Content for December 04, 2017
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1. Fernando Coco Bedoya, FF Alumn, at Brown Univ., Providence, RI, thru Jan. 12, 2018
2. Lucio Pozzi, FF Alumn, at Galleria Corraini Arte Contemporanea, Montova, Italy
3. Sabrina Jones, FF Alumn, at SVA, Manhattan, Dec. 5
4. Linda Sibio, FF Alumn, at Copper Mountain Mesa Community Center, Joshua Tree, CA, Dec. 9, 2017-Sept. 2018
5. Sean Leonardo, FF Alumn, at Smack Mellon, Brooklyn, thru Dec. 31, and more
6. Brian O’Doherty, FF Alumn, at Miami Beach Convention Center, FL, Dec. 7-10
7. Ayana Evans, Hector Canonge, Alicia Grullon, Hee Ran Lee, FF Alumns, at Ocean Terrace Hotel, Miami Beach, FL, Dec. 8 and more
8. Kal Spelletich, FF Alumn, at The Luggage Store, San Francisco, CA, Dec. 8 and more
9. Ray Johnson, FF Alumn, at Museum Frieder Burda, Baden-Baden, Germany, opening Dec. 9
10. Halona Hilbertz, FF Alumn, at Qingdao Sculpture Gallery, China, opening Dec. 8
11. Hector Canonge, FF Alumn, at Smack Mellon, Brooklyn, thru Dec. 31, and more
12. Dakotah Murphree, Xinan Ran, FF Interns, at Pratt Institute, Brooklyn, Dec. 11
13. Zackary Drucker, Taylor Mac, Andy Warhol, FF Alumns, in The New York Times, Dec. 2
14. Doug Skinner, Richard Kostelanetz, FF Alumns, announce new publication
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1. Fernando Coco Bedoya, FF Alumn, at Brown Univ., Providence, RI, thru Jan. 12, 2018
Fernando Coco Bedoya will be exhibiting works from his trepanation series in
FAKE! A Gallery of the Inauthentic
Brown University, Pembroke Hall
172 Meeting Street, First Floor
Opening Dec. 4, 5-6 pm
Continuing through Jan. 12, 2018
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2. Lucio Pozzi, FF Alumn, at Galleria Corraini Arte Contemporanea, Montova, Italy
Lucio Pozzi
Stanze # 5
PICCOLE SCULTURE /Small Sculptures 2000 – 2017
Galleria Corraini Arte Contemporanea
Via Ippolito Nievo 7a
46100 Mantova, Italy
December 2017 – end of January 2018
Opening Dec. 12, 6:30 PM.
The exhibition is centered on ceramic works of the size of a hand, which may be placed on a shelf of hung on the wall. They are mostly made of enameled clay strips or sheets, piled on one another or cut up, inserted, scattered, twisted.
Having explored the third dimension since ever, I like to think of it as an extension of painting. It’s a matter of interaction with the site and the viewers’ movements. Other explorations complement the small ceramics in this show: aluminum casts, bronzes and brass casts of the Copy Cat group (found things placed next to their metal copy). There are formations of sprued brass, rope-constrained vases. Similar objects are differentiated by subtle changes.
[Special thanks to the pottery master Riccardo Fiorini and the Pino Castagna studio for hosting my experimentations.]
‘Stanze’ is a title that not only means rooms in the Italian language, but also the units combining in a poem or song. The Stanze exhibitions present small selections of artworks of a similar kind spanning a range of years. They testify that I don’t evolve in a sequential line but rather in cycles which bring me back again and again to ways I have already experienced in the past. Stanze shows have a flexible schedule, are sometimes almost private, and happen in galleries, institutions, art places or other. For every show, I publish for my private use a file card or brochure in the A4 format, in which all the works are reproduced small, like a page of a General Catalogue.
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3. Sabrina Jones, FF Alumn, at SVA, Manhattan, Dec. 5
Dear Friends,
I’m inviting you to celebrate the new issue of World War 3 Illustrated, which includes my comic strip “Peace Pilgrim” about an extraordinary activist and mystic who really walked the walk.
Artists from WW3 will be presenting excerpts from the magazine
Tuesday, December 5th, at 7PM
School of Visual Arts Auditorium
209 East 23rd St NYC, Room 311
I’d love to see you there. Admission is free and open to the public.
We will also witness the launch of a new daily political art website: “Opp Art” -sponsored by The Nation magazine.
Sincerely,
Sabrina
Visit www.sabrinaland.com to learn about Our Lady of Birth Control and more.
