Contents for October 31, 2016
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1. Martha Wilson, Susan Bee, FF Alumns, now online at belladonnaseries.org
2. R.T. Livingston, FF Alumn, at Santa Barbara Center for Art, Science and Technology, CA, opening Nov. 3, and more
3. Aphra Behn, FF Alumn, at Word, Brooklyn, Nov. 1, and more
4. Clifford Owens, FF Alumn, at Invisible-Exports, Manhattan, thru Nov. 6
5. Alva Rogers, FF Alumn, at Film Forum, Manhattan, Nov. 18
6. Paul McMahon, Linda Mary Montano, FF Alumns, at Emily Harvey Foundation, Manhattan, Nov. 30
7. Kathy Brew, Antoni Muntadas, Nora Ligorano and Marshall Reese, FF ALumns, at SVA Theatre, Nov. 4
8. Robert Mapplethorpe, FF Alumn, at HOWL/ARTS, Manhattan, Nov., 3
9. Guerrilla Girls, FF Alumns, at Frac Lorraine, Metz, France, Nov. 10, 2016 through Feb. 19, 2017
10. Claire Jeanine Satin, FF Alumn, at Broward County Convention Center, FL, November 18-20
11. Joe Lewis, FF Alumn, at Steve Kasher Gallery, Manhattan, Nov. 12, and more
12. Magie Dominic, FF Alumn, now online at http://bit.ly/2e5KwGG
13. Cathy Weis, FF Alumn, at WeisAcres, Manhattan, Nov. 6
14. Antoni Muntadas, Marshall Reese, at SVA Theatre, Manattan, Nov. 4
15. Nancy Buchanan, FF Alumn, at UC Irvine, CA, Nov. 3
16. Annie Lanzillotto, FF Alumn, now online at www.audible.com
17. Barbara Pollack, FF Alumn, in The New York Times, Oct. 27
18. Edward Gomez, FF Alumn, in the New York Times, October 30, 2016
19. Sean Leonardo, FF Alumn, at 41 Cooper Gallery, Manhattan, Nov. 11
20. Judith Sloan, FF Alumn, at CUNY School of Law, Long Island City, Queens, Nov. 1
21. Hector Canonge, FF Alumn, at Bronx Museum of the Arts, Nov. 16, and more
22. Chun Hua Catherine Dong, FF Alumn, at aceart inc, Winnipeg, CA, opening Nov 4
23. Peculiar Works Project, FF Alumn, at Overthrow Boxing Club, Manhattan, Nov. 4-6
24. Emma Amos, FF Alumn, current events
25. LAPD, FF Alumn, at Broad Street Ministry, Philadelphia, PA, Nov. 4-5
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1. Martha Wilson, Susan Bee, FF Alumns, now online at belladonnaseries.org
This incredible auction features over 200 items including artwork from Marina Adams, Elizabeth Glaessner, Todd Colby, Susan Bee, Nancy Azara, Joyce Kozloff, Aidan Koch and many others.
You can check the auction page and all its items here.
http://www.belladonnaseries.org/
We are very much hoping that you will spread the word with your collectors and supporters about her contribution and the auction overall. It is our goal to garner as much publicity and as high a selling price as possible for this work – and we need your help!
The auction launched on Monday and will run until Tuesday, November 29, 11:59pm. All the money will go towards enabling the work of Belladonna* Collaborative (http://www.belladonnaseries.org/), a non-hierarchical feminist collective with a demonstrated commitment to publication, readings, and events since 1999.
Please do not hesitate to contact me to ask any questions you may have or find out more about the auction and Belladonna.
With great thanks,
Ana Paula
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2. R.T. Livingston, FF Alumn, at Santa Barbara Center for Art, Science and Technology, CA, opening Nov. 3, and more
HERD AROUND THE WORLD
International Debut
SBCAST [Santa Barbara Center for Art, Science and Technology]
November 3 – 27, 2016…Opening Nov 3rd 5-9 pm
Santa Barbara’s contemporary art world is anticipating the upcoming international debut of the multimedia, multi-studio exhibition Herd Around the World; running from its opening during 1st Thursday on November 3rd through November 27th, 2016, at the Santa Barbara Center for Art, Science and Technology (SBCAST), 513 Garden Street.
As the new innovative kid on the block, SBCAST is known for extraordinary events where art, science and technology demonstrate the creative process at work. Herd Around the World is an interdisciplinary art project that thrives on creative participation. Alan Macy, founder and the charged battery of the interdisciplinary center, and Lynn Holley its creative curator, immediately embraced the Herd’s resonant message. Macy observes: “Our relationship to common farm animals is often associated with our feelings about the economy, immunity, politics, psychology, safety and sociology.” Holley adds: “When I first heard about the Herd project I was challenged to comprehend the complexity of it all. On the surface it seems childlike – just fun – then I reflect and realize what is happening in relationship to these plastic farm animals traveling around the world, novelties in natural settings and strange places. Playful yet poignant. Culturally out of place, yet in place. If ever a photo speaks a 1000 words, these ever-silent, mostly lonely Herd animals have many stories to share.”
In 2002, the Herd project began as a solo act: a photographic video graphic series wherein New York conceptual artist RT Livingston, now living and working in Santa Barbara, took six plastic farm animals, Horse, Cow, Bull, Sheep, Goat and Pig, everywhere she went. At the time called Reality Check: Artificiality and the Environment, the series proved a perfect medium for Livingston to point to the fact that we’re living in an artificial world.
By 2005 the project begged for expansion. Language, the underpinning of all Livingston’s work, especially its double entendre, came firmly into focus when she changed the title to Herd Around the World. She began inviting others to hop on the wagon. Jasper Sharp, at that time a curator at the Peggy Guggenheim Collection in Venice Italy, became the first Herder, as the participants are known. “He brought an Englishman’s elegant, dry humor to the barn,” explains Livingston. Since then, sixty Herders, many from Santa Barbara, have scoured the earth searching for reality and the meaning of life. The result is a participatory piece of art, disguised as a wacky absurdist travelogue with plastic animals as guides and Herders taking their shots.
“I’ve spent nearly fifteen years getting to the point where a show makes sense,” Livingston says. The work is intense and immense and so rewarding. It’s been an absolute honor working with each adventurous participant. The Herd Around the World debut at SBCAST, a multifaceted installation, has as its primary
focus on the Herders’ 200 photographs: the sinew of this project. Four gallery spaces become holding stalls for photographs, installations and video. Outside, the courtyard comes alive with Herd videos and projections. Animal sounds provide the ambient soundtrack with performance in the air. SBCAST 513 Garden St., Santa Barbara, CA 93101 Nov. 3rd thru Nov. 27th, 2016
and
“Elements of Nature: Cynthia James and RT Livingston”
November 3-30, 2016Voice Magazine Gallery
23 East Canon Perdido Street, Santa Barbara, CA
“Elements of Nature: Cynthia James and RT Livingston” presents two talented artists who create significant works of art that address contemporary environmental issues. An opening reception will be held on November 3rd from 5-8 pm in coordination with 1st Thursday. The exhibition continues at Voice Magazine Gallery through November 30.
The essential elemental qualities of water, air and earth are explored in different ways. Luminous blues glow in mysterious “Ghost Flower” paintings by Cynthia James. RT Livingston debuts contemplative oak tree paintings in a magnificent triptych format. While each speaks with a unique aesthetic vocabulary, both artists engage in dialogue about ecological issues with their viewers. “Elements of Nature” provides an opportunity to showcase their large-scale paintings as well as smaller works.
Powerful oak tree paintings by RT Livingston will be shown for the very first time. The triptych format creates a horizontal emphasis, with iconic tree trunks in central panels framed by graceful lateral branches. According to the artist, “The tree serves as a metaphor for clean air and the relationship we have with nature…” Hand written words from the title “Impossible: Crucial,” weave through the compositions, combining language with visual elements. Another series focuses on the junction of sea and sky. Livingston explains, “The ocean’s moods-its mercurial nature… its evanescence, its calm, its power, its fury inspires me…” These paintings reveal subtle, shimmering iridescent hues when seen up close. RT Livingston is a conceptual artist who moved to Santa Barbara in 2006 from her Tribeca and Woodstock studios in New York. She has a B.S. in studio art from Daemen College in Buffalo, NY. She did doctoral studies at both Princeton and Rutgers from which she holds a PhD, ABD in Art History.
Individual waterfalls convey the flow of rushing waters in strong vertical compositions by Cynthia James. “Waterfalls have always mesmerized me with a sense of the power of nature and the sublime. They carry a symbolic story of purification and baptismal cleansing… In the West they are sadly becoming rare sights due to drought and climate change,” the artist explains. Her “Ghost Flower” paintings are reminiscent of sea anemones floating underwater or in outer space. The threatened role of bees and birds as important pollinators are also portrayed. Born in Santa Monica, James studied in Europe from a young age. She attended UCSB’s College of Creative Studies, and is a fine artist, muralist and interior designer. For many years, she has divided her time between Santa Barbara and Tulum in the Yucatan Peninsula. A tropical influence is seen in her earlier works which tend towards magical realism, while recent paintings are more abstracted and conceptually based.
This exhibition was curated by Nancy Clare Caponi, who holds an MA in Art History from UCSB and a BA in Art History from Drake University. She built her career at outstanding museums, galleries and theatres in Iowa, Colorado, and California, and is now Studio Manager at Earth knower Studio Landscape Architecture. Caponi believes in the power of visual art to advance environmental awareness and action. Completing the show are carved marble/stone sculptures by Kerry Methner and John Whitehurst. These artists share a deep respect for the natural world, which inspires their exquisite forms. We look forward to seeing you on Thursday, November 3 at the Voice Magazine Gallery. Music, refreshments and exquisite art awaits. For additional information:
www.cjamesfineart.com
www.rtlivingston.com
nancyclare@earthknower.com
Voice Magazine Gallery: 805-965-6448
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3. Aphra Behn, FF Alumn, at Word, Brooklyn, Nov. 1, and more
Guerrilla Girl, Aphra Behn, FF Alumn, publishes memoir with readings and book signings on east and west coast
On November 1, 2016 Skyhorse Publishing will publish, “UN/MASKED, Memoirs of a Guerrilla Girl On Tour” by Aphra Behn aka Donna Kaz
UN/MASKED, Memoirs of a Guerrilla Girl On Tour follows the surprising 25 year journey of a young, New York City actress swept off her feet by a rising star who carries her to Malibu and back for a three-plus year love affair that is both fantastical and physically dangerous. When Nicole Brown Simpson and Ron Goldman are murdered in Brentwood she hears a bell go off, awakening her angry, activist spirit. Always an outsider, she takes one step further into invisibility and becomes a Guerrilla Girl, a feminist activist who never appears in public without wearing a rubber gorilla mask and who uses the name of a dead woman artist instead of her own. As a Guerrilla Girl, Aphra Behn creates comedic art and theater that blasts the blatant sexism of the theater world while proving feminists are funny at the same time.
