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Contents for June 28, 2021

Moira Roth, FF Alumn, In Memoriam

Please visit this link:

https://www.artforum.com/news/moira-roth-1933-2021-86151

Thank you.

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Weekly Spotlight: Cloud Seeding Circus, FF Alumns, now online at https://franklinfurnace.contentdm.oclc.org/digital/collection/p17325coll1/id/5/rec/1

This week we spotlight Cloud Seeding: Circus of the Performative Object, a 62-minute piece performed in NYC on September 22, 2000. Cloud Seeding consists of Florida, New York City, and California based artists Jesse James Arnold, Kelie Bowman, Alan Calpe, George Ferrandi, Christy Gast, William Heath, Dave Herman, Stephanie Hutin, David McQueen, and John Orth, who join one another in the creation of a fantastical and comedic performance alluding to the traditional traveling circus. Cloud Seeding is a musical love-story featuring unusual characters including giant crustacean villains. Monologues and dances by an ornately dressed ventriloquist and the last mermaid in Florida are just some of this perfomrance's bizarre and captivating features offering an escape from the mundane. (text by Rahna Morgan, FF Intern, Spring 2021)

Please watch here:

https://franklinfurnace.contentdm.oclc.org/digital/collection/p17325coll1/id/5/rec/1

Thank you!

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1. Martha Wilson, FF Alumn, live online at White Columns, June 30th

Wednesday, June 30
5pm EST
REGISTER HERE:
https://us02web.zoom.us/webinar/register/WN_bpSrS_87SxqEzJHtq02aSg
White Columns is pleased to announce ‘White Columns TALKS’ – a series of conversations with artists and curators held on the occasion of our 50th anniversary exhibition “From The Archives: White Columns & 112 Greene Street / 112 Workshop, 1970 – 2021…” which is on view through July 31.
The second conversation in the series is between artist and Franklin Furnace-founder Martha Wilson and White Columns’ director Matthew Higgs. Wilson will read from, and discuss, her 1975 project Truck, Fuck, Muck originally presented at 112 Greene Street.
Martha Wilson (b. 1947) is a pioneering feminist artist and gallery director, who over the past four decades has created innovative photographic and video works that explore her female subjectivity through role-playing, costume transformations, and “invasions” of other people’s personae. In 1976 Wilson founded and continues to help direct the iconic artist-run space Franklin Furnace.
Wilson was described by New York Times critic Holland Cotter as one of “the half-dozen most important people for art in downtown Manhattan in the 1970s,” and she remains what curator Peter Dykhuis calls a “creative presence as an arts administrator and cultural operative.” Wilson had her first solo exhibition in New York in 2008 at Mitchell Algus Gallery; in 2009 an exhibition of her early photo/text work Martha Wilson: Staging the Self toured internationally under the auspices of ICI (Independent Curators International); and in 2011, ICI published the Martha Wilson Sourcebook: 40 Years of Reconsidering Performance, Feminism, Alternative Spaces.

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2. Beatrice Glow, FF Alumn, now online at University of Minnesota

Please visit this link:

https://editions.lib.umn.edu/panorama/article/asian-american-art/beatrice-glow/?fbclid=IwAR2AErqMjO0Nx8TzT63jbNUxi66i6ybueBqWwg2MfsZush-OREVYJ17cPng

Thank you.

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3. LAPD, FF Alumns, at The Box, Los Angeles, CA, July 1

Los Angeles Poverty Department (LAPD)
public conversation Compassion & Self-Deception
https://www.lapovertydept.org/compassion-self-deception-conversation-7-1-2021/
Thursday, July 1, 2021
6:30 PM – 8 PM
at The Box LA

The July 1 conversation with Pastor Cue Jn-Marie, Aryen Cohen, Matt Harper, and Robby Herbst, moderated by UCR Professor of religious studies, Michael Scott Alexander, will be an opportunity dialogue further about the moral crises of a city (ours) that votes to create housing for homeless people –and then doesn’t want any of it built anywhere near them: whether that be permanent housing, or temporary housing, and contradiction induced stasis --- what perpetuates it and how to undo it.

