Contents for April 4, 2016
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1. Tamar Ettun, FF Fund recipient 2016-17, in Bryant Park, Manhattan, April 8
2. Elaine Angelopoulos, FF Alumn, at Pratt Institute, Brooklyn, April 5 and more
3. James Casebere, FF Alumn, to be inducted into NYFA Hall of Fame, Apr. 12
4. Vito Acconci, Eleanor Antin, Roy Colmer, Stefan Eins, Adrian Piper, Robert Rauschenberg, Carolee Schneeman, Karen Shaw, Hannah Wilke, Martha Wilson, FF Alumns, in The Village Voice, Mar. 29
5. Judith Simonian, FF Alumn, at 1285 Avenue of the Americas Art Gallery, Manhattan, opening April 11
6. Olivia Beens, Quimetta Perle, FF Alumns, at Carter Burden Gallery, Manhattan, opening April 7
7. Christo and Jeanne-Claude, FF Alumns, at Santa Giulia Museum Brescia, Italy, opening April 7
8. Thomas Waters, FF Alumn, at Etcetera Print Exchange, now online
9. Liliana Porter, FF Alumn, at Beatriz Gil Gallery, Caracas, Venezuela, thru May 15
10. Babs Reingold, FF ALumn, at Drawing Rooms, Jersey City, NJ, opening April 9
11. Bob Holman, FF Alumn, at 192 Books, Manhattan, April 5
12. Betty Tompkins, FF Alumn, at Flag Art Foundation, Manhattan, April 6
13. Grisha Coleman, FF Alumn, at Yerba Buena Center for the Arts, CA, Apr. 15-17
14. Alicia Grullón, FF ALumn, at BRIC House, Brooklyn, April 13
15. Cecilia Vicuña, FF Alumn, at DIA Chelsea, Manhattan, Apr. 5
16. Susan Bee, FF Alumn, at Lisa Cooley, Manhattan, thru May 15
17. Anna Banana, FF Alumn, in The Coast Reporter, now online
18. Doug Skinner, FF Alumn, at Jalopy Theater, Brooklyn, April 16
19. Cathy Weis, FF Alumn, at WeisAcres, Manhattan, April 17
20. Nancy Buchanan, Lady Pink, Jenny Polak, FF Alumns, at the Brooklyn Museum, opening April 6
21. Adam Pendleton, FF Alumn, releases new publication
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1. Tamar Ettun, FF Fund recipient 2016-17, in Bryant Park, Manhattan, April 8
Mauve Bird with Yellow Teeth Red Feathers Green Feet and a Rose Belly: Part YELLOW
Tamar Ettun and The Moving Company
Bryant Park, NYC
TWO PERFORMANCES
April 8, 3-4pm and 5-6pm
Followed by Q&A and a reception
Movers: Maia Karo, Rebecca Pristoop, Mor Mendel, Sabrina Shapiro, Asher Mones, Laura Bernstein, Tina Wang
Costume Design by Ella Dagan
Mauve Bird with Yellow Teeth Red Feathers Green Feet and a Rose Belly: Part YELLOW is a multidisciplinary performance, in which vast colors, inflatables, sound and dance combine to create an immersive psychological landscape commenting on Desire. It could be viewed as a “handheld history”, a collection of personal accounts, about transformation within a culture. Ettun investigates the concepts of movement and stillness in relation to the ephemeral, and confronts our machine-like psychological defenses with accumulated gestures building empathy with the other.
Part YELLOW explores the conception of Desire and should be viewed as a sequel to the Blue chapter that dealt with empathy. Eros stems from the same source, but is also a multifaceted driving force that generates emotions and movement within a person and a community. It can create empathy, fear, compassion, and desire between one and the other. In Ettun’s symbolic language, the power of desire on its own is what creates the movement and avoids the stillness, fights death – the ultimate stillness.
Mauve Bird is a body of work presented by Ettun and her performance group, The Moving Company, as a tetralogy, premiering a new installment each year until the completion of the project in 2018. Each part is based on a color – Blue, Red, Yellow and Orange – and an emotion relating to the other. In addition to performances, the work consists of videos, photographs and sculptural objects. Following its premiere in Bryant Park, Part YELLOW will be the subject of Ettun’s one-person exhibition at Uppsala Art Museum in Sweden.
Tamar Ettun lives and works in Brooklyn, NY and is represented by Fridman Gallery, New York, NY.
Presented by Bryant Park, Art Production Fund, Fridman Gallery, and 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, and with support from Lower Manhattan Cultural Council
Tamar Ettun
917.975.5188
http://www.tamarettun.com/
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2. Elaine Angelopoulos, FF Alumn, at Pratt Institute, Brooklyn, April 5 and more
I’m writing to invite you to join me Tuesday, April 5, at Change Makers, a panel discussion with Pratt alumni who make change happen to improve our communities. Our panelists studied painting, printmaking, arts & cultural management, city & regional planning, and library & information science at Pratt.
Register for CHANGE MAKERS
Tuesday, April 5, 6:30 PM
Pratt Manhattan Campus, Room 213
Elaine Angelopoulos (moderator), BFA Painting / Communications Design Minor, 1987
Elaine Angelopoulos composes chance systems with classic concerns about the self and the greater world through fabricated persona mythologies woven from personal and collective narratives. Her art practice, activism and employment has often overlapped and has influenced her directions, expanding a scope of questioning how an artist shapes their ethics of participation in the marketplace, and how their work interacts with an audience.
Laura Blau, MFA Printmaking, 2009
Laura Blau is head of the art department at a Title I public high school in the Bronx. Laura is an art and design lover who enjoys sharing her passion with young people. Laura runs an art career-based afterschool program to provide students with hands-on opportunities to explore the art field in greater depth beyond the general education classroom.
Leenda Bonilla, MPS Arts & Cultural Management, 2009
Leenda Bonilla has built a career in a variety of roles mostly in organizations and companies where she been a project/program manager, mediator, counselor, community organizer, marketing aficionado and technical assistance provider. Leenda is deeply connected to entrepreneurship and working with new (im)migrant individuals and groups to facilitate opportunities of business development with creative and resilient initiatives that address their basic needs for themselves and the communities they serve.
