Contents for February 01, 2016
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Fargo Deborah Whitman, FF Alumn, In Memoriam
1. Joyce Yu-Jean Lee, Franklin Furnace Fund recipient 2013-14, at Firewall Internet Café, Manhattan, Feb. 9-Mar. 6, 2016
2. Annie Lanzillotto, FF Alumn, at CityLore, Manhattan, Feb. 13
3. Anthony Iannacci, FF Alumn, publishes new book
4. Diana L. Linden, FF Alumn, publishes new book
5. Edward M. Gómez, FF Alumn, now online at hyperallergic.com
6. Jim Johnson, FF Alumn, at Saint Anselm’s College, Manchester, NH, thru Mar. 16
7. Buzz Spector, FF Alumn, at Museum of Contemporary Art, Chicago, IL, Feb. 2
8. Aisha Cousin, FF Alumn, at 59-61 E. 4th Street, Manhattan, Feb. 2
9. Ruth Hardinger, FF Alumn, at SUNY, Old Westbury, NY, opening Feb. 10
10. LoVid, FF Alumns, newsletter
11. Charles Yuen, FF Alumn, at Studio 10, Brooklyn, opening Feb. 5
12. Benoit Maubrey, FF Alumn, at Mobius, Cambridge, MA, March 1
13. Pope.L, FF Alumn, at Andrea Rosen Gallery, Manhattan, thru March 5
14. Mierle Laderman Ukeles, FF Alumn, publishes first book
15. Agnes Denes, Lucy Lippard, Sol LeWitt, Claes OIdenburg, Adrian Piper, Robert Rauschenberg, Ed Ruscha, Michelle Stuart, Richard Tuttle, Andy Warhol, FF Alumns, at Dominique Lévy, Manhattan, thru March 19
16. Linda Carmella Sibio, FF ALumn, at Espace DbD, Los Angeles, CA, Feb. 13-14
17. Nao Bustamante, FF Alumn, at Transformer, Washington, DC, opening Feb. 4
18. Kate Gilmore, FF Alumn, at Parsons, Manhattan, Feb. 3
19. Alice Wu, FF Alumn, at Legion, San Francisco, CA, opening Feb. 12
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Fargo Deborah Whitman, FF Alumn, In Memoriam
Fargo Deborah Whitman, a resident at MacDowell in 1986 and in 1993 and at Yaddo in 1992 and 1993 died on January 15, 2016 she was 61 years old. Whitman graduated from The University of Virginia in 1975 and went on to receive an MFA from Rutgers University. She had a solo show of her Film Sculptures and interactive narrative mechanisms at The Whitney Museum in 1985. She was in a show at The Brooklyn Museum “Drawings by Sculptors” and is in their permanent collection. Her drawings were in Werner Kramarsky’s “A New York Drawing Collection at Work” 560 Broadway 1991 – 2006. Other One Person Shows include: John Gibson Gallery, PS 1 Institute for Art and Franklin Furnace. Presentations of Fargo’s work and group shows include: The International Society of Arts and Technology MIT, The Clocktower, The Archives of the Pollack Krasner Foundation, Josh Baer Gallery, and The Williamsburg Art and Historical Society.
Fargo Deborah Whitman was born on a dairy farm near Leesburg Virginia. She died in Brooklyn NY where she lived for 35 years.
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1. Joyce Yu-Jean Lee, Franklin Furnace Fund recipient 2013-14, at Firewall Internet Café, Manhattan, Feb. 9-Mar. 6, 2016
JOYCE YU-JEAN LEE
FIREWALL Internet Café NYC
Feb 9, 2016 – Mar 6, 2016
16B Orchard Street, New York City 10002
Artist Reception: Sunday, Feb 21st, 6 – 9pm
The Franklin Furnace Fund and Asian Women Giving Circle are pleased to present FIREWALL, a pop-up Internet Café and participatory art installation in New York City by Joyce Yu-Jean Lee, on view from Tuesday, February 9 through Sunday, March 6, 2016.
FIREWALL is a socially engaged research and interactive art project designed to foster public dialogue about Internet freedom. Video and installation artist Joyce Yu-Jean Lee, in collaboration with artist and technologist Dan Phiffer, invites residents and tourists of NYC to commune over free tea and Wi-fi at Chinatown Soup, a creative space on the border of New York City’s Lower East Side. FIREWALL enables participants to simultaneously search images on both Google in the U.S. and Baidu in China to investigate online censorship and manipulation of information between these two countries. In this cooperative performance, Lee explores a rapidly developing web culture, the nuances of language translation, and the notion that everything can be found on the Internet.
The research results will be presented in two forms for viewers from both nations to compare, contrast, and cross-reference:
a) A virtual FIREWALL “library” will be maintained at www.firewallcafe.com. Search results will be catalogued daily into this blog, which will continue to document the project after FIREWALL Internet Café closes its brick-and-mortar space after March 6, 2016.
b) An evolving art exhibition within the FIREWALL space will showcase select image searches by participants, who will include invited guests and key leaders in the academic, activism, art, journalism, and Chinese communities of NYC and beyond.
As a Chinese American digital media artist with parents who fled China during the Communist Revolution, Joyce Yu-Jean Lee is interested in the formation of collective national biases by mass media. Lee asks, “What value do cross-cultural artistic and interactive media experiences have vis-a-vis social and political open-mindedness?” Her FIREWALL process intentionally slows viewers down in an interpersonal exchange of words, images, knowledge, and opinions examining how “truth” is transformed by technology. The resulting conversation, the true art of the process and intrinsic art making, reflects Lee’s philosophy of art as tool for connectivity and learning.
FIREWALL Internet Café NYC was made possible by the Asian Women Giving Circle; and the Franklin Furnace Fund supported by Jerome
Foundation, the Lambent Foundation, The SHS Foundation, and by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.
Joyce Yu-Jean Lee is a visual artist with a MFA from the Maryland Institute College of Art, and a BA from the University of Pennsylvania. She has exhibited in NYC, Miami, Philadelphia, Baltimore, D.C., Italy, Germany, and Taiwan. The Washington Post included her in their “Top 10 Best Art Gallery Shows” in D.C. for 2012. She was selected for Creative Capital’s “On Our Radar” in 2014, and received an Individual Artist Award from the Maryland State Arts Council in 2013. Joyce is a trustee for The Contemporary museum in Baltimore, and teaches part-time at Fashion Institute of Technology and New Jersey City University.
The artist offers special thanks to GreatFire.org for providing Chinese Internet connections and human connections. GreatFire is a hacktivist group that has been monitoring blocked websites and keywords on the Chinese Internet since 2011, in an effort to bring transparency to the Great Firewall of China. GreatFire also operates FreeWeibo.com, an uncensored version of Weibo, as well as FreeBrowser.org, an Android app that allows users in China to access any site, even those blocked by the government. Lee’s special thanks also go to The Cooper Union for the Advancement of Science and Art for loaning hardware to the Internet Café, and to UProxy.org for developing an open source browser extension that lets users share their route to the Internet with each other.
For PRESS Inquiries or to SCHEDULE a Group Visit, please contact:
info@firewallcafe.com or 917-533-5375
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2. Annie Lanzillotto, FF Alumn, at CityLore, Manhattan, Feb. 13
FF Alumn Annie Lanzillotto invites you to Come to my Audiobook launch! Beads, masks, libations, antics… Sat 2/13. 6-9pm. at CityLore, 59 East 1st St, NYC, 10003. Mardi Gras and San Valentino energies abound… Have a listen…http://tiny.cc/kikk8x to the 18 hr audiobook “L is for Lion” now out on Audible.com, iTunes, Amazon. 18 hours of raw Bronx roar
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3. Anthony Iannacci, FF Alumn, publishes new book
From Malibu to Silver Lake…. from the flats to the hills…from Los Feliz to Bel Air – whether it’s new ground-up construction or reverence of the classics imagined by the likes of Richard Neutra, John Lautner and Paul Schindler — Los Angeles’s architecture and design has come of age: The city is a mecca of design like no other place in the world. Interior designers and architects who thrive there have a love affair with the city, and it shows in their work.
Maybe it’s because of the abundance of single family homes in a staggering array of styles and vocabularies from art deco to highly adorned Storybook – from stuccoed Spanish revival to open and transparent midcentury modern. Maybe it’s the seductiveness of the place itself, but Los Angeles, or Hollywood as it is often thought of, is the manifestation of the California dream – a place that inspires and nurtures designers’ creative and diverse approaches to their interiors.
