Contents for February 7, 2022
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Graciela Gutiérrez Marx , FF Alumn, in memoriam
Weekly Spotlight: Default Propaganda, FF Alumn, now online at https://franklinfurnace.contentdm.oclc.org/digital/collection/p17325coll1/id/38/rec/1
1. Chris DAZE Ellis, FF Alumn, live online with P. P. O. W., Feb. 10 and more
2. Arantxa Araujo, Miao Jiaxin, and Verónica Peña, FF Alumns, at Museo Ex Teresa Arte Actual, Mexico City, Feb. 11
3. Guadalupe Maravilla, FF Alumn, at The Brooklyn Museum, April 8-Sept. 18
4. Wanda Raimundi-Ortiz, FF Alumn, live online at George Mason University, Feb. 10 and more
5. Zachary Fabri, Wanda Raimundi-Ortiz, Xaviera Simmons, FF Alumns, at Samuel Dorsky Museum of Art, New Paltz, NY, Feb. 5-April 10
6. Bill Beirne, Maureen Connor, Martha Rosler, Dread Scott, FF Alumns, at Kingsborough Art Museum, Brooklyn, NY, opening March 9
7. Larry List, FF Alumn, at Virginia Museum of Fine Arts, now online
8. Charles Dennis, FF Alumn, at Delaware Arts Alliance, Narrowsburg, NY, Feb. 12
9. Todd Ayoung, Nina Kuo, Bing Lee, Stefani Mar, Yong Soon Min, Carol Sun, Maureen Wong, Charles Yuen, FF Alumns, now online at Primary Information
10. Doug Skinner, FF Alumn, releases new album
11. Suzanne Lacy, FF Alumn, now online on at TheGuardian.com and more
12. Peter d’Agostino, FF Alumn, at Wexner Center for the Arts, Columbus, OH, Feb. 5-May 8
13. Maya Ciarrocchi, FF Alumn, at Governors Island, NYC, thru May 11
14. Elise Kermani, FF Alumn, at AGON Film Festival, Athens, Greece, May 10-16
15. Virginia Maksymowicz, Blaise Tobia, FF Alumns, at City Lore, Manhattan, thru Mar. 31 and more
16. Galinsky, FF Alumn, at The Main Event Gallery, Manhattan, Feb. 14 and more
17. Jodie Lyn-Kee-Chow, Dakota Gearhart, FF Alumns, at Wave Hill, The Bronx, Feb. 13 and more
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Graciela Gutiérrez Marx , FF Alumn, in memoriam
Please visit this link:
https://www.lanacion.com.ar/cultura/murio-la-artista-graciela-gutierrez-marx-nid31012022/
Thank you.
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Weekly Spotlight: Default Propaganda, FF Alumn, now online at https://franklinfurnace.contentdm.oclc.org/digital/collection/p17325coll1/id/38/rec/1
On September 11, 1998, Default Propaganda artists Sue De Beer, Charles Garoian, Stanya Kahn, William Scarbrough, and Eric Voelker presented three performances with Franklin Furnace, as seen in this 52-minute documentary video. In the first, Remote Control, a television is strapped to the performer’s back as words, sounds, and gestures are governed by the televised image and its message. In the second, Pitfall, a performer attempts to physically do that which a video-game character does so effortlessly: run endlessly without stopping while collecting lots of money and avoiding alligators. The concluding performance, Thank God for TV Dinner, features a performer defining the difference between lived life and televised reality by responding to a rapid-fire video quad projection, all while frantically attempting to eat as many TV dinners as possible. (Text by Macy Salico, FF University Intern, 2021).
Please watch at the following website:
https://franklinfurnace.contentdm.oclc.org/digital/collection/p17325coll1/id/38/rec/1
Thank you.
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1. Chris DAZE Ellis, FF Alumn, live online with P. P. O. W., Feb. 10 and more
Panel Discussion · Chris “Daze” Ellis, Pat Phillips, & Rich Blint
Thursday, February 10 at 3:00 PM (EST)
Register Here: https://us02web.zoom.us/webinar/register/WN_iVD_SIK2SVWX2eJui0JnOQ
P·P·O·W is pleased to present a virtual panel discussion between Christopher “Daze” Ellis and Pat Phillips in conjunction with Ellis’ solo exhibition, Give It All You Got, at the gallery and Phillips’ recent Consumer Reports at Jeffrey Deitch, New York. Moderated by curator and scholar Rich Blint, who wrote the catalogue essay for Ellis’ exhibition, the conversation will explore both artists’ personal approach to painting, their relationship to graffiti, as well as graffiti’s impact on New York City and the art world.
