Contents for August 28, 2023
CONTENTS (please click on the links or scroll down for complete information on each post):
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1. Robert Hickerson, FF FUND recipient 2022-23, at Brooklyn Fireproof, Brooklyn, NY, Sept. 22-23
2. Alicia Grullón, FF Alumn, now online at Hyperallergic.com
3. Helixx C. Armageddon, Day de Dada Performance Art Collective, LuLu LoLo, Micki Watanabe Spiller, FF Alumns, in Art in Odd Places 2023, Manhattan, Oct. 13-15
4. Alan W. Moore, John Ahearn, John “Crash” Matos, Louise Bourgeois, Mary Campbell, Peter Cramer, Jane Dickson, Stefan Eins, John Fekner, General Idea, Leon Golub, Ilona Granet, David Hammons, Jenny Holzer, Allan Kaprow, Anne Messner, Peter Moore, Joseph Nechvatal, Tom Otterness, Barbara Pollack, Pope.L, Repo History, Judy Rifka, Walter Robinson, James Romberger, Christy Rupp, Gregory Sholette, Kiki Smith, Anton Van Dalen, Jack Waters, David Wojnarowicz, Christopher Wool, FF Alumns, at Milwaukee Institute of Art & Design, WI, thru Sept. 15
5. Agnes Denes, Jean Shin, FF Alumns, at The Armory Show, Manhattan, Sept. 8-10
6. Wanda Raimundi-Ortiz, FF Alumn, at Millersville University, PA, thru Oct. 26
7. Dakota Gearhart, FF Alumn, now online at LifeTouchingLife.xyz
8. Dick Connette, FF Member, now online at RootsWorld.com
9. Stefan Hayn, FF Alumn, at Arsenal Cinema, Berlin, Germany, September 6
10. Lynne Yamamoto, FF Alumn, now online at NYTimes.com
11. Tom Klem, FF Alumn, at Foley Gallery, Manhattan, Sept. 13-17
12. Janet Goldner, FF Member, at Carter Burden Gallery, Manhattan, opening Sept. 7
13. Agnes Denes, FF Alumn, at The Armory Show, Manhattan, Sept. 7-10
14. Alyson Pou, FF Alumn, now online at NYFA.org/blog
15. Ed Ruscha, FF Alumn, at MoMA, NY, opening Sept. 10
16. Sable Smith, Jayoung Yoon, FF Alumns, receive 2023 Joan Mitchell Fellowships
17. Martha Rosler, FF Alumn, now online in T Magazine
18. Frank Moore, FF Alumn, now online at The Internet Archive
19. Anahí Cáceres, FF Alumn, at W-Gallery, Buenos Aires, Argentina, thru Jan. 2024
20. Some Serious Business, FF Alumn, now online at vimeo.com
21. Barbara Rosenthal, FF Alumn, at Denise bibro Fine Art, Manhattan, thru Sept. 30
22. Hector Canonge, FF Alumn, at the XXII Bienal Internacional de Arte Contemporáneo de Santa Cruz, Bolivia, thru Sept. 30
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1. Robert Hickerson, FF FUND recipient 2022-23, at Brooklyn Fireproof, Brooklyn, NY, Sept. 22-23
Target Audience, September 22 and 23rd, 5-9pm (both nights) Brooklyn Fire Proof, opening as a part of Bushwick Open Studios (Basement of 119 Ingraham Street, 11237) with Robert Hickerson, Anders Nils, and Ren Sanchez.
Anders Nils:
Instagram: https://www.instagram.com/andersnils/
Bandcamp:https://andersnils.net/album/ideas-of-the-far-future
Ren Sanchez:
Instagram: https://www.instagram.com/tear_tier_tare/
Bandcamp: https://aridtear.bandcamp.com/album/ii-ii-iii
Attendance is free.
Advertising is what finances the internet.
As we continue to move more online, our lives become further intertwined with advertising. The ads we see are targeted through close monitoring of our online activity, and have become an almost inescapable part of our digital existence. It’s as if these ads are created by predatory beings with the power of seduction…
Spanning photography, performative video, and installation, Target Audience imagines a day within an advertising agency run by vampires, working on a new campaign for a pointless product to sell to an unsuspecting audience. They have meetings, concept ideas, and walk throughout a liminal office – however they are not doing labor, they are doing “work”.
At the center of the exhibition is a video piece that will be live scored and live edited, performed in half hour loops. This takes place within an installation mirroring the ad agency office, within the basement of an industrial building, offering viewers the ability to peek behind the curtain at who is selling to them.
Artist bio: Robert Hickerson (b. New Haven, Connecticut) is a Brooklyn based artist working in photography, video, performance, and installation. Hickerson’s work uses the iconography of horror films to situate himself within and better understand the world. Through working with his family, and together working across mediums, he orchestrates narratives that expand upon contemporary concerns surrounding queer identity, and the impact of culture on the self.
Hickerson’s solo shows include Spreading Lights (Vox Populi Gallery, Philadelphia), The Mother of Sighs (Ortega y Gasset Projects, Brooklyn), Backyard Stud (Synesthesia Gallery, Brooklyn), Antigone curated by Ann Liv Young (Brooklyn, NY), and JOAN (AMO Studios, New York, NY). His work has also been included in various group shows internationally including The Horror (SEIS Gallery, Los Angeles), Group (Red Thrush Gallery, Çesme, Turkey), Narrative Photography (Downtown Arts Collective, Orlando, FL), On Death curated by Jon Feinstein (online), When Darkness Loves Us curated by Kelsey and Rémy Bennett (Spring/Break Art Fair, New York City). Hickerson’s work has been published in TIME Magazine, The New Yorker, Musée Magazine, VICE Magazine, Refinery29, Pix, and Game Boy Magazine. He has also created album artwork for several bands including, Mr. HE, Plague Vendor, Fever Joy, and guccihighwaters, as well as music videos for Sun Abduction and Plague Vendor. He is five foot, ten inches, and an aquarius, rising leo, moon gemini.
This work was made possible in part by Brooklyn Fire Proof’ the Franklin Furnace FUND for Performance Art 2022-23, supported by Jerome Foundation; the New York City Department of Cultural Affairs in partnership with the City Council; Silicon Valley Community Foundation; and the friends and members of Franklin Furnace Archive, Inc.
Thank you.
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2. Alicia Grullón, FF Alumn, now online at Hyperallergic.com
Please visit this link:
Thank you.