Hollywood Interiors: Style and Design in Los Angeles by Anthony Iannacci and published by The Monacelli Press, May 10, 2016, is a cross-genre survey of the best architecture and design by a stellar lineup of Los Angeles’s celebrated designers including:
Courtney Applebaum
Andrew Benson
Linda Brettler
Jamie Bush
Commune
DISC Interiors
Brad Dunning
Clifford Fong
Paul Fortune
Chu Gooding,
Mark Haddaway
Trip Haenisch
Nickey Kehoe
Kay Kollar
Mike Powers
Melinda Ritz
Rose Tarlow
Kelly Wearstler
Olivia Williams
Here’s a link to the book’s PDF: https://www.dropbox.com/s/5w4abtu623ngxy7/Hollwood%20Interiors%20PDF.pdf?dl=0
I’ve also added a link to the cover art so I hope you can use that too: https://www.dropbox.com/s/amjlb3y3ughtenr/Hollywood%20INteriors%20high%20res%20JPEG%20of%20cover?dl=0
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4. Diana L. Linden, FF Alumn, publishes new book
Lithuanian-born artist Ben Shahn learned fresco painting as an assistant to Diego Rivera in the 1930s and created his own visually powerful, technically sophisticated, and stylistically innovative artworks as part of the New Deal Arts Project’s national mural program. In the awardwinning book, Ben Shahn’s New Deal Murals: Jewish Identity in the American Scene author Diana L. Linden demonstrates that Shahn mined his Jewish heritage and left-leaning politics for his style and subject matter, offering insight into his murals’ creation and their sometimes complicated reception by officials, the public, and the press.
In four chapters, Linden presents case studies of select Shahn murals that were created from 1933 to 1943 and are located in public buildings in New York, New Jersey, and Missouri. She studies Shahn’s famous untitled fresco for the Jersey Homesteads-a utopian socialist cooperative community populated with former Jewish garment workers and funded under the New Deal-Shahn’s mural for the Bronx Central Post Office, a fresco Shahn proposed to the post office in St. Louis, and a related one-panel easel painting titled The First Amendment located in a Queens, New York, post office. By investigating the role of Jewish identity in Shahn’s works, Linden considers the artist’s responses to important issues of the era, such as President Roosevelt’s opposition to open immigration to the United States, New York’s bustling garment industry and its labor unions, ideological concerns about freedom and liberty that had signifcant meaning to Jews, and the encroachment of censorship into American art.
Linden shows that throughout his public murals, Shahn literally painted Jews into the American scene with his subjects, themes, and compositions. Readers interested in Jewish American history, art history, public art and censorship, and Depression-era American culture will enjoy this insightful volume.
Published by: Wayne State University Press
Diana L. Linden, Author of: Ben Shahn’s New Deal Murals: Jewish Identity in the American Scene (Wayne State University Press, Fall 2015)
http://www.wsupress.wayne.edu/books/detail/ben-shahns-new-deal-murals
Selected as a Finalist by the National Jewish Book Awards, Visual Arts category (2015)
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5. Edward M. Gómez, FF Alumn, now online at hyperallergic.com
New York
Tue Jan 26, 2016
Dear friends and fellow admirers of art brut, outsider art and the art of self-taught visionaries:
As you may have heard or read in the news today, the artist Thornton Dial died at his home in Alabama yesterday at the age of 87.
His passing marks the loss of a remarkable art-making talent whose creations defied any easy label.
My obituary of the artist and appreciation of his achievements has just been published in the U.S.A.-based, arts-and-culture magazine HYPERALLERGIC.
Here is the link to this article:
In fond, respectful memory of a true original, Thornton Dial (1928-2016), of Sumter County, Alabama,
EDWARD M. GÓMEZ
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6. Jim Johnson, FF Alumn, at Saint Anselm’s College, Manchester, NH, thru Mar. 16
I’m pleased to announce that three of my books are included in the exhibition, CONTEMPORARY BOOK ARTS: 100+ Works at Saint Anselm’s College in Manchester, NH.
The exhibition runs through March 16.
Catalog of the exhibition: http://abecedariangallery.com/store/product-category/exhibits/st-anselm-college-exhibits/
Jim Johnson
jim@discopie.com
www.discopie.com
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7. Buzz Spector, FF Alumn, at Museum of Contemporary Art, Chicago, IL, Feb. 2
Here’s a link to a gallery talk I’ll be participating in at the Museum of Contemporary Art Chicago on Tuesday evening, February 2nd: MCA – Calendar: Jan 25 – Feb 1, 2016: MCA Talk: Phyllis Bramson, Antonia Contro, and Buzz Spector
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8. Aisha Cousin, FF Alumn, at 59-61 E. 4th Street, Manhattan, Feb. 2
Aisha Cousins’ workshop, “Real Estate for Birds’, is a performance art score (set of instructions for a live art project) which centers around literally trying to teach the concept of landownership to birds. It’s a fun, light hearted tool you can use to push your neighbors to think critically about the concept of land ownership and how it influences gentrification. Each evening participants will work together to do the score using Theater of the Oppressed inspired acting exercises and found object sculptures.
Especially in this climate of fast-paced development and all too common narratives of displacement, FABnyc finds it especially relevant and important for New Yorkers to be involved in this conversation.
Aisha’s workshop will happen next Tuesday, Feb 2nd, 7PM-9PM at 59-61 E. 4th Street, 4th Floor. You can find more event details at http://fabnyc.org/archive/real-estate-for-birds-2016-01-26/
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9. Ruth Hardinger, FF Alumn, at SUNY, Old Westbury, NY, opening Feb. 10
RUTH HARDINGER:
THE BASEMENT ROCKS-LOUDER
AMELIE A. WALLACE GALLERY, SUNY OLD WESTBURY
February 10 – March 24, 2016
Opening Reception: Wednesday, February 10, 4 – 7pm
Exhibition Tour with the Artist: Tuesday, February 23, 1 – 2PM
Lecture by the Artist: Wednesday, March 9, 4 – 5PM, at F 114 Campus Center, followed by a reception in the gallery
The Amelie A. Wallace Gallery at the State University of New York College at Old Westbury is pleased to announce the opening of “Ruth Hardinger: The Basement Rocks-LOUDER,” a solo exhibition of sculptures, works on paper, paintings, and tapestries by the New York artist and environmental activist. Curated by Gallery Director Hyewon Yi, the show features Hardinger’s recent major works, as well as some of her earlier work produced in Oaxaca, Mexico during the 1990s.
The pairing of early and recent works connects the underlying theme of Hardinger’s decades-long oeuvre. A diverse body of work comprising sculptures of concrete and cardboard, works on paper, tapestries, and paintings that use various media (graphite, natural dye, et cetera) will be on display.
This exhibition constitutes the second installment of “The Basement Rocks,” and this time it is, indeed, louder. The exhibition encourages the viewer to consider phenomena beneath Earth’s surface, where the largest biomass of organisms on the planet exists. These visually stimulating works raise questions and provoke ideas about what subterranean rocks express. As the title suggests, the underground is yelling LOUDER: The Grounding is an audio recording that will play sounds emanating from beneath the earth’s surface, but the real “noise” comes from exhibition’s intentions. Hydrofracking and other industrial activities have become a political battleground amidst efforts to save the earth from climate change, and this artist/activist means to do say something about them.
The exhibition’s larger works are sculptures cast in concrete. Some stelae-like, others various pillar-like forms, these totems, with titles such as Envoys, Agents, and Conundrums, can be understood as satiric objects of worship of the industrial matter whose extraction has altered the underground in adverse ways. Hardinger’s graphite drawings, Pathways depict the fracking industry’s disruption of underground rock formations, thereby changing the natural pathways of water and gas. The resulting release of pressure can be so violent as to provoke earthquakes.
Also presented in this exhibition are some of Hardinger’s rarely seen earlier works. Suerte de Animales (1992) demonstrates the artist’s first use of local materials, including an actual Azetec rock incorporated with heterogeneous materials. These works represent Hardinger’s artistic evolution of stemming from her contact with the Mesoamerican culture and legends she encountered while living in Oaxaca in the 1990s. Her later works have become more streamlined in their use of medium and forms, reminiscent of minimalist and post-minimalist aesthetics.
