Contents for February 10, 2016
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1. Hector Canonge, Martha Wilson, FF Alumns, at Queens Museum, Feb. 20, and more
2. Kathy Brew, FF Alumn, at New York Public Library for the Performing Arts, Manhattan, Feb. 16
3. Mierle Laderman Ukeles, FF Alumn, at Ronald Feldman Fine Arts, Feb. 11, and more
4. James Casebere, FF Alumn, at Haus der Kunst, Munich, Germany, opening Feb. 12
5. Judith Bernstein, FF Alumn, at Kunsthall Stavanger, Norway, thru April 10
6. R. Sikoryak, FF Alumn, at House of Independents, Asbury Park, NJ, Feb. 15
7. Gearoid Dolan, Patrick Ireland, Alistair MacLennan, Nigel Rolfe, FF Alumns, in new book
8. Power Boothe, FF Alumn, at 5 Points Gallery, Torrington, CT, opening Feb. 12
9. Reverend Billy, FF Alumn, in the Wall Street Journal, Jan. 19
10. Charlotte Moorman, John Cage, Dick Higgins, Allan Kaprow, Yoko Ono, FF Alumns, in The Wall Street Journal, Feb. 1
11. Ida Applebroog, Beth B, FF Alumns, at MoMA, Manhattan, Feb. 26
12. Bryan Zanisnik, FF Alumn, at Locust Projects, Miami, FL, thru March 19
13. Dread Scott, FF Alumn, at School of the Art Institute of Chicago, IL, Feb. 15, and more
14. Regina Silveira, FF Alumn, at Alexander Gray Associates, Manhattan, opening February 18
15. Katherine Behar, FF Alumn, at Radiator Gallery, Long Island City, NY, thru Mar. 13
16. Nicolás Dumit Estévez Raful, FF Alumn, at Columbia University, Manhattan, Mar. 1
17. Leon Golub, Nancy Spero, FF Alumns, at University of Chicago, IL, thru June 12
18. Gabriel Martinez, Xaviera Simmons, Kiki Smith, Annie Sprinkle, Hannah Wilke, FF Alumns, at Lexington Art League, KY, opening Feb. 19
19. Bogdan Perzynski, FF Member, at Liliana Bloch Gallery, Dallas, TX, thru Feb. 13
20. Maureen Connor, Suzanne Lacy, Claes Oldenburg, Mark Tribe, Mierle Laderman Ukeles, FF Alumns, in The New York Times, Feb. 5
21. Hidemi Takagi, FF Alumn, at Queens Museum, thru Feb. 27, and more
22. Emma Amos, FF Alumn, receives Larry D. and Brenda A. Thompson Award of the Georgia Museum of Art
23. Mandy Morrison, FF Member, at Dixon Place, Manhattan, Feb. 18
24. Patricia Hoffbauer, Jennifer Miller, Yvonne Rainer, FF Alumns, at Pratt Institute, Brooklyn, Feb. 17
25. Gregory Sholette, Dread Scott, FF Alumns, at University of Cincinnati, OH, opening Feb. 18
26. Irina Danilova, Hiram Levy, FF Alumns, at Temporary Storage Gallery, Brooklyn, opening Feb. 19
27. Dafna Naphtali, FF Alumn, at Wild Project, Manhattan, March 1, and more
28. Linda Sibio, FF Alumn, at Pop Found, Culver City, CA, Feb. 13-14
29. Gabriel Martinez, FF Alumn, now online at http://whyy.org/cms/fridayarts/
30. Barbara Rosenthal, FF Alumn, at Studio Baustelle, Berlin, Germany, opening February 12
31. Norm Magnusson, Paul McMahon, FF Alumns, at the Rockland Center for the Arts, West Nyack, NY, opening Feb. 13.
32. Harley Spiller, FF Alumn, on CBC-Radio Canada, now online, and more
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1. Hector Canonge, Martha Wilson, FF Alumns, at Queens Museum, Feb. 20, and more
LiVEART.US
Saturday, February 20, 2016, 3:00 PM
Hosted at QUEENS MUSEUM
LiVEART.US is a new platform established to feature works by local, national, and international artists working in Performance Art and its diverse manifestations.
Created and organized by interdisciplinary artist, Hector Canonge, LiVEART.US follows and complements the monthly program TALKaCTIVE: performance art conversation series, initiated by the artist last September. The program’s main objective is to further support the creation and presentation of new works in Live Action Art in an environment suitable for reflection and dialogue.
This month’s artists have been invited to participate in the program with new works that explore current concerns in contemporary American society.
Participating artists: Martha Wilson, Bobby English Jr., Heeran Lee, Honey Jernquist (Honey McMoney), Veronica Peña, and Jacob Cohen.
Organized and curated by Hector Canonge.
About the artists:
Martha Wilson is a pioneering feminist artist and gallery director, who over the past four decades created innovative photographic and video works that explore her female subjectivity. She has been described by New York Times critic Holland Cotter as one of “the half-dozen most important people for art in downtown Manhattan in the 1970s.” In 1976 she founded Franklin Furnace, an artist-run space that champions the exploration, promotion and preservation of artist books, temporary installation, performance art, as well as online works. She is represented by P.P.O.W Gallery in New York. Martha Wilson received an Honorary Doctor of Fine Arts degree from the Nova Scotia College of Art and Design University in 2013. She has received fellowships for performance art from the National Endowment for the Arts and the New York Foundation for the Arts; Bessie and Obie awards for commitment to artists’ freedom of expression; a Yoko Ono Lennon Courage Award for the Arts; a Richard Massey Foundation-White Box Arts and Humanities Award; a Lifetime Achievement Award from Women’s Caucus for Art; and the Audrey Irmas Award for Curatorial Excellence from the Center for Curatorial Studies, Bard College.
Bobby English Jr. creates empowering, yet self- destructive performances inspired by world mythologies, ancestry, identity, dreams, and the dualities of nature.His process is very laborious and exhausting, yet it is meditative and spiritual. While creating, and even after completion, there is a dialogue happening between the form and English’s body. The dialogue ultimately becomes mystic, almost ritualistic, thought-provoking performances that he feels are channeled from the many mythological archetypes that he understands both from his own life experiences and those of his ancestors. Often times, these performances become uncomfortable, alienating, dangerous, and painful. However, physical and/or spiritual distress aids English in connecting to his higher-self; sacrifice for enlightenment. English wants people to be inspired to connect with the divine nature within themselves, their personal mythologies, and be comfortable in the expression of their divinity, their true selves. The goal of his art is to create an atmosphere for conversation, understanding, and ultimately compassion for all people. English studied at the Maryland Institute College of Art in Baltimore and Studio Art Centers International in Florence, Italy. Since his first exhibition in 2011, English’s work has been shown in major Baltimore galleries, and Art Basel Miami in 2011. His Mothership Connection sculptures and performances were the subject of much praise, and have been shown in multiple exhibitions nationally.
Heeran Lee is a performance artist whose body centered work explores private and public gestures of the Asian female body in the patriarchal power structure and investigates cultural marginalization. Her recent grants have included the ARKO Young Art Frontier from Arts Council Korea (2013), she was a Semi-finalist for the emerging artist prize from The Claire Rosen & Samuel Edes Foundation (2012) and The Anna Louise Raymond Fellowship (2012). Her work has been shown at Culture Station Seoul 284(Korea 2014), Grace Exhibition Space (New York 2013), The Watermill Center (New York 2012), Defibrillator Gallery (Chicago 2012), and Rockbund Art Museum (Shanghai 2011). She holds an MFA specializing in performance from the School of the Art Institute of Chicago and was a fellow artist of LEIMAY 2014-2015 at CAVE in New York.
Honey Jernquist (Honey McMoney) is a conceptual artist, painter and performance artist. He lived in San Francisco for twenty years. He rather spontaneously started performing in 2009. Since then he has performed dozens of pieces on the street, in lobbies, in hallways, in bedrooms, in galleries, and occasionally theaters. He now lives in Brooklyn, and has recently completed a personal practice cycle in Union Square called End of Life Planning Starts Now. He strives with his work to create spacious vessels – experiences without specified meaning or interpretation. Since 2014, he has worked at MoMA as performance facilitator, performing and engaging the public around performance and interaction, for Lygia Clark: The Abandonment of Art, 1948-1988; James Lee Byars: 1/2 an Autobiography; Yoko Ono: One Woman Show, 1960-1971; and currently performing David Lamelas’s piece Time for Transmissions: Art in Eastern Europe and Latin America, 1960-1980. In 2016, he performed at Grace Exhibition Space as part of Performancy Forum Quinquennial; and in Berlin at Haus am Lützowplatz/Studiogalerie for You Can Feel It, curated by Jonny Star. He continues a personal practice he calls the form is formless.
Veronica Peña was born in Spain and resides in Indiana. Peña’s work explores the themes of absence, separation, and the search for harmony through performance art. Her recent work consists of experimental participatory performances that create shared moments amongst strangers. Peña earned her Bachelor of Fine Arts at The Polytechnic University of Valencia, Spain. She earned her Master of Fine Arts at Stony Brook University, New York, focusing on installation and performance art. Peña has exhibited in Spain, Germany, Italy, South Korea, and the United States. In New York, her work has been featured at The Lab Gallery (for Installation + Performance Art), at Times Square (Times Square Alliance), at the Armory Show 2010 (Gabarron Foundation), in the “13th DUMBO Arts Festival (DUMBO Arts Center), and numerous not-for-profit galleries. In Spain, her work has been exhibited at Casa de America (Madrid), Fundacion Antonio Saura (Cuenca), Museo Orus (Zaragoza), and Fundacion Caja Rioja (La Rioja) amongst others. She has been a recipient of the Socrates-Erasmus Grant, the Universidad Complutense de Madrid Fellowship, and a candidate for the Dedalus Foundation Grant. She has been an Artist-in-Residence at Vermont Studio Center, United States. She has published “The_Presence_Of_The_Absent”, a thesis about her body of work.
Jacob Cohen is a Brooklyn-based experimental cellist and street performer. Since 2011 he has earned a living performing in the New York City subways, developing a unique style of improvisation that has grown out of a frustration with traditional cello music and a complimentary love of improvisation and performance. Jacob creates original music for a live audience as a daily practice. He explores the textures and capabilities of the instrument in a free form that comes from a combination of muscle memory, reflexes, and intuition. He began to travel with his music in 2013, performing throughout Japan, Thailand, and India. In 2014 he won Absolut Vodka’s Transform Today contest, leading to the creation of his project Cello Without Walls in which he has been performing and conducting workshops in prisons and jails throughout the northeastern United States. In 2015 Jacob was the recipient of a grant from the Vogler Foundation to create a music program for youth at Rikers Island’s Robert N. Davoren Complex. Notable collaborations include a series of workshops with Polish sculptor Pawel Althamer and his team of international artists that have been conducted in contemporary art institutions in New York, Beijing, Warsaw, and Nicosia. He collaborated with composer Rob Simonsen on the soundtrack for Foxcatcher, recipient of the Best Director award at the 2014 Cannes Film Festival.
