Goings On: posted week of January 15, 2018
CONTENTS
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1. Tori Wrånes, FF Fund recipient 2016, at Washington Square Park, Manhattan, January 18-19
2. Ken Butler, Terry Dame, FF Alumns, at Sideshow Gallery, Brooklyn, Jan. 20
3. Robbie McCauley, FF Alumn, at NY Live Arts, Manhattan, Feb. 1-3
4. Joyce Yu-Jean Lee, FF Alumn, at New Jersey City University, NJ, opening Jan. 25
5. Richard Artschwager, Jenny Holzer, FF Alumns, in the New York Times, Jan. 8
6. John Kelly, FF Alumn, at La MaMa, Manhattan, Feb. 22-Mar. 11, and more
7. Sonya Rapoport, FF Alumn, recent news
8. Barbara T. Smith, FF Alumn, at Andrew Kreps Gallery, Manhattan, opening Jan. 18
9. Kazuko Miyamoto, FF Alumn, at Kaufmann Repetto, Manhattan, opening Jan. 18
10. Laura Cooper, FF Alumn, at Arthouse1, London, UK, opening Jan. 25
11. Edward Gomez, FF Alumn, now online at Hyperallergic.com
12. Priscilla Stadler, FF Member, at D’Antigua, Jackson Heights, Queens, Jan. 27, and more
13. Kriota Wilberg, FF Alumn, at NY Academy of Medicine Library, Manhattan, and more
14. Cassils, Claes Oldenburg, FF Alumns, in the New York Times, Jan. 15
15. Barbara Bloom, Guerrilla Girls, Louise Lawler, Lucy R. Lippard, Robert Mapplethorpe, Yvonne Rainer, Robert Rauschenberg, Richard Serra, Andy Warhol, Fred Wilson, FF Alumns, in The New York Times, Jan. 15
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1. Tori Wrånes, FF Fund recipient 2016, at Washington Square Park, Manhattan, January 18-19
THE FUTURE IS OPEN
January 18 & 19 at 5:30pm
At Washington Square Park, Northwest Corner
PROTOTYPE presents a new public performance by Norwegian artist and composer Tori Wrånes, starting in Washington Square Park’s Northwest Corner. The best way to describe Wrånes’s work may be Choreography with sound, be it solo or with multiple performers, like singers on bikes (YES NIX, Performa 13), musicians in a chairlift, or cows with 12 toned scaled bells. (TRACK of HORNS, Transart 15 in the alps of Italy).
THE FUTURE IS OPEN responds critically to the recent White House directive to the Center for Disease Control to cease using words such as transgender, vulnerable, entitlement, diversity, transgender, fetus, evidence-based, and science-based. Featuring Wrånes solo vocalizations, a group of five performers, and a dreamlike arrangement of additional body parts and prosthetics, THE FUTURE IS OPEN proposes fluid, ever-transforming identities and a few fresh small breaths for a new year.
January 18 & 19 at 5:30pm
At Washington Square Park, Northwest Corner
Out of Bounds 2018 is organized by PROTOTYPE Associate Producer Raul Zbengheci. All performances will take place in New York public sites and will be free and open to the public.
This work was made possible, in part, by the Franklin Furnace Fund supported by The SHS Foundation, public funds from the New York City Department of Cultural Affairs in partnership with the City Council, and general operating support from the New York State Council on the Arts.
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2. Ken Butler, Terry Dame, FF Alumns, at Sideshow Gallery, Brooklyn, Jan. 20
Live music on artist-made instruments with Ken Butler, Terry Dame, Ed Potokar, Nick Demopoulos, Brian Dewan, Daniel Jodocy, and special guest JESSICA LURIE on sax … Formed from Terry’s Weird Wednesdays and Ken and Ed’s SONARE project, the SONARE-CHESTRA promises tantalizing tuneful textures and tones!
