Contents for December 10, 2018
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1. Veronica Vera, Annie Spinkle, FF Alumns, at Judson Memorial Church, Manhattan, Dec. 17
2. Shirin Neshat, FF Alumn, in the New York Times, now online
3. Robert Rainwater, Ed Ruscha, Michelle Stuart, Richard Tuttle, FF Alumns, in The New York Times, December 6, now online
4. Lorraine O’Grady, FF Alumn, December news
5. Nicolás Dumit Estévez Raful, FF Alumn, at Andrew Freedman Home, The Bronx, December 21
6. Frank Moore, FF Alumn, now online at http://frankadelic.com
7. Seth Tobocman, Sabrina Jones, Rebecca Migdal, FF Alumns, at Printed Matter, Manhattan, Dec. 16
8. Moosh, FF Intern Alumn, at Tikhonova and Wintner, Manhattan, opening Dec. 16
9. Michael Paul Britto, Beatrice Glow, Jodie Lyn-Kee Chow, Moosh, at Electropositive, Brooklyn, opening Dec. 13
10. Barbara Rosenthal, FF Alumn, at Tompkins Square Library, Manhattan, Dec. 11, and more
11. Mark Bloch, Helen Harrison, Ray Johnson, FF Alumns, in White Hot Magazine, now online
12. John Kelly, FF Alumn, at the Metropolitan Museum of Art, Manhattan, Feb. 13, 2019
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1. Veronica Vera, Annie Spinkle, FF Alumns, at Judson Memorial Church, Manhattan, Dec. 17
Dear pleasure activist,
On December 17, at Judson Memorial Church we remember sex workers of all genders who have died from violence. International Day to End Violence Against Sex Workers was founded 15 years ago in San Francisco by Annie Sprinkle as a memorial and candlelight vigil for the victims of the Seattle Green River Killer. The day calls attention to hate crimes committed against sex workers worldwide, as well as the need to remove the stigma, discrimination and indifference that contributes to violence against them. It is now observed globally in local vigils and gatherings.
From the time I began my career in human sexuality as a writer, porn star and educator, I have understood sex workers’ rights and the decriminalization of sex work of utmost importance. Sex workers rights are human rights. In 1985, a meeting took place at Judson Memorial Church that connected me with Margo St. James and the International Sex Workers’ Rights Movement. I have been active in that movement ever since. Judson Memorial Church has been a long-time advocate for harm reduction and safe haven for sex workers, and the welcoming host of the NYC December 17 vigil for nearly a decade. I invite you to join me, members of Judson, the sex worker community, and friends and allies as we remember our dead. Rest in Power.
We will have refreshments including treats from Judson cookie makers whose cookies and coffee were served to sex workers in the streets of Times Square from the Judson bus (recently included in HBO’s The Deuce).
You are welcome to participate in part or all of the evening’s events:
5pm — The candle inscription and community-building session begins.
7pm — The open mic begins; reading of names, stories, songs, poetry and performances are encouraged.
9pm — Clean-up promptly begins
Let us know if you want to be on the program and/or have relevant announcements, names and stories, for us to honor and uplift on that day. Joining us so far that day will be Red Schulte (Justice for Alisha Walker) and Ceyenne Doroshow (GLITS)
More details about the NYC vigil are on our Facebook page: http://bit.ly/dec17nyc2018
Details about other global events are available at www.December17.org
Veronica Vera
Doctor of Human Sexuality
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2. Shirin Neshat, FF Alumn, in the New York Times, now online
The New York Times
Opinion
TURNING POINTS
When Does Political Art Cross the Line?
By Shirin Neshat
Dec. 5, 2018
Turning Point: In a recent wave of protests against art, a prominent art fair in Madrid removed artwork featuring jailed Catalan politicians, stirring debate over artistic liberty.
As far back as one can trace, political art has been problematic but ultimately necessary, as it forces art outside of its comfort zones and connects artists with the world.