Book Launch party on November 1 at 7PM at WORD in Brooklyn followed by readings at Bluestockings, NYC (November 10) Book Soup, LA (November 14), Peace Over Violence, LA (November 15), Book Passage, SF (November 16), Hugo House, Seattle (dual book west coast book launch party with Michelle Tea November 18), NYU Book Store (November 30), Nassau Community College, Long Island (December 7)
For more information visit www.ggontour.com OR www.donnakaz.com
“A vivid memoir of an eager, energetic woman of the theatre confronting sexism in love and art. It’s also a rare first-hand account of life inside the famed Guerrilla Girls, those gorilla-masked artists and performers who made feminist protest daring, original and fun.” – Katha Pollitt, The Nation Columnist, poet, essayist and author
“Fierce, funny and shrewd, much like the Guerrilla Girls themselves, Donna Kaz aka Aphra Behn has written a memoir filled with so much hope and frustration it’s impossible to put down. A page-turning how-to about changing the world, and the challenges therein.” – Theresa Rebeck, playwright (Seminar), television writer (Smash) and novelist (I’m Glad About You).
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4. Clifford Owens, FF Alumn, at Invisible-Exports, Manhattan, thru Nov. 6
CLIFFORD OWENS | Hard & Fast
October 26 – November 6, 2016
INVISIBLE-EXPORTS is pleased to present “Hard & Fast,” a collaborative object-based installation by Clifford Owens. This is his second project at the gallery.
Artists David Choi, Andy Cross, David Hammons, Matthew Day Jackson, Rashid Johnson, and Eric Mack, were each invited by Owens to participate, with Owens requesting an object, image, or text that reflects each person’s individual practice. The objects, then, were altered, modified, or transformed by Owens, and brought together through the installation. The connecting thread of the show, in the end, is Owens himself.
Clifford Owens (1971, Baltimore, MD) has exhibited extensively both domestically and abroad. Notable exhibitions include the Brooklyn Academy of Music (2014), “Better the Rebel You Know” at Home in Manchester, UK (2014), Performa13 (2014), MoMA/PS1 (2012), the Walker Art Center, Minneapolis (2014), The Studio Museum (2012), and the Contemporary Arts Museum Houston (2011), among many others. Articles about his work and practice have appeared in Art in America, the New York Times, Artforum, and the Los Angeles Times, to name just a few.
INVISIBLE-EXPORTS
89 Eldridge Street
New York, NY 10002
(212) 226-5447
info@invisible-exports.com
invisible-exports.com
GALLERY HOURS:
Wednesday-Sunday, 11am-6pm
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5. Alva Rogers, FF Alumn, at Film Forum, Manhattan, Nov. 18
DAUGHTERS OF THE DUST, Julie Dash’s Gorgeous, Groundbreaking Drama Of African-American Women at the Turn of the 20th Century,
Returns in a Stunning Restoration on Friday, November 18,
25 Years After Its Original Film Forum Premiere
Film Forum is proud to present Cohen Media Group’s new restoration of Julie Dash’s DAUGHTERS OF THE DUST (1991), for an exclusive engagement starting Friday, November 18. Set in the legendary Sea Islands off the South Carolina/Georgia coast in 1902, the film follows a Gullah family (descendants of West African slaves) on the eve of its migration to the North. Led by a group of women who carry with them ancient African traditions, the extended family readies itself to leave behind friends, loved ones and their insulated way of life. Can these women hold fast to their sacred religious beliefs and customs, or will their world be swept away in the course of a new century? This richly costumed drama, structured in tableaux to reflect the art and icons of African tradition, testifies movingly to the secret celebrations and packed-away sorrows of African-American women. These vital images were introduced to a new generation on a massive scale earlier this year, when the film was heavily referenced in Beyoncé’s visual album, Lemonade.
After its acclaimed US theatrical premiere at Film Forum on January 5, 1992, DAUGHTERS OF THE DUST became the first film by an African-American woman ever to receive widespread theatrical release. Enriched by John Barnes’s eclectic score and Arthur Jafa’s Sundance Film Festival-prize-winning cinematography, the film was hailed as one of the most visually and sonically ravishing in American independent cinema.
DAUGHTERS OF THE DUST will open for an exclusive engagement on Friday, November 18 at Film Forum, 209 West Houston Street (West of 6th Avenue), with screenings daily at 12:30, 2:45, 5:10, 7:25 & 9:45.
For interview requests, please contact:
Charlie Olsky, charlie@cineticmedia.com, (212) 204-7966
or Janine McGoldrick, janine@cohenmedia.net, (646) 380-7932
“Every image, every moment is a full creation. Dash is one of the heroines of the modern cinema.”
– Richard Brody, The New Yorker
“A film of spellbinding visual beauty. Julie Dash emerges as a strikingly original filmmaker.”
– Stephen Holden, The New York Times
DAUGHTERS OF THE DUST (1991, 112 mins.) Writer & Director: Julie Dash. Producers: Dash and Arthur Jafa. Executive Producer: Lindsay Law. Director of Photography: Arthur Jafa. Editors: Amy Carey and Joseph Burton. Production Designer: Kerry Marshall. Original Music: John Barnes. Starring Cora Lee Day (Nana Peasant), Kaycee Moore (Haagar Peazant), Alva Rogers (Eula Peazant), Adisa Anderson (Eli Peazant) & Barbara-O (Yellow Mary). USA. A Cohen Media Group release.
please visit http://cohenmedia.filmtrackonline.com/extranet/login.aspx
Adam Walker
Director of Publicity
Film Forum
209 West Houston Street
New York, NY 10014
tel: 212-627-2035 x306
fax: 212-206-1569
adam@filmforum.org
www.filmforum.org
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6. Paul McMahon, Linda Mary Montano, FF Alumns, at Emily Harvey Foundation, Manhattan, Nov. 30
Mark Your Calendars!
WHO: PAUL McMAHON with LINDA MARY MONTANO
WHAT: SONGS and ROCK AND ROLL THERAPIST
WHEN: WEDNESDAY NOVEMBER 30 7 PM
WHERE: EMILY HARVEY FOUNDATION
537 BROADWAY, NYC 100012 USA 212-925-7651
http://www.emilyharveyfoundation.org/
Paul McMahon will appear as the Rock’n’Roll Therapist and sing original songs at the Emily Harvey Foundation. Linda Mary Montano will perform as his double. McMahon is an eclectic creator with a long history, in and out of the art world, continually writing and singing songs since the late 70s. He’s released 10 albums and around 100 of his songs can be found on youtube, Spotify, iTunes, CDBaby and other sites including paulmcmahon.tv.
*** A great entertainer!…goofy! Dan Graham, artist
His songs run the gamut from pure pop to mindblown ruminations on the implicate order of perceptual reality. He left the city for shamanic exploration in the 1990s which led to Interfaith ordination in 1996 and adoption at a Lakota sundance in 1999. Studying with rainmakers and lightning callers, his art and songs trace changes in his thinking as it became more interdimensional.
**** Haunted by clarity, he carries the circle, his voice contains the seed sound.
Joseph “Beautiful Painted Arrow” Rael
***** Paul has written some of the most beautiful love songs of our times and he can sing them with tenderness, passion and humor. He is simply one of my favorite singers and songwriters and performers alive today. Without Paul McMahon’s songs in my life the world would really be a dark and difficult place.
Sharon Gannon, co-founder Jivamukti Yoga School
paulmcmahon.tv lindamontano.com
In 2007 Linda Montano began performing as Paul McMahon, complete with facial hair; at first alone, lip-synching to his recordings and then beside him as he sings. He considers it a great honor to be among those this venerable artist has personified; Bob Dylan, Mother Theresa and her father.
Linda Montano is a beloved and trailblazing feminist art saint. She was swamified by Shri Brahmananda Sarasvati but has since renounced and is currently thinks of herself as a Catholic nun.
paulmcmahon.tv
6 hillcrest ave
woodtsock, ny 12498
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7. Kathy Brew, Antoni Muntadas, Nora Ligorano and Marshall Reese, FF ALumns, at SVA Theatre, Nov. 4
Contact: Kathy Brew
917-592-4134
kathybrew@verizon.net
Artists Antoni Muntadas and Marshall Reese present Political Advertisement IX 1952-2016
Friday: November 4, 2016, 7 pm
SVA Theatre, 333 West 23rd Street, NYC
Admission: Free
For 32 years, artists Muntadas and Reese have been compiling a history of presidential campaign spots following the evolution of political advertising from its beginnings in1952 to the present. Political Advertisement is a personal vision of how politics and politicians are presented through the medium of television. For the past eight general elections, the artists have premiered the latest version of the compilation in a public presentation, followed by a discussion about the impact of campaign advertising. This year author Michelle Goldberg, senior contributing writer to Slate.com, will moderate a discussion on the role of advertising in the 2016 election. Her work has also appeared in The New Yorker, Rolling Stone, The Nation, The Guardian (UK) and The New Republic. Occurring the final weekend of this year’s campaign, the ninth edition of POLITICAL ADVERTISEMENT will offer a timely and important outlet for discussion as many prepare to cast their ballots. The New York screening takes place at the SVA Theatre, located at 333 West 23rd Street, on Friday, November 4th at 7 PM. This screening is a shared presentation by the School of Visual Arts and Electronic Arts Intermix. Political Advertisement IX 1952-2016
Muntadas and Reese first started working on this video project in 1984. This year they are presenting the ninth version. This fascinating anthology, updated to include ads from the 2016 presidential campaign, documents the selling of the American presidency since the 1950s. Surveying the American televisual campaign process from Eisenhower to Clinton and Trump, the artists trace the history of television ads as political strategy and marketing technique. The artists state: “Looking back at these political ads provides a key to understanding the evolution of images on television and the marketing of politics.”