SAT. JAN. 20th at 7:30pm
SIDESHOW GALLERY
319 Bedford Ave. Brooklyn
sideshowgallery.com $10 donation
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3. Robbie McCauley, FF Alumn, at NY Live Arts, Manhattan, Feb. 1-3
“STORY BY STORY, OBSERVATION BY OBSERVATION, MCCAULEY BUILDS A STRIKING RAPPORT WITH THE AUDIENCE… HEADS NODDING, THEY HANG ON HER WORDS, AS IF THEY HAD COME TO HEAR MCCAULEY TALK ABOUT THEIR LIVES AS WELL AS HERS.”
THE BOSTON GLOBE
“You know I suppose to ‘a been dead. Sugar is complicated, like love, full of pleasure and pain. It’s complicated, gives you energy and can eat you up from the inside out.”
So begins award-winning theatre artist, Robbie McCauley’s autobiographical solo show about living with “a little bit of sugar” – diabetes, a disease that affects many Americans, and many more African-Americans. Directed by Maureen Shea with music by Chauncey Moore and projections by Mirta Tocci, Sugar looks at everything there is to see about sugar, from slavery to colonialism to American mythologies to racism and diabetes. Against the backdrop of her own remarkable life as an internationally acclaimed performance artist, Sugar is also a chronicle of McCauley’s life as a child in the Jim Crow South and as a young actress in the vibrant theatre scene of 1960’s-1970’s NYC.
In a January 2013 interview in The Boston Globe, McCauley said that she created the piece as a way to encourage more people who have diabetes to talk about it. Sugar, a 90-minute performance, was shaped from survival stories from McCauley’s own life as well as interviews with diabetics, their families, friends and healthcare providers. During the performance, McCauley tells tales of food – from the comfort food of her southern upbringing to the food from her days living as an artist in New York. As part of the narrative, McCauley also addresses disparities in health care between black and white people in the United States. In one provocative scene, the artist carries sugar cane on her back, drawing a link between slavery, health-care inequity, and diabetes.
Robbie McCauley, recent recipient of the IRNE (Independent Reviewers of New England) Award for Solo Performance, and selected as a 2012 United States Artists Ford Foundation Fellow, has been an active presence in the American avant-garde theatre for several decades. Also lately, she directed a critically successful Roxbury Repertory Theater production of “The Glass Menagerie” by Tennessee Williams. She received an OBIE Award and a Bessie Award for Outstanding Achievement in Performance for her play, Sally’s Rape.
She is widely anthologized including Extreme Exposure, Moon Marked and Touched by Sun, and Performance and Cultural Politics, edited respectively by Jo Bonney, Sydne Mahone, and Elin Diamond. One of the early cast members of Ntozake Shange’s for colored girls who have considered suicide when the rainbow is enuf on Broadway, Robbie went on to write and perform regularly in cities across the country and abroad.
Striving to facilitate dialogues on race between local whites and blacks, she created the Primary Sources series in Mississippi, Boston and Los Angeles produced by The Arts Company. In 1998 her “Buffalo Project” is highlighted as one of “The 51 (or So) Greatest Avant-Garde Moments”by The Village Voice, a roster including work by artists such as Igor Stravinsky, Pablo Picasso, and John Cage.
Robbie McCauley is Professor Emerita of Emerson College Department of Performing Arts and the 2014 Monan Professor in Theatre Arts at Boston College.
PERFORMANCE VENUE INFO
New York Live Arts; 219 W 19th Street,
New York, NY
PERFORMANCE TIMES
FEBRUARY 1 at 8pm
FEBRUARY 2 at 8pm
FEBRUARY 3 at 8pm
RUN TIME
100 minutes (approx)
TICKETING INFO
All tickets are to be picked up at Will Call.
No late seating. No refunds.
