Contents for October 04, 2021
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1. Jawolle Willa Jo Zollar, FF Alumn, receives MacArthur Foundation Fellowship 2021
2. Nina Kuo, FF Alumn, at Gallery 456, Manhattan, NY, thru Oct. 4
3. Ricardo Miranda Zúñiga, FF Alumn, at Museum of the Moving Image, Queens, NY, Oct. 29
4. Joyce Yu Jean Lee, FF Alumn, autumn news
5. Joseph Nechvatal, FF Alumn, autumn news
6. Magie Dominic, FF Alumn, now online in Alkali
7. Michelle Stuart, FF Alumn, at Lora Reynolds Gallery, Austin, TX, thru Nov. 20
8. Phyllis Lehrer, FF Alumn, autumn news
9. David Cale, FF Alumn, named Sun Valley Playwrights inaugural resident, Ketchum, ID
10. Roberley Bell, FF Alumn, at A.P.E. Ltd. Gallery, Northampton, MA, opening Oct. 8
11. Danielle Abrams, FF Alumn, now online at 64 Parishes, and more
12. Julie Tolentino, FF Alumn, October news
13. RT Livingston, FF Alumn, now online at University of California Santa Barbara
14. Russet Lederman, FF Alumn, shortlisted for Paris Photo-Aperture Photobook Award
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Weekly Spotlight: Elise Kermani, FF Alumn, now online at https://franklinfurnace.contentdm.oclc.org/digital/collection/p17325coll1/id/100/rec/1
In Elise Kermani’s performance of “Private Eye / Public Hand,” presented in November, 1995 at Franklin Furnace in Exile at PS122, the artist explores the growing influence of surveillance technologies by merging her live performance with manipulated audio and visual recordings. In her 39-minute performance, Kermani moves around the stage while a soundtrack of layered voices speak over each other and Kermani, while monitors alternately display real-time footage of the ongoing performance and prerecorded video samples. In merging her performance with these technologies of surveillance, “Private Eye / Public Hand” explores how personal privacy changes in the face of modern technology. (Text by Haley Cummings, FF Intern, Summer 2021)
Elise Kermani is currently Managing Director at dunesARTS Foundation.
For more information, please visit the following website:
www.dunesARTS.org
Thank you.
The performance/films she has written/produced since 1995 include:
Iphigenia: Book of Change (49min, 2017)
Performed at the Electric Lodge in Venice, California.
To view, please visit the following website:
https://vimeo.com/184578753/fa77969edc
Thank you.
POE […and the museum of lost arts] (56min, 2012)
Performed at 3LD Art and Technology Center, NYC.
To view, please visit the following website:
https://vimeo.com/145530760/b52571ea0c
Thank you.
JOCASTA: esti gar enai (52min, 2008)
Performed upstate New York, in an abandoned Shaker Barn.
To view, please visit the following website:
https://vimeo.com/78869983/9708c3d999
Thank you.
JUSTICE (12min, 2017)
Performed at Riverside Park on the Solstice, NYC.
To view, please visit the following website:
https://vimeo.com/297737871/a1cf6d5743
Thank you.
Agamemnon’s Daughter (4min, 2014)
Performed in Southern California, Ocean and Desert.
To view, please visit the following website:
https://vimeo.com/146053463/c8da411f03
Thank you.
Please view the full performance at the following website:
https://franklinfurnace.contentdm.oclc.org/digital/collection/p17325coll1/id/100/rec/1
Thank you.
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1. Jawolle Willa Jo Zollar, FF Alumn, receives MacArthur Foundation Fellowship 2021
Please visit the following website:
https://www.nytimes.com/2021/09/28/arts/macarthur-genius-grant-2021.html?searchResultPosition=1
Thank you.
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2. Nina Kuo, FF Alumn, at Gallery 456, Manhattan, NY, thru Oct. 4
Nina Kuo-Gallery 456 “Déjà Vu Escapes,” September 13 – October 4, 2021 © 2021 Chinese American Arts Council, 456 Broadway, 3rd floor, New York, NY 10013 – 212.431.9740 Nina Kuo Gallery 456 is pleased to present “Déjà Vu Escapes,” a solo exhibition of recent body of work by artist Nina Kuo. Relaying on her research into her multicultural experiences, the artist explores the border between past heritages and what could be. She utilizes myriad techniques to transport the viewer into a mystical world of folk majesty, expressionism and abstraction, at the intersection of ritual and PopAsian futurism. The artist asks that we create a new culture for the Asian Diaspora as we view her work.