Chris “Daze” Ellis
Born in 1962 in New York City, Chris “Daze” Ellis began his prolific career as part of the second generation of graffiti writers, painting New York City subway cars in 1976 while attending The High School of Art and Design. Inspired at an early age by writers such as Blade, Lee Quinones, and PHASE 2, Daze gained notoriety as a teenager in the late 70s and early 80s and remains one of the few artists of his generation to make the successful transition from subways to the studio. Daze’s first group show was the seminal Beyond Words at the Mudd Club in 1981 which featured works by Keith Haring and Jean-Michel Basquiat. Soon after, his first solo exhibition was held at Fashion Moda, an influential alternative art space in the South Bronx. He has had numerous solo exhibitions at the Palais Liechtenstein, Feldkirch, Austria; Musée d’Art Moderne et d’Art Contemporain, Nice, France; Galleria del Palazzo, Florence, Italy; Fortune Cookie Projects, Singapore; The Museum of the City of New York, New York; and P·P·O·W, New York. His work can also be found in the permanent collections of The Whitney Museum, New York; Museum of Modern Art, New York; The Museum of the City of New York; The Suermondt-Ludwig-Museum, Aachen, Germany; Yale University Art Gallery, New Haven, CT; and The Addison Gallery of American Art at the Phillips Academy, Andover, MA; among others.
Pat Phillips
Pat Phillips’ (b. 1987) paintings combine personal and historical imagery into surreal juxtapositions, drawing on his experience living in America to meditate on complex questions of race, class, labor and a militarized culture. Phillips, who grew up primarily in a small town in Louisiana, found his way to art through painting and photographing boxcars. He embraces this entry point, creating paintings that discuss the Americana subculture, as well as the current social and political threads running through American culture. His works often contain references to confederate flags, fences, and guns—all objects that suggest the violent underpinnings of this country and its institutions. Phillips’ work was featured in the 2019 Whitney Biennial at the Whitney Museum of American Art, New York, NY. He has had solo exhibitions at Jeffrey Deitch, New York, NY; M+B Gallery, Los Angeles, CA; Catinca Tabacaru Gallery, New York, NY; Antenna Gallery, New Orleans; Masur Museum of Art, Monroe, LA; among others. In 2017, he received a Joan Mitchell Painters & Sculptors Grant. Phillips has also participated in residencies at the Vermont Studio Center and Skowhegan School of Painting & Sculpture. His work can be found in the collections of the Whitney Museum of American Art, New York, NY; Albright-Knox Art Gallery, Buffalo, NY; Block Museum of Art, Evanston, IL; and New Orleans Museum of Art, New Orleans, LA, among others.
Rich Blint
Rich Blint is a scholar, writer, and curator. He is assistant professor of Literature in the Department of Literary Studies, director of the Program in Race and Ethnicity, and affiliate faculty in Gender Studies. He is co-editor of a special issue of African American Review on James Baldwin, wrote the introduction and notes for the eBook Baldwin for Our Times: Writings from James Baldwin for a Time of Sorrow and Struggle, and served as Guest Critic for the October 2016 issue of The Brooklyn Rail on James Baldwin. Upcoming books include A Radical Interiority: James Baldwin and the Personified Self in Modern American Culture, and A Queer Spirit: Incidents in the Life of the Americas. He is also editor of the forthcoming Cambridge volume African American Literature in Transition, 1980-1990, and Approaches to Teaching the Works of James Baldwin, currently under preparation for the Modern Language Association. His writing has appeared in African American Review, James Baldwin Review, Anthropology Now, The Believer, McSweeney’s, The Brooklyn Rail, sx visualities, and the A-Line: a journal of progressive thought where he serves as editor-at-large. Curatorial projects include Renee Cox: Revisiting The Queen Nanny of the Maroons Series, Columbia University, The Devil Finds Work: James Baldwin on Film, The Film Society of Lincoln Center, The First Sweet Music, The John and June Alcott Gallery, Hanes Art Center, and Bigger Than Shadows, DODGEgallery, New York. Rich was the 2016-2017 Scholar-in-Residence in the MFA Program in Performance and Performance Studies at Pratt Institute, and a 2017-2018 Visiting Scholar at the Center for Experimental Humanities at New York University. He has received fellowships from the Andrew W. Mellon and Woodrow Wilson National Fellowship foundations.