As an artist living in exile, I have often found myself crossing the art world’s thin red line, not deliberately but because political reality is what has defined my life. But it isn’t only artists in exile who must deal with this borderline – it exists wherever there is an intersection between art and profit, whenever artists are pulled in opposite directions, balancing high aesthetics and politically charged and relevant subjects.
Consider the recent protests of artists being accused of racial insensitivity and profiting from black pain, from Dana Schutz’s controversial “Open Casket,” a painting of Emmett Till, to Luke Willis Thompson’s “Autoportrait,” which features a portrait of the girlfriend of Philando Castile, who was killed by police officers. The furor raises tough questions: Who should be the ultimate judge when art offends? Should artists take greater responsibility in the perception of their art once placed in the public domain?
To share a personal experience, in the aftermath of the Egyptian revolution, I set up a temporary studio at a local arts organization near Tahrir Square in Cairo. I shot a series of portraits of grieving elderly Egyptian men and women as they described tragedies, such as the loss of their children, that they experienced during the revolution. I had hoped to capture the human cost behind such euphoric revolutions, which often hit impoverished communities the hardest.
Soon after this photographic series, “Our House Is on Fire,” was exhibited at the Rauschenberg Foundation’s gallery space in New York, a nonprofit organization who had originally commissioned the project, a critic published a piece accusing me of framing Egyptians’ sorrows for commercial galleries in Chelsea to invoke pity and ultimately profit, clearly oblivious to the fact that proceeds from online sales went to charity organizations of my choosing in Egypt.
After reading the criticism of “Our House is on Fire,” I was taken aback, wondering whether the critic’s interpretation and accusations may have been correct. Was I guilty of manipulating people’s emotions to make art? Or was he wrong by grossly misrepresenting the truth and bending a narrative that fit his own anti-art world and political agenda?
But then again, whenever there has been human loss, conflict or tragedy, there has also been art. There are also vastly different value systems that judge the validity and appropriateness of such art, which often at its purest intent is meant to make sense out of shambles, to distill essence out of chaos.
Take, for example, the world-renowned Chinese dissident artist, Ai Weiwei, whose feature-length film, “Human Flow,” documented the devastating global refugee crisis. While on the surface it is highly commendable for a well-to-do, established artist to place himself at the heart of such human and political catastrophes, I could not help but wonder about his intention and the nature and impact of his work. Was Ai exploiting a human tragedy to bring attention to himself and to profit? Or was his work helping raise awareness about the refugee crisis? Who is his audience and how could art make any difference in a world flooded with news and images of this unfolding misery?
By scrutinizing another artist’s intent in engaging in a humanitarian project though, I realized I wasn’t that different from the critic who had questioned my own integrity as an artist. I realized that there is a paradox for artists in exile, as their emotional response to ongoing horrors is often reflective of their own personal experiences, while at odds with maintaining an artistic career that has placed them in a position of privilege.
Perhaps the problem resides in our hegemonic system, in which Western free-market consumerism and its cultural production machinery run rampant throughout the practice of art. And what is different and in opposition to this system is either marginalized or co-opted so as to appear open and inclusive. It is therefore through the filter of this lens that the work of artists such of Ai (characterized as the brave exiled artist who escaped the tyranny of his homeland) and myself (the oppressed exiled Iranian Muslim woman artist) can be legitimized and viewed.
The art world seems to have closely adopted and followed the ideological footprints of the larger global economy of the past three decades, increasingly participating in the orgy of the creation of wealth and its narrow distribution. But now with the rise of tribalism and nationalism and the bobbing of the ugly head of fascism, can the sleepy, self-indulgent Western art world rise from its slumber, too?
Politically conscious, humanitarian art is as necessary as the air we breathe today if we are to survive these trying times and not be condemned to repeat our endless cycle of terror and human tragedies, even if the hegemonic forces of the art world influence our every move. It is ultimately up to the artists to determine the future of this thin red line, and how easily it can be crossed – not the critics nor the market.
Shirin Neshat is an Iranian American visual artist and filmmaker.