Bios
Antoni Muntadas was born in Barcelona in 1942 and has lived in New York since 1971. His 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 is an ongoing investigation into the impact of technology on society and the rhetoric of politics and visual culture in the media. LigoranoReese have presented seven site-specific public works at the U.S. political conventions focusing on climate and political issues. These installations incorporate ice sculptures weighing several tons, video and live streaming. For both the RNC in Cleveland and the DNC in Philadelphia, they unveiled a 4000-pound sculpture carved in ice spelling out the words The American Dream. Michelle Goldberg is a columnist at Slate, and the author of several books, including Kingdom Coming: The Rise of Christian Nationalism, and The Means of Reproduction: Sex, Power and the Future of the World. Her work has appeared in publications including The New Yorker, The New York Times, The Washington Post, Newsweek, The Guardian and many others. She lives in Brooklyn.
Political Advertisement IX is sponsored by the following School of Visual Arts Departments: MFA Computer Art; MFA Art Practice; BFA Fine Arts; MFA Art Writing; MFA Social Documentary; MFA Photography, Video and Related Media; and MFA Fine Arts Department. It is being co-presented by Electronic Arts Intermix (EAI), a New York-based non-profit media arts resource and distribution service that is celebrating its 45th anniversary. This presentation is made possible in part with public funds from the New York State Council on the Arts’ Electronic Media and Film Presentation Funds grant program, administered by The ARTS Council of the Southern Finger Lakes.
Related Links:
http://www.newyorker.com/magazine/2008/11/03/couch-potato-politics
http://eai.org/title.htm?id=15072
Additional Screenings:
Tuesday, November 1, 2016 – Arizona State University Art Museum, Tempe, Arizona
Wednesday, November 2, 2016 – Contemporary Arts Center, Cincinnati, Ohio
Friday, November 4, 2016 – SVA Theatre, New York, New York
Friday, November 4, 2016 – International House, Philadelphia, Pennsylvania
Saturday, November 5, 2016 – AFI Silver Theatre, Silver Spring, Maryland
Sunday, November 6, 2016 – Power Plant, Toronto, Ontario
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8. Robert Mapplethorpe, FF Alumn, at HOWL/ARTS, Manhattan, Nov., 3
THURSDAY Nov. 3rd, 2016 – at 7:00PM
at HOWL/ARTS Happenings – 6 East 1st Street
Howl! Happening is pleased to present Robert Mapplethorpe, another in filmmaker Paul Tschinkel’s probing ART/new york series, which profiles influential artists at crucial moments in the careers. Filmed in 1983 in his downtown loft, the youthful and mythic artist talks with Marc H. Miller about his ideas, inspiration, and the highly charged subject matter depicted in his work.
Robert Mapplethorpe explores his photography, his relationship to the downtown New York art world, and the S&M club scene prevalent in the 80s. His infamously explicit and groundbreaking photographs of the gay leather New York Underground made him a cause célèbre. At the same time, the quality and artistic achievement inherent in his series of portraits, sensual flowers, and transgressive erotic subjects elevated his work and drew the attention of influential dealers, curators and collectors.
The film includes interviews with Jack Walls, Mapplethorpe’s partner; artist Brice Marden; Holly Solomon, his first dealer; the photographer’s father Harry Mapplethorpe, and Father Stack, the artist’s priest in Floral Park, Long Island. Also commenting are curator Richard Marshall, brother Edward Mapplethorpe, photographer Gilles Larrain, lawyer Michael Ward Stout, artist Louise Bourgeois, and biographer Patricia Morrisroe.
Paul Tschinkel is a painter with an MFA from the Yale School of Art and Architecture. In the early 70s he turned to video as an art form and thus became one of the first artists in this new medium. In 1974 he turned to the fledgling New York cable TV system, producing Paul Tschinkel’s Inner Tube, a half hour weekly art gallery program. In 1979, he began taping young bands in New York clubs for his cable show, a program that ran for three years and inspired and presaged MTV. Since then, he has produced a video series on contemporary art called ART/new york (artnewyork.org/store) of which Robert Mapplethorpe is No. 61.
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9. Guerrilla Girls, FF Alumns, at Frac Lorraine, Metz, France, Nov. 10, 2016 through Feb. 19, 2017
49 Nord 6 Est – Frac Lorraine
Guerrilla Girls
Not Ready To Make Nice
November 10, 2016-February 19, 2017
Opening: November 9, 7-9pm
49 Nord 6 Est – Frac Lorraine
1 Bis Rue des Trinitaires
57000 Metz
France
Hours: Tuesday-Friday 2-7pm,
Saturday-Sunday 11am-7pm
T 0033 0 3 87 74 20 02
info@fraclorraine.org
This fall, the Guerrilla Girls’ breath of inquisitive air sweeps over the Grand Est. More active than ever, invariably politically incorrect, the American collective takes over the spaces of 49 Nord 6 Est for a show orchestrated by Xabier Arakistain, a staunch supporter of the feminist cause. An opportunity to (re)discover their work: books, films and archive photographs of their actions undertaken in the public space. As well as their emblematic posters from the 49 Nord 6 Est Collection, Not ready to make nice, the title of this exhibition, which traces 30 years of artistic insurrection, says it all.
Concerned with the lack of equality-whether gender, race, or class-in international museums, the Guerrilla Girls have taken up arms. Becoming the “conscience of the art world,” anonymous behind their gorilla masks, these activists have relentlessly denounced all forms of discrimination, exposing the under-representation of women and minorities in our society. The sheer magnitude of the task has inspired countless avenging activists to put on masks and join their ranks. This unifying energy has been the driving force behind the creation of activist collectives around the world. Veritable 21st century Robin Hoods, the Guerrilla Girls continue to galvanize the cultural sphere with their famous posters and the lacerating wit of their provocative actions. They sound an urgent call to arms.
Join us at 49 Nord 6 Est for creative action workshops, a self-defense course, and intersections between art and activism. Like the Guerrilla Girls, become super-hero.ine.s, whether you like wearing tights or not.
Guerrilla Girls are a collective of anonymous artists founded in 1985. Determined to give precedence to the political dimension of their work and to denounce the systematic oblivion to which women are subjected in contemporary societies, the members of the collective decided to remain anonymous by wearing gorilla masks and taking the names of illustrious women who were already deceased. The collective use facts, humor and outrageous visuals to expose gender and ethnic bias as well as corruption in politics, art, film, and pop culture undermining the idea of a mainstream narrative by revealing the understory, the subtext, the overlooked, and the downright unfair. They believe in an intersectional feminism that fights discrimination and supports human rights for all people and all genders. The group has done over 100 street projects, posters and stickers all over the world, including New York, Los Angeles, Minneapolis, Mexico City, Istanbul, London, Bilbao, Rotterdam, and Shanghai, to name just a few. The Guerrilla Girls also do projects and exhibitions at museums, attacking them for their bad behavior and discriminatory practices right on their own walls, including their 2015 stealth projection about income inequality and the super rich hijacking art on the façade of the Whitney Museum in New York or the celebrated project for the Venice Biennale 2005. They have also have retrospective exhibitions in Bilbao and Madrid, Guerrilla Girls 1985-2015 and have done a number of specific projects, like Is it even worse in Europe? (October 2016-March 2017) at the Whitechapel Gallery or the week-long major public project at Tate Modern (October 4-9, 2016).
Xabier Arakistain (Madrid, 1966) is a feminist curator based in Bilbao. He incorporated the category of sex as a curatorial criterion since his first exhibition, Trans Sexual Express (Bilbao Arte, 1999). Between 2001 and 2003 he introduced gender parity into the exhibition programme at Fundación Bilbao Arte Fundazioa. In 2005 he launched Manifiesto Arco 2005 demanding that public administrations adopt practical measures to implement equality between the sexes in the field of art, which inspired article 26 of Spain’s Equality Act. He was Director of Centro Cultural Montehermoso Kulturunea, Vitoria-Gasteiz, from 2007 to 2011, making it a pioneering institution in the development and application of feminist policies in the fields of contemporary art, thought and culture. In 2008, concerned about hurdles to the transmission of feminist knowledge between generations and the shortage of feminist texts in translation, he initiated, in collaboration with feminist anthropologist Lourdes Méndez, the yearly interdisciplinary, international and intergenerational course Feminist Perspectives in Art Production and Theories of Art that since 2012 is held at Azkuna Zentroa, Bilbao. Xabier Arakistain has also curated retrospective shows devoted to Feminist Art pioneer Judy Chicago and to the US collective Guerrilla Girls as well as the shows What I see Susan Hiller (co-curated with Beatriz Herráez), Living Together (co-curated with Emma Dexter) and Kiss Kiss Bang Bang, 86 steps in 45 Years of Art and Feminism.
