Contents for September 23rd, 2024
CONTENTS (please click on the links or scroll down for complete information on each post):
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1. Guadalupe Maravilla, FF Alumn, at St. John’s University, Jamaica, Queens, thru Dec. 7
2. Nao Bustamante, FF Alumn, at Track 16, Los Angeles, CA, opening Sept. 28
3. Crash, Daze, Lady Pink, Martin Wong, FF Alumns, at Hunter Museum, Chattanooga, TN, thru Jan. 13, 2025
4. Carmelita Tropicana, FF Alumn, at Soho Rep, Manhattan, Oct. 23-Nov. 9
5. Charles Yuen, FF Alumn, at JJ Murphy Gallery, Manhattan, Sept. 28
6. Nicolás Dumit Estévez Raful Espejo Ovalles, FF Alumn, live on Zoom, Sept. 24
7. Virginia Maksymowicz, Blaise Tobia, FF Alumns, live online Oct. 3, 10, 17
8. Lucio Pozzi, FF Alumn, at Galleria Michela Rizzo, Venice, Italy, opening Sept. 27
9. Marshall Reese, FF Alumn, at Cooper Union Great Hall, Manhattan, Oct. 22
10. Elise Kermani, FF Alumn, at Center for Performance Research, Brooklyn, Oct. 13
11. Helen Lessick, FF Alumn, at Playa, Summer Lake, OR, Oct. 2024
12. Galinsky, FF Alumn, at Book Club Bar, Manhattan, Sept. 26
13. Kathy Grove & Petah Coyne, FF Alumns, at Chazen Museum, Madison, WI, thru Dec. 23
14. Alfredo Jaar, FF Alumn, at KINDL – Centre for Contemporary Art, Berlin, Germany, thru June 1, 2025
15. Jane Dickson, FF Alumn, at Karma, Los Angeles, CA, thru Nov. 2
16. Jody Oberfelder, FF Alumn, at Tilikum Crossing Bridge, Portland, OR, Sept. 28
17. Bob Goldberg, FF Alumn, at Bryant Park, Manhattan, Sept. 23
18. WHOOP DEE DOO, FF Alumns, at Compére Collective, Brooklyn, Sept. 29
19. Mark Bloch, FF Alumn, at New York University, thru Dec. 13 – update
20. Kenneth King, FF Member, in PAJ: A Journal of Performance and Art, Sept. 2024
21. Christy Rupp, FF Alumn, at Buffalo Museum of Science, NY, Sept. 28, 2024-Mar. 9, 2025, and more
22. Jo Andres, Mimi Goese, Lucy Sexton, FF Alumns, at ISSUE Project Room, Brooklyn, Sept. 26 and Oct. 4
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1. Guadalupe Maravilla, FF Alumn, at St. John’s University, Jamaica, Queens, thru Dec. 7
Sun Yat Sen Memorial Hall
8000 Utopia Pkwy, Jamaica, NY 11432
St. John’s University
The group exhibition “To Mend the Heat” brings together eight artists working at the intersection of alternative medicine, healing, and art-making. Featured Artists include Damali Abrams, Milford Graves, Kahori Kamiya, Koyoltzintli, Wen Liu, Guadalupe Maravilla, Luis Sahagún and Marcelo Sturgeon.
The exhibition will be on view from September 19th through December 7th, and related programs will be announced in the coming weeks.
#artinqueens #art #exhibit #queens
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2. Nao Bustamante, FF Alumn, at Track 16, Los Angeles, CA, opening Sept. 28
NAO BUSTAMANTE
BLOOM
September 28 – December 7, 2024
Opening Reception
Saturday, September 28, 6-9pm
Fresh off her fellowship at the American Academy in Rome, Nao Bustamante returns to Los Angeles with her wide-ranging project, BLOOM.
“After so many months away, I am excited to return home and debut these works in Los Angeles, speckled with new influences from my time in Rome,” said Bustamante.
Opening Sept. 28 at Track 16, Bustamante presents a new vision of the vaginal imaginary in the fourth iteration of her project BLOOM, a cross-disciplinary investigation into the history of the pelvic examination and documenting the artist’s own efforts to create the most significant redesign of the vaginal speculum since 1943. Though difficult in subject matter, this exhibition is approached with Bustamante’s signature humor, so audiences need not be afraid! Rooted in both research and object-making, the idea for BLOOM came into her mind, fully formed, shortly after a pelvic exam in 2011.
“Like many women, I wondered why the medical industry cannot create a more comfortable apparatus for such a basic procedure,” Bustamante explains. “Though the work derives from my own experience, the themes are universal and common.”
Presented for the first time in Los Angeles, the exhibition is an invitation to think about ways to make the tool less unpleasant for the millions of patients who encounter it each year. Supported by a COLA (City of Los Angeles) fellowship, an Artpace Residency (San Antonio, Texas), and a USC Arts and Humanities award, BLOOM’s approach is both practical and fantastical, investigating imagination, material, and space. Probing the monstrous history that led to this apparatus and taking a stern look at the history of pelvic examination, the work takes on particular resonance with the political attacks on women’s health.