Hector Canonge is an interdisciplinary artist, curator and cultural entrepreneur based in New York City. His work incorporates the use of new media technologies, cinematic narratives, Live Action Art, and Social Practice to explore and treat issues related to constructions of identity, gender roles, psychogeography, and the politics of migration. Challenging the white box settings of a gallery or a museum, or intervening directly in public spaces, his performances mediate movement, endurance, and ritualistic processes. Some of his actions and carefully choreographed performances involve collaborating with other artists and interacting with audiences. His work has been exhibited and presented in the United States, Latin America, Europe and Asia. As cultural entrepreneur, Canonge started projects such as ARTerial Performance Lab (APLAB), an initiative to foster collaboration among performance artists from the Americas, PERFORMEANDO, a program that focuses on featuring Hispanic performance artists living in the USA and Europe, NEXUSURNEXUS a virtual platform for Live Action Art, and PERFORMAXIS, an international residency program in collaboration with galleries and art spaces in Latin America. He created, and organizes independently the annual Performance Art Festival NYC, ITINERANT. Canonge is the co-founder of QMAD, Queens Media Arts Development, a non-profit arts organization in Queens, NYC. As curator, he has organized exhibitions at Centro Cultural Santa Cruz, Queens Museum, Space 37 Gallery, and Visual AIDS. He started the monthly artists’ program A-LAB Forum at Crossing Art Gallery, and created the monthly independent film series CINEMAROSA. Canonge’s work has been reviewed by The New York Times, ART FORUM, Art in America, New York Daily News, Manhattan Times, Hispanic Magazine; by major networks ABC, NBC, CNN, CBS, UNIVISION, etc., and online by Art Experience NYC, Hyperallergic, Turbulence, Art Card Review, and New York Foundation for the Arts’ bulletin NYFA News.
Website: www.hectorcanonge.net/liveart.us
Facebook: https://www.facebook.com/notes/hector-canonge/liveartus/10153502201094422?notif_t=like
Contact: liveart.us@gmail.com
and
Hector Canonge, FF Alumn, participates in Symposium in England, starts residency project in the Bronx, and launches LiVEART.USA in Queens, New York City.
After a month long in South America presenting new work in his solo exhibitions : SOMATOPIAS in Peru, and TROPOLOGIAS in Bolivia, interdisciplinary artist, Hector Canonge, returned to New York City to begin working on new projects and initiatives. In the Bronx, the artist started working on his Social Practice & Performance Art based project “A Home of Our Own” as part of his residency for RU Residency Unlimited and Casita Maria (February 3 – April 20), and in Queens he prepares to launch the new program LiVEART.US hosted at the Queens Museum (February – June). Canonge will be in England as a guest artist participating the the International Symposium, “The Alternative Document”, at the University of Lincoln, and exhibiting the video installation “αφορά (aforá)” at Project Space Plus of the university.
“A Home of Our Own”
February 3 – April 20
Casita Maria
A multidisciplinary arts project where Social Practice and Performance Art converge to create individual introspection, stronger family relations, and understanding of community building. Canonge will work with students from Casita Maria’s after school program and the community of Hunts Point in the Bronx. The project is sponsored by RU Residency and Casita Maria. The 3-month residency is made possible with support from the Dedalus Foundation and funding from the National Endowment for the Arts (NEA). More information
LiVEART.US
Februay – June, Premiere: Saturday, February 20, 3 PM
A new initiative focusing on Live Art to be hosted at the Queens Museum staring on February 20th, 2016. The bimonthly series follows and complements the monthly series TALKaCTIVE: performance art conversations initiated by the artist last September. The program’s main objective is to further support the creation and presentation of new works in Performance Art and its various manifestations in an environment suitable for reflection and dialogue. Participating artists are selected to present work that is devoid of technology with the body as a the main tool of expression. More information
αφορά (aforá)
February 13 – March 30
Video installation that explores the notion of the memento, the memory, the souvenir (recuerdo in Spanish) of the moment(s) created by a performance. The instances created by a performance leave sensory imprints not just for the audience, but also for the artist. On the one hand, the ephemeral actions provoke a reaction (instinctual or reasoned) on part of the observers, and instances of reflection on the part of the creator. The memento that witnesses take from a performance degrades over time due to the very nature of human experience. However, and despite the point of view of the mechanical device recording the action(s), what the performance artist has as testament of the work is not an elusive memory, but an actual image that can be reproduced physically and accessed at any given moment.
Brief Biography:
Hector Canonge is an interdisciplinary artist, curator and cultural entrepreneur based in New York City. His work incorporates the use of new media technologies, cinematic narratives, Live Action Art, and Social Practice to explore and treat issues related to constructions of identity, gender roles, psychogeography, and the politics of migration. Challenging the white box settings of a gallery or a museum, or intervening directly in public spaces, his performances mediate movement, endurance, and ritualistic processes. Some of his actions and carefully choreographed performances involve collaborating with other artists and interacting with audiences. His work has been exhibited and presented in the United States, Latin America, Europe and Asia. As cultural entrepreneur, Canonge started projects such as ARTerial Performance Lab (APLAB), an initiative to foster collaboration among performance artists from the Americas, PERFORMEANDO, a program that focuses on featuring Hispanic performance artists living in the USA and Europe, NEXUSURNEXUS a virtual platform for Live Action Art, and PERFORMAXIS, an international residency program in collaboration with galleries and art spaces in Latin America. He created, and organizes independently the annual Performance Art Festival NYC, ITINERANT. Canonge is the co-founder of QMAD, Queens Media Arts Development, a non-profit arts organization in Queens, NYC. As curator, he has organized exhibitions at Centro Cultural Santa Cruz, Queens Museum, Space 37 Gallery, and Visual AIDS. He started the monthly artists’ program A-LAB Forum at Crossing Art Gallery, and created the monthly independent film series CINEMAROSA. Canonge’s work has been reviewed by The New York Times, ART FORUM, Art in America, New York Daily News, Manhattan Times, Hispanic Magazine; by major networks ABC, NBC, CNN, CBS, UNIVISION, etc., and online by Art Experience NYC, Hyperallergic, Turbulence, Art Card Review, and New York Foundation for the Arts’ bulletin NYFA News.
Contact:
email: hector@hectorcanonge.net
cellphone: +1 917 446 4472
website: www.hectorcanonge.net
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2. Kathy Brew, FF Alumn, at New York Public Library for the Performing Arts, Manhattan, Feb. 16
DESIGN IS ONE: LELLA & MASSIMO VIGNELLI, by Kathy Brew & Roberto Guerra, is one of the select films from the Montreal Festival of Films on Arts that will be presented as part of the 10th annual FIFA Festival of Films on Art in New York City.
The film screens on Tuesday, February 16th at 2:30 pm at the Bruno Walter auditorium on 65th Street and Amsterdam at the New York Public Library for the Performing Arts at Lincoln Center. Kathy Brew will be in attendance for the screening.
http://www.musefilm.org/events/2015/12/9/2016-fifa-festival-of-films-on-art
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3. Mierle Laderman Ukeles, FF Alumn, at Ronald Feldman Fine Arts, Feb. 11, and more
Join us for two special public events marking the publication of
Mierle Laderman Ukeles: Seven Work Ballets
A reading, book signing, and reception with Mierle Laderman Ukeles
and an introduction by Kari Conte
Thursday, February 11, 6-8pm at Ronald Feldman Fine Arts,
31 Mercer Street, New York City
A panel discussion and book signing with Mierle Laderman Ukeles,
Kari Conte, Krist Gruijthuijsen, and Amanda Crabtree
Wednesday, March 2, 6-8pm at the New York Public Library,
Stephen A. Schwarzman Building, Celeste Auditorium
Fifth Avenue at 42nd Street, New York City
Through archival research, this monographic publication focuses on Ukeles’ 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, Japan. 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.
Published by Sternberg Press in December 2015, Mierle Laderman Ukeles: Seven Work Ballets is edited by Kari Conte and features an introduction by Krist Gruijthuijsen, an essay by Kari Conte, substantial writing about the work ballets by Mierle Laderman Ukeles, and a conversation between Mierle Laderman Ukeles, Tom Finkelpearl, and Shannon Jackson.
The book is co-published by Kunstverein Publishing, Grazer Kunstverein, and Sternberg Press in collaboration with Arnolfini, Bristol; Institute of Modern Art, Brisbane; and Marabouparken konsthall, Stockholm and is designed by Marc Hollenstein.
RONALD FELDMAN FINE ARTS
31 Mercer Street | New York, NY 10013 | 212-226-3232 | www.feldmangallery.com
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4. James Casebere, FF Alumn, at Haus der Kunst, Munich, Germany, opening Feb. 12
James Casebere. Fugitive
Haus der Kunst, Munich, Germany
February 12 – June 12, 2016
Sean Kelly is delighted to announce that James Casebere’s first retrospective exhibition, Fugitive, will open on Friday, February 12 at Haus der Kunst in Munich. Curated by Okwui Enwezor and featuring more than 70 works, the exhibition draws from all periods of Casebere’s career. The survey includes recent large multi-panel and single-panel color photographic works; early black-and-white gelatin silver prints, dye destruction prints, waterless lithographs, and Polaroid prints. In addition, for the first time, Casebere will present working notebooks, a series of collages, and an extensive collection of never before exhibited Polaroid studies of individual works as they evolved – from the beginning stages of production to the finished image. For the exhibition at Haus der Kunst, Casebere has created four new, monumental, site-specific works in the form of friezes in the gallery’s grand staircase.