Codice de Oaxaca, a series of small drawings made with indigenous dyes on amate (bark paper) that depicts symbols from the ancient Mixtec manuscripts that were among the very few books the Spanish did not destroy during colonization. These ancient images join Hardinger’s abstract drawings to create an aesthetic of sharing. The ancient Mayan legend of life originating beneath the earth’s surface is expressed in various versions of the Popol Vuh. The hero twins, Hunahpú and Xbalanqué, lived beneath the earth fighting the lords of the underworld. They were victorious, and thereafter brought light and life to the surface of the earth, embodied as the sun and Venus, using earth tones and textural surfaces, these drawings evoke the mythology that underlies the environmental issue that the Basement Rocks series places at the forefront of present day concerns.
Artist’s Biography:
Ruth Hardinger’s socially conscious artwork, signified by abstraction and influenced by environmental issues, is expressed in sculpture, installation, paintings, works-on-paper, pigment prints, and photographs. Her work has been shown in many solo and group exhibitions. A selective list of venues in which her works have appeared in solo and duo shows includes: Long Island University Brooklyn, CREON, Sideshow, Lesley Heller Gallery, Artists’ Space, Catskill Art Society, Brunnier Gallery, Iowa State University and Centro Cultural de Santo Domingo (Oaxaca, Mexico), and Brian Morris Gallery. She has also contributed to numerous group shows: 11ème édition Salon Zürcher, Paris; Making History, Brooklyn, NY; Displaced Landscape, Narrowburg, NY; IN-SITE Sculpture, South Orange, NJ; Masters and Pelavin Gallery, NY; Small Works at Mishkin Gallery, Baruch College, NY; Whale Oil to Whole Foods at Green County Council for the Arts in Catskill, NY; Garbage Barge at Islip Museum; Byrdcliffe Art Colony, Woodstock and Winton Bell Gallery, Brown Univ. Province, RI.
Hardinger, a resident of New York City, earned a Bachelor of Arts in Classical Studies (Magna Cum Laude) at Hunter College, City University of New York. She was a recipient of the prestigious MacDowell Travelling Scholarship, and Institute for International Education, sponsored by the Fulbright Foundation. Her works have been reviewed in The New York Times, Art in America, Sculpture Magazine, ArtCritical, and Brooklyn Rail.
Hardinger has been a passionate advocate for protecting the environment from industrial exploitation. She co-organized Art and Activism against the Drill, at Exit Art, 2010, and Cooper Union/Institute for Sustainable Design received a Marfa Dialogues/NY grant to support Hardinger and Rebecca Smith’s co-initiation of an exhibition and panel discussion about fugitive emissions of methane gas.
A public reception to mark the opening of Ruth Hardinger: The Basement Rocks-LOUDER will be held on Wednesday, February 10, 2016, between 4pm and 7pm. An exhibition tour with Hardinger will be held on Tuesday, February 23, between 1pm and 2pm, and the lecture by the artist will be presented on Wednesday, March 9, between 4pm and 5pm at F 114 Campus Center, to be followed by a reception in the gallery.
The College can be also easily reached by using public transportation. The Long Island Railroad stops in Hicksville, less than 10 minutes from campus. A campus shuttle runs during peak times during the academic year and taxi service is available year-round. The shuttle bus picks up passengers at the eagle statue at Hicksville LIRR station. To see a schedule of the shuttle bus, click here.
The exhibition remains on view through March 24, 2016. Gallery hours are Mondays, Thursdays, and Saturdays between 12pm and 5pm, Tuesdays and Wednesdays between 12pm and 8:15pm and by appointment.
For directions to the College, see the link here. Please visit our gallery Facebook page or follow us on Twitter.
For more information, contact:
Gallery Director: Hyewon Yi, PhD
YiH@oldwestbury.edu
(516) 876-2709
(646) 421-5863.
Please contact the curator/director in advance if you plan to attend the opening or an event, or to view the exhibition
Gallery Hours:
Mondays, Thursdays, Saturdays: 12 – 5PM
Tuesdays and Wednesdays: 12 – 8:15PM
and by appointment
Location:
Campus Center, Main Level
SUNY College at Old Westbury
Route 107, Old Westbury, NY 11568
Directions:
Long Island Expressway to exit 41N; 107N to the main gate of SUNY College at Old Westbury; turn left and follow the signs to Campus Center; go downstairs to Gallery on the main level.
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10. LoVid, FF Alumns, newsletter
The Let Down Reflex
Opening: Saturday January 30 2-4PM
Exhibition Runs January 30 – March 12, 2016
The Elizabeth Foundation for the Arts – Project Space
323 West 39th Street 2nd Floor NY NY 10018
We just finished a new video for this group show about parenting in the art world. Our piece, Kids at a Noise Show , is a public THANKS to all of those who made our work/life balance possible. With contributions from some including images and interviews by:
Bj Warshaw, Katherine Liberovskaya, Lori Felker, Adam Strohm, Hanna Fushihara Aron, Jason Bernagozzi, Natasha Beste, Kusum Normoyle, Lea Bertucci, Cory Arcangel, Lauren Rosati, Suzanne Kim, Paul Luckraft, Liz Slagus, Carol Parkinson, Bea Wolert, Irene Moon, Jon Satrom, Carissa Carman, Carly Ptak, Galen Joseph-Hunter, Jeff Sisson and Sarah Rogers Morris, Douglas Repetto and Amy Benson, Squelch TV, Daniela Kostova, Lauren Cornell, Dana Levy, Will Pappenheimer, Zefrey Throwell, Adam Gundersheimer —
and
*SPRING/BREAK Art Show
March 1-7
Skylight at Moynihan Station
(Main Post Office Entrance)
421 Eighth Avenue, NYC
We’re happy to be back at SPRING/BREAK this year. This time we are part of a group show, Original Copy curated by Sarah Sharp and Parsley Steinweiss. We’ll be showing new soft sculptures and prints.
List of artists includes:
Enrico Gomez, LoVid, Mark Schubert, Max Warsh, Molly Dilworth, Sarah Palmer, Tenesh Weber, Tom McGlynn
Electronic Arts Intermix
We are delighted to announce that our videos are now part of EAI collection.
We have some new videos in their catalog and will be adding more new work later in 2016.
WGXC Fifth Anniversary
Stay tuned for a very exciting auction in support of our dear friends Wave Farm’s WGXC.
A brand new print in our Ruby Rendering series will be for available for the auction online at paddle8 Feb 12-26 and on-site at 365 Main St. | Catskill February 20-26.
Reaction Bubble
This year is a big one for our long term collaboration with Matt Towers and Deborah Goffe. Events and premiers are scheduled in 2016 for this multimedia installation at Real Art Ways with support from Robert Rauschenber Foundation.
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11. Charles Yuen, FF Alumn, at Studio 10, Brooklyn, opening Feb. 5
Hi, if you’re available please stop by. Thanks!
CRYPTO-¬SOMATIC INCANTATION
NEW PAINTINGS BY CHARLES YUEN
FEBRUARY 5-¬ FEBRUARY 28, 2016
Opening February 5th 7-9 PM
Studio10, 56 Bogart St., Brooklyn, NY
STUDIO10 is located at 56 Bogart Street (Morgan Avenue stop on the L train) in Bushwick. Gallery hours: Thursday through Sunday 1 -¬‐ 6 pm or by appointment.
Contact: studio10bogart@gmail.com (718) 852-¬‐4396 www.studio10bogart.com
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12. Benoit Maubrey, FF Alumn, at Mobius, Cambridge, MA, March 1
Electronic Guy @mobius
Tuesday, March 1, 2016
7:00pm 9:00pm
mobius 55 Norfolk Street Cambridge, MA 02139 United States
Electronic Guy @mobius
Artist Performance, Talk and Q&A
Tuesday March 1, 2016 : 7pm
suggested donation: $10
Mobius is pleased to host Guest Artist Benoit Maubrey, electroacoustic sound sculpture artist from Germany, on Tuesday March 1st, 2016 at 7pm. He will present a performance of his Electronic to be followed by an artist talk on his electroacoustic sculpture projects and a Q&A session. After the performance, audience members are invited to join the artist for dinner and drinks in a local restaurant (going dutch).
About Electronic Guy
Electroacoustic tuxedo jacket with sampler, electric guitar, radio receiver and solar cell. Originally built in 1987 for the mayor of Berlin with a pre-recorded cassette of people saying”Berlin tut gut” (Berlin does you good).
History: in 1986 I was awarded a grant from the city of Berlin. In return for the grants the artists are supposed to present the city with a work of art (usually a painting). For this occasion I built an Audio Frack (Frack is the term for an elegant evening jacket with tails) for the mayor. For the sound I went around the city recording the voices of people saying “Berlin tut gut” (“Berlin does you good”) which was the current tourist slogan for the city. I compiled about fifty different voices repeating the sentence and presented the Jacket complete with audio cassette to his office, proposing that he dress himself in the apparel for the opening of the local International Electronics Fair. He responded with a polite letter indicating that if he used the jacket it would put his press attaché out of work.