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4. Carlos Martiel, FF Alumn, at Abrons Art Center, Manhattan, thru Aug. 22

Please visit this link:

https://www.abronsartscenter.org/program/counterflags/?fbclid=IwAR1dZPfBXh8g3DlYh279TYquH5AfXry9ByYWu7ywLxedF5CffNet8wNodC0

Thank you.

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5. Lady Pink, Jenny Holzer, Andy Warhol, FF Alumns, now online in The New York Times

Please visit this link:

https://www.nytimes.com/2021/06/24/arts/design/basquiat-street-artists-hip-hop.html?referringSource=articleShare

Thank you.

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6. Maureen Connor, Christy Gast, Brooke Singer, FF Alumns, at Unison Arts Sculpture Garden, New Paltz, NY, thru June 2022

how to perform abortion
(Maureen Connor, Landon Newton, Kadambari Baxi with Eugenia
Manwelyan) invites you to visit Found (abortion) Monument
Part of Owning Earth, a new outdoor sculptural exhibition in the Unison Arts
Sculpture Garden.

Opening Saturday June 26, 1:00pm-4:00pm On view through June 2022
2:00pm Exhibition Walk-Through with Curator Tal Beery

Unison Arts Sculpture Garden
68 Mountain Rest Rd.
New Paltz, NY 12561
While our practice often involves the planting of herbs and plants that can be used
to induce abortion, for Found (abortion) Monument we began with an existing field of
native plants and grasses. As with many fields and meadows growing wild, herbs
that induce abortion already flourish there.
Since late spring 2020 We have closely followed the growth of the meadow at
Unison and discovered abortion herbs such as Queen Anne’s Lace, Goldenrod,
Milkweed, Red Clover and others growing wild through the season. Our garden
is now a 35’ x 90’ rectangular section of the field that contains these herbs. We
have created walkways through it, mapped the garden with multicolor parachute
cord and used signs to label the various patches of herbs.
Many of these herbs were discovered thousands of years ago as wild plants and
often remain so. By planting, or in this case simply finding and identifying, herbs
that have been used over millennia for abortion, we aim to counter the ancient
and ongoing patriarchal repression of knowledge about herbal reproductive
control. By titling the project ‘Found (abortion) Monument’ we wish to draw
attention to the ubiquitous nature of these plants and to claim that every field and
meadow in which abortion herbs grow, literally, as “weeds” is also a monument
to abortion.

how to perform an abortion is an intergenerational arts collective aimed at
shifting culture and law in favor of reproductive justice.

With support from Foundation for Contemporary Arts Emergency Grant
Produced in collaboration with River Echevarria and Alex Patton of Tree Weaves. https://treeweaves.com/

Free and Open to the Public.

Owning Earth is an outdoor sculptural exhibition in the Sculpture Garden at
Unison Arts in New Paltz, New York. The exhibition features 20 original
installations that challenge notions of ownership and domination over our
environments and imagine alternatives based in mutuality and reverence.
Artists: Sariah Park, Colin Lyons, Jean-Marc Superville Sovak, Brooke Singer,
Christy Gast, Eliza Evans, Emilie Houssart, Matthew Friday & Alex Young,
Alejandro Chellet, Melinda Kiefer, Sam Spillman, Eileen Wold, Eleanor King &
Lucy Pullen, Michael Asbill & Derek Stroup, Joel Olzak, Sarah Max Beck,
Robert C Beck, and how to perform an abortion (Maureen Connor, Landon
Newton and Kadambari Baxi with Eugenia Manwelyan)

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7. Mabou Mines, FF Alumns, live at 150 1st Avenue, Manhattan, thru July 18

MABOU MINES AND RESTLESS NYC
present
ARCHIVE: this was the end
A LIVE AUDIO/VISUAL INSTALLATION
SATURDAYS AND SUNDAYS 12-6PM
JUNE 12 – JULY 18, 2021

MABOU MINES
150 First Avenue, 2nd Floor
New York, NY 10009
* THE INSTALLATION RUNS ON A 45 MINUTE LOOP, STAY AS LONG AS YOU LIKE *
KIDS WELCOME!
Tickets here: https://ci.ovationtix.com/3092

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8. Jim Johnson, FF Alumn, now online at Discopie.com

Happy Summer Solstice!

I almost got this message together in time for Father’s Day. Happy Father’s Day to all you dads!