Running through Dec. 7, BLOOM will be presented as part of the Participating Gallery Program for Getty’s PST Art: Art & Science Collide, joining in a dynamic exploration of the intersection of art and science this fall.
Guests will enter the exhibition through rich velvet, evocative of a vagina, becoming enveloped in the world of BLOOM. Here, Bustamante will introduce two new oil paintings produced during her residency in Rome. Inspired and blessed by a miraculous visit to the tomb of Raphael, the works mark Bustamante’s early foray into the ancient medium. Once inside, visitors will encounter an antique genealogical examination table levitating in mid-air, balanced, and waiting for activation. The table pays tribute to the enslaved women that physician James Marion Sims used for early gynecological experiments in the mid 1800’s. It’s from these experiments that the deeply uncomfortable duck-billed speculum, commonly used to this day, was born. Deeper into BLOOM, guests will experience works in a variety of mediums, including video, drawing, objects, ceramics, and more. (A full list of works will be available upon request.)
An experience of women’s healthcare through time — exploring the horrors of the past, the struggles of the present, and possibilities for the future, in a fragmented yet impressionistic way — BLOOM is set to culminate later this year. After multiple iterations and evolutions, Bustamante’s speculum prototype is seeking a collaboration partner to bring it to examinees worldwide.
For sales inquiries, contact sales@track16.com
For press inquiries, contact Katie Dunham at katie@katiedunham.net
Nao Bustamante (b. 1963) is an artist, residing in Los Angeles, California. Bustamante’s precarious work encompasses performance art, video installation, filmmaking, sculpture, and writing. The New York Times says, “She has a knack for using her body.” Bustamante has presented in Galleries, Museums, Universities, and underground sites all around the world.
She has exhibited, among other locales, at the Institute of Contemporary Arts in London, the New York Museum of Modern Art, The San Francisco Museum of Modern Art, Sundance International Film Festival/New Frontier, Outfest International Film Festival, El Museo del Barrio Museum of Contemporary Art, First International Performance Biennial, Deformes in Santiago, Chile and the Kiasma Museum of Helsinki. She was also an unlikely contestant on the TV network, Bravo’s “Work of Art: The Next Great Artist.” In 2001 she received theAnonymous Was a Woman fellowship and in 2007 named a New York Foundation for the Arts Fellow, as well as a Lambent Fellow. In 2008 She received the Chase Legacy award in Film (In conjunction with Kodak and HBO). And was the Artist in Residence of the American Studies Association in 2012. In 2013, Bustamante was awarded the (Short-term) CMAS-Benson Latin American Collection Research Fellowship and also a Makers Muse Award from the Kindle Foundation. In 2014/15 Bustamante was Artist in Residence at UC Riverside and in 2015 she was a UC MEXUS Scholar in Residence in preparation for a solo exhibit at Vincent Price Art Museum in Los Angeles. In 2020 Bustamante’s forthcoming VR film, “The Wooden People” received a producing grant from the Mike Kelley Foundation, and the National Performance Network and will be presented at REDCAT in 2021. 2021 also brought her success with her new research project, “BLOOM,” in which she is determined to redesign the speculum and take a stern look at the history of the pelvic examination. “BLOOM” has been supported by COLA (City of Los Angeles) fellowship, an Artpace Residency, and a USC Arts and Humanities award.
Bustamante is an alum of the San Francisco Art Institute, and in 2020 she was awarded an honorary doctorate degree from her alma mater, SFAI. She also attended Skowhegan School of Painting and Sculpture. Currently she holds the position of Professor of Art at the USC Roski School of Art and Design.
Track 16 Gallery is part of PST ART as a Gallery Program Participant. Returning in September 2024 with its latest edition, PST ART: Art & Science Collide, this landmark regional event explores the intersections of art and science, both past and present. PST ART is presented by Getty. For more information about PST ART: Art & Science Collide, please visit pst.art
TRACK 16 GALLERY
1206 MAPLE AVE, SUITES 100 & 1005, LOS ANGELES, CA 90015
+1-310-815-8080
Hours: Wednesday to Saturday, 12-6pm and by appointment
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3. Crash, Daze, Lady Pink, Martin Wong, FF Alumns, at Hunter Museum, Chattanooga, TN, thru Jan. 13, 2025
City As Canvas at @huntermuseum, Chattanooga, TN.
https://huntermuseum.org/exhibition/city-as-canvas-graffiti-art-from-the-martin-wong-collection
Ten years after the original showing at @museumofcityny I’ve been fortunate to bring Martin Wong’s collection to several venues around the world. This last showing looks great – a beautiful way to end out the tour with a nice, spacious hang celebrating the work of so many seminal aerosol artists. Hopefully Martin is looking down with a big bright smile! Featured artists include Crash, Futura, Lee Quinones, Zephyr, Daze, Lady Pink, Rammellzee, A-One, Koor, Wicked Gary, Phase2, Lee 163d, Riff 170, Tracy 168 and photographs Martha Cooper and Henry Chalfant. Sean Corcoran
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4. Carmelita Tropicana, FF Alumn, at Soho Rep, Manhattan, Oct. 23-Nov. 9
Dear Friends,
Happy fall! We want to invite you to the first show of our 2024/25 Season, and the farewell production at our long-time home on Walker Street: Give Me Carmelita Tropicana! by Alina Troyano (aka Carmelita Tropicana) and Branden Jacobs-Jenkins. This fantastical and hilarious world premiere follows a playwright named Branden (played by Ugo Chukwu) attempting to buy Carmelita Tropicana from her creator…but at what cost? We’ve taken to describing it as a cross between My Dinner With Andre and Freaky Friday with healthy dollops of Inception and Wizard of Oz. Fasten your seatbelts!
