Contents for August 18, 2016
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1. Nina Sobell, FF Alumn, in Brooklyn and online, Sept. 1-2
2. Mierle Laderman Ukeles, FF Alumn, at the Queens Museum, Flushing, Sept. 18-February 19, 2017
3. Arturo Lindsay, FF Alumn, at Hammonds House Museum, Atlanta, GA, opening August 28
4. Christa Maiwald, FF Alumn, August events, East Hampton, NY
5. John Ahearn, Nicolás Dumit Estévez, Brendan Fernandes, Alicia Grullon, Yoko Inoue, Joan Jonas, Kimsooja, Clifford Owens, Emily Roysdon, FF Alumns, at Rubin Museum, Manhattan, opening Sept. 21
6. Julie Tolentino, FF Alumn, at Abrons Art Center, Manhattan, opening Sept. 25, and more
7. Royal Osiris Karaoke Ensemble, FF Alumns, at PICA Time-Based Art Festival, Portland, OR, Sept. 10-13
8. Dahn Hiuni, FF Alumn, at Emerging Artists Theatre, Manhattan, Aug., 20-28
9. David Everitt Howe, FF ALumn, at Pioneer Works, Brooklyn, thru Sept. 25
10. Billy X. Curmano, FF Alumn, Deface Billy Project, deadline Dec. 10
11. Jibz Cameron, Barbara Hammer, Eileen Myles, FF Alumns, now online at queergenius.com
12. Nancy Azara, Howardena Pindell, Nancy Spero, FF Alumns, at SOHO20 Gallery, Brooklyn, September 16
13. Penny Arcade, FF Alumn, August 2016 news
14. Rebekah Benson, FF Alumn, now online at youtube.com
15. Peter Cramer, Jack Waters, FF Alumns, at Le Petit Versailles, Manhattan, Aug. 27
16. Barbara Hammer, FF Alumn, now online at poetry.arizona.edu and more
17. Thomas Waters, FF Alumn, at Nue Kirche Art Center, Pittsburgh, PA, Aug. 26-Nov. 6
18. Harley Spiller, FF Alumn, now online at medium.com and more
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1. Nina Sobell, FF Alumn, in Brooklyn and online, Sept. 1-2
Please come to the Premiere of my video SUBLIMINAL
in collaboration with musician Laura Ortman
Sept 1 – Sept 2 from 8:00 – 10:00 Thank You!
Live Stream on the Manhattan Bridge in DUMBO
at Pearl St/Anchorage Pl.
SUBLIMINAL draws upon idiosyncratic symbols to reveal meaning from memory as it rides below the depths of time and opens doors to the dwelling of dreams when
earth is revisited. Autobiographical episodes morph the presence of the past with flowers, rocks, clay and bodies, bringing to light an alchemical union. Deep from within, sounds and song emerge as if exhumed only to be interred again by the music of the earth’s core.
Artists: Nina Sobell + Laura Ortman, Danielle de Picciotto + Lary 7, Sarah Walko + Justin King, Laszlo Zsolt Bordos, Vadim Schaeffler + Pablo Paolo Kilian, Eike Berg + Jarboe, Shir Lieberman, Jonathan Phelps + Alon Cohen
“Earth Revisited”
Concept/Curated by Leo Kuelbs
As humankind evolves further into digital, non-terrestrial realities, “Earth Revisited” asks artists to reexamine their relationship to the earth itself. While shifting relationships to physics and environmental science have been well explored, “Earth Revisited” seeks to reconnect to the ground and explore our contract with the dirt below us. Thousands of years of human endeavors, from the most base to the most inspired, rest in pieces beneath our feet. Throughout the world, the remains of human history create the foundations of our present and physical future. Like a dark universe of dirt, minerals, living insects and the ruins of the past create a complex constellation that represents mankind’s host/parasite relationship to the place we call home. This view seeks to serve as a template for a selection of works that, instead of looking outward and creating a survey of what is seen, are generated by looking inward; from the conscious, through the subconscious and spiritual, through the surface of the ground and into years of terrestrial history, finally into the earth’s very core. It is a deeply personal, yet universal exercise and experience, the goal of which is to represent our constant and dynamic connection to the land we live on. Our minds might have begun their gradual ascent upwards into the cloud, but our feet remain firmly rooted in the land. Up to our ankles, our necks in the past, while gazing at the stars above.
About LIGHT YEAR:
The Manhattan Bridge comes alive with “Light Year,” a one-year program of projected video art presented the First Thursday of every month. In honor of the United Nations’ declaration of 2015 as The Year of Light and Light Art, “Light Year” will include a well-rounded program of video artists from around the globe. Curated, created and presented by Leo Kuelbs Collection, John Ensor Parker and Glowing Bulbs (aka 3_Search), “Light Year” will reveal surprising connections and highlight Dumbo’s role as an important hub for technology and the arts. Digital and more traditional artists, well known and emerging, will have an opportunity to see their work presented on a large scale in NYC’s fastest evolving neighborhood, all on an internationally recognized architectural icon.
The “Light Year” concept also invites viewers to consider the confluence of all types of Video Art, Public Art and Experimental Cinema. Context changes meaning, the media and site become as crucial to the message as the content. As technology and science continue their rapid evolutionary tracks, “Light Year” will highlight shifting points of view and perspective, which impact meaning and interaction. The Curatorial team from 3_Search, will seek out and produce a variety of new programs designed for presentation in a public space, while also being at the forefront of public/video art content, collaboration and conceptual curiosity.
All of the collaborators, Curator Leo Kuelbs, Artist John Ensor Parker and Creative Team Glowing Bulbs (aka 3_Search) are based in Dumbo, and have been a part of almost every major projection event that has taken place on the Manhattan Bridge since 2010. Their daily interactions with the bridge and the neighborhood, as well as their internationally recognized creative achievements are at the heart of the “Light Year” concept and project. Working with the Dumbo BID and the NYC DOT, “Light Year” is an authentic representation of the neighborhood’s relationship to the city, as well as to the greater world. Presented to the public, every first Thursday, free of charge.