New work has just been posted to my web site on the Drawings page:

http://discopie.com/Drawings/Drawings1.html

and the Gouache Paintings page: http://discopie.com/Gouaches/Gouaches.html

And there’s also a few new paintings on the Magic Squares page:

http://www.discopie.com/MagicSquares/MagicSquares.html

Thanks for visiting. Let me know if you have any questions or comments.

Peace,

Jim

Jim Johnson
jim@discopie.com
www.discopie.com
@coaster_break
johnson807

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9. Joseph Nechvatal, Bradley Eros, Lydia Lunch, Vernita Nemec, Carol Parkinson, Kiki Smith, FF Alumns, now online at DubLab.com

A Tellus Audio Cassette Magazine Special aired June 24th, 2021 on dublab.com, with Tellus co-founders Carol Parkinson and Joseph Nechvatal joining dublab host Frosty for a survey of the project’s mission and history and a selection of Tellus archival recordings. The program has been archived here: https://www.dublab.com/archive/frosty-w-carol-parkinson-joseph-nechvatal-celsius-drop-a-tellus-audio-cassette-magazine-special-06-24-21

warm regards

Joseph Nechvatal

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10. Judith Bernstein, FF Alumn, now online

Please visit this link to Arte's new film "Storfaktor Kunst: Feminismus" featuring Judith Bernstein, FF Alumn:

https://vimeo.com/542600378/7eece5e9cb

Thank you.

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11. Simone Forti, FF Alumn, at Centro Pecci, Prato, Italy, thru Aug. 8

Simone Forti Senza Fretta
June 19 – August 8, 2021
at Centro Pecci, Prato, Italy

An internationally renowned artist, a key figure in the development of performance from the late 1950s to the present, Simone Forti moved to Los Angeles in 1938 with her family, originally from Prato. Her seminal work is the focus, from 19 June to 29 August 2021 at the Centro per l'arte contemporanea Luigi Pecci, of her first major exhibition in an Italian museum: Senza fretta curated by Luca Lo Pinto and Elena Magini. Senza fretta has been envisioned as a large landscape with a special display approach designed in close collaboration with the artist, reflecting the natural evolution of her work through a simultaneously political and personal perspective. https://centropecci.it/it/mostre/simone-forti-senza-fretta

On a weekly basis, the exhibition also presents several historic performances by the artist, including Scramble, Sleep Walkers / Zoo Mantras – performed by Sarah Swenson, Forti's collaborator for many years – Song of the Vowels, Cloths and – for the first time – the piece titled Rollers, a primary movement and part of the artist’s vocabulary, seen here as a complete work. The itinerary concludes with the Bag Drawings, a body of original drawings, created during the lockdown in the spring of 2020: a series in which the artist has worked on grocery bags as a direct expression of an emotional condition linked to familiar everyday things.

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12. Nancy Azara, FF Member, at A. I. R. Gallery, Brooklyn, opening July 2

High Chair and Other Works
A.I.R. Gallery
July 2 - August 1, 2021
Opening Reception: Friday July 2nd, 12-6pm,

I will be at the gallery on Friday between 4pm and 6pm and would love to see you! Nancy

A.I.R. Gallery is pleased to announce High Chair and Other Works, an exhibition by Nancy Azara. Sculpture, mixed media collage banners, and small paintings stand in the gallery as embodiments of the artist’s spirit and early memories. Throughout the show, Azara balances instinctive mark making against more considered decisions. She ultimately arrives at a dynamic interplay between deliberate manipulation of materials and image and the operation of chance, engaging intuitively with journeys of the spirit, reflections on the passage of time, and the primal essence of womanhood.

Nancy Azara is a sculptor based in New York City. Her work has been shown extensively, most recently in a solo show Gold Coat with Red Triangle, Gallery Z, NYC; Crow and Sandal Series and Other Works at Kaaterskill Gallery, Hunter Village, NY; Labyrinths of the Mind, Kleinert/James Center for the Arts, Woodstock, NY; Nancy Azara: Nature Prints at Saint John’s University, Queens, NY; and Crossing Boundaries: Material as Message at (RoCA), West Nyack, NY.

