Contents for March 21, 2016
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1. Barbara Hammer, FF Alumn, receives Pride Award, Ashland Film Festival
2. Mira Schor, FF Alumn, at National Academy, Manhattan, March 23
3. Ann-Marie LeQuesne, FF Alumn, now online at amlequesne.com
4. John Cage, Bobby Previte, FF Alumns, at Bard College, Annandale on Hudson, NY, April 8-9
5. Donna Henes, FF Alumn, at New York Open Center, Manhattan, March 23
6. Elly Clarke, FF Alumn, live on youtube.com, March 23 and more
7. Betty Tompkins, FF Alumn, at FLAG Art Foundation, Manhattan, Mar. 23 & Apr. 6
8. Warren Lehrer, FF Alumn, at National Arts Club, Manhattan, April 4
9. LAPD, FF Alumn, at The Armory Center for the Arts, Pasadena, CA, Mar. 25-Apr. 2
10. Roberley Bell, FF Alumn, at The Highline Loft, Manhattan, March 24
11. Elana Katz, FF Alumn, at ARCUB, Bucharest, Romania, thru May 8
12. Barbara Bloom, Jennie C. Jones, FF Alumns, receive Foundation for Contemporary Arts grants 2016
13. Watchface, FF Alumns, at Dixon Place, Manhattan, April 1
14. Priscilla Stadler, FF Member, at LaGuardia Community College, Queens, April 7 and more
15. Maja Petrić, FF Alumn, at Microsoft Research, Redmond, WA, thru April 2016
16. Natalie Bookchin, FF Alumn, at Centre Pompidou, Paris, France, March 22-24
17. RT Livingston, FF Alumn, at The Arts Fund Gallery, Santa Barbara, CA, March 23
18. Louise Bourgeois, FF Member, at Guggenheim Bilbao, Spain, thru Sept. 4
19. Vito Acconci, Richard Artschwager, Simone Forti, Andrea Geyer, Felix Gonzalez-Torres, Barbara Hammer, Mona Hatoum, Louise Lawler, Robert Mapplethorpe, Martha Rosler, Kiki Smith, Andy Warhol, FF Alumns, at Bard College, Annandale on Hudson, NY, opening April 3
20. Claire Jeanine Satin, FF Alumn, at Italo Britannic Association, Genoa, Italy, May 2-9
21. Henry James Korn, FF Alumn, at BC Space Gallery, Laguna Beach, CA, thru May 20
22. Cathy Weis, FF Alumn, at WeisAcres, Manhattan, April 3
23. Leon Ferrari, FF Alumn, in The New York Times, March 15
24. Fred Holland, FF Alumn, in the New York Times, March 18
25. Sonja Lucien, FF Alumn, launches new website
26. Brad Buckley, FF Alumn, at University of Sydney, Australia, thru April 7
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1. Barbara Hammer, FF Alumn, receives Pride Award, Ashland Film Festival
Barbara Hammer, FF alum, receives Pride Award
Barbara Hammer, the pioneering director of queer cinema, will receive the festival’s Pride Award, supported by the Equity Foundation, and will present her latest film, Welcome to this House, on the life and poetry of Elizabeth Bishop.
The full festival program is available at http://ashlandfilm.org
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2. Mira Schor, FF Alumn, at National Academy, Manhattan, March 23
Mira Schor , FF Alumn, Panel Discussion: “Remembering Womanhouse,” National Academy, NYC, March 23
The National Academy is pleased to present “Remembering Womanhouse,” a panel featuring original Womanhouse artists Mira Schor and Faith Wilding, along with curator, writer, and gallerist Kat Griefen, in a conversation moderated by Catherine J. Morris, Curator for the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum. Organized in conjunction with the exhibition “Miriam Schapiro, A Visionary,” currently on view at the National Academy Museum, this program celebrates Womanhouse, the groundbreaking 1972 feminist art installation and performance space at the CalArts Feminist Art Program that was led by Schapiro and fellow artist Judy Chicago. This art experiment addressed the experiences of women and involved the refurbishing of an abandoned house in Los Angeles by twenty-one art students into a collaborative installation that was in fact the first public exhibition of “feminist art.” The panel will investigate both the integral role Schapiro and other women artists played in the project, as well as the legacy of Womanhouse in the decades since.
National Academy Museum & School, Assembly Hall 5 East 89th Street
New York, NY 10128
With a reception to follow at 8:00 – 9:00 p.m. in Gechtoff Gallery
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3. Ann-Marie LeQuesne, FF Alumn, now online at amlequesne.com
Ann-Marie LeQuesne
Photographs from “On reflection” The 18th Annual Group Photograph are now online.
I have just done an interview with Brainard Carey on Yale University Radio. As he describes the series “Lives of the Most Excellent Artists, Curators, Architects, Critics and more, like Vasari’s book updated. The Art World Demystified.”
To listen to the interview go to Museumofnonvisibleart
www.amlequesne.com
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4. John Cage, Bobby Previte, FF Alumns, at Bard College, Annandale on Hudson, NY, April 8-9
John Cage, How to Get Started, 1989-
Bard College, the John Cage Trust and Slought invite you to attend John Cage’s ‘How to Get Started” (1989 featuring performances by Paulien Oliveros, Bobby Previte and others. Friday April 8, 2016 at 2 and 7 pm, Saturday April 9, 2016 at 2 pm
Laszlo Z. Bito ’60 Conservatory Building
Bard College, Annandale on Hudson, NY
www.howtogetstarted.org
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5. Donna Henes, FF Alumn, at New York Open Center, Manhattan, March 23
Wednesday, March 23, 6-7:30pm
Full Moon Circle: A Full Sap Moon Circle with Drumming
with Mama Donna Henes
Join us for an evening of ritual to drum up the sap of life and growth. Renowned ceremonialist Mama Donna Henes guides us in a participatory celebration of the Sap Moon, the first full moon of this tender new season. Spring is Mother Nature’s wake up call, as the long deep sleep of winter shifts and starts to stir. The ground thaws. The sweet sap rises. Our sap rises, too. After months of lethargy, we feel a surge of exuberance and verve. And we are ready to spring ahead. FREE to Members Open to all others for a small fee.