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3. Helixx C. Armageddon, Day de Dada Performance Art Collective, LuLu LoLo, Micki Watanabe Spiller, FF Alumns, in Art in Odd Places 2023, Manhattan, Oct. 13-15
Art In Odd Places Announces Participating Artists
AiOP 2023: DRESS – October 13-15
Art in Odd Places (AiOP) is pleased to announce the names of the thirty-five artists and art collectives selected to participate in this year’s festival, AiOP 2023: DRESS. Curated by Gretchen Vitamvas and scheduled to take place October 13-15, 2023, AiOP 2023: DRESS is the eighteenth edition of the iconic public visual and performance art festival that takes place along 14th Street in Manhattan every fall.
Every day we get dressed. Our clothing communicates information about our work, activities, and aspirations. Dress can be prescribed or intentionally personal. It can be practical, protecting our bodies from the weather or worksite; or fanciful, making a statement. We dress to provoke, to go unnoticed, to align with a social group, to conform (whether by choice or requirement), to challenge, to fit in, to be admired, to aspire, to protest, and to express identity.
How do you know what people do for a living, how recently they’ve come to this country, if they are tourists? We regard each other and make judgments about gender, class, work, lifestyle, social group, and cultural heritage based on appearance.
The 35 artists participating in Art in Odd Places 2023: DRESS explore the many facets of ‘dress’ with projects examining clothing production and colonialism, fast fashion and waste, transformation and gender identity (and intolerance), cultural identity, work and labor, censorship, the passage of time and its traces, beauty, disability, status, armor, joy and grief. When submitting their proposals, artists were asked to consider how clothing communicates information about their work, activities, and aspirations – whether it be to provoke, to go unnoticed, to align with a social group, to conform (whether by choice or requirement), to be admired, to protest, or to express identity. An overview of select projects follows below; details of all of the projects as well as locations and timing of performances will be released in mid-September.
Artists Daniela Fabrizi, Melissa Lockwood, and Clare Charnley & Farah Naz Moon all address the environmental damage to the fashion industry. Fabrizi creates creatures portraying overconsumption and excess using the most common waste materials, in this case, fabric, in Garbagia. Similarly, in Landfill Looks, Lockwood constructs exaggerated garments from fashion industry waste fabric. Her models literally carry the burden of waste on their bodies.
In Ever Given Neelkuthi, Clare Charnley & Farah Naz Moon explore the legacy of colonialism in clothing production by joining two garments covered with information and stories from different geographic and cultural positions (the UK and Bangladesh). The artist duo will meet in person for the first time during the festival.
Artists Molly Jae Vaughn and Reid Arowood both speak to trans rights and visibility.
Reid Arowood’s NeXXXa is a radical rejection of the binary and a celebration of the fluidity of queer identity. It is a shape-shifting creature that morphs and mutates to evade capture and persecution; neither male nor female, human or alien.
Molly Jae Vaughn honors the lives of murdered transgender and gender non-conforming Americans through the creation of unique garments, objects, flags, and collaborative actions. The flags in her Project 42, Flag Procession each feature a textile created for a specific person honored by the project; all developed from imagery taken from the location where a life was lost.
Kasia Ozga also utilizes flags in Wear Out: Manual Labor. In a gig economy in which working-class labor is alternately ignored, derided, and prized, her surfaces sewn from blue-collar worker garments assert pride in our common industrial heritage.
Micki Watanabe Spiller’s Banned Books Banditos wear bandoliers containing books that have been banned in the past. As our country continues to ban books and restrict knowledge, there is a parallel to weaponizing books and the danger of reading ensues.
In The F Word, Vanessa Fairfax-Woods challenges impossible beauty ideals by creating a couture outfit from images of her untamed flesh. By turning herself into a garment she speaks to the taming of flesh, the absurdity of ‘correct flesh’, and our relationship with food.
Jana Greiner’s Grief Procession visualizes and creates space for grief and loss while Kaczmarek/Miranda’s Layers of Exuberance does the same for joy.
Artists:
Blanka Amezkua / Curative Flores / Codex de la Cruz-Badiano
AnimaeNoctis / King/Queen Of The Square Meter
Sally Apfelbaum / Existential Crisis Jackets/Painting Show
Helixx C. Armageddon / House of Helixx
Reid Arowood / neXXXa
Alex Bard / Featherman on 14th
Leenda Bonilla / The Bata Project
Sayali Bramhe / Nartaki (Dancer)
Kasie Campbell / Mother’s Milk
Clare Charnley & Farah Naz Moon / Ever Given Neelkuthi
Margaret Chodos-Irvine / Shelter: No-See-Um
Day de Dada Performance Art Collective / Hats and Gloves
Daniela Fabrizi / Garbagia
Vanessa Fairfax-Woods / The F Word
Paola Fiterre / Cyanotype Dress
Jana Greiner / Grief Procession
Iguana Collaborative / Doll Chain
Juliet Johnson / Styling Sick
Kaczmarek/Miranda / Layers of Exuberance
Donaka Katherine / Young, Gifted & Black
Melissa Lockwood / Landfill Looks
LuLu LoLo / LuLu LoLo / Paper Doll Fashion
Deirdre Macleod / Ravel
Kristin Mariani / Yes/On 14th Street
MiSWiP / Let’s Make an Outfit
Ankon Mitra / Inhabiting a Fractal Pyramid
Lee Nutbean / The Emperor’s New Avatar
Olek
Kasia Ozga / Wear Out: Manual Labor
Rettocamme / Statement Ties
Gabrielle Senza / Terra Luna on 14th Street
Tilted Axes: Music for Mobile Electric Guitars / Outfits & Ensembles
Molly Jae Vaughan / Project 42, Flag Procession
Micki Watanabe Spiller / Banned Books Banditos
Yvonne Zhang / Externalization
Curator:
Gretchen Vitamvas is a Brooklyn artist and camoufleur. Her art costumes employ camouflage, armor, and spectacle to play with opposing desires to blend in and stand out. She first became interested in working in public space by reworking bus shelter advertisements and re-installing them, using the pop art of consumer culture as a raw material. An AiOP veteran, she has participated as an artist in Art in Odd Places, 2006; 2008: Howl at Lincoln Center; 2009: Pedestrian; 2011: Sign; 2012: Ritual; 2012: Model; 2013: Number and 2021: Normal.
Founder and Director:
Ed Woodham is a queer elder conceptual artist, curator, and educator based in Manhattan originally from Atlanta, Georgia where Art in Odd Places began.
Art in Odd Places:
Art in Odd Places (AiOP) is an annual festival that presents visual and performance art in public spaces along 14th Street in Manhattan, NYC from Avenue C to the Hudson River each October. Active in New York City since 2005, AiOP aims to stretch the boundaries of communication in the public realm by presenting artworks in all disciplines outside the confines of traditional public space regulations. Using 14th Street as a laboratory, this project continues AiOP’s work to locate cracks in public space policies and to inspire the popular imagination for new possibilities and engagement with civic space. Art in Odd Places is fiscally sponsored by GOH Productions, and supported, in part, by public funds from the New York State Council on the Arts and the New York City Department of Cultural Affairs, and private donors.