This is an article from Turning Points, a magazine that explores what critical moments from this year might mean for the year ahead. Follow The New York Times Opinion section on Facebook and Twitter, and sign up for the Opinion Today newsletter.
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3. Robert Rainwater, Ed Ruscha, Michelle Stuart, Richard Tuttle, FF Alumns, in The New York Times, December 6, now online
Robert Rainwater, Influential Art Curator, Is Dead at 75
Robert Rainwater, a curator and art historian who oversaw a vast expansion of the New York Public Library’s holdings in modern and contemporary prints, artist-made books and printed ephemera from the 1970s onward, died on Nov. 13 at his home in the Chelsea neighborhood of Manhattan. He was 75.
His death was announced by Max Schumann, president of Printed Matter, a nonprofit distributor dedicated to artist’s books and related publications, where Mr. Rainwater was a longtime board member. The medical examiner’s office said the cause was atherosclerotic cardiovascular disease.
Throughout his 37-year career at the library – including two decades as the first chief librarian of the Wallach Division, which combined the library’s vast holdings in art, prints and photographs – Mr. Rainwater worked on acquisitions, exhibitions and public programs, including a series of interviews with artists organized with Printed Matter.
His first exhibition was “Women Printmakers” (1973), which brought to light a long-neglected gift to the library of about 800 prints by female artists from the 16th to the 19th centuries. He also mounted shows of liturgical manuscripts, Japanese handscrolls and works of the French 19th-century printmakers Charles Meryon and Félix Puhot.
Some of his largest shows highlighted gifts that he had helped bring to the library. A notable one was “Max Ernst: Beyond Surrealism,” which he organized in 1986 with Evan Maurer and Anne Hyde Greet. That show was spurred by a large gift of Ernst’s prints and posters from the artist’s widow, the Surrealist painter Dorothea Tanning, who subsequently gave many of her own prints to the library.
For the 1990 exhibition “On Paper: History of an Art,” Mr. Rainwater commissioned “Derelict Tracts: An Observatory,” a large work in paper by the artist Michelle Stuart that evoked a Byzantine church.
He also organized exhibitions of the work of Richard Tuttle, Richard Long, Christian Boltanski and Lawrence Weiner.
As a centerpiece for the show “On Paper: History of an Art” (1990) and its more than 200 items, Mr. Rainwater commissioned a large work in paper from the artist Michelle Stuart. She produced “Derelict Tracts: An Observatory,” which had domes covered in gold and silver leaf, like a downsized Byzantine church, and walls made of scores of sheets of hand-printed china paper.
In 1999, Mr. Rainwater was instrumental in bringing to the library the Elaine Lustig Cohen Dada Collection, considered the largest of such art in private hands.
His final large show was “Ehon: The Artist and the Book in Japan,” which opened in 2006, the year after he retired. He conceived of the exhibition, which covered the period from the year 764 to the present, and collaborated with the guest curator Roger S. Keyes.
Robert Gordon Rainwater, universally known as Bobby, was interested in art from an early age. Born on Feb. 12, 1943, in Okmulgee, Okla., the son of two schoolteachers, Eland and Marie (Dyer) Rainwater, he moved to Muskogee, Okla., with his family when his father became the principal of an elementary school there.
By the time he graduated from the University of Arkansas in Fayetteville in 1966 with a double major in art history and painting, he had taken every course in art history the school offered. In his application that year for a Woodrow Wilson National Fellowship, he wrote, “I have decided to devote my fullest energies to study in this field.”
He received the fellowship, and it enabled him to move to New York and enroll in the Institute of Fine Arts at New York University, where he studied with the art historians William Rubin and Robert Goldwater. He earned a master’s degree in art history from the institute in 1969 and completed course work for a Ph.D. there in 1971. Surrealism was a chief area of interest, although he never wrote his dissertation.
He went to work at the New York Public Library in 1968 as a technical assistant in the art and architecture division, where his chief responsibility was answering questions from the public, either by telephone or mail. The print division was next door, and in 1972 Elizabeth E. Roth, its keeper (as curators were then called) and one of the library’s great repositories of institutional memory, invited Mr. Rainwater to join her department. Upon her retirement nine years later, he became keeper of the division.
