Art Center, Iowa (2006); Museum of Fine Arts, Boston (2006–07); Deichtorhallen, Hamburg (2009); “Based on a True Story,” Kestner Gesellschaft, Hannover (2010), which traveled to GEM, Museum of Contemporary Art, The Hague; Galleria Civica d’Arte Moderna e Contemporanea, Turin (2014); “Rehearsal,” The Drawing Center, New York (2016), which traveled to Santa Barbara Museum of Art, CA; and “Where, When, How Often and with Whom,” Louisiana Museum of Modern Art, Denmark (2018). Cecily Brown lives and works in New York.

Courtney J. Martin is the Director of the Yale Center for British Art (YCBA)in New Haven. Previously, she was the deputy director and chief curator at the Dia Art Foundation; an assistant professor in the History of Art and Architecture department at Brown University; an assistant professor in the History of Art department at Vander­bilt University; a chancellor’s postdoctoral fellow in the History of Art at the University of California, Berkeley; a fellow at the Getty Research Institute; and a Henry Moore Institute research fellow. She also worked in the media, arts, and culture unit of the Ford Foundation in New York. In 2015, she received an Andy Warhol Foundation Arts Writers Grant. In 2012, Martin curated the exhibition Drop, Roll, Slide, Drip . . . Frank Bowling’s Poured Paintings 1973–1978 at Tate Britain. In 2014, she co-curated the group show Minimal Baroque: Post-Minimalism and Contemporary Art at Rønnebæksholm in Denmark. From 2008 to 2015, she co-led a research project on the Anglo-American art critic Lawrence Alloway at the Getty Research Institute and was co-editor of Lawrence Alloway: Critic and Curator (Getty Publications, 2015, winner of the 2016 Historians of British Art Book Award). In 2015, she curated an exhibition at the Dia Art Foundation focusing on the American painter Robert Ryman. At Dia, she also oversaw exhibitions of works by Dan Flavin, Sam Gilliam, Blinky Palermo, Dorothea Rockburne, Keith Sonnier, and Andy Warhol. She was editor of the book Four Generations: The Joyner Giuffrida Collection of Abstract Art (Gregory R. Miller & Co., 2016), surveying an important collection of modern and contemporary work by artists of African descent. As a graduate student in 2007, Martin contributed to the Center’s exhibition and publication Art and Emancipation in Jamaica: Isaac Mendes Belisario and his Worlds. She received a doctorate from Yale University for her research on twentieth-century British art and is the author of essays on Rasheed Araeen, Kader Attia, Rina Banerjee, Frank Bowling, Lara Favaretto, Leslie Hewitt, Asger Jorn, Wangechi Mutu, Ed Ruscha, and Yinka Shonibare CBE (RA).

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3. Sable Elyse Smith, FF Alumn, at Swiss Institute, Manhattan, thru Jan. 14, 2022

SI ONLINE | Sable Elyse Smith: FEAR TOUCH POLICE
October 26, 2020–January 14, 2022

Swiss Institute is pleased to present FEAR TOUCH POLICE, a new multimedia project organized by New York-based artist Sable Elyse Smith in advance of the 6th Edition of SI's Architecture and Design Series in 2022, which she will be curating. The first issue, FEAR, features newly commissioned writing by Jessica Lynne and Jason Moran, video works by Paul Pfeiffer and Johan Grimonprez, and a poem by Jibade-Khalil Huffman. When inviting these five contributors, Smith encouraged them to contemplate Kendrick Lamar’s song of the same name off his 2017 album DAMN. To read more about the project and to visit the site, please visit this link: https://www.swissinstitute.net/exhibition/si-online-sable-elyse-smith-fear-touch-police/

Swiss Institute
38 St Marks Pl
New York, NY 10003
USA

T +1 212 925 2035
info@swissinstitute.net
www.swissinstitute.net

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4. Alicia Grullón, FF Alumn, at apexart, Manhattan, Nov. 5 - Dec. 19

Imagining De-Gentrified Futures
November 5–December 19, 2020

apexart
291 Church Street
New York, NY 10013
USA
apexart.org
Curated by Betty Yu

Working class communities, immigrant communities, and communities of color across U.S. cities have been disproportionately impacted by hyper-gentrification and displacement over the last 15 years.