She has been an art activist/feminist and presents a rare photo mural from theBasement Workshop. She always combines a divine sense of humor with POPartistic ways in mixed media installations, painting and digital art. Herinvestigation for reinvented relationships to address beauty, class, race, figure and human gestures with fictional environments transferred into occasional digital art formats as well.
Current Nina Kuo 2021 reviews in Hyperallergic, Whitehot, Forbes and pastreviews in NYT, VVoice. I was curated by Lucy Lippard, Thelma Golden,Fred Wilson, Dawoud Bey, Kellie Jones, etc.
ABOUT THE ARTIST: Today NinaKuo creates paintings, large drawings and mural landscapes with multi-symbolic themes and calligraphic shapes while presenting scholar rocks in a surreal manner for emotional appeal. These images provide metaphors for our global bourgeois society and its cultural ambiguity. This haven of image-making seduces and bridges many idioms for her. She has executed many paintings, sculptures and video works related to a mythical destiny full of contradictions and surprise. Kuo exhibited work at New Museum, Newark Museum, Creative Time, LA County Museum, PS 1 , Clocktower Gallery, Just Above Midtown, etc. Also view on AAPI respect .
For more information, please visit the following website:
www.caacarts.org
Thank you.
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3. Ricardo Miranda Zúñiga, FF Alumn, at Museum of the Moving Image, Queens, NY, Oct. 29
Please visit the following website:
Thank you.
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4. Joyce Yu Jean Lee, FF Alumn, autumn news
Greetings from NYC––
I hope this finds you healthy & well this autumn season, my favorite time of year! Despite the on-going pandemic, I am happy to share the following news from my studio, and would love to hear what you’re up to as well.
On View Now
Opening Thursday, September 30, 4:30-7p
Please join me for the opening of Haptic/Somatic, on view until December 2 at the Hilton C. Buley Library at Southern Connecticut State University in New Haven, CT. The group show includes artists Claudia Hart, Katherine Jackson, Chris Kaczmarek, Laura Splan and myself, curated by Patricia Miranda to feature work across a range of media from solar powered sound machines to NFTs. I have two video installations included: “State of the DysUnion” and “Pandemic Reckoning” that create a media landscape with a cylindrical centerpiece bearing projections of colorful video montage. In this iteration, I include a new animation that is a collaboration with my mother and her daily rituals during the Covid pandemic.
For more information, please visit the following website:
https://patric10.ic.tc/projects-/curatorial/haptic-somatic-at-southern-ct-state-university-
Thank you.
Upcoming:
October 4 – 5 FIREWALL pop-up
“Firewall” is popping up for the first time in Miami Beach, FL at this year’s Oslo Freedom Forum. Join us at the New World Center to see how Internet searches look different between the U.S. and China, and follow our Instagram to see and hear the various activists and human rights events. Shoutout to the my developers on the “Firewall” team: Angelique De Castro and Rowan Copley!
Online through end of year
ConTEXTual exhibited in Poughkeepsie from August 19th to September 23rd and will continue virtually on the Arts Mid-Hudson website until end of the year. The group show features myself, Beth Haber and Kim Merkal, and examines the influence of text, history, and media on form and culture. The show includes my sculptural pieces “Crosshair,” “Schoolhouse Mask,” “He Loves Me, He Loves Me Knot,” and “Knotted” as well as my interactive Chinese folding screens. These works are inspired by cultural relics and artifacts from the east versus the west, contrasting ways of thinking about community, beauty, authority and sense of individual freedom.
For more information, please visit the following website: https://www.artsmidhudson.org/amh-gallery-3
Thank you.
Looking Back.
May 15 – June 9 I participated in In the Wake of Slumber 4th annual juried show at Paradice Palase, curated by Natalia Nakazawa, featuring a diverse group of artists in Bushwick, NY.
