Contents for February 29, 2016
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1. Deborah Edmeades, Dolores Zorreguieta, FF Alumns, at Works/San Jose, CA, opening March 4
2. Pati Hill, FF Alumn, at Arcadia University Art Gallery, PA, thru April 24
3. Lorraine O’Grady, FF Alumn, launches new website at lorraineogrady.com and more
4. Annie Lanzillotto, FF Alumn, at Westchester Italian Cultural Center, Tuckahoe, NY, March 18, and more
5. Jayoung Yoon, FF Alumn, at Howland Cultural Center, Beacon, NY, Mar. 5-Apr. 3, and more
6. Olivia Beens, FF Alumn, at Nippon Gallery, Manhattan, opening March 4
7. Athena Tacha, FF Alumn, at Marsha Mateyka Gallery, Washington, DC, thru Mar. 19
8. Daze, FF Alumn, at the Museum of the City of New York, Manhattan, March 2
9. Judith Sloan, FF Alumn, at La Mama, Manhattan, Mar. 4-13
10. Jenny Holzer, Tom Otterness, FF Alumns, at Printed Matter, Manhattan
11. Andy Warhol, FF Alumn, at Guggenheim Bilbao, Spain, thru Oct. 2
12. Scott McCarney, FF Alumn, current events
13. Mierle Laderman Ukeles, FF Alumn, at New York Public Library, Manhattan, March 2
14. Charles Yuen, FF Alumn, now online
15. Coracle, FF Alumns, at Librairie Yvon Lambert, Paris, France, March 9
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1. Deborah Edmeades, Dolores Zorreguieta, FF Alumns, at Works/San Jose, CA, opening March 4
Deborah Edmeades and Dolores Zorreguieta are part of a four-artist show entitled Sci-Fi Folk at Works/San Jose, a non-profit art space in San Jose, California.
Artists:
FRANK AGUILAR – DEBORAH EDMEADES – GENEVIVE QUICK – DOLORES ZORREGUIETA
Opening Reception: March 4, at 7PM
The show will be open from March 5 to March 20
Works/San Jose
http://www.workssanjose.org/
365 South Market Street
downtown San José
on the Market Street edge of
the San José Convention Center
exhibition hours:
Friday noon to 6pm
Saturday and Sunday noon to 4pm
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2. Pati Hill, FF Alumn, at Arcadia University Art Gallery, PA, thru April 24
Arcadia University Art Gallery is pleased to present Pati Hill: Photocopier, A Survey of Prints and Books (1974-83). Featuring more than 100 works on paper, this exhibition explores the first decade of the singular and cross-disciplinary practice of Pati Hill (1921-2014). Untrained as an artist, Hill was a published novelist and poet before she started to experiment with the copier. She was not alone in recognizing the creative possibilities of what she called “a found instrument, a saxophone without directions.” However, her literal approach to the medium-“having come to copying from writing”-coupled with her lucid texts about it, have proved prescient, especially regarding its potential for self-publishing and image-sharing that we take for granted today.
Unlike many artists who flirted with this instant-duplication process-a medium whose affordability and use of plain paper made it revolutionary-Hill sustained her commitment to xerography (Greek for “dry writing”) for 40 years, celebrating the medium’s instantaneity and accessibility as well as the way in which “copiers bring artists and writers together.” In a 1980 profile in The New Yorker, Hill remarked: “Copies are an international visual language, which talks to people in Los Angeles and people in Prague the same way. Making copies is very near to speaking.”
Hill employed the copier as both a collaborator and a muse. The inspired writing of her 1979 book Letters to Jill: A catalogue and some notes on copying remains a jargon-free primer on the medium and serves as a core resource for the show. The following description of a photocopier that appears on the front of the announcement of her 1978 exhibition at Franklin Furnace is also telling:
This stocky, unrevealing box stands 3 ft. high without stockings or feet and lights up like a Xmas tree no matter what I show it. It repeats my words perfectly as many times as I ask it to, but when I show it a hair curler it hands me back a space ship, and when I show it the inside of a straw hat it describes the eerie joys of a descent into a volcano.