GOH Productions:
For more information and images please contact:
Communications Consultant, Aga Sablinska at aga.sablinska@gmail.com
Thank you.
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4. Alan W. Moore, John Ahearn, John “Crash” Matos, Louise Bourgeois, Mary Campbell, Peter Cramer, Jane Dickson, Stefan Eins, John Fekner, General Idea, Leon Golub, Ilona Granet, David Hammons, Jenny Holzer, Allan Kaprow, Anne Messner, Peter Moore, Joseph Nechvatal, Tom Otterness, Barbara Pollack, Pope.L, Repo History, Judy Rifka, Walter Robinson, James Romberger, Christy Rupp, Gregory Sholette, Kiki Smith, Anton Van Dalen, Jack Waters, David Wojnarowicz, Christopher Wool, FF Alumns, at Milwaukee Institute of Art & Design, WI, thru Sept. 15
Exhibition of Late 20th Century Art in Milwaukee – “Friends, Neighbors & Distant Comrades”
August 8 to September 15, the Milwaukee Institute of Art & Design (MIAD) hosts a museum-scale exhibition, “Friends… : Alan W. Moore’s Collection of 80’s NYC Art,” in the Frederick Layton Gallery. An ambitious show with over 200 objects, the show centers on the late 20th century New York art bohemia. The collection includes work by a disparate group of makers living and working in New York City from the late 1970’s through 2000, especially those in co-ops, collectives and art groups. The exhibition is based in the art collected by the Moore family of Milwaukee over several decades. It includes art from the Colab group, ABC No Rio, Rivington School, and the East Village art movement, several well known today. It is curated by Michael Flanagan and Alan W. Moore.
Events include artist lectures, a film screening, performance work and a closing reception with lecture.
Schedule of events:
Thursday, August 24
6 p.m: Seth Tobocman and Susan Bietila
“From our Drawing Boards to the Streets!”
MIAD Community Hub (if available)
Seth and Susan will present about their practice in political graphic art, and in support of – and deeply involved with – frontline activism in social movements.
MIAD Community Hub
Thursday, August 31
6 p.m: Film screening of “Make Me Famous” and talkback with James Cornwell
MIAD Community Hub, Room 160
film screening “Make Me Famous” (2022), and talkback with James Cornwell (aka Jim C)
“Make Me Famous” is the story of the Lower East Side art movement told through the career of an unknown artist. Set during the last great art explosion in American history, the documentary film follows the story of painter, Edward Brezinski in his quest for fame. An intimate portrait of what it was like to be an artist in N.Y.C. in the 1980s, the film delves into the spirit of the artists themselves, what drove their generation and what they were up against. Jim C’s video documents of the time are a major part of the film.
Trailer: https://www.red-splat.com/welcome
Thursday, September 7
6 p.m: Robert Goldman (Bobby G) and Andrea Callard
Robert Goldman has one of the largest paintings in the show. He worked with the ABC No Rio art space from its founding, and with Colab on the epochal Times Square Show of 1980. He will speak about his journey from community video work to painting.
Andrea Callard will speak about the shift from analog to digital media in art, and the work of preserving older media. (She is a principal in the XFR Collective of video archivists.) Bobby, Andrea and Alan were all involved in Colab TV production for cable television in the ’70s and ’80s, and will present videos from that period.
MIAD Community Hub, Room 160
Thursday, September 14
11 a.m: Jack Waters and Peter Cramer performance
MIAD Union Auditorium
Friday, September 15
5 – 6:30 p.m: Dr. Mysoon Rizk lecture; Alan W. Moore, respondent
Mysoon will present on two of the better known artists of the East Village gallery period, Martin Wong and David Wojnarowicz. She will address their creative context in the neighborhood, and the significance of their experiments today.
Frederick Layton Gallery
6:30 – 8 p.m: Closing Reception
Milwaukee Institute of Art & Design
273 E Erie St.
Milwaukee WI 53202
Galleries: https://www.miad.edu/miad-galleries-overview
Artists in the show:
Charlie Ahearn; John Ahearn, Rigoberto Torres, John “Crash” Matos; Alfredo Arcia; Richard Armijo; Artists Meeting for Cultural Change (AMCC); Dan Asher; Judy Baca; Jesus Barraza; Beehive Design Collective; Joseph Beuys; Susan Simensky Bietila; Black Cat Collective; Richard Bosman; Louise Bourgeois; John Bowman; Andrea Callard; Mary Campbell; Circle of Jean-Michel Basquiat (forgery by Dominique Philbert); Paula Collery; Ellen Cooper; James Love Cornwell (Jim C); Linus Coraggio; Diego Cortez (James Allan Curtis); Curtis Cuffie; Jody Culkin; Peggy Cyphers; Fritz Demmer (aka Demi); Jane Dickson; Rocky Dobey; Monique Dolan; Anthony Dominguez; Alix du Serech; Jean Dupuy; Richard Eagan; Stefan Eins; Brigitte Engler; Fashion Moda; FA-Q (aka Kevin Wendall); John Fekner; Peter Fend; Coleen Fitzgibbon; Emily Forman (aka Trouble); Luis Frangella; General Idea; Leon Golub; Robert Goldman (aka Bobby G); Ilona Granet; Richard Hambleton; David Hammons (with Nadia Coën/Andrew Castrucci); Keith Haring; Jenny Holzer; Becky Howland; IGT: International GetHip Times; Luis Jimenez; Nicki Johnson and Chistian Westpfahl; Allan Kaprow; Kayrock.org; Jon Keller; Julius Klein; Christoph Kohlhöfer; Steve Koivisto; Thom Korn; Mark Kostabi; Tuli Kupferberg and Ed Sanders; Bruce LaBruce; Stephen Lack; Gregory Lawrence Lehmann; Pedro Linares; Mark Lombardi; Al Loving; Melissa Martin; Cristino Flores Medina; Philomena Marano; Colin Matthes; Mess Hall (Chicago); Marc H. Miller and Bettie Ringma; Curtis Mitchell; Anne Messner; Alan W. Moore; Peter Moore; Jamie (James) Nares; Joseph Nechvatal; Paulette Nenner; Tom Otterness; Robert Parker; Cissie Pelz; Cara Perlman; PHASE 2 (aka Lonny Wood); Lil Picard; Philip Pocock; Barbara Pollack; William Pope L; Rick Prol; Red 76 with Sam Gould; Repo History; Judy Rifka; Kevin Santos; Walter Robinson; Adam Rolston; James Romberger; Christy Rupp; David Scher; David Schmidlapp; Max Schuman; Gregory Sholette; George Shustowicz; Hunt Slonem; Jack Smith; Kiki Smith; Nico Smith; Chris Stain; Swoon (Caledonia Curry); Seth Tillett; Rirkrit Tiravanija; Seth Tobocman; John Torreano; Marguerite Van Cook; Anton Van Dalen; Sophie Vieille; Conrad Vogel; April Vollmer; Tom Warren; Julie Weitz; Bob Witz; Martin Wong; Christopher Wool; and Nick Zedd
Thank you.