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4. Linda Sibio, FF Alumn, at Copper Mountain Mesa Community Center, Joshua Tree, CA, Dec. 9, 2017-Sept. 2018
High Desert Test Sites Presents
“The Insanity Principle Workshops”
Exploring the Intersection of Insanity and Creativity for All Artists
Taught by Linda Carmella Sibio
Dec. 9, 2017/Jan. 13, Feb. 10, March 10, April 14, 2018
Every Second Saturday Through Sept. 2018
At Copper Mountain Mesa Community Center in Joshua Tree
Joshua Tree, CA ¬- December 9, 2017 – High Desert Test Sites presents “The Insanity Principle Workshops” taught by painter and performance artist Linda Carmella Sibio every second Saturday through April 2018 in Joshua Tree. The workshops include a variety of multilayered psychological techniques, developed by Sibio, tapping into memory, play, and personal narrative as a source for art making. Classes are two hours long and are scheduled on the second Saturday of every month, with an upcoming class on December 9 from 2:00pm to 4:00pm. “The Insanity Principle Workshops” will be held at Copper Mountain Mesa Community Center located at 65336 Winters Road in Joshua Tree, CA 92252.
A $30 minimum donation is requested (all proceeds go to the artist). For questions and to reserve a spot, please email info@highdeserttestsites.com or call the artist at 760-808-5326. The Facebook event page is here: https://www.facebook.com/events/1912697139053468/.
“These classes were initially developed when I worked with disabled individuals on Skid Row in Los Angeles,” says Sibio. “That project led me to realize that these tools, that explore personal experience through a variety of methods, are an empowering way for every genre of artist to harness inner creativity while digesting the insanity in their lives.”
“The Insanity Principle Workshops” Description –
The workshops explore the philosophy of chaotic thinking, multiple storylines, and insanity principle insights into how emotions work in the body. The class includes fragmentation, interrupters, and the psychological model as methods of making art.
Participants should wear clothing that will allow them to move freely and do unusual things. They should bring a healthy snack as the schedule includes a short break. Attendees are also encouraged to bring high-quality drawing paper, Charkole, kneaded erasers, a #2B pencil, as well as any objects they may want to work with such as musical instruments, found objects, and/or costumes.
Workshop Schedule –
All classes are held at Copper Mountain Mesa Community Center on the second Saturday of the month from 2:00pm to 4:00pm through September 2018
– December 9, 2017
– January 13, 2018
– February 10, 2018
– March 10, 2018
– April 14, 2018
“Trapped” by Linda Sibio
(8′ x 4′ – Gouache on Paper with Sumi Ink)
Linda Carmella Sibio –
Linda Carmella Sibio’s practice investigates the fringe of society, exploring how it affects culture. Madness has been a dominant theme in her work, having been influenced by her own diagnosis as schizophrenic and her mother’s incarceration in mental hospitals in West Virginia during Sibio’s childhood. Sibio’s philosophy reflects a combination of personal experience and intellectual pursuits. She has been influenced by Duchamp’s “The Bride Stripped Bare by Her Bachelors, Even,” Foucault’s Madness and Civilization, Artaud’s The Theatre and its Double, and Deleuze and Guattari’s Anti-Oedipus. Her work addresses strong social themes such as homelessness, mental illness, and the underbelly of society. Sibio is interested in the raw power of human emotional contact.
She has received over 20 grants and awards including a Lannan Foundation Grant and a Rockefeller MAP Fund Award. Most recent grants received are the Wynn Newhouse Award and the Tree of Life Award. Her work has been seen at Brussels Contemporary Art Fair, Walker Art Center, Franklin Furnace, VSA Arts at the United Nations Headquarters, VSA Arts at the Kennedy Center, Armory NYC, Highways Performance Space, Los Angeles Contemporary Exhibitions, Track 16, REDCAT Studio, and Scope Los Angeles at the Standard Hotel. Sibio has received media coverage in ArtNet, Art Week, CBS ‘Eye on the Desert’, Clinical Psychiatry News, Coachella Valley News, Colliding Worlds, Creator’s Project, Desert Post Weekly, Drama-Logue Magazine, High Performance, LA Reader, LA Style, LA Weekly, Los Angeles Times, MinnPost (Max About Town), New York Times, Palm Springs Life, Schizophrenia Bulletin, The High Desert Star, and The Sun Runner. She is represented by Andrew Edlin Gallery in New York.
High Desert Test Sites –
High Desert Test Sites, founded by artist Andrea Zittel, is a non-profit organization that supports intimate and immersive experiences and exchanges between artist, critical thinker, and general audiences – challenging all to expand their definition of art to take on areas of relevancy. The organization’s mission is inspired by those visionary artists who have made their work their life practice – who create intellectually rigorous and culturally relevant work regardless of the market or other outside factors. HDTS programs include guides to the high desert’s cultural test sites, immersive excursions, solo projects, workshops, publications, and residencies.
“The fragmented thinking of the schizophrenic is a window into the placement of our culture. We are living in a deconstructed world, no longer thinking linear thoughts,” says Sibio. “Our perceptions are continually interrupted by television, the internet, video surveillance, and the media – we no longer have a single thought; we think in multilayered complex patterns. For our culture to go forward, the darkness of the dismembered body needs to come into the light. We need to fragment to become whole again.”