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4. Joyce Yu-Jean Lee, FF Alumn, at New Jersey City University, NJ, opening Jan. 25
“State of the DysUnion,” solo exhibition, January 25 – March 1, 2018
Reception: January 25th from 5-8pm
Artist talk: February 13th at 7 pm, co-hosted by the NJCU Integrated Media Arts Production (IMAP) MFA program
New Jersey City University, Visual Art Gallery, 100 Culver Ave, Jersey City, NJ 07305 (basement level)
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5. Richard Artschwager, Jenny Holzer, FF Alumns, in the New York Times, Jan. 8
The New York Times
ART & DESIGN
Laurie Tisch, Collecting the Giants, of New York and Modern Art
By HILARIE M. SHEETS
JAN. 8, 2018
Laurie Tisch in the living room of her Upper East Side apartment, where she displays, from left, Edward Hopper’s “Hodgkin’s House,” Barbara Chase-Riboud’s sculpture “Zanzibar Table Black,” Thomas Hart Benton’s “The Beach” and Alexander Calder’s mobile “Peacock.” Credit Adrienne Grunwald for The New York Times
Laurie M. Tisch’s apartment on the Upper East Side of Manhattan has spectacular views of Central Park. Reflecting her passions and role as a trustee at the Whitney Museum of American Art, it is filled with classic paintings by the country’s renowned modernists, including Edward Hopper, Milton Avery, Jacob Lawrence, Thomas Hart Benton and Georgia O’Keeffe (with a radiant new acquisition of her “Blue Morning Glories”).
Yet what often captures the attention of visitors, Ms. Tisch said with amusement, as she gave a recent tour of her home, are her trophies from the New York Giants’ Super Bowl XLII and XLVI victories.
“Those were two very close games against the Patriots, where New York basically had no business winning,” said Ms. Tisch, whose father, Preston Robert Tisch, bought half the team in 1991. Now Ms. Tisch has inherited his stake in the Giants, together with her brothers, since the passing of their mother, Joan Tisch, at age 90 in November.
“I grew up with six boys – two brothers and four male cousins – not the easiest thing being the only female,” said Ms. Tisch, as she pointed to Jenny Holzer’s marble bench in the foyer, carved with the artist’s “truism”: “Men don’t protect you anymore.” While some of those Tisch men now run Loews Corporation, passed on from her father and uncle, who started in business by buying and revamping hotels, Ms. Tisch has followed in her parents’ philanthropic footsteps with the Laurie M. Tisch Illumination Fund.
“My mother brought so much money and attention to the Gay Men’s Health Crisis,” said Ms. Tisch. “My father started Take the Field, which rebuilt 43 sports fields in New York City schools. I had good role models.”
Ms. Tisch has made her own mark in arts education, first in the 1980s by helping build a small program begun in a firehouse into the Children’s Museum of Manhattan. Starting in the late 1990s, she steered the Center for Arts Education, helping restore art programs that had been cut from New York City public schools. Simultaneously she joined the board of the Whitney Museum as she began collecting 20th-century American art. The following are edited excerpts from our conversation.
Has working with the Whitney helped develop your collecting tastes and knowledge?
Absolutely. [The curator] Barbara Haskell guided me. She’s one of the world’s great experts in the field of American modernism. It was what I was drawn to aesthetically. She and I started the American Fellows [in 1999], a patron’s group that meets several times a year.
What was an important early personal acquisition?
The Hopper painting. It’s called “Hodgkin’s House.” I was really nervous about it. It was at the time certainly the most expensive thing by far I had ever bought. It belonged to David Geffen. It’s one of the things that’s skyrocketed in value. There are just so few in private hands.
Collecting is a part of me that I’m really lucky I can do, and I love looking at the art. But it’s not the most important thing that I do. I never understand at an auction when something goes for $100 million and everybody starts clapping. I always think, Did they also cure cancer? Or did they just buy a painting?
Do you ever buy at auction?
Three or four things. A few years ago, I was on the phone with a top auctioneer bidding on this beautiful Georgia O’Keeffe white flower. He said, “I can’t tell you who you’re bidding against, but you probably don’t want to stay on the phone much longer.” That was good advice. It went for $45 million. A year later, I found out the two bidders were Paul Allen and Alice Walton!
What’s going on in this Richard Artschwager painting? Is the building collapsing?
This was the Traymore Hotel in Atlantic City. [In 1972, it was imploded.] There are four or five paintings Artschwager did of this, from newspaper articles. One is owned by one of my brothers, and one is owned by one of my cousins. My father and uncle bought the Traymore in the 1950s, and we moved to Atlantic City for a while. It’s where the Miss America pageant took place. My father was a judge.
There definitely seems to be a New York theme to a lot of the works here, in cityscapes by John Marin, Charles Sheeler and Joseph Stella.