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5. Agnes Denes, Jean Shin, FF Alumns, at The Armory Show, Manhattan, Sept. 8-10
This September, Praise Shadows Gallery will be presenting my installation Huddled Masses as part of The Armory Show’s 2023 Platform Section, curated by Eva Respini, Deputy Director and Director of Curatorial Programs at the Vancouver Art Gallery.
Please visit this link:
https://www.praiseshadows.com/artists/63-jean-shin/
Platform 2023, titled Rewriting Histories, centers artists who, “use history as material, imagine speculative futures, and employ a variety of material traditions as means of history-telling.” Other artists in this year’s Platform Section include Hank Willis Thomas, Yinka Shonibare CBE, Teresita Fernández, Devan Shimoyama, Woody De Othello, Xu Zhen, Shahzia Sikander, Vaughn Spann, Agnes Denes, Barthélémy Toguo, and Pae White.
Huddled Masses is a series of three scholar’s rocks made of obsolete cell phones and surrounded by miles of old computer cables, suggesting the raked gravel of Zen gardens. Huddled Masses creates a space to reflect on e-waste’s toxic impact on the environment, on the planned obsolescence central to our consumer culture, and on ways to reclaim ourselves in today’s attention economy.
I would love to see you at the Armory! Please feel free to reach out so we can connect during the fair.
https://www.thearmoryshow.com/news/2023-showguide-platform
The Javits Center | September 8-10
Thank you.
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6. Wanda Raimundi-Ortiz, FF Alumn, at Millersville University, PA, thru Oct. 26
Eckert Gallery at Millersville University presents Wanda Raimundi-Ortiz, 2023 Conrad Nelson Visiting Artist Solo exhibition, “Sanctuary: My Place in the World”
August 29-October 26, 2023
Artist Lecture Tuesday October 26th, 7pm
Biemesderfer Hall (Reception to follow)
This visiting artist fellowship is endowed by Millersville alumna Conrad Nelson and Luceille B. Hagarman
Please visit this link:
Thank you.
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7. Dakota Gearhart, FF Alumn, now online at LifeTouchingLife.xyz
2020-21 Franklin Furnace FUND for Performance Art recipient Dakota Gearhart’s video podcast project: release of the 3rd episode on August 30.
Please visit this link:
https://www.lifetouchinglife.xyz/episodes/
Thank you.
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8. Dick Connette, FF Member, now online at RootsWorld.com
Please visit this link:
Thank you.
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9. Stefan Hayn, FF Alumn, at Arsenal Cinema, Berlin, Germany, September 6
Cordial invitation to the Berlin premiere of the film Pain, Vengeance? | Bread, Revenge ?”
on 6.9. at 8 p.m. in the Arsenal cinema
Please visit this link:
https://www.arsenal-berlin.de/kino/filmvorfuehrung/pain-vengeance-2416/
Thank you.
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10. Lynne Yamamoto, FF Alumn, now online at NYTimes.com
Please visit this link:
Thank you.
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11. Tom Klem, FF Alumn, at Foley Gallery, Manhattan, Sept. 13-17
About the Exhibition
Welcome to The Salon, a group show of recent photographic works by The Salon, a collective of image makers led by the artist Janelle Lynch, will be on view at Foley Gallery from September 13 through September 17, 2023. The 10 artists featured in the exhibition include Irina Chaiet, Anastasia Davis, Pamela Fox, Lee Isles, Chloe Jones, Tom Klem, Lori Perbeck, Andrew Rizzardi, Michael Wilson, and Janelle Lynch, who curated the show and is participating in collaboration with Flowers Gallery, London.
An opening reception and launch of the book, also titled Welcome to The Salon (Tonal Editions, 2023), will be held on September 13, from 5 to 9 pm.
The Salon is comprised of image makers who studied with Lynch during the last decade at the International Center of Photography in New York City. It follows a long tradition of photography groups with shared beliefs and aesthetic goals. Born in Lynch’s Long Island City studio in 2015, it was relaunched virtually during the pandemic in 2021. Members meet weekly for discussion about the creative process, photographic texts, poetry, artistic references, and for constructive feedback about their images. Once per month, guest artists are invited to present their work.
While diverse in their backgrounds, chosen media, and respective creative inquiries—from notions about perception and the metaphysical in nature to family history and the cycle of life—The Salon members are united by an ethos of artistic integrity, discipline, and intellectual vigor.
Welcome to The Salon showcases two large-scale cyanotypes from Janelle Lynch’s newest body of work, Endless Forms Most Beautiful, recently debuted at her solo exhibition at Flowers Gallery in London. In them, Lynch uses her body and wildlife and botanical remains in her quest to connect to the natural and spiritual worlds.
Anastasia Davis, Pamela Fox, Lee Isles, Tom Klem, and Michael Wilson also engage with photography to connect to other worlds—interior and exterior. Davis’ black and white work is concerned with feeling, perception, and consciousness, and investigates how meaning can be made out of a relentless stream of sensation and information. Fox’s color images from the Bolivian salt flats transcend place and offer an experience of the sublime. Isles’ small-scale black and white images from a long-ago deserted nature preserve are poetic meditations on the metaphysical. Klem’s constructed black and white images reach to the Universe and are imbued with his deft hand as a sculptor and magician. Wilson’s monochromatic images suggest realms at once known and unknown, where fantasy, mystery, and narrative can be found.
Irina Chaiet, Chloe Jones, Lori Perbeck, and Andrew Rizzardi use black and white and color photography as a means to communicate about identity, intergenerational family ties, and notions of home. Chaiet boldly examines changes that loss, motherhood, and a move Upstate from her long-time urban home have presented. Jones explores myth-making and kin—humans and animals—against a backdrop of her Arkansas family home. Perbeck, in her signature use of color and light, embraces themes of maternal love, aging, and impermanence. And Rizzardi looks at the evolving nature of masculinity, devotion, hope, and sorrow through the genres of portraiture, self-portraiture, and landscape.
