Contents for August 21, 2018
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1. Sydney Blum, FF Alumn, now online at bostonvoyager.com
2. John Kelly, Jay Wegman, FF Alumns, at Joe’s Pub, Manhattan, Sept. 14-Oct. 10
3. Ron Athey, FF Alumn, at Performance Space New York, Manhattan, Nov. 14-17
4. Circus Amok, FF Alumn, in NYC, Sept. 1-16
5. Marilyn R. Rosenberg, FF Alumn, releases new publication
6. Graciela Cassel, FF Alumn, on The Lilac, Manhattan, Aug. 23
7. Elin o’Hara slavick, FF Alumn, at University of Maine at Orono, thru Sept. 21
8. Susan Joy Share, FF Alumn, receives Rasmuson Foundation 2018 Individual Artist Award
9. Ilona Granet, FF Alumn, at Long Island University Humanities Gallery, Brooklyn, opening Sept. 14
10. Vernita N’Cognita, FF Alumn, at Viridian Artists, Manhattan, opening Sept. 23
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1. Sydney Blum, FF Alumn, now online at bostonvoyager.com
Please visit the complete illustrated article linked here (text only follows below):
http://bostonvoyager.com/interview/art-life-sydney-blum/
August13, 2018
Art and Life with Sydney Blum-Boston Voyager Magazine
Today we’d like to introduce you to Sydney Blum.
Sydney, please kick things off for us by telling us about yourself and your journey so far.
I grew up in a rural college town in central New York State. I drove my parents crazy with wanting to make things but not having the right materials and not being able to get what I wanted in my small town. I had to make do and got inventive with materials. I didn’t consider myself an artist though made things constantly. In fact, I was intimidated by the term “artist” and people who identified themselves as such. Many years later I was in a PhD program at the University of Wisconsin at Madison in Ed. Psych. and was bored with my studies so decided to take some of the things I was making over to the fine art department. They admitted me on the spot to their MFA program with no prior art training and so I switched over and was essentially allowed to do my own thing there. I got my MFA in Sculpture. Later, after moving to NYC and facing the realities of earning a living I went to social work school at NYU. I had a psychotherapy practice for thirty years while still making and showing my art work. I also taught sculpture and drawing at Parsons School of Fine Arts in NYC for 16 years. I had my first solo show in NYC in 1980 and began showing with Kim Foster Gallery in 2001. I am presently represented by the Kim Foster Gallery in NYC and Studio 21 in Halifax, Nova Scotia.
Can you give our readers some background on your art?
At some point I trained myself in self-hypnosis. And one form I learned has you counting down from 10 to 1 deepening the state of relaxation with each number stepped down. And then there is another form. In this you count up and up and up bringing one to an ecstatic state, a sort of euphoria. Perhaps it is this same counting that is the numbered coding on the “other” sides of my Icarus-Colour-Space sculptures. It was there in that place of an escalating euphoria I saw undulating colour, moving ever upward, and strangely, often to the left. In that euphoria I sensed a connection to universal rhythms and vibrations. The undulation, the contraction and expansion of space and colour, are of course basic form and function of all things in nature; the breath, the beating heart, respiration of leaves, growth rings, the beating of wings in flight. And, colour, and it’s vibrational energy, is a language of attraction and desire as well. All things are indefinite, varied, changing. And so, the colour in these sculptures also shifts gradually, minutely, or robustly, and that plays against the momentum and ordering of the grid. On some cellular level I recognized that I had become part of whole, transcending boundaries and duality. I felt myself drifting towards, and merging with a source of flowing uplifting energy, taking me higher and higher.
And, this is why Icarus came to mind. He was fuelled by hubris, seduced by desire and yearning, unaware of the dangers of going in only one direction. Nature knows what Icarus did not, and corrects itself. There is that longing to soar, being tempted as much by the sky as the sea, the rhythms of each being so similar, one literally reflecting the other. These sculptures in the Icarus-Colour-Space series derive from all of this. They describe a fragment of space time and colour space where the imperceptible transitions of colour, contraction and expansion of space destabilize what we know; we are faced with what we don’t know. Each piece is a fragment of a continuum-of-colour and movement, “in medias res”, somewhere “after before and before after”; a moment among moments in all dimensions.