Alex Sommer, MS City & Regional Planning, 2012
Alex Sommer is a city planner with expertise in zoning, land use, participatory planning, and economic development. He is currently a Team Leader with the NYC Department of City Planning where he advises the City Planning Commission, Community Boards, elected officials, and Department staff on large public and private developments, discretionary and ministerial actions, and area wide studies.
John Tomlinson, MS Library & Information Science, 2011
John Tomlinson is Director, Communications at Synergos, a global nonprofit organization that helps solve complex problems of poverty and inequality by promoting and supporting collaboration. He leads planning, production, and distribution of information about Synergos. He also works with Synergos’ programmatic and information technology teams to collect and share knowledge created through the organization’s work.
If you have any questions, please contact me at rcarabay@pratt.edu.
I hope to see you there!
Robert Carabay | Communications Manager
PRATT INSTITUTE
Center for Career & Professional Development
East Building 1, 200 Willoughby Avenue, Brooklyn, NY 11205
rcarabay@pratt.edu | 718.687.5846 | pratt.edu/career
and
Three Point Nomad’s “Sightings and Further Emergences: Early 2016
Exhibition News:
Group Exhibition: “Project for Re-volution in New York”. curated by Todd Ayoung and Krishna Ramanujan, is on view at the Tompkins County Public Library, in Ithaca, New York
opened on February 5th and closes by the end of April. An online catalogue will be soon available.
For more information, visit: http://tcpl-exhibits.blogspot.com/2016/02/project-for-re-volution-in-new-york.html
and
Group Exhibition: UTOPIA=REALITY commemorates the 1st Art & Industry Bienniale in Labin, Istria/Croatia, opened on March 2nd and closes on September 30th. The exhibition is in homage to
Joseph Beuys. The International Exhibition curated by Lucrezia De Domizio Durini, and Contemporary Croatian Art Exhibition is curated by Branko Franceschi; The artistic director of the Biennial is Damir Stojnic and president is Dean Zahtilla, also founders of Labin Art Express. A book will be produced for the exhibition that will be released in September.
For more information, visit: http://www.industrialartbiennale.eu/
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3. James Casebere, FF Alumn, to be inducted into NYFA Hall of Fame, Apr. 12
James Casebere to be inducted into the NYFA Hall of Fame
New York Foundation for the Arts Annual Benefit Gala
Tuesday, April 12, 2016, 6:30 PM
Congratulations to James Casebere, who will be inducted into the New York Foundation for the Arts 2016 Hall of Fame during their annual benefit gala on April 12th. Established in 2011, the NYFA Hall of Fame recognizes and honors extraordinary artists, arts patrons and organizations who through their artistic vision and uncompromising integrity represent the best that NYFA has to offer.
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4. Vito Acconci, Eleanor Antin, Roy Colmer, Stefan Eins, Adrian Piper, Robert Rauschenberg, Carolee Schneeman, Karen Shaw, Hannah Wilke, Martha Wilson, FF Alumns, in The Village Voice, Mar. 29
The Village Voice
Beings in Time: With ‘Concept, Performance, Documentation, Language,’ Mitchell Algus Rewrites the Narrative
TUESDAY, MARCH 29, 2016 AT 7:30 A.M.
BY JENNIFER KRASINSKI
In 2003, critic Jerry Saltz wrote in these very pages that gallerist Mitchell Algus “should be given a MacArthur for his efforts in exhibiting artists who have slipped off everyone’s radar.” But unlike with the usual curatorial excavations – which mine for gold from earlier eras in an effort to hit the jackpot – Algus’s aims have always possessed a great integrity. “I’m interested in dismantling consensus,” he explained in a 2004 interview. He’s earned his platinum reputation because, quite simply, he walks the walk. Chalk that up, perhaps, to a certain independence from the art market: Until recently, Algus supported himself in part by teaching high school science in Queens. (He retired to devote more attention to his art work after Mayor Bill de Blasio increased teachers’ pensions.) Meanwhile, thirteen years after Saltz’s praise, artists of every generation seem to be presented as belonging to one of two categories: “blue chip” or “future blue chip.” In this climate, Algus’s particular genre of genius is more deserving of accolades than ever.
His current exhibition, “Concept, Performance, Documentation, Language,” is a vibrant, important show featuring works made from the late 1960s to the early ’80s by more than fifty artists, most of whom remain alive and well and working in New York today. On view are photographs, drawings, posters, collages, and other works on paper (it’s all on the wall). Some names will be familiar: Hannah Wilke, Vito Acconci, Carolee Schneemann, Lee Lozano, Adrian Piper, David Wojnarowicz, Jack Smith, Eleanor Antin. Others, perhaps less so: Stefan Eins, Roy Colmer, Karen Shaw, Bill Beckley, Duff Schweninger. Here, Algus unites them as a loose community creating art on the crest of Conceptualism’s second wave. Rather than reduce art’s rich and twisted narratives to a privileged Who’s Who, Algus widens the lens, broadening our focus. The show doesn’t genuflect to trickle-down theories of influence or tidy summaries of artists and their practices. He instead makes palpable the spirit of the bygone age in which they worked.
If the Conceptualists of the 1960s were a relatively serious bunch – almost academic in their approach to the making and unmaking of art – those who followed in their footsteps were driven by a far more playful spirit, dancing along the life/art divide. After all, ideas are living things too, fleeting, sometimes arriving only half-formed or at a weight, scale, and presence at odds with capital-A Art. Such is the lightness behind Gerald Hayes’s “Wind/Fence” series (1968), in which the artist let the air carry pieces of paper into a chain link fence and then documented how they stuck there. Such is the heavy-handedness of Gordon Matta-Clark’s Datum Cuts (1973), for which he chainsawed through the doorways and walls of an office hallway to construct vertiginous views of ordinary spaces.