NEW YORK OPEN CENTER | INFO@OPENCENTER.ORG | (212) 219-2527 |WWW.OPENCENTER.ORG
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6. Elly Clarke, FF Alumn, live on youtube.com, March 23 and more
#Sergina’s Stimulatingly Sexy Simultaneous Simulation of Herself at The Club and in a Bedroom in Berlin and in Belgrade and Birmingham on Wednesday 23rd March 22.00 CET & LIVE BROADCAST ONLINE
With: Elly Clarke, Liz Rosenfeld, Vladimir Bjelicic and Thomas Doherty
Plus Handsome Boys (in Berlin:) Mandy Broiler & Tschenn Baier, (in Birmingham) Cathy Wade and Aires, (in Belgrade:) Ilija Milosevic & Nikola Miletic
Happening Simultaneously at the CLUB and in a Bedrooms in Berlin, in an artist studio in Birmingham and a sitting room in Belgrade.
And LIVE BROADCAST online via Google Hangout on Sergina’s YouTube Channel: https://www.youtube.com/channel/UCoIcthG1GopxFhGlBCOepQw
AT 22:00 Central European Time
Wednesday 23rd March 2016
FACEBOOK INVITE: https://www.facebook.com/events/984564341636585/
FURTHER INFO:
#Sergina is a multi-bodied, multi-locationable drag queen, who sings songs online and off about trying to love, exist and get laid in a world that is increasingly experienced through screens. In a society that is increasingly narcissistic, #Sergina is everybody’s #selfie, and no one’s. She is up for grabs and she is untouchable. She is an image and she is flawed (and confined) by her flesh/s. She is a self-sculpted c-celeb. Her self is worn (out) on different bodies. She competes with her own image, and usually loses.
Please cum. Bring your phones, with room for photos. Wear your best outfit. Join in and join up.
Costumes by Patricia Muriale. Makeup design by Roseanna Velin
FIND SERGINA:
On Facebook: https://www.facebook.com/ser.gina3 | On Instagram: https://instagram.com/serg1na/ | On Soundcloud: https://soundcloud.com/ser-gina | On YouTube: https://www.youtube.com/channel/UCoIcthG1GopxFhGlBCOepQw | On Elly Clarke’s Website: http://ellyclarke.com/index.php?/news/serginas-stimulatingly-sexy-simulation–theclub/
PLEASE NOTE: This performance will be filmed for a student documentary by Oona Friedrichs and Julian Beyer.
And, because of the simultaneous nature of the performance, it will start absolutely on time, both online and off.
This started out as a student project. While it still is one it became something very dear to our heart. Working with Ser Gina has been such a great experience so far. Getting to know someone who has already done so much and has an opinion on so many topics is an absolute treat and helped us moving out project further than ever expected.
We are very grateful for her collaborating with us. So help us thank her by appearing to her performance at The Club and the essential grand finale of our movie.
Take your friends, lovers, boyfriends and girlfriends. Take your pets and parents, uncles and aunts and make sure you film her and make photos of her. The more you do the happier she’ll be.
A big thank you as well to The Club for letting us perform at their lovely venue.
Julian & Oona.
and
Elly Clarke in Conversation with Lena Rosa Händle on Laughter, Photography & Drag in Lena’s Photobook ‘Laughing Inverts’
and also online in Missy Magazine: http://missy-magazine.de/2016/03/17/lachen-fotografie-und-drag/
ellyclarke.com
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7. Betty Tompkins, FF Alumn, at FLAG Art Foundation, Manhattan, Mar. 23 & Apr. 6
Wednesday, March 23, 6-8pm
Performance: Betty Tompkins: Words on WOMEN
Betty Tompkins invites friends and art world colleagues to each choose words to speak, yell, sing, and perform from the 1,000 words and phrases in the artist’s solo FLAG exhibition WOMEN Words, Phrases, and Stories. Coinciding with Women’s History Month, the exhibition and performance prompt us to examine the representation of female identity, as well as the rhetoric and misogyny that is ever-present in contemporary society and media.
Wednesday, April 6, 6-8pm
A Woman’s Greatest Weapon is Her Tongue
Artist Conversation: Betty Tompkins & Alison Gingeras
Betty Tompkins’s work serves as the basis for a conversation about the public discourse around feminism, women’s voices, and political agency. Tompkins is featured in two current exhibitions – WOMEN Words, Phrases, and Stories & Black Sheep Feminism: The Art of Sexual Politics, curated by Alison Gingeras, on view at the Dallas Contemporary.
Betty Tompkins: WOMEN Words, Phrases, and Stories & Cecily Brown, Jeff Koons, Charles Ray are on view through May 14, 2016.
The FLAG Art Foundation is open Wednesday-Saturday, 11am-5pm.
545 West 25th Street, 9th Floor, New York, NY 10001
Tel (212) 206-0220
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8. Warren Lehrer, FF Alumn, at National Arts Club, Manhattan, April 4
Warren Lehrer, FF Alumn, Honored at Center for Book Arts 2016 Annual Benefit
April 4, 6pm National Arts Club, Manhattan
Warren Lehrer, writer, book and multimedia artist, and pioneer in visual literature and design authorship will be honored by The Center for Books in New York City “for his contribution to book arts and its connection to the broader world of contemporary art.”
“Every year The Center for Book Arts honors three important people who have and continue to inform the book arts field, such as curators, librarians, collectors, organizations, and, of course, artists.” Lehrer will be recognized as one of the 2016 honorees at this year’s Center for Book Arts Gala Benefit on April 4th, 6-9pm at the National Arts Club, 15 Gramercy Park South, New York, NY 10003. The other honorees this year are May Castleberry, librarian at MoMA, and Peter Kraus, proprietor of Ursus Books.
Past honorees include Robert Bringhurst (typographer/writer), Louise Bourgeois (artist), Jonathan Safron Foer (writer/artist), Buzz Spector (artist), Bill Dane (librarian), Martha Wilson (artist and Franklin Furnace), Lesley Dill (artist), Arthur Jaffe (collector), Martha Rosler (artist), Keith Smith (artist), Women’s Studio Workshop (organization), Ruth & Marvin Sackner (collectors), Barbara Moore (artist), Joan Lyons (artist), Mark Dimunation (Library of Congress), and Sue Gosin founder of Dieu Donne.