Azara is the author of Spirit Taking Form: Making a Spiritual Practice of Making Art (2002), available through Red Wheel/Weiser. She has taught many workshops and classes. www.nancyazara.com

A.I.R. Gallery
155 Plymouth St., Brooklyn, NY 11201
(212) 255-6651
info@airgallery.org
www.airgallery.org
Gallery hours: Wed - Sun, 12-6pm

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13. Muntadas, FF Alumn, at the Museo de Bellas Artes, Bilbao, thru Sept. 5

We are pleased to inform you about the exhibition ‘Muntadas. The Empty City’ which is being held at the Museo de Bellas Artes in Bilbao until September 5.

Antoni Muntadas, born in Barcelona in 1942, is a historical figure of "critical art" and a pioneer in multimedia art; usually identified by his simple surname, Muntadas, since the mid-1970s he has been questioning the places of demonstration of political power, whether it be architecture in urban space, the media or the various manifestations of culture.

The exhibition ‘Muntadas. The Empty City’ also presents three older works by the artist, in which Muntadas deals more specifically with the theme of the city, landscape and territory ‘Derive Veneziane’ (2015), ‘Guadiana’ (2017) and ‘Finisterre’ (2017) and which serve, in his words, as "footnotes" to the project on Bilbao.

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14. Regina Vater, FF Alumn, at Museu de Arte São Paulo, San Paulo, Brazil, opening July 2

We are happy to announce that Regina Vater’s work will be featured in MASP’s Video Room 2021 program, as part of the Brazilian Stories cycle, alongside artists Ana Pi, Teto Preto, Zahy Guajajara and Dominique Gonzalez-Foerster.

Open from July 2 - Aug. 8 2021

MASP
Av, Paulista, 1578
01310-200
São Paulo, Brasil

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15. Vito Acconci, Laurie Anderson, Alana Heiss, Robert Mapplethorpe, Nam June Paik, Andy Warhol, FF Alumns, now online in The New York Times

Please visit this link:

https://www.nytimes.com/2021/06/24/arts/music/diego-cortez-dead.html?searchResultPosition=1

Thank you.

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16. Sarah Hampton Laplante, FF Alumn, publishes new book

“To My Companion: within the room within the room”
New book by Sarah H. Paulson
Published by The 3 Lights Press

Purchase the book here:
https://schoolof3lights.org/books-1

“To My Companion”, a compilation of poems from the heart, emerges from deep within the mystical path of love. These poems speak of the feminine, the earth, the muse, and the passion of and for creation.
"In 2018, Laura C. Stelmok invited me to join her in an annual winter artist residency in Whitefield, Maine. The poems in this small book are the beginning of an ongoing dialogue of love and serve as a living document of our time together."  -Sarah H. Paulson
‘To My Companion: within the room within the room’ is published by The 3 Lights Press. The School of 3 Lights, a school for the muse, is housed by The Unseen Hand: Medicine from Antiquity, a non-profit school dedicated to making available the esoteric teachings and practices of an ancient mystical lineage.
“To My Companion: within the room within the room”
By Sarah H. Paulson
Published by The 3 Lights Press
(Cover art by Laura C. Stelmok)
$12

Available for purchase via The School of 3 Lights:
https://schoolof3lights.org/the-3-lights-press/p/to-my-companion

Hope you enjoy it!

Sarah H. Paulson
www.sarahhpaulson.com

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17. Jibz Cameron, FF Alumn, online at Gallery Platform, Los Angeles, CA, thru July 7

Jibz Cameron: Drawings
Online June 24

“May I never stop drawing. Drawing is seeing. I love to draw animals, or things I come across all the time, like refrigerators, to investigate what I know about them. And I love to see how others see.”
— Jibz Cameron, Artforum, November 2017

Maccarone is pleased to present Jibz Cameron: Drawings, the first exhibition of works on paper by Los Angeles-based artist Jibz Cameron, a.k.a. Dynasty Handbag, curated by William J. Simmons. The exhibition, the artist’s debut with the gallery, features a selection of drawings created between 2011–2021, as well as two single-edition NFTs and a limited-edition giclée print, and will be presented in a virtual viewing room on maccarone.net on June 24, 2021 alongside a presentation on Gallery Platform LA from June 24 – July 7.