If some artists were poets, others played the fool, with a healthy naughty streak and a subversive sense of humor. In the 1974 photograph Untitled (Chapter 4, Two Men in Parking Garage), Christopher Rauschenberg (son of Robert Rauschenberg and Susan Weil) stands facing a male cohort. Both are nude beneath their unzipped coats, one wild-eyed and the other slack-jawed as they touch the tips of their erect swords, so to speak. (There is surely an astute political something-or-other propelling this performance, but I for one was giggling too hard to care.) Then there’s the work of Neke Carson, performance artist and notorious painter in the sublime “Rectal Realist” style. (To those wondering how to master the craft of Rectal Realism, simply stick a paintbrush up your ass and get to work.) A couple of his works are on view, including a series of four photographs documenting his 1971 performance “Dandruff Exorcism,” in which the artist walked unannounced into the Leo Castelli Gallery, crouched, and shook his dandruff out onto a dark cloth. A funny photograph from 1972 titled Retrospective (Sonnabend Gallery, Vito Acconci’s Seedbed) perfectly captures his aberrant exuberance. As Acconci masturbated under a platform in the gallery, we see Carson on top of it, dancing with wild abandon to the sound of Acconci’s (ahem) beats.
Almost half of the artists in “Concept, Performance, Documentation, Language” are women, a virtue that must be noted against the dreary state of equal representation in the 21st century. Hung in the gallery is a vivid spectrum of ferocities, from Colette’s 1976 photograph Sleeping on a Carl Andre Sculpture, which catches her bare as Lady Godiva lying atop one of Andre’s morbidly solid wood constructions, to a pair of 1972 self-portraits of Martha Wilson dressed in male and female drag. From images of Lorraine O’Grady swanning around town as the mythical Mlle Bourgeoise Noire to Roberta Allen’s Pointless Acts #3(1976), in which she photographs herself interacting with “pointless arrows,” small, sharp lines that she meticulously draws on the prints. One of the notable discoveries of the show (and there are quite a few) is an early selection from Morgan O’Hara’s “Time Study,” an ongoing project that began around 1974, for which the artist documents everything she does and how long it takes her to do it. Sleeping, reading, watching television, cooking, worrying, painting, having sex, counseling, teaching: All of her life’s labors are here accounted for in charts and pie graphs.
Algus has always prioritized that freedom from certain art-world constraints, and it’s this autonomy that also unites the artists on view. He isn’t presenting a simple survey so much as conducting a forgotten creative force – a model of how to be in the world. This isn’t about nostalgia. It’s about acknowledging the loss of a time when being an artist was a way of life more than a way to make a living – to be struck by how the fame- and approval-seeking that stunts so many young artists today is nowhere to be seen here. Revel in the fact that Algus’s artists produce something of far greater value: bliss.
‘Concept, Performance, Documentation, Language’
Mitchell Algus Gallery
132 Delancey Street, 2nd floor
212-844-0074 www.mitchellalgusgallery.com
Through May 1
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5. Judith Simonian, FF Alumn, at 1285 Avenue of the Americas Art Gallery, Manhattan, opening April 11
drishti a concentrated gaze
1285 Avenue of the Americas Art Gallery
and
NURTUREart
request the pleasure of your company
at the opening reception for
Drishti: A Concentrated Gaze
A group exhibition curated by Elizabeth Heskin and Patricia Spergel and
presented in collaboration with the NURTUREart Registry of Artists and Curators.
Monday, April 11, 2016
6:00 to 8:00 p.m.
Participating artists:
Andrew Baron • Jebah Baum • Paul Behnke • Emily Berger • Mary Bucci McCoy •
Sasha Cohen • Guy Corriero • Beth Dary • Graham Durward • Ashley Garrett • Nicola
Ginzel • Elizabeth Gourlay • Hiroyuki Hamada • Julian Hatton • William Holton •
Sharon Horvath • Erick Johnson • Zachary Keeting • Osamu Kobayoshi • Jaena Kwon
Aubrey Levinthal • Timothy Linn • Sarah Lutz • Kathryn Lynch • Amy Mahnick • Jackie
Meier • Tracy Miller • Keiko Narahashi • Petra Nimtz • Fran O’Neill • Mary Schwab •
Judith Simonian • Sandi Slone • Patricia Spergel • Sarah J. Tortora • Katharine Umsted
Drishti: A Concentrated Gaze is presented by NURTUREart and sponsored by the
1285 Avenue of the Americas Art Gallery, in partnership with Jones Lang LaSalle,
as a community-based public service.
On view April 11, 2016 through July 1, 2016
Gallery hours: Monday-Friday, 8 a.m. – 6 p.m.
1285 Avenue of the Americas Art Gallery
Between 51st and 52nd Streets, New York City
NURTUREart Non-Profit Inc. is dedicated to nurturing contemporary art by
providing exhibition opportunities and resources for emerging artists, curators,
and local public school students. The unique synergy between NURTUREart’s
programs generates a collaborative environment for artistic experimentation.
This framework, along with other far-reaching programming, cultivates a supportive
artistic network and enriches the local and larger cultural communities.
NURTUREart
56 Bogart Street
Brooklyn, NY 11206
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6. Olivia Beens, Quimetta Perle, FF Alumns, at Carter Burden Gallery, Manhattan, opening April 7
Carter Burden Gallery
presents
Olivia Beens & Angela Valeria
“Earth Spirit”
Opening Reception Thursday, April 7th, 2016, 6 – 8 p.m.
April 7-28, 2016
Tuesday to Friday: 11-5
Saturday: 11-6
Carter Burden Gallery
548 West 28th Street #534
(between 10th & 11th Avenues)
New York, NY 10001
Also on view “Only Connect”: Grace Bakst Wapner
And “The Fire Inside”: Quimetta Perle, FF Alumn
Curator: Marlena Vacarro
For further info contact: click here
212 564 8405
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7. Christo and Jeanne-Claude, FF Alumns, at Santa Giulia Museum Brescia, Italy, opening April 7
Christo and Jeanne-Claude. Water Projects
April 7-September 18, 2016
Santa Giulia Museum Brescia
Via dei Musei 81/b
25121 Brescia
Italy
www.mostrachristo.bresciamusei.com
www.bresciamusei.com
Curated by Germano Celant
The Santa Giulia Museum in Brescia presents the exhibition Christo and Jeanne-Claude. Water Projects opening on April 7, 2016, curated by Germano Celant in collaboration with the artist and his studio. The show will offer an unprecedented display of Christo and Jeanne-Claude’s water-related projects, that is those based on rural and urban landscapes characterized by the presence of water in the form of an ocean, a sea, a lake, or a river.