For the next two weeks, you have an opportunity to grab tickets for $25. Use code CARMELITA25 to purchase $25 tickets for performances from October 23 – November 9. This offer is available until October 3, or until tickets sell out at this link:
Join us for this electric collaboration between Branden and Alina. The cast features Carmelita herself alongside a stellar ensemble of Octavia Chavez-Richmond (Mary Gets Hers, Fuente Ovejuna), Ugo Chukwu (Oklahoma!, Primary Trust), Will Dagger (Corsicana, The Antelope Party), and Keren Lugo (At the Wedding, Privacy). The play is directed by our own Eric Ting, marking his first production at Soho Rep since We Are Proud to Present a Presentation… and his first since joining as one of Soho Rep’s directors last year.
We can’t wait to see you at the theater!
Love,
Soho Rep
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5. Charles Yuen, FF Alumn, at JJ Murphy Gallery, Manhattan, Sept. 28
Please join us for a conversation with the artist:
CHARLES YUEN
Frequency Surfing
Saturday 9/28, 3:30 – 4:00 pm
September 5 – October 5, 2024
JJ Murphy Gallery
Gallery hours: Thursday–Saturday, 12–6 PM.
53 Stanton St.
New York, NY
10002
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6. Nicolás Dumit Estévez Raful Espejo Ovalles, FF Alumn, live on Zoom, Sept. 24
BREATH-BODY-MIND
for Election Poll Workers and Activists
Pause, Breathe and Recharge
Join us on ZOOM for this FREE 90 minutes of
Breath-Body-Mind Practices taught by Dr. Richard P. Brown
This session is open to those involved in generating
positive shifts in the world, and seeking to experience
restoration, ease and to gather strength
in preparation for the times ahead.
September 24, 2024
7:00-8:30 PM ET
To register:
https://us06web.zoom.us/meeting/register/tZEvdOmvrD8tGNBCnIRMSNBAPBghvOslVNzs#/registration
https://www.breathbodymindfoundation.org and https://www.interiorbeautysalon.com
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7. Virginia Maksymowicz, Blaise Tobia, FF Alumns, live online Oct. 3, 10, 17
When was the last time the federal government employed thousands of artists nationwide?
No, it wasn’t under the New Deal in the 1930s.
It was under the Comprehensive Employment and Training Act (CETA) in the 1970s
CETA funded 20,000 arts sector jobs during its seven-year existence. The amount of money it pumped into the arts was triple that of the WPA during the 1930s, and six times more per year than the NEA. Yet many have never heard of it.
The Living New Deal and the CETA Arts Legacy Project are co-sponsoring a three-part webinar series on Zoom titled, “CETA: Forgotten Federally Funded Artists.” It will feature former CETA artists and administrators, CETA historians, and internationally renowned visual and performing artists such as Judy Baca and Lou Bellamy.
If you are interested in the history of American public art, community-engaged art, artists from diverse cultural and economic backgrounds, and forgotten legacies that challenge a market-driven history of art, this webinar series is for you! If you teach courses that address these topics, invite your students to attend.
WHEN: October 3, 10, 17
5:00 PM (Pacific Daylight Time)
6:00 PM (Mountain Daylight Time)
7:00 PM (Central Daylight Time)
8:00 PM (Eastern Daylight Time)
COST and REGISTRATION: All sessions are FREE and open to the public. However, you must register in advance in order to receive the link.
FOR COMPLETE INFORMATION AND REGISTRATION LINKS: <https://livingnewdeal.org/lnd-events/webinars/>
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8. Lucio Pozzi, FF Alumn, at Galleria Michela Rizzo, Venice, Italy, opening Sept. 27
Lucio Pozzi
Overlaps
Galleria Michela Rizzo
Via Torre Belfredo 49/C
Mestre – Venezia
27 Settembre/September – 25 Ottobre/October 2024
Inaugurazione / Opening :
Venerdì 27 settembre ore 18:00 / Friday 27 September 6 PM.
(English below)
Gli Overlap Paintings nacquero come spesso mi succede, per non buttar via del colore preparato in eccesso per altre cose, poi si sono sviluppati in un gruppo autonomo che mi permette mille esplorazioni. Sono dipinti con colori vinilici o acrilici che asciugano presto e non si sciolgono quando ci applichi sopra un altro strato. Overlap significa sovrapposizione. Procedo senza schema prestabilito dipingendo una griglia improvvisata sopra l’altra finché sento di smettere.