July 2 – 4 I exhibited video in the EverArt Weekend, an international contemporary art festival in Moscow, Russia.
July 23 – 24 I had the pleasure of jurying the 2021-2022 awards for the Franklin Furnace Fund!
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5. Joseph Nechvatal, FF Alumn, autumn news
On October 30th, Joseph Nechvatal participated with a lecture/performance in a conference in Florence and Lucca on prehistory called “Art Before Art: L’uomo Cosciente e l’arte delle origini: con e dopo Carlo Ludovico Ragghianti” on the occasion of the anniversary of an important book devoted to paleohistory by art historian and critic Carlo Ludovico Ragghianti, The Conscious Man. Nechvatal’s presentation at the Museo e Istituto Fiorentino di Preistoria in Florence was on the little known Apse in the Lascaux Cave.
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6. Magie Dominic, FF Alumn, now online in “Alkali”
There’s a beautiful art magazine, from Ireland, called “Alkali,” with artwork and interviews of woman artists.
My interview and artwork are on pages 43-49 of the September issue, and my art starts on page 43
To read the magazine, please visit the following website:
https://pub.lucidpress.com/alkalimagazineseptember2021/#kDXU0y0swYzB
Onward with more art and writing!
For more information, please visit the following website:
http://magiedominic.blogspot.com/
Thank you.
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7. Michelle Stuart, FF Alumn, at Lora Reynolds Gallery, Austin, TX, thru Nov. 20
Lora Reynolds Gallery
Michelle Stuart: Boats: Horizons before the Mast
September 25 – November 20, 2021
Lora Reynolds is pleased to announce Boats: Horizons before the Mast, an exhibition of sculptures and paintings Michelle Stuart has made over the last four decades—the artist’s first solo project at the gallery.
There was a light far away, rising and falling like a soaring, tethered star. Night isolated the gentle sway of the boat. The sound was that yawning, agonizing, plaintive, wood-against-wood cry of the old sailboat. Music of a band in the casino floated across Avalon Bay. The smell of the Pacific is always sweet on the water…perhaps deep in the psyche there will always be perfume moored in the sea of one’s birth.
—Michelle Stuart
Since the 1960s, Michelle Stuart has been making sculpture, drawings and rubbings, collages, photographs, and site-specific earthworks—all connected by a deep sense of wonder for the natural world and the cosmos, culture and history. She pulls inspiration from archaeology, biology, literature, and her extensive travels to ancient sacred sites around the globe. “Coursing through her work,” writes curator Gregory Volk, “are appeals to wanderlust and voyaging—this from a famously itinerant artist who has been traveling her whole life, and whose work is so based on maximum curiosity about—and contact with—the world.” Although she began making work about boats in the 1980s, this is the first exhibition devoted entirely to them. “The boat is a beautiful metaphor for everything,” she says. “The whole idea of a voyage is so important to humanity.”
Stuart’s affinity for seafaring vessels and maritime expeditions is intensely personal—and might even have originated before her first breath: she was conceived in Sydney, carried across the Pacific Ocean in her mother’s womb, and born in Los Angeles. As a child, Stuart eagerly anticipated visits (and gifts) from her great uncle Jacques, a bachelor who spent his life at sea. “He brought with him exotica from distant lands, rare seashells and coral, embroidered Chinese coats, carved teak fans, satin and lace purses that smelled of sandalwood, and strange objects made by South Sea islanders. As a child I carefully preserved everything he brought me in a special place.” Uncle Jacques unleashed a passion for collecting in young Stuart, an impulse that has continued throughout her life. Her SoHo loft is densely packed with soil samples, rocks, seeds, bones, carvings—all matter of ephemera from her own travels, potent objects which often become actors in her artworks.