With over 150 exhibits comprising the artists’ original preparatory studies, drawings and collages, complemented by scale-models, photos of the finished projects, videos, and films, inside the museum’s 2,000 square meter exhibition space, Christo and Jeanne-Claude. Water Projects presents a chronological display of the artists’ monumental works since the early ’60s and illustrates their seven Water Projects: from Wrapped Coast, One Million Square Feet, Little Bay, Sydney, Australia, 1968-69 to The Floating Piers, Project for Lake Iseo, Italy, 2014-16. The exhibition aims at presenting the projects within a historical framework, contextualizing their evolution, from 1961 to the present day, illustrating the artists’ water-related works in their different stages of realization, from the first concept sketches, to the drawings, collages and models that follow, all the way to the actual realization of the work documented in the form of photos and videos. The exhibition will also include an informative and interactive section opening in June, documenting the Lake Iseo environmental art project in the making; in this section viewers will have the chance to see video projections and a display of materials (also virtual) by the artist, all related to the project’s realization process, alongside a live streaming of photos and videos posted by the viewers visiting the installation on the Lake.
This exhibition will be open at the same time as The Floating Piers, the installation that will be set up and open to viewers on Lake Iseo from June 18 to July 3, 2016, marking Christo and Jeanne-Claude’s return to Italy after 40 years.
The monumental work will lead visitors along a more than three-kilometre route across the Lake’s waters and along its shores. The work will consist of 70,000 square meters of shimmering orange fabric covering a sequence of 16-meter-wide modular floating piers made with 200,000 cubes of high-density polyethylene. The itinerary will stretch across land and water, from Sulzano to Monte Isola, also comprising the island of San Paolo.
The exhibition catalogue, edited by Germano Celant, will be published in two versions-Italian and English-by Silvana Editoriale, Milan. The publication will include a chronological listing of Christo and Jeanne-Claude’s large-scale projects (even those that were never realized) from 1961 to 2016, with particular focus on the single Water Projects. Every project-either accomplished, ongoing, or never realized-will be introduced by an explanatory text accompanied by images of the preliminary sketches, and photo-documentation of the preparatory works and final set up.
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8. Thomas Waters, FF Alumn, at Etcetera Print Exchange, now online
FF Alumn Thomas Waters is participating in the Etcetera Print Exchange exhibition.
http://www.etcprintexchange.comhttps://www.facebook.com/events/174645149584502/
The Etcetera Print Exchange is an open art project which invites people of all ages, backgrounds, and skill levels to compose and produce new prints for a city-wide trade. The goal of the this project is to encourage dynamic interactions between creative people while expanding the local printmaking community of Pittsburgh.
Thomas Waters
thomaswaters@mac.com
http://tcwaters.com
about.me/tcwaters
thomascwaters.com 2012 Beacons of Equality Award Winner; 2015 Best of the Burghosphere Award Winner!
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9. Liliana Porter, FF Alumn, at Beatriz Gil Gallery, Caracas, Venezuela, thru May 15
Exhibition of Liliana Porter and Ana Tiscornia at Beatriz Gil Gallery, Caracas, Venezuela, opening April 3.
Title of the exhibition” Relatos Complices”
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10. Babs Reingold, FF ALumn, at Drawing Rooms, Jersey City, NJ, opening April 9
Dear Friends,
I’m pleased to participate in the “The Nature of Things”
Curated by Anne Trauben at the Drawing Rooms in Jersey City.
Exhibition dates: April 8 – May 15.
Opening Reception: Saturday April 9th 3-6pm.
Please note: Due to schedule conflict I will be there from 3 – 4:45pm. If you wanna see me come early!
Participating Artists: Babs Reingold, Nancy Cohen, Beth Dary, Sandy DeSando, Ed Fausty, Allison Gildersleeve, Dana Scott, Holly Sumner and Kit Sailer.
DRAWING ROOMS
180 Grand St
Jersey City, NJ
From NYC
By train: Take Journal Square PATH train to Grove St. stop.
By car: Holland tunnel to first street after exiting tunnel (Marin Blvd) turn left. Stay on Marin to Grand street, turn left and immediately on the left (near the corner) is the Drawing Rooms space.
Gallery Hours
Th/Fr 4-7p
S/S 2-6p
Hope to see you there!
On exhibit are drawings and the sculpture “Luna Window: Ladder No. 14” 2016, About 144 x 108 x 96 inches, rust and tea stained silk organza, hair, thread, string, yarn, fabricated old window and encaustic.
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11. Bob Holman, FF Alumn, at 192 Books, Manhattan, April 5
Poetry is an exciting part of our line up in April. Please join us on Tuesday, April 5th at 7PM as we begin a month of readings. For the entire list of readings this month, please visit our events page at 192books.com
ANSELM BERRIGAN and BOB HOLMAN
Tuesday, April 5th, 7:00PM
Anselm Berrigan’s recent books of poetry include Come In Alone, available this April from Wave, and Primitive State a book-length poem from Edge Books (2015). He is the Poetry Editor for the Brooklyn Rail, former Artistic Director of The Poetry Project at St. Mark’s Church, and co-editor of The Collected Poems of Ted Berrigan, with Alice Notley and Edmund Berrigan. Other recent works include Pregrets, a booklet from Vagabond Press (2014), and Loading, a collaborative book with painter Jonathan Allen (Brooklyn Arts Press, 2013).
Bob Holman is Founder/proprietor, Bowery Poetry Club, original slam master, Nuyorican Poets Cafe, curator/coordinator, St. Marks Poetry Project. “Khonsay: Poem of Many Tongues,” (premiered at Margaret Mead Film Festival, NYC, Viewers Choice Award, Sadho Poetry Film Festival, New Delhi), “Language Matters with Bob Holman” (PBS, “Best Doc” at Berkeley Film Festival), “On the Road with Bob Holman” (LinkTV), “The United States of Poetry” (PBS, INPUT International Public TV Award). “Exploding Text: Poetry Performance” at Columbia, NYU, Bard, and The New School; “Embodied Poetics” at Naropa (this spring). The Cut-Outs (Matisse) (Peeka Boo Press, forthcoming), Sing This One Back To Me (Coffee House Press), A Couple of Ways of Doing Something (Aperture). Upcoming, June 3-8: co-director of “The Beats and Beyond: A Gathering,” at Bowery Poetry Club, Howl Happening, The Poetry Project (DiPrima, McClure, Kyger, Sanders, Giorno, David Henderson, Hettie Jones, Margaret Randall, Steve Cannon).