The Overlap Paintings were born as often happens to me, so as not to throw away excess color prepared for other things, then they developed into an autonomous group that allows me a thousand explorations. They are painted with vinylic or acrylic paints that dry quickly and do not melt when you apply another layer over them. Overlap means superposition. I proceed without a pre-established scheme, painting one improvised grid on top of the other until I feel like stopping.
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9. Marshall Reese, FF Alumn, at Cooper Union Great Hall, Manhattan, Oct. 22
Political Advertisement 1952-2024: Screening and Panel
Tuesday, October 22, 2024, 6:30 – 8:30pm
for complete information and to register please visit this link:
Artists Muntadas and Reese will premiere the 11th edition of their four-decade long collaboration, Political Advertisement 1952-2024, followed by a conversation with Brooke Gladstone, host of WNYC’s Peabody Award-winning podcast On The Media.
Registration on EventBrite is required. However, an EventBrite ticket does not guarantee entry as this is a first-come-first-served free event.
For 40 years, Antoni Muntadas and Marshall Reese have been compiling a video history of presidential campaign spots that follows the evolution of broadcast political advertising from its beginnings in 1952 to the present. When the artists started this project in 1984, finding broadcast political ads required exhaustive research in archives and often involved personal contact with the candidate’s campaigns, a bit more complicated than today’s internet click and download.
The feature length film is a personal vision of how politics and politicians are shaped and presented through the moving image. This engaging critique without voiceover commentary highlights how campaign ads manipulate public perception and affect voter behavior. The experience is an historical stream of consciousness showcasing the political and technological histories of presidential candidates and the broadcast moving image.
The video illustrates how advertising strategies have changed from television’s early days into sophisticated media campaigns based on fear, prejudice and emotional triggers. Political Advertisement stands as an important work in the field of media art merging cultural critique with historical documentation that prompts viewers to consider the role of media in politics and its effects on democracy.
About the Panelists
Antoni Muntadas’ work addresses social, political, and communications issues, the relationship between public and private space within social frameworks, as well as channels of information and the ways they may be used to censor central information or promulgate ideas. He works on projects in different media such as photography, video, publications, Internet and multi-media installations. Since 1995, Muntadas has grouped together a set of works and projects titled On Translation emphasizing issues of interpretation, transcription, and cultural translation. Their content, dimensions, and materials are variable, and focus on the author’s personal experience and artistic activity in numerous countries over forty years. His most recent project, Asian Protocols, explores similarities, differences and conflicts between Korea, Japan, and China.
Marshall Reese is a Brooklyn-based artist working in various media including video, information networks, custom hardware and software, editions, and temporary public art events. Since the mid-eighties he has collaborated with Nora Ligorano as LigoranoReese. Their work investigates the impact of technology on society and the rhetoric of politics and visual culture in the media. Articles about their work have been published in the New York Times, Art Forum, and more. They have received awards and grants including three NYFA fellowships as well as a NEA fellowship, two Jerome Foundation Fellowships, a Puffin grant and a number of artists residencies. They are represented by Catharine Clark Gallery and show edition work with Jim Kempner Fine Art.
Brooke Gladstone is host of On the Media, and the recipient of two Peabody Awards, a National Press Club Award, and an Overseas Press Club Award among many others. She also is the author of The Influencing Machine (W.W. Norton), a media manifesto in graphic form, listed among the top books of 2011 by The New Yorker, Publisher’s Weekly, Kirkus Reviews, and Library Journal, and among the “10 Masterpieces of Graphic Nonfiction” by The Atlantic.
Located in The Great Hall, in the Foundation Building, 7 East 7th Street, between Third and Fourth Avenues
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10. Elise Kermani, FF Alumn, at Center for Performance Research, Brooklyn, Oct. 13
FILMMAKER ELISE KERMANI
PRESENTS THE NEW YORK PREMIERE OF “WITHOUT FAME”
AND SCREENS THREE OF HER EARLIER
SHORT PERFORMANCE FILMS AT
CPR – CENTER FOR PERFORMANCE RESEARCH IN BROOKLYN ON
SUNDAY, OCTOBER 13 AT 5:30 P.M. EST
BROOKLYN, NY – Filmmaker Elise Kermani will be presenting the New York premiere of her
latest short performance film, “Without Fame,” as well as three of her earlier works, on
Sunday, October 13, at CPR – Center for Performance Research (361 Manhattan Avenue, Unit
1, Brooklyn, NY) at 5:30 p.m. EST. “Without Fame,” which recently showed at the AGON
International Archaeological Film Festival in Athens, Greece, this past May, was one of 63 films
from 24 countries selected from 1,250 submissions from 100 countries, and ultimately one of
only two films selected from the United States.
The evening with conclude with a Q&A with the filmmaker and audience. Tickets at $10 and are available at the door and online at www.cprnyc.org/events/without-fame. “Without Fame (Antiklea)”, was shot in Malibu, Calif. with cinematography by Kaliya Warren and featuring actor Chivonne Michelle. The film was produced by Illium Pictures in Los Angeles and
centers on a tragic figure who is often forgotten amidst talk of Homer’s “Odyssey,” Antiklea, the
mother of Odysseus. Although she is technically a minor character when compared to her
famous wandering son (Antiklea literally means ‘without Fame’ in ancient Greek), she is living
proof of how a mother’s life can diminish once her child goes away.