The objects Hill chose to scan are visually transformed yet faithfully convey their intrinsic properties, as well as those of the copier. She appreciated the machine’s capacity to duplicate at life-scale and produce “human-vision-sized pictures” with “eye-accurate” details. She learned to favor the rich blacks of IBM’s “Copier II” as well as its flaws and shallow perception of depth, which gave the originals Hill isolated on its platen the potential to be read as symbols.
Thanks to a chance encounter on a transatlantic flight with designer Charles Eames in 1977, Hill secured a two-and-a-half year loan of this particular model, which IBM delivered to her home in Stonington, Conn. Direct access to the machine made it possible for her to copy a dead swan (found near the local beach), a process that took five weeks and resulted in a suite of 32 captioned prints that suggest a myth of metamorphosis. Hill also used the copier to modify appropriated photographs, which she sequenced into the pictorial narratives that comprise Men and Women in Sleeping Cars (1979) and extend the detached prose of her novel of familial dissolution, Impossible Dreams (1976).
Informed by a hieroglyphic symbol language she developed, much of her work from this period sought to fuse text and image into “something other than either.” Hill applied the copier as a vehicle for this research, using her prints to experiment with the conventions of the caption, the book, and the gallery exhibition. By 1979, her interest in testing the limits of the medium inspired her to “photocopy Versailles,” a project that would occupy her for the next 20 years and lead her to work with colored toner, frottage, and photogravure. A selection of initial attempts from this effort-scans of paving stones, an espaliered pear tree, and other materials gathered from the grounds-are included in the exhibition along with a sampling of her publications.
Pati Hill: Photocopier will be presented in the Spruance Fine Art Center and the two galleries of the Commons, marking the first time that all three of these venues will be used to stage a single exhibition at Arcadia. Major support has been provided by The Pew Center for Arts & Heritage.
The Spruance Fine Art Center is open Monday through Sunday, and the Commons Gallery is open all week. Hours and directions are available online at gallery.arcadia.edu.
Events
Pati Hill: Photocopier will be accompanied by a catalog and series of public programs that commence with a lecture by exhibition curator Richard Torchia at 6:30 p.m. in the University Commons Great Room preceding the 7:30 p.m. opening reception on February 25.
Additional events will continue through April 24, including a lecture on March 17 at 6:30 p.m. by Michelle Cotton, director of the Bonner Kunstverien (Bonn, Germany). Cotton, who has contributed an essay to the catalog, will discuss Xerography, the international survey exhibition she curated for Firstsite (Colchester, Essex, UK), to honor the 75th anniversary of Chester Carlson’s 1938 invention of the photocopier.
For more information, including hours and directions, visit gallery.arcadia.edu.
About the Artist
Pati Hill, Alphabet of Common Objects (typewriter ribbon), c. 1975, black and white copier print, 11″ x 8.5″; Image courtesy Estate of Pati Hill.
Pati Hill, Alphabet of Common Objects (typewriter ribbon), c. 1975, black and white copier print, 11″ x 8.5″; Image courtesy Estate of Pati Hill.
Pati Hill (1921-2014) was born in Ashland, Kentucky and raised in Virginia. Demonstrating an interest in writing and art from an early age, she took courses for a year at George Washington University and in 1940 moved to New York, where she became a fashion model. In 1947, Hill relocated to Paris to introduce the first American collection for the couturier Molyneux. By the early 1950s, however, in an effort to concentrate on her writing, she moved to a derelict cottage in the French countryside in Montacher, Yonne, where she completed her first two books, a memoir, The Pit and The Century Plant (1955), and a novel, The Nine Mile Circle (1957), which The New York Times favorably compared to the work of William Faulkner. With the encouragement of George Plimpton, she began publishing her short stories in The Paris Review and in 1957, after she had returned to the United States, took up residence New York City and Stonington, Conn.
In 1959, Hill met publisher and art dealer Paul Bianchini, whom she married in 1960. (Bianchini’s New York gallery was one of the first commercial venues to exhibit Pop art.) In 1962, Hill gave birth to a daughter and published her first book of poems, The Snow Rabbit, illustrated by poet Galway Kinnell.