I live in relative isolation near the sea. I moved here specifically to a quiet remote place where I could internalize the rhythms of the tides and sea. I wanted that to be deep within me as I grew older; in essence to return to my beginning. I am interested in dowsing subtle energies, how fluids move, what happens when energy moves through a solid. I study and practice Taoist Tai Chi. I work every day in the studio and when I am working on a piece I work on one row each day. The techniques I developed for this work take on form in a very literal, low tech, and simple way.
How to make the flat fluid? Use the materials I have on hand, simple tools. Cut it up, put it back together with joints that let it move. Support it where it needs it. Adjust the joints and boundaries to allow for more fluidity as I go. Re-support the form. This is a slow work process and it allows me to turn inward as I concentrate. Modified. I work at a pace that quiets unknowns as the arise, allows me to absorb, observe, reflect on the colour vibration that is unfolding. I move slowly through it, defining the form as it grows, interact with colours intimately, and focus only on the fragment of colour before me. Mix only this colour. Mix only this colour. As the sculpture builds it becomes more difficult physically and visually to assess, maneuver, alter. And near the end it is a tense struggle and I am eager for it to be over and see if the whole form and colour movement works. They take about 250 hours to complete. I usually take a brief break before starting another piece to give my hands a break, work out more variations, learn from the last piece. I’m a ruminant. I work in series whether it sculpture or drawings.
Briefly, I want to mention that an engineer friend of mine saw this work and was stunned by its resemblance in physical form to what is described in the Finite Element Method of mathematical analysis that he learned and uses as an engineer. And, from my understanding, the way engineers do this on paper, so to speak, is they set out to create a mathematical equation that describes an entire complex physical form. This is used in determining and assessing the impact of stresses on a complex form such as the weight of a car traveling over a bridge, for instance. The method does this by breaking the form down into smaller and smaller more easily defined and measurable discrete elements. And because each element shares a boundary with another it also shares part of its defining mathematical equation. And so, the equation builds to include more and more small elements with shared boundaries. The result being a compound equation that accurately describes the whole 3D form in all its complexity. I like math, always have, but these types of equations are well beyond me. I found this interesting and exciting, Yet I was working instinctively and from another purpose and intention entirely. Where an engineer might take my completed form and break it down to define it, I was starting with the colored fragment and building the form intuitively from an internal place.
What would you recommend to an artist new to the city, or to art, in terms of meeting and connecting with other artists and creatives?
Yes, art making can be lonely and for me necessarily so. I need the private, uninterrupted time to process ideas and play them out. It is a very personal thing. I feel it is important to consider carefully how to balance what it takes to sustain one’s creative energy with a nurturing exchange of networking and interacting in the art community. I enjoy exchanging ideas with people of many disciplines and get much intellectual and social stimulation from this. The business of being an artist is a very challenging one that can often make demands for time that may not serve one’s ability to create. It’s a tough balance. I am really enjoying Instagram as I feel it offers me the stimulation of constant exposure to visual imagery and art process in a private setting.
What’s the best way for someone to check out your work and provide support?
My work can be seen at the Kim Foster Gallery (http://kimfostergallery.com/sydney-blum/) in NYC and at Studio 21 Gallery (http://studio21.ca/artists/sydney-blum/) in Halifax Nova Scotia. My art process and progress are carefully documented on my Instagram account: sydneyblum.art
I have had 16 solo shows in New York City since 1980, with my next scheduled for spring on 2019. I have been included in many groups shows primarily in NYC. My work has been reviewed in Th New York Times, Art in America, Art Forum, Art News, Sculpture Magazine, Arts Magazine, The Village Voice, and many other hardcopy, online publications, and local media. I have been the recipient of numerous artist grants.
