Goings On: posted week of August 12, 2019
CONTENTS:
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1. Nicole Goodwin, FF Fund recipient 2019, at Judson Memorial Church, Manhattan, August 28 (corrected date)
2. Michael Katchen, Suzanne Varni, Dolores Zorreguieta, FF Alumns, at Abrazo Gallery, The Clemente, Manhattan, opening Aug. 20
3. Magie Dominic, FF Alumn, at ClampArt, Manhattan, opening Aug. 15
4. Doug Skinner, FF Alumn, publishes new book
5. Mark Berghash, Jeffrey Schrier, Robin Tewes, FF Alumns, at Dr. Bernard Heller Museum, Manhattan, opening Sept. 12
6. Kimsooja, FF Alumn, at Rubin Museum of Art, Manhattan, opening Aug. 16, and more
7. Claes Oldenburg, Adam Pendleton, FF Alumns, in The New York Times, now online
8. Peter Cramer, Jack Waters, FF Alumns, at Mercury Lounge, Manhattan, Aug. 21
9. Jenny Holzer, Barbara Kruger, Miriam Schapiro, FF Alumns, in The New York Times, July 22
10. Norm Magnusson, FF Alumn, at Mount Saint Mary College, Newburgh, NY, opening Oct. 4, and more
11. Jay Critchley, FF Alumn, in Provincetown Banner, July 25
12. Dynasty Handbag, FF Alumn, August news
13. Frank Moore, FF Alumn, featured on KPFA 94.1 Berkeley
14. Lucio Pozzi, FF Alumn, at Studio La Città, Verona, Italy, opening Sept. 21
15. Dee Shapiro, FF Member, at David Richard Gallery, Manhattan, opening Sept. 22
16. Susan Mogul, FF Alumn, at as-is.la, Los Angeles, CA, thru Sept. 8
17. Annie Sprinkle, Elizabeth Stevens, FF Alumns, August news
18. Joseph Nechvatal, FF Alumn, now online
19. Nancy Azara, FF Member, at Kaaterskill Fine Arts Gallery, Hunter, NY, opening Aug. 24
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1. Nicole Goodwin, FF Fund recipient 2019, at Judson Memorial Church, Manhattan, August 28 (corrected date)
Nicole Goodwin
“Ain’t I a Woman (?/!): The Dinner Party”
Judson Memorial Church 55 Washington Square South NY, NY 10012
August 28th, 2019
7pm-9pm
Tickets: Free
Statement from the artist:
“Ain’t I a Woman (?/!)” is a project that I first performed in public spaces around NYC. This rendition of the project, where I posed topless with the words “Ain’t I a Woman (?/!)” inscribed all over my body to represent black women and body positivity while onlookers and guests are seated at a “Dinner Party.” The focal point of “Ain’t I a Woman (?/!)” is to create a social conversation surrounding issues within the realm of women’s bodies. This conversation begins with discussion of race and body politics-especially the favoritism that happens in cultures prone to body shaming, sexism and misogyny. Through my topless exposure, body art and performance the precipice of body-shaming and body-acceptance are pushed to the forefront immediately because it is a live public performance. “Ain’t I a Woman (?/!)” is linked to feminism in that the performance it allots for my body to tell its story related publicly. My particular focus as a Black women, have tackled subjects such as sexual assault/rape culture, police violence, and self-image. Each performance can be viewed as a commentary on being demeaned and marginalized in the eyes of Western culture, representing the dehumanization of all women through the scope of unrealistic expectations and standards set upon us.”
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2. Michael Katchen, Suzanne Varni, Dolores Zorreguieta, FF Alumns, at Abrazo Gallery, The Clemente, Manhattan, opening Aug. 20
VORACIOUS EYE
Abrazo Gallery, The Clemente, 2nd floor
August 7 – August 26, 2019
Gallery Hours 3:30 – 7pm daily
Reception and Pot Luck – Tuesday, August 20th, 6 – 9pm
Artists
Dalia Amara | Tom Bogaert | Linda Byrne | Susanna Coffey | Sally Curcio | Julien Gardier | Linda Griggs | Lisa Hanson | Kirsten Hassenfeld | Amy Hill | Julia Justo I Maria Lupianez | Christina Marsh | Tracy Miller | Bill Massey | Mark Power | Moses Ros-Suarez | Paul Smith | Mary Jo Vath | Suzanne Varni | Melanie Vote | Chris Wright | Dolores Zorreguieta
Curated by Suzanne Varni
Co-curator, Linda Griggs
Food is Love, an Object, in Danger, a Danger, Entertainment, Symbolic, a Cypher, a Seduction, and a Substitute for the Body.
Food may well have been art’s first subject. The oldest known are Indonesian cave paintings of a pig and bull at 35,400 and 40,000 years old respectively.
In the last ten years or more the conversation around food has expanded. Some include wars that result from food insecurity and their impact on the environment, the use of GMOs in agribusiness, urban food deserts, and the depletion of the oceans. Personal conversations center around food allergies, both deadly and imagined. When food is entertainment we talk about celebrity chefs and destination restaurants.
From mythology and fairytales come the horror of children devoured; from nature, the male consumed by the female; and from the most primal places, an atavistic hunger that engulfs even itself.
This show explores foods’ varied meanings including pointed political abstractions, voluptuousness and the body, and fond, regional memories.
– Linda Griggs
Edible Options
Everyone can relate to eating in some way or another. It is an act that people execute similarly but experience differently, often in very personal ways. The eclectic group of visual artists whose work appears in the exhibition serves up a wide assortment of interpretations on this common theme. Though the artworks are all directly or indirectly inspired by the concept of eating, the content and execution is remarkably varied. The mediums of painting, photography, and sculpture are all used to express individualistic views and experiences that are best described visually.
— Michael Katchen
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3. Magie Dominic, FF Alumn, at ClampArt, Manhattan, opening Aug. 15
“Magic Time!-Art & Ephemera of the Caffé Cino”
On Thursday, August 15, “Magic Time!-Art & Ephemera of the Caffé Cino” will open at ClampArt at 247 W. 29th Street. The art exhibit, organized by Ward 5B and Caffé Cino alumnus Magie Dominic, coincides with the Caffe Cino’s designation as a historical site by the NYC Landmarks Preservation Commission in June 2019.
The exhibit will feature the art work of collagist and memoirist Magie Dominic, and the art work of Kenny Burgess artist and designer of the original Caffe Cino posters. Both artists are represented in The Fales Library & Special Collections at NYU and in The New York Library for the Performing Arts Archives at Lincoln Center. The exhibit will also feature a collection of ephemera from the Caffe Cino itself.
The opening reception is August 15, 6-8pm. The show runs from Aug. 15- September 17.
ClampArt is located at 247 West 29th Street, Ground Floor, New York, NY 10001. 646.230.0020 info@clampart.com
WEBSITE: https://clampart.com/2019/07/magic-time-art-ephemera-of-the-caffe-cino/#thumbnails
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4. Doug Skinner, FF Alumn, publishes new book
“The Pope’s Mustard-Maker” is now available from Black Scat Books!