April 12, Tuesday, 7PM
Morgan Parker
Danniel Schoonebeek
April 13, Wednesday, 7PM
Marcel Broodthaers Night!
Christophe Cherix and Elizabeth Zuba
April 14, Thursday, 7PM
Louis Begley
April 19, Tuesday, 7PM
Frank Bidart
Eleanor Chai
April 21, Thursday, 7PM
Barry Schwabsky
in conversation with Richard Hell
May 3, Tuesday, 7PM
Eileen Myles, FF Alumn
May 5, Thursday, 7PM
Marianne Vitale
Copyright (c) 2016 192 Books, All rights reserved.
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Our mailing address is:
192 Books
192 Tenth Avenue
New York, NY 10011
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12. Betty Tompkins, FF Alumn, at Flag Art Foundation, Manhattan, April 6
Please join us for
A Woman’s Greatest Weapon Is Her Tongue:
Betty Tompkins & Alison M. Gingeras in Conversation
Wednesday, April 6, 6-8pm
Talk begins at 6:30pm
The FLAG Art Foundation | 545 West 25th Street, 9th floor
RSVP to rsvp@flagartfoundation.org
Artist Betty Tompkins and curator Alison M. Gingeras will discuss feminism, women’s voices in public discourse, and sexual political agency. Tompkins is featured in WOMEN Words, Phrases, and Stories, on view at The FLAG Art Foundation through May 14, and Black Sheep Feminism: The Art of Sexual Politics, curated by Gingeras, recently on view at Dallas Contemporary.
Betty Tompkins is an American artist living and working in New York, NY, and Pleasant Mount, PA. Recent solo exhibitions include WOMEN Words, Phrases, and Stories, The FLAG Art Foundation, New York, NY (2016); Real Ersatz, FUG, The Bruce High Quality Foundation, New York, NY (2015); Art Basel Feature, Galerie Rodolphe Janssen, Basel, Switzerland (2014); Paintings & Works on Paper 1972-2013, Gavlak Gallery, Palm Beach, FL (2014); Woman Words, Dinter Fine Art, Project room #63, New York, NY (2013); Fuck Paintings, Galerie Rodolphe Janssen, Brussels, Belgium (2012); among others. Tompkins has been featured in numerous group exhibitions, including Black Sheep Feminism: The Art of Sexual Politics, Dallas Contemporary, Dallas, TX (2016); The Shell (LANDSCAPES, PORTRAITS & SHAPES), Almine Rech Gallery, Paris, France (2014); A Drawing Show, Matthew Marks Gallery, New York, NY (2014); CORPUS, Zacheta National Gallery of Art, Warsaw, Poland (2014); A Chromatic Loss, Bortolami Gallery, New York, NY (2014); Elles, Centre Pompidou, Paris, France (2011); among others. Tompkins is represented by P.P.O.W, New York, NY; Gavlak Gallery, Los Angeles, CA, and Palm Beach, FL; and Galerie Rodolphe Janssen, Brussels, Belgium.
Alison M. Gingeras is an American curator and writer, based in New York, NY, and Warsaw, Poland. Gingeras is an independent curator as well as holding an adjunct curatorship at Dallas Contemporary, where she most recently curated Black Sheep Feminism: The Art of Sexual Politics, which examined the work of four radical feminist artists from the 1970s: Joan Semmel, Anita Steckel, Betty Tompkins, and Cosey Fanni Tutti. Prior to Dallas Contemporary, she was curator at the Solomon R. Guggenheim Museum, curator of contemporary art at the Centre Pompidou, and chief curator of Palazzo Grassi – The François Pinault Foundation. From 2012 to 2014, Gingeras founded Oko, a project space in New York’s East Village, which mounted exhibitions by Alex da Corte & Borna Sammak, Jurry Zielinski, and Julian Schnabel, among others. She is also a contributor to publications including Artforum, Tate Etc, Parkett, among others.
www.flagartfoundation.org
545 West 25th Street | New York, NY 10001 | 212.206.0220
Wednesday – Saturday, 11am-5pm
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13. Grisha Coleman, FF Alumn, at Yerba Buena Center for the Arts, CA, Apr. 15-17
On April 15 – 17, 2016 echo::system – treadmill dreamtime running in place will be premiered at Yerba Buena Center for the Arts.
Exhibition / Installation 11am- 5pm Performances Friday / Saturday / Sunday 8pm
echo::system centers around the way in which we experience our environment. The collaborative project draws the audience into an immersive multi-media installation and performance called treadmill dreamtime running in place.
This project is a response to our current global crisis of humans’ inability to reflect upon our impact on the natural world. Our dynamic performance features a nomadic group exploring and experiencing a desert environment through blind faith in their machines (treadmills). Caught in a paradox of walking without traveling, the dance-driven narrative leads performers on a vision quest to seek knowledge of the evolutionary future of their species. The daytime interactive installation is available from 11 am – 5 pm in the YBCA Forum, free with gallery admission. Performances weekend nights at 8pm. More info: http://ybca.org/grisha-coleman
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14. Alicia Grullón, FF ALumn, at BRIC House, Brooklyn, April 13
Alicia Grullón Recreates Wendy Davis’ Filibuster at BRIC House
Posted by BRIC Art Blogger on March 25, 2016 at 10:09 pm
Texas State Senator Wendy Davis during her historic filibuster
It began with a pair of pink Mizuno Women’s Wave Rider 16 Running Shoes. On June 25, 2013, Texas State Senator Wendy Davis stood for 11 hours in these pink sneakers, filibusteringagainst a restrictive abortion bill and creating history. Bronx artist Alicia Grullón will recreate this piece of history in its entirety (in an identical pair of pink Mizuno shoes) from 10am until 9pm Wednesday, April 13 at BRIC House.
By inserting herself, a woman of color, into the Senator’s role, Grullón’s reenactment becomes the retelling of a historic moment from a new point of view. Charged with fresh cultural, social, and political significance-it also questions, as Grullón said, “how stories change when you change the face of an actor.”
The sneakers Wendy Davis wore – Grullon will wear the same ones.