Contact –
Linda Carmella Sibio
760-808-5326
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5. Sean Leonardo, FF Alumn, at Smack Mellon, Brooklyn, thru Dec. 31, and more
Fall 2017
Performances
Smack Mellon: UPROOT
November 18 – December 31, 2017
Smack Mellon | 92 Plymouth Street | Dumbo | Brooklyn
UPROOT presents the work of artists who are urgently engaging with the current state of affairs since the 2016 presidential election. Over the past year, artists have been motivated to use their creative practice as a vehicle for challenging the divisiveness of the present administration. Some artists are confronting important topics headlong, producing compelling protest art. Others are expressing their beliefs more subtly, attempting to make sense of complicated issues and uncovering suppressed narratives.
Performance Workshop | Saturday | December 9 | 2pm
Mirror/Echo/Tilt
Operating out of the Recess satellite space in Downtown Brooklyn, Assembly is at once a public storefront gallery and an artist-led diversion program for court-involved youth in partnership with Brooklyn Justice Initiatives. Assembly seeks to dismantle the dominant narratives of the “criminal” through a series of workshops designed by artists Melanie Crean, Sable Smith and Shaun Leonardo, in collaboration with individuals who are court-involved, formerly incarcerated, or otherwise affected by the criminal justice system. Through a curriculum based on visual storytelling, participants translate personal narratives into performance in order to replace a culturally embedded conception of criminality with new language so that the mind and body may think, feel, and move in a way not defined by their previous experience with arrest and incarceration.
Join Smack Mellon Studio Program artist-in-residence Shaun Leonardo, along with Assembly youth, for a public-participatory performance informed by the Assembly curriculum and co-created by our collaborators.
This performance will be documented and require audience involvement.
Find out more….
Viewed above and at bottom: Assembly Program, Recess, 2017. Photos by Kaz Sakuma. Courtesy of Alloy.
No Longer Empty: Hold These Truths
November 13, 2017 – March 14, 2018
The Nathan Cummings Foundation | 475 Tenth Avenue | 14th Floor | NYC
A reference to the Declaration of Independence, Hold These Truths embodies both a fragment of a sentence that represents an incomplete history of justice and a call to assert diverse realities. The divisiveness of our political landscape, complicated by such concepts as “alternative facts” and “fake news” serves as a backdrop for works that expose the hollowness of proliferating misrepresentations in the name of power, both historically and in our present moment. Reflecting on narratives from multiple sources in a rapidly changing social and governmental landscape, the exhibition includes work by artists who employ strategies ranging from editing and re-framing to appropriation and enactment. Their work collectively seeks to dismantle prevailing constructs of national identity, and observe the right to challenge the very mechanisms that exclude expression and participation.
Performance Workshop | Saturday | December 16 | 2-4pm | Room: Library & Commons
Testimony #1: Interactions with Police
Join artist Shaun Leonardo for a closed, public-participatory performance where guests will locate intensely contested current affairs within their bodies. Utilizing the shifting perspectives embedded in testimony, news reports, and memory as a backdrop, participants will be asked to translate their experiences into performative gestures. While embodying the texts the group will enact different identities, elusively tying each person in the room to one another.
This workshop and performance will be tailored to exactly 24 guests and require that, at times, participants wear blindfolds. Those interested should RSVP here and arrive with either a written or memorized testimony connected to the prompt: Interactions with Police
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6. Brian O’Doherty, FF Alumn, at Miami Beach Convention Center, FL, Dec. 7-10
Brian O’Doherty
at Art Basel Miami Beach
7-10 December 2017
Miami Beach Convention Center
Simone Subal Gallery, Survey: Booth S16
Curated with Prem Krishnamurthy
This solo booth spotlights the multifaceted work of polymathic artist and writer Brian O’Doherty (b. 1928). Challenging accepted art historical categories, O’Doherty (a.k.a. Patrick Ireland) provokes novel interactions between visitors, artworks, and their contexts of presentation. For Art Basel Miami Beach 2017, Simone Subal Gallery presents rarely-exhibited paintings, drawings, and sculptures from the 1960s and 1970s, as well as a new “rope drawing” installation. Together, these varied works following a strand of thinking that connects the artist’s synthesis of encoded language and bodily experience with abstract linear form.
The booth revolves around several significant works. Pair (1967) is a monumental, two-piece sculpture featuring mirrored angles that reflect both the viewer and the environment. Featured in Gregory Battcock’s landmark 1968 volume Minimal Art: A Critical Anthology, this iconic sculpture prefigures O’Doherty’s celebrated mirrored works, which are also on view here. These “Ogham sculptures” incorporate an ancient linear Celtic code. Recurring in O’Doherty’s work, Ogham is resonant with embedded significance and legible to the instructed eye. A work from this series is currently on view in the exhibition “Delirious: Art at the Limits of Reason, 1950-1980” at The Met Breuer, New York.