Translated by Doug Skinner!
“Le Moutardier du pape” was the last work that Alfred Jarry finished, a few months before his death in 1907. It was one of many operettas he worked on in his last years, and one of the few he finished: a bawdy three-act farce loosely based on the medieval legend of Pope Joan, with a huge cast and lively songs bubbling with rhymes and wordplay.
Readers who know Jarry only from Ubu or his novels may be surprised that he wrote operettas, but his are fully Jarryesque, with his usual gusto for smutty jokes, legend, folklore, puns, wild invention, and popular theater. In his hands, Pope Joan becomes Jane, who runs off with her lover and disguises herself as pope. How will she pass inspection on the slotted chair? What will she do when her husband shows up? And has there ever been another production number celebrating the spiritual virtues of enemas?
This is the first translation of this major work! I also provide an introduction and notes, and scrupulously rendered all of Jarry’s rhyming verse into rhyming verse. Available from Amazon or blackscatbooks(dot)com.
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5. Mark Berghash, Jeffrey Schrier, Robin Tewes, FF Alumns, at Dr. Bernard Heller Museum, Manhattan, opening Sept. 12
RELATIVE RELATIONS
Seventy artists explore human connections shaped by
genetics, proximity, interests, and shared destiny.
On View through June 30, 2020
Opening: Thursday, September 12, 2019
Reception: 5:30 – 7:30 pm | Program: 6:30 pm
Dr. Bernard Heller Museum
Hebrew Union College-Jewish Institute of Religion
One West Fourth Street, New York
Questions/Group Tours: Visit huc.edu/museums/ny or
contact museumnyc@huc.edu or 212-824-2218.
ARTISTS INCLUDE:
HEDDY ABRAMOWITZ • JACKIE ABRAMS • MARLENE D’ORAZIO ADLER
DEBORAH AMERLING • MARCIA ANNENBERG • ANDI ARNOVITZ
WILL BARNET • DORENE BELLER • MARK BERGHASH • SELMA BLUESTEIN
DARE BOLES • MAYA BRODSKY • BERNARD BRUSSEL-SMITH
JOSEPH CAVALIERI • PAULINE CHERNICHAW • ELAINE CLAYMAN
DOEPROJEKTS: DEBORAH ADAMS DOERING AND GLENN N. DOERING
NADINE EPSTEIN • MAX FERGUSON • TULLY FILMUS • ROBERT FORMAN
NORMAN GERSHMAN • KEN GOLDMAN • JANET GOLDNER • SUSAN GRABEL
GRACE GRAUPE-PILLARD • LAURIE GROSS • DEBBIE TEICHOLZ GUEDALIA
CAROL HAMOY • BONNIE HELLER • PHYLLIS HERFIELD • MAXINE HESS
NATHAN HILU • BARBARA HINES • TAMAR HIRSCHL • ELLEN HOLTZBLATT
MAJ KALFUS • RUTH LEAF • IRIS LEVINSON • PEACHY LEVY
NEIL MACCORMICK • NANCY MANTELL • RICHARD MCBEE • MICHAEL MENDEL JUNGHWA PARK • LIONEL PICKER • MARK PODWAL • ARCHIE RAND KEN RATNER • FLORA ROSEFSKY • TRIX ROSEN • DEBORAH ROSENTHAL REUVEN RUBIN • DEIDRE SCHERER • JEFFREY SCHRIER • BRIAN SHAPIRO LOUISE SILK • SUSAN SINEK • MAGGIE SINER • ROBIN TEWES MORRIS TOPCHEVSKY • PATRICIA VAN ARDOY • DAVID WANDER
JOYCE ELLEN WEINSTEIN • MARC WEINSTEIN • TODD WEINSTEIN
RUTH WEISBERG • PAUL WEISSMAN • LLOYD WOLF • ESTELLE YARINSKY
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6. Kimsooja, FF Alumn, at Rubin Museum of Art, Manhattan, opening Aug. 16, and more
Kimsooja Current Exhibitions
Clapping with Stones: Art and Acts of Resistance at the Rubin Museum of Art
Kimsooja, Lotus: Zone of Zero, 2008, Installation at Galerie Ravenstein, Brussels. Courtesy of Centre for Fine Arts, Brussels, the Ministry of Culture, Sports and Tourism, Korea, and Kimsooja Studio. Photograph by Fabrice Kada.
Clapping with Stones: Art and Acts of Resistance
August 16, 2019 – January 6, 2020
Rubin Museum of Art
150 W 17th St
New York City, USA
Opening Celebration:
FRIDAY, 8.16.19
6:00 PM – 11:00 PM
Contemplate the power of non-conformity and your own potential for action at Clapping with Stones: Art and Acts of Resistance. Using the Rubin’s circular architecture to create an immersive site-specific display, the exhibition examines social, cultural, and political events through a local and global lens, offering unique perspectives from 10 contemporary artists living and working in the United States and internationally – all of whom are grouped together for the first time in this constellation.
Featuring works in a range of sizes and media, including photography, sculpture, video, textile, and installation, Clapping with Stones articulates a wide variety of societal and political themes while making an open-ended call to action.
Clapping with Stones: Art and Acts of Resistance is organized by guest curator Sara Raza, independent curator and writer. The exhibition is produced by the Rubin Museum of Art.
Archive of Mind at Peabody Essex Museum
¬¬Kimsooja, Archive of Mind, 2019, Courtesy of Courtesy of Peabody Essex Museum and Kimsooja Studio. Photo by Bob Packert.
Kimsooja: Archive of Mind
June 22, 2019 – January 19, 2020
Peabody Essex Museum
161 Essex Street
Salem, MA 01970
Kimsooja’s work transforms simple, everyday actions into moments of meditation and transcendence. Archive of Mind is a participatory installation that, with visitor collaboration, builds over the course of the exhibition. PEM presents the North American premiere of this work, where museum visitors are encouraged to sit at the large work surface, empty their minds of distraction, and sink into the essentialized experience of forming a ball of clay with their own hands. Through the course of the exhibition, thousands of clay spheres are generated through small, individual gestures that reveal the emotional traces of their makers and cumulatively generate a complex array of texture, scale, and tone. Archive of Mind is the inaugural exhibition in the Jeffery Beale Gallery, forming part of PEM’s Present Tense Initiative curated by Trevor Smith.
Kimsooja: Archive of Mind was commissioned by the Peabody Essex Museum with the support of Axel Vervoodt Gallery.