Mr. Rainwater became the librarian of the newly formed Miriam and Ira D. Wallach Division in 1985. At the same time, he was named curator of the William Augustus Spencer Collection of Illustrated Books, Manuscripts and Fine Bindings.
In addition to historical material, his significant acquisitions included books by Ed Ruscha and Anselm Kiefer and material related to the radical Italian art movement Arte Povera.
Mr. Rainwater was a private man known for his erudition, wit and indefatigable energy. He missed few museum or gallery exhibitions and regularly attended theater, opera, dance and performance-art events. He and three friends celebrated Christmas every year at the Century Club, where he was a member. He would bring each friend six or seven gifts, carefully wrapped and collaged with stickers and other printed ephemera.
He is survived by his sister, Peggy Askerman.
Reviewing the 1986 Max Ernst exhibition for The New York Times, Vivien Raynor noted that the show had two assets. One was the new gift of Ernst works; the other, she wrote, was Mr. Rainwater, who “brings to bear a special sensitivity to the nuances of his subject.”
A version of this article appears in print on Dec. 6, 2018, on Page A29 of the New York edition with the headline: Robert Rainwater, 75, New York Public Library Curator.
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4. Lorraine O’Grady, FF Alumn, December news
Dear Friends and Colleagues,
Last year-partially to commemorate 40 years as a visual artist-I cannibalized my 1977 piece Cutting Out the New York Times (CONYT) and made a radically new piece from it called Cutting Out CONYT, 2017.
The new work, consisting of 51 panels selected from the original 250+ and now reshaped into 25 “Haiku Diptychs” and 1 “Statement,” is the focus of two current solo shows: one at the Savannah College of Art and Design, closing January 16, 2019, and the other at Alexander Gray in Chelsea, closing on December 15.
In addition, I’ve just put up a webpage for Cutting Out CONYT where you can find all 26 new poems, as well as installation shots from the current shows at SCAD and Alexander Gray (just click on “View Gallery” beneath the header image). The webpage is on my website at: http://lorraineogrady.com/art/cutting-out-conyt/
The two exhibitions have produced interesting online publications that I am also pleased to share:
a – Carly Fischer’s major 3,000-word text on Cutting Out CONYT, “This Could Be The Permanent Rebellion,” leads the exhibition catalogue and can be downloaded at: http://www.alexandergray.com/attachment/en/594a3c935a4091cd008b4568/Publication/5beddc58d0d750b00243b596
b – I did an important interview in conjunction with the show at Alexander Gray published November 19 on Artforum.com in two parts: the 1,000-word text called, “Lorraine O’Grady On Creating A Counter-Confessional Poetry,” can be found at: https://www.artforum.com/interviews/lorraine-o-8217-grady-on-creating-a-counter-confessional-poetry-77735. And the video, “Excerpts From An Interview With Lorraine O’Grady” is on Vimeo at: https://player.vimeo.com/video/299125985
c – Johanna Fateman’s poetic piece for the New Yorker’s “Goings On,” November 19, is at: https://www.newyorker.com/goings-on-about-town/art/lorraine-ogrady-4
d – Jillian Steinhauer’s perceptive review, “Lorraine O’Grady’s Collage Poems Revisited,” in the New York Times’ “Three to See in New York Art Galleries This Week,” November 28, is at: https://www.nytimes.com/2018/11/28/arts/design/what-to-see-in-new-york-art-galleries-this-week.html
e – And Chase Quinn’s “How Lorraine O’Grady Has Challenged a Segregated Art World,” an exceptional review article in response to my SCAD Museum of Art exhibit, “From Me to Them to Me Again,” was published by Hyperallergic on December 3 and can be found at: https://hyperallergic.com/473547/lorraine-ogrady-rom-me-to-them-to-me-again-scad-museum-of-art/
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5. Nicolás Dumit Estévez Raful, FF Alumn, at Andrew Freedman Home, The Bronx, December 21
Dear Friends,
Let me know if you are interested in attending. I would like to have an idea of how many are joining us.