Despite multiple residencies at MacDowell and Yaddo into the early ’70s, Hill did not publish again until 1975 when Slave Days, her first book to include images of her copier prints, was produced with the assistance of her Stonington neighbor, poet James Merrill. New York gallerist Jill Kornblee gave Hill five solo exhibitions at her 57th Street Gallery between 1975 and 1979.
In 1976, Hill received a fellowship from the National Endowment for the Arts for Impossible Dreams. Instrumental support followed in 1977 in the form of a two-and-a-half-year loan of a “Copier II” from IBM thanks to the influence of designer Charles Eames. Hill moved to Paris in 1980, where she spent five years photocopying the details of the palace and grounds of Versailles, eventually presenting the resulting large-scale composite works on the site as well as other venues in France. In 1989, Hill and Bianchini opened Galerie Toner in Sens, a small town 75 miles southeast of Paris, where Hill had settled in the late 80s. Dedicated to presenting art made with the photocopier, the venue’s Parisien counterpart opened three years later. Hill remained committed to the medium and encouraged its use by others, both novices and veterans alike, publishing books and organizing exhibitions until the age of 91.
Venues that have exhibited Hill’s copier prints include the Cooper-Hewitt Museum, Franklin Furnace (in New York City); the Centre Georges Pompidou, Musée d’Art Moderne de la Ville de Paris, and the Cabinet des Estampes de la Bibliothèque Nationale de France (in Paris); Musée Lambinet (in Versailles); L’Orangerie des Musées de Sens, France; Gallery Modena, Bologne, Italy; and the Stedelijk, Museum, Amsterdam. Her artwork is in included in the permanent collections of Bayly Art Museum (Fralin Museum), University of Virginia; the Bibliothèque Nationale de France; and L’Orangerie des Musées de France, among others.
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3. Lorraine O’Grady, FF Alumn, launches new website at lorraineogrady.com and more
Lorraine O’Grady – New Website, plus: 3 Articles + Bklyn Rail Interview
NEW WEBSITE
Feb 10, 2016. I’m thrilled to announce this new version of lorraineogrady.com. When the website first launched in 2007, it was seen as a model artist site. When it died in September 2015, tears were shed. But the loss proved a great opportunity. Now, after four months of round-the-clock work, the rebuild is being launched with not only a new look and interface, but expanded resources and info. The ART, WRITING and PRESS menus have grown and become more user-friendly. There’s also a new Home Page with images and featured items, as well as a new ABOUT page with its own gallery.
and
the PARIS REVIEW
Rivers, First Draft: Lorraine O’Grady’s living Künstlerroman
by Caille Millner
Jan 13, 2016. Caille Millner’s article brings new understandings to the content of O’Grady’s work. Unlike those who’ve seen Rivers, First Draft as surrealist – in the way early readers saw García Márquez’s 100 Years of Solitude as surrealist when that novel was, if not realistic, quite real – Millner deftly demystifies the piece’s collage aesthetic as literalized metaphor. She sees the 1982 Central Park performance as an instructional guide to women of color who want to become artists.
http://www.theparisreview.org/blog/2016/01/13/rivers-first-draft/
and
STEDELIJK STUDIES
“Frame Me”: Speaking Out of Turn and Lorraine O’Grady’s Alien Avant-Garde
by Stephanie Sparling Williams
Jan 1, 2016. The peer-reviewed journal of the Stedelijk Museum Amsterdam has published the first major academic article on O’Grady’s work. Stephanie Sparling Williams, using the definition of “alien” as stranger as well as the Brechtian “alienation effect,” creates a first line of theorization and states: “As both alien and avant-garde, [the work paves] the way for these two terms to be theorized in close proximity as a distinctive position from which to deploy strategic visibility and voice.”
and
HYPERALLERGIC
A Walk Through the World of Lorraine O’Grady
by Heather Kapplow
Dec 31, 2015. Heather Kapplow’s review of O’Grady’s show at Harvard’s Carpenter Center is the first to display a full grasp of O’Grady’s formal strategies. Employing a daring conceit, Kapplow replicates O’Grady’s working method by walking backwards through the show, turning the exhibit itself into a diptych – video on one side, wall works on the other. She thus sets in motion a permanent back-and-forth questioning-and-answering among the different works and their divided panels so that the only resolution is to embrace an un-hierarchical equivalence of their varied forms and contents.