I like the Brooklyn Bridge. And winter scenes, like this William Glackens of the park. The George Washington Bridge is by Margaret Bourke-White; the Flatiron is by Berenice Abbott. I love the city. More than 80 percent of my foundation’s resources go to greater New York, leveling the playing field to the extent that I can. The first thing we did were those fruit and vegetable stands in all five boroughs, where there was little access to healthy foods. We’re starting a new arts initiative, with geriatrics and Alzheimer’s, and looking into programs with prison reform and PTSD. It’s using the arts almost as a healing tool.
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6. John Kelly, FF Alumn, at La MaMa, Manhattan, Feb. 22-Mar. 11, and more
Dear Friends,
I’m very pleased to share news about two upcoming projects. On February 22nd, my new performance work Time No Line premieres at La MaMa for a three-week run in the Ellen Stewart Theatre. The following week, on February 28th, an exhibition of my recent artwork will open at the Howl! Happening gallery, and be on view through March 25th. The opening reception will be on February 28th.
I’m especially grateful for this chance to have my performance work and visual art presented simultaneously within the environs of my spiritual home – New York’s East Village, where I began my career. I hope you’ll be able to join us at the theater and in the gallery. More to come.
Warm regards, John
La MaMa presents
Time No Line
By John Kelly Performance February 22 – March 11, 2018 Performances Thursdays through Sundays with an added performance Monday, February 26.
Ellen Stewart Theatre | 66 East 4th Street, NYC Tickets are now on sale (http://lamama.org/time_no_line/)
Time No Line is a solo performance based on my 40 years of journal writing. The work theatrically combines these deeply personal texts with movement, video, music, song, and live drawing into a “live memoir.”
and
Howl! Happening presents John Kelly: The Ground I’m Sitting on is Moist February 28 – March 25, 2018 Opening reception: February 28, 6-9pm 6 East 1st Street, NYC Gallery (https://www.howlarts.org/) hours and information (https://www.howlarts.org/) John Kelly Sings Joni Mitchell: Down To You was included (listed under June 9th) in New York Magazine REASONS TO LOVE NEW YORK (http://nymag.com/daily/intelligencer/2017/12/reasons-to-love-new-york-2017.html ) Your donation makes the work of John Kelly Performance possible –
Donate Now (http://johnkellyperformance.org/wp2/donate/)
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7. Sonya Rapoport, FF Alumn, recent news
2017 was a very productive year for the Sonya Rapoport Legacy Trust!
We completed the process of sorting, documenting, and inventorying Sonya’s extensive body of work, discovering many hidden gems along the way. This autumn we packed and moved her work to storage, and vacated her beautiful studio in Berkeley, in which she had worked prolifically for over sixty years!
Completing this process was one of the SRLT’s primary goals, and we celebrate the fact that Rapoport’s work is now safe and sound, and available for study, exhibition, and acquisition.
We are excited to share news of several major acquisitions by nationally recognized art museums.
The Berkeley Art Museum (BAMPFA) has added two works to their permanent collection. The Creation (1972) is a large acrylic painting, and Survey Chart No. 19 (pictured above, 1971) is a drawing in pencil and gouache on a “found” antique survey chart.
Survey Chart No. 19 will be included in the exhibition Way Bay at BAMPFA, January 17th – May 6th, 2018; “A sweeping exploration of the creative energies that have emerged from the San Francisco Bay Area over the past 200 years.” (Featuring Guided Tours, and a Curators Talk.)
Rapoport also exhibited a painting in Hippie Modernism: the Struggle for Utopia at BAMPFA earlier in 2017. We are pleased to see her work so thoughtfully contextualized in the time and place in which she lived.
We are very happy that San Francisco Museum of Modern Art (SFMOMA) has acquired two beautiful, large acrylic paintings – No. 20 II (1973, pictured above), and Evolvement, (1974) – as well as the drawing Survey Chart No. 20 (1971).