I would greatly appreciate viewers interested in my work to view my artist pages http://kimfostergallery.com/sydney-blum/ and http://studio21.ca/artists/sydney-blum/ and to visit and share my Instagram postings at sydneyblum.art
Contact Info:
Phone: 902-657-3314
Email: sydneyblumart@gmail.com
Instagram: sydneyblum.art
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2. John Kelly, Jay Wegman, FF Alumns, at Joe’s Pub, Manhattan, Sept. 14-Oct. 10
People’s Parties – John Kelly Benefit
Host committee
Jane Friedman, Lia Gangitano, Craig Hensala, Hebe Joy, Kevin Malony, Esther McGowan, Dan Scheffey, Jay Wegman, and Mia Yoo invite you to
PEOPLES PARTIES – A BENEFIT FOR JOHN KELLY PERFORMANCE
A special performance of John Kelly Sings Joni Mitchell: Down To You Followed by cocktails and an intimate encore
Wednesday, September 19th
7pm Show at Joe’s Pub
8:30 pm Reception at Dan Scheffey’s East Village home All benefit tickets include prime seating for the performance at Joe’s Pub and post-performance cocktail reception. Tickets will held at will call at Joe’s Pub. There are limited tickets available. We encourage you to purchase tickets early.
Benefit tickets do not include food or drink at Joe’s Pub. There is a 2 drink or $12 food minimum per person at Joe’s Pub. A portion of each benefit ticket is a tax-deductible contribution to John Kelly Performance. Tickets are non-refundable.
PURCHASE BENEFIT TICKETS (https://www.fracturedatlas.org/site/FiscalSponsorship/profile?id=2787#giving_levels)
If you have questions about benefit tickets email office@johnkellyperformance.org Funds raised support the development of John Kelly’s creative projects during 2018 and beyond.
‘Down To You: John Kelly Sings Joni Mitchell’
September 14, 19, 26, October 3 & 10
Ticket Price: $25.00
Sept 14, 19* & Oct 3
Doors at 6PM
Show at 7PM
Sept 26 & Oct 10
Doors at 9PM
Show at 9:30PM
Joe’s Pub (https://www.publictheater.org/Tickets/Calendar/PlayDetailsCollection/Joes-Pub/2018/J/John-Kelly/)
425 Lafayette Street (https://www.google.com/maps/place/425+Lafayette+St,+New+York,+NY+10003/@40.7290178,-73.9939381,17z/data=!3m1!4b1!4m5!3m4!1s0x89c2599aff151d85:0x84c9144cb1afd4e2!8m2!3d40.7290178!4d-73.9917494)
NY, NY 10003
Purchase REGULAR tickets for performances at Joe’s Pub HERE (https://www.publictheater.org/Tickets/Calendar/PlayDetailsCollection/Joes-Pub/2018/J/John-Kelly/?SiteTheme=JoesPub)
‘Down to You’ (Joe’s Pub, June 2017) was cited by The New York Times as one of the top ten opera and vocal performances of the year (https://mobile.nytimes.com/2017/12/06/arts/music/best-classical.html) and was included in New York Magazine’s ‘Reasons to Love New York (http://nymag.com/daily/intelligencer/2017/12/reasons-to-love-new-york-2017.html) ’ feature.
This concert version of John Kelly’s acclaimed tribute to the music of Joni Mitchell, performed without theatrical costumes, is focused on songs from the various stages of Ms. Mitchell’s career, sung in Kelly’s signature three-octave voice, and played utilizing her unique guitar tunings and on the dulcimer that she gave him upon first seeing his performance. Music direction and piano by Zecca Esquibel.
Your donation makes the work of John Kelly Performance possible –
Donate Now (http://johnkellyperformance.org/wp2/donate/)
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3. Ron Athey, FF Alumn, at Performance Space New York, Manhattan, Nov. 14-17
Ron Athey
Acephalous Monster
Performance
November 14 – 17 | 7pm
Performance Space New York 150 First Ave, NY, NY 10009
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4. Circus Amok, FF Alumn, in NYC, Sept. 1-16
Circus Amok Returns!
September 1-16, 2018!
Are you ready?
Are you really, really ready?
Well, hold on to your wigs and waistcoats….the time couldn’t be more ripe and the (im)peaches couldn’t be any sweeter because:
CIRCUS AMOK IS BACK!
Bringing our new show “ENOUGH IS ENOUGH” to parks and greenspaces near you September 1-16, 2018 on Fridays, Saturdays and Sundays.
Saturday, September 1:
4:00pm
SOCRATES SCULPTURE PARK
Long Island City
Broadway & Vernon Boulevard.