“I like to include dance in my work because it can tell a story without being literal; expressing
character and narrative, while still leaving plenty open to the imagination,” says Kermani.
“Although my projects are frequently feminist in tone, I don’t set out to make overtly political
work. Perhaps because of my Catholic upbringing, in which Mass was an inspirational and
structured ritual for me, I am fixated on the symbols, archetypes, and materiality in the sounds
and visuals I generate for my projects.”
While Kermani’s film takes its inspiration from Book XI of Homer’s Odyssey (including voiceover in the original ancient Greek), the film honors the moments before and after Odysseus meets his mother in Hades — and when she is left alone. “What destiny brought you to the home of Death?” he asks her in the text. In a translation by Alexander Pope, Antiklea’s response is, “For thee, I lived — for absent, I expired!” “Without Fame” also features “Tzivaeri,” a traditional Greek song whose title translates to ‘my treasure,’ and whose inclusion is meant to be a call of adoration from a mother to her child. Kermani first heard the song on a trip to Greece 10 years ago, and knew she had to use it in a film.
“Without Fame” also combines aspects of modern life with these mythological proceedings. In
making it, Kermani was thinking a lot about the increasing number of migrants who’ve perished
on the shores of Greece after attempting perilous boat trips across the ocean. They’re fleeing to Europe in hopes of finding a better life. But many of these people end up with no identities –
they are buried as unknowns, and most families will never learn what happened to their loved
ones. That is why Kermani chose to begin the film with Antiklea washed up on a desolate
beach; she is so often forgotten, too.
Other short performance films screened this evening include:
“SAND – a migrating performance” (2019), with choreography and performances by Kristina
Isabelle, 12 mins. Shot along the southern shores of Lake Michigan, with four dancers and a
puppet. Cinematography by Diana Quiñones Rivera.
“Agamemnon’s Daughter” (2016), with choreography and solo performance by Laurel
Jenkins, 4 mins. Shot in Malibu, California. With text from Euripides’ “Iphigenia in Taurus”.
Cinematography by Alexander Chinnici.
“JUSTICE”(2018) with choreography and performance by Christine Elmo and dancers, 12
mins. Shot at the Riverside Park, NYC on the summer solstice, June 21, 2017. With text from
Ovid’s “Metamorphosis”. Cinematography by Kaliya Warren.
ABOUT THE FILMMAKER
Elise Kermani, currently based out of Northwest Indiana, is Managing Director of the Dunes Arts Foundation, located in Michigan City, Ind. She is also Adjunct Lecturer of Media Art at Empire State University in New York. Heavily influenced by European theatrical video art, Kermani is primarily interested in adapting classic material and crafting her own unique, modernized interpretations; her projects consistently feature strong elements of music and dance. Particularly prevalent in the work is the idea of collage; not necessarily two-dimensional collage, but the layering of time itself, expanding a story back into the past and also forward into the present. Using varying levels of sound and fragmented visuals to comprise diverse,
experimental performance pieces, Kermani aims to evoke a trance-like state—hypnotizing and
even submerging a viewer within a strange new world. The music (much of which is sound
designed by Kermani herself) is post-modern, emerging as a kaleidoscope of noise, a
comingling of every kind of sound imaginable.
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11. Helen Lessick, FF Alumn, at Playa, Summer Lake, OR, Oct. 2024
Helen Lessick, Artist in residence, Playa, Summer Lake,Oregon. Oct. 2024.
For Playa, the artist and scientist residency program in rural SE Oregon, Helen will install her Playa Carnival, an installation celebrating subterranean nematodes with 300 customized pennants and a (miniature) big top.
Thank you,
Helen Lessick
HelenLessick.net
Los Angeles, CA
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12. Galinsky, FF Alumn, at Book Club Bar, Manhattan, Sept. 26
Galinsky hosts and curates 10 poets, each doing 5 minutes of spoken word and/or poetry. Book Club Bar boasts great coffee, tea, wine and spirits. September 26, First Poet Hits at 8pm, 197 E. 3rd St. NY “Poetry in New York” Show starts at 8 and runs to 9:30pm in a festive environment. Come early browse books… meet poets… drink wine or coffee… enjoy a fun community. This is not an open mic., all poets curated, no admission cost, all ages! IG: @galinskynow
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13. Kathy Grove & Petah Coyne, FF Alumns, at Chazen Museum, Madison, WI, thru Dec. 23
At the Chazen Museum of Art of the University of Wisconsin, Madison, Kathy Grove will be exhibiting a dozen works from The Real Guerrillas, a long-term collaborative project with Petah Coyne. For over 5 years Grove and Coyne have been tracking down, photographing and interviewing all the members of the original Guerrilla Girls – the anonymous collective that began in 1985. All of the “Girls” had aliases as earlier woman artists, so Grove and Coyne have been producing a comprehensive portfolio of portraits of them as their alter-egos. This exhibition will be part of a larger career survey of Coyne’s work How Much a Heart Can Hold on view from September 19th – December 23rd, 2024. During 2025-2026 the exhibition will travel to the Neuberger Museum of Art in Purchase, New York and then to its final destination at the Lowe Art Museum of Art in Miami, Florida.