These works all feature Rapoport’s “Nu-Shu” stencil language of feminine symbols, which she used in all of her work from this period – beginning with her chance discovery in 1971 of a collection of antique survey charts squirreled away in a second-hand desk, and culminating in 1976 in the last paintings of her career. Nushu is a script used exclusively by women in Hunan, China – a fitting inspiration for the first of many sets of enigmatic symbols that Rapoport would explore in drawings, computer art, and interactive installations throughout her later career.
The Sonya Rapoport Legacy Trust is very excited to announce a collaboration with Bay Area musician/composers Hae Voces – Majel Connery and Kristina Dutton – who will be performing a new, interactive musical piece Rapoport Remembered: One that draws on Rapoport’s computer mediated “audience participation performances” Objects On My Dresser (1979 – 1983, 2015) and Shoe-Field (1981 – 1989).
In keeping with her own practice of interdisciplinary collaboration and habit of perpetually returning to and reinventing her older projects, Rapoport expressed the desire for her work to continue to grow through collaborations with other artists and thinkers – this is the SRLT’s inaugural effort to honor her wish.
Save the date! The public performance will take place June 1st and 2nd, 2018 at Kala Art Institute, Berkeley. All further details will be announced soon!
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8. Barbara T. Smith, FF Alumn, at Andrew Kreps Gallery, Manhattan, opening Jan. 18
Barbara T. Smith
Outside Chance
January 18 – February 24
Opening Reception: Thursday, January 18, 6-8pm
Andrew Kreps Gallery is pleased to announce its second exhibition with Los Angeles based artist Barbara T. Smith. Since the 1960s, Smith’s work has demonstrated an engagement with issues of spirituality, gender, and power, making vital contributions to both feminist discourse, and the history of West Coast performance art. The works in this exhibition focus on her early use of technology and her engagement with the scientific community.
Smith’s pioneering Xerox work is the earliest series in the exhibition dating from 1965 to 1967, and reflects a pivotal moment in the trajectory of her life and practice. Initially intending to make lithographic prints, Smith discovered the then-new technology of the Xerox copy machine, a mass-printing device that she perceived to be the future of printmaking. Smith leased a 914 Xerox Machine, at the time only in use by large corporations, and feverishly experimented with, among other things, images of her children taken by the artist-photographer Jerry McMillan. Simultaneously, Smith discovered her body as a performative tool by placing it upon the machine. Obsessively repeated and layered, the resulting works form a preemptive, and melancholic reflection on the loss of her family in her subsequent 1968 divorce. Following this, Smith fully devoted her life to art-making, with works that reflected a similar engagement with a burgeoning community of artists in Los Angeles, as well as an exploration of the new relationship between performance artworks and their audience.
At the exhibition’s core is the documentation of three seminal performance works, demonstrating Smith’s contribution to the history of the medium. The earliest, titled the Longest Day of Night was performed at Smith’s studio in Pasadena in December 1973 and coincided with the Winter Solstice. Staged in honor of the approaching comet Kahoutek, those invited were greeted by blazing airplane lights, and escorted up a staircase by a maître d’ in a rhinestone-studded tuxedo. Encompassing all senses, the performance included an ambient audio piece, dramatic light effects produced by Tesla coils, shadow dancing, as well as a multi-course meal comprised of food the color of night – i.e. caviar, black beans, and licorice ice cream. Throughout, experiments with light and dark, and the resulting contrasts, tied the work to cosmic issues of being, and non-being. At dawn, participants drive in the snow to the top of Mount Wilson Observatory to witness the arrival of the comet.
Scan 1, 1974 and Outside Chance, 1975 both continue to reflect Smith’s ongoing engagement with technology. In Scan 1, which took place at the Woman’s Building in Los Angeles, Smith invited 2 groups of people to participate, one to be performers and the other observers. The forty performers were shrouded in hoods with brightly painted tongues and mouths, faced a television monitor showing commercials. At cues embedded within the commercials, the performers would enact sets of choreographed, oral gesticulations that mirrored the scan operations of current television technology. This created a challenge for the observing group to attempt to decipher the codes embedded in the commercials that triggered the actions of the performers. For Outside Chance, Smith collaborated with Richard Rubenstein, a friend and computer scientist to create a series of 3000 unique, computer-generated prints of snowflakes, printed on continuous form paper. Smith carried these to the 21st floor of Las Vegas’ Plaza Hotel in a suitcase, wearing a wig and a film noir inspired outfit. Releasing them from a balcony onto the street, they fell to the ground like snow in the desert.