and
THE BROOKLYN RAIL
In Conversation: Lorraine O’Grady with Jarrett Earnest
Feb 3, 2016. In this illustrated, 5,000-word cover feature, her most important published interview to date, O’Grady discusses, among other topics, Flannery O’Connor as a philosopher of the margins, working out emotions via Egyptian sculpture, Michael Jackson’s genius, and feminism as a plural noun.
http://www.brooklynrail.org/2016/02/art/lorraine-ogrady-with-jarrett-earnest
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4. Annie Lanzillotto, FF Alumn, at Westchester Italian Cultural Center, Tuckahoe, NY, March 18, and more
Annie Lanzillotto in Tuckahoe on 03/18/16 March 18, 2016 at 2:30 PM
Artist: Annie Lanzillotto
Date: Friday, March 18th 2016
Time: 6:30pm
City: Tuckahoe
Venue: Westchester Italian Cultural Center
Address: One Generoso Pope Place, Tuckahoe, New York 10707
Country: US
Admission: Must register in advance and prepay. Members $20,
Non-Members $25
Age restrictions: All Ages
Box office: 914-771-8700
Buy tickets
Notes: 6:30 = hospitality reception 7:00 = reading and presentation
8:00 = book signing. Come meet the authors! Annie reads along with
authors Joanna Clapps Herman, Phyliss Capello, Maria Mazziotti Gillan
and others from the anthology ³Embroidered Stories² edited by Edvige
Giunta and Joseph Sciorra, (Univ of Mississippi Press). This is a
collection of works from Argentina, Australia, Canada, and the United
States, exploring multiple interpretations of the relationships between
needlework and immigration from a transnational perspective during the
period of the late nineteenth to the late twentieth century. For
Italian immigrants and their descendants, needlework represents a
marker of identity, a cultural touchstone as powerful as pasta and
Neapolitan music. The lives of these Italian women are woven into the artifacts of memory and imagination:
embroidering, sewing, knitting, and crocheting. Bring your
grandmother¹s lace to show us! Bring your needlework! Let¹s see itŠ
Westchester Italian Cultural Center One Generoso Pope Place Tuckahoe, NY 10707 Tel:
914-771-8700 Info@wiccny.org Curator: Patrizia Calce
and
Annie Lanzillotto in Bronx on 04/15/16
April 15, 2016 at 2:30 PM
Artist: Annie Lanzillotto
Date: Friday, April 15th 2016
Time: 6:30pm
City: Bronx
Venue: Bronx Museum of the Arts
Address: 1040 Grand Concourse (at 165th Street),Bronx, New York 10456
Venue phone: 718-681-6000
Location: 2nd floor North Wing and throughout the galleries
Country: US
Admission: FREE
Age restrictions: All Ages
Free Admission & Cash Bar
Notes: “Bronx Stories: Bronx Women” Friday, April 15, 6:30pm to
9:00pm Hosted by Maria Aponte, and featuring performances by Nene Ali,
Michele Carlo, Annie Lanzillotto, and Julissa Rodriguez. Celebrate all
things women with an evening of storytelling, poetry and music inspired
by the Bronx and the works of art on view at the Bronx Museum. Make your
voice heard in our open mic! ‹‹‹-
About Bronx Stories: Launched in December of 2011, Bronx Stories
aims to challenge stereotypes about the Bronx and provide a platform
for voices from the community while encouraging deeper engagement with
the arts. Each event features 3-4 professional or amateur storytellers
telling a story related to a specific artwork on view at the Museum.
The most successful stories have been those drawn from the
storyteller¹s experience in the Bronx. The event culminates with an
open-mic portion during which audience members perform their own short
stories, poems, or songs.