Performing the Bronx for 2018. Come to the Princess Room at historic Andrew Freedman Home on the Grand Concourse and dance and heal to the sound of drums. Please see below for details. If you plan to attend or would like to invite additional guests, please let me know.
PERFORMING THE BRONX
A project by Nicolás Dumit Estévez Raful and Collaborators: Seventh Action of the Series
Dr. Drum and Nicolás Dumit Estévez Raful
Friday, December 21st, 6:30 pm
The Princess Room at
Andrew Freedman Home
1125Grand Concourse
Bronx, NY 10452
https://andrewfreedmanhome.org/
Dress in White
Admission Fee: a handful of Earth as an offering to the Drums
Winter Drums
For the seventh chapter of Performing the Bronx, Dr. Drum and Nicolás Dumit Estévez Raful host a winter ritual to welcome the first day of the season. And perhaps snow will fall. The voices of drums are at the center of this ceremony. Come and heal, sample some of the fruits of the Earth, move your bones, dance in community, or simply lie down on the floor and absorb the vibrations of the percussion. Open to all!
About Performing the Bronx
Estévez Raful works with a group of iconic Bronxites to co-develop with him performative actions that they present together in private or in the Bronx’s public realm, focused on the histories that tie these individuals to specific communities and neighborhoods in their borough. These otherwise ephemeral gestures are recorded in photography, video and/or writings. All of these materials will serve as the basis for a future publication conceived and edited by Estévez Raful.
Performing the Bronx is an expansion of Estévez Raful’s on-going efforts to generate work with and within different communities in the Bronx. It is also representative of his interest in recovering, reclaiming and remembering histories of the area’s inhabitants that run the risk of being effaced by time, lost in the midst of neighborhoods in flux, or dismissed by dominant discourses that often position themselves at the center of the conversation. With Performing the Bronx Estévez Raful continues contributing to the archives of the place he calls home. Past collaborators include Bill Aguado, Wanda Salamán, Mili Bonilla, Danilo Lachapel, Arthur Avilés, and Caridad De La Luz ‘La Bruja’.
Dr. Drum
Born on December 3rd, 1958, at New York City’s St. Vincent Hospital to Puerto Rican parents, both from Caguas, Puerto Rico, Dr. Drum is known as one of the Top National Afro Rican Bomba Artists. Bronx native Jose Ortiz, aka: Dr. Drum, is a nationally highly acclaimed professional on-stage performer, educator in Pan-African, Caribbean and Latin culture, and is a self-taught percussionist of Afro Caribbean rhythms. For these past twenty years, he has been an adamant advocate for the cultural arts as well as an adamant activist, organizer and educator of Afro Puerto Rican Bomba, a traditional African derived music and art form which was brought to the Americas by African slaves. Dr. Drum has performed at Madison Square Garden, Lincoln Center, and the United Nations, among other venues. He has taught at numerous after-school programs throughout NYC since 1999, where has developed an original curriculum for teaching percussion to youth. Dr. Drum is presently the co-founder and Musical Director of BombaYo Afro-Puerto Rican Arts’ Project. His work helps members of all ages, cultures, backgrounds, race and ethnicities develop a strong sense of identity and responsibility through actively exploring their cultural roots.
http://bombayo.org/index.html
Nicolás Dumit Estévez Raful treads an elusive route that manifests itself performatively or through experiences where the quotidian and art overlap. Concurrently, this path has been informed by a strong personal interest in immigration, cultural hybridization and Estévez Raful’s understanding of identity as a process always in flux. He hence approaches the concepts of home and belonging to the U.S. American context from the perspective of a Lebanese-Dominican, Dominican York who was recently baptized as a Bronxite: a citizen of the Bronx. While ephemeral by nature, Estévez Raful’s work gains permanence through audios, photographs, props, drawings, rumors, embodied memories, costumes, websites, videos and publications. http://hemisphericinstitute.org/hemi/en/e-misferica-81/dumit-estevez
Performing the Bronx is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council and the Bronx Council on the Arts. Special thanks to Mothers on the Move (MOM), and to Andrew Freedman Home.