In 1995 I created the Electronic Guy wearing a similar Tuxedo that was equipped with guitar amp, radio receiver, and sampler. Sounds are sampled and then mixed through the jacket as a solo concert event.
In 2011 redesigned it as a “Boom Jacket” complete with sampler, looping and pitching devices, radio, guitar amp and double light-to-frequency controller.
In 2013/14 we constructed two “FRACKMAN” suits. Each suit is fitted with a digital guitar amplifier, a pre-amp, white noise radio receiver, double light-to-frequency sensor, and sampler. One jacket (black leather) is constructed for outdoor “street” situations and the other a tuxedo with tails (“Frack” in German) for indoor and stage. These jackets have extra amplification in order to interact (an reverberate) with the space around them.
Benoît Maubrey is the director and founder of DIE AUDIO GRUPPE a Berlin-based art group that build and perform with electronicclothes. Basicallythese are electro-acoustic clothes and dresses(equipped with amplifiers and loudspeakers) that make sounds by interacting thematically and acoustically with their environment. In his non-mobile sculptural work he frequently uses former public (disguarded) monuments and recycles them using modern technology and electronics. Recycled and “found” electronics as his artistic medium. Since 1982 he has been conceiving and creating interactive sculptures in public spaces. In most cases the sculptures interact with their environment: quite often they function as “Speakers Corner” where the public can express themselves “live”.
Artist’s Statement: PHONIC BODIES and CHOREOGRAPHED SOUNDS Performances with electroacoustic clothes My decision in the early 1980s to stop working with pigments and canvas came from a desire to interact directly with public spaces. By building loudspeakers into clothes I could intervene in any given environment in a temporary and cost-efficient way: loudspeakers and circuit boards are cheap and can be salvaged from surplus electronics and disguarded toys. My artistic tools are electroacoustic clothes: costumes and suits that are equipped with loudspeakers and amplifying systems that allow the individual wearers to react acoustically to their environment. Basically each person wears one part of a composition: the position of the individual “audio actors” and their movement (their “orchestration”) within a space produces the final composition. At the same time I develop this concept thematically by adapting the “clothes” to particular sites, cultures and regions. In all of this work I use electronics as a modern “clay” that I can form and create into fantasy-full performances and objects.
Related event in the Boston Area:
Thursday February 25th, 2016, 3:15-4:15pm @Boston University George Sherman Union, 2nd Floor, Metcalf Hall, Large Hall
Benoit Maubrey is giving a talk on ELECTOACOUSTIC CLOTHES at TransCultural Exchange’s 2016 International Conference on Opportunities in the Arts: Expanding Worlds. http://www.transculturalexchange.org/2016-conference/schedule.htm
Transforming Practices: New Ways of Approaching Traditional Forms
Moderator: Gregory Williams, Assistant Professor, History of Art & Architecture, Boston University
Cécile Vulliemin, Project Leader for Art/Sciences Programs, swissnex Boston and Exhibition Coordinator, Hors Pistes Association Cécile Vulliemin’s presentation is supported by swissnex Boston Benoît Maubrey, Director, Die Audio Gruppe, a Berlin-based art group that builds and performs with electronic clothes Amanda Bayley, Professor, Bath Spa University, UK and Chartwell Dutiro, Musician-Singer-Songwriter-Composer-Teacher and founding Artistic Director, Mhararano Mbira Academy, UK Ingo Vetter, Visual Artist and Professor, the University of the Arts Bremen, specific focus on the rise of global production facilities and strategies for today’s international artists
Yours,
Benoît Maubrey
Benoît Maubrey / DIE AUDIO GRUPPE
Baitzer Bahnhofstr.47, 14822 Brück OT Baitz Germany
tel: +49-33841-8265
mobile +49-177 349 6354
e-mail: mail@benoitmaubrey.com
http://www.benoitmaubrey.com/
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13. Pope.L, FF Alumn, at Andrea Rosen Gallery, Manhattan, thru March 5
Pope.L
Will Boone
January 30 – March 5, 2016
525 West 24th Street, New York New York
Andrea Rosen Gallery is delighted to present an extensive two-person exhibition with Pope.L and Will Boone. This three-room gallery exhibition highlights the work of each artist independently, allowing their juxtaposition to simultaneously foster connections, both in content and aesthetics, and at the same time allow a viewer to see each artist’s work through a new and potentially heightened filter.
While, over the last year, working toward this exhibition my dialogue with each artist has been autonomous and distinct, and my intention for the exhibition was as much to create a context to highlight each artist’s independent vision, I have also come to confirm my intuitive feeling that Will and Pope.L have uncanny overlaps. While their differences are overt, both are fueled by content. Each artist’s works are not merely translations of ideas, but are rather imbued with information. Both embody a clear sense of poetics; they also share an ability to move between materials – where each material has its own intentionality. Pope.L and Will each have a direct fascination with source. Their studios are filled with information. And while sometimes that material was radically different from one to the other, I was overwhelmed to find commonality, for instance, the same book in both places, “The Poetics of The New American Poetry,” 1973… Which is emblematic of so much that each think about: America, place, politics, the creativity and fluidity of language, how the same words can to be constantly reconstructed to describe anew… While language is essential to both practices, they share an incredible ability to transform language or imagery with equal grace into the poetics of a purely visual yet rigorously embedded experience… The work is saturated with content.
Pope.L’s presentation includes three significant bodies of work, comprising wall bound, sculptural and video works. While the Skin Set series is already a distillation of a history of content, also included in the show is a newer body of work; Pope.L’s cut-out panels are a further evolution that take lists of some thousand plus titles from that series and materialize them, becoming their own concentrated and further abstracted source of language and poetry. Similarly using imagery and image technologies in opposition to words, his works Syllogism (T-Version) and Theater of Brechtangles integrate videos into sculptures that seem to make a formal, structural sense within the system of logic, but simultaneously deform and abstract as a means to get at expression. Positing language and imagery as a container, Pope.L attempts to draw our attention to the traditions and tensions inherent in formal structures by creating malleability and by interacting with mixed messages. Pope.L notes, “In the works in which I use language, there is a desire to communicate some things… but at the same time there is a desire to express something difficult to get at with language…or there is my desire in the work to say several things in a squabble – it’s the squabble I want sometimes.” Interested in the tension between creativity, communication and expression, “how they get in each other’s way, and rub each other the wrong way,” Pope.L continues to investigate a culture of contraries.
While Boone has always commanded a multi-disciplinary practice, moving to LA has afforded him the space and freedom to delve more deeply and to push further into the totality of his practice. The two new bodies of work presented – Boone’s “Gate” painting series, and new body of sculptures referred to as “Doghouses” – are a clear continuation of previous works, as it has always been at the core of Boone’s intention to create systems to assimilate the breadth of his interests, to arrive at abstraction that is “bigger than myself.” Each work embodies history, both collective and personal. Within his fascination with source, Boone is interested in how particular arrangements and the accumulation of materials that are clearly part of a larger cultural fabric are what construct personal histories, and how reconfiguring these arrangements creates open vessels for new intention. His “Doghouse” series – developed from the seed of a single doghouse found in the streets of LA – are vessels for an identity or person, investigating interior vs. exterior relationships and concepts of projection. Decorated with various personal collections – from mosaic Slayer carnival mirrors to Charles Bronson photographs – the structures shift between bare shelters and emulated human environments that, like the paintings, slip between source and abstracted surface. His “Gate” paintings – caked impressions of found steel gates – expand on the subjectivity of perspective and coinciding ideas of confinement and protection, drawing our attention to how the distinct communication of information on a surface can obscure and abstract our reading of content. Boone notes, “Sometimes something presents itself like a missing piece of something, like a code that you find and somehow you find where it works.”
Continuing the gallery’s publishing mission to provide a space for related but autonomous content as a supplement to exhibitions, the gallery published a soft cover booklet as an accompaniment to the exhibition, to which both artists have contributed a unique compilation of materials. ARG Publishing’s format is to then expand the functionality of these booklets into forthcoming formal exhibition catalogues, including comprehensive installation views emphasizing the significance of exhibition making.