These objects stand in dialogue with linear works such as Portrait of Marcel Duchamp: Three Leads (1966), a kinetic sculpture from an electrocardiogram that O’Doherty (also a trained doctor) took of Marcel Duchamp’s heartbeat. Conceptually reanimating the elder artist, the spiked pulse of the EKG becomes a line drawing to encapsulate time, frequency, and life-essence itself. A new rope drawing, the most recent in an ongoing body begun in the early 1970s as a challenge to the so-called “white cube,” requires the viewer’s movement and vision to complete a perceptual image. Augmented by drawings and paintings from the late 1960s through 1970s, the booth at Art Basel Miami Beach 2017 offers an investigation of abstraction as a way to hold meaning.
BRIAN O’DOHERTY (b. 1928, Ireland) has led a remarkable and multifaceted career. After working and researching as a medical doctor, he relocated to the USA, where he hosted two television shows on art and culture, interviewing figures like Edward Hopper and Cassius Clay. O’Doherty served as art critic for The New York Times and as editor of Art in America magazine. He edited and designed the groundbreaking “conceptual issue” of the multimedia magazine-in-a-box Aspen, as well as authored the seminal essay series “Inside the White Cube.” While part-time director of the National Endowment for the Art’s visual arts and media program, he helped make Soho a magnet for artists, coined the term “alternative space,” and championed early video art. From 1972 to 2008, he worked as an artist under the pseudonym Patrick Ireland. O’Doherty / Ireland has mounted over forty solo exhibitions, and was the subject of several career-spanning surveys, most recently at NYU’s Grey Art Gallery (2007) and P! / Simone Subal Gallery (2017, 2014). Recent group shows include The Met Breuer (2017); MoMA PS1 (2016); Hessel Museum of Art, Bard College (2016); Austrian Cultural Forum New York (2016); Hamburger Bahnhof (2015); and Centre Pompidou (2015). His recent exhibitions have received praise from publications such as The New York Times, Artforum, and Art in America. O’ Doherty is the author of several novels, including The Deposition of Father McGreevy (2000), which was nominated for The Man Booker Prize. He lives and works in New York with his wife, art historian Barbara Novak. Simone Subal Gallery has represented O’Doherty since 2013.
For more information, please contact info@simonesubal.com.
P!
MAILING ADDRESS ONLY:
167 BOWERY, 3RD FLOOR
NEW YORK NY 10002
P-EXCLAMATION.COM
INFO@P-EXCLAMATION.COM
Visit P! on Facebook
Follow @p_exclamation on Twitter
Follow @p_exclamation on Instagram
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7. Ayana Evans, Hector Canonge, Alicia Grullon, Hee Ran Lee, FF Alumns, at Ocean Terrace Hotel, Miami Beach, FL, Dec. 8 and more
Thursday Dec 7 at 4 pm Prizm Art Fair will host a performance by Franklin Furnace alumna, Ayana Evans.
For Prizm this year Ayana Evans will explore the transfer of Blackness, both historically and contemporary. Her recent 360 video collaboration with artist Olivia McGilchrist, ‘I (-S-) LAND’ will stream throughout this performance. Issues of black womanhood, control of self, colonial/gentrifying structures and personal freedom will be explored through aggressive and pacifying movements in this new conceptual work. This will be a participatory piece that begins in Prizm and travels within a one block radius. Evans is known for pushing boundaries and asking us to reconsider what is normal. Prepare for your mind to be stretched. LOCATION: 145 E Flagler St, Miami, FL 33131
Friday Dec 8th 7 pm – 10 pm Satellite Art Fair will showcase “Slick and Gritty,” a pajama party film screening during Miami Basel, followed by a mimosa panel discussion. Ayana Evans as been invited by performanceisalive.com to curate this performative experience at Satellite Art. Satellite is an independent art fair that showcases emerging artists. LOCATION: Ocean Terrace Hotel, 7410 Ocean Terrace, Miami Beach, FL.
Short art videos by the 17 artists/art groups listed below will be projected (large) movie theater style. throughout the evening. A cozy environment will be styled by our hosts and YES everyone is encouraged to wear their pajamas to the event!