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14. Alfredo Jaar, FF Alumn, at KINDL – Centre for Contemporary Art, Berlin, Germany, thru June 1, 2025
Galerie Lelong
Alfredo Jaar
The End of the World
The Kesselhaus at the KINDL – Centre for Contemporary Art, Berlin, Germany
September 15, 2024 – June 1, 2025
Galerie Lelong & Co., New York is pleased to announce a new solo exhibition by Alfredo Jaar, The End of the World, on view at the Kesselhaus at the KINDL from September 15, 2024 to June 1, 2025.
Drawing from a five-year research project on our ailing planet, the artist presents his critical assessment of the ecological and political crises facing our present and future, creating for the Kesselhaus at the KINDL a new site-specific installation that reflects on the current state of our world.
For over four decades, Jaar has grappled with complex sociopolitical issues, exploring the limitations and ethics of representation. His research, interventions, and artworks are driven by economic and social disparities, the exploitation of resources in the global South by the global North, unequal power relations, and the suppression of facts through media control.
With The End of the World, the result of years of research supported by human geographer and political geologist Adam Bobbette, Jaar brings attention to the struggle for resources – a critical and increasingly significant factor in international conflicts. Within the expansive Kesselhaus, the installation demands focus on a 4×4×4 cm cube composed of layered raw materials: cobalt, rare earths, copper, tin, nickel, lithium, manganese, coltan, germanium, and platinum – ten strategic metals vital to digitalization,electromobility, high-tech applications, and storage media. Despite the growing demand for these materials, their extraction is fraught with severe human rights violations and environmental destruction.
About the Artist
Alfredo Jaar, 2018. © Jee Eun Esther Jang
Alfredo Jaar is an uncompromising and innovative artist, architect, and filmmaker. For over 40 years, Jaar has used photographs, film, installation, and new media to create compelling works that examine complex socio-political issues and the limits and ethics of representation. By using a hybrid form of art-making, Jaar has consistently provoked, questioned, and searched for ways to heighten our consciousness about issues often forgotten or suppressed in the international sphere, while not relinquishing art’s formal and aesthetic power. Over his career, Jaar has explored significant political and social issues including genocide, the displacement of refugees across borders, and the balance of power between developing and industrialized nations.
Jaar’s work has been shown extensively around the world. He has participated in the Biennales of Venice, Italy (1986, 2007, 2009, 2013); São Paulo, Brazil (1987, 1989, 2010); Documenta, Germany (1987, 2002); the Whitney Biennial (2022). In 2020, Jaar was the recipient of the Hasselblad Foundation International Award in Photography, the most prestigious award for photography in the world. Jaar was awarded the 11th Hiroshima Art Prize in 2019, and a solo exhibition was presented in 2023. Other major recent surveys of his work have taken place at the MCA Chicago; Musée Cantonal des Beaux Arts, France; Hangar Bicocca, Italy; Alte Nationalgalerie, Berlinische Galerie and Neue Gesellschaft fur bildende Kunst e.V., Germany; Rencontres d’Arles, France; and Museum of Contemporary Art Kiasma, Finland. His work can be found in the collections of the Museum of Modern Art, New York; Guggenheim Museum, New York; Museum of Contemporary Art Chicago, Illinois; Los Angeles Museum of Art, California; Philadelphia Museum of Art, Pennsylvania; Tate Modern, England; Centre Georges Pompidou, France; Museo Nacional Centro de Arte Reina Sofía, Spain; Louisiana Museum of Modern Art, Denmark; M+, Hong Kong; and dozens of other institutions worldwide.
Jaar was born in Santiago, Chile, in 1956 and has been based in New York City since 1982.
GALERIE LELONG & CO.
528 WEST 26TH STREET
NEW YORK, NY 10001
T +1 212.315.0470
F +1 212.262.0624
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15. Jane Dickson, FF Alumn, at Karma, Los Angeles, CA, thru Nov. 2
Jane Dickson
Are We There Yet?
September 19–November 2
7351 Santa Monica Boulevard
Los Angeles
Karma presents Are We There Yet?, the first survey of Jane Dickson’s highway paintings, open from September 19 to November 2, 2024, at 7351 Santa Monica Boulevard, Los Angeles.
Best known for illuminating the darker corners of New York’s Times Square, Dickson turned her attention in the mid-1990s to Los Angeles’s sprawling network of highways, an equally contested landscape and site of projected desire. This new focus flowed from Dickson’s contemplation of the challenges of motherhood and her departure from the neighborhood that had been her home and muse for years. These roads, highways, and parking lots, painted from her own photographs, are depicted variously in oil, acrylic, and oil stick on linen or Astroturf. Are We There Yet?, her first exhibition in Los Angeles in nearly twenty-five years, offers a selection of these paintings from the turn of the millennium through to the present day. Metaphorically and literally, these open roads are the connections between and conduits to the spaces of spectacular distraction—such as demolition derbies, casinos, and strip clubs—that recur in her oeuvre. The desires that animate Dickson’s Times Square also course through these concrete networks, which signify something or someone just out of reach, over the horizon line, but never show exactly where our impulses will lead. These paintings shed light on yet another shared, interstitial space that often escapes our attention. How much of our lives do we spend between destinations? Can the mythological promise of the road—the possibility of escape, of freedom—ever be fulfilled?