With raw materials so rich, Stuart’s touch can be light enough that some of her boat sculptures appear to be immaculately conceived. Painter’s Boat is little more than a wooden board—gouged and stained from age and experience—with an inverted paintbrush (its finish peeling and bristles gone) acting as its lone mast. Others are more elaborate: she wrapped the hull of Moon Ship with rough canvas, painted it white, and stacked the deck with blocks of wood that recall various components of a large ship’s anatomy—smokestack, bridge, portholes, living quarters. One flat-backed canoe is anchored on a hand-drawn topographic map, another fishing boat rests on a large drawing of a grid, a steamboat glides across a base of rippled concrete that summons the chop of the sea. All of the boats share in the rudimentary, handmade language of post-minimalism, and as such, have less to do with refined model-building than with childhood imaginings and the shape-shifting nature of memory.
The paintings use a similarly textured vocabulary, dealing more in impressions than depictions. Each work is a 12-inch square panel covered in encaustic medium with a smaller, frayed, irregular canvas rectangle bonded to its surface. The translucent wax—almost black, reddish brown, or taupe—variously recalls flesh, earth, and the surface of the sea. Some pieces of canvas are gridded, occasionally they carry an image of a hull or a mast, but most seem stained with atmosphere, like the sky is closing in on a lost boat or opening up after a storm. Some feel like maps of the ocean floor. They echo Stuart’s own journeys across the Pacific—both in the womb and as an adventuring adult.
Rather than traversing any literal sea, Stuart’s boats carry us to the core tenet of all of her work: that we are all perpetually sailing across mysterious, dangerous, beautiful, unknown, fascinating waters. Stuart’s boats heed no boundaries (between surf/soil, past/present, life/death, inner/outer space) in connecting distant lands, people, ideas—we need only climb aboard to fully appreciate the depth of our interconnectedness.
Gliding o’er all, through all,
Through Nature, Time, and Space,
As a ship on the waters advancing,
The voyage of the soul—not life alone,
Death, many deaths I’ll sing.
—Walt Whitman
Born in Los Angeles, Michelle Stuart lives and works in New York. Her Sayreville Strata Quartet (1976) is currently on permanent view at Dia Beacon. Her work is also currently featured in Partially Buried: Land-Based Art in Ohio, 1970 to Now at the Columbus Museum of Art and Land Art: Expanding the Atlas at the Nevada Museum of Art (Reno). Stuart’s work has recently been acquired by an extraordinary number of public institutions including: the Centre Pompidou (Paris), Chicago Art Institute, Dia Art Foundation (New York), Glenstone Museum (Maryland), Hammer Museum (Los Angeles), Hirshhorn Museum (Washington D.C.), Metropolitan Museum of Art (New York), Philadelphia Museum of Art, San Francisco Museum of Modern Art, and Tate Modern (London). Individual museum shows include: Place and Time, Walker Art Center (Minneapolis); Michelle Stuart, Theatre of Memory: Photographic Works at the Bronx Museum of the Arts, and Michelle Stuart: Drawn from Nature, which originated in 2013 at the Djanogly Art Center (Nottingham) and traveled to the Parrish Art Museum (New York) and the Santa Barbara Museum of Art, accompanied by a catalogue published by Hatje Cantz. Her work has also been the focus of solo exhibitions at the Centre d’Arts Plastiques Contemporaines de Bordeaux, Institute of Contemporary Arts (London), Kunstmuseum Den Haag (the Hague), and many other major museums and galleries worldwide. A room of Stuart’s work was also presented in Viva Arte Viva!, curated by Christine Macel at the 57th Venice Biennale in 2017.
Gallery hours are Wednesday through Saturday, 11 am to 6 pm, or by appointment.
Face mask required for entry. Reservations encouraged. Please call 512.215.4965 or email jamey@lorareynolds.com to schedule.
Maximum four visitors (or two parties) will be allowed in the gallery at one time.
Details can be found on our website:
www.lorareynolds.com
Thank you.
© Copyright 2020 Lora Reynolds Gallery. All Rights Reserved.
Lora Reynolds Gallery | 360 Nueces, Suite 50, Austin, TX 78701
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8. Phyllis Lehrer, FF Alumn, autumn news
My lock-down opus (long form gif_t animation)”The Shape of the Land” is featured in some festivals.