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2. Mierle Laderman Ukeles, FF Alumn, at the Queens Museum, Flushing, Sept. 18-February 19, 2017
Queens Museum presents Mierle Laderman Ukeles: Maintenance Art
The first survey of the 50-year career of the pioneering performance and public artist features rarely seen works, new publication and slate of public events
September 18, 2016 – February 19, 2017
Press Preview: September 13, 2016
The Queens Museum is thrilled to announce Mierle Laderman Ukeles: Maintenance Art, the first survey exhibition of the pioneering American artist Mierle Laderman Ukeles. On view September 18, 2016 through February 19, 2017, the exhibition features newly imagined historic performances, sculptural works, and current works-in-process as new site-specific installations, often using the unique features of the Queens Museum. These include a light path tracking her seminal performance 1979 Touch Sanitation across the surface of the Panorama of the City of New York and Pulse II, fourteen Sanitation truck “flashers” blinking and signaling along the Museum’s west façade. The exhibition also includes photo and text based works related to dozens of performances that ranged from hours to months in duration as well as proposals, planning documents, and models for major realized and unrealized temporary and permanent public projects.
“Over the course of her groundbreaking career, Ukeles has addressed some of the most complex societal issues of our times, including the role of women in society, environmental sustainability, freedom, and civic responsibility,” said Laura Raicovich, President and Executive Director of the Queens Museum. “Her work is a guidestar and inspiration to new generations of artists working to engage social issues, and the character, inclusiveness, reciprocity, and scalability of Ukeles’ work embodies the ‘openness’ that is part of the distinctive mission of the Queens Museum.”
Dedicating all of the Museum’s temporary exhibition spaces to one artist-a first for the Museum-Maintenance Art is the most significant presentation of Ukeles’ work ever assembled in one place. The exhibition is organized by Queens Museum curator Larissa Harris and guest curator Patricia C. Phillips.
“As the New York Sanitation Department’s Artist-in-Residence, Mierle Laderman Ukeles’ art has brought wide public attention to the difficult work performed each and every day by the dedicated men and women of the DSNY,” said Commissioner Kathryn Garcia. “From Touch Sanitation, in 1979 to her current project at Freshkills Park, the department’s relationship with Ukeles has demonstrated how effective and thought provoking an artist residency can be and served as a model for current and future city agency artist residencies.”
With works dating from 1962 to 2016, Maintenance Art traces Ukeles’ career as a feminist performance artist, her almost forty-year tenure as the official, unsalaried Artist-in-Residence at New York City’s Department of Sanitation, and as an artist whose Jewish faith has fueled a firm belief in the capacity of the human spirit.
“I became an artist to be free: free to use the gifts given to me by my artist heroes. In 1968, we were blessed to have a child and we fell madly in love with her. I became a maintenance worker, not only to do the work necessary to keep her alive but to do the work to help her thrive! I discovered that heroes Jackson [Pollock], Marcel [Duchamp] and Mark [Rothko] didn’t change diapers; I fell out of their picture. I didn’t want to be two separate people-the maintenance worker and the free artist-living in one body,” said Ukeles. “In October, 1969, an epiphany! If I am the boss of my boundless freedom, I name Maintenance – Art. In a quiet rage, in one sitting, I wrote the MANIFESTO FOR MAINTENANCE ART, 1969! At that time, there was no recognition, and very little honor for service work and service workers: those at home and those who work outside. And little care for the needs of the finite planet-as-home. So I set out to make this visible, i.e. to make a revolution with everyone in the picture. After making maintenance art myself and with one or two workers, then 300 maintenance workers in 1976, I got a call from the Sanitation Department: “How would you like to make art with 10,000 NYC sanitation workers?” “I’ll be right over.” I replied. I have been very lucky to have officials and workers and the art world willing to open all the doors, to take a risk and say ‘Yes. Yes!’ Welcome to the results.”
Exhibition highlights include:
• Early Work (Air Art)
• Engaged with the ecological and the urban since the early 60s, Ukeles proposed and fabricated inflatable sculptures and wearables in organic shapes for appending to existing architecture, engaging land, sea and air, and/or creating independent architecture for individuals and groups. After use, they were supposed to be deflated, folded, and put away. But the facture, care and maintenance (they leaked!) of these symbols of freedom were so serious that they, along with the birth of her first child, helped trigger the insights in Manifesto for Maintenance Art 1969!. Drawings and plans for a selection of Air Art will be on view for the first time anywhere.
• Maintenance Art
• The original four page artwork, Manifesto for Maintenance Art 1969! is presented alone on a wall as the artist considers it: “a sculpture that is a text.” Drawing on the principles of her Manifesto, Ukeles, along with works that traveled with the exhibition, conceived more than a dozen Maintenance Art Performances for curator Lucy Lippard’s traveling exhibition of feminist conceptual art, c. 7500 (1973-1974). Along with washing its steps and gallery floors, Ukeles intervened in the Wadsworth Athenaeum’s security and conservation systems; raked and tracked falling leaves on the campus of Vassar College; scrubbed a Soho sidewalk in front of the original A.i.R. Gallery and interviewed passersby about their maintenance habits. The exhibition includes the entire Maintenance Art Works series and newly discovered ephemera related to this extraordinary body of work.
• An important leap came in 1976, when Ukeles invited 300 maintenance workers at a downtown office building to consider one hour of their eight hour work shift to be “maintenance art.” She then took Polaroids of the employees at work and asked them whether, in their opinion, her camera had captured them during their hour of art, or their seven hours of work. The 704 original Polaroids, labeled with each workers’ decision, that make up I Make Maintenance Art One Hour Every Day will be on view for the first time since the work was created in 1976.
• When a review of the above exhibition suggested that the Sanitation Department (affected by NYC’s fiscal crisis) might want to apply for funds for performance art, Ukeles contacted and was welcomed by the Commissioner of the Department of Sanitation into what was at first an undefined research role but would evolve into the unique position of official, unsalaried Artist-in-Residence. This provided Ukeles an opportunity to scale up her engagement with maintenance as a cultural idea in the “big leagues” of sanitation and continues to this day.