For more information about Warren Lehrer go to: http://www.earsay.org
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9. LAPD, FF Alumn, at The Armory Center for the Arts, Pasadena, CA, Mar. 25-Apr. 2
Performance: What Fuels Development? by the Los Angeles Poverty Department
Friday and Saturday, March 25 & 26, 2016 at 8:30pm and
Friday and Saturday, April 1 & 2 at 8:30pm Sunday, April 3 at 3:00pm
Presented by: The Armory Center for the Arts
Caldwell Gallery, 145 North Raymond Avenue, Pasadena, CA 91103
In conjunction with the Armory’s Exhibition: Do you want the cosmetic version or the real deal? Los Angeles Poverty Department, 1985-2016.
Limited seating available: reserve free tickets here: http://www.armoryarts.org/exhibitions/2016/LAPD/
For more information contact John Malpede at john@lapovertydept.org, cell: 310 259 1038.
The Los Angeles Poverty Department (LAPD) is proud to present a new performance What Fuels Development? as part of the Armory Center for the
Arts’ thirty year survey of LAPD’s work: Do You Want The Cosmetic Version Or The Real Deal? Los Angeles Poverty Department, 1985 – 2016.
The centerpiece of the Armory’s exhibition is the debut of a significant new installation and performance work entitled What Fuels Development? What Fuels Development? explores the mechanics of displacement in an age of immense income inequality, and Skid Row’s fight to not be overwhelmed by an alcohol fueled entertainment district. Within the exhibition, What Fuels Development? is an installation and it is the site for the performance.
The devised performance, What Fuels Development? addresses a particular development struggle, in which Skid Row residents organized to successfully appeal a non-profit developer’s attempt to put an alcohol serving restaurant in the ground floor of a residential hotel housing formerly homeless people. Many of the hotel’s residents are in recovery, while others are actively struggling with addiction and mental illness. The hotel is located on Main Street in downtown Los Angeles that is on the border of Skid Row. Main Street development interests don’t want Main Street to be thought of as Skid Row, but rather as part of the ‘historic core”, “gallery row” or the “new downtown”. The hotel’s nonprofit owner tried to placate the developers who preferred a full bar restaurant rather than having social services in the ground floor of the hotel. Skid Row residents appealed the granting of the zoning variance and organized other Skid Row residents, to testify at the zoning commission and collectively their words created a change of heart in the commissioners. The commissioners themselves delivered surprisingly moving statements in upholding the appeal and denying the permit for the full bar liquor license.
The performance combines “found text” from this hearing and improvised scenes that in a hallucinated fashion imagine the behind the scenes dealings that led to the conception of this ill-fated restaurant. The performance takes place in a fantasy restaurant, installed in the Armory’s Caldwell Gallery, and will be staged in the round with the audience in the middle.
What Fuels Development?, has its debut at the Armory and is newly commissioned by Asian Arts Initiative (Philadelphia, PA), in partnership with Pangea (Minneapolis, MN), Armory Center for the Arts, and National Performance Network. Additional funding for the Armory’s presentation of this exhibition and commission and presentation of What Fuels Development? comes from the National Endowment for the Arts and the Los Angeles County Arts Commission.
Exhibition: Do you want the cosmetic version or the real deal?Los Angeles Poverty Department, 1985-2016, a thirty-year survey and new work by LAPD.
Exhibition Dates: Sunday, January 24 through Sunday, May 15, 2016. Galleries are open Tuesdays through Sundays, Noon-5pm. Admission is always free.
Los Angeles Poverty Department is a performance group comprised primarily of low income and homeless people living in Los Angeles’ Skid Row. Founded in 1985, LAPD creates performances and multidisciplinary artworks that connect the experience of people living in poverty to the social forces that shape their lives and communities. LAPD’s works express the realities, hopes, dreams and rights of people who live and work in L.A.’s Skid Row.
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10. Roberley Bell, FF Alumn, at The Highline Loft, Manhattan, March 24
Hello All,
I will have new work included in the Echo Art Fair / NYC: A Preview of Buffalo’s Art Fair in New York City.
The reception will take place at The Highline Loft, 508 W. 26th, 5G on Thursday,
March 24th from 5pm – 9pm.
RSVP is required. Please register on the link provided.
best,
roberley bell
roberleybell@gmail.com
www.roberleybell.com
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11. Elana Katz, FF Alumn, at ARCUB, Bucharest, Romania, thru May 8
Dear friends,
I’m pleased to be participating in the exhibition MonuMental Histories, opening on March 17th in Bucharest, Romania. The show pertains to critical examination of memory culture in former Eastern block countries, and includes the work of 9 Europe-based artists – please find a text written by curator Olivia Nitis below.
If you happen to be in/ around Bucharest, would be a pleasure to have you there!
Warmly,
Elana
Istorii MonuMentale / MonuMental Histories
Curatoare / Curator: Olivia Nițiș
Artiști / Artists: Irina Botea (Ro), Cătălin Burcea(Ro), Igor Grubić (Hr), Elana Katz (De), Sorin Oncu(Ro), Anca Munteanu Rimnic(Ro), Marilena Preda Sânc(Ro), Gabi Stamate(Ro), Valeriu Șchiau(Ro).
In the context of ideological practices and political propaganda mechanisms, the monument is a circumstantial declaration of power. Construction, demolition or abandonment of a monument overlap with a program of substitution of history placed in the possession of those who situate it in a subordinate relationship, becoming the mouldable result of those who write it. The political changes that have redefined identities in the former Eastern block, led to a redefinition of transition as the current and quasi-permanent reality, enhanced by political instability, a machinery of discontinuity and impaired memory. Constructing a monument aims at taking possession of public space as a space of memory conservation and the recent history of the former communist territories disclose specific issues in the relationship between monument, history and collective memory.
MonuMental Histories seeks to question the relevance of monuments in the process of writing history and memory preservation and to point out the consequences of ideological transitions over monuments, most of them abandoned, not assumed or replaced and reconverted, and others recovered by beautification policies.