Thanks to: Amy Harrison, Azkuna Zentroa, Alhóndiga Bilbao, Matadero Madrid
Program
Concert: “Rien”
November 18
with Perrine en morceaux, writer, composer
Talk: “Non ! le masculin ne l’emporte pas sur le féminin”
March 6
with Eliane Viennot, feminist activist, professor in French Renaissance literature
Meeting: “Sous influence”
January 12
with Joséphine Kaeppelin, artist
Wikipedia workshop: “Herstory”
January 14
Human.e Game: “Privilège”
January 19
with Peggy Pierrot, unclassifiable activist and journalist & Stephanie Nicot, co-founder of the National Transgender Association and president of the LGBT Federation & surprise guests
Talk: “Artactivisme”
January 28
with Isabelle Fremeaux and John Jordan, co-founders of the Laboratoire d’Imagination Insurrectionnelle (Labofii)
Workshop: “Créa(c)tion”
January 29
with Collectif Diffraction and Labofii
Self-defense course: “Riposte”
February 4 & 5
More information available on our website: www.fraclorraine.org
The 49 Nord 6 Est is supported by the Region Grand Est – Alsace Champagne-Ardenne Lorraine and the DRAC Grand Est at the Ministry of Culture and Communication
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10. Claire Jeanine Satin, FF Alumn, at Broward County Convention Center, FL, November 18-20
CLAIRE JEANINE SATIN will be exhibiting her works at the HOME AND DESIGN SHOW on NOVEMBER 18-20. It will be held at the BROWARD COUNTY CONVENTION CENTER. Included will be TETRAHEDRON COLUMNS a 6.5 ft set of powder coated aluminum screen columns embroidered with brass wires. The entire surfaces are covered with handwritten script in gold metallic ink. The text is extrapolated from the book “M” by John Cage based on the concept of indeterminacy.
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11. Joe Lewis, FF Alumn, at Steve Kasher Gallery, Manhattan, Nov. 12, and more
“Mutant Monkey Business” at the Lodge Gallery in Los Angeles
Opening Tuesday November 8, 2016 6-9 pm
“Marching Bands” Photographs by Jules Allen, introduction by Joe Lewis
Book Signing and Reading, Saturday November 12, 3-5 pm
Steve Kasher Gallery, 515 West 26th Street
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12. Magie Dominic, FF Alumn, now online at http://bit.ly/2e5KwGG
A review of my Canadian memoir Street Angel is in Canadian Literature: A Quarterly of Criticism and Review.
http://bit.ly/2e5KwGG
“The daughter of a Catholic Lebanese salesman and a Presbyterian Scottish homemaker with untreated mental illness, Dominic is unflinching about her stoic navigation of childhood”……..”Dominic emerges as a brave and determined young woman who finds a way to make her dreams a reality by attending art school and reveling in the “pulsating, neon explosion” that is New York City in the 60’s. Dominic’s memories, while often sad and traumatic, reveal a child who is inherently brave, hard-working, and optimistic.”
A nice review of life-writing.
Very best always,
Magie
STREET ANGEL
Magie Dominic at Lincoln Center Archives
twitter @magiedominic
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13. Cathy Weis, FF Alumn, at WeisAcres, Manhattan, Nov. 6
November 6, 2016 at 6:00pm – Cathy Weis Projects and Sundays on Broadway present a screening and discussion work by Swedish artist and filmmaker Öyvind Fahlström lead by Julie Martin and Maibrit Borgen. Borgen, a scholar on Fahlström, will talk about and show images from Fahlström’s feature length film “Du Gamla Du Fria.” All Sundays on Broadway events begin at 6:00 pm. Doors open at 5:45 pm at WeisAcres, 537 Broadway #3, New York, NY 10012. Seating is first come, first served. Keep in mind, this is a small space. Please arrive on time out of courtesy to the artists. Free admission. www.cathyweis.org
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14. Antoni Muntadas, Marshall Reese, at SVA Theatre, Manattan, Nov. 4
Upcoming EAI Events
Antoni Muntadas and Marshall Reese: Political Advertisement IX 1952-2016
Friday, November 4, 2016 | 7:00pm
SVA Theatre
33 West 23rd Street
New York, NY 10011
svatheatre.com
For 32 years, artists Muntadas and Reese have been compiling a history of presidential campaign spots following the evolution of political advertising from its beginnings in 1952 to the present. Political Advertisement is a personal vision of how politics and politicians are presented through the medium of TV. For the past nine general elections, the artists have premiered the latest version of the tape in a public presentation, followed by a discussion about the impact of campaign advertising. This year author Michelle Goldberg, senior contributing writer to Slate.com, will moderate a discussion on the role of advertising in the 2016 election. Her work has also appeared in The New Yorker, Rolling Stone, The Nation, The Guardian (UK) and The New Republic.
The screening will take place at the School of Visual Arts Theatre, located at 333 West 23rd Street and is a shared presentation by the School of Visual Arts and Electronic Arts Intermix.
Zoe Beloff: Book Launch and Screening
Thursday, November 10, 2016 | 6:30pm
Electronic Arts Intermix
535 West 22nd Street, 5th Fl.
New York, NY 10011
EAI will host a book launch for Zoe Beloff’s A World Redrawn: Eisenstein and Brecht in Hollywood, published by Christine Burgin. The evening will feature a screening of Beloff’s Glass House, a short film based on Sergei Eisenstein’s notes and drawings for a science fiction movie that he pitched to Paramount Studios in 1930, followed by a conversation between Beloff, EAI’s Rebecca Cleman, and writer and scholar Anastasiya Osipova. A book signing will follow.
MONO X: Tuned to a Shifting Ground
Created by Leslie Thornton with the support of MONO NO AWARE
Wednesday, November 30, 2016 | 6:30pm
Electronic Arts Intermix
535 West 22nd Street, 5th Fl.
New York, NY 10011
Working for over four decades, Leslie Thornton has created a deep and complex body of films, videos and installations. For this event she will present some her earliest works and influences, and touch upon stages of her development as an artist and participant in the shifting ground of technological image making. Leslie Thornton studied with Brakhage, Sharits, Frampton and Leacock and locates her work as squarely emanating from avant-garde and verite cinematic traditions. She will trace her own aesthetic shifts from the coolness of structural film to a current interest in the strategies of engagement essential to narrative form. The evening will conclude with the premiere of a new work produced under the auspices of Mono No Aware. Entitled Fog Fog Fog Ants, the work combines a clash of hand-made film and digital imagery, with a beguiling and assaultive monologue performed by Thornton.
For more information, please visit mononoawarefilm.com
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About EAI
Celebrating our 45th anniversary in 2016, Electronic Arts Intermix (EAI) is a nonprofit arts organization that fosters the creation, exhibition, distribution, and preservation of moving image art. A New York-based international resource for media art and artists, EAI holds a major collection of over 3,500 new and historical media artworks, from groundbreaking early video by pioneering figures of the 1960s to new digital projects by today’s emerging artists. EAI works closely with artists, museums, schools and other venues worldwide to preserve and provide access to this significant archive. EAI services also include viewing access, educational initiatives, extensive online resources, technical facilities, and public programs such as artists’ talks, screenings, and multi-media performances. EAI’s Online Catalogue is a comprehensive resource on the artists and works in the EAI collection, and features expansive materials on media art’s histories and current practices: MailFilterGateway has detected a possible fraud attempt from “r20.rs6.net” claiming to be www.eai.org
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15. Nancy Buchanan, FF Alumn, at UC Irvine, CA, Nov. 3
November 3, 2016, 7 – 9 pm
It’s Your Party
xMPL Theatre, Clare Trevor School of the Arts, UC Irvine
Second in the Illuminations series of performance art
http://www.arts.uci.edu/event/art-performance-irvine
Organized by Nancy Buchanan in collaboration with Stephanie Allespach; with Marjan Vayghan, video processing performed by Amy Alexander, live DJ mix by Arshia Haq of Discostan, and participation by students of Ulysses Jenkins. See above weblink for more information.
Free of charge and open to the public; this is a durational, ongoing event to which audience members will be admitted every 20 minutes from 7 to 8:40 and may stay as long as they wish. “Party” is intended to invoke several meanings: a person or group taking one side of a question, dispute, or contest; a detail of soldiers; a formally constituted political group, typically operating on a national basis, that enters elections and attempts to form or take part in a government; a social gathering of invited guests, involving eating, drinking, and entertainment. These last two definitions are especially relevant as the performance includes live mixed music, multiple video displays and projections, tea and sweets, as well as an opportunity for audience members to express their opinions.
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16. Annie Lanzillotto, FF Alumn, now online at www.audible.com
FF Alumn Annie Lanzillotto announces her second audiobook is now available at www.Audible.com. yes in her own voice
“Schistsong” – poetry
PUBLISHER’S SUMMARY
An urban songline of New York. From the author of the memoir “L Is for Lion” comes a panegyric of the geology of Manhattan. These poems glitter. Manhattan schist is rendered as a template for the skyline and characters of New York. Grit and stardust collide in this debut collection of poetry and song. The book begins with the bright reflective quality of mica and ends with the gentrified vision of the city where “New York is nine million doors, and you have not one key”. In between are stories of urban icons: iceman, fish peddler, heart butcher, meter maid, San Gennaro, the magic of grandmothers’ hands, the vision of the oldest living tree in the city, immigrants who fell out windows and died in explosions, Italian phrases that link the essence of the sun to a rose and to a heart, crushed tomatoes, sunsets, supermarkets, the glory of hot tar, the lessons of marines and lesbians. You will learn about history and geology, Italian American heroes, and spiritual imperatives through the syllables of this one poet’s soul.
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17. Barbara Pollack, FF Alumn, in The New York Times, Oct. 27
A link to the complete illustrated article follows below this text-only version:
The New York Times
Think You Know China?
‘Tales of Our Time’ Will
Make You Think Again
Eight projects commissioned by younger artists from
Hong Kong, Taiwan and China present startlingly fresh
points of view in this show at the Guggenheim Museum.
By BARBARA POLLACK
OCT. 27, 2016
Pop Art portraits of Mao Zedong and installations of Qing dynasty furniture have long represented the Chinese art world in New York and other cultural centers in the United States.
But the Guggenheim Museum intends to broaden the artistic experience with its “Tales of Our Time,” opening on Friday, Nov. 4. Featuring eight newly commissioned projects by artists from Hong Kong and Taiwan, as well as from China, this exhibition will present fresh approaches to contemporary art from the region, highlighting alternative narratives that depart sharply from news accounts and official histories.
“Our exhibition is not trying to tell people what is right or wrong, but maybe one way we can think about it is, how can we diversify people’s thinking about Chinese art?” said Xiaoyu Weng, an associate curator. Ms. Weng and Hou Hanru, consulting curator, organized the exhibition under the Robert H. N. Ho Family Foundation Chinese Art Initiative, a $10 million grant devoted to researching and commissioning works for the permanent collection.