Is it possible to disrupt dominant narratives that depict gentrification as "inevitable" and a "natural" part of urban evolution—monolithic assertions that often come from real estate speculators, developers, extractive industries and the 1%? Can we harness our collective resources and trace a new trajectory that allows communities to flourish without being priced out of our neighborhoods?

Imagining De-Gentrified Futures is an interactive exhibition attempting to imagine socially-just futures for our cities and aiming to rethink the assumed trajectory of urban development. Drawing inspiration from anti-gentrification resistance across the U.S., decolonization movements, and Afrofuturism, this exhibition gives permission to imagine, to dream, to unleash and explore ways in which socially-just futures can exist for city communities.
https://apexart.org/yu.php?utm_source=eflux&utm_campaign=IDF_Opening&utm_medium=announcement

Works on view take a variety of approaches to examine and suggest strategies for the challenges in cities like Hollywood, Philadelphia, New Orleans, New York City's Chinatown and Brooklyn's Sunset Park.

Artists: Black Quantum Futurism; Imani Jacqueline Brown; Sandra de la Loza; Chinatown Art Brigade; Robin Holder; Betty Yu; and Radical Housing Manifestos (Thomas Agnotti; Alicia Grullon; Hate Free Zone; Lynn Lewis, The Picture the Homeless Oral History Project; Antoinette Martinez, Protect Sunset Park; Robert Robinson; Pati Rodriguez, Mi Casa No Es Su Casa; Samuel Stein; Sunset Park Popular Assembly)

Imagining De-Gentrified Futures is an apexart Invited Curator Exhibition.

Related Online Events – RSVP required:
Imagining De-Gentrified Futures Virtual Walkthrough
November 4, 6-6:45pm
Join us for a virtual tour of the exhibition with curator Betty Yu. We will "walk through" the virtual exhibition space, and learn about the ideas and research behind the exhibition as well as the artists and contributors. There will be time for questions and dialogue.

Artist Talk: Envisioning Housing Futurisms
November 12, 6:30-8:30pm
How can art and culture be a catalyst for us to envision a world that is grounded in social justice and liberation? The artists, collectives, and cultural workers featured in the exhibition provide a counter-perspective to the dominant narrative that artists have only been complicit in gentrification.
https://apexart.org/yuartisttalk.php?utm_source=eflux&utm_campaign=IDF_Opening&utm_medium=announcement

Imagining De-Gentrified Futures Reading Group
December 1, 6:30-8pm
Explore ideas, texts, and media that expand on themes in the exhibition. Readings selected by Betty Yu will invite participants to discuss, reflect, and learn together.
Disrupting Gentrification in NYC
December 15, 6:30-8pm
Join us for a panel discussion that features New York City organizers, activists and scholars sharing their research, organizing strategies, and bold visions for successful, community-led anti-gentrification and anti-displacement movements.
https://apexart.org/yupanel.php?utm_source=eflux&utm_campaign=IDF_Opening&utm_medium=announcement

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5. Yvonne Rainer, Ishmael Houston-Jones, FF Alumns in the New York Times, now
online

Please visit this link:
https://www.nytimes.com/2020/11/03/arts/dance/the-grand-union-wendy-perron.html
thank you

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6. Danny Tisdale, FF Alumn, in Harlem, NY, November 19-20

Please visit this link:
https://www.harlemworldmagazine.com/hwm-summit/
thank you.

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7. Edward M. Gómez, FF Alumn, in Hyperallergic, now online at https://bit.ly/3n2P9Ek

Dear art lovers and media colleagues:

My article about an exhibition of unusual, small-format drawing-collages by the Austrian self-taught artist Leopold Strobl, which are now on view at Ricco/Maresca Gallery in Manhattan, has just been published in HYPERALLERGIC.

Strobl, who is associated with Galerie Gugging, part of the Art Brut Center Gugging, near Vienna, has shown his work in recent years both at that gallery and at Ricco/Maresca; together, both galleries have presented his work at the Outsider Art Fair in New York.