Rich Blint
For all press inquiries, please contact Kristin Sancken at kristin@companyagenda.com or +1 706 830 5850.
and now online in The New York Times at this link:
Thank you.
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2. Arantxa Araujo, Miao Jiaxin, and Verónica Peña, FF Alumns, at Museo Ex Teresa Arte Actual, Mexico City, Feb. 11
Performance Program: Living in Time
Museo Ex Teresa Arte Actual
Friday, February 11th
7:00 – 9:00pm
Lic. Verdad 8, Centro Histórico de la Cdad. de México, Centro, Cuauhtémoc, 06060 Ciudad de México, CDMX, Mexico
In a period in which our relationship with time has irrevocably changed, Living in Time makes visible the power of transforming small actions and repetitions into rituals. Responding to the architecture of the former church, Arantxa Araujo, in collaboration with LUM Arte y Medios y Vicios Ocultos, Alejandro Chellet, Miao Jiaxin, and Verónica Peña, consider how place grounds experience and how our environments mediate our connection with ourselves and others. The title refers to the text We are opposite like that (Subcontinentment books: 2020) by the writer and artist Himali Singh Soin. The poem begins, “we live in time, even as we experience the world in duration,” and continues to trouble the “invisible tension between objective reality and the subjectivity of perception.” While this extended moment of crisis brings new anxieties, it also presents an opportunity to unbound ourselves from a linear relationship with time and imagine new forms of communication.
In Timelessness (2022), a new performance created for this occasion, Arantxa Araujo, in collaboration with LUM Arte y Medios y Vicios Ocultos, explores the nature of time by embarking on and breaking cycles of fluidity. Following a set of prescribed actions centered around ritual involving melting wax and icy water, she constructs a mask only to remove it and leave a piece of herself behind. Set against the light interplay of the projection she has choreographed and sound Mariana Uribe has scored, the motions repeat and upend at different intervals and speeds, ultimately dissecting our perception of presence and existence.
Alejandro Chellet’s Navigating human traces (2022) investigates human development through the history of our relationship to water. After spending extended periods within this major territorial force on this planet and attuning himself to a different pace, his research looks to shift a perspective of framing time on land. He also considers the historically violent interactions that water facilitated (of colonialism and conquest) and now experiences when humans extract oil from the sea. Inspired by recent sailing experiences on México’s Pacific Coast, Chellet will perform a series of intuitive movements atop a collection of maps.
In the premiere of Bubble Breathing (2022), Miao Jiaxin stands inside a glass box, blowing soap bubbles dyed with red pigment. As a microphone amplifies each of his breaths via the speakers set up in the space, the bubbles explode onto the walls. The red pigment slowly covers the glass layer by layer as the performance progresses, marking the artist’s respiratory cycle. Through the accumulation of time, the presence of breath intensifies, and the existence and the potential threat of breath are made manifest.
Verónica Peña’s The Body in the Substance (2018-2022) is an ongoing project in which she considers notions of ritual, time, the counteraction of violence, and the promotion of human harmony. Through this durational work, Peña will submerge herself underwater while a metamorphosis transforms her body’s appearance. In the confined space of the water tank, time presents as both suspended as if she is in a primordial or embryonic world and acutely dire with her breathing at threat.
Arantxa Araujo is a Mexican transdisciplianaryartist with a background in neuroscience. Her work is essentially multidisciplinary, feminist, and rooted in bio-behavioral research. Explorations of gender constructions, performativity and identity, and the politics of migration are seen and experienced in her installations, which often include video, sound, photography, mapping, light, and performance. Her work has been shown in the Brooklyn Museum, at the Radical Women Latin American Art Exhibit, Chashama Space to Present, Grace Exhibition Space, Glasshouse Gallery, The Queens Museum, Panoply Lab, Art in Odd Places, New York; RAW during Miami Art Week; the Semel and Huret & Spector Gallery, Boston; SPACE Gallery and Bunker Projects, Pittsburgh; El Monumento a la Revolución and La Explanada del MUAC, during the Hemispheric Institute’s Encuentro and El Vicio, México. She has participated in the Nuit Blanche Festival in Saskatoon, Canada. Araujo is a Franklin Furnace Fund for performance art award recipient (2019-2020), BAC grantee (2020), an LMCC (2019) grantee and has received support through numerous residencies and fellowships including Leslie-Lohman Museum Artist Fellowship (2019-2020), Creative Capital taller (2018), ITP Camp (2018, 2019) and EMERGENYC (2017). Araujo was awarded a full scholarship from Mexican Government Institution CONACYT (2012).