The event is a fund raiser for the family of our fellow performer and friend, Geraldo Mercado whose family lives in Puerto Rico. All donations at the door are welcome! Nothing is too small. Email ayana.m.evans@gmail.com if you would like to donate online, but can’t attend the event,
Panel Discussion Participants:
Ayana Evans (moderator), Nyugen Smith, Alicia Grullon, Zavé Mortohardjono, Hector Canonge, Dominique Duroseau, and Tsedaye MaKonnen
Video Screening Participants:
Alicia Grullon, FF Alumn
Autumn Knight
Carlos Salazar-Lermont
David Ian Bellows/Griess and Elizabeth Lamb
Dominque Duroseau
Geraldo Mercado
Hector Canonge, FF Alumn
Hee Ran Lee, FF Alumn
K. Yoland
Lisette Morel
Nyugen Smith
Olivia McGilchrist with Ayana Evans, FF Alumn
Sean Wang
Tsedaye McKonnen
Viva Ruiz
Vivian Chinasa Ezugha
Zavé Mortohardjono
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8. Kal Spelletich, FF Alumn, at The Luggage Store, San Francisco, CA, Dec. 8 and more
Hi,
https://www.youtube.com/watch?v=yrKVwtqID7o
DATE CORRECTION! Friday Dec. 8
Illegal Exhibit: Lawyer Night Dec. 8, 7:30 at The Luggage Store. Free. My two good friends and lawyers are speaking on getting in and out of legal jams and whatever you want to ask them. And, come see the exhibit I curated one last time.
FREE!
Artists Survival Techniques & the Law w/Matt Gonzalez+Ragii DA LAWYER
https://www.facebook.com/events/1493060597444326/
–
Dec. 18-Jan. 4th I will be in Paris and Madrid and thereabouts. If you know of anything I should do see or eat, let me know. Performances at select Locations.
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Jan. 19, 2018 At The Jules Maeght Gallery in San Francisco, Ca. 149 Gough St, San Francisco, CA.
https://julesmaeghtgallery.com/
A Print release event with 2 new etchings produced at the Maeght Editions this past year in Paris France. I couldn’t be happier. There will be libations, surprises Scientist Pete Goldie pontificating on Black holes, astronomy, metaphysics and ……. to name a few things, he will be embedded in a disco ball robot light and time machine. This is true.
–
HFG University in Karlsruhe, Germany on Feb 9-11, 2018. And Berlin on Feb.1-7
And I will be out and about the continent a bit then as well.
–
There will most likely be more, but this will do for now.
All powers to you,
Kal
http://kaltek.wordpress.com/http://kaltek.org/
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9. Ray Johnson, FF Alumn, at Museum Frieder Burda, Baden-Baden, Germany, opening Dec. 9
RAY JOHNSON
PICASSO QUEEN
DECEMBER 9, 2017 – MAY 21, 2018
MUSEUM FRIEDER BURDA
BADEN-BADEN
LICHTENTALER ALLEE 8 B
76530 BADEN-BADEN, GERMANY
+49 (0)7221 39898-0
OPEN TUESDAY THROUGH SUNDAY, 10:00 – 6:00
The presentation on the mezzanine of Museum Frieder Burda shows some 20 collages by the American artist Ray Johnson (1927-1995).
His breathtaking works, forerunners to pop-art, have yet to become known to a broader audience but as the founder of mail art, this important artist enjoys a reputation among experts and practitioners as a legendary outsider. After completion of his studies at the famous avant-garde Black Mountain College in North Carolina, Johnson moved to New York in 1948. Basing his work on examples of Dadaist collages, he began developing his own playful moticos, small-scale collages in which he plays out formal processes of abstraction with tender drawings, newspaper and magazine cuttings, brands and trademarks and other random elements, compressing them into scurrilous material treasures. By appropriating American mass media in the early 1950s and drawing inspiration from pop culture, his witty and vivacious art put him one step ahead of pop art heroes such as Andy Warhol, Jasper Johns or Robert Rauschenberg.
The works being exhibited come from the Frieder Burda Collection and the Ray Johnson Estate in New York. This showcase exhibition is a continuation of the concept, whereby individual pieces from the Frieder Burda Collection are presented in new and different ways in the course of changing exhibitions. Hence, the mezzanine of the museum acts as a living place of observation in which visitors can experience the multi-faceted nature of the Collection.
Ray Johnson: Picasso Queen coincides with the exhibition AMERICA! AMERICA! HOW REAL IS REAL?, which presents how artists from the 1960s to this day have commented on the American reality. With 70 masterpieces of contemporary US art, such as Andy Warhol’s Race Riot (1964), Jeff Koon’s life-size sculpture Bear and Policeman (1988) or Jenny Holzer’s neon writing installation Truisms (1994), the exhibition invites visitors to an excursion into the heart of America’s visual culture.
THE RAY JOHNSON ESTATE
34 EAST 69TH STREET
NEW YORK, NY 10021
TEL 212-628-0470
WWW.RAYJOHNSONESTATE.COM
INFO@RAYJOHNSONESTATE.COM
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10. Halona Hilbertz, FF Alumn, at Qingdao Sculpture Gallery, China, opening Dec. 8
Hi,
I’m showing art pieces from 2002/2003 & 2017 at the Qingdao Sculpture Gallery, opening this Friday, December 8. Gotta brush up on the ol’ Mandarin… Kidding! I’m sad to say I don’t speak or read any Chinese. But I did buy myself a little pocket dictionary that is pretty fascinating. If you happen to find yourself in that part of the world, come by for the opening! I’ll be there.
xhalona
“Europe in China: Contemporary Sculpture Exhibition from Germany, Austria and Switzerland”
Dec. 8, 2017 – Jan. 28, 2018
RECEPTION Fri. Dec. 8, 3 – 6pm
Qingdao Sculpture Gallery
No. 66, Donghai East Road
Laoshan District, Qingdao
China
Hosted by the Qingdao Urban Planning Bureau & the China Academy of Sculpture.