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5. Jayoung Yoon, FF Alumn, at Howland Cultural Center, Beacon, NY, Mar. 5-Apr. 3, and more
Women Artists of the Hudson Valley
March 5 – April 3, 2016
The Howland Cultural Center
477 Main Street, Beacon, NY 12508
and
Witnessing the Traces
presented by AHL Foundations
Feb 11 – July 14, 2016
BBCN Bank Woodside Branch
5015 Roosevelt Ave, Woodside, NY 11377
http://www.ahlfoundation.org/
Thank you so much,
Jayoung Yoon
interdisciplinary artist
www.jayoungart.com
instagram.com/jayoungart/
jayoungart.tumblr.com/
facebook.com/JayoungYoonArt
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6. Olivia Beens, FF Alumn, at Nippon Gallery, Manhattan, opening March 4
Exhibition zt Nippon Gallery
Reception Friday March 4, 2016 6-8pm
(on view March 1- 7, 2016)
145 West 57 Street
New York, NY
Come and help me celebrate if you are free!
Thank you. Olivia Beens
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7. Athena Tacha, FF Alumn, at Marsha Mateyka Gallery, Washington, DC, thru Mar. 19
Athena Tacha SHAPES OF FLUIDITY:
Photo-Environments and Sculpture
Marsha Mateyka Gallery ESTABLISHED 1983
2012 R STREET NW WASHINGTON, DC 20009
TEL. 202.328.0088 mmateyka@aol.com www.marshamateykagallery.com
HOURS: Thursday-Saturday, 11:00 AM to 5:00 PM and at other times by appointment
METRO: Red Line, Dupont Circle, Q Street exit; around the corner from The Phillips Collection
EXHIBITION: February 4-March 19, 2016
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8. Daze, FF Alumn, at the Museum of the City of New York, Manhattan, March 2
The New York Times
ARTS
Spare Times for Feb. 26-March 3
By JOSHUA BARONE and ZACH WICHTERFEB. 25, 2016
Museum of the City of New York: ‘Chris (Daze) Ellis: The City Is My Muse’ (through May 1) The career of this artist, known as Daze, began with citywide graffiti in the late 1970s. He later took his work to the studio, where he blended a street art aesthetic with figurative painting. “The City Is My Muse” is a look at his recent works, which are inspired by sites like Times Square and Coney Island, as well as the everyday lives of New Yorkers. At 6:30 p.m. on Wednesday, Daze speaks with the Brooklyn-based street artist Swoon and with Steven Harrington and Jaime Rojo, ofBrooklynStreetArt.com, about the history of graffiti in New York and the relationship between street artists and the city. Fifth Avenue at 103rd Street, 212-534-1672, mcny.org.
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9. Judith Sloan, FF Alumn, at La Mama, Manhattan, Mar. 4-13
Judith Sloan, FF Alumn at La Mama, March 4 through 13
LaMama presents Yo Miss! Transforming Trauma Into Art
http://www.lamama.org/yomiss/
March 04 – March 13, 2016
Friday to Saturday at 10pm; Sunday at 6pm
The Club at La MaMa | 74a East 4th Street (3rd Floor) Adult: $18; Student/Senior: $13
Fusing the art of theatre, poetry, and music, Yo Miss! is a sometimes funny, sometimes sad, always truth-telling show about immigrant/refugee teenagers and incarcerated youth grappling with the cataclysmic events that shaped them. Using midi-controllers and an original musical score to accompany her compelling performance, Sloan remixes her own traumatic experiences with those of her students and transforms into a multitude of characters ages 14 to 80 years young. Sloan looks at the ripple effects of the Holocaust on her family and how that interconnects with refugees today. Yo Miss! has the potential to create much needed understanding amid the inflammatory rhetoric that outweighs reason in our current electoral season.
Written, Performed & Live-Sound Engineered by Judith Sloan
Josh Henderson on violin and Andrew Griffin on viola (March 4-6)
Andrew Griffin on viola (March 11-13)
Dramaturgy by Morgan Jenness
Script Consultant Warren Lehrer
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10. Jenny Holzer, Tom Otterness, FF Alumns, at Printed Matter, Manhattan
February 26, 2016
A Book About Colab (and Related Activities)
A new publication from Printed Matter, Inc
Edited by Max Schumann
&
A new fundraising edition
by Jenny Holzer and Tom Otterness
in support of the publication
Printed Matter is pleased to announce the publication of A Book About Colab (and Related Activities). Edited by Max Schumann, Director of Printed Matter, and with a Foreword and Afterword by art writer and Colab member Walter Robinson, the book traces the output of Collaborative Projects Inc. (aka Colab), the highly energetic gathering of young New York downtown artists active from the late 1970’s through the mid 1980’s.