Kimsooja: To Breathe and A Needle Woman: Galaxy was a Memory, Earth is a Souvenir at Yorkshire Sculpture Park
Kimsooja: To Breathe and A Needle Woman: Galaxy was a Memory, Earth is a Souvenir
March 30 – September 29, 2019
Yorkshire Sculpture Park
West Bretton
Wakefield, WF4 4LG, UK
With a lightness of touch, Kimsooja transforms the entire space of the Yorkshire Sculpture Park’s Chapel and blurs expected boundaries. In the immersive installation To Breathe, the floor, covered with a mirrored surface, provides an entirely new way of seeing, seeming to open up and unfold the space, making solid surfaces and confining structures appear fluid and expansive. By placing diffraction film on all the windows, the light that enters forms a myriad of rainbow spectrums across the space, which are reflected infinitely via the mirrored floor.
Responsive to the natural environment, the installation changes according to the light quality and intensity, making every experience different and unique. A soundtrack of the artist breathing accompanies the visually spectacular and meditative installation, creating an intimate and shared encounter. What the artist describes as the “‘void’ within the skin of architecture” becomes the body of the work, and a site of communal contemplation for all who encounter it.
Kimsooja’s powerful filmed performance A Needle Woman (1999-2001) involved her standing motionless with her back to the camera amidst endless crowds of people in busy cities including Tokyo, Delhi and Lagos. Grounded, still and calm, her body became a pivot around which humankind seemed to flow. Like a compass point in the landscape, the artist’s towering sculpture A Needle Woman: Galaxy was a Memory, Earth is a Souvenir functions in a similar way and explores the relationship between our bodies and the wider universe beyond.
This elegant, conical sculpture has transparent panels coated with nano polymer, a material that transforms light, giving an iridescence similar to that which occurs naturally on the wings of a butterfly or a beetle’s shell. The work alters dramatically with changing conditions, the nature and angle of light that hits it, and the position from which it is viewed. Within the sculpture, a mirrored floor makes it appear to extend deep into the earth as well as reaching into the sky, and the viewer stands on the ground at the threshold between the two.
Kimsooja: To Breathe and A Needle Woman: Galaxy was a Memory and Earth was a Souvenir was commissioned by the Yorkshire Sculpture Park with the support of Axel Vervoodt Gallery.
The Street. Where the World Is Made at MO.CO.Panacée
Kimsooja, A Homeless Woman – Delhi, 2000, Courtesy of MAXXi, Rome, Galleria Rafaella Cortese, Milan, and Kimsooja Studio
The Street. Where the World Is Made
June 8 – August 18, 2019
MO.CO. Panacée
14 rue de l’Ecole de Pharmacie
Montpellier, France
Following an initial version at the Museum of Contemporary Art, MAXXI, Rome, the exhibition at La Panacée, The Street. Where the world is made, offers substantial space to video, since it is through the screen-a sort of interface between the private and the public spheres-that we perceive the world today. Hou Hanru’s project brings together 60 artists from all over the world, itoffers a lively, poetic, and political panorama of this public arena.
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7. Claes Oldenburg, Adam Pendleton, FF Alumns, in The New York Times, now online
Please visit the complete illustrated article linked here (text only follows below):
https://www.nytimes.com/2019/08/11/arts/design/pace-gallery-chelsea-expansion.html
The New York Times, August 12, 2019|
Picking Up the Pace: A Mega-Gallery Expands in Chelsea
With a new eight-story headquarters, Pace passes a generational baton while joining a building boom among the city’s biggest galleries.
By Robin Pogrebin
Aug. 11, 2019
Tagging along on a business trip to Paris with his father, the art dealer Arne Glimcher, in the 1970s, Marc Glimcher was struck by the rough-hewed warmth of the wood-block flooring in André Chenue’s art storage warehouse. Now, as the 55-year-old president and chief executive of Pace Gallery, the younger Mr. Glimcher has been able to bring that memory to life in Pace’s new home in Chelsea, which opens next month.
The eight-story building, on West 25th Street and designed by Bonetti/Kozerski Architecture, is heavy with symbolism, not only because of what it says about Mr. Glimcher’s taking the reins from his father – who founded the gallery 59 years ago – but also because of what it telegraphs about the art market.
At a time when small and midsize galleries are struggling, closing or merging because of a decline in foot traffic and the rise of costly art fairs, New York’s four mega-galleries are doing the opposite: doubling down on major building projects in Chelsea.
In designing such new homes, these heavy hitters – Gagosian, Hauser & Wirth, David Zwirner and Pace, which is consolidating its spaces on the Upper East Side and West 25th Street – are redefining what it means to be a gallery, shifting their emphasis from selling and showing art to a more full-service visitor experience that offers food, performance spaces, research libraries and open storage.
The future of art galleries, Marc Glimcher said, lies in making spaces where people want to congregate, “like church.” It is why his new building will feature Pace Live, a multidisciplinary program of music, dance, film and conversation with a full-time curatorial director at the helm: Mark Beasley, the former curator of performance and media art at the Hirshhorn Museum in Washington.
But some art experts say the building boom boils down to little more than dueling empires with a “mine is bigger than yours” mentality. “It’s a horse race,” said Howard Read of Cheim & Read, which last year closed its 21-year-old Chelsea gallery and now operates a private dealership on the Upper East Side. “They’re all out to see who can represent Jeff Koons for the longest.”
In addition, Larry Gagosian, the biggest of the behemoths globally, is expanding into two galleries adjacent to his 26,000-square-foot space on West 24th Street (one of which formerly belonged to the Mary Boone Gallery).
David Zwirner is building a five-story, $50 million space designed by Renzo Piano on West 21st Street, to open in 2021. And Hauser & Wirth is constructing a new five-story building designed by Annabelle Selldorf on West 22nd Street – the gallery’s first new ground-up home, scheduled to open next spring.
Hauser & Wirth arguably set the standard for the full-service gallery with its sprawling Los Angeles complex, which opened in 2016 and features a farm-to-table restaurant, public vegetable garden (with egg-laying chickens), sculpture courtyard, gift shop and bookstore.
Some liken this trend in the art market to the kind of consolidation taking place in the retail industry. “The boutiques that were on every main street – you see them closing and the same major luxury chains in every major city,” said the dealer Jeffrey Deitch, who compared the mega galleries to “a Louis Vuitton flagship.”
“People like events,” Mr. Deitch added, “so visiting a mega gallery emporium is like an event.”
But the art market has yet to have an online revolution, like the retail industry. Marc Glimcher said the analogy to retail is misplaced, and that there remains a demand for firsthand interactions and a sense of community, which galleries continue to provide. “Retail is suffering because it’s replaceable in a virtual world,” Mr. Glimcher said. “Art galleries are not suffering; they’re growing because we offer an experience.”
In fact, the period between 2016 and 2018 saw fewer galleries opening and several closing, according to the latest Art Basel and UBS Global Art Market Report. And some galleries are clearly suffering, namely those that have been unable to sustain the steep costs of renting prime real estate and participating in multiple art fairs. In 2017, for example, On Stellar Rays closed on the Lower East Side. Others that have shuttered include the Laurel Gitlen Gallery, Murray Guy and Kansas. The longtime Chelsea dealer Julie Saul announced last month that she had lost her lease and would deal privately. “I’ve seen attendance diminish a lot,” she told Artnet last year.