About Janelle Lynch
Janelle Lynch leads The Salon. She is represented by Flowers Gallery and has three monographs by Radius Books: Los Jardines de México; Barcelona; and Another Way of Looking at Love. In 2019, her series Another Way of Looking at Love was shortlisted for the Prix Pictet. In 2023, the documentary short film, Janelle Lynch: Endless Forms Most Beautiful, premiered at her solo exhibition at Flowers Gallery in London. She lives in New York City. For more information go to:
Flowers Gallery: https://www.flowersgallery.com/
Radius Books: https://www.radiusbooks.org/
Janelle Lynch: Endless Forms Most Beautiful (Documentary Film by Mia Allen): https://janellelynchdoc.com/janelle-lynch-endless-forms-most-beautiful
Janelle Lynch: https://janellelynch.net/
About the Artists:
Irina Chaiet was born in Russia and has a background in graphic design. She is currently pursuing an MFA in Photography from the University of Hartford and lives in Upstate New York.
Anastasia Davis was born in Ukraine and grew up in Israel and the United States. She has a background in psychology, is currently pursuing an MFA in Photography from the University of Hartford, and lives in New Haven, Connecticut.
Pamela Fox has a background in law and lives in Greenwich, Connecticut.
Lee Isles has a background in fine art and technology and lives in southwestern Vermont.
Chloe Jones has a background in art history and is currently pursuing an MFA from the University of Hartford. She lives in Brooklyn, New York and Fayetteville, Arkansas.
Tom Klem has a background in sculpture and magic history. He lives in New York City.
Lori Perbeck has a background in fine art. She lives in Jersey City, New Jersey.
Andrew Rizzardi has a background in visual media and communications. He lives in Brooklyn, New York.
Michael Wilson has a background in technology and lives in New York City and Montana.
About the Exhibition and Book Launch
A pop-up exhibition opening reception and book launch of Welcome to The Salon (Tonal Editions, 2023) will be held on Wednesday, September 13, 2023 from 5-9 pm at:
Foley Gallery
Launch Photo Books
59 Orchard Street
New York, NY 10002
The exhibition will run through September 17, 2023. For inquires about the event contact Janelle Lynch at info@janellelynch.net
For press inquires about Welcome to The Salon contact Lee Isles at lee@tonaleditions.com
About the Publication
Welcome to The Salon is available for pre-order online ($65) and will ship August 30, 2023. Limited Editions of Welcome to The Salon, which include signed prints, will be available for order in September (starting at $200). The publishing company Tonal Editions was founded in 2023 by Lee Isles in Vermont.
Welcome to The Salon (92 pages)
Hardcover, 11.75 x 9.75 inches
Essay by Janelle Lynch
Designed by Gabriele Wilson
ISBN 979-8-9870422-0-5
Printed in Italy by Editoriale Bortolazzi-Stei
www.tonaleditions.com/product/welcome-to-the-salon/3
Thank you.
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12. Janet Goldner, FF Member, at Carter Burden Gallery, Manhattan, opening Sept. 7
Woven Journey celebrates my enduring artistic bond with West Africa, especially Mali. Through photographs and text, the installation commemorates my first trip to the region 50 years ago and my ongoing creative exploration and cultural engagement.
Opening Reception: Thursday, September 7, 6-8pm
Meet the Artist: Saturday, September 23, 3-5pm
I will also be present on October 12 and November 16, 6-8 pm
& by appointment
September 7- December 20, 2023
Tuesday – Friday: 11am – 5pm
Saturday: 11am – 6pm
Carter Burden Gallery
548 W 28th St, 5th Floor, NYC
212 564-8405
Thank you.
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13. Agnes Denes, FF Alumn, at The Armory Show, Manhattan, Sept. 7-10
We are extremely pleased to announce the inaugural exhibition of The Debate (1969/2023), the newest major work by Agnes Denes:
https://leslietonkonowartworksprojects.cmail20.com/t/j-l-sltliik-djkyuhlhf-j/
Presented in collaboration with Marc Selwyn Fine Art:
https://leslietonkonowartworksprojects.cmail20.com/t/j-l-sltliik-djkyuhlhf-t/
Presented in the Platform section of The Armory Show 2023:
https://leslietonkonowartworksprojects.cmail20.com/t/j-l-sltliik-djkyuhlhf-d/
From 1968 to 1970 Agnes Denes created a group of illuminated sculptural works in which she explored qualities of reflection, translucence, and transparency while also expressing the complex philosophical ideas that she has sustained throughout her long and distinguished career. Prominent among these early experiments is The Debate (One Million BC – One Million AD) (1969) in which two miniature skeletal figures face each other in conversation. Seated inside a Plexiglas box, hand-mirrored by the artist and bathed in a rose-colored light, their images are reflected infinitely within the six sides of the cube-like container.
While the original sculpture measures 15-1/4 x 14 x 14 inches, Denes has always envisioned it with life-sized figures engaged in an endless debate that she philosophically summed up in three essential words: animale, rationale, mortale.
Now The Debate is recreated by the ninety-two-year-old artist in the monumental size in which it had originally been conceived. Two life-sized human skeletons, created from thermoplastic using 3-D digital printing, are placed within a mirrored glass box measuring 89 x 60 x 60 inches, illuminated by LED lights.
The work will be exhibited for the first time at The Armory Show 2023 in the Platform section, curated by Eva Respini, the new Deputy Director and Director of Curatorial Programs at the Vancouver Art Gallery who, as the former Deputy Director and Chief Curator at the Institute of Contemporary Art, Boston, was curator and co-commissioner for the U.S. Pavilion’s presentation of Simone Leigh at the 2022 Venice Biennale.
Agnes Denes is internationally known as the leading pioneer of the environmental art movement. Since the 1960s, she has created works of art in a wide range of mediums that address cultural and social issues and the challenges of global survival through investigations of science, philosophy, linguistics, psychology, poetry, history, music, and, religion –– virtually all aspects of humanistic endeavor.
In 1968 she created Rice/Tree/Burial in Sullivan County, New York, acknowledged as the first site work with ecological concerns. Denes’s iconic Wheatfield – A Confrontation (1982), has been called “astonishing … one of Land Art’s great transgressive masterpieces.” Tree Mountain–A Living Time Capsule, a monumental earthwork, reclamation project and the world’s first man-made virgin forest, located in Ylojarvi, Finland, was dedicated by the President of Finland upon its completion in 1996 and is legally protected for the next four hundred years. The Living Pyramid, a monumental sculptural work comprised of earth, wood, and plants, commissioned in 2015 by Socrates Sculpture Park, Long Island, City, New York, was recreated in 2017 for Documenta 14 in Kassel, Germany, in 2022 at the Sakip Sabanci Museum in Istanbul, and is currently on view in Dear Earth: Art in a Time of Crisis at The Hayward Gallery, London (through September 3, 2023)
Denes has completed numerous public and private commissions in North and South America, Europe, Australia, and the Middle East, and has received many honors and awards. She holds honorary doctorates from Ripon College, Ripon, Wisconsin and Bucknell University, Lewisburg, Pennsylvania, and fellowships from the Studio for Creative Inquiry at Carnegie Mellon University and the Center for Advanced Visual Studies at M.I.T. She is the author of six books and is featured in numerous other publications on a wide range of subjects on art and the environment.