For more information, please visit hausderkunst.de
For press inquiries, please contact Christine McMonagle at the gallery (212.239.1181) or via email at christine@skny.com
For all other inquiries, please contact Cecile Panzieri at the gallery (212.239.1181) or via email at cecile@skny.com
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5. Judith Bernstein, FF Alumn, at Kunsthall Stavanger, Norway, thru April 10
JUDITH BERNSTEIN
SOLO MUSEUM EXHIBITION AT
KUNSTHALL STAVANGER
OPENS TODAY
THURSDAY 4 FEBRUARY – SUNDAY 10 APRIL
KUNSTHALL STAVANGER
MADLAVEIEN 33 4009
STAVANGER
NORWAY
www.kunsthallstavanger.no
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6. R. Sikoryak, FF Alumn, at House of Independents, Asbury Park, NJ, Feb. 15
CAROUSEL comes to House of Independents in Asbury Park, NJ
Featuring live comics readings, performance, and music from
Maëlle Doliveux, Emily Flake, Jeffrey Lewis, Neil Numberman,
and Lauren R. Weinstein.
Plus: “Low tech animations” by Jim Torok
Hosted by R. Sikoryak.
House of Independents 572 Cookman Ave, Asbury Park, New Jersey 07712
MONDAY, FEBRUARY 15, 2016
Tickets: $10.00
Showtime: 8pm
Doors Open: 7pm
General Admission Seating
More info:
http://www.houseofindependents.com
https://carouselslideshow.splashthat.com
http://carouselslideshow.com
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7. Gearoid Dolan, Patrick Ireland, Alistair MacLennan, Nigel Rolfe, FF Alumns, in new book
FF alums Alistair MacLennan, Nigel Rolfe, Patrick Ireland and Gearoid Dolan (aka screaMachine) featured in new book “Performance Art in Ireland: A History”, edited by Aine Phillips. Aine is presenting a lecture on her book and Irish performance art in NYC on Feb 9th @ 7pm at the Howl! Happening Gallery/Performance Space, 6 East 1st Street and on Feb 10th @ 6pm at the NYU Tisch School of the Arts, 721 Broadway
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8. Power Boothe, FF Alumn, at 5 Points Gallery, Torrington, CT, opening Feb. 12
Abstraction Part 1, Opens next Friday, February 12th, 6:00-8:30PM.
This show features a wide range of abstract paintings.
fivepointsgallery.org/upcoming-exhibits.html
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9. Reverend Billy, FF Alumn, in the Wall Street Journal, Jan. 19
The Wall Street Journal
ART HISTORY
Dada: 100 Years Later
A century ago, a small group of provocateurs took the stage at Cabaret Voltaire in Zurich, starting a movement-now celebrated in a series of exhibitions-that forever changed modern art
By
TONY PERROTTET
Jan. 19, 2016
FOR ART HISTORIANS interested in Dadaism, the impact of the subversive anti-art movement founded in Zurich 100 years ago is illuminated by a simple parlor game: Which artist today has Dada most influenced? Is it Paul McCarthy, whose mischievous ketchup bottles and Barbie dolls recall Marcel Duchamp’s concept of the readymade? Could it beCindy Sherman, whose classic self-portraits toy with identity in subversive ways? (In 1920, Tristan Tzara invited fellow Dadaists to send him manipulated self-portraits, provoking Max Ernst to re-create himself as “Dadamax.”) Or perhaps Rirkrit Tiravanija, a contemporary artist whose dinner parties turn audience members into an active element of the work? (The rejection of art as a commodity-not to mention the very idea of performance art-can be traced back to Dadaism, says Adrian Sudhalter, curator ofDadaglobe Reconstructed, an exhibition coming to New York’s Museum of Modern Art this summer.) In fact, the better question may be: Which living artist is not influenced by Dada? “The echoes of Dadaism are everywhere,” Sudhalter says. “Dadaism shifted the entire landscape of modernism. It redefined the idea of what art was. It no longer had to be an object you hang on the wall. Art could be an ephemeral performance, a page in a magazine, an object found in the street. The strategies of Dadaism are now part of almost every artist’s vocabulary.”
“The spirit of Dada re-emerges in the puberty of every artistic generation,” explains Adrian Notz, director of Cabaret Voltaire in Zurich, where Dada was born. In the 1960s, there was “neo-Dada” practiced by the likes of Robert Rauschenberg, Jasper Johns andYoko Ono. More recently, “trash art” took the use of found objects to extremes, inspiring artists such as Noah Purifoy and David Hammons. Even more pervasive is Dada’s effect on pop music. “Dada’s most genuine successor was punk rock,” says Notz. The Sex Pistols’ concerts induced the same shock and awe audiences felt a century ago when Dada performances nearly provoked riots. ” David Bowie was a consummate Dadaist, creating his own personas,” Notz adds, a banner of self-invention also carried by Lady Gaga: “She continues the tradition of absurd self-creation. The idea of embracing your inner freak is pure Dada. Don’t put on a mask; develop your personal spirit.”
It may seem odd that Dada’s “primal scream” of anarchy began in Zurich, better known for staid financial efficiency than artistic frenzy. But during World War I, the city flourished as a raucous cultural center whose energy was fueled by refugees from all over Europe. In this atmosphere, Dada was formed by a cosmopolitan coterie of artists who shared a sense of outrage at the savage bloodletting of history’s first mechanized conflict. They were led by the Germans Hugo Ball and his lover Emmy Hennings, the Frenchman Jean Arp, the Swiss Sophie Taeuber and the Romanian Tzara, who would become Dada’s main cheerleader. (In 1916, Zurich was also home to James Joyce, who was writing Ulysses, and Vladimir Lenin, who was plotting political revolution-a convergence that Tom Stoppard celebrated in his play Travesties.) “Zurich is not at all a Dadaist city, but that is exactly why it was born here,” Notz says. “The Swiss qualities of safety and order make it an excellent place for artists to experiment. And Zurich has always been a bubble within Europe. During the Great War, it was described as ‘a birdcage surrounded by roaring lions.’ This very contradiction nourished Dada.”
On the night of February 5, 1916, at Cabaret Voltaire, a half dozen wild-eyed young bohemians staged the first Dadaist performance before a bewildered crowd. The walls of the cabaret were decorated with primitivist masks and artworks by the likes of Picasso and Modigliani. Onstage, provocateurs mixed vaudeville acts and expressionist dance with performances that bordered on gibberish or lunacy, including a poem intoned in three languages at once, a Maori song belted out by the young Tzara wearing a monocle as he writhed in epileptic-like spasms and a threatening figure reciting what he called “Fantastic Prayers” while banging a drum and flailing a riding crop.
ACCORDING TO ONE LEGEND, Dada’s name was selected at random from a dictionary. Others recall dada was chosen because it means hobbyhorse in French; or was it taken from a brand of Swiss shampoo? Whatever the origins of the name, the movement’s mix of humor, satire and artistic bravura proved contagious. Its provocative tenets-taking the rebellious aspects of futurism and fauvism to extremes-were proclaimed in a Dadaist manifesto and, after the war, transmitted like a virus around the world by Dadaist artists, most of whom left Zurich, especially the promotion-savvy Tzara. The charismatic Romanian recruited such luminaries as André Breton in Paris, George Grosz in Berlin and Man Ray and Duchamp in New York, a disparate group that cooperated and argued in equal measure.
This month, Zurich is celebrating the “Dada Jubilee” with gusto. On February 5, Cabaret Voltaire will host a Dadaist centennial celebration, to be followed by rituals at dawn for 165 days, each in honor of a different artist. Before traveling to MoMA in New York,Dadaglobe Reconstructed will open in February at the Kunsthaus Zurich, re-creating a volume Tzara planned to publish in 1921 filled with small artworks and writings Dadaists posted to him (Sudhalter spent five years tracking down pieces from public and private collections, each one marked by Tzara with a page reference). In March, Zurich’s Museum Rietberg will stage Dada Afrika, the world’s first exhibition on the Dadaists’ fascination with non-European art. By June, the Dada frenzy will segue into Manifesta 11,a biannual European art show that has chosen Zurich as host, largely because of the Dada connection. The Kunsthaus will also present a major exhibition on Francis Picabia, the French-born rebel who explored art’s limits in New York.
• Cabaret Voltaire was Dada’s home for five months, and the performances there have passed into legend. “Dada events were mystical experiences,” says Notz. “They were ecstatic. The artists confronted the audience. They provoked them. It was a pitched battle.”
By mid-1916, unable to afford the rent, the Dadaists were forced to move to other venues. Cabaret Voltaire was turned into a bingo parlor in the 1920s and a series of pubs in the 1980s, enjoying a strange half-life among Dadaism’s admirers as a shrine. Its fate looked grim by the 1990s, when the structure was abandoned, then bought by an insurance company to convert into luxury apartments. Swiss artists were outraged, and in 2002, squatters occupied the site and staged vaguely Dadaist events, such as throwing 2,000 francs from a window to attract supporters. The Swatch company offered to fund its operation as a cultural center if the city council would pay the rent-315,000 francs a year-allowing Cabaret Voltaire to reopen in 2004 and become a fixture on the lively Zurich art scene. Recent visitors include Marilyn Manson and the satirical performance artists Reverend Billy and the Yes Men, who were inspired to dress up as human mops and “clean” a local bank by rubbing themselves on the walls and floor. “They were a bit disappointed nobody called the Zurich police,” says Notz.
Notz hopes the Jubilee will ruffle a few Swiss feathers. “Dada remains a contentious topic in Zurich,” he says. “The city is run by a right-wing party, which equates Dadaism with anarchism and terrorism. The 1916 artists were mostly foreigners and thus immigrants. It’s a red flag for conservative Swiss politicians these days.” But Dada’s future, says Notz, will remain bright as long as there are power structures to rebel against. “Hugo Ball wrote about the ‘economic fatalism’ of the world order, where life is confined and shackled by money, and everything has to be useful and serviceable,” Notz says. “Dadaism tells us that life doesn’t have to be like that. Art is a force strong enough to allow us to break free and to escape our prefigured destiny.”
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10. Charlotte Moorman, John Cage, Dick Higgins, Allan Kaprow, Yoko Ono, FF Alumns, in The Wall Street Journal, Feb. 1
The Wall Street Journal ART REVIEW
‘A Feast of Astonishments: Charlotte Moorman and the Avant-Garde, 1960s-1980s’ Review
Cellist Charlotte Moorman’s work divided opinion, but one thing’s for certain: She was deeply serious about her artistic projects
By
RICHARD B. WOODWARD
Feb. 1, 2016
The cellist Charlotte Moorman (1933-1991) was an intrepid performer who was central to avant-garde culture in New York during the 1960s and ’70s-the “Jeanne d’Arc of New Music,” the composer Edgard Varèse dubbed her-even if many weren’t sure how to evaluate her talents.
Was she advancing the cause of free expression when she played on stage in the nude or wore a bra of televisions or was attached to a flight of balloons or let herself be covered in 20 pounds of chocolate fudge?