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6. Frank Moore, FF Alumn, now online at http://frankadelic.com
Frank Moore, FF Alumn, featured in a new episode of the web video series about his life and art, LET ME BE FRANK
Let Me Be Frank
Episode 11 – Workshop of Demands
“Workshop of Demands”, the eleventh episode in the LET ME BE FRANK web
documentary series, focuses on the early days of Frank’s Berkeley
workshops on intimacy and relationships, and the community and early
performances that grew out of them. This chapter explores how the
freedom, honesty and vulnerability of the workshops set the stage for
innocent, outrageous and erotic public performances, parades and
rehearsals, including Frank’s first performances at the late 1970s San
Francisco punk mecca, The Mabuhay Gardens. Readings by Russell
Shuttleworth and Linda Mac.
The episode also features “The Beginning of the Outrageous Period”, the
5th installment of “How To Handle An Anthropologist”, a recurring
animated feature in the Let Me Be Frank series, from the
soon-to-be-published book by the same name.
Episode 11 also includes Moore’s “An Open Letter to Jesse Helms”, read
by Edna Floretta.
Music by Michael LaBash, Frank Moore’s Shaman’s Den Jams, Dr. Gruve
(Russell Shuttleworth), Vinnie Spit Santino, The Family Curse, and Tha
Archivez.
Let Me Be Frank is a video series based on the life and art of shaman,
performance artist, writer, poet, painter, rock singer, director, TV
show host, teacher and bon vivant, Frank Moore.
The series is partly a biography, but also a presentation of Frank’s
philosophy on life and on art. Twenty-plus episodes have been planned
based on Frank’s book, Art of a Shaman, which was originally delivered
as a lecture at New York University in 1990 as part of the conference
“New Pathways in Performance”. Each episode will feature readings by
people who played an important part in Frank’s life, either as friends,
lovers, students, artistic collaborators or supporters of his art.
Let Me Be Frank presents Frank’s exploration of performance and art as
being a magical way to effect change in the world … performance as an
art of melting action, of ritualistic shamanistic doings/playings. Using
Frank’s career and life as a “baseline”, it explores this dynamic
playing within the context of reality shaping.
The series is available on Frank’s website at http://frankadelic.com and
on Vimeo at https://vimeo.com/channels/letmebefrank .
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7. Seth Tobocman, Sabrina Jones, Rebecca Migdal, FF Alumns, at Printed Matter, Manhattan, Dec. 16
Please join us to celebrate the new issue of World War 3 Illustrated:
“NOW IS THE TIME OF MONSTERS”
SUNDAY, DECEMBER 16 from 4-7PM
at PRINTED_MATTER Bookstore
38 Saint Marks Place (@2nd Ave.) http://bit.ly/2zJcRPN
There will be slide presentations by some of the artists.
I will speak about next year’s issue-in-progress, “Shameless Feminists,” which we will are beginning to edit.
See artist’s call attached.
You can order WW3 here http://bit.ly/2GambSH from @AKPressDistro
In the New Issue…
Now is the Time of Monsters, the latest issue of World War 3 illustrated, explores and exposes the predatory logic that underpins our economy, politics, justice system and human relations. As agents of Capitalism seek to extract and exploit at every opportunity, artists and allies come together to push back in words and images. This issue poses the question: is the monster in the oval office a symptom of a society wide mindset that encourages predatory behaviors in business practices like predatory lending and pharmaceutical pricing, law enforcement practices like civil forfeiture and ICE raids, and personal relations like work place sexual harassment and transactional relationships? And how can we combat this mindset? In the time of monsters our greatest weapon of resistance just might be unity, basic humanity and love.