Born in Hungary in 1931, Agnes Denes was raised in Sweden and educated there and in the US. She has participated in more than 700 solo and group exhibitions and her works are in the collections of important institutions throughout the world. A highly critically acclaimed survey of Denes’s work, that included three newly commissioned sculptures, ran from October 2019 to March 2020 in at The Shed, New York’s newest major cultural institution.
Works by the artist have most recently been seen in The Milk of Dreams, the main exhibition of the Biennale di Venezia 2022; Coded: Art Enters the Computer Age, the Los Angeles County Museum of Art; The Material Revolution, E-Werk Luckenwalde, Germany; and are currently on view in Adaptation: A ReConnected Earth, Museum of Contemporary Art and Design, Manila; Chaleur Humaine Triennale Art & Industrie, Frac Grand Large – Hauts-de-France, Dunkirk, France; and Dear Earth: Art in a Time of Crisis, The Hayward Gallery, London. Future exhibitions include Groundswell: Women of Land Art, Nasher Sculpture Center, Dallas, TX (September 23, 2023 – January 14, 2024); RE/Sisters, Barbican Art Gallery, London (October 5, 2023 – January 14, 2024) Our Ecology: Toward a Planetary Living, Mori Art Museum, Tokyo (October 18, 2023 – March 31, 2024); and a solo presentation of the artist’s work as a special feature of If the Berlin Wind Blows My Flag: Art and Internationalism Before the Fall of the Berlin Wall, celebrating the sixtieth anniversary of the DAAD residency program in Berlin (September 14, 2023 – January 14, 2024).
The Debate (1969/2023) was fabricated with the support of Art Makers which works with mid-career and established artists to create significant works for public display.
Please visit this link:
https://leslietonkonowartworksprojects.cmail20.com/t/j-l-sltliik-djkyuhlhf-h/
Leslie Tonkonow Artworks + Projects
401 Broadway, Suite 411
New York, NY 10013
212 255 8450
Thank you.
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14. Alyson Pou, FF Alumn, now online at NYFA.org/blog
Please visit this link:
Thank you.
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15. Ed Ruscha, FF Alumn, at MoMA, NY, opening Sept. 10
A retrospective of the work of Ed Ruscha, Franklin Furnace Visionary, opens at MoMA, NY on September 10
https://press.moma.org/exhibition/ed-ruscha-now-then/
Thank you.
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16. Sable Smith, Jayoung Yoon, FF Alumns, receive 2023 Joan Mitchell Fellowships
2023 Recipients Of Joan Mitchell Fellowships Will Receive $60,000 In
Unrestricted Grant Funds And Professional Development Opportunities
The Joan Mitchell Foundation announced today the 15 recipients of its 2023 Joan Mitchell Fellowships, which award $60,000 in unrestricted funds to artists from across the United States.
This year’s artists reflect a diverse array of practices:
from installations that demonstrate the impact of solar energy, to works made from tulle that
use color and movement as a feminine rejoinder to the evolution of abstractionism; from land-
based art practices that engage with questions of resilience, survival, and memory among
Indigenous communities, to sculptural installations that explore the micro-ecologies of non-
living systems; and painters and sculptors working in a spectrum of materials, including cement, lace, beads, and the artists’ hair.
Central to the Joan Mitchell Fellowships is longitudinal support that recognizes that the
greatest benefits of fellowship opportunities are often nurtured over time, through sustained
engagement and relationship-building. The Foundation’s monetary award for recipients
extends over a five year period; Fellows receive an initial $20,000 payment this year followed
by four years of $10,000 installments.
The Foundation also provides opportunities for artists to engage in programs that focus on personal finance, legacy planning, and self-advocacy, among other opportunities. Layered into the support structure are annual in-person convenings that build connections among the Fellows and virtual engagement sessions that further foster a peer learning community.
“In 2021, we reconceived and relaunched our primary granting program to more actively
explore the ways in which multi-year financial support can help artists transform their practices
and secure their legacies,” said Christa Blatchford, Executive Director at the Joan Mitchell
Foundation
“The 2023 cohort of Joan Mitchell Fellows again underscore the value of this
approach, bringing together a group of artists with diverse practices, interests, and
backgrounds, all of whom articulated, in their Fellowship applications, the impact that financial
and professional support over time will have on their work and their lives. This commitment to
extended engagement is also in line with the legacy of Joan Mitchell herself, who so often
offered personal assistance to other artists, and whose directive for her foundation was to
continue that approach of direct support for working artists.”
The 15 Fellows for 2023 are:
Ash Arder’s (Detroit, MI; b. 1988) works include installations, sculptures, sounds, drawings, electronics, video, and performance—often mixed together, as in Whoop House (2022), a stage-like construction used to present jam sessions, poetry slams, and storytelling while demonstrating the value of solar energy. Arder plans to use the fellowship funds to secure expanded, long-term studio space and production equipment.
Raheleh Filsoofi (Nashville, TN; b. 1975) creates immersive acoustic and melodic environments that explore the nature of clay and its ability to create unique sounds and textures. Filsoofi is planning to expand her experimentation with clays from different locations in the United States, establishing a collective social geography. The artist noted that the fellowship would facilitate connections and dialogue with peers asking hard questions about representation and responsibility.
Nicholas Galanin’s (Sitka, AK; b. 1979) practice draws on connections to the land and Indigenous and non-Indigenous technologies and materials to confront contemporary culture. The fellowship will support Galanin’s acquisition of high-quality materials and new technologies, as well as new studio space.
Jacqueline Kiyomi Gork (Los Angeles, CA; b. 1982) creates sonic installations in which sound is manipulated with sculpture, multichannel sound systems, and digital processing to control where and how the sound is experienced. Gork plans to use the fellowship to explore better approaches to documentation, a critical component for the sustainability of a sound art practice that is difficult to capture.
Ana María Hernando (Niwot, CO; b. 1959) is a multidisciplinary artist who paints, draws, uses words and sounds, and makes large-scale installations that often incorporate a variety of handmade fabric objects, focusing on the feminine and using empathy to question our preconceptions of the “other,” their worth, and their value. The fellowship will support Hernando in expanding national and international outreach, securing long-term studio space, upgrading methods of documentation, and establishing a studio production team.
Mala Iqbal (Brooklyn, NY; b. 1973) has created a series of paintings and drawings that are a visual representation of the recollections of family stories. Iqbal plans to use the fellowship to delve deeper into these stories—with research travel to relatives across the U.S., as well as in Lahore, Karachi, and Osnabruck—while also being able to expand the time invested in other projects such as printmaking and painting collaborations.