Or did some of her antics become an excuse for men to ogle her and for the public to dismiss all unconventional art as a put-on? Was she, as well as being collaborator and muse for Nam June Paik in his revolutionary mixed-media pieces, also his stooge?
MARY AND LEIGH BLOCK MUSEUM OF ART
Through July 17, then travels to New York University’s Grey Art Gallery and Salzburg, Austria
These questions were debated in New York’s downtown artistic circles (especially by feminists) when she was alive. And they are quietly raised again in the celebratory exhibition and catalog “A Feast of Astonishments: Charlotte Moorman and the Avant-Garde, 1960s-1980s” at the Mary and Leigh Block Museum of Art, Northwestern University, as well as in Joan Rothfuss’s entertaining new biography, “Topless Cellist: The Improbable Life of Charlotte Moorman.”
According to Ms. Rothfuss’s research, Moorman could have enjoyed a normal middle-class American life. Growing up in Little Rock, Ark., an only child who studied music and won the “Miss City Beautiful” contest at age 19, she was not a born rebel. Even after her move in 1957 to New York, where she attended the Juilliard School for a year and married a double-bassist, she envisioned herself playing cello in an orchestra or string ensemble.
But performing the classics, Moorman decided, was a bore compared to the offerings in New York’s experimental music and art scene during the ’60s. Her marriage annulled, she took up with a series of male mentors. (She ended up happily paired with the visual artist Frank Pileggi.)
An eccentric who never threw anything away, Moorman has left the show’s six curators-one of whom is Ms. Rothfuss-with almost too much material to sift in presenting her flamboyant life. (Northwestern bought the artist’s archive and has been organizing it since 2001.)
In addition to photographs of her in many productions, the exhibition has museum loans of Paik’s video sculptures and a program of films and videos that shows her playing works by Paik (“Sonata for Adults Only”) and others. There are cellos that Moorman fashioned, in neon or from syringes (used for her cancer treatments), as well as the felt-covered instrument that Joseph Beuys made for her to use in one of his works.
Annotated scores of music she performed by New York’s avant-garde ( John Cage,Ornette Coleman, Paik) are here, along with her copy of Karlheinz Stockhausen’s “Originale (Originals),” a piece from 1964 in which she played the part of the “String Player,” wearing only gauze. Moorman was a key figure in helping these composers to introduce unpredictability, spectacle, danger and humor into the rarefied air of the classical music concert.
One way to liberate the audience, Paik believed, was to add nudity. In 1967 Moorman performed half-naked in his “Opera Sextronique” at a theater near Times Square. Arrested for indecent exposure, she spent the night in jail. The tabloid reporting on her trial, which resulted in a suspended sentence, defined her ever after in the public’s mind as the “Topless Cellist,” a label she resented when she wasn’t capitalizing on it.
Moorman’s packrat habits have proved invaluable in reconstructing a less well-documented phase of her career: her role as an impresario.
In 1963 she founded an annual Festival of the Avant Garde in New York. With almost no resources except her own vivaciousness, she produced it for 15 years, moving it around the city into nontraditional arenas for art and music-Grand Central Terminal, Shea Stadium, Floyd Bennett Field, and the World Trade Center.
The walls and cases in the exhibition’s second half are papered with her ads and programs for the festivals, supplemented by the photographs of Peter Moore, one of the few who attended all of these ephemeral events. Dozens of composers (Varèse, Cage, Morton Feldman, Luciano Berio), filmmakers ( Bruce Conner, Jack Smith), performance artists and dancers ( Allan Kaprow, Yoko Ono, Dick Higgins, Lucinda Childs) participated because Moorman cajoled them.
She had “a flair for getting EVERYBODY involved, including the more sophisticated who think Charlotte is silly; and she always somehow pulled it off,” wrote the critic Jill Johnston in the Village Voice after one of these festivals.
Some feminist artists in the ’60s and ’70s were wary of Moorman. Carolee Schneemann thought her a “narcissist,” and the roster of her festivals was overwhelmingly male.
The public was more flummoxed. In a clip here from the Merv Griffin TV show, the studio audience laughs nervously as she holds a string down the back of Jerry Lewis and uses him to perform Paik’s “Human Cello.”
A comedian in her own right, whose friendly smile and Southern accent could disarm most hostile crowds, Moorman knew that just because you weren’t afraid to look ridiculous didn’t mean you weren’t serious.
Mr. Woodward is an arts critic in New York.
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11. Ida Applebroog, Beth B, FF Alumns, at MoMA, Manhattan, Feb. 26
CALL HER APPLEBROOG
A new film by BETH B
World Premiere
The Museum of Modern Art, New York
Doc Fortnight 2016
SAVE THE DATE: Friday, February 26, 7:30 PM
JEAN LIGNEL & B PRODUCTIONS
PRESENT
CALL HER APPLEBROOG
A FILM BY BETH B
WE ARE PLEASED TO ANNOUNCE THE WORLD PREMIERE
at
THE MUSEUM OF MODERN ART
11 West 53 Street, New York, NY 10019
Doc Fortnight 2016
Friday, February 26th at 7:30pm
CALL HER APPLEBROOG by Beth B is a poignant and intimate portrait of renowned artist, Ida Applebroog, who grew up in an Orthodox Jewish household with an immigrant father who only wanted to have sons; instead there were three girls. It is a cathartic story of self-realization and the act of art-making as a lifesaving parachute.
The film reveals Applebroog’s groundbreaking artwork that has been an enduring enquiry into the polemics of human relations and power. More intimately, it is about her dynamic family relationships – a story that Beth knows well – Ida is her mother.
We hope you will join us for this historic event.
Ida and Beth will be present at the screening for Q&A.
TICKETS ON SALE TWO WEEKS IN ADVANCE
#DocFortnight
Distribution: Zeitgeist Films, www.zeitgeistfilms.com
A THEATRICAL RELEASE IS PLANNED FOR EARLY SUMMER
Twitter: @museummodernart @momafilm
Instagram: @themuseumofmodernart
Tumblr: moma.tumblr.com
Facebook: facebook.com/MuseumofModernArt
www.idaapplebroog.com
www.hauserwirth.com
bethbprod@gmail.com
www.exposedmovie.com
www.bethbproductions.com
CALL HER APPLEBROOG
FEATURING IDA APPLEBROOG CAMERA & EDITING BETH B
ORIGINAL MUSIC JIM COLEMAN COLORIST ANTHONY RAFFAELE
RE-RECORDING MIXER PAUL FUREDI
FINISHING SERVICES TECHNICOLOR-POSTWORKS
POST PRODUCTION SUPERVISOR JIM COLEMAN
PHOTOS EMILY POOLE LEGAL COUNSEL KAISER WAHAB
EXECUTIVE PRODUCERS JEAN LIGNEL & BETH B
PRODUCED & DIRECTED BY BETH B
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12. Bryan Zanisnik, FF Alumn, at Locust Projects, Miami, FL, thru March 19
Dear Friends,
I’m very happy to announce that my new site-specific installation, the Philip Roth Presidential Library, will be on view at Locust Projects in Miami through March 19th. I hope some of you can check it out.
Best,
Bryan Zanisnik
http://www.zanisnik.com
Philip Roth Presidential Library
January 30 – March 19, 2016
Locust Projects
3852 North Miami Ave
Miami, FL 33127
http://www.locustprojects.org
Locust Projects is proud to present Bryan Zanisnik’s installation the Philip Roth Presidential Library. In the spring of 2012 Zanisnik was served with a cease and desist letter by attorneys acting for the American author Philip Roth. The document stated that the artist was violating the copyright of Roth’s book The Great American Novel, by holding the publication during a performance at the Abrons Arts Center in New York City. The incident received extensive press coverage, and has garnered mentions of Zanisnik in scholarly publications and academic journals focused on the celebrated author. After much back and forth between Zanisnik’s copyright attorney and Roth’s lawyers, the matter was dropped. Zanisnik utilized Roth’s novel in his 2012 performance because he felt an affinity with the author and his writing. Both men are from New Jersey; explore ideas of masculinity, Americana, and family in their work; and have an abject sense of humor. While Zanisnik initially intended to limit his reference to Roth to this performance, the resulting legal action tied the author more deeply into the artist’s practice, and he has since made Roth-inspired photographs, textiles, and comics.
The installation at Locust Projects acts as both an aesthetic exploration of a disordered library and as a real functioning space – a place where people congregate and read Roth’s novels and related works. Visitors first encounter a domestic-type setting, featuring a comfortable sofa, framed photographs and ephemera, and a scrapbook of materials exploring Zanisnik’s history with Roth. A 3D-printed bust of Roth encourages visitors to move into the larger space, which is populated by ten thirteen-foot-high sculptures, that double as bookshelves for hundreds of novels and other publications that reference Roth’s life and work. Some of the spaces for books, which appear to have been violently made through the drywall, are covered with vintage mid-twentieth-century patterned wallpaper.
Philip Roth Presidential Library acts as both an artwork and a reference library, extending Zanisnik’s existing site-specific practice. The installation presents a critique of success, celebrity, and ego, and celebrates the life and writing of a literary genius.
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13. Dread Scott, FF Alumn, at School of the Art Institute of Chicago, IL, Feb. 15, and more
27 years ago this month my artwork, What is the Proper Way to Display a US Flag?, became the center of national controversy over its use of the American flag-arising out its being shown in a student exhibition. I’ve been invited to the scene of the crime, the School of the Art Institute of Chicago, my alma mater, to give a talk about my work.
The picture above is me as a young revolutionary at one of my first press conferences defending my art from threats of censorship. There were demonstrations, counter-demonstrations, many death threats and many more press conferences. The art would later be denounced by President G.H.W. Bush and would be outlawed by Congress, all in an effort to make patriotism compulsory. I and several others defied this law by burning flags on the steps of the Capitol and it became a Supreme Court case. Tremendous crimes have been committed in the name of this flag and I’m happy to look back on these years and know that my introduction to the broader art world was for a participatory artwork that encouraged people to question US patriotism.
I’m super psyched about this lecture. If you are in Chicago, I hope you will come here this talk. It will be special.
I’m also speaking in a couple of other cities and have work on view in a few exhibitions.
Best,
Dread
dreadscott.net
Lectures & Panels
Chicago, IL
School of the Art Institute of Chicago
Monday, February 15, 6pm
MacLean Ballroom, 112 S. Michigan
New York, NY
FIT – February 25, 1:30pm
Queens, NY
Social Practice Queens – March 1, 5pm
New York, NY
VOLTA – March 4, 6:30pm
New Albany, IN
Indiana University Southeast – March 7, 6pm
Newark, NJ
Aljira Center for Contemporary Art – March 10, 6pm
$75 – It’s a fundraiser
Exhibitions
Brooklyn, New York
Brooklyn Museum
Agitprop!