Artists include: Sue Coe, Kevin Pyle, Seth Tobocman, Sue Simensky Bietila, Peter Kuper, Rebecca Migdal, Carlo Quispe, Sabrina Jones, Kate Evans, Jordan Worley, Sandy Jimenez, Mumia Abu Jamaland many others…
90 pages, black and white with color covers, 7 by 9 inches, perfect bound. https://www.akpress.org/now-is-the-time-of-monsters.html
*World War 3 Illustrated is distributed by AK Press.
-Visit the website: https://www.ww3.nyc/-Follow us on Twitter @WW3Illustrated and on Facebook https://www.facebook.com/worldwar3illustrated/
Visit www.sabrinaland.com
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8. Moosh, FF Intern Alumn, at Tikhonova and Wintner, Manhattan, opening Dec. 16
Please visit this link:
Tikhonovawintner.com
Thank you.
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9. Michael Paul Britto, Beatrice Glow, Jodie Lyn-Kee Chow, Moosh, at Electropositive, Brooklyn, opening Dec. 13
Electropositive
639 Classon Avenue
Opening Dec. 13, 7-10 pm
Rsvp hello@artnoir.co
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10. Barbara Rosenthal, FF Alumn, at Tompkins Square Library, Manhattan, Dec. 11, and more
THREE FEATURED READINGS by BARBARA ROSENTHAL (FF Alum) THIS WEEK!
Barbara Rosenthal will be reading chapters from her novel WISH FOR AMNESIA, Deadly Chaps Press, on
TUES, DEC. 11, 5pm
Barbara Rosenthal reads “Chapter 30: Jewel Swims Out” from WISH FOR AMNESIA
(see wishforamnesia.com for more info about the novel Kirkus placed on the Starred and Recommended List, as being ” “…satirical, fantastical, and philosophical….. We see the world…most rivetingly…. readers will find that they can’t take their eyes away. They’ll also sometimes wonder what’s real and what’s not-and exactly what kind of magic might be at work. A celebration of the dysfunctional that will keep readers turning pages.”
Tompkins Square Library
331 E. 10 St., NYC
More info: http://www.emedialoft.org/artistspages/frameEleven.htm
THURS., DEC. 13, 7pm
Barbara Rosenthal reads Chapter 31 “Exhausted and Exposed” from WISH FOR AMNESIA
(see wishforamnesia.com for more info about the novel, about which Home Planet News said”…clinical precision and vertiginous pace combine into one of the most astounding passages of English prose you’ll ever read.” )
in “Opening Performances”
Viridian Gallery
548 W. 28 St., NYC
Facebook Event: https://www.facebook.com/events/362322061197933/
SAT., DEC 15, 2pm
Barbara Rosenthal reads “Three Bottles”
in “Brownstone Anthology Readings”
Jefferson Market Library
Avenue of the Americas at W. 10 St, NYC
212-243-4334
Facebook Event: https://www.facebook.com/events/315854225642147/
(((AND—–see Barbara Rosenthal’s website calendar for images, sample text, and more details (including for this artist’s upcoming winter tour of EU as part of her year-long Seventieth Birthday International Retrospective: http://www.emedialoft.org/artistspages/frameEleven.htm
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11. Mark Bloch, Helen Harrison, Ray Johnson, FF Alumns, in White Hot Magazine, now online
https://whitehotmagazine.com/articles/at-guild-hall-east-hampton/4110
“This very complex exhibition is a unique opportunity to delve into Johnson’s way of working. Full disclosure: As a friend of Johnson, myself, and as a participant in the global mail art network, I have often thought that one way of understanding the process would be to look at one correspondence between two people and deconstruct just that as a microcosm of the greater whole. Furthermore, when it comes to Johnson’s work. I have always beleived that one tiny piece of his oeuvre is like a holographic sliver that contains his entire life’s work. His graphic cartoon-works are deceptively simple. They delight and whimsically draw us in, but like the “Song of Myself” from Whitman’s Leaves of Grass, created in West Hills, Long Island, not far from Johnson’s home in Locust Valley, they “contain multitudes.” Each fragment points to the whole as a celebration of the unique as well as the universal. So what we have here are a series of valuable entry points to a rich Ray Johnson plot, scheme, plan, machination, ploy, trick, ruse, subterfuge or racket.—