MonuMental Histories is a multimedia project which brings together video productions by artists and women artists whose discourses integrate political commentary to the mechanisms of historical and social manipulation, ideological handling of visual culture, assumes power critique and normative formulas, the difficult interaction with the ideologically conditioned edifice, but also the potentiality of monumental, architectural utopia as the formula of social non-regimentation and also of forced adaptation to an environment temporarily outside of political interests.
The debates around the House of People, the project Morii Lake, the Carol Park Mausoleum, the masculine statuary or temporarily empty plinths, all in Bucharest, to which we may add those surrounding the monuments abandoned in some areas of former Yugoslavia as well as references to historical trauma, the fragility of memory in relation to the absence of historical evidence, to the deconstruction of the normative gaze in relation to the iconography of power, create a context for the construction and re-construction of a specific dialogue with history and memory through the filter of video art productions that reflect the effective dynamics of this issue in contemporary Romanian art and beyond. MonuMental Histories scan some of the video work made by Romanian artists and women artists interested in the subject, but aims to go beyond a local history extending the discourse towards Eastern European territories, assuming the effects of the same political transition and rescaling, in the concrete sense and cultural as well, of monumental history through political power. History is itself a monument, an unstable construction that submits with authority its witnesses, but also provides a constructive framework for interrogations, debate and change. (Olivia Nițiș)
*Monument from lat. Monumentum = monēre + suf. mentum
Moneō, monēre = to warn, to remember
Studio Elana Katz
+49 17620406836
Exhibitions and events:
February 2016
29, Artist Talk, Momentum Worldwide, Berlin
March 2016
17, MonuMental Histories, group exhibition, ARCUB Bucharest
April 2016
Research residency in Romania, in cooperation with the Embassy of Israel, Bucharest
July 2016
Spaced Memory concluding performance/ film production
In cooperation with the Embassy of Israel and Goethe Institute, Bucharest
October 2016 – March 2017
IEEB7 Biennial, Bucharest
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12. Barbara Bloom, Jennie C. Jones, FF Alumns, receive Foundation for Contemporary Arts grants 2016
Congratulations to Barbara Bloom for receiving a 2016 Grant to Artists and to Jennie C. Jones for receiving the Robert Rauschenberg Award, both from Foundation for Contemporary Arts.
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13. Watchface, FF Alumns, at Dixon Place, Manhattan, April 1
Due to popular demand, a second show has been added on April 1 at 10pm for Dixon Face/Watchplace, the Watchface reunion that celebrates Dixon Place’s 30th anniversary. All tickets for the 10pm show are $30.
Tickets:
http://dixonplace.org/performances/dixon-facewatchplace-2/
This retrospective marks Watchface’s first performance in 25 years, and their one and only reunion. The event includes performances from all Watchface members, plus videos and readings, representing many of the forty shows they created during their years together, 1983 – 1991. Guest artists David Cale, Joseph Keckler, Carol Lipnik, Yael Nachajon Dance Theater, Nancy Howell, and Helen Russell will all be performing material originally created by or for Watchface, including original songs by John Flansburgh and John Linnell of They Might Be Giants.
Watchface was Chazz Dean, Kurt Fulton, Kim X Knowlton, Melanie Monios, Iris Rose, James Siena and Maggie Siena.
Dixon Place is an artistic incubator and a non-profit institution supporting the creative process by presenting original works by over 1,000 artists a year. “Dixon Place is a real home for theater…a last bastion of downtown New York’s long tradition of theatrical experimentation.” – The New York Times
Dixon Place 161A Chrystie Street contact@dixonplace.org dixonplace.org
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14. Priscilla Stadler, FF Member, at LaGuardia Community College, Queens, April 7 and more
Fragile CIty in collaboration with choreographer Valerie Green’s Impermanent Landscape with performances March 17 – 20th. Tix and info: http://www.danceentropy.org/ImpermanentLandscape.html and
The “Our City” exhibition at the Brooklyn Children’s Museum, Welcome to Fragile City: Crown Heights, Brooklyn through September 4, 2016
And on April 7, Dahlia Elsayed and I will be participating “Text and Context” an artists’ panel for the Art in NYC Urban Studies Conference at LaGuardia Community College, moderated by Claudia Moreno Parsons.
It would be wonderful to see you at any or all of these events!
Happy Spring,
Priscilla
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15. Maja Petrić, FF Alumn, at Microsoft Research, Redmond, WA, thru April 2016
CAPTURING THE ESSENCE OF THE SKY
at Microsoft Research
The Skies Epitomized is a series of artworks exploring the essence of the sky from the perspective of humans gazing at it. The works were created in collaboration between Maja Petrić, an artist, and Nebojša Jojić, a machine learning researcher. The artwork is derived from big data through machine learning algorithm that is used to create visual summarizations (epitomes) of sky images people posted on the Internet. The exhibit is open for viewing at the Microsoft Research Headquarters.
WHERE: Studio99, Microsoft Research, Redmond, WA, USA
WHEN: Through April 2016
Maja and Nebojša posed a question:
How does the polar sky look through the eyes of the Internet?
In search of an answer, they used big data that was processed by a machine learning algorithm to construct a visual summarization of the polar sky. To create the epitome of the polar sky, the algorithm sifted through big data in search of the images under the keywords sky, skyscape, north+pole+sky, south+pole+sky and used Nebojša Jojić’s epitome model to extrapolate parts in found images into an epitomized data set representing what people perceive to be a typical polar sky.
Next to each sky epitome is a photograph of a person gazing at the sky. The photographs are retrieved from the web in the same manner: by web search for a person that represents that location, climate, or time point.
Maja Petrić explains her motivation behind the art:
It is fascinating to see a visualization of how we, humans, see the world. Nebojša Jojić’s epitome algorithm actually paints the picture of the sky in the eyes of the Internet community, which includes most of us. I believe that the image of “the sky in our eyes” can unlock understanding about human relationship towards our origin, and our surroundings.
The Skies Epitomized was created in parallel to the development of A Panorama of the Skies, an immersive art installation, developed in collaboration between Maja Petrić, an artist, and Hrvoje Benko, a human-computer interaction researcher at Microsoft Research. The piece explores the experiential essence of the ever-changing sky.
Currently, these two projects are being fused. Machine learning generated content in The Skies Epitomized is used to transform the space into a dynamic sky-space derived from big data about the specific sky. In an image above, a visitor is immersed in a live epitome of the polar sky.