It is difficult to overstate Cameron’s cultural influence, from her impact on avant-garde queer theories and art histories (for example, her inclusion in the epochal Cruising Utopia: The Then and There of Queer Futurity by late cultural theorist José Esteban Muñoz) to the fabulous DIY awkwardness of hipsters and queers coalescing at Weirdo Night, Cameron’s monthly variety show which has become a staple of the Los Angeles cultural landscape. For Cameron, these multiple worlds (elevated, awkward, arcane, accessible, private, public, film, performance, etc.) are interconnected not by some postmodernist gesture of “democratization” or “interdisciplinarity,” which her work certainly exhibits, but by an acknowledgment that all our lives exist multiply, and from colliding versions of ourselves emerges pathos and humor.

Drawing has remained a constant practice alongside the film, video, and performance work of Cameron, who moved to L.A. in 2015 to pitch a television series developed with actor Jack Black, brought her avant-garde performance to a wider public with her acclaimed Weirdo Night, and recently sold a short series to FX network titled Garbage Castle, on hold due to the pandemic. All the while, working on paper has been a way for Cameron to explore and develop the ideas and emotions involved in projects like these. Jibz Cameron: Drawings is the first opportunity to view her collection of works on paper as a whole, offering unparalleled insight into her wider creative process.

The intimacy of Cameron’s drawings reveal a microcosm as well as a universe, a city of lesbians in a petri dish. As with the work of other queer icons like Greer Lankton, there is an impulse to assign a degree of repulsiveness or abjection to her frenetic, demonic figures, but these dismembered, multicolored bodies and lactating human centipedes reveal themselves to be friends and confidants, created with a wry though not necessarily ironic wit and a degree of care that we might give to our most treasured but perennially hidden emotions. “To believe one’s self to be a lovable monster is a cliché, maybe, but it is still a powerful wish,” writes curator William J. Simmons. “It is the wish of queers, nerds, freaks, and losers, and it is a wish we can continue to have in the sweaty armpits of Jibz Cameron.”

About Jibz Cameron
Jibz Cameron’s multimedia performance work as alter ego Dynasty Handbag has spanned over 15 years and has been presented at arts venues such as the New Museum of Contemporary Art, The Broad Museum, the Hammer Museum, REDCAT, The Kitchen, BAM, and Centre Pompidou, along with a jillion dives and mop closets. Her work has been heralded by The New York Times as “the funniest and most pitch perfect performance seen in years” and “outrageously smart, grotesque and innovative” by The New Yorker. She has written and produced numerous performance pieces, dozens of video works, and two albums of original music. She is a 2020 Creative Capital Award recipient and a 2021 United States Artist Grantee. Jibz produces and hosts Weirdo Night, a popular monthly comedy and performance event in Los Angeles. Her film Weirdo Night, directed by Mariah Garnett (a movie version of the live show) is a 2021 Sundance Film Festival selection. She is forever in development with FX for her short series Garbage Castle.

For more information, please email press@maccarone.net.

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18. Nicolás Dumit Estévez Raful Espejo Ovalles, FF Alumn, live online July 10

The Eyes in My Hand /An online healing and drawing mini-retreat / Conceived and taught by Nicolás Dumit Estévez Raful Espejo Ovalles

Presented with the Therapeutic Touch International Association

July 10, 2021
12 Noon - 2:30 PM Eastern

To RSVP: https://r20.rs6.net/tn.jsp?f=001rtmqMVYFF47BpmxUIQWHrCoer1kkT20xWPYVdpO7qy6WcgjlNeJAy6ZLLTbgAgQx2C3A5txnC8fZOCW1IScnSYCQwSQ4Xr8t-QyxM2Uj-S85w_HXPSLc4scfXA0ABbmH8xGhjEY5GQi4rGoKA3MqKDXb7akkaQ1uRZWK4JF9We9CRLLCF7BV58AId9Srm9yiRwS52zQOyJs9DqTW7DztsO44LlLqgdzE1yRLD4R52oE=&c=NDUTEpE2gT2Sk7zmaCG1qQ29NUIr_NrRg_25TZbxwHOaODfhdjkogA==&ch=kt2hg-Sd_6Wex4jLhKiA0SaG4ZkS3Smzz9mL6gJPeT4LEGDD_7O10A==