Strobl creates mysterious, postcard-size, semi-abstract images whose big blob shapes scurry across his pictorial space or hunker down in the landscape. Using photographs that he clips from newspapers, Strobl employs regular pencil and colored pencils to obliterate certain subjects in his found photos and create new compositions whose abstract forms feel monumental and ooze a strangely alluring air.

My article includes material from an exclusive, in-person interview I conducted with the artist at Galerie Gugging last year.

Admirers of classic modern art and minimalist art's exploration of the expressive power of pure form will find strong affinities between Strobl's compositions and that well-known modernist tendency.

You can find my magazine article here:
https://bit.ly/3n2P9Ek

I hope you'll enjoy reading it.

With best wishes...
Edward Gómez

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8. Kimsooja, FF Alumn, at Axel Vervoordt Gallery, Antwerp, Belgium, thru Jan. 21, 2021 and more

Kimsooja Current Exhibitions

Solo Exhibitions
Kimsooja: Planted Names
October 22, 2020 - January 21, 2021

Axel Vervoordt Gallery, Antwerp, Belgium moved, bent, or flattened, echo the maltreated bodies of the plantation workers. The carpet, according to art historian Sergio Bettini the “house of the one who has no house,” is for Kimsooja a heterotopic space. It is a place that is both bounded and multiple, at once a dwelling, a stela, and a site of commemoration.

Shown for the first time as a complete installation in Kanaal's Terrace Gallery, Planted Names will dialogue with the video work Bottari - Alfa Beach, recorded in 2001 on the Nigerian coast where enslaved people were traded and deported for unknown horizons; and with the installation Bottari, bundled textiles reminiscent of displacement and migration. According to Kimsooja, “homeland is not a topographically definable place, but a state of consciousness and belonging.”

Just ended

Kimsooja: Sowing into Painting
May 9, 2020 - November 1, 2020
Wanås Foundation - Wanås Konst, Sweden
Curators: Elisabeth Millqvist & Mattias Givell

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.

Other artworks on view at "Kimsooja: Sowing into Painting": Meta-Painting (2020), A Laundry Field (2020), To Breathe (2020), Thread Routes-Chapter I, II, IV (2010, 2011, 2014).

Group Exhibitions
We Do Not Dream Alone
October 27, 2020 - February 7, 2021
1st Asia Society Triennale, NY
Curators: Boon Hui Tan and Michelle Yun

Taking inspiration from a line in Yoko Ono’s 1964 publication Grapefruit, “A dream you dream alone may be a dream, but a dream two people dream together is a reality,” the title of the Triennial, “We Do Not Dream Alone,” attests to the power of art to resist our urge to silo during these uncertain times. Grapefruit, now considered a masterpiece of conceptual art, contains a series of “event scores” that provide instructions for simple, even daily actions the reader might enact as a way of life. These suggest the possibility of the efficacy of micro-actions and human agency, of particular resonance now when governments and public institutions seem to fail us.

Kimsooja presents To Breathe - The Flags (2012) video, where 246 national flags are mixed together to make a seamless and nonhierarchical cycle of images that cross-pollinate visual symbols of sovereignty and nationhood as a means to subvert the rigidity of borders and national identity.

The Light House
October 22, 2020 - January 31, 2021
Boghossian Foundation, Brussels, Belgium
Curators: Louma Salamé

The Boghossian Foundation explores manifestations of light in art and the sensations it causes. The exhibition The Light House invites the public to experience a succession of personal and collective experiences with light, mostly immersive, through the works of 21 major contemporary artists, spanning nearly 60 years of artistic production.

Apart from the neon works, each of the guest artists, from Japan, South Korea, Palestine, Morocco, the United States and Belgium, has produced pieces or installations specially designed for this exhibition. The Light House offers a circuit which revolves around five themes: celestial light, murky light, the experience of colour, in praise of shadow, neon lights and light bulbs.

Artists: Jean-Michel Alberola, Shezad Dawood, Róza El-Hassan, Mounir Fatmi, Mona Hatoum, Ann Veronica Janssens, Nadia Kaabi-Linke, Kimsooja, Joseph Kosuth, Adrien Lucca, Iván Navarro, Dennis Parren, Martial Raysse, Erwin Redl, Charles Sandison, Thomas Schütte, Kaz Shirane, James Turrell, Franz West.