In 1997, two years before her stint in Los Angeles, Dickson initiated a series of paintings of single-family homes on carpet samples that speak to the loneliness and isolation hidden behind these emblems of the American dream. The oil-on-linen Roadtrip paintings of 1999–2002, on display in the smaller gallery, contend with the same alienated feeling. Captured from behind the dashboard of a car, they put the viewer in the position of the driver, mimicking the semblance of control promised by capitalist individualism. Automobiles in the distance of Road Trip 2 (1999) affirm the presence of other motorists, yet the space between us and them, each of us snugly isolated in little metal boxes, is insurmountable. At the same time, these open roads, like Dickson’s earlier depictions of strip clubs and demolition derbies, promise an escape from everyday life into a lawless realm where desire rules. Road Trip 8 (2000), of an empty, perfectly flat two-lane road vanishing at the horizon line and a cloudless sky, suggests pure potentiality. The absence of other cars increases this false sense of freedom from constraints. As in all of her work, these paintings are haunted by the specter of the gaze. As Dickson wrote in 1996, “Sometimes I stare at passengers in other cars on the highway . . . they always feel it and turn to see who’s watching them. This is a primordial predator/prey response, to be watched is the prelude to being eaten.”
The larger gallery displays paintings on Astroturf made between 1999 and 2024. First used by Dickson when she began this series, Astroturf is one of the numerous nontraditional supports—carpet, vinyl, and felt among them—that the artist uses for their conceptual resonances, to add texture to her compositions, soften the contours of her forms, and intentionally slow down her process. Astroturf, a plastic grass substitute patented by Monsanto in 1965, operates as a metaphor for the contents of the paintings, in which nature and infrastructure meet at the horizon line to compete for dominance over the landscape. Dickson likens the texture of the material in these works to the blur of scenery viewed from a moving car. In Out of Here North 3 (2013), transmission towers disrupt a majestic orange sunset; in Out of Here Red Taillights, Snow (2009), the titular glow against a dark evening sky tints flurries of snow an otherworldly crimson. The scale of these works, some of which are nearly ten feet wide, overwhelm the viewer, inserting them directly into the middle of the scene. In her use of immersive size and vehicular subject matter, Dickson draws from the same well as Ed Ruscha and Alan D’Archangelo; unlike them, her focus is not on the iconic nature of signage and sharp, Pop-inflected forms but on the sublime amidst the industrial experienced by anyone who wants to get out of town. If, as Dickson once proposed, “the highway is a key to the American psyche,” these paintings are a key to her practice.
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16. Jody Oberfelder, FF Alumn, at Tilikum Crossing Bridge, Portland, OR, Sept. 28
‘LIFE TRAVELER’ RETURNS,THIS TIME IN PORTLAND, OREGON
Join us for a reprise of ‘Life Traveler’ on the largest car-free bridge in the country. Walk onto the “Bridge of the People,” also known as the Tilikum Crossing Bridge, and find yourself in the midst of site specific dance.
Saturday September 28th, 1-2:30pm (rain date Sunday September 29th)
Life Traveler is performed on bridges to a very simple score and vocabulary: playing with vintage prop suitcases, traversing space, and contemplating what it is to cross a bridge, all part of a life’s journey. Life Traveler is always free to the public. It has been performed on bridges in Minneapolis, Philadelphia, London, Amsterdam, and six cities throughout Germany.
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17. Bob Goldberg, FF Alumn, at Bryant Park, Manhattan, Sept. 23
Monday, Sept 23rd,2024 at 7:30 PM
Bryant Park will be filled with the sound of Accordions
harmonious drones and haunting melodies
as part of Accordions Around the World
starting at 5:30, many fine accordion artists are featured
and The Famous Accordions of the Universe go on at 7:30 promptly
See You There!
Bryant Park – 42nd Street and 6th Avenue, Manhattan
for more information: https://bryantpark.org/calendar/event/accordions-around-the-world
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18. WHOOP DEE DOO, FF Alumns, at Compére Collective, Brooklyn, Sept. 29
WHOOP DEE DOO + Red Hook Art Project present:
“Public Access!”
Sunday, September 29th, 2024
At Compére Collective, 351 Van Brunt St, Brooklyn, NY 11231
WHOOP DEE DOO (www.whoopdeedoo.org), in partnership with Red Hook Art Project (www.wedhookartproject.org), is proud to present the culminating event of their “Public Access!” initiative with a live public access-style TV show and community ice cream social on September 29, 2024, at Compére Collective in Red Hook. This event, supported by a grant from the National Endowment for the Arts (NEA), is a celebration of community, creativity, and collaboration, showcasing the incredible work of RHAP students alongside a fun, interactive ice cream social. This event will also feature performances from the Calpulli Mexican Dance Company (www.calpullidance.org).