December 11, 2015-August 7, 2016
New York, New York
The 8th Floor
When Artists Speak Truth…
November 12th, 2015 – March 18th, 2016
Houston, Texas
Station Museum of Contemporary Art
Corpocracy
October 10, 2015-February 14, 2016
My first book, Fragments of the Peculiar Institution, was published last month. It is an artist’s book of my research/archive into slavery. The archive was presented at Critical Practices Inc. this summer and they have published the images along with my narrative walk-through of the archive. You can order the book directly from the publisher.
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14. Regina Silveira, FF Alumn, at Alexander Gray Associates, Manhattan, opening February 18
Regina Silveira
Opening Reception: Thursday, February 18, 2016, 6-8 PM
Exhibition Dates: February 18 – March 26, 2016
Alexander Gray Associates presents an exhibition of recent work by multimedia artist Regina Silveira.
The works on view emphasize Silveira’s use of graphic visual language through accumulation and skewed perspective to transform our perception of spaces. Throughout more than four decades, Silveira, a critical figure
in Brazilian conceptual art, has investigated the tension between movement and spatial perspective, threading political meaning into installations that respond to specific sites.
Featured in the exhibition is the room-size mixed media installation, Amphibia (2013/16). This large scale immersive work covers the walls and floor of the Gallery’s second level with oversized silhouettes of frogs flowing toward a gilded metal grate in the center of the floor. The placement of frogs, notably one of the biblical plagues, de-familiarizes the Gallery space, employing allegory to evoke contemporary social and political concerns.
For curator Paulo Miyada, “the woes that afflicted ancient Egypt might be compared in the context of Regina Silveira’s work, to the current ills of corruption, war, and surveillance.”
Silveira’s large scale vinyl installations are informed by her study of printmaking techniques, which provide what she considers a “dry syntax that eschew[s] autographic aspects,” and allow for the reproduction, re-scaling and distortion of photographic images. In Touch (2016), the artist employs traditional engraving to explore “ideas of absence, the marks reveal an event that took place in time,” in this case a hand reaching out and imprinting it’s image on metal. Silveira imbues this seemingly quotidian shape with mystery and fantasy by producing larger than life handprints, resulting in phantasmagorias and visual enigmas.
Silveira’s most recent photoetchings, the Voodoo Series (2015) further question the reality of occurrence and the nature of representation. These images rely on Silveira’s longstanding interest in skiagraphia (the study of shadows) as well as the transformation of ordinary objects into potentially threatening tools. Images of forks, screws, and clips appear to pierce the paper on which they are reproduced, to cast shadows that render a three dimensional quality to the printed image.
Over the course of four decades, advances in digital technology have enabled Silveira to expand her investigations into experimental printmaking to materialize in three dimension projects that she has envisioned since the early 1980s. Her use of media ranging from paper to immersive environments serve as sites to consistently transform perception through minimal intervention. Her transgressive visual language is defined
by what she describes as “images with characteristics of aggregation and accumulation, with the power to cover surfaces and to function as graphic invasions or contaminations, which could radically transform the meanings
of the…spaces where they were placed.”
Silveira has exhibited throughout Europe and the Americas, including recent solo exhibitions at Museu Oscar Niemeyer, Curitiba, Brazil (2015); Museu Chácara do Céu, Museus Castro Maya, Sta Teresa, Rio de Janeiro, Brazil (2015); Museo Amparo, Puebla, Mexico (2014); The Aldrich Contemporary Art Museum, Ridgefield, CT (2012); Iberê Camargo Foundation, Porto Alegre, Brazil (2011); Centro Cultural Banco do Brasil (2009); the Køge Museum of Art in Public Spaces, Denmark (2009); Museo de Antioquia, Medellín, Colombia (2008); Museo de Arte del Banco de la República, Bogotá, Colombia (2007); Palacio de Cristal, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain (2005); Museu de Arte Moderna de São Paulo, Brazil (2004). Her work is represented in public collections internationally, including the Museum of Modern Art, New York; Miami Art Museum, FL; San Diego Museum of Contemporary Art, CA; Museum of Fine Arts, Houston, TX; Taipei Fine Arts Museum, Taiwan; Museo de Arte Moderno de Buenos Aires, Argentina; Museu de Arte Moderna de São Paulo, Brazil; Pinacoteca do Estado de São Paulo, Brazil; and Museu de Arte Moderna do Rio de Janeiro, Brazil. The Brazilian Art Critics Association gave her the Award for Life and Work in 2012. Silveira received Prêmio Governador do Estado de São Paulo and the MASP- Museu de Arte de São Paulo Assis Chateaubriand Award for Career, accompanied by an exhibition, in 2013.
Press Inquires
press@alexandergray.com
Alexander Gray Associates
Alexander Gray Associates is a contemporary art gallery in New York. Through exhibitions, research, and artist representation, the Gallery spotlights artistic movements and artists who emerged in the mid- to late-Twentieth Century. Influential in cultural, social, and political spheres, these artists are notable for creating work that crosses geographic borders, generational contexts and artistic disciplines. Alexander Gray Associates is a member of the Art Dealers Association of America.
Alexander Gray Associates
510 West 26 Street, New York NY 10001 United States
Telephone: +1 212 399 2636
Tuesday – Saturday, 11:00 AM – 6:00 PM
www.alexandergray.com
info@alexandergray.com
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15. Katherine Behar, FF Alumn, at Radiator Gallery, Long Island City, NY, thru Mar. 13
Dear Friends,
Please join me on Friday, February 5 for the opening of “Food Nostalgia” at Radiator Gallery in Long Island City.
Best wishes,
Katherine
Disorientalism is thrilled to be sharing work in Food Nostalgia, curated by Amanda McDonald Crowley at Radiator Arts Gallery.
We will be showing three pieces from our project Maiden Voyage, inspired by the Land O’ Lakes Indian Maiden and the Shadow Wolves, a special, all-native special border control unit of the U.S. Department of Homeland Security.
FOOD NOSTALGIA
February 5th – March 13th, 2016
Opening: Friday, February 5th 2016, 6 – 9 pm.
Artists: Cey Adams, Emilie Lucie B, Disorientalism (Katherine Behar and Marianne Kim), Gonzalo Fuenmayor, Kira Nam Greene, Jonathan Stein
Curator: Amanda McDonald Crowley
More info: https://www.facebook.com/events/1104555886262076/
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16. Nicolás Dumit Estévez Raful, FF Alumn, at Columbia University, Manhattan, Mar. 1
The Wallach Art Gallery presents
“Liquid Highway” Revisited:
Hispañola in Perspective
Tuesday, March 1, 2016
6:30-8:00 pm
Columbia University (116th & Broadway)
612 Schermerhorn Hall
For campus map and more information, please visit: www.columbia.edu/cu/wallach
Featuring the artists:
Firelei Báez
Nicolás Dumit Estévez Raful
Scherezade Garcia
With remarks by:
Daily Guerrero
Columbia Law School, J.D. candidate 2017, and organizer of the November 2015 conference, “Immigration and Black Lives: Haitian Deportations in the Dominican Republic”
Abigail Lapin Dardashti
PhD candidate, CUNY Graduate Center and curator, “Unpacking Hispañola”
Deborah Cullen
Director & Chief Curator, The Wallach Art Gallery
A roundtable conversation exploring the connections between the Dominican Republic, Haiti, and contemporary art, held in conjunction with the site-specific mural by Scherezade Garcia currently on view in Columbia University’s Miller Theatre lobby, “In Transit/Liquid Highway,” and the exhibition, “Unpacking Hispañola: Scherezade Garcia and Firelei Báez,” currently on view at Taller Puertorriqueño, Philadephia.
Miller Theatre lobby will be open from 5:30 to 6:00 p.m.
The Wallach Art Gallery will be open from 5:30 to 6:30 p.m.
Presented in collaboration with:
The Department of Art History and Archaeology, Columbia University
Miller Theatre at Columbia University
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17. Leon Golub, Nancy Spero, FF Alumns, at University of Chicago, IL, thru June 12
Monster Roster
Existentialist Art in Postwar Chicago
February 11-June 12, 2016
Opening: February 10, 7-9pm, featuring an in-gallery performance by the Josh Berman Trio
Smart Museum of Art, The University of Chicago
5550 S. Greenwood Avenue
Chicago, IL 60637
United States
Hours: Tuesday-Sunday 10am-5pm,
Thursday 10am-8pm
T +1 773 702 0200
smart-museum@uchicago.edu
smartmuseum.uchicago.edu
Facebook / Twitter / Instagram
The group of postwar artists dubbed the Monster Roster established the first unique Chicago style. Spearheaded by Leon Golub and united by a shared interest in the figure during a period that is often seen as dominated by abstraction, the group created deeply psychological works that drew on classical mythology and ancient art.
Organized by the University of Chicago’s Smart Museum of Art, this is the first major museum exhibition to examine the history and impact of the Monster Roster, which has been overlooked despite being one of the most important Midwestern contributions to the development of American art. It examines the complex aesthetics and personal styles of Golub and his compatriots, including Cosmo Campoli, June Leaf, Dominick Di Meo, Seymour Rosofsky, and Nancy Spero, among others. Monster Roster brings together approximately 60 major paintings, sculptures, and works on paper from the Smart Museum and other collections in order to provide the definitive account of the movement, from the formation of Exhibition Momentum in 1948 to the group’s dispersal in the mid 1960s.
Artists
Robert Barnes, Don Baum, Fred Berger, Cosmo Campoli, George Cohen, Dominick Di Meo, Leon Golub, Theodore Halkin, June Leaf, Arthur Lerner, Irving Petlin, Seymour Rosofsky, Franz Schulze, Nancy Spero, Evelyn Statsinger, and H. C. Westermann
Related programs
See a full list of free public programs including a panel discussion, film screenings, poetry evenings, and a curator tour.
Catalogue
The exhibition is accompanied by a fully illustrated catalogue featuring historical photographs, a detailed chronology, and new essays by the exhibition curators and Dennis Adrian, Jon Bird, Thomas Dyja, Mark Pascale, and Arlene Shechet.
Curators
Monster Roster is curated by John Corbett and Jim Dempsey, independent curators and gallery owners; Jessica Moss, Smart Museum Curator of Contemporary Art; and Richard A. Born, Smart Museum Senior Curator.