DE-celerate
September 5 - November 29, 2020
Te Tuhi, Aotearoa, New Zealand
Curator: Gabriela Salgado

The exhibition DE-celerate attempts to capture the fluctuations in artists' thinking at the time of a worldwide pandemic. The basic human ability to adapt for survival meets the hope that better times may emerge from uncertainty. DE-celerate is articulated through artists’ works and live activations. Drastically limited by the travel restrictions preventing many artists’ visits, the activations take place instead through the invitation for audiences to take home or barter for certain objects. This process of exchange is one response to an increased appetite for human interaction after self-isolation.

The artists were asked to consider how isolation and confinement affected their thinking, and, by extension, their practices. For most of these artists, the fragility of the status quo, social atomisation, and the challenges posed to individuals’ health revealed by the pandemic caused them to slow down, and consider how to live with more empathy and compassion in relation to their environment.

Long Term Installation
A Needle Woman: Galaxy was a Memory, Earth is a Souvenir, 2014
Yorkshire Sculpture Park, Wakefield, England
Curator: Claire Lilley
This elegant, conical sculpture has transparent panels coated with nano polymer, a material that transforms light, giving an iridescence similar to that which occurs naturally on the wings of a butterfly or a beetle’s shell. The work alters dramatically with changing conditions, the nature and angle of light that hits it, and the position from which it is viewed. More info here

On View in Permanent Collections

EMST, The National Museum of Contemporary Art, Athens, Greece

The National Museum of Contemporary Art Athens (EMST) opened its doors again in February 2020, presenting its permanent collection that includes 172 artworks created by 78 Greek and foreign artists which are focused on the following topics: Memories – Claims – Political narratives, Limits and passages and Eterotopias – Mythology of the familiar – New perspectives.

Kimsooja's installation Bottari (2007 - 2014) is made with used Korean bedcover and used clothings from the formal director Ana Kafetsi’s and staff members’ donation during Kimsooja's solo show in 2007.

Mandala: Zone of Zero, 2003

Asian Art Museum - Seattle Art Museum, Seattle, US

Kimsooja was first inspired to create this work when she came across a gambling shop on New York City’s bustling Broadway. The circular jukebox, which she saw in the shop’s window, struck her as astonishingly similar to traditional Tibetan Mandalas—intricate designs meant to symbolize the universe and aid deep meditation. More info here.

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9. Dread Scott, FF Alumn, at Cristin Tierney Gallery, Manhattan, thru Nov. 23

https://www.cristintierney.com/viewing-room/15-quarantine-quotidian-featuring-melanie-baker-terry-berkowitz-peter-campus-malia/

Cristin Tierney Gallery is pleased to announce the online exhibition Quarantine Quotidian, opening Tuesday, September 15th, and continuing through November 23rd. This viewing room presents artworks that resulted from or directly relate to the ongoing pandemic, and includes painting, video, sculpture, and works on paper.

Quarantine Quotidian is organized by specific themes: politics, protest and the pandemic; the return to nature and the retreat to the suburbs; raiding the cupboard, stocking up and late capitalist shopping habits; reading the signs and staring at screens; and marking time. These themes represent some of the most common experiences and concerns that defined people’s time in quarantine. New works will be released every two weeks by artists Melanie Baker, Terry Berkowitz, peter campus, Malia Jensen, Joan Linder, T. Kelly Mason, Maureen O’Leary, David Risley, Dread Scott, Jorge Tacla, John Wood and Paul Harrison, and Tim Youd.

The pandemic of 2020 has changed many things, but isolation is perhaps its most keenly felt effect. Told to stay home and avoid groups, humanity has developed new rituals and activities to cope with the loneliness and uncertainty. Some people have reevaluated their urban lifestyles, and either moved out of major cities or found ways to escape into nature. In peter campus’ videograph virus 3, the artist presents a serene view of the leaves on a tree in his yard. As small changes in light and shadow ripple across the screen, we are drawn into the beauty of the landscape, given a reprieve for that moment from daily stress. Many of us have been shopping online more, bulk shopping, or delighting in trying new recipes or redecorating our homes. A dark side of this consumption is explored in David Risley’s watercolor Gunstore, which shows people waiting in line at a firearm store in Culver City after the lockdown was announced.