Created at Microsoft Research, Studio99 by
Maja Petrić, Artist in Residence
Nebojša Jojić, Principal Researcher
ABOUT THE ARTIST
Maja Petrić is an artist working at the interface of science, technology, and art. Her work is about transforming the poetic experience of space through light. During her art residency at Microsoft Research, she has been exploring the essence of the sky both thematically and experientially in collaboration with natural interaction researcher Hrvoje Benko and machine learning researcher Nebojša Jojić.
Maja holds the Doctorate in Digital Art and Experimental Media (DXARTS) from University of Washington and the Masters degree in new media art from New York University, Tisch School of the Arts, Interactive Telecommunications Program (ITP). Her work is about transforming the poetic experience of space through light.
Some of the venues where she exhibited include Henry Art Gallery, Matadero Madrid, and Amazon Gallery. Some of the awards she received include Richard Kelly Light Art Award, two Thunen Lighting Awards, Doctoral Fellowship from Croatian Science Foundation, and the nomination for International Light Art Award.
Press contact:
Andreja Kular
press@majapetric.com
Seattle WA 98112
USA
Copyright (c) 2016 Maja Petrić. All rights reserved.
Our mailing address is:
info@majapetric.com
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16. Natalie Bookchin, FF Alumn, at Centre Pompidou, Paris, France, March 22-24
Hello!
If you are in Paris, don¹t miss the new video Long Story Short by Natalie Bookchin. Join us at one of the screenings at the Centre Pompidou on March 22, 23 and 24:
Long Story Short explores the rise of poverty and income inequality, using tools of the sharing economy to amplify the voices of those most displaced and dispossessed by it. Over 100 people at homeless shelters, food banks, adult literacy programs, and job training centers in Los Angeles and the Bay Area in Northern California discuss their experiences of poverty ¬ why they are poor, how it feels, and what they think should be done.
While individuals filmed in separate spaces appear in isolation, mirroring the isolating aspects of the media forms it appropriates, words flow across the screen like musical ensemble. This choral voice moves across a social body of common experiences and variations on shared themes, as narrators momentarily join together, and then splinter part offering the possibility of a fragmentary imaginary collective, yet to materialize.
Read interview about it here:
http://networkcultures.org/videovortex/2016/02/19/natalie-bookchin-in-conversationlong-story-short/
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17. RT Livingston, FF Alumn, at The Arts Fund Gallery, Santa Barbara, CA, March 23
Wednesday, March 23 at The Arts Fund
View this email in your browser
South County Sampler Artist Talk
Wednesday, March 23
Please join us at The Arts Fund on Wednesday, March 23rd from 6-7pm for a talk with the artists in our current South County Sampler exhibition. Artists Chris Baker, Stuart Carey, Patricia Houghton Clarke, Pamela Enticknap, Julie B. Montgomery, Garrett Speirs and Arturo Tello will be joined by moderator R.T. Livingston and curator Nancy Gifford.
The artist talk will be held at The Arts Fund Gallery, located at 205-C Santa Barbara Street. South County Sampler will be on view until March 26th, 2016. Regular gallery hours are Wednesday-Sunday from 12-5pm. The exhibition is free and open to the public.
Our mailing address is:
The Arts Fund
205-C Santa Barbara St.
Santa Barbara, CA 93101
Add us to your address book
RT LIVINGSTON
917 687 5473
http://www.rosannetruxeslivingston.com/rt-livingston-bio.html
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18. Louise Bourgeois, FF Member, at Guggenheim Bilbao, Spain, thru Sept. 4
Louise Bourgeois. Structures of Existence: The Cells
March 18-September 4, 2016
Guggenheim Bilbao
Abandoibarra et.2
48001 Bilbao
Spain
bourgeois.guggenheim-bilbao.es
Curators: Julienne Lorz and Petra Joos
Sponsored by Fundación BBVA
The Guggenheim Museum Bilbao is pleased to present Louise Bourgeois: Structures of Existence: The Cells, an ample selection of the innovative, sophisticated sculptural works developed by Louise Bourgeois (1911-2010) over the course of two decades. In this exhibition, organized by Haus der Kunst, Munich, in collaboration with the Guggenheim Museum Bilbao, visitors will be able to discover and experience 28 emotionally charged architectural spaces, each an individual microcosm separating the internal from the external world, by one of the most influential artists of the 20th century.
Louise Bourgeois’s concepts and formal inventions, such as her engagement with psychoanalysis and feminism, and her use of environmental installation and theatrical formats, have since become key positions in contemporary art. A prime example of this is the “Cells,” a series comprising approximately 60 unique pieces that Louise Bourgeois began in 1986 with Articulated Lair.
This exhibition reunites Cells I to VI for the first time since 1991, when they were first shown at the Carnegie International in Pittsburgh. The term “cell” originated during the preparations for the Carnegie show. For Bourgeois, this word had many connotations, as it refers to the biological cell of a living organism as well as the isolation of a prison or monastic cell.
Three years later, in 1994, the artist produced her first spider sculpture. Although Louise Bourgeois was already over 80 years old at the time, she once again succeeded in reinventing her working methods and went on to create some of her greatest works, aided by the acquisition of her first large studio in 1980. Up to that point she had worked in her Chelsea townhouse, where the size of the rooms-barely four meters wide-conditioned the dimensions of her sculptures. Her new studio in Brooklyn paved the way for large-scale works.
The “Cell” series revolves around the desire to simultaneously remember and forget. “You have to tell your story and you have to forget your story. You forget and forgive. It liberates you,” Louise Bourgeois once claimed. In this respect, the “Cells” contain references to individuals and experiences from the past. The needles, thread, and spindles incorporated in these works allude to the artist’s childhood and her parents’ work-Bourgeois’s mother restored valuable tapestries.
The “Cells” also speak of abandonment, betrayal, and loss, rooted partly in the strain under which the Bourgeois family lived for years. Louise’s father had an ongoing affair with the family au pair, Sadie, who lived in their home for nearly a decade. Furthermore, in a reversal of conventional roles, Louise had to nurse her mother, who contracted a serious illness and asked Louise to help keep her worsening condition a secret from her husband. Louise thus found herself entangled in a web of conflicting emotions: admiration and solidarity, anger and powerlessness.