Grullón’s piece, Filibuster, reflects on the platforms provided to the empowered, a key women’s rights issue, and the filibuster as a specific form of speech. Grullón channels her interdisciplinary approach, using performance, video, and photography, into criticism on the politics of presence. She argues for the inclusion of disenfranchised communities in political and social spheres by way of social interventions and performative reenactments that assert the lived experiences of people left out of, or in this case, central to history.
“I started doing reenactments in 2007 with Illegal Death, where I reenacted the death of an undocumented worker who was found frozen to death in a forest on Long Island,” Grullón said. “He had been living out there near an LIRR station and was found several days later.”
Grullón stood for four hours in the snow in Van Cortlandt Park in the Bronx during her performance. Thereafter, she planned a series of reenactments of true events including Senator Bernie Sanders’ 8.5-hour talk to filibuster the extension of the Bush tax cuts, a Korean farmer’s protest at the WTO Cancun conference, and an aspect of Amadou Diallo’s murder.
“Senator Davis’ filibuster fell along the lines of these other events where moments of protest or tragedy highlight the impact of imbalanced history and policies on the social sphere and on the body of other[s],” Grullón said. “Her filibuster on women’s healthcare highlighted and reignited the necessity for an equitable feminist history and a call for younger women of color to take the lead since many of the women affected by the closing of clinics are poor and/or of color.”
For Grullón, the alternative narratives that emerge from these socially engaged practices consider race, class, gender, activism, and the inner-workings of all four as they shape the contemporary social condition.
This event takes place as part of the Whisper or Shout: Artists in the Social Sphere exhibition, a show interested in the communication methods of artists involved in critical social and political issues.
Come to BRIC House April 13 (at any point of the performance) to seeFilibuster for yourself or follow along online:
WATCH FILIBUSTER LIVE-DETAILS TO COME
HAVE A QUESTION FOR ALICIA?
#1) Tweet your questions for Alicia on Twitter using #BRICfilibuster.
#2) Following the performance, Alicia will answer your questions, via Twitterand in BRIC Blog post.
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15. Cecilia Vicuña, FF Alumn, at DIA Chelsea, Manhattan, Apr. 5
Dear friends, queridos amigos, hope you can join us! saludos, c
CAConrad and Cecilia Vicuña
Readings in Contemporary Poetry
Tuesday, April 5, 2016, 6:30 pm
Event Information
Tuesday, April 5, 2016, 6:30 pm
Dia:Chelsea
535 West 22nd Street, 5th Floor
New York City
Free for Dia members
$10 general admission; $6 admission for students and seniors
Advance ticket purchases recommended. Tickets are also available at the door, subject to availability.
CAConrad
CAConrad’s childhood included selling cut flowers along the highway for his mother and helping her shoplift. He is the author of eight books of poetry and essays. His latest book, titled ECODEVIANCE: (Soma)tics for the Future Wilderness (Brooklyn and Seattle: Wave Books, 2014), received the 2015 Believer Poetry Award. In 2015 he was an artist in residence at the Headlands Center for the Arts, Sausalito, California. He has also received fellowships from the Lannan Foundation, MacDowell Colony, Banff Centre, Ucross Foundation, RADAR Productions, and Pew Center for Arts & Heritage. He conducts workshops on (Soma)tic Poetry and Ecopoetics. He lives and writes in Asheville, North Carolina.
Pluto.2
they requested a happier poem
the distinct sound of a backstab
up in the stomach getting a fix on the signal
leave vomit on the
seat and tell them we
are not sorry for any of it
poke surrounding haystack in
search of a slow song
excess is haunted by our poverty of benevolence
but we grab a broader patch of shoulder
corrupt the smallest eyes in the
freshly printed poem
Cecilia Vicuña
Cecilia Vicuña is a poet, visual artist, filmmaker, and political activist who addresses pressing concerns of the modern world, including ecological destruction, human rights, and cultural homogenization. Vicuña has published twenty-two art and poetry books, including Kuntur Ko (Tornsound, 2015), Spit Temple (New York: Ugly Duckling Presse, 2012), Instan (Berkeley, Calif.: Kelsey Street Press, 2001), and Cloud Net (New York: Art in General, 2000). A new volume, Selected Poems, is forthcoming from Kelsey Street Press in 2016. Her art has been exhibited and collected at venues such as the Tate Gallery, London, Museo de Arte Contemporáneo de Chile, Santiago, and Museum of Modern Art, New York.
Those Absurd Notes
a
The hand breathes its innate rhythm, and the eye watches it, its gaze gliding across paper.
b
A fistful of forms, shawls unfurled without beginning or end, slender jacket topped with braids, seams turned inside out, exposed, hastily sewn and unfinished. A sumptuous addition to garbage art, a nascent disarmament workshop, a chapter of blood yielded in question and blow, a series of clusters, anonymous, worn, fortuitous. Stairs collapsing downwind, into deafness, into soft forms, to hear nothing, act as if nothing, that it would rain and eternally, to cross the line, unhinge, move against the tide. And begin again.
c
Everything intensi es and pierces as I watch and advance in pleasure, moistening and mutilating with wind jubilant lips as they ingestulate their proper flesh, instant juicer they proclaim out of pure delight, pure perverse pleasure, hellocinating in their own manner: manual pleasure.
It startles itself with the wellness of its making, self-sweetens, bewitches from within allowing its stay, it intoxicates the forehead, the lips of this looking.
The mouth watches its future swallow, enters it from behind, forges happily and in zig-zag squeals.
What I saw was a lively body desiderealing itself, libido-lit, embedexterous, engulfed in conjugal waters, lymphing behind its frigid, its feted voice, its raised mound and crown . . . its funk ground down, its scrawny aporia.
I did not see, as its face appeared, its hirsute well-then, you’re-never-around.
You pound and I pulsate, my dear. Someone shimmies inside the house (joyfully cooking and dancing).
Someone in a domestic setting turns butterfly.
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16. Susan Bee, FF Alumn, at Lisa Cooley, Manhattan, thru May 15
Lisa Cooley is pleased to announce Monster Mitt, a presentation of canvases by Susan Bee in the gallery office space. For the past 40 years, Bee has worked as a fine artist as well as a book artist, writer, teacher, and editor. As co-founder of M/E/A/N/I/N/G magazine, Bee’s prolific work as an editor situated and created a context rich with discourse around artists and themes unrepresented elsewhere. In her own practice as an artist she has produced prolifically, moving through photography, collage, and-most centrally since the early 1980s-painting.