The initiative’s first iteration, “Wang Jianwei: Time Temple,” which opened in 2014, focused on a single artist of an older generation, whose experimental works have been highly influential in China, while “Tales of Our Time” brings together a diverse group of younger artists to offer a broader view of the next wave in Chinese contemporary art.
From the catastrophic mudslide in Shenzhen to the Sino-Japanese dispute over the Diaoyu Islands (which the Japanese call the Senkaku) in the East China Sea, the exhibition touches on topics pulled straight from the headlines, but interpreted by artists who are storytellers more than they are documentarians. Employing media from ink painting to animatronics, they conceive of China more as a concept than as an identity, eschewing easy associations and symbols. This is fitting for a show that takes inspiration from the 1936 modernist classic “Old Tales Retold,” by Lu Xun, who appropriated folklore to critique the social conditions of his time. Likewise, the artists in “Tales of Our Time” examine conditions in contemporary China through approaches that often blur the distinction between fact and fiction.
“Art has its own particular narrative, which is not just about illustrating a given fact,” Mr. Hou said. “It is about imagination and a kind of independence.”
Mr. Hou, artistic director at Maxxi, the National Museum of the 21st-Century Arts, in Rome, joined Ms. Weng on studio visits in Beijing, Shanghai, Guangzhou, Nanjing and Hangzhou, starting in October 2015. In the end, they chose five individual artists, Zhou Tao, Chia-En Jao, Kan Xuan, Sun Xun and Tsang Kin-Wah; the team Sun Yuan & Peng Yu; and the three-member Yangjiang Group, most of whom will be making their American debuts.
Sun Xun, a 36-year-old Beijing artist who has already shown in New York at the Sean Kelly Gallery, prepared several mural-size scrolls onto which his hand-drawn animations will be projected, offering a surrealistic look at his hometown, Fuxin, a coal-mining capital in northeast China that has fallen into decline. The Yangjiang Group – Zheng Guogu, 46; Chen Zaiyan, 45; and Sun Qinglin, 44 – is creating an interactive tea garden for the circular gallery overlooking Central Park, with a blood pressure station for visitors to measure the calming effect the installation has on their senses.
For the Taipei artist Mr. Jao, 40, the exhibition was a chance to complete a video, “Taxi,” that he has been contemplating for several years. For this work, he surreptitiously recorded conversations with taxi drivers en route to politically charged sites around the city. From a group of 60, he chose to concentrate on five who specifically spoke of the history of their destinations from personal experience. “Through this project, I get to view not brainwashing, but how things imprint on our memory,” Mr. Jao said in a telephone interview.
Ms. Kan, 44, another artist from Beijing and one of two women in the exhibition, also completed a long-term project, based on extensive travels throughout China to 110 ruins of ancient cities. Her multimedia installation “Ku Lue Er” plays videos on 11 screens compiled from the thousands of images she shot on her mobile phone during her journey. Mr. Hou and Ms. Weng recall their visit to her studio as one of their favorites; in contrast to the luscious images they were seeing, Ms. Kan’s cramped apartment, which served as her studio, was in a rundown building, unlike the vast spaces that many successful Chinese artists inhabit. They reviewed work and listened for more than five hours as her ideas poured forth.
“Often, we see artists today working in a situation that is much more glamorous, but this was one of the most memorable meetings,” Mr. Hou said.
The artists who tested the limits of the Guggenheim as an institution are the team of Sun Yuan, 42, and Ms. Peng, 44 (the other female artist), who in the past have made installations using human body fat, live animals and corpses. At the Guggenheim, they will present a shovel-wielding machine scooping up a bloodlike liquid as it seeps across the floor. “When we first heard, we thought it was pretty cool, we thought it was pretty awesome, but we did not know how it was going to get realized,” Ms. Weng said, noting that the museum had concerns about safety and potential damage.
For this generation of artists, Chinese identity is a completely different experience from what it was for the previous generation, which suffered through the isolation and repression of the Cultural Revolution, from 1966 to 1976.
Many of these artists studied abroad, and most work internationally. Mr. Jao earned a master of fine arts from Goldsmiths in London, for example, and Ms. Kan divides her time between Beijing and Amsterdam. “These artists concentrate on individual identities, rather than Chinese identity, but all build on quite Chinese topics,” Mr. Hou said. “It’s really about what happens at this moment in Chinese society that provokes debates, which on the one hand is a globally important question, and on the other, really a very individual interpretation.”
In such an exhibition, China is no longer an exotic territory or a national identity, but a cultural construct framed as much by current social conditions as by 5,000 years of history. “On the one hand, I don’t want people to get intimidated if they don’t know anything about Chinese art, but, also, I don’t want people to think they are experts and come looking to match their preconceived knowledge,” Ms. Weng said. “I want people to think about geopolitics, I want people to think about contested landscapes, I want people to enter the exhibitions and think about concepts and ideas, not a set of identities.”
Correction: October 28, 2016
Because of an editing error, an earlier version of this article misstated the location of the Diaoyu Islands. They are in the East China Sea, not the South China Sea.
thank you.
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18. Edward Gomez, FF Alumn, in the New York Times, October 30, 2016
A link to the complete illustrated article follows below this text-only version:
The New York Times
Yoko Ono’s Vintage Sonic Blasts
Still Sound Like the Future
Ms. Ono’s early albums, which brought the worlds of rock music and
avant-garde art together in an inventive head-on collision, are being reissued.
By EDWARD M. GOMEZ
OCT. 27, 2016
The recording starts with a jolt: A pounding bass line from the Beatles’ old friend Klaus Voorman fuses with the drummer Ringo Starr’s crisp, steady beat. John Lennon’s frenzied guitar slashes against this careening rhythm section, and then comes the explosion: Yoko Ono’s voice, a tsunami of shrieks, wails, ululations and guttural eruptions interpreting a single word and the song’s only lyric: “Why.”
Released simultaneously with Lennon’s first post-Beatles solo album, “John Lennon/Plastic Ono Band,” in December 1970, Ms. Ono’s similarly titled solo debut, “Yoko Ono/Plastic Ono Band,” featuring “Why” as its opener, delivered one of rock’s shape-shifting performances. (At the end, Lennon can be heard asking the recording engineer, “Were ya gettin’ that?”) Now that album, which brought the worlds of rock music and avant-garde art together in an inventive collision, is being rereleased, along with two Lennon-Ono collaborations that were also first issued by Apple, the Beatles’ label: “Unfinished Music No. 1: Two Virgins” (1968) and “Unfinished Music No. 2: Life With the Lions” (1969).
All three albums will arrive on Nov. 11 via the Bloomington, Ind., label Secretly Canadian in collaboration with Chimera Music, a label founded by Sean Ono Lennon, the son of Ms. Ono and Lennon, and music director of the Plastic Ono Band, her backing ensemble, whose lineup frequently changes. With bonus tracks, expanded booklets and fastidiously recreated graphics from the original albums, this rerelease series constitutes their first reissue since 1997. This also represents the albums’ digital debuts and the first time they have been available on vinyl since their initial arrival.
“As a child, I was at my mom’s recording sessions; she showed me what songwriting is,” Mr. Ono Lennon said in a phone interview. “I saw her take all these experiences we were sharing and express them through her music. For me to be her collaborator and help oversee these rereleases makes perfect sense, because I grew up as her biggest fan.”
For Secretly Canadian, Ms. Ono’s work has clearly stood the test of time. “A lot of Yoko’s past albums are like Kraftwerk’s,” said Ben Swanson, one of the label’s founding directors. “They always sound contemporary; they still sound like the future.” Through next year, the two partnering labels will reissue remastered versions of all 10 of the Yoko Ono studio albums that were originally released between 1968 and 1985, plus “A Story,” which was created in 1974 and first came out in 1997.
“I come from the Asian tradition of making music with anything, almost like a warrior,” Ms. Ono said during a recent interview at her home at the Dakota, the red-brick redoubt on Manhattan’s Upper West Side where she has lived since the early 1970s. She nibbled a celery stick, sipped tea and offered a parable that reflected her approach to music. Recalling the tale of “a very famous Japanese warrior” who once welcomed a visitor, she said: “This guest asked, ‘How do you make music?’ There was a pan, which was sitting right in the middle of the irori [sunken hearth], and the warrior just took that and said, ‘This is my music.’ I thought that was beautiful.”
At 83, Ms. Ono remains unsinkably active, pursuing exhibitions and other projects worldwide. She had just returned after unveiling “Sky Landing,” her first public art installation in the Americas, in Chicago’s Jackson Park. Earlier this month, she was in Iceland for the lighting of the Imagine Peace Tower near Reykjavik. And she is a constant presence on social media, issuing poetic-philosophical bon mots on Twitter and posting photos on Instagram.
Since the early 2000s, under the name “ONO,” many of Ms. Ono’s back-catalog songs have been remixed into dance-club hits, and in March, Manimal Records released “Yes, I’m a Witch, Too,” the second compilation featuring contemporary musicians and D.J.-producers reworking selections from Ms. Ono’s wide-ranging songbook, a collection that includes avant-garde experiments, feminist anthems, driving rockers and confessional ballads.
“Music was Yoko’s first art,” said Alexandra Munroe, now the senior curator of Asian art at the Solomon R. Guggenheim Museum, who, with Jon Hendricks, Ms. Ono’s exhibitions director, organized “Yes: Yoko Ono,” the artist’s first comprehensive retrospective, which opened at the Japan Society in Manhattan in 2000. Ms. Ono had studied music composition at Sarah Lawrence College in the 1950s, though her banker father had cautioned her that this field was not one for women. “In her music, as in her poetry, film and Conceptual art, she constantly transgresses and mutates the form,” Ms. Munroe added. “She is aware of precedents and trends but naturally operates outside of them.”
Ms. Ono first met John Lennon when she was living in London in 1966, which led to a new, collaborative phase in her music career. In November of that year, Lennon stopped by Indica Gallery to preview an exhibition of her Conceptual and instruction-based works, whose spirit struck him as both intriguing and positive.