Pope.L (b.1955) lives and works in Chicago, IL. His multidisciplinary practice has been the subject of numerous solo shows, at such venues as Susanne Vielmetter, Los Angeles; Littman Gallery, Portland; Galerie Catherine Bastide, Brussels; and Mitchell-Innes & Nash, New York. His largest museum retrospective to date, Trinket, was presented by MOCA, Los Angeles, in 2015. His work is included in the public collections of the Museum of Modern Art, the Whitney Museum of American Art, and the Studio Museum of Harlem, New York; the Walker Art Center, Minneapolis; and the Fogg Art Museum, Harvard University, Cambridge.
Will Boone (b. 1982) lives and works in Los Angeles, CA. He has had recent solo shows at Karma, New York; Jonathan Viner, London; and the Rubell Family Collection, Miami. His work is featured in ongoing and upcoming group exhibitions at Gagosian Gallery, Rome; Venus Over Manhattan, New York; and Almine Rech, London.
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14. Mierle Laderman Ukeles, FF Alumn, publishes first book
Mierle Laderman Ukeles
Seven Work Ballets
In celebration of the release of Mierle Laderman Ukeles’s first book, Seven Work Ballets, please join us for the following events:
Reading and Signing with Mierle Laderman Ukeles
Ronald Feldman Fine Arts
31 Mercer Street, New York, New York
February 11, 2016, 6-8 PM
For more information click here
Reading and Disscussion with Mierle Laderman Ukeles, Kari Conte, Amanda Crabtree, and Krist Gruijthuijsen
Part of the program series An Art Book, organized by Arezoo Moseni
New York Public Library
Stephen A. Schwarzman Building, Celeste Auditorium
March 2, 2016, 6-8 PM
For more information click here
Copies of the book will be available for purchase and signing at both events
Mierle Laderman Ukeles’s Manifesto for Maintenance Art 1969! Proposal for an Exhibition “CARE” (1969) was a major intervention in feminist performance practices and public art. The proposal argued for an intimate relationship between creative production in the public sphere and domestic labor-a relationship whose intricacies Ukeles has been unraveling ever since. In 1977, she became the official unsalaried Artist-in-Residence for the New York City Department of Sanitation, a position she still holds that enables her to introduce radical public art into an urban municipal infrastructure.
Through archival research, this monographic publication focuses on Ukeles’s work ballets-a series of seven grand-scale collaborative performances involving workers, trucks, barges, and hundreds of tons of recyclables and steel-which took place between 1983 and 2012 in Givors, New York, Pittsburgh, Rotterdam and Tokamachi. Over the past four decades, Ukeles has pioneered how we perceive and ultimately engage in maintenance activities. The work ballets derive from her engagement in civic operations in order to reveal how they work though monumental coordination and cooperation as well as in creative collaboration with many workers. Mierle Laderman Ukeles: Seven Work Ballets is the first monograph on Ukeles’s seminal practice, and is as much an artist’s book as an art-historical publication.
Edited by Kari Conte
Contributions by Kari Conte, Krist Gruijthuijsen, Mierle Laderman Ukeles; conversation with Mierle Laderman Ukeles, Tom Finkelpearl, Shannon Jackson
Co-published by Kunstverein Publishing, Grazer Kunstverein, and Sternberg Press in collaboration with Arnolfini, Bristol; Institute of Modern Art, Brisbane; and Marabouparken konsthall, Stockholm.
Design by Marc Hollenstein.
For orders, please contact Sternberg Press at order@sternberg-press.com
Mierle Laderman Ukeles works in a variety of mediums, creating installations, performances, permanent public art, and media works. 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. Ukeles has exhibited internationally, including at the Wadsworth Atheneum, Hartford (1973, 1998); Whitney Museum, New York (1976, 1978, 1985); MoMA PS1, New York (1988, 2008, 2013); Queens Museum, New York (1992, 1995, 2005, 2013, 2014, 2016); Los Angeles Museum of Contemporary Art (1995 1997, 2007, 2012); Tel Aviv Museum (1999); Armory Art Show, New York (2007); Sharjah Biennial 8, United Arab Emirates (2007); Contemporary Jewish Museum, San Francisco (2005, 2008); Smack Mellon, Brooklyn (2010); Wellcome Trust, London (2011); Brooklyn Museum, New York (2012, 2013); Haus der Kunst, Munich (2012); and the 13th Istanbul Biennial (2013). Her recent teaching includes positions as senior critic in sculpture at Yale University and lecturer at Bard College, UCLA and Harvard Graduate School of Design. She is represented by Ronald Feldman Fine Arts in New York City.
Kari Conte is a New York-based curator and writer. Since 2010, she has been the Director of Programs and Exhibitions at the International Studio & Curatorial Program (ISCP) where she leads residencies, exhibitions and public programs. She has curated numerous exhibitions, site-specific commissions and performances most recently Aqueous Earth with artists Allora & Calzadilla, Lara Almarcegui, Brandon Ballengée, Dylan Gauthier, Brooke Singer and Pinar Yoldas (2015) and the upcoming solo exhibition Eva Kot’átková: Error (2016). Prior to ISCP, she worked at Whitechapel Gallery and lived in London.
Amanda Crabtree co-founded artconnexion with Bruno Dupont and joined the organisation full-time in 2001, having worked at the British Council, Paris, Le Fresnoy, Studio national des arts contemporains, Le Magasin, CNAC, Grenoble and the Centre d’art contemporain of Geneva. She currently curates exhibitions, residencies and New Patrons projects at artconnexion. She also heads a new Master’s programme ‘Art, Society and Public’ at the University of Lille with a particular focus on the production of contemporary art works and public realm projects.
Krist Gruijthuijsen is a curator, artistic director of the Grazer Kunstverein in Graz, and course director of the MA Fine Arts Department at the Sandberg Institute in Amsterdam. He is the curator of Mierle Laderman Ukeles’s exhibition Maintenance Art Works 1969-1980, which traveled to the Grazer Kunstverein; Arnolfini, Bristol; Institute of Modern Art, Brisbane; and Marabouparken/Konsthall C in Stockholm.
In its eighth year the program series An Art Book, initiated and organized by Arezoo Moseni, is a celebration of the essential importance and beauty of art books. The events showcase book presentations and discussions by world renowned artists, critics, curators, gallerists, historians and writers.
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15. Agnes Denes, Lucy Lippard, Sol LeWitt, Claes OIdenburg, Adrian Piper, Robert Rauschenberg, Ed Ruscha, Michelle Stuart, Richard Tuttle, Andy Warhol, FF Alumns, at Dominique Lévy, Manhattan, thru March 19
EXPLORING INNOVATIONS IN THE MEDIUM OF DRAWING IN THE
SIXTIES, DOMINIQUE LÉVY WILL PRESENT DRAWING THEN
Selection of key drawings from 1960-1969 revisits the premise of a landmark
MoMA exhibition on its 40th anniversary
Drawing Then: Innovation and Influence in American Drawings of the Sixties
January 27 – March 19, 2016
Poetry Reading with Mei-mei Berssenbrugge and Leopoldine Core: Wednesday,
March 9, 7 PM
Dominique Lévy is pleased to present Drawing Then: Innovation and
Influence in American Drawings of the Sixties. The exhibition investigates revolutionary developments in the practice of drawing that emerged in the United States during a decade of radical social and political upheaval. Drawing Then is inspired by-and coincides with the 40th anniversary of-the 1976 exhibition Drawing Now, organized by Bernice Rose at The Museum of Modern Art, New York. In her seminal catalogue essay, Rose wrote that “a number of artists have, and with increasing intensity since the middle sixties, seriously investigated the nature of drawing, investing major energies in a fundamental reevaluation of the medium, its disciplines, and its uses.” Forty years after Drawing Now, Drawing Then fills Dominique Lévy Gallery with more than 70 works by 40 artists, almost half of whom were not represented in the 1976 exhibition. Drawing Then features loans from The Museum of Modern Art and the Whitney Museum of American Art in New York, among other institutions, and includes works from the private collections of artists Mel Bochner, Vija Celmins, Jasper Johns, Adrian Piper, and Dorothea Rockburne. Drawing Then also presents two wall drawings installed on the occasion of the exhibition: the first, Sol LeWitt’s Wall Drawing #20, comprised of systematically drawn colored pencil lines, has been realized for the first time since its debut at Dwan Gallery in 1969. LeWitt’s wall drawings demonstrate, in the words of Lawrence Alloway, “the possibility of drawing as pure ratiocination.” On the gallery’s second floor, Mel Bochner has installed his far less structured Superimposed Grids, originally conceived in 1968.