Barbara T. Smith’s work is currently included in Experiments in Electrostatics: Photocopy Art from the Whitney’s Collection, 1966-1986, Whitney Museum of American Art, New York, through March 2018. Smith received her BA from Pomona College in 1953, and MFA in 1971 from University of California, Irvine where she was a founding member of F-Space with Chris Burden and Nancy Buchanan. She has exhibited widely since the 1960s, and her work been represented in several historic survey exhibitions that include Whatever Happened to Sex in Scandinavia?, Office for Contemporary Art, Oslo, Norway, 2009, and WACK! Art and the Feminist Revolution, MoCA, Los Angeles, 2007, State of Mind, New California Art since 1970, Orange County Museum and Bronx Museum and The Radicalization of a 50’s Housewife at University of California, Irvine.
ANDREW KREPS GALLERY
537/535 W. 22ND ST.
NEW YORK, NY 10011
TEL 212 741 8849
FAX 212 741 8163
Gallery hours:
Tuesday through Saturday
10:00 am to 6:00 pm
For general gallery inquiries:
contact@andrewkreps.com
www.andrewkreps.com
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9. Kazuko Miyamoto, FF Alumn, at Kaufmann Repetto, Manhattan, opening Jan. 18
opening Thursday, January 18 at kaufmann repetto, new york, 535 W 22nd Street.
Women are very good at crying and they should be getting paid for it
Bas Jan Ader, Gee’s Bend Quiltmakers (Mary Lee Bendolph, Loretta Pettway Bennett, Marlene Bennett Jones), Kazuko Miyamoto, Christina Ramberg, Lily van der Stokker
January 18 – February 24
Opening Reception: Thursday, January 18, 6-8pm
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10. Laura Cooper, FF Alumn, at Arthouse1, London, UK, opening Jan. 25
Co-curated by exhibiting artists;
Laura Smith & Poppy Whatmore present…
Little Clown, My Heart
With Laura Cooper, Kasia Garapich, Nadège Mériau, Nicole Morris,
Rosie Morris, Sarah Pager and Ninna Bohn Pedersen.
PRIVATE VIEW
Thursday 25th January
6.30 – 8.30pm
Continues 26 January – 18 February
… Little gimp-footed hurray,
Paper parasol of pleasures,
Fleshy undertongue of sorrows,
Sweet potato plant of my addictions…
This quotation exposes love’s complexity. The artists seek to offer vignettes of raw impressions and expressions: on the one hand desperate and on the other celebratory. The show’s title ‘Little Clown, My Heart’, is taken from a selected poem by Sandra Cisneros which polarizes emotions, characterizing the heart as a backflipping, spangled, frothing ‘corazon’. This depicts a performative anthropomorphism for action and reaction. In this show, everyday things become the stuff of play and are manipulated to bear witness to heightened personal experiences. Each artist brings a unique response to a universal experience. Love and its related passions and reflections motivate an autobiographical approach and body of work. Further information….
In Conversation
To celebrate the end of this show, we invite you to join in an evening of poetry, readings and conversations, which includes guests speakers;
Des Mohan, Henry Page, Emma Roper-Evans and Dr Tamar Yoseloff
Friday 16th February 6 – 8pm
Arthouse1. 45 Grange Road. London SE1 3BH
Open Thursday to Sunday: 3pm – 7pm, or by appointment M: 077131 89249
Nearest tubes: Borough, London Bridge or Bermondsey
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11. Edward Gomez, FF Alumn, now online at Hyperallergic.com
Greetings, art lovers and media colleagues:
My feature article offering an exclusive preview of the soon-to-open 2018 Outsider Art Fair, New York, has just been published in HYPERALLERGIC.
This always vibrant event will take place next week, from Thu Jan 18 through Sun Jan 21, at Metropolitan Pavilion, in downtown Manhattan’s Chelsea district.