They stayed in touch, and in May 1968, met at his home. “We were chatting about nothing,” Ms. Ono recalled, “and John said, ‘Shall we go upstairs to the music studio or just chat here?’ So I said, ‘I think we should make music,’ and we went up to the music room. It was an impromptu thing.”
Ms. Ono began by emulating the bird song in which she had long been interested, while Lennon made other sounds. In a 1970 interview that became the book “Lennon Remembers,” he told Rolling Stone’s Jann S. Wenner: “I played her all the tapes that I’d made, all this far-out stuff, some comedy stuff, and some electronic music. There were very few people I could play those tapes to. She was suitably impressed, and then she said, ‘Well, let’s make one ourselves,’ so we made ‘Two Virgins.’ It was midnight when we finished, and then we made love at dawn. It was very beautiful.”
Coming from New York’s avant-garde community, Ms. Ono was familiar with found-sound, chance-based, electronic and musique concrète compositional techniques. (Her first husband had been the Japanese composer Toshi Ichiyanagi, who had taken John Cage’s composition course at the New School.)
“Two Virgins” offers a cheerful, sometimes goofy, tapestry of sound – whistling, piano tinkling, a Mellotron, an electronic drone enhanced by tape loops, reverb and other effects. Most notoriously, the album featured cover photos of Lennon and Ms. Ono naked, which prompted Apple’s distributors in Britain and the United States to refuse to handle it. Meanwhile, critics who bothered to give the disc a listen were, to put it mildly, not kind.
“Making the bird sound relaxed me, because that’s what I would do naturally,” Ms. Ono recalled. By contrast, she explained, “most avant-garde composers never did that. They were more interested in [making] sounds that were within them. What they did was make music in a style that would sound ‘avant-garde.'” She said that Lennon “totally understood” her approach to spinning a composition from a fragment of sound. Lennon and Ms. Ono’s give-and-take of found and vocal sounds creates the album’s call-and-response flow.
“It’s hard to imagine how controversial my mom’s first records were, how they sparked such confusion,” Mr. Ono Lennon said, noting that the Sex Pistols’ manager, Malcolm McLaren, had once called Ms. Ono’s 1969 single “Don’t Worry, Kyoko (Mummy’s Only Looking for Her Hand in the Snow)” the first punk record.
“Life With the Lions” was recorded in November 1968, mostly in Ms. Ono’s room at a maternity hospital in London, where she suffered a miscarriage. Like “Two Virgins,” they billed this album as “unfinished music,” a phrase Ms. Ono had coined to suggest that listeners were invited to complete compositions in their own ways, including, if not exclusively, in their minds.
“Life With the Lions” includes Ms. Ono chant-reading a newspaper article about the “Two Virgins” scandal, a radio-static piece, two minutes of silence and “Baby’s Heartbeat,” a recording of the actual heartbeat of the child Ms. Ono had been carrying. As in Lennon’s songwriting for the Beatles and on his own, turning life into art with brutal honesty is a current that flows throughout Ms. Ono’s work. (That candor was evident in her album “Season of Glass,” which was released six months after Lennon was murdered.)
In their sharing of artistic sensibilities, even as Lennon assimilated his partner’s conceptualist-poetic bent, blending it with a wry sense of humor, Ms. Ono took instinctively to the recording studio and went on to explore – and sometimes subvert – a wide range of pop-rock formats, from funky romps like “Mindtrain” on “Fly” (1971) to her dance-rock hit “Walking on Thin Ice” (1981). Speaking perhaps for the first time about the tone and lyrics of “Thin Ice,” whose cool consideration of life’s fragility is punctuated by haunting yelps, Ms. Ono said, “There’s an incredible, tragic moment of a human being’s life laid out there.”
Looking back at the recording sessions for “Yoko Ono/Plastic Ono Band,” Ms. Ono explained that she and her musicians worked “in the style of jazz.” She said: “It was ‘Let’s go!’ – and we just did it. ‘Let’s go’ was the idea, following the sound of my mind. These musicians were into all sorts of music, so they knew what to do. For John, when he was doing my music, he enjoyed it, because it was something different.”
That difference has reverberated throughout the pop world over the past five decades. The B-52’s singer Kate Pierson explained that she and her bandmates discovered Ms. Ono’s early albums when they were in college and “purposefully channeled” her on their 1979 hit “Rock Lobster.”
“The therapeutic-emotional power of her screaming and what she did with her voice were very powerful and paved the way for punk, new wave, noise rock and other later styles.” Ms. Pierson said. On hearing “Rock Lobster” in a Bermuda discothèque in 1980 Lennon was inspired to return to music-making after a long hiatus. He and Ms. Ono went on to record the album “Double Fantasy,” which was released later that year.
The rapper-producer RZA of Wu-Tang Clan performed with Ms. Ono and the Plastic Ono Band in Los Angeles in 2010, merging his “Seed of Joy/Life Is a Struggle” rap with Ms. Ono’s “Greenfield Morning/I Pushed an Empty Baby Carriage All Over the City.” “I stumbled upon that record years ago when I was searching for obscure material to sample,” RZA said. “Working with Yoko was magical, plus I appreciated her stand for peace, for humanity. She has struggled, too; what she has faced as a woman has been tough enough but she’s still here.”
Ms. Ono recognizes that the once out-there aspects of her work have become familiar in punk, electronic and other genres. “The way we listen to music is different today,” she said. And how might those who hear her rereleases respond? “I think they’ll just take it as it is,” she replied, then added, matter-of-factly and perhaps a bit proudly, “I was too early” – meaning, of course, ahead of her time.
Thank you.
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19. Sean Leonardo, FF Alumn, at 41 Cooper Gallery, Manhattan, Nov. 11
Sean Leonardo
I Can’t Breathe
A Public-participatory Workshop and Performance
Friday, November 11 | 6pm | RSVP to: 41 Cooper Gallery
WOUND | 41 Cooper Gallery | 41 Cooper Square | New York
I Can’t Breathe is a public-participatory workshop and performance that will take the form of a self-defense class. Over the course of a half hour, participants will learn a range of self-defense technique – from purely pacifist, self-protective maneuvers (including how one may relieve the pressure of a chokehold) to more overt, defensive strategies. (Participants will not learn offensive strikes or moves.)
Participants will then be placed and paired off in a staggered arrangement. With certain cues given by the artist, each pair will enact the self-defense technique just learned, alternating in the role of the aggressor. As the artist recites a script inspired by Nina Simone, each pair will elect which action to take solely based on how s/he internalizes the words’ meaning.
The overall, impromptu composition of defensive actions will, thus, create a reflection and meditation on our community’s legacy of self-preservation, and continued desire/need/fight to protect and survive. The piece will be conducted in memory of Philando Castile, Alton Sterling, Freddie Gray, Walter Scott, Eric Garner, Jamar Clark, Laquan McDonald, Michael Brown, Akai Gurley, Ramarley Graham, Tamir Rice, Trayvon Martin… and countless others.
This performance will be documented.
WOUND is a study center for practices of listening, attention, and collaboration. The study center is pronounced /waʊnd/, as in: the clock has been wound. WOUND aims to mend time and attention by providing (1) practice spaces for groups, (2) a study center for sculptural tools, and (3) trainings in practices of listening, attention, and collaboration.
In its month-long installment at The Cooper Union, WOUND director Caroline Woolard worked with curator Stamatina Gregory to select tools from artists and collectives whose multi-year practices register in the visual arts. In its online archive, WOUND will present a full spectrum of tools, facilitators, and practices from the performing arts, speculative design, community organizing, geography, and engineering
This work was made possible, in part, by the Franklin Furnace Fund supported by Jerome Foundation, The SHS Foundation, the New York City Department of Cultural Affairs in partnership with the City Council, and general operating support from the New York State Council on the Arts.
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20. Judith Sloan, FF Alumn, at CUNY School of Law, Long Island City, Queens, Nov. 1
CUNY School of Law Salon Series Presents
A CROSS-CULTURAL PERFORMANCE & TALK
WITH JUDITH SLOAN AND ROHINA MALIK
NOVEMBER 1, 2016
5-8PM FREE
AT CUNY SCHOOL OF LAW
2 COURT SQUARE
LONG ISLAND CITY, NY 11101
IN THE AUDITORIUM
LIGHT RECEPTION TO FOLLOW
RESERVATIONS REQUESTED: https://www.surveymonkey.com/r/Nov1CUNYLaw
Please join us for an evening of theater and conversation as cross-cultural artists Judith Sloan and Rohina Malik perform excerpted stories from their individual ground-breaking solo shows focusing on combating Islamophobia, anti-Semitism and cultural stereotyping. Occurring during the final week of one of the most divisive and hostile election cycles in history, both artists will participate in an intimate discussion about building bridges across race, class, religion and culture, moderated by Kavitha Rajagopalan, senior fellow at the World Policy Institute and nonresident senior fellow at the Carnegie Council for Ethics in International Affairs.
PARTICIPANT BIOS:
Rohina Malik is a Chicago-based, critically acclaimed playwright and solo performance artist. Her one woman play Unveiled tells the stories of five very different Muslim women: a Pakistani dressmaker, a Chicago lawyer, an African-American “convert,” a South Asian rapper, and a Palestinian restauranteur. As each character shares their experiences of being targeted simply for wearing the hijab.Unveiled has been presented at the 16th Street theater, Victory Gardens Theater, Next theater, Brava Theater, Crossroads Theater in NJ, Voyage Theater in NYC, Silk Road Rising and Theater Project Baltimore. Rohina’s play The Mecca Tales had its world premiere at Chicago Dramatists, and was nominated for a Jeff Award for Best New Work.
Learn more about Rohina and her work here: http://rohinamalik.weebly.com
Judith Sloan is an actor, writer, storyteller, human rights educator/ activist and audio artist whose work combines humor, pathos and a love of the absurd. She is co-founder of EarSay, a Queens-based non-profit dedicated to documenting and portraying lives and stories often ignored by the mass media. Sloan will be performing excerpts of her solo show Yo Miss! that traces the ripple effects of the Holocaust on her family and how that binds her to refugees today and to diasporic Queens. Sloan received a special Civil Rights Award from the CUNY Law School in 1994 for her work on A Tattle Tale: Eyewitness in Mississippi, a documentary theatre and radio project on abuse in Mississippi jails. Yo Miss! premeired at La MaMa experimental theatre and recently was presented at WNYC’s the Greene Space.