The works from the early to mid 1990s exhibited in Monster Mitt represent an earlier phase in Bee’s investigation of painting, one in which the canvas is treated as an uneasy stage set for an array of collaged textures, motifs, and ready-made characters. Figures represented range from cartoon decals to Bee’s own children and are arranged amidst a variety of other (two- and three-dimensional) activities enacted on the surface of each canvas. Collaged elements bring together mass-produced vernacular with an expressive painterly landscape of gesture and mark-making.
One finds Bee’s characters relocated from their cheery origins to psychologically complex dramas, hovering in indeterminate, emphatically flattened surfaces. Combined with these figures are artifacts from Bee’s own personal life. Narrative fragments from her family appear, emphasizing a characteristic tension in the artist’s work between personal archeology and pop culture vernacular.
In the titular work, Monster Mitt (1990), a nightmarish abyss threatens to consume three cartoon animals whose languid expressions hover in a hazy, dark landscape. A hand-like form, emerging as if belonging to a bandaged burn victim-or presumably a monster clad in lace gloves-interrupts the foreground. The jarring but hypnotic effect created through these tableaux relates to Bee’s longstanding intellectual engagement with themes of psychoanalysis, motherhood, and the politics of painting.
Lisa Cooley
107 Norfolk Street
New York, New York 10002
April 3 – May 15, 2016
Reception: Sunday April 3, 6 – 8 pm
Copyright (c) 2016 Susan Bee, All rights reserved.
Susan Bee’s personal email list.
Our mailing address is:
Susan Bee
290 President Street
Brooklyn, New York 11231
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17. Anna Banana, FF Alumn, in The Coast Reporter, now online
And the award goes to…
Arts Council Awards
JAN DEGRASS / ARTS AND ENTERTAINMENT WRITER
MARCH 5, 2015 08:54 AM
Banana power kicked off the Feb. 27 Artesia coffeehouse at the Sunshine Coast Arts Centre in Sechelt.
Roberts Creek artist Anna Banana was presented with the Gillian Lowndes Award, – an honour given annually to an active artist demonstrating long-standing achievements, innovation and recent growth.
As a performance artist, conceptual artist and organizer of events, Banana has enjoyed a 45-year career in the arts, carried out a successful Banana Olympics and compiled the Encyclopedia Bananica. Her stamp art is renowned internationally.
The artist spoke to the coffeehouse audience about her forthcoming show in Victoria in September, inviting the public to attend. The show, 45 Years of Fooling Around with A. Banana, is a retrospective, showing in both the Art Gallery of Greater Victoria (AGGV) and the artist-run Open Space. Each exhibit will have interactive components; AGGV will host a Celebration of Mail Art, with an invitation going to some 200-plus mail-artists to create works on this theme. Gallery visitors will be invited to join the correspondence during workshops that Banana will be giving.
At Open Space, Regifting of the Bananas will display the more than 700 banana items (toys, kitchen gadgets, jewellery, clothing, etc.) that have been sent to her over the years. Gallery visitors will be invited to become new owners/custodians of the articles on display, for the price of completing a catalogue form describing the item.
Artist and award winner Elaine Seepish began painting just six years ago, after taking a workshop from Isobel Gibson during the Sechelt Arts Festival. It grew from there, she told Coast Reporter, and she now paints every day and is currently showing work at both the Gibsons and Sechelt libraries.
Seepish was the recipient of the Anne and Philip Klein Award that recognizes a visual artist pursuing an artistic passion developed late in life.
“I’d like to thank the Academy…” Seepish quipped as she received the award from the Arts Council’s Katherine Johnston.
The monthly Artesia coffeehouse that started in October 2003 was also in a retrospective mood. Steve Schwabl who performed in the early days of the coffeehouse returned to the stage with his guitarist buddy, Hacksaw, to sing and joke with the audience. John Marian who performed at one of the first ever acts for the Cellar coffeehouse, as it was then called, also returned Friday evening to sing in a Dylanesque voice and offer his unique perspective on life, aging and being alone.
See more at: http://www.coastreporter.net/entertainment/arts-entertainment/and-the-award-goes-to-1.1782965#sthash.wLI6ePFd.dpuf
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18. Doug Skinner, FF Alumn, at Jalopy Theater, Brooklyn, April 16
Doug Skinner will sing his songs, accompanying himself mostly on the ukulele; he will also read (briefly) from his new book. He will be joined by Ralph Hamperian on tuba. It will be a night to remember, but you won’t remember it if you weren’t there. It’s at the Jalopy Theater, 315 Columbia St., Brooklyn, on Saturday, April 16; it’s at 9:30, and it’s $10. The Well-Tempered Ukes are at 8:30; come see them too!
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19. Cathy Weis, FF Alumn, at WeisAcres, Manhattan, April 17
April 17, 2016, 6:00 pm. Sundays on Broadway presents Time Travel with Madame Xenogamy. Cathy Weis expands her multi-room installation that premiered at Sundays on Broadway in March 2015. The audience moves from room to room, looking at dance in different spaces. A fortuneteller reads your future by looking into the past, gazing into a crystal ball at dances gone by. Peeping-toms may spy dancers in other rooms, across courtyards and down stairs. Through another door, performers dance in close quarters to observers. Participants include Greg Corbino, Douglas Dunn and Dancers, Tyler Fairbanks, Dana Florin-Weiss, Patrick Gallagher, Davidson Gigliotti, Kevin Harrison, Richard Kostelanetz, Kevin Lovelady, Jodi Melnick, Aaron Parsekian, Alexandra Saveanu, Agustin Schang, Saori Tsukada, and Cathy Weis. Special thanks to WeisAcres neighbors Douglas Dunn, Davidson Gigliotti, Audrey Shachnow and Robert Schubert. WeisAcres, 537 Broadway #3, New York, NY 10012, Free admission.
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20. Nancy Buchanan, Lady Pink, Jenny Polak, FF Alumns, at the Brooklyn Museum, opening April 6
Agitprop!