Marc Glimcher acknowledged that the art market demands survival of the fittest but said it has been ever thus, and that the moment simply calls for a course adjustment – namely collaboration, so that galleries are not going it alone.
Galleries have banded together to drive street traffic through Art Walks, and Mr. Glimcher pointed to Pace’s recent announcement that it would team up with the Los Angeles-based dealer David Kordansky to represent the abstract artist Sam Gilliam. “Big galleries who are trying to fight that are going to suffer,” he said. “We’re collaborative because it’s the smartest thing to be.”
“The audience for art has grown radically,” he added. “The number of people who care about contemporary art versus 30 years ago is just crazy. It’ll evolve, and there will be many casualties for sure. And I’m not saying the mix of galleries won’t change; it will. But there is an audience.”
Pace – which represents the estates of Agnes Martin, Mark Rothko and Robert Ryman along with living artists like Chuck Close, Adam Pendleton and Adrian Ghenie – saw 38,000 people pour in for its Rothko dark palette show in 2016. “On some Saturdays we had 2,000,” Arne Glimcher said. “That really disseminates your artists’ work in the best way.”
Proffering user-friendly amenities to woo future buyers, Pace’s new building includes a dining room for catered events; an art book library where scholars can do research; and art storage where visitors can pull out racks of Pace’s inventory, modeled after Galeria Luisa Strina in Brazil. Pace bought a food truck to park on its expansive terrace; the gallery also plans to present music four times a year
“A quarter of this building is given over to experience,” Mr. Glimcher said. “It has to be a cultural destination. The job of an art gallery is not retail square footage. It hasn’t been for a long time.”
“I didn’t make up these evolutionary pressures – they exist,” he added. “And that pressure is pushing you to create an experience, create a place for people to come together.”
It’s also pushing galleries to become more accessible, Mr. Glimcher said, less elitist and intimidating to the general public. “Open it up,” he said. “Get rid of the velvet ropes.”
Mr. Glimcher showed the new space off proudly on a recent tour, during which two prominent members of the gallery’s artistic stable had also stopped by for a look: Claes Oldenburg, 90, and Chuck Close, 79. He pointed to the use of bespoke materials, like aluminum foam and lava rock, for the exterior and sound-absorbing ceilings to avoid the echoey quality of most galleries.
“This is my Shed,” Mr. Glimcher quipped while standing in the gallery’s performance space, referring to the new multidiscipline arts center at Hudson Yards.
The “my” points up the sense of liberation Mr. Glimcher seems to feel in finally being the guy in charge. His office is bigger than that of his father, who over the past five years has been handing off more responsibility. This building project was Marc’s baby and earned Arne’s grudging blessing.
“He thinks it’s extravagant, but he is totally supportive,” Mr. Glimcher said of his father. “It took 35 years for him to get supportive. It took me 35 years to be ready.”
“There were plenty of times when I was like, ‘It’s you or me,’ and he was like, ‘Bye-bye,’ and I’m really lucky that he did that,” he continued. “It’s really hard to take over. Every gallery is a personality cult. It’s hard to be the second generation person. You didn’t do your rags to riches, but you have advantages too. You saw all the things that worked and all the things that didn’t work.”
Arne Glimcher said their current hierarchy “feels good.”
“He used to work for me,” he said. “Now I work for him.”
Robin Pogrebin is a reporter on the Culture Desk, where she covers the art world, architecture, cultural institutions and occasionally theater. She has also worked on the Business Desk, where she covered the media, and on the Metro Desk. @rpogrebin • Facebook
A version of this article appears in print on Aug. 12, 2019, Section C, Page 1 of the New York edition with the headline: Doubling Down and Passing the Baton.
(c) 2019 The New York Times Company
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8. Peter Cramer, Jack Waters, FF Alumns, at Mercury Lounge, Manhattan, Aug. 21
PLEASE CONSIDER THIS AN INVITE TO OUR UPCOMING CONCERT AND DO JOIN US!!
CONTACT: nyobs@alliedproductions.org 917-774-7989
NYOBS and Eve Essex @ Mercury Lounge
Wednesday August 21st at 9:30 PM.
$10.00 TICKETS https://www.eventbrite.com/e/eve-essex-nyobs-tickets-64270441621
Mercury Lounge 217 E Houston St, New York, NY
http://www.mercuryeastpresents.com/
FACEBOOK EVENT- https://www.facebook.com/events/840681166306475
F Train to 2nd Ave./ J/M/F trains to Essex/Delancey St.
NYOBS is Michael Cacciatore, Peter Cramer, John Michael Swartz and Jack Waters.
Perched on the border wall between Brooklyn and The Lower East Side,(otherwise known as New York’s East River), NYOBS is the alternative experimental free association queer skinned “kitchen” band born at the Punk Island. From trance lyrics to primal screams NYOBS pierces the restive soul with MINDBLOWING inducements of tonal & aural synth¬esthesia. Traversing extremes that produce hypno-manic swings of subliminal hyper awareness it’s a dreamy trip you’ll want to be on. Hold tight to your squeeze, It’s a rollercoaster. We’re the selfies of sound for all the LGBTQQIAAP anarchs in the house. Nurtured by Metropolitan Lounge’s Hot Fruit party in Brooklyn, NYOBS’ home base is Le Petit Versailles, the verdant oasis and electrifying art garden of NYC downtown underground repute.
With no known genre to pigeonhole, NYOBS is a sound that seamlessly riffs from an array of inspirational sources including Sun Ra, Ornette Coleman, Brian Eno, Pierre Boulez, Harry Partch, Kraftwerk and Ikue Mori. NYOBS improvisational riffs merge the best of acoustical sound with hard wired electronics. They all sing and play whatever instruments of wind and percussion they can get their hands on (with mutual consent).
Performance highlights include: Brooklyn Waterfront Artist Coalition (with the legendary 3 Teens Kill 4), Incarnata Social Club at Berlin (hosted by Kembra Pfahler of The Voluptuous Horror Of Karen Black), Memories That Smell Like Gasoline – Tribute to David Wojnarovicz at the Whitney Museum, From The Ashes, Rise! at the queer activist WRRQ Collective, and Aprés Avant Garde Festival- Day De Dada.
Find NYOBS on
SOUNDCLOUD http/soundcloud.com/nyobsnyc/
INSTAGRAM @nyobsnyc
VIMEO http/vimeo.com/nyobs
Eve Essex is a Brooklyn-based musician who performs with alto saxophone, piccolo, voice and electronics, harnessing elements of drone, classical, avant-jazz, and distorted pop. Her first solo album, Here Appear, was released by Soap Library (cassette) and Sky Walking (LP) in 2018. She frequently performs with ensembles Das Audit, Hesper, and HEVM. With Das Audit she has released an EP and live cassette, additional recordings have appeared on compilations by Wild Flesh Productions, Untergang Institut, PAN (with James K), and Sky Walking (with Dan Fox). She is host of the monthly series “How To Tell A Sound” on Cashmere Radio, Berlin.