Our experience of time has been changed by the pandemic as days, weeks and even months have blended together. Works like Terry Berkowitz’s Nothing Happened Today—a video made from the artist’s Instagram documentation of her daily surroundings—acknowledge this new relationship with time by attempting to track it. Another arena in which we’ve felt this uncertainty is the political: in the US, it is an election year, the response to the coronavirus has been deeply politicized, and the country is undergoing another racial reckoning. Jorge Tacla’s oil and cold wax painting May 25, 2020 depicts a Black Lives Matter rally near the artist’s home in NYC. Its title refers to the date police killed George Floyd in Minneapolis. Dread Scott’s #whilewhite points out some of the many privileges that white people enjoy, like #GettingYourKidOutOfJailWhileWhite or #ThinkingSlaveryIsAThingOfThePastWhileWhite.

Screens have become even more essential in 2020, as we’ve used phones and computers to not only share anti-racist information and amplify melanated voices, but to also stay connected, work remotely, and get updates about the pandemic. Joan Linder’s Zoom drawings depict some of the artist and university administrator’s many video conferences with colleagues. The images are instantly recognizable, having become a regular part of social and professional life this year. For better or worse, we’ve put more online than ever before—and this mode of experiencing the world does not appear to be changing any time soon.

Quarantine Quotidian embraces the universality of the specific. Even separated we have shared in many of the major changes wrought by Covid-19. Quarantine Quotidian encapsulates the high- and lowlights of the year to date, functioning like a miniature record of the human experience during a time of great upheaval. Every two weeks, the gallery will publish a new selection of artworks to the viewing room according to the established themes. A schedule is below.

For more information please contact Candace Moeller at candace@cristintierney.com.

Full Schedule:

September 15-28: Raiding the Cupboard, Stocking Up and Late Capitalist Shopping Habits
with Malia Jensen, Joan Linder, David Risley, and John Wood and Paul Harrison

September 29 – October 12: The Return to Nature and the Retreat to the Suburbs
with peter campus, Malia Jensen and Maureen O’Leary

October 13-26: Marking Time
with Terry Berkowitz, David Risley, John Wood and Paul Harrison, and Tim Youd

October 27 – November 9: Politics, Protest and the Pandemic
with Melanie Baker, Dread Scott and Jorge Tacla

November 10-23: Reading the Signs and Staring at Screens
with Joan Linder, T. Kelly Mason, David Risley, Dread Scott, John Wood and Paul Harrison

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10. Susan Mogul, Joan Jonas, FF Alumns, at National Gallery of Art, now online

“Lynda Benglis and Her Contemporaries”
Presented by the National Gallery of Art in Wash DC
Streaming November 4 through November 10.

https://www.nga.gov/film-programs/lynda-benglis-and-her-contemporaries.html#

“This program of early video art pairs three of Benglis’s titles with the work of three other important artists: Joan Jonas, Shigeko Kubota, and Susan Mogul.”

Susan Mogul’s “Big Tip/Back Up /Shut Out” (1976, 10 min) has rarely been seen. Take advantage of this opportunity that only lasts for seven days.

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11. Dusty Grella, FF Alumn, now online at https://dustystudio.com/animation-hotline/

Please visit this link: https://dustystudio.com/animation-hotline/
Thank you

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12. George Peck, FF Alumn, at Hegyvidéki Gallery, Budapest, Hungary, thru Dec. 30

Dear all,
I am writing to you today with exciting news about an upcoming exhibition at Hegyvidéki Gallery in Budapest, Hungary:

Moholy-Nagy 125, Moholy's Works from the Antal-Lusztig Collection and Moholy Reflections

Opening November 10th and organized by Katalin T. Nagy, this exhibition was born from another that took place in the Collegium Hungaricum in Berlin in 2019 for the anniversary of the Bauhaus: From the Brush to the Camera. Works of Moholy-Nagy and his Contemporaries in the Antal-Lusztig Collection / Moholy Reflections. It consisted of a selection from the Antal-Lusztig Collection — the biggest private collection in Hungary — and included works by contemporary artists. My work - MC / a kit - was installed on a big window of the institute, which could be seen from the street as well.