Support
The exhibition and catalogue have been made possible in part by the Estate of Gerald and Eunice Ratner, the Terra Foundation for American Art, the Smart Museum’s Pamela and R. Christopher Hoehn-Saric Exhibition Fund, the Efroymson Family Fund, the National Endowment for the Arts, and The Biff Ruttenberg Foundation. Additional support is provided by Ulrich E. and Harriet H. Meyer and the Karla Scherer Center for the Study of American Culture at the University of Chicago.
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18. Gabriel Martinez, Xaviera Simmons, Kiki Smith, Annie Sprinkle, Hannah Wilke, FF Alumns, at Lexington Art League, KY, opening Feb. 19
I’m in a show that opens on February 19th in Lexington, Kentucky.
http://www.lexingtonartleague.org/artist-body-winterspring-2016.html
Artist: Body takes the concept of a figure show and translates it through the lens of the self-portrait in contemporary art. A compelling survey of the artists’ image of themselves, Robson states, “Throughout the ages, images of the human body have been used by artists, often to explore allegory, beauty and sexuality. Time has witnessed many shifts in the way the body is portrayed and in recent decades, influenced by contemporary thinking and the availability of different visual technologies, artists have increasingly employed themselves as both the subject and object of their works.”
Much of the work in Artist: Body portrays the artists’s sense of ownership of her or his body and, most importantly, how it is represented. While the themes explored within the exhibition are vast and multi-layered, one prominent connecting fiber is the vulnerability each artist shares as they expose viewers – and in many cases showcase – their most intimate selves in working with their own bodies. “In this context the image of the artists’ body is open and vulnerable, subject to self analysis and intimate dissection, while at the same time resisting a comprehensive interpretation.” Robson further added.
Among others, Artist: Body includes works by Louis Zoellar Bickett, John Coplans, Julius Deutschbauer, Bryce Hudson, Thaniel Ion Lee, Gabriel Martinez, Cynthia Norton, Cindy Sherman, Xaviera Simmons, Kiki Smith, Annie Sprinkle, Hannah Wilke, and Sam Taylor Wood.
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19. Bogdan Perzynski, FF Member, at Liliana Bloch Gallery, Dallas, TX, thru Feb. 13
Liliana Bloch Gallery in Dallas, TX
http://lilianablochgallery.com
The Liliana Bloch Gallery is pleased to announce new body of work by Bogdan P. K. Perzyński. The exhibition opens on January 9th and remains on view through February 13th, 2016.
This marks Perzyński’s first solo exhibition at Liliana Bloch Gallery, and offers a rare opportunity to see two major works: TABLE, a large-scale photographic installation, and 32° 47′ 56.6678” N 96° 50′ 9.5598″ W, a video work shot with an unmanned aerial vehicle (UAV) directly above the area of the gallery. Significant precursors to these works and the exhibition are Film (1978), Surfaces (1979), From…to (1980), and Forty Evidences (1983).
Perzyński approaches his work as an organism rather than an object. His practice focuses on the question of art’s interdisciplinariness. Drawing on the philosophies of communicative action, social pragmatism, and individual invention, by necessity it embodies and embraces complexity. His recent work concentrates on computational fluid dynamics, and contemporary data collection, retention and visualization, particularly as they pertain to the future’s ecology. He has worked with installation art since 1978, and in 1990 began working with sound, video, sensors and body-based interactivity. For over 35 years, he has produced works that incorporate architectural settings. His work has been presented in Argentina, Brazil, China, Germany, Greece, Israel, the Netherlands, Poland, Thailand, New Zealand, and the United States.
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20. Maureen Connor, Suzanne Lacy, Claes Oldenburg, Mark Tribe, Mierle Laderman Ukeles, FF Alumns, in The New York Times, Feb. 5
The New York Times
EDUCATION LIFE | FIELD OF STUDY
Social Practice Degrees Take Art to a Communal Level
By DANIEL GRANT
FEB. 5, 2016
Carmen Papalia’s M.F.A. project doesn’t look much like art. For “Blind Field Shuttle,” he led his classmates across the Portland State campus in Oregon on an eyes-closed walking tour, single file, each with a hand on the shoulder of the person in front.
For the first half of the 40-minute walk, some nervous participants had panic attacks, or cried. Mr. Papalia talked about what they were passing – a fire hydrant, a brick wall, a fence – and the vulnerability they were feeling.
“By the end of the walk,” he said, “they were hugging me, hugging each other and just feeling a general sense of joy after having accomplished a seemingly impossible task by trusting in each other and in their nonvisual senses.” In a very Marcel Duchampian way, this was art because an artist was in charge of it.
“Blind Field Shuttle” is a different type of art, and Mr. Papalia was a different type of art student. Aside from being legally blind, he had no formal art training before enrolling in Portland State’s interdisciplinary Master of Fine Arts program in art and social practice..
The first academic concentration in the field dates to just 2005, at California College of the Arts in San Francisco. Since then, at least 10 other institutions have established master’s-level degree programs in social practice art (sometimes called community engagement, contextual practice or socially engaged art-making). Many others have added classes, minors, concentrations and certificate programs.
WHAT IS SOCIAL PRACTICE ART?
Defining social practice is no easy thing. Harrell Fletcher, who directs the concentration at Portland State, describes it in terms of what it isn’t: It is “the opposite of studio practice. It’s not all about the artist, and it isn’t assumed that work will go into a gallery.” It doesn’t have a look, like Cubism or Pop Art, and it has no central message, like Expressionism or Surrealism.
To Mark Tribe, chairman of the M.F.A. fine arts department at the School of Visual Arts in New York, it “is about artists collaborating with people in communities.” The aim is to bring about heightened awareness of societal, cultural, ecological or political issues that are of immediate concern to that community.
Think Soviet agitprop, performance art and Bansky with the social consciousness of the community organizer Saul Alinsky.
The focus of social practice art shifts with the concerns of the day. “In the 1980s, it was homelessness,” said Suzanne Lacy, department chairwoman in the graduate public practice program at Otis College of Art and Design, in Los Angeles. “Food and food scarcity is the issue du jour,” she said. Also, “you see more focus on violence against women, and water and ecology are coming up.”
Sound like plain old activism? Intent, she said, makes the art. She cites an example: the harpooning of a Toyota in front of the Bank of Tokyo to protest Japanese whaling. “That wasn’t an art project, because Greenpeace wasn’t intending it as an art project.”
WHY STUDY IT?
“You see young people increasingly want their work to matter, to have their art make a difference in the world,” said Walter E. Massey, chairman of the executive committee of the Association of Independent Colleges of Art and Design. “You see more interest in social practice because both students and faculty want to go beyond the aesthetics of their art and just the making of their art.”
More professional artists, too, have made social practice their principal activity, including Jackie Brookner, Tania Bruguera, Mel Chin, Mierle Laderman Ukeles and Mary Miss.
“I’m not interested in putting up another monolithic, iconic art object, like Claes Oldenburg,” said Ms. Miss, who in “Connect the Dots” affixed blue discs to high-water marks on trees, doors and buildings in Boulder Creek, Colo., to remind residents of past floods.
Traditional programs guide students in the creation of work for exhibition and (they hope) sale. Social practice instruction presents an alternative.
“We try to teach collaboration,” said Maureen Connor, guest lecturer and co-founder of the social practice program at Queens College. “Most artists haven’t had the opportunity to work collaboratively, and many of them find it difficult at first to work that way. For so many years, they have been encouraged to work on their own and in competition with others.”
The group approach is not for everyone. Ms. Connor has tried to introduce the idea into her undergraduate sculpture courses and gotten pushback. “Certain students don’t want to be engaged with the community,” she said. They view art as solitary self-expression. “So, O.K., I back off.”
But for social practice artists, collaboration is a critical skill, as many of them work with community groups, the poor and victims of violence. The Moore College of Art and Design’s M.F.A. in community practice has a course called “Social Practice in Action: Case Studies,” in which students learn how to interview people, how to work with a diverse audience and how to resolve conflicts and develop shared perspectives within a community or between themselves.
Perhaps most important, the programs teach students how and where to apply for residencies, grants and commissions.
Molly Sherman, who received her M.F.A. in art and social practice from Portland State, went on to become a 2014 artist in residence at the Institute of Arts and Sciences at the University of California, Santa Cruz. As a graduate student, she did a lot of writing and public speaking, and “learned how to navigate institutions, and understand how they make decisions.”
For her school project, “Grocery Stories,” she and Nolan Calisch, also in the M.F.A. program, interviewed local farmers who supply produce to New Seasons Market in Portland, where they became artists in residence. Shoppers listened on headphones to farmers talk about themselves and the process of growing and bringing food to market. But for the sign next to the headphones announcing that this was art, one might never have known.
“I’m not all that concerned with putting my stamp as an artist on things,” said Ms. Sherman, who with Mr. Calisch has created site-specific and participatory projects as the Farm School.
HOW WILL YOU PRACTICE YOUR ART?
Social practice art represents a different business model. It is a career field that is heavily reliant not on the sales of artwork but on institutions, foundations and public agencies for funding. “This is based on a European and Canadian model, where artists are still supported through their regional governments and there is an assumption of art as a social good,” said Howard Singerman, chairman of the department of art and art history at Hunter College and author of “Art Subjects: Making Artists in the American University.”
Art as a social good has found a receptive audience of sponsors. Nato Thompson, chief curator at Creative Time, a nonprofit organization that commissions public art, said that more and more foundations (among them Ford, Knight, Kresge, Lambent, Robert Rauschenberg) and museums (Hammer Museum in Los Angeles, Queens Museum of Art in New York and Walker Art Center in Minneapolis) have provided funds and venues for social arts projects. Community development organizations, too, have engaged artists. The Lower Manhattan Cultural Council connects its artists in residence with senior centers, and Peter & Paul Community Services in St. Louis brings them in to help the homeless create books of artwork and writing.
“Socially engaged practice skills are very easily transferable to other fields,” Mr. Thompson noted, mentioning city planning, community and labor organizing and teaching. Having a fallback is never a bad idea.
WHERE WILL YOU WORK?
Most M.F.A. graduates can anticipate shouldering debt. Programs run two to three years, with total tuition and fees amounting to $40,550 at Portland State ($58,910 nonresident) to $86,268 at Otis and $109,545 at Carnegie Mellon.
Ms. Connor of Queens College has supported herself primarily through teaching. “Getting grants is not a serious way of surviving,” she conceded. Indeed, the economics of social practice means many practitioners must turn to academics, thus fueling the growth in M.F.A. programs in the subject – professors, of course, want to teach what they do.