Learn more about Judith and her work here: http://www.earsay.org
Kavitha Rajagopalan is a senior fellow at the World Policy Institute and nonresident senior fellow at the Carnegie Council for Ethics in International Affairs, specializing in global migration and cities. She is the author of Muslims of Metropolis: The Stories of Three Immigrant Families in the West (Rutgers University Press 2008) and co-author of The Testing and Learning Revolution: The Future of Assessment in Education (Palgrave Macmillan 2015) with leading education scholar Edmund W. Gordon. She has appeared as an expert commentator on MSNBC and is currently an opinion contributor for The New York Observer. Her writing has appeared in The Atlantic, Newsday, PBS Online, Next City, The Feminist Review and various academic journals, edited volumes, and policy magazines.
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21. Hector Canonge, FF Alumn, at Bronx Museum of the Arts, Nov. 16, and more
Hector Canonge , FF Alumn
Presents “MELANKHOLIA” at COLLABFEST 2016, Triskelion Arts, NYC (November 4, 8 PM)
Guest artist with “TEMPORAL” in the Bienal Internacional SIART 2016, La Paz, Bolivia (On view until November 24)
Features new work in PERFORMANX at Bronx Museum of the Arts (November 16, 7 – 10 PM)
Continues with CENTIPEDE Performance Art Series at JACK, Brooklyn (November 13, 8:00 PM)
Hector Canonge will premier “MELANKHOLIA” in COLLABFEST 2016 at Triskelion Arts in New York City (Nov. 4). The new work, with musical composition by Sound Artist, Gregory Paul, is a multidisciplinary performance informed by Butoh dance and electronic acoustics. MELANKHOLIA is a performance work that treats experiences of alienation, estrangement, and adaptation. Loosely based on a short story written by Canonge about his father’s self imposed exile in Latin America, the piece is an allegory of self preservation, courage, and tenacity.
The artist’s immersive performative installation “TEMPORAL” is currently on view in the International Biennial of Contemporary Art, Bienal Internacional de Arte, SIART 2016, in La Paz Bolivia. TEMPORAL gathers Live Action recorded in the northern glacial in Iceland and the largest river Dunes in the Bolivian Amazonian region. The installation also includes interactive platforms that allows users to experience geographical shifts and temporal GPS locations.
Continuing with his independent initiatives in NYC, Canonge will present PERFORMANX at the Bronx Museum of the Arts (Nov. 16, 7-10 PM) featuring new and collaborative works with local an international artists, and CENTIPEDE the new Performance Art Series at JACK in Brooklyn on Sunday, Nov. 13, 8:00 PM.
Hector Canonge is an interdisciplinary artist, curator and cultural entrepreneur based in New York City. His work incorporates the use of new media technologies, cinematic narratives, performance, and socially engaged art to explore and treat issues related to constructions of identity, gender roles, and the politics of migration. Challenging the white box settings of a gallery or a museum, or intervening directly in public spaces, his performances mediate movement, endurance, and ritualistic processes. Some of his actions and carefully choreographed performances involve collaborating with other artists and interacting with audiences. His installations, interactive platforms, and performance art work have been exhibited and presented in the United States, Latin America, Europe and Asia. As cultural entrepreneur, Canonge created and directs the annual festival ITINERANT, started the projects: ARTerial Performance Lab (APLAB), an initiative to foster collaboration among performance artists from the Americas, PERFORMEANDO, a program that focuses on featuring Hispanic performance artists living in the USA, NEXUSURNEXUS a virtual platform for Live Action Art, and PERFORMAXIS, an international residency program in collaboration with galleries and art spaces in Latin America. After living abroad for almost 3 years, Canonge returned to the USA in late 2015 to continue with his projects, exhibitions, and presentations: TALKaCTIVE, performance art series, CONVIVIR, international residency program at his new space, MODULO 715 in Jackson Heights, Queens, and LiVEART.US. The artist is currently at work in his upcoming project “Murmurs” to be featured in December as part of his FF Award Program.
More: www.hectorcanonge.net
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22. Chun Hua Catherine Dong, FF Alumn, at aceart inc, Winnipeg, CA, opening Nov 4
Chun Hua Catherine Dong will have a solo exhibition, ” Visual Poetics of Embodied Shame,” at aceart inc, Winnipeg, CA, Nov 4- Dec 9, 2016
Opening: November 4 at 19:30 pm
exhibition:November 4- December 9, 2016
Location: 2-290 McDermot Avenue, Winnipeg, Manitoba R3B 0T2
Visual Poetics of Embodied Shame examines the visual culture of shame in relation to the body, subjects and power in contemporary art. Over the past three years, Chun Hua Catherine Dong has been creating this series of works that integrates performance, photography, video, and installation. Her focus is exploring the visual culture of shame associated with vulnerability in its personal and socio-political dimensions, deconstructing the experience of shame through gestures, moments, and audience participation. In her practice, she considers feminism, globalization, and psychoanalysis, positioning shame as a feminist strategy of resistance – an ethical practice that seeks altered states of consciousness that possibly leads to restore dignity and humanity.
For more about the exhibition
http://www.aceart.org/category/exhibitions/upcoming-exhibitions
For more about the event
https://www.facebook.com/events/976517545808986/
Chun Hua Catherine Dong, born in China, is a visual artist working with performance, photography, and video. She received a M.F.A. from Concordia University and a B.F.A from Emily Carr University Art & Design in Canada. She has performed in multiple international performance art festivals and venues, such as, The Great American Performance Art in New York, Rapid Pulse International Performance Art Festival in Chicago, Infr’Action in Venice, Dublin Live Art Festival in Dublin, 7a11d International Festival of Performance Art in Toronto, Kaunas Biennial in Lithuania, Grace Exhibition Space in Brooklyn, ENCUENTRO Performance and Conference in Santiago, Internationales Festival für Performance in Mannheim, Place des Arts in Montreal, and so on.
She has exhibited her works at Fernando Pradilla Gallery in Madrid, The Schusev State Museum of Architecture in Moscow, Gera Museum in Vrsac, New Art Center in Boston, The Others Art Fair in Turin, Delhi Photo Festival in Delhi, The Aine Art Museum in Tornio, Art Museum at University of Toronto in Toronto, and Vancouver Art Gallery in Vancouver. Her video work has been screened in Brazil, Mexico, Finland, Germany, Italy, Ireland, Colombia, Spain, The Netherlands, Finland, Poland, Greece, Romania, Croatia, Denmark, Sweden, Scotland, China, USA, and Canada. Among many other awards and grants, she is the recipient of Franklin Furnace Award for contemporary avant-garde art in New York in 2014. Her performance is featured at Marina Abramovic Institute and listed amongst the ”Top Nine Political Art Projects of 2010” by Art and Threat magazine. Dong now lives in Montreal.
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23. Peculiar Works Project, FF Alumn, at Overthrow Boxing Club, Manhattan, Nov. 4-6
Please join Peculiar Works Project for a new site-specific, political farce: Androboros: Villain of the State, a 1-hour adaptation of America’s first play celebrating its 300th anniversary. In this contemporary staging-in an actual boxing ring-characters inspired by today’s political leaders will metaphorically slug it out just days before Americans go to vote. Three nights only – November 4-6, 2016: Friday at 9pm, Saturday at 7pm, and Sunday at 5pm – at the OVERTHROW Boxing Club at 9 Bleecker Street (just west of Bowery). Politic then and now…. in a Boxing Ring! And it’s based on a true story. So, if this election season is stressing you out, come work it out and vent with us! Let’s get ready tooooo…. VOTE! Admission is FREE, and reservations are available online at peculiarworks.org/androboros.html.
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24. Emma Amos, FF Alumn, current events
a. Emma Amos has work in the show at Musee du Quai Branly in Paris.
http://www.quaibranly.fr/en/exhibitions-and-events/at-the-museum/exhibitions/event-details/e/the-color-line-36687/
THE COLOR LINE
African-American artists and segregation
04 Oct2016 – 15 Jan2017
What role did art play in the quest for equality and the affirmation of black identity in segregated America? The exhibition pays tribute to the African-American artists and thinkers who contributed, during a century and a half-long struggle, to blurring this discriminatory “colour line”.
ABOUT THE EXHIBITION
Daniel Soutif, independent curator
“The problem of the 20th century is the problem of the color line”.
Although the end of the Civil War in 1865 brought an end to slavery, the racial demarcation line continued to have a lasting impact on American society, as foreseen by the activist W.E.B. Du Bois in 1903 in The Soul of Black Folks. The exhibition The Color Line looks back on this dark period in the United States through the cultural history of its black artists, the prime target of this discrimination.
From the racist themes of American vaudeville and the Minstrels shows of the 19th century to the cultural and literary vitality of the Harlem Renaissance of the early 20th century, from the pioneers of black activism (Frederick Douglass, Booker T. Washington) to the indictment of the singer Billie Holiday (Strange Fruit), almost 150 years of artistic production – painting, sculpture, photography, cinema, music, literature, etc. – testify to the creative wealth of black protest.
b. She will be on this show below at NYU Grey Gallery.
c. there is a new article about Emma Amos in the Archives of American Art Journal of the Smithsonian (number 55).
https://drive.google.com/a/ryanleegallery.com/file/d/0B7533aMn50B1M2tKLU1ScWcxRVE/view?usp=drive_web
d.
African American Art Since 1950: Perspectives from the David C. Driskell Center
http://www.sqart.org/galleries/africanamericanartsince1950/
ON VIEW IN THE MAIN GALLERY FRIDAY OCTOBER 7, 2016 – SUNDAY JANUARY 22, 2017
African American Art Since 1950: Perspectives from the David C. Driskell Center includes works by renowned artists such as Romare Bearden, Elizabeth Catlett, and Sam Gilliam and couples them with exciting new visionaries, including Chakaia Booker, Lorna Simpson, and Kara Walker. This exhibition collectively reflects the growing prominence and complexity of the field of African American Art over the last 60 years. It honors the legacy of the 1976 exhibition Two Centuries of Black American Art: 1750-1950, curated by Prof. David C. Driskell at the Los Angeles County Museum of Art. Forty two artists are represented in African American Art Since 1950 by forty nine works from the Driskell Center Permanent Art Collection. The exhibition is divided into three, often overlapping, sections: Politics of Identity in African American Art; Driskell’s Circle of Colleagues; and New Voices.