Alejandro Chellet is a Mexican multidisciplinary artist. His work addresses the misplaced core principles of coexistence, the loss of connection with Nature and the political and environmental context of urban societies. His artwork ranges from social practice, painting, sculpture, site specific installations, urban interventions and performances using permaculture, artivism, improvisation, somatic movement, politics, altruism and shamanism practices. His work has been shown at festivals, museums and galleries in Europe, Asia, North, Central and South America, including Museo de Arte de Tlaxcala. Tlaxcala, UNAM, Int. Festival EXTRA, Universidad de la Comunicación, Museo Universitario de Arte Contemporáneo, UNAM, México; Linda Montano Art/Life Institute Gallery, Pulsar Performance Space, Grace Exhibition Space, New York; Palais des Nations, Genève, Switzerland; Open Art Realization, Beijing, China.
Miao Jiaxin is a Chinese artist who works across photography and performance. His early photoworks explored the theme of urban angst. Among his performative practices across different media, Miao has blended his naked body into the streets of New York City at midnight, traveled inside a suitcase hauled by his mother through urban crowds, made live-feed erotic performances on an interactive pornographic broadcasting website, and dressed as a Chinese businessman for an entire year when working towards his MFA at School of the Art Institute of Chicago. He is more widely known for converting his New York studio into a jail and charging $1 per night as accommodation on Airbnb. The same studio later was converted again to be a blind dating (meeting) spot, as well as a massage therapy clinic. Miao’s works often express the ambivalent and sometimes antagonistic tension that always exists between the individual and governing or cultural authorities, questioning assumptions about power in relation to identity politics. He posits the artist’s nature as one who transgresses boundaries and challenges consensus.
Verónica Peña is an interdisciplinary artist, curator, and international-community advocate from Spain living in the US. Her work explores absence, separation, and the search for human harmony through Performance Art. Her performance installations combine underwater submersion, visual metamorphosis, and audience participation to address global issues of migration, cross-cultural dialogue, peaceful resistance, empathy, liberation, and women’s empowerment. Recent works include participatory performances that create shared moments amongst strangers. She exhibits primarily in Europe, and America. In the US: Times Square Alliance, Armory Show, Queens Museum, NARS Foundation, Franklin Furnace, Satellite Art Fair (Miami Art Week), Hemispheric Institute at NYU, Grace Exhibition Space, Triskelion Arts, School of the Art Institute of Chicago (Visiting Artist), Defibrillator Performance Art Gallery, Momenta Art Gallery, Gabarron Foundation, Dumbo Arts Festival, and Consulate General of Spain in New York, amongst others. In Europe: Museo La Neomudéjar (Madrid), Fundación BilbaoArte, Friche La Belle De Mai (Marseille), Festival Intramurs (Valencia), La Tabacalera (Madrid), amongst others. She was selected for Creative Capital NYC Taller 19-20, received a Franklin Furnace Fund 17-18, and a Universidad Complutense de Madrid Fellowship (Juan Genovés Taller). She published “The Presence Of The Absent”, was reviewed by Donald Kuspit, and published on Hyperallergic. She leads Performance_Art_Open_Call, a 20,000 members FB Community. She is at work on her new participatory performance experience about submersion, freedom, fear, and resistance, “SUB.STANCE”.
Samantha Ozer is an American curator, producer, and writer. She has organized projects independently in Athens, México City, Milan, and Los Angeles and at the David Kordansky Gallery as a curatorial member of The Racial Imaginary Institute. As a writer and researcher she organized the guest lecture series for Ekene Ijeoma’s course “Black Mobility and Safety in the US” and organized the course “Art and Climate Change” as part of the Poetic Justice group at the MIT Media Lab. As a Curatorial Assistant at MoMA PS1, New York, USA, she worked on the exhibitions Theater of Operations: The Gulf Wars 1991-2011, Marking Time: Art in the Age of Mass Incarceration, and Niki de Saint Phalle: Structures for Life. As a consultant and research fellow for the Museum of Modern Art, New York, USA’s Research & Development department, she organized the salon series with Paola Antonelli, Director, MoMA R&D and Senior Curator, Architecture & Design. Her writing has appeared in Artforum, Materia, PIN–UP magazine, Shifter journal, and Texte zur Kunst. She has a forthcoming essay in Relative Intimacies, Volume III of Sternberg Press’ Intersubjectivity series, edited by Lou Cantor and Emily Watlington.