A Book About Colab serves as an exhaustive homage to the group’s work and a testimonial about their particular practice of collaboration, collectivity, and social engagement, while reflecting an iconic period of NYC cultural history. Advocating a form of cultural activism that was purely artist driven, the group created artworks, negotiated venues, curated shows, crafted their own PR, and engaged in discourse that responded to the political themes and predicaments of their time, among them the recessions of the 1970’s, the Reagan era of budget cuts and nuclear armament, the housing crisis and gentrification in New York City, and other pressing social issues.
In form, A Book About Colab captures the busy energy of the group as it focused on a battery of overlapping projects staged in artists’ lofts, vacant storefronts and abandoned buildings, as well as on the airwaves and in print. With extensive documentation of the printed material and media (posters, books, ephemera, films, broadcasts) steadily produced in the course of their collaborative undertakings, A Book About Colab offers a vivid account of the diverse aesthetics and concerns of the group as they embarked on X-Magazine, The Real Estate Show, The Times Square Show, the A. More Store, the cable access TV show Potato Wolf, and a myriad of other projects. To illustrate the broader reach of the group, the book also explores a number of Colab-related efforts which took place in addition to their communal activity. Artists’ initiatives such as Fashion
Moda, the New Cinema, Spanner Magazine, and ABC No Rio, while not purely Colab projects, derived their vitality from its members and reflected the spirit of that community.
In keeping with the democratic “by and for artists” ethos of Colab, the publication places this material alongside newly solicited texts from many of the group’s members – a mix of reflections and anecdotes, statements, manifestos, and excerpts from the ‘Colab Annual Report’, which provide a close perspective on the meaning of Colab for those who came into its orbit. A Book About Colab (and Related Activities) is published by Printed Matter, printed full color, paperback, 256 pages, in an edition of 1000 copies. The book features a two-sided color wraparound cover, with the interior showing a selection of Fingerpaint Portraits of Colab group members by Cara Perlman.
The publication is a companion piece to the exhibition A Show About Colab (and Related Activities), organized by Schumann at Printed Matter, October 15-November 30, 2011.
Printed in Canada by The Prolific Group.
Edited by Max Schumann. Design Direction by Garrick Gott. Design by Yoshié Hozumi
New fundraising edition by
By Jenny Holzer and Tom Otterness in support of the publication
Printed Matter is extremely pleased to announce Money Creates Taste?, a collaborative fundraising edition by Jenny Holzer and Tom Otterness. Funds raised by the sale of the edition will go to support Printed Matter’s new publication A Book About Colab (and Related Activities). The sculptural work incorporates a variation of a Truism written by Holzer in 1978, (around the time of the founding of Colab), and re-works a visual motif that Otterness developed in the mid 80’s (around the time that Colab was
winding down its activities). The combined elements of two figures struggling over a coin, accompanied by the text “Money Creates Taste?”, provides playful and rich allusions to the internal polemics of the artists’ group itself, as well as to the socio-economic context from which Colab arose, and which still has such profound resonance
today. The near-miniature work is a bronze casting with gold plating, measuring 2.75 × 3 × 1.5 inches, in a signed and numbered edition of 9.
Please write to news@printedmatter.org for more information.
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11. Andy Warhol, FF Alumn, at Guggenheim Bilbao, Spain, thru Oct. 2
Guggenheim Bilbao
Andy Warhol. Shadows
February 26-October 2, 2016
Guggenheim Bilbao
Abandoibarra et.2
48001 Bilbao
Spain
warhol.guggenheim-bilbao.es
An exhibition organized by Dia Art Foundation
The Guggenheim Museum Bilbao presents Shadows (1977-78) by Andy Warhol, a monumental artwork of 102 large format, silkscreened panels that reflect some of Warhol’s explorations with abstraction through his signature palette of bright and cheerful hues, which characterized a large part of his work.