Drawing Then is curated by Kate Ganz. Ganz is the author of eleven scholarly catalogues on drawings, and co-author of the exhibition catalogue for The Drawings of Annibale Carracci, an exhibition she coorganized as a guest curator at the National Gallery of Art, Washington, D.C., in 1999. She is currently the Senior Editor of The Catalogue Raisonné of the Drawings of Jasper Johns, a multi-volume project to be published by the Menil Drawings Institute and Study Center in Houston, Texas. In conjunction with Drawing Then, Dominique Lévy will publish a catalogue featuring essays by scholars Roni Feinstein, Suzanne Hudson, Anna Lovatt, Griselda Pollock, Richard Shiff, and Robert Storr. Each essay will address the ways in which a different movement or artist participated in changing the definition of drawing. The catalogue will include a newly commissioned work by contemporary poet Mei-mei Berssenbrugge titled “Star Being.” The book will also feature rare archival material; artists’ biographies; and a comprehensive chronology linking developments in the art world with the larger social and political events of the decade, including the Civil Rights Movement, Feminist Movement, Vietnam War, and widespread student protests.
About the Exhibition
In the 1960s, the very notion of what drawing could be changed radically as the medium became an essential vehicle for artists giving voice to the most urgent issues of both art and the culture at large. Propelled by pressing concerns of the day- matters of perception, time, the environment, identity, and gender-they employed new techniques and experimented with untried materials, ultimately expanding the definition of what could constitute a work of art. Robert Smithson, whose drawings are featured in Drawing Then, wrote in Artforum in 1968: “Every object, if it is art, is charged with the rush of time even though it is static.” In short, the Sixties yielded an explosion of experimentation and innovation in drawing, the ramifications of which can still be felt today.
Drawing Then begins with a selection of works by Josef Albers, David Smith, and Barnett Newman-postwar masters whose innovations exerted palpable influence throughout the Sixties. Albers’s elegant, minimalist lines, on view in Reverse + Obverse (1962), from the collection of the Whitney Museum, laid the foundation for the linear expressions of Ellsworth Kelly, Agnes Martin, and Dan Flavin, among others. Jasper Johns’s monumental Wilderness II (1963/70), a work loaned by the artist from his private collection, embodies a transitional moment in the exhibition, bridging the work of Abstract Expressionist painters and the postwar rise of Pop art. Johns’s drawing is complemented by Robert Rauschenberg’s breakthrough solvent transfer drawings; Cy Twombly’s gestural writing in crayon, house paint, and ballpoint pen; and Lee Bontecou’s otherworldy abstractions rendered in soot. By contrast, the instantly recognizable imagery of Pop artists Andy Warhol, Roy Lichtenstein, and Tom Wesselmann-whose paintings are concertedly devoid of evidence of the artist’s own hand-are meticulously rendered in their works on paper.
Throughout the Sixties, gallerists, artists, curators, and critics sought to reconcile emerging movements in contemporary art through major exhibitions and essays. In\ 1962, gallerist Sidney Janis mounted the pioneering survey International Exhibition of the New Realists. A year later, Lawrence Alloway, the curator of Six Painters and the Object at the\ Solomon R. Guggenheim Museum, officially coined the term Pop Art, giving a name to the group of artists Janis had showcased. Together these two exhibitions signaled a profound shift in ways of conceptualizing and representing the American still life, evincing the turn toward a culture steeped in the imagery of commercialism. In Drawing Then, Andy Warhol’s Heinz Tomato Ketchup with
Campbell’s Soup Can (1962) and Roy Lichtenstein’s Ice Cream Cone (1963) epitomize that moment by combining satire and the visual language of advertising. In 1965, Donald Judd’s texts on “specific objects” for Arts Yearbook 8 and Barbara\ Rose’s essay “ABC Art” in Art in America grappled with the ambiguities of three- dimensional works that defied the conventions of traditional painting and sculpture. A year later, The Jewish Museum’s 1966 exhibition Primary Structures featured works by Dan Flavin, Ellsworth Kelly, Carl Andre, and Anne Truitt. The hard, machine-like lines and reductive forms of their contributions to that show also characterize the artists’ contemporaneous works on paper. Flavin’s On No. 4 of June 16, 1964, featured in the exhibition, depicts just three lines on a black French rag paper and references one of the artist’s fluorescent light installations of that same year.
Lucy Lippard’s landmark show Eccentric Abstraction also opened in 1966 at New York’s Fischbach Gallery. But in a radical contrast to the “dead-set Minimalism” of Primary Structures, Lippard’s now-legendary exhibition showcased the work of Eva Hesse and Bruce Nauman, among others, who infused corporeality and the idiosyncrasies of the artist’s hand into their art. Postminimal works on view in Drawing Then include Hesse’s Nine Circles (1968), a composition of flesh-like hues and organic circles, and a group of drawings by Nauman that find the artist manipulating his own body in space. Toward the end of the Sixties, Robert Smithson’s essay “A Sedimentation of the Mind: Earth Projects” removed art from the gallery or museum, and Sol LeWitt’s “Paragraphs on Conceptual Art” removed the artist’s hand from art altogether. LeWitt wrote: “If the artist carries through his idea and makes it into visible form, then all the steps in the process are of importance. The idea itself, even if not made visual, is as much a work of art as any finished product.” Following from works on view by both of these artists, Drawing Then presents Barry Le Va’s six-part Bearings Rolled (Six Specific Instants; No Particular Order) (1966-67)-a work that is part performance and part chance, illustrating Conceptual Art’s emergence and setting a course for a future of art in which disparate disciplines would commingle more freely than ever before.
Artists in Drawing Then
Josef Albers
Jo Baer
Mel Bochner
Lee Bontecou
Vija Celmins
Chuck Close
Agnes Denes
Dan Flavin
Eva Hesse
Jasper Johns
Ellsworth Kelly
Barry Le Va
Sol LeWitt
Roy Lichtenstein
Lee Lozano
Brice Marden
Agnes Martin
Robert Morris
Bruce Nauman
Barnett Newman
Claes Oldenburg
Adrian Piper
Robert Rauschenberg
Dorothea Rockburne
James Rosenquist
Ed Ruscha
Robert Ryman
David Smith
Robert Smithson
Frank Stella
Michelle Stuart
Paul Thek
Wayne Thiebaud
Anne Truitt
Richard Tuttle
Cy Twombly
Andy Warhol
John Wesley
Tom Wesselmann
For additional information, please contact:
Andrea Schwan, Andrea Schwan Inc., info@andreaschwan.com, +1 917 371 5023
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16. Linda Carmella Sibio, FF ALumn, at Espace DbD, Los Angeles, CA, Feb. 13-14
Interdisciplinary Artist Linda Carmella Sibio
Launches Her New Fashion Brand
Sibio
With a Valentine’s Pop-up Shop Called
Pop Found
At Rachel Rosenthal Company’s Espace DbD in Los Angeles
Saturday, February 13 – Sunday February 14, 2016
Celebrate the Launch and Go Crazy for a Day
In her Wearable Art Shirts and Painted Textiles
Contemporary artist Linda Carmella Sibio, who activates social and cultural change through her work, launches her new fashion brand, Sibio, and invites the common person and fashion conscious trend setters to go “crazy for a day.” Join the artist to celebrate the launch of Sibio, with a pop-up shop over Valentine’s weekend called Pop Found. For two days in Los Angeles – Saturday, February 13 and Sunday, February 14, 2016 from 10:00am to 5:00pm – the Rachel Rosenthal Company’s performance space, Espace DbD, will be transformed into a retail boutique selling wearable art from the brand’s first three lines (Hip Madness, Octa Root, and Mayan Visions). Pop Found will feature Sibio’s original designs on textiles, high-quality t-shirts, and vintage shirts for men and women. The artist will also stage mini performance art pieces throughout the weekend. In addition, the event will include an installation of Marsha Perloff’s whimsical assemblage art dolls integrated with Sibio’s eclectic designs. For additional information, please see the Facebook event page here and Sibio’s Crazy for a Day online shop at www.crazyforaday.com.
Admission to the event is free. Proceeds from all sales support Sibio’s fine art, which spans visual art, writing, film/video, and performance. She is very much interested in the fringe of society and how it affects culture as a whole. These interests are very much reflected in her new fashion lines and textiles.
The Rachel Rosenthal Company’s Espace DbD is located at 2847 South Robertson Blvd., Los Angeles, California 90034 (310-839-0661; http://www.rachelrosenthal.org). The late iconic artist Rachel Rosenthal was Sibio’s art mentor for a span of 30 years. Street parking is available on Robertson. The venue’s entrance is through the back alley in the rear of the building. (Please look for Pop Found signs.)