For more information, please visit the following websites:
https://bigeddyfilmfest.com/the-shape-of-land/ (The Big Eddy Film Festival in Narrowsburg NY, 09/30-10/2)
https://watch.eventive.org/caff2021/play/6148f4567a0abe0077604347 (The Cultural Animation FilmFestival (Hawaii) on line 10/08)
https://theinstitute.us1.list-manage.com/track/click?u=6999e169dc6bd01b7ab313b50&id=c81b9fbafd&e=5d2d27ccd6 (The 9th Annual Poetry Film Festival @filmpoetry.org; https://filmpoetry.org)
(search my name)
Thank you.
I am very pleased to be included in these lovely festivals, also shout out to @microacts that screened it live in London last March. Hope everyone is safe and well with hope for the future..
Best,
Phyllis
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9. David Cale, FF Alumn, named Sun Valley Playwrights inaugural resident, Ketchum, ID
Please visit the following website:
Thank you.
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10. Roberley Bell, FF Alumn, at A.P.E. Ltd. Gallery, Northampton, MA, opening Oct. 8
I am excited to announce a 2-person exhibition with painter Sandy Litchfield
Positions and Props: a loosening line
Roberley Bell & Sandy Litchfield
October 6 – November 6, 2021
Reception: Friday, October 8: 5-8 pm
A.P.E. Ltd. Gallery
For more information, please visit the following website:
www.apearts.org
Thank you.
A preview article of the exhibition is published in the current issue of Art New England
Positions and Props brings together the sculpture of Roberley Bell with paintings of Sandy Litchfield. Recognizing a shared formal language, these two artists have engaged in an ongoing conversation about landscape. This exhibition pairs unexpected colors and distinctive compositions in both painting and sculpture, suggesting the ordinary (and extraordinary) nature of being in place.
A.P.E. Ltd. Gallery
126 Main Street
Northampton, MA 01060
Phone: 413.586.5553
Gallery Hours:
Wednesday–Sunday: 12-5
Friday: 12-8
Closed Monday
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11. Danielle Abrams, FF Alumn, now online at 64 Parishes, and more
Danielle Abrams’ article “They Gave Us a Beach: The Memory of a Black Beach on Lake Pontchartrain” about the formerly segregated Black beach in New Orleans, LA is published in the Fall Edition of “64 Parishes.”
For more information, please visit the following website:
https://64parishes.org/they-gave-us-a-beach.
Thank you.
“64 Parishes” is a project of the Louisiana Endowment for the Humanities.
and
Danielle Abrams and Mary Ellen Strom will present their temporary public artwork, “Rights Along the Shore,” about Carson Beach, South Boston in 1975, as part of the exhibition “In Place” at University Hall Gallery, University of Massachusetts, Boston on October 15. This research-based art project will engage with individuals and partner organizations in Boston to put forward unexamined narratives of Carson Beach’s history and current use as a recreational and cultural site. Rights Along the Shore follows the trajectory of Abrams’ and Strom’s artworks that employ participatory practices to examine recreational segregation in the South and de-facto segregation in the North. Their long-term commitment to this subject is evidenced through projects located in New Orleans’ Lincoln Beach, Anacostia pool in Washington DC, and Tuckerman Creek in Bozeman, Montana. This upcoming outdoor artwork sited at Carson Beach will feature performance works on the beach and in the pavilions. Large-scale video projections will be integrated into the site’s architecture. This public artwork is part of a series of projects by Abrams and Strom that re-examine the history/ies of segregated swimming sites and the lived experiences of the people that participated in the sites’ recreation, riots and advocacy for de-segregation. The post-World War II civil rights movement frequently targeted segregated urban leisure venues, provoking violent reactions and even riots from recalcitrant, racist whites. During this period, Black activists who attempted to integrate segregated pools, beaches and other public recreational facilities in the United States were met with violent resistance. Pools and beaches were contentious sites because their desegregation resulted in the direct mixing of Black and white bodies. Boston’s Carson Beach was a site of violent, racial conflict during August of 1975. During the second two weeks of August, white riots erupted in anticipation of South Boston’s September school busing. The conflict resulted in numerous injuries from rock throwing and baseball bats, along with violence committed by police intervention. The historic incident is chronicled through contradictory newspaper articles, City of Boston reports, in local and national archives. “Rights Along the Shore” will unambiguously address the deep healing work that needs to be done in this public space; trauma caused by land stolen by white settlers from Indigenous peoples, trauma caused by racial violence committed to the Black residents of South Boston and Columbia Point, and trauma inflicted on the land and water by white settler industries. “Rights Along the Shore” is a reckoning with the history of white supremacy in South Boston in an era in which Black, Brown, Indigenous, and communities of color have galvanized the most important anti-racist activist movement since Dr. Martin Luther King, Jr. There is powerful momentum given to us through the grace of Black Lives Matter. There is great responsibility to act, because of the countless, tragic casualties and violence perpetrated on Black bodies by law enforcement in the United States.