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11. Hector Canonge, FF Alumn, at Smack Mellon, Brooklyn, thru Dec. 31, and more
HECTOR CANONGE, FF Alumn presents the new initiative NeXus, Transcontinental Performance Art Platform, during Miami Art Week (December 7-10), and exhibits “DESGARRO” at Smack Mellon (Through December 31).
NeXus
Transcontinental Performance Art Festival, Miami Art Week 2017
December 9th, 8-11 PM – EDGE ZONES ART GALLERY
December 10th, 2-5 PM – Public interventions in LUMMUS PARK, South Beach
ARTerial Performance Lab (APLAB) in collaboration with PerForMIA and hosted by Edge Zones Project presents the program NeXus during Miami Art Week. NeXus, a new initiative organized and curated by Hector Canonge, will feature new works by local, national, and international artists during Miami Art Week. Hosted by Edge Zones Art Gallery, Miami’s leading performance art venue, created and directed by Charo Oquet, NeXus will present new performance art works by selected artists. For its first edition, NeXus curatorial theme explores and treat notions of human (dis)connections, personal binds, social (re)attachements, misplaced identities, and focal (dis)placements. As a new initiative, NeXus will bring diverse manifestations of performance art where the body is at the center of artistic expression, corporeal examination, and challenging execution.
More information: NeXus
Through December 31, 2017
DESGARRO (TEARING)
Site-Responsive Installation and Video Performance Documentation
Uproot Fall Exhibition, Smack Mellon Gallery
92 Plymouth Street Brooklyn, NY
DESGARRO (TEARING) treats notions of psychological uprootedness, and forced physical relocation. The project relates to the present state of migratory reform politics in the United States. In particular, to the Deferred Action for Childhood Arrivals (DACA). As children, many “Dreamers” were brought here by their parents. They grew up not knowing any other country, but the United States as their own. Though they may feel connected to their parents’ homeland, their upbringing makes them “American.” Through this project, Canonge explores the notion of tearing one’s position in the world. The “desgarro” (the tearing apart) is a form of segregation, displacement, and control. The performance took place during the opening of the exhibition. Audiences are able to experience the piece through the installation and video documentation of Canonge’s performance.
More information: www.hectorcanonge.net
The complete illustrated article is at the link directly below. Text only follows below the link.
https://www.artforum.com/picks/section=eu#picks72696
Amsterdam
Anna Banana
KUNSTVEREIN AMSTERDAM
Hazenstraat 28
October 21-January 13
View of “Anna Banana,” 2017. From left: second “Town Fool” costume, 1972; costume for the “Banana Olympics,” 1975; costume for the “Banana Olympics,” 1980.
Anna Banana’s exhibition in Amsterdam is her first comprehensive retrospective in the Netherlands, a remarkably compact overview of her prolific practice as a performance artist, publisher, collector, costume designer, and integral contributor to the International Mail-Art Network (IMAN). The guiding principle of her work is interactivity, with the fruit of her nom de plume as the central visual element. A window display starts off the show with three illustrious costumes, including a rainbow patterned outfit made for her 1971-72 “Town Fool” project in Victoria, Canada, the piece which initiated her formal transformation into Anna Banana prior to her official name change. The other two ensembles were made for her famously uncanny “Banana Olympics” events in San Francisco and at Bear Creek Park, in British Colombia, in 1975 and 1980, respectively. It’s inside the exhibition, though, that the true gravity of her work is revealed.
Two vitrines in the middle room contain a decades-spanning collection of her meticulously designed, self-published magazines, including issues of Artist Stamp News (1988-96) and Banana Rag (1971-91/1996-2016), as well as editions of Artiststamps, 1991, documenting the history of both Artist Stamp News and works by other mail-art artists. On one side of a yellow tiled carpet is an arrangement of videos recording several significant performances, most notably her pseudo-scientific “Proof Positive Germany Is Going Bananas” tour through Germany in the mid-nineties. And, finally, there are eight editions of VILE magazine-her platform created to counter FILE magazine’s claim in the 1970s that mail-art was dead-which she self-published between 1975 and 1980.
The artist’s fascination with Dadaistic humor, the social impulse toward self-diagnosis, and the Bohemianism of the late sixties and early seventies is resilient and ever-present. Her inimitable persona makes her ongoing practice still pertinent in every respect.