Sibio’s Debut Lines –
Tapping into her fashion roots, which included attending the Fashion Institute of Technology and working in the silkscreen section of Andy Warhol’s Factory, Sibio expands her life-long artistic pursuit into the commercial fashion industry for the first time.
In addition to original hand-painted textiles, the Sibio brand launches with three distinct new lines:
Hip Madness –
This t-shirt line was inspired by the artist’s 25 years of teaching the mentally disabled. Each shirt depicts an artful yet thought-provoking interpretation of a mental state.
Octa Root –
The t-shirt designs in this line were inspired by the Buddhist Eightfold Path, which is used to develop insight into the true nature of phenomena (or reality) and to eradicate greed, hatred, and delusion.
Both t-shirt lines are printed by Brian Stern, of Bad Skulls in San Francisco, who uses water-based inks and a discharge printing method. This method allows for a high quality drape. All t-shirts are 100% cotton and have the artist’s signature. The t-shirt lines sell for $55 retail and $27.50 wholesale through Sibio’s Crazy for a Day online shop. Wholesale orders must start with a minimum order of 12 shirts. The Pop Found event will offer a 20% discount off the retail price.
Mayan Visions –
This line finds the artist hand-painting vintage shirts. They are a take on Polo shirts, with one image in the pocket area. Each design is a modern day hieroglyph of messengers from the Maya Era, bringing ancient thoughts. All Mayan Visions shirts are either on 100% cotton, silk, or rayon.
Sibio, the Brand –
Sibio, the brand, was generated as a fun project where artist Linda Carmella Sibio could explore pure designs via fashion and textiles… as well as make some money! It is a guerilla art endeavor, focusing on waking the public up to social and art causes with wild designs. The brand vows to make every person in a Sibio design a living, moving art object. Sibio seeks to sell products directly to the public through the Crazy for a Day web shop, via wholesale to retailers, as well as to manufacturers for production via licensing partnerships. The company has teamed up with Shalimar Media Group, which develops, manages, and distributes niche media brands.
Marsha Perloff, Guest Artist –
Marsha Perloff has never met a piece of rusted metal that she didn’t like. For as long as she can recall, she has been drawn to discarded relics and soulful objects, whose past lives are mysteries hidden beneath layers of patina and decay. Sibio and Perloff first met in the ’80s at the Whisky a Go Go and, like Perloff’s discarded relics, after decades of separation they have found each other again. Perloff studied film and photography in San Francisco and, upon her return to Los Angeles, she had a great career as a costume designer in the film industry. She is now back to her first love – making art from found objects as Salvage Art Sweetheart. She will collaborate on the installation at Pop Found, hanging her art dolls with Sibio’s shirts.
Linda Carmella Sibio, Artist –
Linda Carmella Sibio is a working contemporary artist who creates interdisciplinary art in various forms, including visual art, writing, film/video, and performance. Sibio is known for work that delves into insanity, homelessness, prostitution, and other fringe social subjects that come from the underbelly of society. The artist is well known for her community-based work and has taught interdisciplinary art to the mentally disabled since 1985. She has directed over 30 experimental pieces with two groups: Operation Hammer and The Cracked Eggs. Her passion for using the symptoms of mental illness as a structure for works of art has become a personal obsession.
Sibio is the recipient of many prestigious grants/awards including a Rockefeller MAP FUND Award, Lannan Foundation Grant, and, most recently, an award from the Foundation for Contemporary Art Emergency Fund. Her work has also been recognized by VSAarts and she was the recipient of the Wynn Newhouse Award, both of which support artists with disabilities. Her work has been seen at Brussels Contemporary Art Fair, Walker Art Center, Franklin Furnace, VSAarts at the United Nations Headquarters, VSAarts at the Kennedy Center, Armory NYC, Highways Performance Space, Los Angeles Contemporary Exhibitions, Track 16, REDCAT Studio, Bootleg Theater, and Scope Los Angeles at the Standard Hotel. Sibio has also received media coverage in Artweek, ArtNet, High Performance Magazine, Drama-Logue, New York Times, Los Angeles Times, LA Weekly, LA Reader, LA Style, MinnPost, Clinical Psychiatry News, and Schizophrenia Bulletin. She is represented by Andrew Edlin Gallery in New York.
“The ultimate goals of my new commercial lines are twofold,” says Linda Carmella Sibio. “First, the designs are intended to encourage every person wearing them to go crazy for a day and be art in designs that engage in compelling, socially relevant ideas. Second, in very practical terms, profits from the items fund my fine art production, which delves into urgent social justice issues.”
Links –
Pop Found Event Page – www.facebook.com/events/1046913608664890
Sibio’s Crazy for a Day Online Shop – www.crazyforaday.com
Linda Carmella Sibio – www.lindasibio.com
Marsha Perloff – salvageartsweetheart.com
Shalimar Media Group – www.shalimarmedia.com
Rachel Rosenthal Company – www.rachelrosenthal.org
For additional information, images, and interviews, please contact Green Galactic’s Lynn Tejada at 213-840-1201 or lynn@greengalactic.com. For inquiries on Sibio product lines, please contact Linda Carmella Sibio at 760-362-4071, 760-808-5326 (cell), or sibio@lindasibio.com.
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17. Nao Bustamante, FF Alumn, at Transformer, Washington, DC, opening Feb. 4
Prim@s
Nao Bustamante
&
Marcus Kuiland-Nazario
February 4 – March 5
Opening Reception:
Thursday, February 4, 6-9pm
Artist Talk:
Saturday, February 6, 2-3pm
In tandem with the College Art Association (CAA) conference in Washington, DC, Transformer is pleased to present Prim@s, an exhibition by Nao Bustamante and Marcus Kuiland-Nazario, featuring a selection of works pulled from Mexican history and popular culture.
Imploring a methodology she calls ‘speculative re-enactment’, Nao Bustamante’s Soldaderas is a series of multi-media works that hover between fact and fiction, past and future, looking at women soldiers in the Mexican Revolution. Marcus Kuiland-Nazario’s Maxi Kitsch are personal works and ‘refabulized’ souvenirs, soaked in musical memory and beaded nostalgia.
This is Nao Bustamante’s first exhibition in Washington, DC, and Marcus Kuiland-Nazario’s second exhibition in Washington, DC. His first, Sacred Chores, a series of durational, interactive performance installations, was presented at Transformer as part of our 2005 Touch & Go performance art exhibition series.
Please see the press release for further information.
Exhibition hours are Wednesday – Saturday, 12-6pm and by appointment.
It’s the community of supporters LIKE YOU that make our work possible.
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t r a n s f o r m e r is a Washington, DC based 501 (c) 3 artist-centered non-profit visual arts organization, providing a consistent, supportive, and professional platform for emerging artists to explore and present experimental artistic concepts, build audiences for their work, and advance their careers. A catalyst and advocate for contemporary artists and emergent expression in the visual arts, Transformer connects and promotes emerging visual artists within regional, national and international contexts through exhibition and programs partnerships with artists, curators, commercial galleries, museums and other cultural institutions.
Transformer’s 2015/16 Exhibition Series and programs are supported by: The Andy Warhol Foundation for the Visual Arts, The Bernstein Family Foundation, The CrossCurrents Foundation, The DC Commission on the Arts and Humanities/NEA, The JPG Companies, The Morris & Gwendolyn Cafritz Foundation, The Robert Lehman Foundation, The S&R Foundation, The National Endowment for the Arts’ Access to Artistic Excellence award, and The Visionary Friends of Transformer.
t r a n s f o r m e r | 1404 P St NW Washington DC 20005 | 202.483.1102 | transformerdc.org
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18. Kate Gilmore, FF Alumn, at Parsons, Manhattan, Feb. 3
Kate Gilmore
Wednesday, February 3rd, 2016 at 7:00pm
Parsons New School University, Kellen Auditorium, 66 Fifth Avenue, New York, NY 10011
Kate Gilmore is a performance, video and installation artist. She is the sole protagonist in her videos, in which she attempts to conquer self-constructed obstacles. Her work has been exhibited at venues including the Aldrich Museum, MoCA Cleveland, the 2010 Whitney Biennial; Brooklyn Museum; The Kitchen; Indianapolis Museum of Art; Bryant Park (Public Art Fund); White Columns; J. Paul Getty Museum; Istanbul Museum of Art, Haifa Museum of Art, and PS1/MoMA. Honors include the Rome Prize, Rauschenberg Residency Fellowship, and the Louis Comfort Tiffany Biennial Award.