• Touch Sanitation Performance (1979-1980) and Touch Sanitation Show (1984)
• Ukeles’ first performance with DSNY was Touch Sanitation, in which she faced and shook the hand of all 8,500 Sanitation employees as they did their work on streets and Sanitation facilities and offices, saying to each, “Thank you for keeping New York City alive.” Tiny, moving lights installed on the Museum’s Panorama of the City of New York map the complex, spiraling route Ukeles took while executing this eleven-month performance, an unprecedented act of alliance across gender boundaries in an attempt to forge a grand coalition between ecofeminism and service work. A 20-minute sound piece created with Stephen Erickson from field recordings of the entire Sanitation system and Ukeles’ conversations with “sanmen” will be reconfigured for the hall containing the Panorama surrounding the visitor with the sounds of the city and the voices of its workers. For this exhibition, Ukeles has also assembled new works relating to this performance from hundreds of photographs, telexes, annotated maps and related ephemera.
• One Year’s Worktime II, in which a full year of work shifts in the form of clock faces have been silk-screened over a gradient of colors representing the seasons, fully occupies the Queens Museum’s 100-foot, 45-foot High Large Wall. Pulse II delicately animates its 200-foot west facade with fourteen three light blinkers salvaged from the backs of defunct Sanitation trucks. These works (and above mentioned sound piece, Trax for Trux and Barges) were originally seen in Ukeles’ massive and complex two site Touch Sanitation Show, 1984, which is itself presented to the public for the first time in this exhibition, through architectural models, planning documents, and newly unearthed photo- and video-documentation.
• Work Ballets (1983-2012) + Social Mirror (1983)
• Since 1983 Ukeles has staged seven Work Ballets in New York, Rotterdam, Pittsburgh, Givors, France, and Echigo Tsumari, Japan, working with the drivers of heavy duty vehicles to co-design delightful performances in which their work trucks and barges, often laden with hundreds of tons of recyclables, are the dancers. For the first time, video documentation of six of these ballets will be on display, along with selected choreography drawings used in planning sessions. Social Mirror (1983), a garbage truck clad in mirror created as part of her first work ballet, and featured in exhibitions and parades ever since, will appear at the Museum’s east entrance on Saturdays throughout the exhibition, and on the Sundays when exhibition-related events are scheduled, for a total of 31 days on view.
• Ceremonial Arch (1988/1994/2016)
• First created in 1988 for an exhibition at the World Financial Center and newly recreated for this exhibition, Ceremonial Arch is a celebration of the hands and enduring spirits that keep New York City functioning. The social process that defines this work is a “harvest” of thousands of work gloves being collected now from workers at a range of city agencies, ConEdison, and the Metropolitan Transit Authority (MTA). These gloves sprout in a leafy canopy that reaches more than 14 feet high and 9 feet long over six sturdy columns wrought from the tools of the trade at the FDNY, NYPD, DSNY, NYC DOT, MTA, and USPS.
• Inner City Outer Space: Landfills and Transformation (1978-Present)
• Since the start of her tenure at the Department of Sanitation, Ukeles has envisioned landfills as new public spaces-earthworks that we ourselves have made and own. A range of proposals and artworks from nearly forty years of work will be displayed together for the first time on five walls surrounding Queens Museum’s central skylit atrium, both focusing on Fresh Kills-one of the world’s largest landfills-and sites in other cities and countries. Landing,estimated to be constructed in 2018, is a three part work: an overlook and two earthworks sited at the heart of what was formerly the Fresh Kills Landfill and what is becoming Freshkills Park. A life size photo of the two-mile-long view across the transforming site allows viewers to envision what it will be like to experience the completed work.
• Repair Room including Light Up Philadelphia (1987), Unburning Freedom Hall (1997) and Birthing Tikkun Olam (2008/2009/2016)
• Repair Room presents new iterations of an unrealized citywide public project and two large site specific installations. Taken together, the works suggest the possibility of repair and transformation of a radically torn social fabric. Light Up Philadelphia (1987) proposed to suffuse the monumental statues of different races on Philadelphia’s City Hall and eleven other sites around the city with healing light. Research for this proposal uncovered the story of Pennsylvania “Freedom” Hall, a “Temple of Free Speech” built by women and free African Americans in 1838 then burned to the ground by rioters three days later.
• Originally installed at MoCA, Los Angeles in 1997, Unburning Freedom Hall used the same story as a response to the riots sparked by the 1992 Rodney King police abuse trial, the worst civil disturbance in the history of the US. Repair Room contains photo-documentation of the installation-a central blue glass table amidst mountains made of shattered glass-and video documentation of the collaborative process in which a range of municipal workers, students and museum visitors produced “Unburnings,” 1,700 glass jars containing unique artworks in an effort to “unburn” or undo civic trauma. The Peace Table (1997) was also a site for Peace Talks convenings on different kinds of peace from personal to citywide.
• Birthing Tikkun Olam, first installed at the Contemporary Jewish Museum, San Francisco, is based on the artist’s interpretation of the Kabbalistic creation story. In a symbolic assembly of objects including a broken crystal goblet, a curtain or “veil” and many hand mirrors with taped blank covenants on the back, visitors are asked to answer Ukeles’ call to look in the mirror then to create a covenant with her and the artwork by committing themselves to acts of “tikkun olam” or repairing the world. Embodying the call and response relationship between Ukeles and members of communities she has engaged, the grouping of these works crystallizes her deep engagement with human agency and transformation, secular and spiritual.
• Talks at the Peace Table and an artist’s tour of Fresh Kills
• Ukeles and the museum have co-conceived a series of public programs during the course of the exhibition to engage and contemporize some of its important ideas and themes. Four three-hour roundtable conversations with activists, artists, city workers and other experts at the Peace Table (1997) (see above) which hangs from the 50-foot vaulted ceiling in the center of the Museum, will be rounded out by a guided tour of Freshkills Park including the future site of Ukeles’ major public artwork Landing. The Queens Museum Education Department will also hold its classes and workshops around the Peace Table.
Events and Public Programming Schedule:
September 25th 2016: Artist in/of the City, an exploration of embedded artist residencies in city agencies, anchored by Tom Finkelpearl, Commissioner of New York City Department of Cultural Affairs, and featuring artists and city representatives from around the country.
November 13, 2016: Garbage: The Future, anchored by Kathryn Garcia, Commissioner of the Sanitation Department, and featuring innovators in recycling, reduction and reuse.
November 20, 2016: Tour of Fresh Kills, with the artist and city officials to learn about the 3,000-acre Fresh Kills transformation and the process behind remediation and its relationship to Ukeles’ land art Percent for Art commission Landing, the first permanent work of art to be built in the future Freshkills Park.