African American Art Since 1950: Perspectives from the David C. Driskell Center is curated by Dr. Robert E. Steele and Dorit Yaron, the David C. Driskell Center’s Former Executive Director and current Acting Director, respectively, and by Independent Scholar Dr. Adrienne L. Childs.
EVENTS:
– Thursday, October 6, 5:00 – 7:00 p.m. Museum member’s preview opening, RSVP here.
– Friday October 21, 6:00 – 9:00 p.m. Third in the Burg- Free admission!
– Saturday, November 5th, 6:00 p.m. Lecture in the main gallery by Prof. Curlee Raven Holton, Executive Director, David C. Driskell Center and Distinguished Artist in Residence, Department of Art
ARTISTS INCLUDED:
Emma Amos, Benny Andrews, Herman Kofi Bailey, Radcliffe Bailey, Romare Bearden,
Robert Blackburn, Chakaia Booker, Sheila Pree Bright, Moe Brooker, Elizabeth Catlett,
Willie Cole, Robert Colescott, David C. Driskell, Melvin Edwards, Vanessa German,
Sam Gilliam, Felrath Hines, Curlee R. Holton, Margo Humphrey, Jacob Lawrence,
Kerry James Marshall, Keith Morrison, Floyd Newsum, Mary Lovelace O’Neal,
Howardena Pindell, Jefferson Pinder, William Pope.L, Martin Puryear, Faith Ringgold,
Alison Saar, Betye Saar, John T. Scott, Lorna Simpson, Clarissa T. Sligh, Frank Smith,
Alma Thomas, Hank Willis Thomas, Kara Walker, Carrie Mae Weems, James Lesesne
Wells, William T. Williams, Deborah Willis
b.
Inventing Downtown:
Artist-Run Galleries in New York City, 1952-1965
January 10-April 1, 2017
https://greyartgallery.nyu.edu/exhibition/inventing-downtown-artist-run-galleries-in-new-york-city-1952-1965/
Examining the New York art scene during the fertile years between the apex of Abstract Expressionism and the rise of Pop Art and Minimalism, Inventing Downton: Artist-Run Galleries in New York City, 1952-1965 is the first show ever to survey this vital period from the vantage point of its artist-run galleries-crucibles of experimentation and innovation that radically changed the art world. With more than 200 paintings, sculptures, installations, drawings, photographs, ephemera, and films, the show reveals a scene that was much more diverse than has previously been acknowledged, with women and artists of color playing major roles. It features works by abstract and figurative painters and sculptors, as well as pioneers of installation and performance art. Artists range from well-known figures such as Jim Dine, Red Grooms, Allan Kaprow, Alex Katz, Yayoi Kusama, Claes Oldenburg, Yoko Ono, and Mark di Suvero, to those who deserve to be better known, including Emma Amos, Emilio Cruz, Lois Dodd, Rosalyn Drexler, Sally Hazelet Drummond, Jean Follett, Lester Johnson, Boris Lurie, Jan Müller, and Aldo Tambellini.
Inventing Downtown is curated by Melissa Rachleff, clinical associate professor in NYU’s Steinhardt School.
Inventing Downtown
Artists-Run Galleries in New York City, 1952-1965
GALLERIES AND ARTISTS
Tanager Gallery (1952-1962), 51 East Fourth Street (May 1952-March 1953), 90 East Tenth Street (April 1953-June 1962)
Louise Bourgeois, Charles Cajori, Lois Dodd, Perle Fine, Jean Follett, Mary Frank, Sidney Geist, Gloria Graves, Sally Hazelet Drummond, Angelo Ippolito, Al Jensen, Alex Katz, William “Bill” King, Fred Mitchell, Louise Nevelson, George Ortman, Philip Pearlstein
Hansa Gallery (1952-1959), 70 East Twelfth Street (November 1952-November 1954), 210 Central Park South (December 1954-June 1959)
Robert Beauchamp, Jacques Beckwith, Lily Brody, John Chamberlain, Jean Follett, Miles Forst, Wolf Kahn, Allan Kaprow, FF Alumn, Fay Lansner, Alfred Leslie, Dody Müller, Jan Müller, Felix Pasilis, Vaughan Rachel, Lucas Samaras, George Segal, Richard Stankiewicz, Myron Stout, Robert Whitman, Jane Wilson
Brata Gallery, 89 East Tenth Street (October 1957-April 1962)
Ronald Bladen, Ed Clark, Al Held, Robert Kobayashi, Nicholas Krushenick, Yayoi Kusama, Nanae Momiyama, Sal Romano, George Sugarman
City Gallery, 735 Sixth Avenue (November 1958-May 1959)
Robert Beauchamp, Gandy Brodie, Sari Dienes, Jackie Ferrara, Red Grooms, Mimi Gross, FF Alumn, Joan Herbst, Budd Hopkins, Lester Johnson, Emily Mason, Jay Milder, Claes Oldenburg, FF Alumn, Peter Passuntino, George Nelson Preston, Bob Thompson, Michaela Weisselberg (now Mica Nava)
Reuben Gallery (1959-1961), 61 Fourth Avenue (October 1959-June 1960), 44 East Third Street (November 1960-April 1961)
Yvonne Andersen, Jim Dine, Rosalyn Drexler, John Cohen, Martha Edelheit, Red Grooms, Allan Kaprow, FF Alumn, Claes Oldenburg, FF Alumn, I. C. Rapoport, Robert Rauschenberg, FF Alumn, Renée Rubin, Lucas Samaras, Robert Whitman
Delancey Street Museum, 148 Delancey Street (October 1959-May 1960)
John Cohen, Emilio Cruz, Lester Johnson, Marcia Marcus, Jay Milder, Bob Thompson
Judson Gallery, 239 Thompson Street (February 1959-January 1962)
Dorothea Baer, Jim Dine, Martha Edelheit, Dan Flavin, Martha Holmes, Claes Oldenburg, FF Alumn, Marcus Ratliff, Richard Tyler, Stan VanDerBeek, Tom Wesselmann, Phyllis Yampolsky
112 Chambers Street (December 1960-June 1961)
Simone Forti, FF Alumn, Robert Morris, Minoru Niizuma, Yoko Ono, FF Alumn
79 Park Place (November 1963-March 1964)
Mark di Suvero, Dean Fleming, Peter Forakis, Danny Lyon, Anthony Magar, Tamara Melcher, Forrest Myers, Edwin Ruda, Leo Valledor
March Group (1960-62)
Stanley Fisher, Sam Goodman, Jean-Jacques Lebel, Boris Lurie, Kenneth van Sickle
Hall of Issues at Judson Memorial Church (December 1961-January 1963)
Dave Heath, Peter Moore, Steven Schapiro, Peter Schumann, Phyllis Yampolsky
The Center (1962-65)
Ben Morea, Aldo Tambellini
Spiral Group (1963-65)
Emma Amos, Romare Bearden, Reginald Gammon, Norman Lewis, William Majors, Hale Woodruff, James Yeargans
Green Gallery, 15 West Fifty-seventh Street (October 1960-June 1965)
Richard Bellamy, Ronald Bladen, Rudy Burckhardt, Geoffrey Clements, Mark di Suvero, Dan Flavin, Sally Hazelet Drummond, Joan Jacobs, Donald Judd, Tadaaki Kuwayama, Lee Lozano, Robert McElroy, Robert Morris, Claes Oldenburg, FF Alumn, Pat Passlof, Larry Poons, James Rosenquist, Lucas Samaras, George Segal, Richard Smith, Tom Wesselmann
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25. LAPD, FF ALumn, at Broad Street Ministry, Philadelphia, PA, Nov. 4-5
Who: Los Angeles Poverty Department and Asian Arts Initiative
Contact: John Malpede at info@lapovertydept.org , Cell: 310-259-1038
When: Friday, November 4: 7:30pm and Saturday, November 5: 3:00pm and 7:30pm
Where: Broad Street Ministry, 315 S. Broad St.,
LOS ANGELES POVERTY DEPARTMENT’S WHAT FUELS DEVELOPMENT?
FRIDAY, NOVEMBER 4 (7:30 pm) AND SATURDAY, NOVEMBER 5 (3 pm and 7:30 pm)
Broad Street Ministry, 315 S. Broad St., Philadelphia, PA 19107
Philadelphia, PA – The devised theater performance piece, What Fuels Development? is based on the true story of a development struggle, in which residents of Skid Row in Los Angeles, including Los Angeles Poverty Department members, organized to successfully appeal a non-profit developers attempt to put an alcohol-serving restaurant in a residential hotel housing formerly homeless people. Many of the hotels residents are in recovery, or actively struggling with addiction and mental illness. Skid Row residents appealed the granting of the zoning variance and organized to testify at the zoning commission, and collectively their words created a change of heart in the commissioners.
Travis Diehl, writing for ARTFORUM described What Fuels Development? as “an impassioned dramatization of a true life fight….a specific episode to counter the abstract surety of gentrification.”
What Fuels Development? is directed by John Malpede and performed by Los Angeles Poverty Department (LAPD), the first arts organization on Skid Row and the first performing group in the country comprised mostly of homeless or formerly homeless people. Presented by Asian Arts Initiative, performances November 4 (7:30 pm) and November 5 (3 pm & 7:30 pm) at Broad Street Ministry.
What Fuels Development? is a National Performance Network (NPN) Creation Fund Project co-commissioned by Asian Arts Initiative in partnership with Pangea World Theater, Armory Center for the Arts and NPN. For more information: www.npnweb.org. What Fuels Development? was developed with grant support to LAPD from the National Endowment for the Arts-Theater.
For tickets, visit asianartsinitiative.org/event/what-fuels-development
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Goings On is compiled weekly by Harley Spiller