NYOBS
C/O Allied Productions, Inc.
244 E 3RD ST #20260
NEW YORK NY 10009-9991
MUSIC
https://soundcloud.com/nyobsnyc/
VIDEO
https://vimeo.com/333123571
Peter Cramer
PO Box 20260
New YOrk New YOrk 10009
917 803 0501
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9. Jenny Holzer, Barbara Kruger, Miriam Schapiro, FF Alumns, in The New York Times, July 22
The New York Times
Opinion
Who Will Teach Us How to Feel?
When art shrinks to the size of politics.
By David Brooks
Opinion Columnist
July 22, 2019
My colleagues at T Magazine had a very good idea. They gathered some artists and museum curators and asked them to name the artworks that define the contemporary age – pieces created anywhere in the world since 1970.
I can’t stop thinking about the results. The first thing you notice is that of the 25 works they chose, very few are paintings or sculptures.
Most of the pieces selected are intellectual concepts or political attitudes expressed through video, photographs, installations or words. In 1982, for example, Jenny Holzer put the words “Abuse of Power Comes as No Surprise” on a digital billboard in Times Square. In 1985, Barbara Kruger took an image of a ventriloquist’s dummy and printed “When I Hear the Word Culture, I Take Out My Checkbook” across its face.
Of the 27 artists recognized, 20 were born in the U.S.
The next thing you notice is that most of these artists haven’t captured or maybe even appealed to a mass audience. If asked to name the era-defining artists from the 49 years prior to 1970, most of us would come up with world-famous artists: Pablo Picasso, Jackson Pollock, Georgia O’Keeffe, Mark Rothko, Alexander Calder, Edward Hopper, Diego Rivera, Frida Kahlo, etc. The artists listed here, from the 49 years after 1970, are generally not well known outside the art world: for instance, Gordon Matta-Clark, Lutz Bacher and Michael Asher.
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Most of the artists have adopted a similar pose: political provocateur. The works are less beautiful creations to be experienced and more often political statements to be decoded. In 1989, for example, Cady Noland made a silk-screen of the famous photo of Lee Harvey Oswald getting shot. There are eight large bullet holes across his body and there’s an American flag stuffed in his mouth.
The most provocative pieces are in the realm of sexual politics, where the art world has had its biggest influence. Jeff Koons is recognized here for “Ilona on Top,” a painting showing him having sex with the porn star who would become his wife.
Several works redefine female power. In 1974, the artist Lynda Benglis posed naked with a dildo between her legs. In 1972, Judy Chicago, Miriam Schapiro and others created “Womanhouse,” a living feminist manifesto. In 1993, Catherine Opie created “Self-Portrait/Cutting,” in which someone has carved two stick figures and a house into her back with a knife or razor. The figures depict an idyllic domestic dream that was hard for lesbians to realize at the time.
The general attitude is: Let’s smash injustice with a sledgehammer. What you see when all these works are brought together is how the aesthetic has given way to the political, how the inner life has given way to the protest gesture.
Artists have always taken political stands, but in some eras there’s more of a conviction that beauty yields larger truths about the human condition that are not accessible through politics alone – and these are the truths that keep us sane. Now one gets the sense that not only is the personal political, but that the political has eclipsed the personal. What’s missing from most of these pieces is human contact and emotional range.
Among these 25 pieces, 20 are impersonal and only five allow you to see what life is like for another human being, including works by Nan Goldin and Judy Chicago. Only a few explore relationships and emotional connection. There almost seems to be a taboo now against capturing states like joy, temptation, gratitude, exaltation, betrayal, forgiveness and longing.
The absence of that emotional range reminds you that one of the things art has traditionally done is educate the emotions. Lisa Feldman Barrett and other neuroscientists argue that emotions aren’t baked into our nature as things all humans share. They are constructed by culture – art and music, and relationships. When we see the depth of psychological expression in a Rembrandt portrait, or experience the intimacy of a mother and daughter in a Mary Cassatt, we’re not gaining a new fact, but we’re experiencing a new emotion. We’re widening the repertoire of ways we can feel and can communicate feelings to others.
Barrett uses the phrase “emotional granularity” to capture the reality that some people – and some eras – experience a wider range and specificity of emotions than others. People with highly educated emotions can be astonished by the complexity of other people without feeling the need to judge them immediately as good or bad according to some political logic.
This list fascinated me because it comes at a moment when everything is political – and our politics has brutalized the nation’s emotional life.
One of the pieces that stands out is Arthur Jafa’s 2016 video montage “Love Is the Message, the Message Is Death.” It’s an intense compilation of the African-American experience – love, celebration, police shootings, religious frenzy, racism, dance, struggle. There are so many powerful emotions in a short burst, an overflowing of relationship. It’s a political work that transcends politics and reminds us: This is how life looks with human particularity left in.
David Brooks has been a columnist with The Times since 2003. He is the author of “The Road to Character” and, most recently, “The Second Mountain.” @nytdavidbrooks
A version of this article appears in print on July 23, 2019, Section A, Page 27 of the New York edition with the headline: Who Will Teach Us How to Feel?.
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10. Norm Magnusson, FF Alumn, at Mount Saint Mary College, Newburgh, NY, opening Oct. 4, and more
SOLO SHOW – Oct. 4, 6-8pm
Opening. “kuh-myoo-nih-kay-shun” 14 or so pieces from this body of work I’ve been creating for the last 4 years. You can see a preview of the exhibition here: https://namatcmaatmsmc.blogspot.com
CMA Gallery at Mount Saint Mary College. Aquinas Hall 330 Powell Ave, Newburgh, NY 12550
PLAY – Aug. 23, 24, & 25, 7pm
“One Flew Over the Cuckoo’s Nest”. I’m thrilled to play Mr. Harding in this adaptation written by Anthony Hamilton and Directed by Joe Davis. Hudson Valley Performing Arts Lab, 26 Vassar Rd, Poughkeepsie.
MOVIE – Aug. 25
Honored to have a lead role in a new movie by Natasha Faye. The process begins on Aug. 25!! Yay!!