Mr. Fletcher of Portland State said that his students were “not interested in Chuck Close-type success,” describing them as politically progressive, some “fairly extreme in their anticapitalism.”
“Still, we try to make clear that they have to find some source of support,” he said, “and they need to work within institutions.
There’s some money to be made, however, for the entrepreneurial artist.
“For Your Ears Only,” which Mr. Papalia describes as “a series of focused listening tours and ear-cleaning exercises led by me,” opened in 2014 at Grand Central Art Center at California State University, Fullerton. And he expanded his master’s thesis into “See for Yourself,” a museum walk that has been conducted at the Whitney Museum of American Art, the Vancouver Art Gallery, the Victoria & Albert Museum in London, the Columbus Museum of Art in Ohio and the University of Michigan Museum of Art.
Mr. Papalia says he makes $500 to $1,500 per museum. For the “See for Yourself” walk, he trains a staff member to describe art objects, architectural detail and other visitors while guiding volunteers, eyes shut, through the collection. The result is that participants direct their senses to the world around them, their perceptual mobility expanded.
They shuffle, reach, grasp the air, and ultimately open their eyes.
Daniel Grant is author of “The Business of Being an Artist” and “The Fine Artist’s Career Guide.”
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21. Hidemi Takagi, FF Alumn, at Queens Museum, thru Feb. 27, and more
Dear Friends, Family and Colleagues,
I hope you are well. I am pleased to announce my 2 upcoming exhibitions in Feb. I’m showing those 2 new art projects at public place as first time.
One is a group Exhibition at Queens Museum and other one is my solo Exhibition at St. Ann & the Holy Trinity Church in Brooklyn heights.
a) THE ENGAGING ARTISTS Exhibition By More Art:
ON VIEW: FEBRUARY 7 – 27, 2016
Queens Museum “Community Partnership Gallery”, Second Floor
New York City Building. Flushing Meadows Corona Park, Queens NY
Direction
Opening Reception 4-6PM, FEBRUARY 7 (Sun)
The Engaging Artists exhibition features the work of 8 NYC-based first generation and foreign born artists, who participated in the Engaging Artists Residency. The works emerge from grassroots volunteering as a catalyst for social practice. In 2015, More Art’s Engaging Artist Residents developed long-term projects to connect with aging populations through multilingual art-making projects, recreation activities, and conversations at nursing homes and community centers in their own neighborhoods, from Flushing, Queens to Crown Heights, Brooklyn.
This exhibit features works that serve as documentation and response to critical issues associated with aging, health, home, and isolation through the lens of contemporary art. Engaging Artists fosters intergenerational exchange and diverse artistic perspectives on the challenges associated with aging and immigration in New York City.
Featuring projects by Annie Kurz, Aurélien Grèzes, Christie Neptune, Hidemi Takagi, Michelle Melo, Sara Meghdari, Soi Park, and Uday K. Dhar. Closing reception features a live music and dance performance by Alon Nechushtan and Andrew Nemr.
EVENT SCHEDULE:
(2:00-3:20pm)
Artist RoundTable: Art + Inter-generational Exchange
Silvia Juliana Mantilla, IMI Corona Community Organizer and Artist Services Coordinator, Queen Museum will moderate a discussion with 2015 Engaging Artists Residents and guest artists about the challenges of working with aging immigrant populations.The event is co-produced by More Art and Artist Volunteer Center and a part of the ArtsEverywhere/Musagetes Artist Round Table (A.RT) series. A.RT is a platform that proposes new models for bridging artistic and scientific methods. (http://musagetes.ca/project/artist-roundtable-a-rt/) Artist speakers include: Hidemi Takagi, Andrew Nemr, Guido Garaycochea, Aurélien Grèzes, and Raul Ayala.
(4:00-6:00pm)
Opening Reception
Meet the exhibiting artists and learn more about their experience working with seniors throughout New York City.
More info:
http://moreart.org/projects/engaging-artists/ea-qma/
http://www.queensmuseum.org/2016/01/engaging-artists-a-selection-of-works-from-more-arts-2015-engaging-artists-residency
and
b) Facing America:
Portraits of Refugees Resettling in the U.S. by Hidemi Takagi
ON VIEW: FEBRUARY 10 – March 25, 2016
St. Ann & the Holy Trinity Church: 157 Montague Street, Brooklyn, NY
Opening Reception 4-6PM, FEBRUARY 27(Sat)
The Forum @ St. Ann’s is pleased to present its first commissioned work, Facing America: Portraits of Refugees Resettling in the U.S. by Hidemi Takagi at the historic St. Ann & the Holy Trinity Church in Brooklyn Heights. The exhibition will be on view in the sanctuary February 10 – March 25, 2016. The Forum @ St. Ann’s seeks to engage the community in conversation about the arts, ideas and civic life. In addition to the exhibition, The Forum is also offering the public an opportunity to meet Takagi at a reception on Saturday, February 27, 4:00 – 6:00 pm.
In recent years, unprecedented numbers of refugees have risked their lives to escape political instability and violence in their homelands. Images of people in flight, including some of the millions displaced by the crisis in Syria, are now embedded in the global consciousness. Heated exchanges in the news, social media and political arenas abound concerning how many, which, and whether refugees should be welcomed. Meanwhile, the refugees are rarely seen as individuals with personal stories of struggle and survival.
Facing America attempts to fill the gap between what we know and what we see of refugees in the media. The Forum selected Hidemi Takagi to photograph refugees from around the globe who have been resettled in New Haven, Conn., by Integrated Refugee & Immigrant Services (IRIS), a local affiliate of Episcopal Migration Ministries and the Immigration and Refugee Program of Church World Service.
The large-scale color works on view humanize the refugee experience while celebrating the spirit of those who have journeyed far and found a new home in the United States. These affecting portraits also reflect Takagi’s strong engagement with her subjects, and her success in working through language and cultural barriers to reveal a connection between her and them and, in turn, between these newcomers and viewers.
Takagi is an accomplished artist born in Kyoto, Japan, and now living in Brooklyn. She has exhibited in the United States, London, Madrid, Tel Aviv and Paris. She has participated in the AIM program at The Bronx Museum of the Arts , New York Foundation for the Arts (NYFA) IAP mentoring Program), Lower Manhattan Cultural Council’s Swing? Space, an Engaging Artist residency at More Art and a BRIC New Media Art Fellowship. Her work has been reviewed in Time Out, the New York Times and the Village Voice. Her “Blender” project was selected for “Times Square Public Arts 2011” and her “Hello, it’s me” was awarded a seed grant by More Art.
Facing America will be on display for public viewing Tuesday through Thursday, 12 noon – 3:00 pm and on Sunday 9:00 am – 1:00 pm, or by arrangement by contacting office@stannholytrinity.org or 718-875-6960. For further information, visit stannholytrinity.org.
More info:
http://www.stannholytrinity.org/facing-america-exhibition/
I hope to see you at the opening.
HIDEMI TAKAGI
Visual Artist
http://hidemitakagi.com
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22. Emma Amos, FF Alumn, receives Larry D. and Brenda A. Thompson Award of the Georgia Museum of Art
Emma Amos has been awarded the first edition of the Larry D. and Brenda A. Thompson Award of the Georgia Museum of Art, which honors a living African American visual artist with a significant Georgia connection.
The ceremony will be on February 26, in Athens, Georgia. Her daughter will represent her as she cannot travel easily.
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23. Mandy Morrison, FF Member, at Dixon Place, Manhattan, Feb. 18
Users is a 40+Minute performance.
Written and directed by Mandy Morrison
Dixon Place Lounge, 7PM
Thursday, February 18, 2016
161A Chrystie Street / New York NY 10002
Contact Information
Ph: 347 742 6143
Email: mandymorrison@mandymachine.com
Users, is a performance that illuminates the perspectives of two women on opposite sides of the cultural divide; one a woman who works and lives in the digital landscape of data analysis; the other a law enforcement officer in the prison system. This interwoven narrative examines the contrasting lives of these two fictive characters as they move through their experiences looking at the present relevant to their past, and how they view their place in a world which gets thrown into sharp relief through a sudden act of violence.
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24. Patricia Hoffbauer, Jennifer Miller, Yvonne Rainer, FF Alumns, at Pratt Institute, Brooklyn, Feb. 17
Please come! Bring your students! Provocative and fun…
Feelings are Facts: The Life of Yvonne Rainer
Screening and Panel Discussion
Featuring director Jack Walsh, moderated by Jennifer Miller
With: Judy Lieff, Noel Carroll, Deb Meehan and Patricia Hoffbauer
Wednesday, Feb. 17, 5-8 (with reception to follow)
Film and Video Building, 550 Myrtle Ave.
Sponsored by SLAS, SSCS, HMS, Performance Studies, Film/Video and Office of the Provost
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25. Gregory Sholette, Dread Scott, FF Alumns, at University of Cincinnati, OH, opening Feb. 18
It’s the Political Economy, Stupid
February 15th – April 10th, 2016
Opening Reception: Thursday, February 18th, from 5-7pm
DAAP Galleries, University of Cincinnati, Cincinnati (US)
Chicago-born artist Dread Scott stands on Wall Street burning dollar after dollar before police show up in Money To Burn, just one of over a dozen contemporary videos and artworks that make up It’s The Political Economy, Stupid. A traveling exhibition co-organized by Oliver Ressler and Gregory Sholette, It’s the Political Economy, Stupid features video works by artists from around the globe who critically address the “new norm” of the prolonged economic and political crisis that began in 2008. The title of the exhibition stems from James Carville’s catch phrase, “It’s the economy, stupid,” which became closely identified with Bill Clinton in his 1992 presidential campaign. Over three decades, neoliberal capitalism has driven most of the world’s governments to partly or wholly abandon their roles as arbitrators between the security of the majority and the profiteering of the corporate sector. It’s the Political Economy, Stupid proves that both art and artists can productively engage the seemingly insurmountable problems that stem from capital, crisis, and resistance.
Artists: Zanny Begg and Oliver Ressler; Filippo Berta; Libia Castro and Ólafur Ólafsson; Sylvain George; Paolo Cirio; Noel Douglas; Field Work; Yevgeniy Fiks, Olga Kopenkina and Alexandra Lerman; flo6x8; Melanie Gilligan; Jan Peter Hammer; Alicia Herrero; Institute for Wishful Thinking; Sherry Millner and Ernie Larsen; Isa Rosenberger; Dread Scott.