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12. Dakotah Murphree, Xinan Ran, FF Interns, at Pratt Institute, Brooklyn, Dec. 11
I wanted to invite you to a reading I am performing in and have curated! The reading will take place next Monday night at 7:30 in Pratt’s Steuben Gallery (in the Design Building). The reading is in symposium with the show I Would Be Absolutely Devastated If I Did Not Have The Thing I Have Here Right Now. The theme for the reading is the functionality of language, and subverting the traditional desires and purposes of language. Other themes include distance, repressed narrative, and transformation. Visual artists and writers will be performing their work. It should be a lot of fun, and I would be honored if you could attend!
Xinan Ran
Deirdre Keough
Melanie Carlstad
Erica Ammann
Mary Wichmann
Dakotah Murphree
Reading on December 11, 2017 7:30pm Steuben Gallery Pratt Institute 200 Willoughby
Best wishes,
Dakotah
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13. Zackary Drucker, Taylor Mac, Andy Warhol, FF Alumns, in The New York Times, Dec. 2
The complete illustrated article is at the link directly below. Text only follows below the link.
https://www.nytimes.com/2017/11/30/obituaries/jack-doroshow-drag-pageant-impresario-dies-at-78.html
The New York Times
OBITUARIES
Jack Doroshow, 78, Drag Pageant Impresario, Dies
By NEIL GENZLINGER
NOV. 30, 2017
Jack Doroshow, who organized drag shows around the United States and presided over them as the drag queen Flawless Sabrina years before such performers found a measure of mainstream success, died on Nov. 18 in Manhattan. He was 78.
His family said the cause was failure to thrive, a condition characterized by increasing frailty.
Mr. Doroshow organized his first show in 1959 and produced many thereafter, working surreptitiously to avoid the morality police and sometimes the actual police, since some cities and states still had laws against cross-dressing.
A show he organized at Town Hall in New York in 1967 was documented in the film “The Queen,” which was selected for the Cannes International Film Festival in 1968 and has come to be regarded as a landmark of gay, bisexual and transgender culture.
In his later decades Mr. Doroshow became an informal counselor and mentor to many of those in that culture, holding salons at his home on East 73rd Street in Manhattan. Flawless Sabrina was a mother or grandmother figure to those who visited there.
“Flawless was the single most influential person in my development as a human being and artist,” Zackary Drucker, a transgender artist and a producer of the Amazon show “Transparent,” said by email. “I can’t imagine anyone else believing in me with the passion and dedication that she did.” Ms. Drucker met Mr. Doroshow in 2001.
The performance artist Taylor Mac first met Flawless Sabrina in 2002 and also found her influence pivotal. “She came around at the right time with the right tough love,” he said by email.
“She basically said to me what I’d heard many other people say over the years,” he added, “but coming from her (perhaps because her tough love always felt more like an offering than a scolding, or perhaps because she was the embodiment of living an authentic artistic life) it made such clear sense, and I could see how the advice was something she herself was living. She said, ‘You have to commit to yourself before other people will commit to you.’ “
Jack Allen Doroshow was born on Sept. 10, 1939, in Philadelphia. His father, Martin, was an antiques dealer who died when Jack was a boy. His mother was the former Eleanor Lynch.
Diana Tourjée, a staff writer at Vice who, with Ms. Drucker, had been helping Mr. Doroshow organize his archive, said that in the late 1950s, on a trip to Manhattan from Philadelphia, Mr. Doroshow and two friends were staying at the Sloane House Y.M.C.A. when two drag queens from Pittsburgh, who were also staying there, encouraged the three to come to a show they were part of – a new experience for Mr. Doroshow.
Curiosity, Ms. Tourjée said, was always one of Mr. Doroshow’s defining traits, and he persuaded his two friends to give it a try, despite the steep-seeming $5 ticket price.
“What really amazed Jack,” she said in a telephone interview, “was that there were so many people in this room and they all paid $5 to get into the show. So for him it started very much as a business venture.”
He and his two friends staged a drag pageant in Philadelphia in 1959.
“That first pageant happened, and he and his buddies hosted it as men, dressed in suits,” Ms. Tourjée said. “What he always told me was that although he did well during the first pageant, the queens didn’t really like him because he was an outsider; he was a man in a suit who was just coming in and profiting off them.”
So when Mr. Doroshow, now on his own, planned a second show in Pittsburgh using those Y.M.C.A. connections, he brought in Ty Bennett, a well-known drag performer at the 82 Club in New York, to host. The success of that event led Mr. Bennett to ask for a share of Mr. Doroshow’s nascent business, but instead Mr. Doroshow decided that he could do his own hosting, and Flawless Sabrina was born.
“He figured, ‘I need to become some figure that can bring these pageants forward,’ ” Ms. Tourjée said, but not a queen who would pose a threat to the contestants. “The whole point of Flawless Sabrina was, she was supposed to be a noncompetitive mother,” Ms. Tourjée said. And so Mr. Doroshow, just 19 or 20, took on a late-middle-aged persona.