Moholy-Nagy 125, Moholy's Works from the Antal-Lusztig Collection and Moholy Reflections has been organized in honor of the anniversary of Moholy-Nagy and will be on view at the Hegyvidéki Gallery until December 30, 2020.

For a sneak peak of what's to come: https://vimeo.com/475625744

Stayed tuned for the next Studio Update.
Keep safe and stay strong.

George

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13. Yura Adams, FF Alumn, at Russel Sage College, online Nov. 12

Hello everyone -

As part of the exhibition “Unraveling”, Opalka Gallery, I will give an artist talk on my work Thursday, November 12th at 6:30, via zoom.
The zoom link: https://russell-sage.zoom.us/j/98810269744

Current developments in my painting practice, a background in performance art, photography, sound and installation art with be part of the discussion.

Hope to see you then! Yura

“Unraveling” is currently on view until December 19th, exhibiting the work of Joan Grubin, Christina Tenaglia, Ruby Palmer and Yura Adams, curated by Yura Adams.

Where: Opalka Gallery, Russell Sage College, 140 New Scotland Ave, Albany, NY 12208, 518-292-7742. www.opalka.sage.edu

Hours of Gallery: Tuesday-Saturday, noon to 5pm, and Thursdays til 8pm for physical visits.
The gallery is adhering to all the safety protocols or safely spaced, masked visits during business hours.

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14. Dan Perjovschi, FF Alumn, at Jane Lombard Gallery, Manhattan, opening Nov. 14

Dan Perjovschi
The Nightmare It Is / The Nightmare It Was
November 14th - December 19th
Opening: November 14th, 1 PM - 4 PM

Jane Lombard Gallery is pleased to present its inaugural Tribeca exhibition, The Nightmare It Is / The Nightmare It Was, a new two-part series of works by Romanian artist Dan Perjovschi. The 2020 presidential campaign has proven itself to be an unpredictable landscape, as political, cultural and economic gaps, interwoven with tensions from the COVID-19 pandemic, have carved divisions between the American people. Drawing on US-centric political subjects, from life and the media, Perjovschi’s exhibition investigates challenging discussions surrounding tensions between the two American parties and how fact can so easily be obscured into fiction. The Nightmare It Is / The Nightmare It Was is on view from November 14 - December 19, 2020 with a public opening on November 14th from 1-4PM.

The first installment of the two-part exhibition, The Nightmare It Is, will feature daily drawings by Perjovschi displayed on the inside of the main gallery window for contactless street viewing starting November 2nd. Utilizing water-based window paint and shorthand application, the rotating installation acts as a visual think board, providing a temporary and evolving platform for statements meant to encourage voters, reflect on America’s response to quarantine, and react to potential futures. The Nightmare It Was, premiering on November 14th, will be the debut exhibition in the gallery’s new space and will present a new body of work of illustrative commentary on a range of interconnected political issues that resonate on a transnational scale. The exhibition was made not only as a response to general U.S. political commentary, but also commentary on the country’s response to crisis. Presenting us with quick witted editorials that defy art world binaries, Perjovschi’s drawings are not cartoons, nor comics or graffiti, but conscientious visual and journalistic responses to socio-political unease. His intent is not to shock, but to understand. His works are imbued with an undeniable sense of humor, a necessity in these trying times.

As part of the exhibition, there will be an interactive installation* where viewers are encouraged to create their own chalk drawings that will act as a judgement-free platform for dialogue. Whether they exist as political commentaries or simple thoughts in that present moment, the space upholds an evolutionary through-line to the work.