William Lamson’s (Brooklyn, NY; b. 1977) complex installation works explore the ecologies of living and non-living systems, on both a small and larger scale. Following the loss of Lamson’s father in 2022, the artist indicated that the fellowship would support a period of reframing his artistic practice through more personal lenses of service and care, while awarding Lamson the financial security to take a sabbatical from adjunct teaching.
Kathy Liao (Kansas City, MO; b. 1984) creates paintings and installations that document the fluidity with which absence informs presence, and seeks to capture how our memories of the past are entangled with the here and now. Currently also in training to be a mental healthcare provider, Liao’s fellowship will provide crucial time and space to reflect and weave throughlines towards future artistic practice, alongside the aspiration to create more opportunities, support, and access to mental health resources for BIPOC creatives.
Anina Major (New York, NY; b. 1981) draws on the ancient weaving practice of plaiting to create ceramic sculptures, having begun by employing the traditional styles from The Bahamas, her birthplace, and expanding the research to illuminate kinship connections across the Black diaspora that manifest through the act of making. Further emphasizing the historical importance of weaving as a means of communication that can address issues of cultural erasure and preservation through archival engagement, Major’s fellowship will support additional anthropological research, along with legacy planning and professional development opportunities.
Demond Melancon (New Orleans, LA; b. 1978) works in the tradition of the Black Masking Culture of New Orleans. Using needle and thread to sew glass beads onto canvas, Melancon creates massive Suits and intricately detailed portraits that honor Black subjects historically excluded from the artistic canon while confronting stereotypical representations of Black identity. The fellowship will help Melancon amplify the impact of these Suits by expanding the array of presentation and networking opportunities across the U.S.
Javier Orfon (San Lorenzo, PR; b. 1989) develops multi-media works—including drawings on found objects, experimental printmaking, sculptures with Antillean pre-Columbian pottery techniques, readymades, and performance-based installations—that are often centered on the changing landscape of the Caribbean. Orfon’s fellowship will support the purchase of a telescope and other equipment upgrades to assist the artist in exploring the nocturnal aspects of Puerto Rican geography, including the threatened guabairo bird, and creating new sculptural ceramic installations.
Mikayla Patton (Pine Ridge, SD; b. 1991) draws on recycled paper-making and earth elements to create sculptural objects that utilize the Lakota knowledge of being, adornment, and artistic methodologies, addressing themes of healing, growth, and renewal. Recognizing the underrepresentation of Indigenous voices in the art world, Patton plans to use the fellowship to take new risks in developing a robust body of work and seeking opportunities to bring that work to new audiences.
Naomi Safran-Hon (Brooklyn, NY; b. 1984) began her artistic career in photography, before switching to painting—and now makes works that incorporate photography, painting, and alternative materials like cement, mixing the reality of the photo with the fiction of painting. The fellowship will support the acquisition of an oversized printer and a larger studio to accommodate a dedicated space for printing. Safran-Hon additionally anticipates that the five-year fellowship structure will allow her to cultivate new peer relationships for creative dialogue.
Sable Smith (New Jersey; b. 1986) makes work that elucidates—and complicates—the viewer’s understanding of prison and how society names, identifies, and locates violence. The fellowship will support Smith’s plans to bring this work to audiences that are completely outside of the traditional art world, using the art to raise awareness of this facet of American society.
Jayoung Yoon (Beacon, NY; b. 1979) draws upon the mind-matter phenomenon,
exploring the relationship between memory, perception, and bodily sensations through work made from human hair—creating shimmering sculptures that evoke a sense of fragility, inviting viewers to contemplate on the ephemeral nature of our existence. Through the fellowship, Yoon plans to take frequent trips to Jeju Island to learn the designs for three types of traditional Korean horsehair hats, then utilize those techniques and patterns to create larger and more diverse forms.
The process for selecting the 2023 Joan Mitchell Fellowship recipients began in November
2022 with the selection of nominators from across the country—the group that makes
recommendations to the Foundation about artists for Fellowship consideration.
Of the finalgroup of 82 nominators, finalized in February 2023, 60% identify as artists themselves andmore than half were first-time participants in the Foundation’s processes.
They come from 43states and Puerto Rico, and reflect diversity across age and race/ethnicity, with a majority(72%) identifying as female.
This broad group of nominators—part of the Foundation’s concerted efforts to ensure a dynamic and representative group from all corners of the country and all backgrounds and communities—produced a final group of applications from 148 artists, themselves a diverse group from 37 states and Puerto Rico. Beginning in June 2023, a separate team of five jurors (supported by Foundation staff) began to review artist applications. The criteria for jurors in reviewing applications included: the artistic vision of each applicant; the commitment of the artist to an active practice; and potential impact of the award on the artist’s career and life. Of the 15 final Fellowship grantees,a strong majority identify as female and fall between the ages of 30 and 49. The cohort of artists is exceptionally diverse and inclusive of a broad representation of races and ethnicities, with artists identifying as Black or of African descent, Native American or Indigenous, Asian,Hispanic or Latino, and multi-racial, among other specific identities named.
“On behalf of the Foundation, I am excited to welcome this 2023 cohort,” said Solana Chehtman, the Foundation’s Director of Artist Programs. “Since we relaunched this grant
program in 2021 as a five year process of support and engagement, we have had the opportunity—through in person convenings and virtual exchange sessions—to learn hand-in-
hand with the artists we work with, about their needs, their opportunities, and how we can best
support them. With the incorporation of these 15 artists, we look forward to continuing to build
a strong and generous community, where artists with varying perspectives, at different points
in their careers, can benefit from each others’ wide range of experiences and support each
Other.”
About the Joan Mitchell Foundation:
The Joan Mitchell Foundation cultivates the study and appreciation of artist Joan Mitchell’s life
and work, while fulfilling her wish to provide resources and opportunities for visual artists. As
the chief steward of Joan Mitchell’s legacy, the Foundation manages a collection of Mitchell’s
artwork and archives containing her personal papers, photographs, sketchbooks, and other
historical materials. Fulfilling Mitchell’s mandate to “aid and assist” living artists, over the past
30 years the Foundation has evolved a range of initiatives that have directly supported more
than 1,300 visual artists at varying stages of their careers. The Joan Mitchell Fellowship gives
annual unrestricted awards of $60,000 directly to artists, with funds distributed over a five-year
period alongside flexible professional development and convenings that facilitate community
building and peer learning. The New Orleans-based Joan Mitchell Center hosts residencies for
national and local artists, as well as artist talks, open studio events, and other public programs that encourage dialogue and exchange with the local community. The Creating a Living Legacy
(CALL) initiative provides free and essential resources to help artists of all ages organize,
document, and manage their artworks and careers. Together, these programs actively engage
with working artists as they develop and expand their practices.