Carey is pictorially represented by a rare glimpse into Johnson’s process via the black paper cut out of one Ray Johnson’s legendary silhouettes with a little hair flip and his name scrawled in grease pencil across the face, all centered on the back wall of this exhibition above a sliced open 1980 envelope addressed to Helen Harrison. The framed piece anchors this sprawling correspon-dance, connecting the artist, his subject and the person who insured that it all survived. On the back of the envelope it says Mr. Montauk and there is a Ted Dragon Fan Club rubber stamp, too, refering to a local legendary figure and the partner of Alfonso Ossorio, who was once caught stealing furniture from his Long Island neighbors, continuing the theme of ne’er do well figures who naughtily fascinated Johnson.—
Such “oversized” drawings and silhouettes of artists, authors, critics, collectors, curators and gallery owners connected to the New York art world of the late 1970s and 1980s that Ray Johnson did between 1976-1990, created through tracings of the subject’s left-facing profile, are also an anchor to the Ray Johnson Estate. This 1977 Ted Carey template was apparently turned into a more finished silhouette March 26, 1990 with the addition of an equilateral triangle composed of smaller triangles in black marker according to Estate inventories. And according to a master list seen here that Johnson liked to send out and that even appeared in collages and portraits of other people, silhouettes Johnson executed around the same time as Carey’s included John Belushi, gallerist Elaine Benson and musician Robin Crutchfield….
On March 16, 1977 he sent Carey a letter mentioning Ms. Bensonm the gallerist and Crutchfield, a Manhattan musician. “Since I am having a show next summer at the Benson gallery which should be one of the highlights of the social season. if I have anything to do about it I don’t Carey is pictorially represented by a rare glimpse into Johnson’s process via the black paper cut out of one Ray Johnson’s legendary silhouettes with a little hair flip and his name scrawled in grease pencil across the face, all centered on the back wall of this exhibition above a sliced open 1980 envelope addressed to Helen Harrison. The framed piece anchors this sprawling correspon-dance, connecting the artist, his subject and the person who insured that it all survived. On the back of the envelope it says Mr. Montauk and there is a Ted Dragon Fan Club rubber stamp, too, referring to a local legendary figure and the partner of Alfonso Ossorio, who was once caught stealing furniture from his Long Island neighbors, continuing the theme of ne’er do well figures who naughtily fascinated Johnson.”
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12. John Kelly, FF Alumn, at the Metropolitan Museum of Art, Manhattan, Feb. 13, 2019
John Kelly at the Metropolitan Museum of Art – Feb. 13 – Advance tickets on sale now View this email in your browser (https://mailchi.mp/johnkellyperformance/john-kelly-at-the-metropolitan-museum-of-art-feb-13-advance-tickets-on-sale-now?e=057bf50ceb)
THE METROPOLITAN MUSEUM OF ART
WEDNESDAY / FEBRUARY 13, 2019
7:00 P.M.
The Crazy Cries of Love: John Kelly Sings Joni Mitchell
$45.00
Met Live Arts discount code is Artist20 for 20% off Buy Tickets (https://www.metmuseum.org/events/programs/met-live-arts/john-kelly-sings-joni-mitchell?eid=472018&program=MetLiveArts&location=main%7cbreuer%7ccloisters&startDate=11%2f27%2f2018+12%3a23%3a34+PM&page=3)
A valentine like no other: John Kelly again pays loving homage to Joni Mitchell’s music, with a focus on her version of ‘love songs’. Many of Ms. Mitchell’s greatest songs dwell on the subject of love-from the rush of longing, to vulnerability and loss. These remarkable songs are vivid interrogations of romantic relationships that transform the personal into the universal.
Tickets include same-day Museum admission during open hours. Enjoy a pre-performance drink in The Grace Rainey Rogers Auditorium. Wine, prosecco, and water will be available for purchase. Doors will open approximately one hour prior to the event. Assistive listening devices are available from the ushers.
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Goings On is compiled weekly by Harley Spiller