Dan Perjovschi’s satirical works are sketchbook interventions with images and text in news, transforming the gallery into a space of relatable frustrations with socio-political conditions. Maintaining an ephemeral foundation, Perjovschi does not ignore the inherent contradictions of the socio-economic privileged arena where his work can be found. To violence, opulence and extremism, he responds with puns, laughter and ridicule as the protection of freedom. He lives and works in Sibiu, Romania. Perjovschi has exhibited worldwide, including: Franklin Furnace Archive and the Museum of Modern Art in New York, NY; the Art Institute of Chicago, IL; Hamburger Kunsthalle, Hamburg, Germany; MOT Museum of Contemporary Art, Tokyo, Japan; Museum of Contemporary Art Kiasma, Helsinki, Finland; the 48th and 52nd Venice Biennale; 9th Istanbul Biennial; Hamburger Bahnhof, Berlin, Germany and Manifesta 2, Luxembourg. Perjovschi has won prizes such as the Princess Margriet Award of the European Cultural Foundation and the George Maciunas Prize. His work is in the collections of the Ludwig Museum, Budapest, Hungary; the Museum of Modern Art, New York, NY; Center Pompidou, Paris, France; Moderna Museet, Stockholm, Sweden and the Tate, London, UK.

Jane Lombard Gallery, although (re)opened in 2015, has a 25 year history and an established reputation for bringing to the forefront artists who work within a global perspective/aesthetic relevant to the social and political climate of today. The gallery seeks to promote both emerging and mid career artists in a variety of media - painting, sculpture, installation and film - in the US, Europe and Asia. Formerly Lombard Freid Projects, founded in 1995 in Soho, the gallery later moved to Chelsea, first to 26th Street and later to 19th Street in 2010. The gallery is now located in Tribeca at 58 White St.

COVID-19 Procedures
Beginning November 14th, the gallery is open (by appointment only, with walk-ins accepted depending on current number in the gallery, during set hours). Please check the gallery website for hours of operation, as they are subject to change. Masks are required for entry, temperatures will be taken at the door and sanitizer will be provided through no-touch sanitizer station(s). Guests will be required to sign in with their name and a valid email to assist with our contact tracing efforts. In addition, the gallery has installed a special air duct system that isolates the different areas of the gallery creating zones of supply and return air to prevent air mixing between spaces. There are also UV-C lights inside every supply duct to prevent the build up of mold, viruses & bacteria. For The Nightmare It Was, chalk will be single use for the interactive installation, and guests can either access written exhibition content through printed material available at the front desk or contactless viewing through the use of QR codes and the individual’s smartphone.

Related Programming
Ministry of Truth: 1984/2020:
In a collaboration between Art at a Time Like This and Save Art Space, the public art exhibition Ministry of Truth is now on view! The exhibition features 20 billboards by 20 different artists, including Dan Perjovschi. Located among the 5 boroughs of New York City, each billboard responds to the harrowing state of U.S. politics leading up to the election.

Visit Dan Perjovschi’s billboard work, Virus Diary (Moron), 2020 located at 43rd Road and 11th St. in Long Island City.

READ MORE: http://www.saveartspace.org/artatatimelikethis

Media Contact
Lainya Magaña | A&O PR
347.395.4155
lainya@aopublic.com

Jane Lombard Gallery
58 White Street
New York, NY 10013
info@janelombardgallery.com
212.967.8040

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15. Mierle Laderman Ukeles, FF Alumn, at the 8th Floor, online Nov. 12

Please Join Us for
From Touch Sanitation (1979-1980) to For ⟶ forever… (2020):

Two Works by Mierle Laderman Ukeles Respond to a City in Crisis
Thursday, November 12, 2020
1 to 2:30pm EST
This event will be held on Zoom

RSVP Here: https://www.eventbrite.com/e/mierle-laderman-ukeles-in-conversation-with-sara-reisman-and-sally-tallant-tickets-127217481913

The Queens Museum, in partnership with the Shelley & Donald Rubin Foundation, present a conversation with artist Mierle Laderman Ukeles, SDRF Executive and Artistic Director Sara Reisman, and Queens Museum Executive Director Sally Tallant, who will discuss the eerie connection between two NYC crises: the fiscal crisis of the 1970’s and the Covid-19 pandemic. The response to these emergencies is what binds and fuels Ukeles’ Touch Sanitation (1979-1980); her current three-part public art installation For ⟶ forever… with Queens Museum, Times Square Arts, and MTA Arts & Design; as well as her participation in the Foundation’s upcoming exhibition To Cast Too Bold A Shadow.

The Shelley & Donald Rubin Foundation and Queens Museum recently partnered to realize Mierle Laderman Ukeles’ museum-wide retrospective Mierle Laderman Ukeles: Maintenance Art at Queens Museum in 2016-2017.