As a new sculptural category, Louise Bourgeois’s “Cells” “occupy a place somewhere between a museal panorama, a theater set, an environment or installation which, in this form and quantity, is without precedent in the history of art” (Julienne Lorz).
For more information:
Guggenheim Museum Bilbao Communication and Marketing Department
T +34 944 359 008 / media@guggenheim-bilbao.es
All information about the Guggenheim Museum Bilbao is available at www.guggenheim-bilbao.es (press room).
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19. Vito Acconci, Richard Artschwager, Simone Forti, Andrea Geyer, Felix Gonzalez-Torres, Barbara Hammer, Mona Hatoum, Louise Lawler, Robert Mapplethorpe, Martha Rosler, Kiki Smith, Andy Warhol, FF Alumns, at Bard College, Annandale on Hudson, NY, opening April 3
Center for Curatorial Studies, Bard College
CCS Bard group one spring exhibitions and Receipt of a Magical Agent
April 3-24, 2016
Opening: April 3, 1-4pm
Center for Curatorial Studies, Bard College
PO Box 5000
12504-5000 Annandale-on-Hudson, NY
www.bard.edu
Beginning on April 3, the Center for Curatorial Studies, Bard College (CCS Bard) presents 18 exhibitions curated by second-year students in its graduate program in curatorial studies and contemporary art, with 17 individual exhibitions presented alongside a student-curated Marieluise Hessel Collection show entitled Receipt of a Magical Agent.
The CCS Bard Galleries and Hessel Museum of Art at Bard College are open Thursday through Sunday from 11am to 6pm. All CCS Bard exhibitions and public programs are free and open to the public. Limited free seating is available on a chartered bus from New York City for the April 3 opening. Reservations are required; call T +1 845 758 7598 or email ccs@bard.edu.
The spring exhibitions in group one, opening on April 3, are as follows:
A Group of Fish and Other Schools
Benjamin Austin, Andy Warhol, and selected artists from the Marieluise Hessel Collection
Organized by Benjamin Austin, and featuring an exhibition of works from the Marieluise Hessel Collection co-curated by Evelyn Donnelly and Dana Gentile
Doll’s Eyes and Dimetrodon Tears
Work by artists WhiteFeather Hunter and Jennifer Montgomery with still life photography by Robert Mapplethorpe and Hiroshi Sugimoto, an animal automaton, and archival materials from the Hartsdale Pet Cemetery
Curated by Linden Baierl
Emphasis Repeats*
Barbara Hammer, Andrea Geyer, Reina Gossett, and Alex Martinis Roe
Curated by Staci Bu Shea
Standard Forms
VALIE EXPORT, Felix Gonzalez-Torres, Francisco-Fernando Granados, Julio César Morales, Robert Morris, Ulrike Müller, and Martha Rosler
Curated by Christian Camacho-Light
Night Thoughts
Sadie Benning, William Blake & Edward Young, Win McCarthy, and Josef Strau
Curated by Jody Graf
A Path of Safe Travel
A selection of drawings by Sarah Oppenheimer
Organized by Emma James
Timely Illuminations
Ren Shulin, Bei He Meng Group, and Fusion Group
Curated by Yanhan Peng
The future will never arrive
Luis López Carrasco, Beate Gütschow, Lisi Raskin, and Sarada Rauch
Organized by Rachael Rakes
objects are slow events
Maggie Bennett, Simone Forti, Jonah Groeneboer, and Katherine Hubbard
Curated by Alexis Wilkinson
Also on view:
Receipt of a Magical Agent
April 3-May 29, 2016
Presenting works from the Marieluise Hessel Collection curated by the class of 2016 MA candidates at the Center for Curatorial Studies, Bard College
Receipt of a Magical Agent employs the structure of the fairy tale as a curatorial approach, drawing from the morphology devised by 20th century Russian folklorist Vladimir Propp. By utilizing Propp’s method, whereby each tale is divided into 31 essential functions, Receipt of a Magical Agent explores how narratives are woven across an exhibition, between artworks, and within the single work of art.
Some of the artists included in the exhibition are Vito Acconci, Janine Antoni, Richard Artschwager, Matthew Barney, Roger Brown, Sarah Charlesworth, Anne Chu Francesco Clemente, Moyra Davey, Felix Gonzalez-Torres, April Gornik, Kojo Griffin, Walter Hampel, Rachel Harrison, Mona Hatoum, Imi Knoebel, Louise Lawler, Allan McCollum, Tatsuo Miyajima, Bruce Nauman, Ernesto Neto, Blinky Palermo, Allen Ruppersberg, Kiki Smith, Rosemarie Trockel, and Nicola Tyson.
Please visit our website for any related programming.
Student-curated projects at CCS Bard are made possible with support from the Rebecca and Martin Eisenberg Student Exhibition Fund; the Mitzi and Warren Eisenberg Family Foundation; the Audrey and Sydney Irmas Charitable Foundation; the Robert Mapplethorpe Foundation; the Board of Governors of the Center for Curatorial Studies; and by the Center’s Patrons, Supporters, and Friends.
Media contact:
Andy Cushman, Blue Medium, Inc
T +1 212 675 1800 / acushman@bluemedium.com
Bard College contact:
Mark Primoff, Director of Communications
T +1 845 758 7412 / primoff@bard.edu
CCS Bard contact:
Ramona Rosenberg, Director of External Affairs
T +1 845 758 7574 / rrosenberg@bard.edu
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20. Claire Jeanine Satin, FF Alumn, at Italo Britannic Association, Genoa, Italy, May 2-9
Exhibition: WATER & GARDEN TRANSPARENT BOOKWORKS + WATER OF VENICE: REMEMBERING HENRY JAMES, two videos at the ITALIO BRITANNIC ASSOCIATION, GENOA, ITALY, MAY 2 – 9, 2016
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21. Henry James Korn, FF Alumn, at BC Space Gallery, Laguna Beach, CA, thru May 20
Vernal Equinox MMXVI
BC Space Gallery is proud to present Amerikan Krazy: Life Out of Balance featuring the work of over twenty notable southland artists.
There will be an opening reception on Sunday, March 20, MMXVI, from 1-5 PM in celebration of the Vernal Equinox when our planet once again achieves balance between light and dark.