Publication:
It’s the Political Economy, Stupid: The Global Financial Crisis in Art and Theory, Gregory Sholette & Oliver Ressler (Eds.), Pluto Press, 192 p., 2013
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26. Irina Danilova, Hiram Levy, FF Alumns, at Temporary Storage Gallery, Brooklyn, opening Feb. 19
Dear Friends,
We look forward to seeing you at the BRURAL: Crossroads of Equality and Irregularity, the fifth and final exhibition in the BRURAL series, founded by Irina Danilova and Project 59, Inc. to offer artists and curators from New York and the Urals (Russia) an opportunity to present their works, expand cultural dialogue, explore the two dynamic art worlds, and promote creative collaborations. This year BRURAL returns to the Temporary Storage Gallery in Bushwick. Ilya Shipilovskikh, Director of Art Gallery at the Boris Yeltsin Center in Yekaterinburg, is the guest curator.
Opening:
February 19, 7 -10 pm
Where:
Temporary Storage Gallery
119 Ingraham St, in Bushwick (Brooklyn)
Behind Terra Firma Restaurant
Subway: L Train to Morgan Ave. Station
When:
February 19, 2016 – March 6, 2016,
Wednesday – Saturday, 1 – 7 pm
(or by appointment)
Closing:
March 5, 7-10 pm
Artists: Anna Andrzhievskaya, Alberto Marcos Bursztyn, Calum Craik Irina Danilova & Hiram Levy, Nicolás Dumit Estévez Raful, Alex Etewut, Nicholas Fraser, Michel Gerard, Ilya Gryshaev, Maria Gyarmati, Ed Herman, Leonid Imennykh, Daria Irincheeva, Alexandr Khubeev, Danil Khutorianskii, Asya Marakulina, ODEKAL, Rachel Owens, Margaret Roleke, and Marina Temkina
http://www.project59.org/Brural/Brural5.html
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27. Dafna Naphtali, FF Alumn, at Wild Project, Manhattan, March 1, and more
Tuesday March 1st I will be performing solo at Avant Music Festival at Wild Project in the East Village.
I am revisiting my piece 2011 piece “Robotica” for voice, music robots and interactive electronics. It was first developed in part with fund from Franklin Furnace Fund, so I especially wanted to let you know about that (and invite you!).
Below that is information for my performances Feb 23rd and Feb 27th as well.
Best regards,
Dafna
Tuesday, March 1 (8 pm)
Avant Music Festival Tangents:
at Wild Project
195 East 3rd street
Dafna Naphtali: Robotica
Dafna Naphtali, singer/composer/electronics/programming with music robots (Bricolo system and Xylophone bot by Nick Yulman)
Tangents at the 2016 Avant Music Festival closes with Dafna Naphtali’s Robotica inspired by the work of Al-Jazari, the 13th century Mesopotamian inventor and author of the “Book of Knowledge of Ingenious Mechanical Devices.” Songs/texts as meditations on mechanical motion– Flow, Spin, Lift and Pulse, are interspersed with cutup texts created by a Google poetry robot, Morse Code messages driving rhythms, live processed sound. Drawings from Al-Jazari’s book are projected in the background as Naphtali uses a Wii controller to direct the robots, rhythms, and processing of her voice in real time, via algorithms and computer programs she wrote.
Work-in-progress since 2008, this new iteration of Robotica is extended to an evening-length solo show and includes other of Naphtali’s solo pieces Dripsodiac, Mechanical Eye, new songs/texts written especially for the performance, and a world premiere of a new multi-channel “Audio Chandelier” mini-installation on tiny speakers. Naphtali’s themes include “technological angst, memories (past and future), machine codes, surveillance and the breakdown of communication.”
Robotica was originally created with a grant from the Franklin Furnace Fund for Performance Art.
http://avantmedia.org/what/tangents-series/2016/robotica
https://www.facebook.com/events/103034190080855/
Tuesday, February 23rd
David Watson’s Lock It Down Tuesdays series
at
Poppers Locarno
1563 Decatur St
Ridgewood, Queens
https://www.facebook.com/popperslocarno/
Feb 23 9:00 sharp
Eve Essex woodwinds w/ Dan Fox electronics.
David First sitar (!)
Chuck Bettis electronics w/ Dafna Naphtali electronics, voice w/ Michael Evans percn
$8
Directions: A couple of blocks East from the Halsey L stop.
Entrance is right at the corner of Wycoff and Decatur… through “Poppers Locarno” bar
1563 Decatur St, New York, New York 11385
Saturday, February 27th 6:00 PM
2016 New York City Electroacoustic Improvisation Summit
Presented by Theatreworks, in conjunction with the Entertainment Technology department of the New York City College of Technology.
at New York City College of Technology’s
Voorhees Theater
186 Jay Street in Brooklyn
Admission is free.
Program:
Chapman Welch, 500 Great Things about Wichita, performed by Brandon Bell
Dafna Naphtali and Jen Baker, Clip Mouth Unit performance
Eric Lyon, Parallel Noise Construction, performed by Eric Lyon and Pauline Kim Harris
Kevin Patton and Nikki D’Agostino, A Bird Escaped From the Snare of its Fowler
-intermission-
Adam James Wilson, Eighteen, performed by Adam James Wilson and Arto Artinian
Margaret Schedel, Tattoo of a Gesture, performed by Christopher Howard
Paul Botelho, Solo for Voice and Computer
Dafna Naphtali
post-at-dafna.info
www.dafna.info
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28. Linda Sibio, FF Alumn, at Pop Found, Culver City, CA, Feb. 13-14
Valentine’s Weekend
Pop-Up Shop
Pop Found!
On. Sat. 2/13 and Sun. 2/14 (10:00am – 5:00pm), please join me and SHOP at my Pop Found pop-up shop (at Rachel Rosenthal Company’s Espace DbD, near Culver City). The event celebrates the launch of Sibio (my new fashion brand).
Espace DbD will be transformed into a retail boutique featuring wearable art from my new brand’s first three lines. Pop Found will feature my original designs on textiles, high-quality t-shirts, and vintage shirts for men and women.
Marsha Perloff will have an installation of her whimsical assemblage art dolls.
Several mini performance art pieces by me, Linda Sibio, will also be staged throughout the weekend.
You are also invited to my closing party on Sun. evening (5:00pm – 7:00pm).
The event is FREE. Proceeds support my fine art. Please visit the Facebook event page for additional details and to RSVP.
Hope to see you there!
Love,
Linda
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29. Gabriel Martinez, FF Alumn, now online at http://whyy.org/cms/fridayarts/
WHYY PBS feature on Gabriel Martinez
http://whyy.org/cms/fridayarts/
The Print Center of Philadelphia
Produced by Michael O’Reilly
The Print Center of Philadelphia is celebrating its 100th anniversary this year. Their mission, according to the website, is to “encourage the growth and understanding of photography and printmaking as vital contemporary arts through exhibitions, publications and educational programs.” And as you might expect, after being around for 100 years, they are not afraid to do their exhibitions and publications a little differently. After all, this is the organization that over the last 100 years, featured work from Mary Cassatt, Pablo Picasso, Ansel Adams, Ann Hamilton, Art Spiegelman and Kara Walker, to name but a few of the illustrious artists that have graced the space of the small Rittenhouse Square gallery. Add to that list the name of Gabe Martinez – Martinez does photography and pretty much everything else in this wide ranging show called Gabriel Martinez: Bayside Revisited. The show is a dramatic, immersive, multi-media exhibition that reflects on the history of Fire Island as it figures in the history of gay culture. The works in Bayside Revisited incorporate a variety of print and photographic processes including a site-specific film installation. In his ongoing exploration of the issues surrounding the legacy of gay activism, Martinez uses the printed image as a way to celebrate, memorialize and illuminate history, which echoes The Print Center’s approach to its Centennial.
Friday Arts is a 30-minute arts, culture and entertainment magazine that features three segments: “Art,” “Art of Life” and “Art of Food.” Friday Arts casts a light on some of Philadelphia’s best-kept secrets in the arts. The program is broadcast on WHYY-TV Fridays at 8:30 p.m., Saturdays at 10:30 p.m and 11:30 a.m. Sundays.
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30. Barbara Rosenthal, FF Alumn, at Studio Baustelle, Berlin, Germany, opening February 12
A solo exhibition of 50 photographs by Barbara Rosenthal, FF Alum, will open at Studio Baustelle, Berthelsdorfer-str. 11, Berlin. These are surreal 35mm photographs from between the chapters of her new novel, “Wish for Amnesia.” (Deadly Chaps Press). The vernissage is Fri, 12 Feb, 19-22hr. The show runs through Fri, 19 Feb, when there will also be a finnisage, 12-22h, when she ill read from the book and sign copies. Come join her in Berlin!
A new what she calls “performance verité video” by Barbara Rosenthal (FF Alum) will premier at the Boddinale Film Festival in Berlin on Sat, Feb 13. It’s a short short made with NY poet and video artist Mitch Corber, entitled “Barbara Rosenthal Describes Her Eyebrows.” Address Loophole Theater, Boddinstrasse, 60; Berlin. See festival schedule: boddinale.com
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31. Norm Magnusson, Paul McMahon, FF Alumns, at the Rockland Center for the Arts, West Nyack, NY, opening Feb. 13.
Curated by Norm Magnusson, “Beautiful nonsense” is an exhibition of artworks which attempt to create a disconnect between our normal, daily experience with certain objects (and their conventional functionality), and the non-functionality (or non-sense) that the artists in this show have given them. Into that gap of rational disconnection, most of the artists have driven some kind of meaning or commentary, giving their artworks both a visceral and an intellectual power.
The exhibition opens Sat. Feb. 13 from 2-5pm and runs through April 3. ROCA is located at 27 South Greenbush Road, West Nyack, NY 10994 and can be reached at 845-358-0877
Participating artists include: Karlos Caramo, Keetra Dean Dixon, Fredericks and Mae, David Goldin, Jared Handelsmand, Peter Iannarelli, Lynn Itzkowitz, Ryan Johnson, John Marcello, Paul McMahon, Jeff Newman and Rebecca Holt, Myra Mimlitch-Gray, Steve Rossi, Joy Taylor, Chris Victor, and Eleanor White.
Magnusson’s blog, an online version of the exhibition, can be seen here: http://theabsurdobject.blogspot.com
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32. Harley Spiller, FF Alumn, on CBC-Radio Canada, now online, and more
Please follow this link to a CBC-Radio Canada program and illustrated article about the work of Harley Spiller
and
Please visit this link to another illustrated article about the work of Harley Spiller
http://www.saveur.com/chinese-takeout-menu-collection
thank you.
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Goings On is compiled weekly by Harley Spiller