Access Information: This event has closed captioning as well as ASL interpretation.

For more information on this event, please click here: https://www.the8thfloor.org/upcoming-events/2020/10/17/from-touch-sanitation-1979-1980-to-fornbsp-nbsp-forever-2020-two-works-by-mierle-laderman-ukeles-respond-to-a-city-in-crisis

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16. George Bolster, FF Alumn, at Irish Arts Center, online Nov. 17

A Brief History of Art and Radio Astronomy
Irish Arts Center, Solas Nua, and Ulterior Gallery co-present a conversation with MASS MoCA curator Denise Markonish and artist George Bolster, moderated by curator Miranda Driscoll.

Bolster discusses the work featured in his first solo exhibition with Ulterior, Tearing at the Fabric of Your Reality, developed during Bolster’s multi-year residency at the Search for Extraterrestrial Intelligence Institute (SETI), and through subsequent interviews with Kepler Mission scientists from NASA Ames in Northern California.

Tuesday, November 17
1pm EST (6pm IST)

REGISTER TO JOIN THE ZOOM WEBINAR: https://irishartscenter.org/event/at-home-with-irish-arts-center-a-brief-history-of-art-and-radio-astronomy?utm_source=wordfly&utm_medium=email&utm_campaign=artandradio&utm_term=ded&utm_content=version_A

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17. Richard Ledes, FF Member, online at https://youtu.be/6lBq_GBC56c Nov. 11

Experimental Video Art Inspired By “The Masque of the Red Death” by Edgar Allan Poe

The latest video from filmmaker Richard C. Ledes, in collaboration with dancer and interdisciplinary artist Alisha Trimble, is inspired by Poe’s story The Masque Of The Red Death and its relevance to our experience of the pandemic today. Using video art to create a mesmerizing visual experience, the piece combines dance, music and color. Because of the challenges of Covid 19, filmmaker Ledes used an iPhone 11 to record Zoom sessions of artist Trimble dancing and also creating the costumes designed specifically for this piece. The music commissioned for the video is composed by French musician/composer Louis Moutin, co-founder of the Moutin Factory Quintet. The quintet is one of the most innovative and exciting jazz quintets playing modern post-bop jazz today. This music underscores the contemporary resonance of Poe’s classic story.

Director, producer and writer Richard C. Ledes’ film FRED WON’T MOVE OUT was named by the BFI (British Film Institute) one of the 10 essential films of legendary actor Elliott Gould (MASH, THE LONG GOODBYE). Ledes’ film THE CALLER won Best NY Narrative Feature at the Tribeca Film Festival.

Alisha Trimble is a known leader in designing sustainable fashion. Her work has been featured in ELLE, WWD, The New York Post, Creem, Stylist, L’Officiel, Racked, and Grazia..

The video will be a YouTube Premiere at 11am on November 11th, with additional opportunities that same day to speak and interact with the artists online about their working process. Website: www.themasquepoe.com.

YouTube: https://youtu.be/6lBq_GBC56c

Teaser: https://youtu.be/oz00nEE3834

Richard C. Ledes available for interview 917 400 1988

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18. Georgia Lale, FF Alumn, live online, Nov. 15

GEORGIA LALE STUDIO

THE IMMIGRANT ARTIST BIENNIAL
TIAB 2020:
Mother Tongue Performances Part One

SUNDAY, NOVEMBER 15, 2020
6:00 PM - 8:00 PM EST

Join us on Sunday, November 15th 2020, 6-8pm ET for Mother Tongue: Performances Part One virtual evening with works by Georgia Lale, Marcela Casals and Silkworm Pupas (Jiaoyang Li & JinJin Xu).
Register on ZOOM: https://zoom.us/meeting/register/tJIocuCsqjItH90BZV91G1i75pNAkODB_hhp

"3" performance. Duration: 3 hours. Date: November 15, 2020. Documentation by Petros Lales

Copyright © 2020 *lalegeorgia.net*, All rights reserved.

Our mailing address is: lalegeorgia@gmail.com

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Goings On is compiled weekly by Harley Spiller