Open to All
As part of this two and a half hour engagement, Nicolás initially guides the group to do some simple centering practices. He then invites attendees to immerse themselves in an open exploration of energy as it pertains to the body and how our hands may work assessing, modulating and treating this energy, but also intuiting it and manifesting it at a visual level through drawing. What is it that our hands can observe that words might not be able to fully describe? What are the colors, forms and patterns that our hands might come in contact with as they interact with our field of energy that they can render more closely through images rather oral or written language? Those part of The Eyes in My Hands will get to work in dyads, performing a full Therapeutic Touch treatment for each other and later using colored pencils, markers, watercolors— but preferable oil pastels (cray-pas)— to spend time individually to generate a post treatment drawing in silence. Attention is paid to unconscious messages received in regards to the body and in connection to the physical, emotional, mental, intuitional, and transpersonal fields. The retreat will close with a meditation and an opportunity for all to share. No drawing expertise required. Bring paper and drawing supplies.

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19. Rev Billy, FF Alumn, now online at You Tube and more

This is the 20th year of our activist theater company. But a celebration seems grotesque, with this science fiction-like strangeness we live in. Performing with Annie Sprinkle and Beth Stephens, as we have over the years, seems like a way to find a new kind of activism for the Earth. Their new book “Assuming the Eco-Sexual Position” brings a new dimension to the phrase Loving The Earth.

Consumer society is greeting this accelerating extinction with a world-wide shrug of the shoulders. What can we do to arouse a response? It’s true we have a success - our 7 year campaign against glyphosate in NYC parks - a month ago - we got that ban. Earthalujah! It makes me smile to remember the choir singing among the desks of city officials, and exorcising the spraying trucks in the parking lots.

This Sunday, tomorrow, on Extinction Talk Radio Annie and Beth are in the house! Well, on the phone. Can a new earth activism be found in their erotic approach. Environmentalism needs humor, sex, music, laughter and change…. Put REVBILLY.COM in your browser and join us. That’s Extinction Talk Radio, tomorrow Sunday the 27th, from 1 to 3 pm New York time. The show will be posted sometime later tomorrow, after the Queer Liberation March...

Here is a 4 minute rev-rave from last week. Watch us struggle to find the activism that works in this time of extinction.

https://youtu.be/FTmZI5_Sbyo

"Extinction Talk Radio" - come to REVBILLY.COM each Sunday 1 to 3 pm New York time. We stop shoppers are activists who get arrested while we sing or pray or do somersaults - inside offices, labs, banks - that hurt the Earth. We are trying to couple ecology with joy-making. Earthalujah!

That DONATE button is there at Revbilly.com. Help us build up this talk show for the Earth.

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20. Jay Critchley, FF Alumn, now online in Provincetown Magazine

PROVINCETOWN MAGAZINE

JUNE 9, 2021

An Extraction Epidemic (with cover image)

https://provincetownmagazine.com/index.php/2021/06/09/an-extraction-epidemic/

by Steve Desroches

In 2003 Jay Critchley's work was all about another viral outbreak: SARS, severe acute respiratory syndrome, which tested the world's ability to halt a potential pandemic. Within a year of the first outbreak in Foshan, China, the World Health Organization declared SARS contained, but Newsweek ran a cover story with the title "What You Need to Know: The New Age of Epidemics" with a photo of a masked women with alarmed eyes. It wasn't prophecy, but rather science that gave this clarion call. And part of that call to action was the tie between increasingly deadly epidemics and environmental degradation. As the world still struggles to contain the COVID-19 pandemic, headlines around the globe repeated the warning, with The Guardian this week stating scientists had said, "World leaders ignoring role of destruction of nature is causing pandemics." Almost 20 years ago Critchley utilized this scientific discovery in his art, manipulating the magazine cover image to say CARS, instead of SARS, impishly illustrating its human behavior in the extraction of fossil fuels in particular that's killing us.

"To me the issue was always fossil fuels," says Critchley. "All the way back to my sand cars, to my earliest work, it’s been about our continued extraction and exploitation of the Earth, because let's face it, [the pandemic] is an environmental crisis."