At the opening, from 2-4 PM, Henry James Korn will launch his new book Amerikan Krazy after which this show was named and thematically assembled. Henry’s comic masterpiece picks up where George Orwell, Jules Verne, and Edward Abbey left off, and turns political writing into art. See: (www.boffosockobooks.com)
Henry Korn is the former director of the Art, Culture, and Heritage program at the Orange County Great Park. At the conclusion of his reading, there will be a discussion period on how the original grand dream for the transformation of the former Marine Corps air base has changed from a public serving project into a corporate theme park, sports complex, and housing development that mirrors the “Founding Father Land” depicted in Korn’s relentless satirical novel.
Amerikan Krazy: Life Out of Balance includes work by: Jorg Dubin, Joella March, Stephen Anderson, Jeff Gillette, F. Scott Hess, Tom Lamb, Douglas McCulloh, Haley Blatte, Jerry Burchfield, Mark Chamberlain, Ricardo Duffy, Jared Milar, Max Papeschi, Jessica DeStephano, Lynn Kubasek, Glenn Brooks, Ron English, Dustin Shuler, Clayton Spada, Jacques Garnier, Pat Spakuhl, and Dan Van Clapp.
This exhibition will be on display until May 20, 2016. Gallery hours are by arrangement. The opening reception is free to the public, but seating for the book launch is limited so reservations are encouraged. For further information please contact the gallery at:
BC Space Gallery
235 Forest Avenue
Laguna Beach, CA 92651
(949) 497-1880
bcspace@cox.net
www.bcspace.com
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22. Cathy Weis, FF Alumn, at WeisAcres, Manhattan, April 3
April 3, 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, Kevin Lovelady, Jodi Melnick, Aaron Parsekian, Alexandra Saveanu, Saori Tsukada and Cathy Weis. Special thanks to WeisAcres neighbors Douglas Dunn, Audrey Shachnow and Robert Schubert.
WeisAcres
537 Broadway #3
New York, NY 10012
Free admission
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23. Leon Ferrari, FF Alumn, in The New York Times, March 15
The New York Times
The Pacific Standard Time Initiative Seeks to Rescue Fugitive Art
By JORI FINKEL
MARCH 15, 2016
LOS ANGELES – Of all the trips that Ruth Estévez made in preparation for her coming museum exhibition on the Argentine artist León Ferrari, the one that took her most out of the way – requiring a plane, a car and a rowboat – was visiting an artist in a small coastal town in the Dominican Republic. She was researching the performance history of an experimental 1967 text by Ferrari, who died in 2013, called “Palabras Ajenas” (“The Words of Others”).
A patchwork quilt of short quotations from around 120 different publications and public figures, from Lyndon B. Johnson to Pope Paul VI, this literary collage skewers what the artist viewed as a Western thirst for violence during the Vietnam War. It has been performed only twice before, in 1968 in the basement of a London home, and in 1972 in a small theater in Buenos Aires.
“One problem we are having with this project, which is understandable, considering it happened almost 50 years ago and was very underground, is that we don’t have any recordings,” said Ms. Estévez, who runs the gallery at the nonprofit Roy and Edna Disney/CalArts Theater, known as Redcat, in Los Angeles.
Yet Ms. Estévez and her co-curator, Miguel López, were able to track down Leopoldo Maler, the artist who had directed the London reading, in the Dominican Republic. And they were rewarded with some important materials, including his edited script and a stack of the original transparencies, with Letraset type that he used in London to flash onto the wall the name of each character speaking.
“The transparencies are super-beautiful,” said Ms. Estévez, who is planning to recreate the performance at Redcat next year. “We don’t know exactly how yet, but we know we will use them.”
The Ferrari show is one of several dozen currently in development as part of the J. Paul Getty Trust’s second Pacific Standard Time initiative, which is financing work by museums in Southern California within the broad theme of Latin American and Latino art for exhibitions in 2017 and 2018.
Ms. Estévez and Mr. López are not the only curators facing the conundrum in reviving an experimental play or performance nearly lost to history. To what extent do you try for a faithful reproduction, which can verge on seeming nostalgic or academic? Conversely, can you adapt or reimagine a performance for a new audience and time without losing sight of the original?
At the Los Angeles County Museum of Art, the original text is the Guatemalan writer Hugo Carrillo’s 1962 “El Corazón del Espantapájaros” (“The Heart of the Scarecrow”), a play that had students in clown makeup playing the roles of politicians and police officers. Participants received death threats when it was performed in Guatemala City in 1978, a particularly violent year under a military government.
Now, the Guatemalan artist Naufus Ramírez-Figueroa is working to reimagine that performance for a group show that José Luis Blondet, Rita Gonzalez and Pilar Tompkins Rivas are organizing for the museum. He is creating sculptures that could be used as props in the play and is in the process of commissioning a young Guatemalan writer to compose a script responding to the props. In essence, “Naufus is rewriting the play instead of recreating it,” Mr. Blondet said.
In other Pacific Standard Time shows, curators are working on re-creations or reinterpretations more explicitly guided by the historical goal of preserving and representing artworks that are little known.
For her survey of alternative or “below underground” Mexican art of the 1990s, for example, Irene Tsatsos, gallery director of the Armory Center for the Arts in Pasadena, Calif., is talking with the performance artist Lorena Wolffer about resurrecting her 1997 performance “If She Is Mexico, Who Beat Her Up?” In the piece, bruises and cuts on her body served as a commentary on aggressive United States government tactics in its war against drugs.
Ms. Wolffer has not yet finalized details, but “definitely” plans to do “a reinterpretation and not a re-creation,” she said in an email. “I believe that trying to literally reproduce the piece would not make much sense in the face of all that has happened in Mexico and U.S.-Mexico relations since then,” she wrote.
Luckily for Los Angeles Contemporary Exhibitions, known as LACE, and the Pitzer College Art Galleries in Claremont, Calif., the Chilean-born artist Juan Downey, who died in 1993, often created basic instructions for how his performances should unfold. Though best known for his early electronic sculptures, he will be the subject of a show at both sites that focuses more on his New York performance-happenings of the 1970s.