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19. Alice Wu, FF Alumn, at Legion, San Francisco, CA, opening Feb. 12
Dear friends,
I’ve curated a new show for LEGION in San Francisco.
I hope you can come to the opening on Friday, February 12! Thank you for your support, Alice
HOW NOW CHINATOWN: Seven Photographers
Benjamen Chinn, Rebecca Goldschmidt, Jason Henry, Andria Lo, Irene Poon, Vincent Trinh, Charles Wong
Curated by Alice Wu
February 12 – March 25, 2016
Opening Reception: Friday, February 12, 5-8 PM
Legion
678 Commercial Street
San Francisco, CA 94111
Contact:
Sydney Pfaff at info@legionsf.com
Alice Wu at alicewuf@gmail.com
tel 415-733-7900
Legion presents HOW NOW CHINATOWN: Seven Photographers, featuring works by California-based photographers. This transgenerational show includes images of San Francisco Chinatown from the 1940s through the present. HOW NOW CHINATOWN brings together a range of perspectives from native San Franciscans born and raised in the city to those who have forged personal connections with Chinatown by exploring its streets and alleys to observe and absorb its life while getting to know its residents and local business owners. Chinatown is a place to call home, a refuge, a community, and a familiar ground to return to again and again.
Benjamen Chinn (1921-2009, San Francisco) first learned photography from his older brother at age 10, printing photos in a darkroom set up in the basement of the family home on Commercial Street in Chinatown. He served as an aerial photographer in the Army during World War II. Afterwards, he enrolled at the California School of Fine Arts (now San Francisco Art Institute), studying with Ansel Adams and Minor White, and photographing the streets of Chinatown. Chinn moved to Paris, continuing his art studies with Fernand Léger and Alberto Giacometti. Upon returning to San Francisco (and to the family home on Commercial St., where he lived nearly all his life), he embarked on a career with the US Sixth Army Photo Lab in the Presidio, rising to Chief of Photographic Services and later, Chief of Training Aids & Services Division. He trained a generation of military photographers including then-enlisted Paul Caponigro. After Chinn retired, he volunteered at a local Chinatown photo store, developing customer photos on the one-hour machine. Chinn has exhibited at SFMoMA, Chinese Historical Society of America, SFO Museum, SFAI, and more. He is included in The Golden Decade: Photography at the California School of Fine Arts, 1945-55, published by Steidl (Spring 2016).
Charles Wong (b. 1922, San Francisco) was born “within the boundaries where, Broadway below Montgomery Street, beyond Pine Street, and Powell Street, lies San Francisco Chinatown…it was unwritten, but somehow, that was our boundary…the ghetto.” Wong received a scholarship to the California School of Fine Arts (now SFAI) in 1940. WWII interrupted; Wong joined the Air Force. He returned to the California School of Fine Arts from 1949-1951 to enroll in the photography program newly founded by Ansel Adams. He studied with Adams, Edward Weston, Minor White and Imogen Cunningham. Wong was awarded the prestigious Bender Grant-in-Aid, and the first in photography (1951). He has shown at the George Eastman House Study Room, San Francisco Museum of Art (now SFMoMA), M.H. de Young Memorial Museum (de Young), Gordon College, and Smith Anderson North. He is also included in the forthcoming Steidl title The Golden Decade. After a hiatus of nearly forty years, Charles Wong has recently resumed photography.
Irene Poon (b. 1941, San Francisco) is a photographer, art historian, curator and cultural activist, born and raised in San Francisco’s Chinatown where her father operated an herbal store on Grant Avenue. She studied with Don Worth at San Francisco State College (now San Francisco State University) where she received her MA in photography in 1967. Poon has shown at San Francisco Museum of Art (now SFMoMA), the M.H. de Young Memorial Museum (de Young), Crocker Art Museum, Smith Anderson North, and more. Poon curated several exhibitions for the Chinese Historical Society of America. She published Leading the Way: Asian American Artists of the Older Generation (2001), a book of photographic portraits and biographical sketches. While Poon was preparing this book, Imogen Cunningham introduced her to the work of Charles Wong. Today, Charles Wong and Irene Poon are partners and collaborators. In 2015, Poon and Wong published Read the Photograph, a volume of their images and texts ranging from the 1950s to the present.
Andria Lo (b. 1981, Providence, RI) grew up in Alaska and Texas, and moved to the Bay Area to study art at UC Berkeley. Lo specializes in creative still life and documentary photography, and has been published in The San Francisco Chronicle, New York Times, Lucky Peach, San Francisco Magazine and Sunset. She was previously Director of Photography at Hyphen Magazine. Recent projects include botanical collages with the San Francisco Botanical Garden, art for SF Muni buses, and Chinatown Pretty, a collaboration with Valerie Luu, documenting the street style of longtime residents of San Francisco Chinatown, currently on view at 41 Ross.
Jason Henry (b. 1985, Ft. Pierce, FL) is a documentary photographer, born and raised in South Florida to an Air Force family. He got his start in photography by taking pictures of his friends skateboarding. Henry received an AA in Sociology from Indian River Community College (2005), followed by Spanish language studies in Valencia and Barcelona. From 2006-2009, he studied photojournalism at the University of Florida, Gainesville. He relocated to San Francisco in 2011. Clients include The Wall Street Journal, The New York Times, Wired Magazine, San Francisco Chronicle, NPR, Rolling Stone, Bloomberg Businessweek, and Medium. In 2015 he was featured in a two-person show, “Subjects,” at Athen B. Gallery in Oakland, CA.
Vincent Trinh (b. 1986, Galang, Indonesia) is a photographer and filmmaker. He was born in a refugee camp; his love for storytelling stems from his family’s experience as part of the “Vietnamese Boat People” movement. He was awarded Best Film for UC Davis Asian American Film Festival in 2010, 2011, and 2012. Trinh is Director of Photography at Hyphen Magazine. He has been photographing Chinatowns regularly for the past two years. When not photographing, his passion lies in community outreach and social activism; he works with the Asian American Donor Program (AADP). Trinh graduated with a BA in English from UC Davis in 2012.
Rebecca Goldschmidt (b. 1987, Phoenix, AZ) is an artist and educator currently living on the border between Tijuana, Mexico and San Diego, California. She holds a BA in German Studies from Lewis & Clark College and spent the past several years studying Spanish independently and at the UNAM in Mexico City. She teaches photography to refugee youth at The AjA Project in San Diego and to Latina teenagers with Las Fotos Project in Los Angeles and Tijuana. Goldschmidt cites Chinatown as a favorite place to photograph, whether in San Francisco, Chicago, Mexico City, New York or other cities on her regular travels.
Legion is a contemporary lifestyle boutique representing independent designers, some local and exclusive to the area, including First Rite, Ali Golden, Kowtow, Ilana Kohn, Seek Collective, and Ben Medansky. Founded by Bay Area native and fashion writer Sydney Pfaff, Legion also stocks a selection of home design, paper goods, and books. HOW NOW CHINATOWN is part of a series curated for Legion by Alice Wu, supported by an Alternative Exposure Grant. Legion’s thematic exhibitions explore the intersection of art, commerce and design and Chinatown, where Legion is situated.
HOW NOW CHINATOWN is on view February 12 through March 25, 2016 at Legion, 678 Commercial Street, San Francisco 94111. Legion is open Monday-Friday, 11AM-6PM, Saturday 1PM-5PM and by appointment. For further information and show images, please visitwww.legionsf.com or contact Legion at info@legionsf.com or 415-733-7900, or email Alice Wu (Curator) at alicewuf@gmail.com.
Opening Reception: Friday, February 12, 5-8PM
RSVP: https://www.facebook.com/events/1684154415163328/
Download Press Release and Media Kit: http://bit.ly/1NIqD1t
HOW NOW CHINATOWN: Seven Photographers
Benjamen Chinn, Rebecca Goldschmidt, Jason Henry, Andria Lo, Irene Poon, Vincent Trinh, Charles Wong
curated by Alice Wu
February 12 to March 25, 2016
Legion
678 Commercial Street
between Kearny and Montgomery St.
San Francisco, CA 94111
Opening Reception: Friday, February 12, 5-8PM
RSVP: https://www.facebook.com/events/1684154415163328/
http://www.legionsf.com
Instagram: @legion_shop
#hownowchinatown
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Goings On is compiled weekly by Harley Spiller