January 15, 2017: A Day of Peace Readings, on the occasion of Martin Luther King Day, texts on the topic of peace will be gathered from many sources, cultures, and languages. Volunteers will read them out loud all day long so that “a momentum of energy toward the possibility of peace will fill up the soaring skylit space of the museum.” (Ukeles)
February 5, 2017: Human Agency: A Day of Transfer and Exchange, in a performance with the artist, as a part of REPAIRING THE WORLD / TIKKUN OLAM, visitors are invited to commit to “repair the world” in exchange for a hand-mirror, and will also be introduced to a Fresh Kills-related proposal for one million people to participate in a public artwork for Fresh Kills: Public Offerings Made By All, Redeemed by All. The performance will conclude with a convening about real-world strategies and constraints of human agency toward repairing the world.
February 12, 2017: Care As Culture, anchored by writer and activist Rebecca Solnit, this Peacetable convening brings service work, ecofeminist art and experts on climate change together.
Publication
Mierle Laderman Ukeles: Maintenance Art, a 256 page publication with 280 color illustrations, accompanies the exhibition. Published by Delmoncio Press/Prestel Publishing and the Queens Museum, this first comprehensive book on the influential artist explores her work from the early “Air Art” experiments, the creation of the Manifesto for Maintenance Art 1969!, through the ensuing Maintenance Art Works and her legendary tenure as Artist-in-Residence at New York City’s Department of Sanitation. With a major essay by critic Patricia C. Phillips, the volume also includes interviews with four Sanitation Commissioners who enabled Ukeles to create massive works with DSNY Norman Steisel, Brendan Sexton, John Doherty, and Kathryn Garcia, an essay by curator and critic Lucy Lippard, and a range of striking photos, all offering important perspectives on an artist who has transformed our ideas about feminism, the city, and ecology today.
About Mierle Laderman Ukeles
Since 1977, Mierle Laderman Ukeles has been the official, unsalaried Artist-In-Residence of the NYC Department of Sanitation. Her multimedia work, launched by her iconic MANIFESTO FOR MAINTENANCE ART 1969!, blurs the boundaries between labor and performance, system and spirit, and unveils connections between feminism, workers’ rights, and the environment. Currently, she is completing LANDING, the first permanent Percent for Art public artwork for Freshkills Park in Staten Island. Her first monograph, SEVEN WORK BALLETS, edited by Kari Conte, was just published by Sternberg Press. Recently, her work from 1969 to 1984 was the subject of an exhibition curated by Krist Gruithuijsen for the Graz Kunstverein, Graz, and traveled to Arnolfini Centre for Contemporary Arts, Bristol; Institute of Modern Art, Brisbane; and Marabouparken Art Gallery and Konsthall C, Stockholm. Ukeles has exhibited internationally, including at the Wadsworth Atheneum, Hartford; Whitney Museum; MoMA/ PS1; Queens Museum; Los Angeles Museum of Contemporary Art; Tel Aviv Museum; Armory Art Show, NY; Sharjah Biennial 8, United Arab Emirates; Contemporary Jewish Museum, San Francisco; Smack Mellon, Brooklyn; Wellcome Trust, London; Creative Time, New York; Brooklyn Museum; Haus der Kunst, Munich; the 13th Istanbul Biennial; and Manifesta 10, St. Petersburg; and Manifesta 11, Zurich. She was the keynote speaker at the International Open Engagement Conference in 2014. A Guggenheim Fellow and recipient of many grants and fellowships from the National Endowment for the Arts, NY State Council on the Arts, Joan Mitchell, Andy Warhol, and Anonymous Was a Woman Foundations among others, she has received honorary doctorates from the Rhode Island School of Design and the Maine College of Art. She received a BA in international relations and history from Barnard College in 1961, and an MA in interrelated arts from New York University in 1974. She is represented by Ronald Feldman Fine Arts in NYC.
Funding and Support
Mierle Laderman Ukeles: Maintenance Art is made possible with support from the Andy Warhol Foundation for the Visual Arts, the National Endowment for the Arts, Lily Auchincloss Foundation, the Shelley and Donald Rubin Foundation, Rivka Saker, Delta Air Lines, Gabriel Catone, Andrew Ruth, Helen and Peter Warwick, and Ronald Feldman Fine Arts as well as significant in kind support from the New York City Department of Sanitation. The accompanying publication is supported, in part, by the Elizabeth Firestone Graham Foundation and furthermore: a program of the J.M. Kaplan Fund. Additional support is provided by the New York City Department of Cultural Affairs and New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.
Media Contact
Grace Munns, Public Relations Associate, Queens Museum
1.718.592.9700 x227
gmunns@queensmuseum.org
# # #
About the Queens Museum
The Queens Museum in Flushing Meadows Corona Park features contemporary art, events of hyperlocal and international impact, and educational programs reflecting the diversity of Queens and New York City. Changing exhibitions present the work of emerging and established artists, both local and global, that often explore contemporary social issues, as well as the rich history of its site. In November 2013, the Museum reopened with an expanded footprint of 105,000 square feet, a soaring skylit atrium, a suite of daylight galleries, 9 artist studios, and flexible event space. The Museum works outside its walls through engagement initiatives ranging from multilingual outreach and educational opportunities for adult immigrants, to a plethora of community led art and activism projects. The Museum’s educational programming connects with schoolchildren, teens, families, seniors as well as those individuals with physical and mental disabilities. The Queens Museum is located on property owned in full by the City of New York, and its operation is made possible in part by public funds provided through the New York City Department of Cultural Affairs.
Grace Munns
Public Relations Associate
718.592.9700 x227
Queens Museum
New York City Building
Flushing Meadows Corona Park
Queens, NY 11368
@QueensMuseum | facebook.com/QueensMuseum
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3. Arturo Lindsay, FF Alumn, at Hammonds House Museum, Atlanta, GA, opening August 28
Hammonds House Museum
presents
ARTURO LINDSAY:
celebrating a life in art
Hammonds House Museum is pleased to present ARTURO LINDSAY: celebrating a life in art, a solo exhibition by Panamanian-born, Atlanta-based artist/scholar/educator Arturo Lindsay from August 28th to October 2nd with an opening reception on Sunday, August 28th, 2:00 – 5:00pm. Lindsay, Hammonds House Museum’s first exhibiting artist (1988), will present a collection of paintings, photographs, prints, collages, videos and an installation. The exhibition is curated by Tracy Murrell.