As a conceptual artist Critchley's career can seem wild and unruly, as he works in a variety of mediums, including performance, in ostensibly unrelated ideas. But backing up and looking at his body of work, the narrative threads are clearly there, and most definitely displayed in his current show at Art Market Provincetown (AMP). Democracy of the Land: Viral Warming continues his exploration of the self-inflicted wounds humanity suffers for our collective strip-mining of the planet. While certainly individual causes of disease epidemics are complicated, the unprecedented size of the world's population mixed with the destruction of habitats is exposing us to previously contained pathogens. It's as if it needs to be shouted from the rooftops, and in artistic form that's what Critchley is doing.

The focal point of the exhibition are large recycled banners Critchley has collected. They once hung over Commercial Street advertising drag shows, plays, and special events. Now they blare a message of some of the greatest challenges to humanity over the past century: ZIKA, Ebola, HIV, malaria, and of course SARS and its deadlier cousin COVID-19. As Critchley walks around the show, which he hung with gallery director Debbie Nadolney, the banners present as contemporary updates of medieval tapestries. With the name of each epidemic in white over newsprint the background is a flitting image of the trappings of modern life in what are really two-dimensional paintings, a rare foray for Critchley. Like the textiles that once hung in castles, these banners also tell the stories of trials and tribulations. The centerpiece is The Tree of Rife, painted on an old photo opportunity backdrop advertising Bud Light, Whole Foods, 99.9 FM Cape Cod's Fresh Mix, and Provincetown itself. Lined along the back are plastic containers of Nature's Promise, Stop and Shop's organic offerings of salads and produce, that ironically, despite the name, are put in wasteful packaging made out of petroleum products. But in each package is a collection of things you might find on the wrack line of Herring Cove Beach, be it small horseshoe crab shells or plastic tampon applicators. It's a subtle jab at the effects of trickster marketing when the public and its concerns are treated as a consumer and a market, rather than as a citizen and a movement. You've been fooled into thinking more consumption is good because it's "natural" or has a rainbow flag slapped on it. The amalgamation of the work is a shift away from what Critchley had planned on doing in 2020, a year that was supposed to be about the events of 1620, when really it should be about what life was like here in 1619.

"It is ironic that we're hit with a plague in 2020, the year when the town was supposed to commemorate the 400th anniversary of the landing of the Pilgrims," says Critchley. "The start of a European invasion of North America and the genocide of Native Americans also included plagues. There's something very biblical about it."

Also included in the exhibition are humorous collages of vintage Captain Kangaroo children's puzzles over pages of recent issues of The New York Times, acting as little jabs from the periphery of the show. Collectively, the show is classic Critchley. Provocative as it is thoughtful. Be it through humor or technique, the precision is encircled by loose ends that leave each work, and the show in general, to connect to what comes next, in his career and in our ongoing struggle to find our way to combat "genocidal capitalism" and the Jonestownian nature of a culture mainlining short-term profits over long-term sustainability.

"We're so removed from the visceral aspects of life," says Critchley. "We're out of touch with the darkness of our own mortality. We're completely out of touch with mortality. And now we're coming out of this pandemic, which challenged so much of how we think and act. So now what?"

Jay Critchley's Democracy of the Land: Viral Warming is on view at AMP, 432 Commercial St., Provincetown, through June 23. For more information call 646.298. 9258 or visit artmarketprovinctown.com.

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21. Michelle Handelman, FF Alumn, live online June 29

JOIN US FOR A TALK WITH MICHELLE HANDELMAN AND ANNA CAMPBELL
Tuesday, June 29 • 12pm CST/1pm EST • Instagram Live @mmocamadison
In an event capping Pride Month, please join New York-based artist Michelle Handelman and UW-Madison Associate Professor Anna Campbell for a special lunchtime conversation next Tuesday on Instagram Live @mmocamadison.

Handelman's exhibition, These Unruly and Ungovernable Selves is on view on mmoca.org and inside the Museum through August 15.

Handelman and Campbell will discuss the history of LGBTQ+ and its activist roots dating to the 1960s; how the language around personal and sexual identity has changed; current issues in and around the movement; and looking at gender identity through a multi-generational lens.

A multimedia artist and writer, Michelle Handelman confronts existential questions of life and death, pain and pleasure. Anna Campbell is an artist and Associate Professor in Gender and Women's Studies at UW-Madison. Students in her UW course, Design Thinking for Exhibits, organized Handelman's MMoCA exhibition in coordination with MMoCA's curatorial staff.

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Goings On is compiled weekly by Harley Spiller