Sunday, September 2:
3:00pm
ST MARY’S PARK; South Bronx
Enter at St. Ann’s Avenue & East 149th Street
Friday, September 7:
6:00pm
FT. GREENE PARK, Brooklyn
Myrtle Avenue & St Edward’s Street,
At the base of the Grand Staircase.
Saturday, September 8:
3:00pm
SUNSET PARK, Brooklyn
Enter at 6th Avenue & 44th Street, in the center field.
Sunday, September 9:
2:00pm & 4:00pm
PROSPECT PARK, Brooklyn
Enter at 9th Street; Cross the park road and down the hill toward the circle of trees.
Friday, September 14:
5:00pm
TOMPKINS SQUARE PARK, East Village
Avenue A & East 7th Street
Saturday, September 15:
3:00pm
BUSHWICK INLET POP-UP PARK at 50 KENT AVENUE, Williamsburg
50 Kent Avenue at North 12th Street,
Sunday, September 16th:
2:00pm and 4:00pm
CONEY ISLAND, Brooklyn
Steeplechase Plaza at West 16th, on the Boardwalk.
(Near the Carousel and Parachute Drop.)
As always:
Check our Facebook page for all late-breaking weather updates and location changes/announcements.
Circus Amok is a 501(c)3 organization, and your donations are fully tax-deductible! Want to mail a check instead because you don’t love Paypal? We TOTALLY get that, so you can make a check out to Circus Amok and send to:
53 South 11th Street, Suite 5A, Brooklyn, NY 11249.
Mark your calendars. Feed the cat. Put on your boogie-woogie feet.
As always:
Check our Website and Facebook for all late-breaking weather updates and location changes/announcements.
See you in the parks!
Jennifer Miller…& Everyone at Circus Amok
Circus Amok is a 501(c)3 organization, and your donations are fully tax-deductible! Want to mail a check instead because you don’t love Paypal? We TOTALLY get that, so you can make a check out to Circus Amok and send to:
53 South 11th Street, Suite 5A, Brooklyn, NY 11249.
Copyright © 2018 Circus Amok, All rights reserved.
Our mailing address is:
Circus Amok
53 South 11th Street
Suite 5A
Brooklyn, NY 11249
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5. Marilyn R. Rosenberg, FF Alumn, releases new publication
http://postasemicpress.blogspot.com/2018/08/false-fiction-fractured-fact-altered-by.html
Post-Asemic Press
A Publisher of Asemic Writing & Beyond
FALSE FICTION FRACTURED FACT ALTERED by Marilyn R. Rosenberg coming out this Fall 2018! Post-Asemic Press #008
About this work-.
The False Fiction Fractured Fact series started in 2001 with a diary/journal of 219 pages. Worked on throughout the blank bound purchased book pages in and out of order, MRR often returned to pages and to work on them again, as she still does in other new bookworks/artists’ books. Related, are False Fiction Fractured Fact- THE OTHER SIDE, in 2008, a visual/asemic poem published 2009, on Michael Jacobson’s’ web/ blog http://thenewpostliterate.blogspot.com/ .
There is False Fiction Fractured Fact: take it with you, 2008 at https://the-otolith.blogspot.com/search?q=False+Fiction+Fractured+Fact%3A+take+it+with+youl
And other works, including an asemic computer collage, False Fiction Fractured Fact: THE OTHER SIDE in 2008, on http://thenewpostliterate.blogspot.com/
Concept started here with a new irritation, a bite of memory, and a triggered reference as a glimpse, with a ghost of an old idea. FICTION FRACTURED FACT ALTERED can be read, continuing in both directions, and so has two beginnings and possibly no end, spiraling around, as do most of MRR’s bookworks, and can be read in more than one direction. So seeing is both forward and backward, up, down and around.
Broken unity, and hesitations in continuity, are so often concretely expressed by the fragmented circle. But, the complete circle does convey the absence of interruption, and many circles, whole and part circles are here. There are fish in various places, which for decades are the metaphors for groups, family or specific personalities. The name of a fish, the type of fish, gives the clue to its reason for being in the space it occupies.