Hammonds House Museum
503 Peeples Street
Atlanta, GA 30310
(404) 612-0500
Hours:
Wednesday – Friday: 11am – 6pm
Saturday – Sunday: 1pm – 5pm
OPENING RECEPTION
August 28 2016
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4. Christa Maiwald, FF Alumn, August events, East Hampton, NY
Dear Friends,
I hope you get a chance to enjoy my work in August.
Best,
Christa
The following are happening in August:
Box Art Auction to benefit the East End Hospice
St. Luke’s Episcopal Church, Hoie Hall, 18 James Lane, East Hampton
Auction preview: August 24 and 25, 10 a.m.-4 p.m.
Preview reception: Wednesday, August 24, 5-7 p.m.
Silent auction and reception: Saturday, August 27, 4:30 p.m.
Live auction: Saturday, August 27, 6 p.m.
Springs Improvement Society’s 49th annual Invitational Exhibition
Ashawagh Hall, Springs
On view through Sunday, August 21
“Autonomous Vehicles,” a group exhibition
Sara Nightingale Gallery, 668 Montauk Highway, Water Mill
Opening reception: Tuesday, August 23, 6-8 p.m.
artspace.com/christa-maiwald
Bio and recent work
Parrish Art Museum
The Cake and I on view in the “Home Sweet Home” permanent collection gallery through November
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5. John Ahearn, Nicolás Dumit Estévez, Brendan Fernandes, Alicia Grullon, Yoko Inoue, Joan Jonas, Kimsooja, Clifford Owens, Emily Roysdon, FF Alumns, at Rubin Museum, Manhattan, opening Sept. 21
THE SHELLEY & DONALD RUBIN FOUNDATION ANNOUNCES
ENACTING STILLNESS
SEPTEMBER 21, 2016 TO JANUARY 13, 2017
Opening Reception, Wednesday, September 21
from 6:00 to 8:00pm
We are pleased to announce Enacting Stillness, an exhibition that considers the political potential of slowing down and stopping as forms of resistance, protest, and refusal, opening on September 21, 2016 at The 8th Floor. An international group of artists in the exhibition engage in practices that challenge and upend our expectations for the continuity of performative compositions, lines of movement, and thought. Working with the disciplines of choreography, theater, moving image, sculpture and performance, the exhibition presents a multivalent reflection on political histories from the Americas to Europe and Asia, with projects that employ a range of gestures and time-based practices to question what unexpected ruptures like meditation, contemplation, rest, and the reversing of movement and time might mean to both the artist and the viewer. The exhibition will be on view September 21, 2016 to January 13, 2017 at The 8th Floor, the exhibition and programming space for The Shelley & Donald Rubin Foundation, located at 17 West 17th Street, New York City.
Enacting Stillness features artists John Ahearn, Rehan Ansari, Nicolás Dumit Estévez, Brendan Fernandes, Alicia Grullon, Yoko Inoue, Joan Jonas, Claudia Joskowicz, Kirsten Justesen, Kimsooja, Carlos Martiel, Bruce Nauman, Clifford Owens, Kameelah Janan Rasheed, Emily Roysdon, and Roman Stetina. Together, the artists in this exhibition reveal the parallel connections between art and political engagement, between stillness and activation. Each of the artists works with an economy of means to test the limits of performance – for the performer, the viewer, and the participant – provoking us to question how our own positions, whether still or in motion, connect to larger social and political concerns.
About The Shelley & Donald Rubin Foundation
The Foundation believes in art as a cornerstone of cohesive, resilient communities and greater participation in civic life. In its mission to make art available to the broader public, in particular to underserved communities, the Foundation provides direct support to, and facilitates partnerships between, cultural organizations and advocates of social justice across the public and private sectors. Through grantmaking, the Foundation supports cross-disciplinary work connecting art with social justice via experimental collaborations, as well as extending cultural resources to organizations and areas of New York City in need.The deadline for grant applications in 2016 is September 15. MailFilterGateway has detected a possible fraud attempt from “r20.rs6.net” claiming to be sdrubin.org
About The 8th Floor
The 8th Floor is an independent exhibition and event space established in 2010 by Shelley and Donald Rubin to promote artistic and cultural initiatives. Inspired by The Shelley & Donald Rubin Foundation, the gallery is committed to broadening the access and availability of art to New York audiences. Seeking further cultural exchange, The 8th Floor explores the potential of art as an instrument for social change in the 21st century, through an annual program of innovative contemporary art exhibitions and an events program comprised of performances, salon-style discussions, and those organized by external partners. MailFilterGateway has detected a possible fraud attempt from “r20.rs6.net” claiming to be The8thfloor.org
Join the conversation with the Shelley & Donald Rubin Foundation on Facebook (The Shelley & Donald Rubin Foundation), Twitter (@rubinfoundation) and Instagram (@rubinfoundation) with the hashtags #The8thFloor and #RubinFoundation #EnactingStillness
Contacts
For further information, members of the media may contact:
Mathilde Campergue/Tara Plath
Blue Medium Inc.
1.212.675.1800
mathilde@bluemedium.com
tara@bluemedium.com
George Bolster
The Shelley & Donald Rubin Foundation
1.646.738.3971
gbolster@sdrubin.org
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6. Julie Tolentino, FF Alumn, at Abrons Art Center, Manhattan, opening Sept. 25, and more
Curated by Josh Lubin-Levy
“Reexamine the space”