CONCERT – August 29, 6pm
Once again, I’m producing the annual (9th!) anniversary concert of John Cage’s 4’33” which will be performed this year by the wonderful Perry Beekman with Lou Pappas on bass. WAAM, Woodstock. Details can be found here: https://fourthirtythree2019.blogspot.com
SELLING MY HOME!! – Ongoing
A beautiful cottage on 22 gorgeous acres in Woodstock. Buy it fast! Check out the listing here: https://www.halterassociatesrealty.com/-/listing/301046899/119-Mink-Hollow-Rd-Lake-Hill-NY-12448?content_index=300001150&from=results
AVAILABLE ART! – Ongoing
Your patronage helps support the creation of new art! Please peruse some available here: https://availableart–2018.blogspot.com
GOOD PRESS – July 27
A swell profile by Paul Smart that ran in The Woodstock Times prior to the debut of the monologues:
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11. Jay Critchley, FF Alumn, in Provincetown Banner, July 25
Jay Critchley’s apocalyptic vision of Mayflower 400
By Howard Karren, Banner Staff, Provincetown Banner, Thursday, 25 July 2019
When Jay Critchley, Provincetown’s resident performance-installationartist- writer-satirist-activist- impresario, sat down to discuss his upcoming talk, “Democracy of the Land,” which he’ll be giving on Tuesday at Truro Center for the Arts at Castle Hill, a messianic mission quickly emerged. Ever since he was “born again” as an artist some 38 years ago, at the age of 33, Critchley has been creating projects and series and films, on his own and collaborating with others, on subjects that he feels need addressing. “It’s just being engaged in the politics of the world and the country,” he says.
Before re-imagining his life as an artist, Critchley’s “former self ” was devoted to “human services” – and he still is, by running the Provincetown Compact, which he founded 26 years ago and has raised millions to support charitable causes, mostly by holding the annual Swim for Life & Paddle Flotilla in September. “I worked for youth in Connecticut,” Critchley says. “I was a VISTA volunteer in Oregon. I worked at a drop-in center in Provincetown – that’s what got me here. I was married at the time. I have a son and three grandchildren. I came out as a gay man first. The ‘born again as an artist’ came four years later. My sister sent me a subscription to Art in America. I said, ‘Why are you sending this to me?’ She said, ‘Because you’re an artist.’ How could I get away with being an artist? It just wasn’t part of my thinking. We’re talking about Irish Catholic in the ’50s.”
Critchley is an open book, and he’s used to going over the particulars of his life and work. A solo exhibit on him at the Provincetown Art Association and Museum in 2015 featured an installation of his rebuilt living room, with many of the objects he has collected (to wit: “I have an extensive collection of natural colored sands from around the world,” he says). Indeed, he has made his life, his projects and Provincetown the basis of his art, a kind of personal mythology. He calls being an artist “the core of my identity,” and that’s true: even as a kid, he and five of his sisters went on Ted Mack’s “Original Amateur Hour” and sang barbershop harmonies.
Critchley recently returned from a residency in Santa Fe, N.M., where, he says, “I did a project on the ‘whiteness house’ tarred and feathered. It’s a walk-in model of a White House that I created. That was all about race, ethnicity and whiteness. What does it mean to be white? White people have been invisible. What does it mean to have a white president who follows a black president?”
With 2020 approaching, Critchley also has the Mayflower – and the 400th anniversary of its landing here – on his mind. “I started theProvincetown Compact based on the Mayflower Compact: let’s broaden the idea of what the compact is and create a vision for the future that’s more inclusive,” he says. “So ‘Democracy of the Land’ is an extension of that. It’s looking at the ecology of the land and the ecology of politics: the arrival of white people in the Americas as an ecological catastrophe. It’s based on power and on
Going back to the popes’ Doctrine of Discovery, from the time of Columbus’ New World journeys, Critchley concludes that “religion is the founding principle of this country. Pope Nicholas wrote that any land that you discover, you can capture, vanquish and subdue the Saracens, pagans and other enemies of Christ, and put them into perpetual slavery and take all their possessions and property. It’s from the origin story of the Americas. Here is [Puritan minister] Cotton Mather: ‘The woods were almost cleared of those pernicious creatures to make room for a better growth.’ I’m not saying anything new. To me, the Pilgrimsare a symbol of Western culture’s religious-based invasion and destruction of the environment, including people and the land, based on papal documents. The Supreme Court has used the documents to rule against native peoples since then.”
“Democracy and the Land” will be a culmination of sorts. “This project incorporates a lot of the ideas that I’ve been working with for over 30 years,” Critchley says. “Those ideas are based on ecological concerns, both political and environmental. Finding ways of dealing with the challenges of HIV and class and race issues. Queer issues. The talk is a unique piece. It’s a performance. It’s my voice and my artistic take on 2020. It’s the backstory, from my point of view as an artist and as a citizen.”
Judging from Critchley’s track record, that’s saying something.
https://docs.google.com/document/d/1L5IXjcFCTaLPbbUQioOR1mEbXmDzrCeZZxXX8c4EDL4/edit?usp=sharing
Jay Critchley
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12. Dynasty Handbag, FF Alumn, August news
Dearest Olive Garden Family,
I am please and horrified to announce another project that is sure to be my ticket out of this current reality! Just waiting for my ship to come in and honk honk I think the barge is arriving with this new web series, Masterpiece Weirdo. If it is not, however, I will keep clogging the airwaves because I haven’t any other skills besides IBS. We are also trying to raise money for creating this series which is so so terrible. Not the most humiliating thing I ever done but a close relative to be sure.
It’s A Girl! an ugly one kill it!
We Are “Proud” To Present
Masterpiece Weirdo
Masterpiece Weirdo is a monthly web series co-created by Jibz Cameron + Mariah Garnett, hosted by Dynasty Handbag featuring Weirdo Night performance highlights, complete with rude commentary by Dynasty Handbag in an olden chair. We created this in order to showcase the incredible talents that pass through Weirdo Night, that they may reach beyond the live event and into the homes of a least 10 or 12 other people or folx.
Episode I, July 7th, 2019 – Jack Black, Tanya Haden, Like A Villain, Morgan Bassichis, _SKYINSUIT_
SUPPORT Masterpiece Weirdo!
Even if its just a pittance or a haypenny, you can
become a patron and gain access to behind the scenes footage, Weirdo Night tickets, T-Shirts, artwerq, exclusive gifts and more refuse! THANK YOU!
support our PATREON
STAY TOONT FOR EPISODE II
August 2019 with
Charles Galin, Popstar Nima, MINIVAN, Allie Alvarado
UPCOMING
September 1, Weirdo Night LA
save the date, Weirdo Night NYC, November 21
Copyright (c) 2019 Dynasty Handbag, All rights reserved.
you are receiving this email because of your interest in Dynasty Handbag events
Our mailing address is:
Dynasty Handbag
1425 1/2 Kellam Ave
Los Angeles, California 90026
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13. Frank Moore, FF Alumn, featured on KPFA 94.1 Berkeley
Frank Moore & “How to Handle an Anthropologist” on KPFA 8/21/19
Tune into “Jovelyn’s Bistro” on KPFA’s Cover to Cover Open Book, for a conversation/review of “How to Handle an Anthropologist”, the new book of interviews between shaman/performance artist Frank Moore and anthropologist Russell Shuttleworth, PhD. Linda Mac and Michael LaBash will join Jovelyn Richards in the studio for this live broadcast and call-in show.