He formed a company, the Nationals Academy, to produce pageants, tapping into a subculture in cities large and small and relying on word of mouth.
“The places that were kind of off the beaten track were the places where the largest number of drag queens would come out of the hills in sausage curls and hoop skirts,” Mr. Doroshow recalled in an interview with The New York Times in 1993, when Film Forum in Manhattan brought back “The Queen” for a brief run.
Mr. Doroshow would sometimes be arrested on minor charges for his efforts, Ms. Tourjée said, but he developed ways around that, striking deals with local leaders to make a charitable donation in exchange for a variance from any troublesome regulations. A certain amount of denial was involved in some locales, he said.
“In the main,” he said, “the city fathers thought it was a show we were bringing in from out of town. They didn’t accept that it was people from the local area.”
If some of his pageants were staged on the sly, the one featured in “The Queen,” a film that Mr. Doroshow initiated and Frank Simon directed, was a flashy affair in Midtown Manhattan. The film documents a 1967 pageant featuring regional winners – Andy Warhol was among the judges – and is full of behind-the-scenes nuggets as the participants choose their clothes and hairstyles and talk about assorted topics, including the draft. One queen describes writing to President Lyndon B. Johnson after being rejected by his draft board, telling him that he had wanted to serve.
“I wanted to go not because I was a homosexual, because there were men there,” he says. “I wanted to help protect our country. It’s as simple as that. So I got a letter back that stated that they understood and that they couldn’t have me in the Army as of yet; maybe one day they’ll see things right and I could get in.”
After being shown at the 1968 Cannes festival, which was cut short by the street protests and strikes throughout France that year, “The Queen” went on to have a limited theatrical run to considerable acclaim, opening eyes. Renata Adler, writing in The Times, noted that society tended to marginalize and vilify the people the film depicted.
“But the drag queens, flattening their vowels, mincing – parodying, not even women, but themselves parodying women – seem all right as they are,” she wrote, “part of the American dream as defined by the narcissistic sex goddesses of old Hollywood.”
The film, though, was not universally embraced by the population it depicted, Ms. Tourjée and Ms. Drucker said. Some didn’t like the exposure; others resented that Mr. Doroshow had created a successful business while they continued to struggle and hide.
Mr. Doroshow soon became disillusioned with the pageants, Ms. Tourjée said; he organized his last in 1969 on Fire Island.
He is survived by his partner, Curtis Carman, whom he met in 1985; a half brother, Godfrey Diamond; and a half sister, Bambi Marksohn.
After living in Europe for much of the 1980s, Mr. Doroshow returned to New York, dabbling in various projects in his final decades. He and Flawless Sabrina were regular visitors to New York clubs, and Sabrina held court on East 73rd Street, displaying the work of young artists in her salon-style room. If you aspired to be one of her “grandchildren,” Ms. Drucker said, you needed to memorize certain rules of life, including “If it doesn’t make you nervous, it ain’t worth doing.”
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14. Doug Skinner, Richard Kostelanetz, FF Alumns, announce new publication
“Le Scat Noir Encyclopædia” offers “All human knowledge in a single volume.” It contains entries from Acrostic to Zwine, and features contributors from around the world-some of whom are distinguished professors at prestigious universities. Others are Nobel Prize winners, while a few have been arrested on felony charges. Discover rare factoids, flash fiction, nubile moon spew, mythological arcana, cabalistic pathogens, pataphysical detritus, scatological schemata, crypto-heuristic scripture, and radical homomorphism. Over 100 pages of profusely illustrated weirdness.
Featuring contributions by Mark Axelrod, Jeff Bagato, Jacques Bekaert, Doktor Bey, Paulo Brito, Adam Levon Brown, Theodore Carter, Brendan Connell, Norman Conquest, Sean Coolican, Catherine D’Avis, Farewell Debut, Edith Doove, Paul Forristal, Ryan A. Forsythe, Peter Gambaccini, Eckhard Gerdes, Amelia Gorman, Thomas Gresham, Charles Holdefer, James R. Hugunin, Harold Jaffe, Richard Kostelanetz, Rachel Kushner, Terri Lloyd, Harry McCullagh, David Macpherson, Opal Louis Nations, Andy O’Clancy, Peter Payack, Caleb Puckett, Jason E. Rolfe, Paul Rosheim, Stephen Silke, Mercie Pedro e Silva, Doug Skinner, Seth D. Slater, Yuriy Tarnawsky, Robert Wexelblatt, Tom Whalen, Gregg Williard, Carla M. Wilson, and D. Harlan Wilson. Edited by Norman Conquest.
My contributions include entries on asemic acrostics, iambic centameter, inflatable prosthetics, quadratic syllogisms, oxymoronic onomatopoeia, and other subjects. It’s published by Black Scat Books, and available on Amazon!
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Goings On is compiled weekly by Harley Spiller
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