September 25 – October 23, 2016
Abrons Arts Center
466 Grand St.
New York NY 10002
Gallery Hours: Tuesday – Sunday, 11am – 6pm
And
Coming To Power: 25 Years of Sexually X-Plicit Art by Women
Organized by Pati Hertling and Julie Tolentino
Friday, September 9 – Sunday, October 16, 2016
Maccarone
630 Greenwich Street and 98 Morton Street
New York, NY 10014
maccarone.net
Maccarone will re-stage the landmark feminist exhibition Coming To Power: 25 Year of Sexually Explicit Art by Women, curated by Cantor at David Zwirner Gallery in 1993, which featured 25 seminal artists including Lynda Benglis, Louise Bourgeois, Nicole Eisenman, Zoe Leonard, Marilyn Minter, Lorraine O’Grady, Yoko Ono, and Hannah Wilke, among others. As a new iteration of Coming to Power, in dialogue with the themes of the original exhibition, Pati Hertling and Julie Tolentino will co-curate a performance program from a new generation of artists, including Niv Acosta, Jim Fletcher, FlucT, Xandra Ibarra/La Chica Boom, Kia Labeija, and Narcissister. For more information contact: press@maccarone.net
Major Multi-Venue Collaboration to Present the Work of Artist Ellen Cantor, Fall 2016 http://steinhardt.nyu.edu/80wse/gallery/ellencantor
From September to November 2016, the work of Ellen Cantor (1961-2013) will be featured in four concurrent exhibitions and a series of screenings and public programs. Exhibitions will take place at Foxy Production, Maccarone, Participant Inc, and NYU’s 80WSE Gallery, with public programs hosted by Skowhegan, and a screening of video works at Electronic Arts Intermix (EAI). The world premiere of Cantor’s film Pinochet Porn (2008-2016) will take place at The Museum of Modern Art, New York. This unprecedented collaboration between organizing venues and the Estate of Ellen Cantor seeks to open dialogue surrounding Cantor’s multifaceted and groundbreaking work.
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7. Royal Osiris Karaoke Ensemble, FF Alumns, at PICA Time-Based Art Festival, Portland, OR, Sept. 10-13
Here are the details of an upcoming engagement for Royal Osiris Karaoke Ensemble, who will present their work as part of of PICA’s Time-Based Art Festival in Portland, OR next month:
Royal Osiris Karaoke Ensemble
The Art of Luv (Part 1): Elliot
PICA’s Time-Based Art Festival
Portland, OR
Sat, Sept 10 @ 7pm
Sun, Sept 11 @ 7pm
Mon, Sept 12 @ 7pm
Tues, Sept 13 @ 7pm
Black Box Theatre, Performing Arts Bldg., Reed College
3203 SE Woodstock Blvd
Artist dialogue w/ Kate Bredeson, Tues, Sept 13 @ 12:30pm
The BridgeLab
511 NW Broadway, Room 136, Portland, OR
http://pica.org/event/royal-osiris/
On May 23, 2014, Elliot Rodger killed six people and injured 13 in Santa Barbara, California, in a rampage motivated by his lack of success with women-a fixation he had detailed in a series of confessional and defiant YouTube videos. New York City multimedia artists Royal Osiris Karaoke Ensemble respond to this wound to the body of Love with a modern-day ritual performance suffused with humor and experimentation. Mining source material ranging from self-help dating advice to confessional shopping videos, the group unpacks, isolates, and rearranges contemporary romantic mythologies and situates Rodger’s actions within a broader collection of found love stories and online video content. Within the sacred space of the performance, this “musical priesthood” will lead a group meditation on insecurity, longing, and masculinity, performing humanity’s common search for Love as we misunderstand it.
Royal Osiris Karaoke Ensemble (ROKE) has performed rituals at the Guggenheim Museum, Under the Radar Festival, FringeArts, Under the Radar’s Incoming! Series, Gibney Dance Center, Kate Werble Gallery, Special Effects Festival at Participant Inc., Prelude Festival, AUNTS Arts@Renaissance, and JACK. ROKE received a 2016 Creative Capital award for The Art of Luv series, and has been awarded a Franklin Furnace Fund grant (2013) and a BAX Space Grant (2014). They were part of the Public Theater’s Devised Theater Working Group and PS122’s RAMP residency program. They spent the summer of 2014 at the Skowhegan School of Painting and Sculpture and were 2015 CUNY Hunter Artists-in-Residence in ceramics. The Art of Luv (Part 1): Elliot is created with support from The Public Theater’s Devised Theater Working Group, Gibney Dance Center, The Skowhegan School of Painting and Sculpture, and a residency at CUNY City Tech. Royal Osiris Karaoke Ensemble is supported by Immediate Medium’s AGENCY program, which provides financial, administrative, and equipment support to emerging artists. The Art of Luv is a project of Creative Capital.
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8. Dahn Hiuni, FF Alumn, at Emerging Artists Theatre, Manhattan, Aug., 20-28
EMERGING ARTISTS THEATRE presents
AT THE 20TH ANNUAL NEW YORK INTERNATIONAL FRINGE FESTIVAL
In search of peace of mind and artistic truth, a gay New York performance artist confronts the ghost of his grandfather, a rabbi killed by the Nazis. A poignant, irreverently funny drama about the Holocaust, AIDS, and existential angst.
WITH
PETER LEVINE*
ISABELLA KNIGHT*
PETER B. SCHMITZ*
& JOEY GAMBETTA
*Appears Courtesy of Actors’ Equity Association
Original Music by YUVAL RON (Academy Award, West Bank Story)
Directed by LEWIS MAGRUDER
Five Performances Only:
AUG 20 at 9:30PM
AUG 23 at 9:15PM
AUG 24 at 9:30PM
AUG 25 at 3:45PM+ (Post-performance reception at FringeLOUNGE)
AUG 28 at 2:30PM
At the Historic
15 VAN DAM STREET
NEW YORK, NY 10013
BETWEEN VARICK ST & SIXTH AVENUE
Subway: C/E to Spring Street, 1 to Houston
CLICK HERE FOR TICKETS OR VISIT www.murmursplay.com
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9. David Everitt Howe, FF ALumn, at Pioneer Works, Brooklyn, thru Sept. 25
Hi there!
I just wanted to give a quick heads up that I’m curating a small solo show of Jimmy DeSana’s late abstract works, Remainders, at Pioneer Works. More information is below. It opens this Sunday, August 14th, from 6-8, during our Second Sundays event, and will be on view until September 25.
This work hasn’t been shown in about 21 years, so I’m excited to have it up!!
xDEH
Jimmy DeSana: Remainders
Pioneer Works, 2nd Floor Gallery
August 14 – September 25, 2016
Opening Reception: Sunday, August 14, 6 – 8pm
Growing up in Atlanta, Jimmy DeSana-a fixture of New York’s Lower East Side scene in the 1970s and 80s-was well-versed in the suburban vernacular; he had a penchant for making this most ordinary of settings spectacularly strange and stylized. In the Suburban series-the surreal photographs he is most known for-faceless models that are often nude and dressed simply in heels find themselves balancing chairs on their heads, crawling on all fours with their feet stuffed into caution cones, or dipping face-first into a kitchen sink overflowing with suds, all unusually hyper-saturated with color. The human body is made subservient to, if not synonymous with, the ordinary things that surround it. The clichéd, archetypal 9 to 5 existence of the nuclear family is thus made both otherworldly and instantly recognizable, hyper-sexualized yet comically inert.