Calligraphic marks can recount one side of abstract conversations. Sometimes the open folio is one thought, but most often the facing pages are in dialogue, sometimes in heated contrast and possibly interacting or playing with the pages before and those pages ahead. Calligraphic drawing marks, indecipherable language, Ideogrammatic language, asemic poetry, is the language without known language, before written language, the language beyond any language. Varieties of Ideogram languages/ asemic narratives, tell abstract stories, of course. Interacting within themselves and with the viewer/reader, the pages do ask- are we filled with drawings or poems? Altered and added marks, layered, have hints of depth, space, and sometimes of darkness. Images of objects, and new marks together with those from this earlier series, develop new groups of visual and asemic poems/drawings. 2018 computer collages are 90, or so, pages in this edition artists’ book –
FALSE FICTION FRACTURED FACT ALTERED. Marilyn R. Rosenberg
BRIEF BIO – Marilyn R. Rosenberg
Born in Philadelphia Pa, MRR is second generation in the USA and all of her family came from the Ukraine while it was under Russian rule. She and Bob have two daughters, 5 grand sons and one grand daughter. Through the years MRR has had a varied education, then in 1978, a Bachelor of Professional Studies in Studio Arts at Empire State College, State U of NY. In 1993 MRR graduated with a Master of Arts in Liberal Studies from the Graduate School of Arts and Science, New York University, NY, NY.
Marilyn R. Rosenberg, as usual, with actual and virtual collage, with pen and brush, stencils, ink, and gouache is making unique and edition images often in bookworks or artists’ books. And using the mouse, the Mac, and scanner MRR makes marks, images and words. Since 1977 MRR has been in some one person exhibitions and very many international group exhibits. MRR’s works are part of early mail art, and in current interactions. Ongoing MRR makes artists’ stamps, bookmarks, artists’ books, visual and asemic poetry. A small percentage are created with collaborators. Many unique sculptural bookworks, and published edition works, and works in catalogs, zines and anthologies can be found in university, college and museum library collections.
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6. Graciela Cassel, FF Alumn, on The Lilac, Manhattan, Aug. 23
I am so grateful to Melinda Wang for inviting my videos: “Rivers” and “In the Sky” to be screened at the Lilac!.
The Lilac, America’s only surviving steam-powered lighthouse tender, is holding a summer art party on Thursday, August 23, from 7 to 9 p.m. The boat, an 85-year-old U.S. Coast Guard Cutter, is docked on the north side of Pier 25 at N. Moore Street.
There will be films by Graciela Cassel, Kerry Cox, Rhys Hecox, Janie Korn and Chad Stayrook, a slideshow of works by New York-based artists, an exhibit of work by George Kroenert curated by LatchKey Gallery, with an artist and curator talk at 8 p.m., and tours of the Lilac engine room and bridge.
I am also grateful to David Rhodes who invited “Rivers” to be screened at SVA theater at 333 West 23rd Street, Manhattan.
Rivers on 9/10/16 until 9/16 at the SVA theater.The Festival, which honors some of SVA’s most significant alumni.
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7. Elin o’Hara slavick, FF Alumn, at University of Maine at Orono, thru Sept. 21
Elin o’Hara slavick’s solo exhibition, Blue Traumas, is on view at Lord Hall Gallery at the University of Maine at Orono until September 21. Slavick will give a gallery talk On September 21 at 5:30pm. She also has a solo show of her Workers Dreaming project at the Keohane-Kenan Center for Ethics at Duke University, Durham, NC. It will be on view until December, 2018.
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8. Susan Joy Share, FF Alumn, receives Rasmuson Foundation 2018 Individual Artist Award
Rasmuson Foundation offers congratulations to 2018 Individual Artist Award recipient, Susan Joy Share of Anchorage!
Mixed-media artist Susan Joy Share was born in Syracuse, New York. She followed her interest in clay work to the College of Ceramics in Alfred, NY. And there her fascination with the book form began.
She pursued her art and researched traditional bookbinding and conservation. Her studies of book concepts, structural variations, materials and movement potential blended with her passion for sculpture, painting, sewing and collage. Early on, Susan created innovative, internationally recognized performances with foldout sculptural books. In 1997, she moved to Anchorage and found a new and inspiring natural setting. Susan’s latest solo exhibits of book and paperwork took place this spring in Anchorage and Kenai.