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3. Guadalupe Maravilla, FF Alumn, at The Brooklyn Museum, April 8-Sept. 18
Guadalupe Maravilla: Tierra Blanca Joven
April 8–September 18, 2022
Robert E. Blum Gallery, 1st Floor
Brooklyn-based Salvadoran artist Guadalupe Maravilla draws from his own story of migration, displacement, illness, and recovery in this timely solo exhibition. Guadalupe Maravilla: Tierra Blanca Joven addresses a collective sense of trauma that has grown out of a lengthy pandemic, civil unrest, and displacement. It includes more than a dozen new and existing works by Maravilla as well as objects from the Museum’s Maya art collection and a Healing Room designed by teen staff in the BkM Teens program.
The exhibition highlights the ways that care and healing allow individuals and communities to meet the many challenges of contemporary life. This exhibition is part of Mindscapes, an international cultural initiative examining mental health that is sponsored by the Wellcome Trust, a British foundation devoted to scientific research, advocacy, and policy related to health. For this global initiative, Wellcome is also collaborating with Gropius Bau in Berlin, Germany, the Museum of Art and Photography in Bengaluru, India, and the Mori Art Museum in Tokyo, Japan.
Guadalupe Maravilla: Tierra Blanca Joven is organized by Eugenie Tsai, John and Barbara Vogelstein Senior Curator, Contemporary Art, Brooklyn Museum, as part of Mindscapes, Wellcome’s international cultural program about mental health. Related Brooklyn learning resources are organized by Lindsay C. Harris, Interim Director of Education and Teen Programs Manager, Brooklyn Museum, with Rebecca Jacobs, Wellcome Trust Mental Health Curatorial Research Fellow, Center for the Humanities, The Graduate Center, CUNY.
brooklynmuseum.org
The Brooklyn Museum, 200 Eastern Pkwy, Brooklyn, NY 11238 Phone: (718) 638-5000
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4. Wanda Raimundi-Ortiz, FF Alumn, live online at George Mason University, Feb. 10 and more
Please visit the following websites:
Visual Voices Spring 2022 Artist Lecture series at George Mason University
https://art.gmu.edu/visual-voices/
and
MIRROR|ЯOЯЯIM: American Self-Portraits In The Expanded Field
https://bobartlettcenter.org/exhibitions/upcoming/mirror-mirror/
February 4th – June 10th
Curated by Jonathan Fredrick Walz
Thank you.
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5. Zachary Fabri, Wanda Raimundi-Ortiz, Xaviera Simmons, FF Alumns, at Samuel Dorsky Museum of Art, New Paltz, NY, Feb. 5-April 10
Please visit the following website:
https://www.newpaltz.edu/museum/exhibitions/freedom-dreams/
Thank you.
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6. Bill Beirne, Maureen Connor, Martha Rosler, Dread Scott, FF Alumns, at Kingsborough Art Museum, Brooklyn, NY, opening March 9
UnHomeless NYC
7 March – 14 April 2022
Curated by Maureen Connor, Jason Leggett, Tommy Mintz, Rob Robinson, and Midori Yamamura
UnHomeless NYC brings together fifteen artists and artist groups who use participation, activism, and pedagogy as their media, dealing with the topic of homelessness. Housing is an essential human right. And although in the 1970s, New York City’s homeless situation almost got resolved, yet based on the 2018 #RealCollege survey, 55% of the 22,000 CUNY students reported housing insecure in the previous year, and 14% were homeless. How did the fundamental human right to housing eclipsed in this city? Through artworks that highlight research, statistics, and activism, this exhibition offers a forum to consider and better understand NYC’s housing crisis and think about our future as the city emerges from the pandemic.
The three sections of the exhibition consist of 1) The Systemic Contradictions, 2) Interaction with Life on the Street, and 3) Prospective Future.
Section 1: The earliest piece in the exhibition, Martha Rosler’s If You Lived Here . . . (1989), poignantly captured the city’s early stage of the housing crisis, using statistics and artworks. Reacting against Mayor Ed Koch’s infamous call: “If you can’t afford to live here, mo-o-ove!!” The original exhibition comprised of three rotating shows and four town meetings held at Dia Art Foundation in SoHo, with which Rosler challenged the system where: “Homelessness exists not because the system is not working but because this is the way it works,” as urban planner Peter Marcuse explained it. The work’s Kingsborough iteration will juxtapose the original statistics from 1989 and the corresponding recent data, which heightens visitors’ awareness of housing crises.