Event Details:
What: “Public Access!” Art Show and Community Ice Cream Social
When: September 29, 2024: 5:00pm, 5:45pm, 6:30pm
Where: Compére Collective, 351 Van Brunt St, Brooklyn, NY 11231 (Red Hook)
The “Public Access!” live show will feature visual and performance pieces created by students of RHAP, who have spent the past two months learning from professional artists through a series of workshops focused on building creative leadership and technical skills. This project is the latest in RHAP’s ongoing commitment to providing youth in the Red Hook community, particularly those from historically underserved backgrounds, with opportunities for creative expression and personal growth.
“We are thrilled to be able to showcase the incredible talent and dedication of our students,” says RHAP Executive Director Tiffiney Davis. “The ‘Public Access!’ project has empowered them to take ownership of their artistic voices and connect with the broader community in meaningful ways.”
Attendees of the event can also enjoy a community ice cream social, generously supported by Goodiez Red Hook, which has donated a variety of flavors, toppings, and supplies. The event is expected to host around 100 guests, bringing together students, families, and community members for an afternoon of celebration and connection.
This event is free and open to the public. RSVP is strongly encouraged – More info at whoopdeedoo.org/news
Contact: Sofia Dixon, Co-Director – sofia@whoopdeedoo.org
https://realtycollective.com/compere-collective/
Seating is limited & on a first come, first served basis.
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19. Mark Bloch, FF Alumn, at New York University, thru Dec. 13 – update
Exhibition at NYU: Panmodern! The Postal Art Network Archive
Please note: the exhibition is free and open to the public, however an appointment is required for access by emailing special.collections@nyu.edu
September 17-December 13, 2024
On view in NYU’s Special Collections Center, second floor of the Elmer Holmes Bobst Library, 70 Washington Square South, Floor 2
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20. Kenneth King, FF Member, in PAJ: A Journal of Performance and Art, Sept. 2024
My wide ranging essay, which connects the dots between Daguerre’s theatrical dioramas and daguerreotype, Morse’s paintings and telegraph, the emergence of mixed genres, multimedia, performance art, iPhones and AI, has just been published in the last & final issue of PAJ: a Journal of Performance and Art, certainly a collectors item.
https://direct.mit.edu/pajj/issue/46/3%20(138)
After 48 heroic years, PAJ’s dedicated founder and editor Bonnie Marranca is moving on–her incredibly prolific journey began when NYC’s 1960’s downtown avant-garde theater, performance art, dance, and multimedia scene exploded with new possibilities that over the years has become international. I’m thankful to her for the challenge of publishing many articles and essays in the Journal over the years.
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21. Christy Rupp, FF Alumn, at Buffalo Museum of Science, NY, Sept. 28, 2024-Mar. 9, 2025, and more
Christy Rupp
Runoff
September 28, 2024-March 9, 2025
U of Buffalo, Anderson Gallery and Buffalo Museum of Science
In Runoff Christy Rupp delves into the intersection of waste, environment, and human impact. Featuring environmental sculptures and graphics from the late 1970s to the present, the exhibition debuts an oversized pipeline installation that cleaves the gallery’s atrium, spotlighting our addiction to fossil fuels. At the Buffalo Museum of Science, site-specific interventions and digital murals depict threatened species and their habitat, drawing our attention to deforestation and melting glaciers.
Christy Rupp, a Buffalo native, is known for her pioneering work in ecological art activism. Using discarded materials in multiple media, her work highlights the interconnectedness of the waste stream and ecosystems. Rupp’s work has been exhibited and collected globally, addressing urgent environmental issues through innovative, playful, and thought provoking sculpture and graphics.
From accompanying essay by Anna Souter:
At the heart of all waste is a curious paradox: that which we get rid of is also our legacy.
No matter how completely we think we have thrown something away, it maintains an eternal link to our bodies, our lives, our consumption, and our relationships. Our detritus becomes the archaeology of the future. We are not “supposed” to see all this.
Over the course of her long career, Christy Rupp has engaged with these questions of waste, visibility, and habitat.
Rupp’s sculptures tell a story of the vibrancy of all life, the interconnectedness of human and nonhuman ecosystems, and the power exerted on our shared world by waste. Informed by the emerging field of discard studies, Rupp explores the maintenance of power by dominant systems through which places, people, materials, and beings, are devalued and discarded.
Taking place at both UB Anderson Gallery, Martha Jackson Place, Buffalo and the Buffalo Museum of Science, the exhibition marks a significant collaboration between the two institutions.
Curated by Dr. Anna Wager, Curator of Exhibitions, UB Art Galleries.
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22. Jo Andres, Mimi Goese, Lucy Sexton, FF Alumns, at ISSUE Project Room, Brooklyn, Sept. 26 and Oct. 4
Black Kites:
Jo Andres: Eszter Balint, Mimi Goese, Katie Porter, Hahn Rowe, at ISSUE Project Room, Brooklyn, Sept. 26:
and
Dreaming Out Loud:
Jo Andres: Jennifer Reeves, Lisa Rinzler, Lucy Sexton, Elliott Sharp, Axine M, at ISSUE Project Room, Brooklyn, Oct. 4
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Goings On for Artists is compiled weekly by Rohan Subramaniam, FF Intern, Summer/Fall 2024
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