The curators expect to include a few of the artist’s interactive, technology-based sculptures, which will help put his performances in context, and vice versa. What is more, they have access to one of Mr. Downey’s collaborators, the Chilean dancer and choreographer Carmen Beuchat.
“We are hoping to bring her in as a kind of consulting choreographer as well as a performer, but we don’t want to be too greedy,” said Robert Crouch, an artist-curator who is organizing the show with Ciara Ennis of Pitzer’s gallery.
They said their show, which will feature around 10 Downey performances, would probably blend the notions of re-creation and reinterpretation. For a 1972 piece titled “Imperialistic Octopus,” for instance, Mr. Downey branded the eight arms of a massive sculpture with names of big corporations that also had long tentacles. Ms. Ennis is considering having students at Pitzer use contemporary references.
But for other pieces, she said that she felt a “responsibility for retaining the original integrity of the work” – and the technology embedded in it – because Mr. Downey’s oeuvre is unfamiliar to many. For the 1974 piece “Video Trans Americas Debriefing Pyramid,” a large installation that originally framed a slow dance by Ms. Beuchat, Ms. Ennis has scoured Craigslist in search of old-style video monitors to be suspended from the ceiling. “Flat-screen TVs would just not give the same aesthetic,” she said. Mr. Crouch said, “Since Juan isn’t here to push back, I think we will have to take our cue from each piece.”
As for Ms. Estévez, she has already made several creative decisions about reviving Mr. Ferrari’s “The Words of Others.” She has rejected the idea of using a stage set, abiding by his own conception of the piece as a text or “literary collage” to be read (he had radio announcers in mind) rather than a play to be performed. Her plan is to situate the reading within the gallery, alongside other Ferrari artworks and documents.
And she has no intention of bringing 120 actors into the space to recite the quotations. While Ms. Estévez originally considered trying to create a “full concert of voices,” she learned that Mr. Maler’s 1968 version in London had only four performers, each of whom recited many quotations. She said her main goal was for the work to have a “continuous presence” in the gallery, with at least one reader always present during open hours.
Ms. Estévez has also assembled a small team to translate the Spanish text and locate the source publications for all quotations that originated in English. Their annotated edition of “The Words of Others” will be the first published in the United States, providing scholarship for those in the future who might one day seek to realize Mr. Ferrari’s antiwar project in yet another way.
Correction: March 18, 2016
An article on Thursday about the J. Paul Getty Trust’s Pacific Standard Time initiative, which is developing exhibitions of art with Latin American and Latino themes in Southern California museums, misstated the surname of an artist-curator who is jointly preparing an exhibition about the Chilean-born artist Juan Downey. He is Robert Crouch, not Couch.
Correction: March 15, 2016
An earlier version also omitted the name of one of the curators who is organizing a group show revisiting a 1978 performance of Hugo Carillo’s “El Corazón del Espantapájaro.” She is Pilar Tompkins Rivas.
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24. Fred Holland, FF Alumn, in the New York Times, March 18
The New York Times
March 18, 2016
Fred Holland, ‘SSAPMOC’
By HOLLAND COTTER
The New York artist Fred Holland died of cancer on March 5 at 65, an ordeal that makes his final, beautiful solo show at Tilton Gallery all the more remarkable: Everything in it dates from the past year and is some of the strongest work of his career.
After studying at Columbus College of Art and Design in Ohio, Mr. Holland carved out a career as a dancer and choreographer, collaborating with Ishmael Houston-Jones, Robbie McCauley and Meredith Monk. In the 1990s he began making sculpture, which is the dominant medium here, as it was in a memorable Tilton appearance in 2009, the year his illness was diagnosed. Then, as now, his subject was the human presence set within the context of personal and cultural history with a kind of floating, dreamlike detachment.
A bronzed baby shoe sits on a pristine white plaster disk. A stack of feather pillows, each with a sewn label reading “like grandma used,” is draped with a wine-colored shawl, as if to form a shrine. Mr. Holland always worked with found materials to allude to the past. He used black-eyed peas as basic sculptural materials in a fond but wry reference to the kitchens of his childhood.
Street-scavenged bricks serve a similar function in the new work: Several are fitted with brass plates reading “When Negroes Lived in Harlem.” Casts of the artist’s head and face recur. Some are clear glass and empty; others, made of white plaster, lie in a circle on the gallery floor, surrounding a toy compass. (The exhibition title, “SSAPMOC,” is “compass” spelled backward.) The faces all turn inward toward it, as if both seeking direction and finding it everywhere, as this most private and universalist of artists always did.
Tilton Gallery
8 East 76th Street, Manhattan
Through April 9
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25. Sonja Lucien, FF Alumn, launches new website
The artist Sonja Lucien has launched a new beautiful website
showing oil paintings, watercolors, drawings, illustrations, designs and news about coming exhibitions and art-courses.
Sonja Lucien’s artwork belongs to a Universe beyond the conscious mind, beyond what seems to be real. And yet it is the real world inside out.
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26. Brad Buckley, FF Alumn, at University of Sydney, Australia, thru April 7
Dear Friends and Colleagues
If you are in Sydney over the next few weeks do visit my latest installation The Black Books (Are we not all the Children of Abraham?), which runs from 7 March – 7 April 2016 at Fisher Library, the University of Sydney, as part of the ongoing series “Ex Libris Fisherarium”. This project is curated by Michael Goldberg.
See more about The Black Books (Are we not all the Children of Abraham?) at https://www.facebook.com/fisherarium/
Warm regards
Brad Buckley
Professor of Contemporary Art and Culture
Sydney College of the Arts
THE UNIVERSITY OF SYDNEY
Rm F14, Building 6 | Locked Bag 15 | Rozelle | NSW | 2039
T +61 2 9351 1061 | F +61 2 9351 1199
E brad.buckley@sydney.edu.au| <mailto:brad.buckley@sydney.edu.au>
W http://sydney.edu.au/sca
W http://www.bradbuckley.com
W http://www.olt.gov.au/resources?text=Creative+Arts+PhD
W http://www.usyd.edu.au/sca/profiles/Brad_Buckley.shtml
W http://en.wikipedia.org/wiki/Brad_Buckley
http://www.youtube.com/watch?v=BWskaUHb4T0
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Goings On is compiled weekly by Harley Spiller