At 50 years old, Andy Warhol, the irreverent Pop Art icon, and chronicler of an era, embarked upon the production of a monumental artwork titled Shadows with the assistance of his entourage at the Factory. The work formalized earlier explorations with abstraction, seen the previous year in the Oxidation, Rorschach, and Camouflage paintings.
The canvases, which were primed and coated with acrylic paint prior to the printing of the image, show Warhol’s signature palette of bright hues with cheerful excess. While the color palette used for the grounds of Shadows includes more than a dozen different hues, certain colors that are characteristic of his larger body of work-the translucent violet of Lavender Disaster, 1963, or the aqua green of Turquoise Marilyn, 1964-are present. Unlike the surfaces of earlier paintings, in which thin layers of rolled acrylic paint constituted the backgrounds onto which black pixelated images were silkscreened, the backgrounds of the Shadows canvases were painted with a sponge mop, whose streaks and trails add “gesture” to the picture plane. Seven or eight different screens were used to create Shadows, as evidenced in the slight shifts in scales of dark areas as well as the arbitrary presence of spots of light.
The “shadows” alternate between positive and negative as they march along the walls of the gallery. Despite the apparent embrace of repetition, Warhol’s “machine method” is nothing but handmade. A significant and intriguing fact about Shadows is the irreproducibility of its assumed reproduction, a point that problematizes his aesthetic of “plagiarism” and positions Warhol’s project as one that is primordially pictorial.
For more information:
Communication and Marketing Department
T +34 944 359 008 / media@guggenheim-bilbao.es
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12. Scott McCarney, FF Alumn, current events
smARTnews WINTER 2016 edition is freshly posted and
ready for your eyes at scottmccarney.blogspot.com.
E X H I B I T I O N S
Reading with the Senses
Page by Page
Ink and Paper: A Collaborative Exhibition of Artist Books and Letterpress Prints
Between the Covers: Altered Books in Contemporary Art
Together/Apart
Amid/In Western New York, Part 6
N E W B O O K
Plastic Bags Collected and Bound
S U M M E R W O R K S H O P S
Visual Studies Workshop
Wells Book Arts Center
Center for Photography at Woodstock
Thanks for clicking.
Scott
ScottMcCarneyVisualBooks.com
ScottMcCarney.blogspot.com
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13. Mierle Laderman Ukeles, FF Alumn, at New York Public Library, Manhattan, March 2
Mierle Laderman Ukeles
Seven Work Ballets
Join us this Wednesday, March 2, at the New York Public Library for a book signing and panel discussion on Mierle Laderman Ukeles’s recently published Seven Work Ballets.
Copies of the book will be available for purchase and signing
Panel Discussion 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, 6-8 PM
To find Celeste Auditorium, enter through the library’s main 5th Avenue entrance. Glass doors leading to the South Court are at the back of the entrance hall towards the left (southwest corner). Celeste Auditorium is on the lower level.
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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14. Charles Yuen, FF Alumn, now online
Dear Friends,
I am pleased to announce 2 reviews of my show at Studio10, Crypto-Somaic Incantation.
ArtCritical: The Somnambulist: Charles Yuen’s Painterly Waking Dreams, by Drew Lowenstein
http://www.artcritical.com/2016/02/27/drew-lowenstein-on-charles-yuen/
Art Fuse: Crypto-Somatic Incantation: New Paintings by Charles Yuen at Studio 10, by Robert C. Morgan
http://artefuse.com/2016/02/27/crypto-somatic-incantation-new-paintings-by-charles-yuen-at-studio-10-124415/
Thanks,
Charles
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15. Coracle, FF Alumns, at Librairie Yvon Lambert, Paris, France, March 9
the pencils of Takesada Matsutani
the assembly of an edition of the pencil shavings of Takesada Matsutani accumulated in his studio in Paris since 1976. A production performance throughout the day of Wednesday March 9th 2016 will take place from 11am at Librairie Yvon Lambert 108 Rue Vieille du Temple Paris 75003 www.coracle.ie
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Goings On is compiled weekly by Harley Spiller