Remainders features work DeSana made later in his life, when he largely abandoned the human body for objects that, through abstraction, are given larger-than-life, bodily qualities. Among other household items featured in his Abstracts series, spoons, balloons, flour, and aluminum foil are dreamily lit in spectral hues and stand out for their suggestive simplicity. They achieve an epic monumentality simply through their placement in space and play with scale. Made shortly after DeSana’s diagnosis with HIV in 1985 (which he would succumb to in 1990, at the age of 40), this work hasn’t been exhibited to the public since they were last shown at Pat Hearn Gallery in 1991 and 1995. It’s telling that in this series the human body is infrequently found. It’s as if in thinking about his own imminent absence, DeSana was also thinking about the objects that would remain without him and that somehow had come to define his, and our, existence. These ordinary items may not seem exceptional, but if DeSana was then they must be too, in some way, animated as they had been by his presence.
Curated by David Everitt Howe
David Everitt Howe (DEH)
347-452-5035
davideveritthowe@gmail.com
Online Art Editor, BOMB
david@bombsite.com
Curator/Editor, Pioneer Works
deh@pioneerworks.org
Contributing Editor, ArtReview
artreview.com
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10. Billy X. Curmano, FF Alumn, Deface Billy Project, deadline Dec. 10
Win Big! The Deface Billy Project contest:
Prizes, Archives and an opportunity to get in the exhibition “Enacting the Text: Performing with Words” at the Center for Book Arts (NYC) – October 7 through December 10, 2016.
ENTER FOR FREE. You don’t have to buy anything to enter the contest or to Deface Billy. Just download and print-out a copy of the form and grab your, Sharpie, Paint, Pen, Scissors or What-Not-Have-You, do your best and return your entry to the Center for Book Arts before the deadlines. With your help, the Center and curator Nicolás Dumit Estévez will take Billy X. Curmano’s 1981 “Deface Billy Project” – from the past, to the present and into the archives for the future.
DEADLINE FOR PRIZES Entries must arrive at Deface Billy c/o The Center for Book Arts, 28 W. 27th Street, Third Floor, NYC, NY, 10001 by 6:00 p.m. EST SEPTEMBER 26, 2016 Entries that arrive after the September 26, 2016 deadline are not eligible for prizes, but may still be archived and/or exhibited. The Final Deadline for submissions is DECEMBER 10, 2016.
Entry forms, official rules and a list of prizes are available online in the Library at www.billyx.net All entries become the property of the “Deface Billy Project”.
Billy X.
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11. Jibz Cameron, Barbara Hammer, Eileen Myles, FF Alumns, now online at queergenius.com
The new documentary feature film, “Queer Genius,” is nearing the end of production featuring four contemporary queer artists: Eileen Myles, Barbara Hammer, Jibz Cameron AKA Dynasty Handbag, and Shannon Funchess of the band Light Asylum. The portrait film explores both the complex personal histories and burgeoning creative practices of the artists from 2013 to the present. The terms “queer” and “genius” are examined and interrogated through these visionary artists and others. Learn more about the film and updates on a funding drive from director Catherine Pancake here: http://www.queergenius.com
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12. Nancy Azara, Howardena Pindell, Nancy Spero, FF Alumns, at SOHO20 Gallery, Brooklyn, September 16
(RE)PRESENT: A Feminist Dialogue Across Generations
SOHO20 GALLERY
56 Bogart Street
Brooklyn, NY 11206
(718) 366-3661
Friday, Sept 16, 2016, 6-8pm
“Manifestations of Anger/Violence in Art”
Anger is often used by artists as emotional fuel during their creative labors, and can be directed effectively into a personal and political statement. Artists such as Sue Koh, Howardena Pindell, Nancy Spero, and Kara Walker have integrated anger in their work through various methods and mediums.
What role does anger play in your creative practice? What role generally speaking might anger play in the creative process?
(RE)PRESENT 2016: What do we want from Feminism and how can we achieve it? Continuing in the tradition of the New York Feminist Art Institute, NYFAI (1979-1990). MailFilterGateway has detected a possible fraud attempt from “nancyazara.us3.list-manage.com” claiming to be www.nyfai.org
For further information contact: Nancy Azara at (917) 572-7461 nancy@nancyazara.com
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13. Penny Arcade, FF Alumn, August 2016 news
Penny Arcade Tours Longing Lasts Longer
Eminent avant gardist Penny Arcade, The New York Times recently acknowledged her as one of the artists and thinkers that “Made NY” , is New York’s undisputed queen of the underground, where she has been NY’s best kept secret for two decades. Penny returns to the USA after touring Europe and Australia with Longing Lasts Longer, “a rampage through opinions and themes garnered over four decades spent perched on society’s edge.”(The Australian)
Blending her signature rock and roll poet’s theatre, her comedy of cultural critique and memoir fueled by a pulsing live mixed soundtrack of the most iconic music of the past 50 years, Arcade powers and dances through an hour where she dissects gentrification, Facebook, the power of individuality,and critiques the suburbanization which has taken over so many urban centers including New York City, turning the Big Apple into the Big Cupcake, and the city that never sleeps into the city that can’t wake up. Longing Lasts Longer celebrates the individuality and authenticity that still draws eclectic, independent minded people, young and old to New York City
“A meditation on gentrification [that] mixes social criticism and pop culture, history and humor to present the artist’s distinctive picture of New York’s past, present and future, against a musical backdrop.” – The New York Times
“a wake-up call to a younger generation” – The Australian
August 21st at 8pm and on 22nd at 9.30pm
Theatre Glej
Lljubliana, Slovenia
http://www.bunker.si/eng/archives/8178.