Please contact rightsalongtheshore@gmail.com if you have questions, information, or would like to participate in the events scheduled in spring and summer, 2022.
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12. Julie Tolentino, FF Alumn, October news
I received the Herb Alpert/UCross Residency 2021; NYU Steinhart Scholar-in-Residence 2021-22; UCLA World Arts and Culture Alma Hawkins Chair Winter 2022.
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13. RT Livingston, FF Alumn, now online at University of California Santa Barbara
A recording of an artist talk with RT Livingston, FF Alumn, is available via this link:
https://www.library.ucsb.edu/events-exhibitions/911-renewalrebirth-artist-talk-rt-livingston
Thank you.
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14. Russet Lederman, FF Alumn, shortlisted for Paris Photo-Aperture Photobook Award
The What They Saw: Historical Photobooks by Women, 1843–1999 publication has been shortlisted for the Paris Photo–Aperture Foundation Photography Catalog of the Year Award!
Pre-order now for $70 plus shipping: https://10x10photobooks.org/what-they-saw-historical-photobooks-by-women-publication/
Please note that the books will begin shipping in early November 2021. The retail price for What They Saw will increase to $85 upon official release in November.
What They Saw: Historical Photobooks by Women, 1843–1999, 10×10 Photobooks’ most recent “book-on-photobooks” anthology in its ongoing examination of photobook history, explores photobooks created by women from photography’s beginnings to the dawn of the 21st century.
Presenting a diverse geographic and ethnic selection, the anthology interprets the concept of the photobook in the broadest sense possible: classic bound books, portfolios, personal albums, unpublished books, zines and scrapbooks. Some of the books documented are well-known publications such as Anna Atkins’ Photographs of British Algae: Cyanotype Impressions (1843-1853), Germaine Krull’s Métal (1928) and Diane Arbus: An Aperture Monograph (1972), while other books may be relatively unknown, such as Alice Seeley Harris’ The Camera and the Congo Crime (c. 1906), Varvara Stepanova’s Groznyi smekh. Okna Rosta (1932), Eslanda Cardozo Goode Robeson’s African Journey (1945), Fina Gómez Revenga’s Fotografías de Fina Gómez Revenga (1954), Eiko Yamazawa’s Far and Near (1962) and Gretta Alegre Sarfaty’s Auto-photos: Série transformações—1976: Diário de Uma Mulher—1977 (1978). Also addressed in the publication are the glaring gaps and omissions in current photobook history—in particular, the lack of access, support and funding for photobooks by women of color and non-Western women.
Publisher: 10×10 Photobooks, NYC
Date of Publication: 2021
Size: 30 high x 24 wide cm (11.75 x 9.5 inches)
Pages: 352
Images: 672
Binding: Softbound with dust jacket, Smith sewn binding
Edition Size: 2000 copies
Weight: 1105 grams (2.5 lbs)
Editors: Russet Lederman and Olga Yatskevich
Associate Editors: Dolly Meieran and Jeff Gutterman
Designer: Ayumi Higuchi
ISBN: 978-0-578-93213-2
More information here!
10×10 is grateful to the MUUS Collection for their generous support of this publication. The MUUS Collection is an organization with a mission to make visible their photography collection and archives through exhibitions, scholarship, donations, licensing, and the printing of images and books.
Additional support comes from the 10×10 Book Committee.
AND … If in New York, stop by the BOOKS@840Madison pop-up bookshop at The Armoury (840 Madison Ave, 2nd Floor).
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Goings On is compiled weekly by Harley Spiller