KPFA 94.1 (S.F. Bay Area) — to listen online: https://kpfa.org/listen-live/
WHEN: August 21, 2019, 3:30-4:00 PM
CALL IN! 510-848-4425
Frank Moore was an American performance artist, shaman, poet, essayist, painter, musician and Internet/television personality who experimented in art, performance, ritual, and shamanistic teaching since the late 1960s. His work is being archived at the Bancroft Library at UC Berkeley. Two of his oil paintings are part of the permanent collection at BAMPFA. A collection of his work is being archived at Performistanbul in Istanbul, Turkey.
In 1997, Frank Moore was contacted by Russell Shuttleworth, a then University of California, Berkeley graduate student, working on his doctoral dissertation. The thesis was a research study to help understand how men with moderate to severe cerebral palsy experience and interpret their search for intimacy and sexual relationships in the face of significant social and cultural barriers, or as Frank called it, “The Sexual Practices of Bay Area Men with Cerebral Palsy.” He wanted to interview Frank for this thesis. That interview quickly segued into 12 years of Russell interviewing Frank about Frank’s life. Meanwhile, Frank encouraged Russell to live his dreams, which resulted in the discovery of Russell’s alter-ego Dr. Gruve, who dj’d a show on Frank’s LUVeR internet radio station, and played the harmonica in Frank’s Cherotic All-Star Band. They did 88 interviews in all, even continuing via Skype when Russell moved to Australia to teach there. Russell is now a Medical Anthropologist PhD and a member of the faculty at Deakin University in Geelong, Victoria Australia.
Inside this book are the full transcripts of these interviews.
Book website: http://www.eroplay.com/hthaa/
About the guests:
Linda Mac was Frank Moore’s lover and partner in crime for almost 40 years. She is currently immersed in organizing Frank’s archives and publishing his work. Linda is the co-producer of the web video series about Frank Moore’s life, “Let Me Be Frank”. She is also the Treasurer of Inter-Relations, the non-profit church established by Frank in the late 1970s.
Michael LaBash is a designer and artist who was in intimate relationship with Frank Moore and Linda Mac for 25 years. He was also Frank’s “tech guy”. He designs all of Inter-Relations books and websites. Michael is co-producer and editor of the web video series about Frank Moore’s life, “Let Me Be Frank”. He is also on the board of Inter-Relations.
Frank Moore, FF Alumn, featured in a new episode of the web video series about his life and art, LET ME BE FRANK
Let Me Be Frank
Episode 15 – Sex?
In “Sex?”, Frank talks about his own experience of sexuality and physicality through the 1960s and into the early 70s. His public and private performances during this time were experiments in “using the excited, aroused, pleasurable energy in the context of art, of playing, relationship-building — not in the context of sex.” Frank describes how these experiments “reached a climax” in his 1970s Berkeley workshop during the years of the Outrageous Beauty Revue where the group explored new possibilities of physical play, the concept of “marriage”, and Moore examines the results of this experiment.
“Sex?” also features a reading of Frank’s poem, “Locked In/Locked Out” from his performance series, “The Uncomfortable Zones of Fun”, and a surprise bonus segment!
The reading is by Carl Off, anthropologist, filmmaker, artist, and musician. Music by Frank Moore, Michael LaBash, Sander Roscoe Wolff, Hop-Frog’s Drum Jester Devotional, and The Leeches.
Let Me Be Frank is a video series based on the life and art of shaman, performance artist, writer, poet, painter, rock singer, director, TV show host, teacher and bon vivant, Frank Moore.
The series is partly a biography, but also a presentation of Frank’s philosophy on life and on art. Twenty-plus episodes have been planned based on Frank’s book, Art of a Shaman, which was originally delivered as a lecture at New York University in 1990 as part of the conference “New Pathways in Performance”. Each episode will feature readings by people who played an important part in Frank’s life, either as friends, lovers, students, artistic collaborators or supporters of his art.
Let Me Be Frank presents Frank’s exploration of performance and art as being a magical way to effect change in the world … performance as an art of melting action, of ritualistic shamanistic doings/playings. Using Frank’s career and life as a “baseline”, it explores this dynamic playing within the context of reality shaping.
The series is available on Frank’s website at http://frankadelic.com and on Vimeo at https://vimeo.com/channels/letmebefrank
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14. Lucio Pozzi, FF Alumn, at Studio La Città, Verona, Italy, opening Sept. 21
Scatter Painting
21 settembre – 16 novembre 2019
opening 21 September at 11:30 AM.
Studio La Città*
Lungotevere Galtarossa 21
Verona, Italia.
The paintings of the Scatter Group were started a few years ago. They are painted with acrylics on stretched canvas. I start by placing the canvas flat on the floor and spreading one coat of diluted paint as a ground onto which, once dried, I then spread another liquid coat. After both are dry, I hang the canvas on the wall and warm myself up by imitating and translating into geometric areas outlined by masking tape some of the chanced stains. To do so, I use thick paint applied with a palette knife. Then, I proceed following the vagaries of thought and emotion, by covering again and again what’s there with thick unpredictable areas of knife-applied paint. Most of the time, as I only add coats of paint, I feel I must risk further and cover previously applied forms even if they please me. The outlines of what was covered transpire under the new coats of paint. I never know when the painting is completed.
*in collaboration with Rizzutogallery.
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15. Dee Shapiro, FF Member, at David Richard Gallery, Manhattan, opening Sept. 22
Dee Shapiro “Snatched and Reworked”
At David Richard Gallery 211 East 121 St, NYC September 18 to October 12, 2019. Reception Sunday, September 22, 2019. 4-7pm
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16. Susan Mogul, FF Alumn, at as-is.la, Los Angeles, CA, thru Sept. 8
Susan Mogul: Less is Never More
August 4th – September 8th, 2019
Susan Mogul’s exhibition at As Is, “Less is Never More” 2019, consists of posters, shopping bag prototypes, a grid of seventy images curated from the artist’s life, along with a selection of mid-century furniture and apparel. It is conceived as a memoir disguised as a showroom; a showroom of anecdotes and free associations that bounce back and forth between art and life, the private and the public, the past and the present, and mother and daughter.
as-is.la is an art gallery and exhibition space focusing on modern and contemporary art with an emphasis on local Los Angeles history and regional culture.
as-is.la
1133 Venice Blvd, Los Angeles, California 90015
(Enter on Constance Street)
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17. Annie Sprinkle, Elizabeth Stevens, FF Alumns, August news
Hello campers!
The E.A.R.T.H. Lab has been buzzing and pollinating art, theory and activism. And on a personal note, we have finally accomplished some pressing things on our to do list.
WE DID IT!!!!
A We finally turned in our manuscript!
B Our film, Water Makes Us Wet-An Ecosexual Adventure, can now be viewed online!
C. Annie made it through lung surgery! Yay.
D. Beth created and taught her first online class and it’s fantastic, featuring 40+ terrific video interviews. She also got a very nice promotion to Prof 6 at UCSC.