April 6-August 7, 2016
Brooklyn Museum
200 Eastern Parkway
Brooklyn, NY 11238
United States
Hours: Wednesday-Sunday 11am-6pm,
Thursday 11am-10pm
The Brooklyn Museum’s Elizabeth A. Sackler Center for Feminist Art, presents the third and final installation of Agitprop!, an exhibition that explores the legacy and continued power of politically engaged art. The fully realized exhibition opens on April 6 and will be on view through August 7 with a dynamic and thought-provoking installation featuring a full range of material, including photography and film, prints and banners, street actions and songs, and TV shows, social media, and performances.
As part of the exhibition’s opening, the Museum is pleased to present a special live performance by artist Charles Gaines who will perform Sound Text (2015) and excerpts from Manifestos (2008) on Thursday, April 7 at 7pm. He will be accompanied by Sean Griffin, composer and director of Opera Povera, and an eight-piece ensemble with a large-scale video projection. Admission is free.
The first wave of Agitprop! opened on December 11 with five case studies in early agitprop and 20 contemporary art projects selected by the Sackler Center staff. The second wave opened on February 17 with selections by the first round of contemporary participants; this second group invited the final round of artists. In total, more than 50 contemporary fusions of art and political action, involving hundreds of contributors, will be exhibited.
Third wave artists include Andrea Bowers (nominated by Nancy Buchanan), Ato Malinda (nominated by Jelili Atiku), Beatriz Santiago Muñoz (nominated by Laurie Jo Reynolds), Combat Papers (nominated by Interference Archive), Enmedio (nominated by Not An Alternative), Faith47 (nominated by Lady Pink), Ivan Cash and Andy Dao (nominated by Andrew Tider and Jeff Greenspan), Kushboo Gulati (nominated by Thenmozhi Soundarajan), Manuela Ribadeneira (nominated by Luis Camnitzer), Rena Rädle and Vladan Jeremic (nominated by Marina Naprushkina), Pussy Riot (nominated by Amnesty International), Studio Rev (nominated by Jenny Polak), Visual AIDS (nominated by L. J. Roberts), The Illuminator (nominated by Ultra-red), and Weird Allan Kaprow (nominated by Shani Peters).
The term “agitprop” emerged from the Russian Revolution almost a hundred years ago, combining the words “agitation” and “propaganda” to describe art practices intended to incite social change. Connecting current creative practices with strategies from the early 20th century, these projects show artists responding to the pressing questions of their day and seeking to motivate broad, diverse audiences.
Agitprop! is organized by the staff of the Elizabeth A. Sackler Center for Feminist Art: Saisha Grayson, former Assistant Curator; Catherine Morris, Sackler Family Curator; Stephanie Weissberg, Curatorial Assistant; and with Jess Wilcox, former Programs Manager.
This exhibition is made possible in part by the Embrey Family Foundation, The Andy Warhol Foundation for the Visual Arts, the FUNd, and the Helene Zucker Seeman Memorial Exhibition Fund.
Media contact: Sarah Lukacher, Public Information Associate
T (718) 501 6354 / sarah.lukacher@brooklynmuseum.org
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21. Adam Pendleton, FF Alumn, releases new publication
Adam Pendleton:
Becoming Imperceptible
www.sigliopress.com
About the collaboration
Adam Pendleton: Becoming Imperceptible is the first in a collaborative series of artist’s books in which each year Siglio and Contemporary Arts Center, New Orleans invite an artist to intervene in the history and space of the book in conjunction with an exhibition at CAC. Each artist is presented with the opportunity to inhabit, explore, expand, and rethink the space of the book so that it becomes much more than a documentary or archival device. Instead, it offers a space for new forms and methods as well as for a direct, intimate encounter between the artist and reader.
To honor and accommodate a wide variety of sensibilities, aesthetics and subject matter, all of the books in this collection will be different sizes, on different paper, with varying interpretations of the physical nature of the book. The collection does have common denominators: the books are paperback with reverse french-fold dust jackets that feature poster-sized artworks by each artist as well as a booklet of critical essays about each artist’s work. Cecilia Vicuña will be the next artist to participate in the series in 2017.
About the artist’s book and the artist
Reframed, reconditioned, and perpetually reoccurring, found images have served as Adam Pendleton’s primary tools and source material throughout his practice. Adam Pendleton: Becoming Imperceptible follows the logic of Pendleton’s museum installations, constructing social and aesthetic histories, comprised of images in process and inscribed in the structure of their container. Including Pendleton’s texts “Black Dada” and “Amiri Baraka,” and drawing on a diverse archive that traverses European, African and American avant-gardes and civil rights movements of the last century-from Dada and Bauhaus to Black Lives Matter literature, from Language poetry to Black Power poetics, from Conceptual art to African Independence movements-Becoming Imperceptible frames a complex dialogue between culture and system. It also embodies Pendleton’s practice by inviting the reader in an unfolding conversation about race and history, art and form.
Becoming Imperceptible includes essays by Andrea Andersson, Naomi Beckwith, Kitty Scott and Stephen Squibb. The books also features three different dust jacket posters. The exhibition that this book accompanies opened April 1, 2016 and runs until June 16.
Paperback + dust jacket / 144 pages / b&w illustrations throughout / 7.125 x 9.25 / ISBN: 978-1-938221-13-2 / PUB DATE: April 26, 2016 / Available now at Siglio
Adam Pendleton (b. 1984, Richmond, Virginia) is a conceptual artist known for his multi-disciplinary practice, which moves fluidly between painting, publishing, photographic collage, video and performance. His work has most recently been exhibited in the Belgian Pavilion at the Venice Biennale and Pace Gallery, London. In 2016 Mousse will release the first trade edition of Black Dada.
About Siglio Press
Siglio is an independent press dedicated to publishing uncommon books and editions that live at the intersection of art & literature: inimitable, hybrid works by renowned as well as little known artists and writers that defy categories and thoroughly engage a reader’s intellect and imagination. Artists and writers we publish include Joe Brainard, Marcel Broodthaers, John Cage, Sophie Calle, Dorothy Iannone, Jess, Ray Johnson, Richard Kraft, Robert Seydel, Nancy Spero among many others.
About Contemporary Arts Center, New Orleans
The Contemporary Arts Center, New Orleans, is a multidisciplinary arts center dedicated to presenting and enriching the art of our time-performing arts, visual arts, and, most importantly, work that operates at the intersection of these two forms.
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Goings On is compiled weekly by Harley Spiller