For her fellowship, Susan plans a year of exploration in book arts. She will create with custom paper, photographic pop-up structures, and dynamic book properties such as hinges and layers. She plans to purchase a camera and gather images in Denali National Park, Kachemak Bay and Anchorage. She envisions a new body of work that will explore the intersection of Alaska’s built and natural environments.
Video: https://vimeo.com/279907370
Websites: http://susanjoyshare.com/
http://www.bookbindingnow.com/
Facebook: https://www.facebook.com/susan.j.share
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9. Ilona Granet, FF Alumn, at Long Island University Humanities Gallery, Brooklyn, opening Sept. 14
BILLBOARDS and BROADSIDES
September 4th through October 26th, 2018
Opening: Friday, September 14th 6:00-8:00 pm
Long Island University Humanities Gallery
1 University Plaza, Brooklyn, NY 11201
ARTISTS:
Marlisa Andre Anderson
Ilona Granet
Charles Hall
Bill Jacobson
Morgan O’Hara
Jessica Vaughn
Curating and Supporting Structures by Emily Feinstein & Matt Freedman
CONTACT
Nancy Grove, Director
Telephone: (718) 488-1198
Fax: (718) 246-6386
Email: nancy.grove@liu.edu
DIRECTIONS
Location: intersection of DeKalb and Flatbush Avenues, downtown Brooklyn
Transportation: B, M, Q, R trains to DeKalb;
2, 3, 4, 5 trains to Nevins
Hours: 9-6 Monday-Friday, Hours: 9-6 Monday-Friday,
The exhibition is closed on weekends, but the works are viewable through the walls of the gallery.
To arrange a visit inside the space on Saturday or Sunday contact Emily Feinstein 917-434-7697 or Matt Freedman at 347-204-5153.
Admission is free.
http://liu.edu/brooklyn/galleries/humanities
“Billboards and Broadsides” September 4-October 26 2018 Humanities Gallery at Long Island University Brooklyn Campus
Opening Reception Friday, September 14th 6-8pm
“Billboards and Broadsides”, an exhibition of six artists—Marlisa Andre Anderson, Charles Hall, Ilona Granet, Bill Jacobson, Morgan O’Hara and Jessica Vaughn—curated by Emily Feinstein and Matt Freedman, will open at the Humanities Gallery in Long Island University in Brooklyn on September 4th and run through October 26th, 2018. The opening reception will be on September 14, from 6-8pm.
The exhibition is built around the idea of a sign construed as message, omen, signal or gesture. The six participating artists all address the present moment’s wild complexity
with political and topical work that utilizes some degree of graphic communication: literal texts in the case of Hall, Granet and O’Hara, Anderson and Vaughn’s objects with specific symbolic or associative content, and Jacobson’s poetically evocative photography. The exhibition is unusual in that the curators are acting as active presenters, literally building the apparatus on which the works of the artists are presented. The Humanities Gallery at LIU that houses the show is a glass-enclosed elliptical gallery in the busy lobby of a building that services a wide variety of students. The gallery has no internal walls and is totally visible from the spaces outside its perimeter. The works should not be thought of as remaining inside the glass cube space of the gallery, but rather as trying their best to reach the outside world.
Long Island University, Brooklyn
1 University Plaza, Brooklyn, NY 11201
CONTACT
Nancy Grove, Director Telephone: (718) 488-1198 Fax: (718) 246-6386
Email: nancy.grove@liu.edu
DIRECTIONS
Location: intersection of DeKalb and Flatbush Avenues, downtown Brooklyn Transportation: B, M, Q, R trains to DeKalb;
2, 3, 4, 5 trains to Nevins
Hours: 9-6 Monday-Friday. The exhibition is closed on weekends, but the works are viewable through the glass walls of the gallery.
To arrange a visit inside the space on Saturday or Sunday contact Emily Feinstein 917-434-7697 or Matt Freedman 347-204-5153
Admission is free.
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10. Vernita N’Cognita, FF Alumn, at Viridian Artists, Manhattan, opening Sept. 23
Vernita N’Cognita is presenting a pop-up exhibit & new installation
of her Endless Junkmail Scroll
Thursday September 23rd 6-8 p,
Viridian Artists
548 w 28th st 6th floor
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Goings On is compiled weekly by Harley Spiller