This will be the 26th edition of the fair, which serves as the leading annual, international forum for the exchange of information and the sharing of discoveries of previously unknown works by innovative, self-taught artists. Exhibitors will include galleries, private dealers and assorted organizations from the U.S.A., Europe and Japan.
You can find my magazine article here:
https://hyperallergic.com/420667/the-2018-outsider-art-fair-a-preview/
Best wishes to everyone!
EDWARD
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12. Priscilla Stadler, FF Member, at D’Antigua, Jackson Heights, Queens, Jan. 27, and more
Dear All,
Hope you are staying well these days. Two exciting events I’ve co-developed are coming up this month, and I hope you can join us for one or both!
Saturday January 27, 6- 8:30 pm,
Almost Home/Casi Llegando a Casa Culminating Performance
D’Antigua 4-16 Northern Blvd, Jackson Heights, Queens
https://www.facebook.com/events/1948134448846843/
Culminating performance for Almost Home/Casi Llegando a Casa, an interdisciplinary storytelling and art project features five talented artist/activists, all of whom live in the Jackson Heights, Corona or Elmhurst communities of Queens, NYC, telling their powerful stories through words, music and images. I’ll be creating a Fragile City installation for the event. For more details see below.
Almost Home is a year-long collaboration I’ve done with Bridget Bartolini of the Five Boro Story Project, filmmaker Milton X. Trujillo, and the grassroots organization Queens Neighborhoods United, fighting for community self determination, immigrants’ rights, and against hyper-policing. Shout out to our funders: MoreArt, Citizens Committee of NY, and the Puffin Foundation!
Sunday, January 28, 1 – 3 pm
Relationship Issues workshop at Flux Factory’s Utopia School
39-31 29th St., Long Island City 11101
https://www.facebook.com/events/199814843906447/
“The people united will never be defeated” is a mantra we hear shouted wherever people have banded together to fight for equality and justice. Building unity across backgrounds, opinions and cultures to overcome hate and systemic oppression is essential in achieving greater collective power.
While we can recognize this in theory, all too often collective organizing can lose focus on the greater fight, and succeed or fail based on relationships in the group.
How can a movement or a project survive differences in opinion, background, culture, and privilege? Are there movements with successful models of building trust that might help us?
This workshop invites participants to address these questions together by talking through past experiences, group dynamics, and looking to movements that have bridged differences. Let’s talk. And listen.
Warmest wishes,
Priscilla
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13. Kriota Wilberg, FF Alumn, at NY Academy of Medicine Library, Manhattan, and more
Hello Everyone!
I hope your New Year has had an auspicious start! Mine has been busy, which I interpret as a sign of future successes. This activity has included wrapping up my residency at the New York Academy of Medicine Library, preparing to teach an anatomy for artists class at the Society of Illustrators, and working on the final touches of my injury prevention book, Draw Stronger, coming out in April from Uncivilized Books!
a. Visit the website Books, Health, and History for updates on some of my projects as Artist in Residence at the New York Academy of Medicine Library’s Historical Collection.
In “Embroidering Medicine, Reimagining Embroidery” (https://nyamcenterforhistory.org/2017/12/19/embroidering-medicine-re-imagining-embroidery/) I discuss needlework as an historical form of female repression and expression, tie in feminist histories of medicine, and show some examples of embroidery created by participants in my Embroidering Medicine workshop last fall.
In “The Language of Textiles and Medicine” (https://nyamcenterforhistory.org/2017/09/12/the-language-of-textiles-and-medicine/), explore the language describing suturing and medicine and look at ancient surgical sewing equipment.
“Who Practices ‘Visualizing Anatomy’?” (https://nyamcenterforhistory.org/2017/06/16/who-practices-visualizing-anatomy/) describes the anatomy for artists workshops I teach at the academy. In these classes we use the Library’s Historical Collection as well as live models to learn to draw anatomical structures from live subjects. If you missed this workshop and are interested in learning anatomy for artists, read below! I am teaching a similar workshop at the end of January.
b. Take Anatomy for Cartoonists at the Society of Illustrators! 4 Sessions, Wednesdays 6:30-9:00 PM, January 31-February 21 (https://www.societyillustrators.org/events/anatomy-workshop) You don’t have to be a cartoonist or a professional artist to learn how to draw the body from the inside out. I will be co-teaching with cartoonist R. (Bob) Sikoryak. Yes, he is my husband, but those of you who know his work will agree when I say that he is an amazing artist!