For more information please visit: https://www.joanmitchellfoundation.org/
For more information, please contact:
Alina E. Sumajin
PAVE Communications & Consulting
alina@paveconsult.com / 646-369-2050
Thank you.
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17. Martha Rosler, FF Alumn, now online in T Magazine
Please visit this link:
https://www.nytimes.com/2023/08/10/t-magazine/martha-rosler.html
Thank you.
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18. Frank Moore, FF Alumn, now online at The Internet Archive
Curator’s Talk: Frank Moore / MATRIX 280: Theater of Human Melting
The curators, Keith Wilson and Vincent Fecteau gave a curators’ talk on Wednesday, January 25, 2023, as part of the opening of Frank Moore / Matrix 280: Theater of Human Melting, a solo exhibit of Frank Moore’s oil paintings at BAMPFA, University of California, Berkeley Art Museum & Pacific Film Archive.
The video is available here:
https://archive.org/details/2023-01-25-frank-moore-matrix-280-curators-conversation
Thank you.
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19. Anahí Cáceres, FF Alumn, at W-Gallery, Buenos Aires, Argentina, thru Jan. 2024
26-8-2023. Opening Anahí Cáceres “Water Tree” Curator Sebastian Vidal Mackinson.
W-Gallery, Buenos Aires
“water tree.Temuco is in Mapuche “Water of Temu”
It was the last fort built by the Chilean militia in 1881 to control the Mapuche people. It is the beginning of the total alienation of their lands and toponymy. It is also a symbol of resistance.I started a journey there in 1986.This year, the anthological selection of the W Gallery and the curatorship of Sebastian Mackinson, rescues my works from the 80s and makes visible that period, which was the beginning of a search between contemporary art, language and ancestral cultures, the root of a journey of almost 40 years.
Tree of water, liquid roots to name, knead mud, and give it shape for the first time.”
Blog: http://www.anahicaceresarteuna.wordpress.com
arteUna: http://www.arteuna.com
Fb arteUna: https://www.facebook.com/arteUna?ref=hl
Blog Cátedra Cáceres: http://www.catedracaceres.wordpress.com
Fb A. Cáceres: https://www.facebook.com/profile.php?id=100005498797910
Thank you.
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20. Some Serious Business, FF Alumn, now online at vimeo.com
Some Serious Business is pleased to welcome Berkeley, CA-based composer, bassist, and producer Lisa Mezzacappa. Lisa has been an active part of California’s vibrant music community for more than 20 years.
Her activities as a composer and ensemble leader include ethereal chamber music, electro-acoustic works, adventurous jazz, non-traditional opera, music for groups from duo to large ensemble, and collaborations with film, dance, and visual art. Recent projects include Cosmicomics, a suite for electro-acoustic jazz sextet based on Italo’s Calvino’s stories about the origins of the cosmos; Organelle, a chamber work for improvisers grounded in scientific processes; Glorious Ravage, an evening-length song cycle for large ensemble and films drawn from the writings of Victorian lady adventurers; and Touch Bass, a collaboration with choreographer Risa Jaroslow.
She is currently collaborating with writer Beth Lisick on the serial audio opera The Electronic Lover. www.lisamezzacappa.com
While in residence at Casa Kama, Lisa will take advantage of the multi-valent privacy and silent and majestic natural landscape to fine tune The Electronic Lover, an audio opera created by her and New York writer Beth Lisick, and released as a serial podcast beginning in summer 2020. The story is set in chatrooms at the dawn of the Internet, at the moment when we first invited computers into the most intimate aspects of our lives. Season 1 follows a tech-curious cabal of young women, isolated and constrained in their own lives, who connect across vast distances to create a thrilling new virtual community.
Episodes 1-6 are currently available on all podcast platforms, and the season concludes this fall with episodes 7-9.
Beth Lisick: https://bethlisick.wordpress.com/
Thank you.
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21. Barbara Rosenthal, FF Alumn, at Denise bibro Fine Art, Manhattan, thru Sept. 30
Barbara Rosenthal, FF Alumn, is exhibiting two 40″ x 32″ 35mm full frame analog photography and digitalization wall-works, printed as archival pigment prints in “Art from the Boros 2023,” a curatorial by Denise Bibro Fine Art.
Their titles are:
“Surreal to Conceptual Distortion Color Walls With Post-hospital Bathtub Photo,” 2023
and “Surreal to Conceptual Distortion Color Walls With Montreal Museum Napoleon,” 2023
Aug. 1-Sept 30. Inquire: info@denisebibrofineart.com / (212) 647-7030
Exhibition link: Online https://denisebibrofineart.com/exhibitions/art-from-the-boros-x/
plus seventeen pieces represented by Bibro: https://www.artsy.net/artist/barbara-rosenthal
Barbra Rosenthal:
Wikipedia: http://en.wikipedia.org/wiki/Barbara_Rosenthal
Artsy / Saatchi Art: https://www.saatchiart.com/barbararosenthal
Artsy / Denise Bibro Gallery: https://www.artsy.net/artist/barbara-rosenthal
Twitter: https://twitter.com/BRartistNYC
Facebook: https://www.facebook.com/barbara.rosenthal1
Instagram: https://www.instagram.com/barbararosenthal_emedialoft/
Books & Video Sales: https://www.printedmatter.org/catalog/artist/641
Website: http://www.barbararosenthal.org/
Studio: eMediaLoft.org, 463 West St, enter 744 Washington St., New York, NY 10014
Studio Email and Phone: eMediaLoft@gMail.com +1-646-368-5623 (voice and voicemail, no texts)
Thank you.
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22. Hector Canonge, FF Alumn, at the XXII Bienal Internacional de Arte Contemporáneo de Santa Cruz, Bolivia, thru Sept. 30
During the month of September, Hector Canonge’s solo exhibition Reberveraciones Inéditas (Unedited Reverberations) will be presented by the 22nd International Biennial of Contemporary Art of Santa Cruz de la Sierra, Bolivia. As a guest artist, Canonge has been commissioned to create a site-specific project at the Spanish Agency for International Development Cooperation, one of the hosting institutions of this year’s program.
Reberveraciones Inéditas (Unedited Reverberations) is an exhibition derived from Canonge’s observations about daily life in one of the most dynamic cities in the oriental region of Bolivia, South America. Following the Biennial’s themes: Ecos del Silencio (Echoes of Silence), the artist’s project focuses on the connections people forge with certain objects, and how they become an extension of their performative daily tasks.The project includes site-specific installations, use of video, text, and a series of photographs drawn from a performance art intervention done by the artist and produced by the Center for Contemporary Art and Performance. The exhibition opens on September 5th and will be on view during the duration of this year’s biennial.
Please visit this link:
Thank you.
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Goings On is compiled weekly by Farideh Sanandaji, FF Interns, Summer 2023
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