E. We got an invitation to Japan.
F. We received a grant to organize and place our archive.
G. We decluttered our San Francisco base for the Bernal Hillwide Garage Sale to benefit our beloved neighborhood center.
H. And we have some plans for the future!
Read on for details of our news and accomplishments
The Book
After several deadlines came and went we finally got our manuscript, Assuming the Ecosexual Position: Imagining the Earth as Lover, in to our publisher at the University of Minnesota Press. We are very excited for the book to finally become a living entity and our friends are happy to no longer hear us lament about deadlines. It will feature lots of pictures as we tell the story of how our work came to be — documenting our early romance, our late romance, our current romance, and art adventures. In fact this book is an art historical romp, that chronicles our journey of becoming ecosexual. We collaborated with art historian Jennie Klein as our editor, and we are all very happy with how it came together. The foreword is by artist, Linda M. Montano. Professor Una Chaudhuri is contributing an introduction as well. The book chronicles how we produced art projects to contend with environmental issues, and to create a niche in the environmental movement that is more sexy, fun and diverse, and where we can be more fully ourselves. Assuming the Ecosexual Position is scheduled for a Fall 2020 release! Hopefully it will serve as a great guide to others for offering ideas to contend with climate change through art.
Film Updates
Our film, Water Makes Us Wet: An Ecosexual Adventure — which premiered at documenta 14 and was shown at NY MOMA — continues to play at film festivals, museums, galleries and conferences, both nationally and internationally. It is now available on Amazon and will shortly be on iTunes too! We invite you to bring it to your film festival and to your school.
Goodbye Gauley Mountain: An Ecosexual Love Story — DVDs are now available at Target. How did an ol’ ho and a Hillbilly end up in Target? Well there we are! It’s also still available through our distributor, Kino Lorber.
Surgery
Like the Earth, we are getting older and the ecosystems that are our bodies are needing some maintenance. We had a scare when we found a tumor in Annie’s right lung. So the DaVinci robot went in on a mission and cut out the pea-sized tumor, which had a tiny bit of cancer in it. The operation was a complete success although the recovery has been painful due to nerve damage from the incision. The doctors think the chance of recurrence is low, so we feel lucky and happy that the tumor is gone. We did it!
D. Environmental Art Online Class
“Art 80E: Environmental Art” launched this past spring and by all accounts, it has been wildly successful! Annie and Beth and their cameraman spent over two months traveling 10,000 miles around the country, interviewing environmental artists whose work we love and respect. Some were quite famous and others don’t consider themselves to be environmental artists at all. As we sought to expand the field of environmental art, we included radical faeries, witches, permaculturalists, archivists, and gallerists, who lent a diversity of ideas and practices to the class. As with all environmental art, the class could use some more diversity but at least we have a good start and are working to develop it for next year. The students loved the class and Beth is improving it over the course of four more years, and then hopefully it can be released to the public. Beth was also promoted from Professor 4 to Professor 6, based on ‘evidence of sustained and continuous excellence in creative achievement, teaching, and service’. This was a big one!
E. Japan
We’ve been invited to participate in the Saitama International Art Festival 2020. We will be creating a piece, “Ecosex Clinic: Becoming Better Lovers with the Earth”. In September we fly into Tokyo to do a site visit. The festival and our piece both open in March, and will run for two months.
F. Archives
We’ll be working on preparing and placing our archives in the late Fall when we get back from West Virginia, Virginia and North Carolina. We’re excited that Clare Bolduc has joined our team to help us get organized. The Arts Research Institute at UCSC generously awarded us a grant to accomplish this goal. We have two major universities interested in acquiring our materials.
Speaking of archives, we visited the Prelinger Library today to drop off some archival material from the Center for Sex & Culture. It was an auspicious meeting of two great archivists, Rick Prelinger and Carol Queen. Rick gave us an amazing tour of the archives and we hope to collaborate with him and Megan in the coming years. Our intern, Cecilia Tricker, from London was impressed as well.
G. Hillwide Garage Sale
If you want to supplement your own archive think about attending the Hillwide Garage Sale in Bernal Heights, San Francisco on Saturday August 10th. Proceeds will benefit the Bernal Heights Neighborhood Center. From 9 a.m. to 2 p.m.
H. Plans for the Future
We are looking towards next year and are in the early stages of planning a symposium on death, to be hosted by the E.A.R.T.H. Lab at UCSC, for next spring. On this topic, we also want to mention the first International Queer Death Studies Conference, at Karlstad University, which is coming up in November 2019.
PLEASE DO FORWARD THIS EMAIL AND POST THIS NEWSLETTER.
Upcoming Events
August 7th, 2019
Screening of Goodbye Gauley Mountain at RUPERT
RUPERT, Vilnius, Lithuania, Vaidilutės g. 79, Vilnius 10100, Lithuania. The film will be screened at 11:00 a.m. (GMT+3).
August 7th, 2019
Talk at Sagehen Creek Field Station
Annie and Beth will be giving a talk about Ecosex at Sagehen Creek Field Station, for Sierra Nevada College MFA students.
September 16th, 2019
Site Visit for Saitama Triennale 2020
We will be going to Saitama, Japan to visit the site where our Ecosex Clinic will take place in March 2020.
September 19th-22nd, 2019
steirischer herbst’s Grand Hotel Abyss program
As part of steirischer herbst’s Grand Hotel Abyss program, Annie Sprinkle and Beth Stephens imagine how sex will be improved in the future and share their ecosexual adventures.
Helmut List Halle
Waagner-Biro-Straße 98a, 8020 Graz, Austria
September 28th 2019-January 19th, 2020
On Our Backs: The Revolutionary Art of Queer Sex Work
Leslie Lohman Museum
26 Wooster Street
New York, NY 10013
September 28, 2019 – January 19, 2020
This exhibition explores the history of queer sex work culture, and its intimate ties to art and activism. Coined by bisexual activist, Carol Leigh, aka The Scarlot Harlot in 1978, ‘sex work’ is broadly defined as exchanging sex or erotic services for gain and connotes personal agency and politicized action. More than a portrait of life at the margins, what emerges in this exhibit is a demonstration of queer and transgender sex workers’ deep community building, creative organizing, self-empowerment, identity/desire affirmation and healing and the use of pornography as a deft tool for queer and trans liberation.
Curated by Alexis Heller
For more, go to Sexecology.org.
Copyright (c) 2019 EarthLab, All rights reserved.
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18. Joseph Nechvatal, FF Alumn, now online
Please visit this link:
thank you.
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19. Nancy Azara, FF Member, at Kaaterskill Fine Arts Gallery, Hunter, NY, opening Aug. 24
The Meeting of the Birds,
Kaaterskill Fine Arts Gallery
Hunter Village Square, 7950 Main Street, Village of Hunter
August 24 – October 6, 2019
Opening Reception: Saturday, August 24, 4-7pm
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Goings On is compiled weekly by Harley Spiller
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