In this workshop, using in-class exercises, live models, “homework”, and some PowerPoint presentations, Bob and I will use anatomy and cartoon imagery to help you adapt real life inspiration and anatomical principles to any drawing style. As with all my anatomy workshops, I will draw on live models, tracing muscle and bone. Bob will demonstrate the application of anatomical understanding to various cartooning styles. We will also explore aging, weight gain, weight loss, and their effects on the structures of the body. Classes are open to all levels. You do not have to be a cartoonist to take this course.
c. Draw Stronger, coming in April!
Draw Stronger is a comprehensive self-care guide for artists interested in preventing repetitive stress injuries and sustaining a pain-free life long drawing practice. The book gives you the basics of injury prevention, targeted specifically for cartoonists and artists. Clear, informative, and packed with wholesome corrective goodness, this graphic manual can get you started practicing simple routines that will help take care of your most important drawing instrument – your body!
You can pre-order the book from Amazon here: https://www.amazon.com/Draw-Stronger-Self-Care-Cartoonists-Artists/dp/1941250238
Are you an art or animation teacher interested in an injury prevention workshop for your students? Contact me!
All best,
Kriota
Kriota Willberg
KriotaWelt.blogspot.com
kriota@earthlink.net
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14. Cassils, Claes Oldenburg, FF Alumns, in the New York Times, Jan. 15
The New York Times
ART & DESIGN
Director of New Contemporary Art Institute in Richmond Abruptly Steps Down
By HILARIE M. SHEETSJAN. 11, 2018
Virginia Commonwealth University, poised to open its new Institute of Contemporary Art in Richmond on April 21, announced on Thursday that its inaugural director, Lisa Freiman, has stepped down, effective immediately.
Since 2013, Ms. Freiman has steered the vision for the city’s first institution dedicated to contemporary art. She has completed a $37 million capital campaign and overseen construction of its angular glass-and-zinc-clad building, designed by Steven Holl Architects, in a city – the former capitol of the confederacy – known for its historic red-brick architecture and monuments.
In a news release by the university, Ms. Freiman said, “I would like to turn my attention to some projects that I had to put on hold,” including a monograph on the sculptor Claes Oldenburg. She will remain a tenured faculty member of the V.C.U. School of Arts. The provost and vice president for academic affairs at V.C.U., Gail Hackett, said: “We especially appreciate how Lisa advanced the university’s commitment to diversity and inclusion in the arts and worked to integrate the strategic goals of the university into the I.C.A.”
Both Ms. Freiman and the university declined to comment further.
Ms. Freiman came to I.C.A. from the Indianapolis Museum of Art, where she had been a senior curator and chair of the contemporary art department. In a 2016 interview, Ms. Freiman said she hoped “the I.C.A. can become a forum for sometimes difficult conversations, using art as a catalyst for broader discussions about the state of our country and about the world.”
Following the 2016 presidential election, Ms. Freiman and her chief curator, Stephanie Smith, scrapped the original plans for the inaugural exhibition at I.C.A. and began co-organizing “Declaration,” with works by more than 30 artists who do not shy away from social and political issues of the moment. The international roster includes the transgender performance artist Cassils and the artist Paul Rucker, who will present a collection of Ku Klux Klan robes made in a range of materials, from flamboyant red satin to African Kente cloth, shown alongside a collection of historical artifacts related to slavery.
Ms. Smith will continue to oversee “Declaration.” An interim director will be announced shortly while the university searches for a new director.
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15. Barbara Bloom, Guerrilla Girls, Louise Lawler, Lucy R. Lippard, Robert Mapplethorpe, Yvonne Rainer, Robert Rauschenberg, Richard Serra, Andy Warhol, Fred Wilson, FF Alumns, in The New York Times, Jan. 15
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Goings On is compiled weekly by Harley Spiller