Groningen Holland
https://www.noorderzon.nl/en/programme/programma-items/penny-arcade
August 25, 26, 27 SOLD OUT
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14. Rebekah Benson, FF Alumn, now online at youtube.com
Please visit this link:
thanks
Rebekah
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15. Peter Cramer, Jack Waters, FF Alumns, at Le Petit Versailles, Manhattan, Aug. 27
Le Petit Versailles/Allied Productions,Inc. presents
FONTANAP(S)
by Katherine Liberovskaya with Keiko Uenishi.
A video-audio lounging evening around a fountain, featuring “Amplifontana”, a fountain-sculpture-video-audio installation by Katherine Liberovskaya,
live interventions by Keiko Uenishi, and fountain cocktail drinks…
8-10pm Saturday August 27th. @ LE PETIT VERSAILLES COMMUNITY GARDEN
346 E. Houston St. / 247 E. 2nd St.
RAIN OR SHINE
J/M to Delancey/Essex; F to 2 Av 212-529-8815
www.alliedproductions.org
www.facebook.com/groups/LePetitVersailles
Katherine Liberovskaya is an intermedia artist based in Montreal and New York. Involved in experimental video since the 80s, she has produced numerous videos, video installations and performances shown around the world. Since 2001 her work predominantly focuses on the intersection of image and sound, in solo video-audio installation/environments and often in collaborations with composers and sound artists notably in live video+sound performance. Frequent collaborators include Phill Niblock, Al Margolis/If,Bwana, Keiko Uenishi, David Watson, Shelley Hirsch…among many others. Concurrently she curates and organizes the Screen Compositions evenings at Experimental Intermedia, NYC, since 2005 and the OptoSonic Tea series with Ursula Scherrer at Diapason, NYC, since 2006. In 2014 she completed a PhD in the Study and Practice of Art entitled “Improvisatory Live Visuals: Playing Images Like a Musical Instrument” at the Universite du Quebec in Montreal (UQAM).
Keiko Uenishi, currently splitting her time between Brooklyn, New York and Vienna, Austria, sound art¬i¬vist, socio/environ composer, is known for her works formed through experiments in restructuring and analyzing one’s relationship with sounds in sociological, cultural, and/or psychological environments. She is obsessed with questioning and re¬imagining the definitions of space through aural perceptions. Uenishi is currently working on a doctoral research titled “Partitions: Dividers, Connectors, Gray¬zones, Neighbours in Aural Space,” for which she collaborates with people in Brooklyn, NY; Vienna, Austria; Maebashi, Gunma, Japan. She is also a core member of SHARE.nyc (MailFilterGateway has detected a possible fraud attempt from “l.facebook.com” claiming to be http://share.dj/share) since 2001. More info MailFilterGateway has detected a possible fraud attempt from “l.facebook.com” claiming to be http://soundleak.org/
Le Petit Versailles events are made possible by Allied Productions, Inc., Gardeners & Friends of LPV, GreenThumb/NYC Dept. of Parks, Materials for the Arts, the NYC Dept. of Cultural Affairs, and the Office of City Councilwoman Rosie Mendez. LPV Exhibitions are made possible with public funds from the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.
P.O. Box 20260
Tompkins Square Station
New York, NY 10009
USA
(212) 529-8815
alliedproductionsmail@earthlink.net
http://www.alliedproductions.org/
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16. Barbara Hammer, FF Alumn, now online at poetry.arizona.edu and more
Barbara Hammer, FF alum screens her Guggenheim-funded film on Elizabeth Bishop,
Welcome to this House, 2015, 79 minutes, HD, color with music by Joan La Barbara at
The Loft, Tucson, Arizona sponsored by The Poetry Center, University of Arizona at Tucson.
http://poetry.arizona.edu/calendar/welcome-house-film-barbara-hammer-loft
and
2 Person Exhibition
Barbara Hammer & Oswald Oberhuber
Sep 17-Nov 6, 2016
Opening Friday Sep 16, 6-9 pm
Drawings, Paintings, Video
Barbara Hammer und Oswald Oberhuber sind zwei Pioniere ihrer Generation. Geboren 1939 in Hollywood und 1931 in Südtirol, haben beider Lebenswerke je ein Stück Kunstgeschichte mitgeschrieben, und dabei auch ein Stück Gesellschaftsgeschichte. Beider Engagement reicht über ihr Werk hinaus und über mehrere Dekaden hinein in den intellektuellen und kulturpolitischen Diskurs. Beide galten seit den 50er bzw. 60 Jahren bis heute für viele als Beispiel eines künstlerischen Rollenmodells, das sich aus Konventionen herausboxte, öffentlich positionierte, das Soziale anders dachte und dabei das eigene Selbst in den Betrieb hineinstellte, der Mächte, Stimmen, Körper, Finanzen und Identitäten arrangiert – und für das Uneinverständnis mit diesen Verhältnissen eintrat oder für deren Umgestaltung.
Barbara Hammer und Oswald Oberhuber liefen sich nie über den Weg. Hammer wirkte von San Franciscos und später New York, Oswald Oberhuber zunächst von Salzburg und dann von Wien aus. Es mag etwas verwegen sein, diese zwei Freigeister verschiedener Herkunft heuer zusammenzubringen, und doch: Es lässt sich eine Geschichte erzählen, in der beide sich kennen. Diese Geschichte müsste damit beginnen, dass die Umstände in den USA wie in Österreich seinerzeit nicht günstig waren für Leute, die etwas anderes im Sinn hatten als die gegebene Sitten und Gebräuche, und dann viel daran setzten, sich andere einfallen zu lassen. Beide traten gegen die kanonische Einhegung von Subjektivität an.
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17. Thomas Waters, FF Alumn, at Nue Kirche Art Center, Pittsburgh, PA, Aug. 26-Nov. 6
I wanted to let you know about a show I have opening at the Nue Kirche Art Center here in Pittsburgh
Doll House
runs August 26- Nov 6
Thomas Waters
thomaswaters@mac.com
about.me/tcwaters
thomascwaters.com 2012 Beacons of Equality Award Winner; 2015 Best of the Burghosphere Award Winner!
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18. Harley Spiller, FF Alumn, now online at medium.com and more
Please visit this link for an illustrated excerpt from my book about money:
https://medium.com/@PAPress/colorful-men-of-money-d4cf3a0b0ea4#.4moh8keeu
and this link for a story about a game for rainy days
Thank you.
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Goings On is compiled weekly by Harley Spiller