Pulling together the academicians, activists, and journalists’ interviews, Miguel Robles-Durán and Cohabitation Strategies’ (CohStra) documentary video, Uneven Growth (2014), further explains how the current systemic resulted in the situation where three-times more vacant apartments than the homeless population exist in 2014, yet people cannot take resident in the available units, because housing became an investment field. In order to convert low-income housing into profit-generating units, eviction became recurring means for landlords. Critical urbanist Manon Vergerio ‘s Anti-Eviction Mapping Project (est. 2014) provides the opportunity for visitors to view eviction data on an interactive city map listen to the recordings of the evictees’ personal stories, and learn various factors that lead tenants to homelessness. The city’s rezoning and gentrification are the major causes of eviction. Dominique Paul’s Median Income Dress (2015), by transforming its color using LED lights corresponding to the color distinctions of online census-based income maps, illuminates how particular sections of urban space and the median income resonate with the area’s racial makeup as she walks through various parts of Brooklyn and Manhattan. Dread Scott’s On the Impossibility of Freedom in a Country Founded on Slavery and Genocide (2016) reminds viewers how uneven development of the city’s geography resonates with the history of civil rights activism in the United States, pointing to the foundation of inequality and calling for institutional change. Finally, how can we make people on the cusp of losing their homes understand their situation and connect them with fitting social services? In Three Facilitated Workshops (March-April 2022), the artists’ collective BFAMFAPHD, who bases its work on radical pedagogy, will focus on the impact of food and housing precarity on the wellbeing of students at Kingsborough Community College. The first two workshops will utilize Intergroup Dialogue, a deep listening practice that highlights similarities and fosters understanding among different groups. These workshops will be closed to the public and only involve registered participants. The third workshop will be open to the public and will become in dialogue with other projects in the exhibition.
Section 2, Interaction with Life on the Street: the section begins with Michael Rakowitz’s paraSITE (1997), an instruction for creating a portable inflatable homeless shelter that galvanizes a do-it-yourself spirit and foregrounds marginalized voices for viewer participants. Bill Beirne’s Priority Seating (2017-) initiates change by asking gallery visitors to place the priority seating signs, which requests people to give seats to the homeless, on public benches and other support structures to advocate for preferential seating for the homeless Amplifying the messages of these seminal pieces, William Baronet will display We are all Homeless (2022), a selection of signs Baronet has been purchasing from homeless people for over three decades. Baronet will further collaborate with Michael Corris to create a ‘zine, Incidents on the Street: A Workbook (2022), based on the stories these signs reveal. Hope Sandrow and The Artists and Homeless Collaborative’s historical video, Making Art, Reclaiming Lives (1993), demonstrates the value of collective artmaking by documenting the creation of a mural by homeless women living at the NYC Park Avenue Shelter as they worked together with several New York artists. The show will also feature Sandrow’s Shelter News and Resumé projects; both projects will provide us deeper understanding of the situations surrounding homeless people. Hospitability is a topic of another artist, Nancy Hwang, and chef Heidi Thomas’s, Outdoor Dining (2029-), which provided extraordinary dining experiences for eight homeless people at Madison Square Park in October 2021.
Section 3, Prospective Future: Capitalism typically enforces destruction as a means for development. It devastates existing communities, cultures, and the environment. The artists and urbanists in this section suggest alternative possibilities for the future of our city. The section begins with CohStra’s 2021 Venice Architecture Biennale piece, How to Begin Again: An Initiation Towards Unitary Urbanism, which introduces a transformative urban design that suggests alternative possibilities for the future of our city. Considering the unique clothing needs of the homeless, Sachigusa Yasuda reimagined modes of production and distribution with her anti-capitalist clothing line, UpCycle, UpLift. Altering recycled clothes to suit the requirements of those who live on the street, Yasuda invites the public to discuss possibilities of an alternative economic system, where she can circulate her fashion brand. Considering different models for habitation and community in the age of climate change, in Ignea: an exchange about nestling technologies (2021-), Bibi Calderaro will hold a talk around a beach fire to talk about possible ways to inhabit the planet taking into account, scale, interdependencies with others, and the temporalities, and proposes to rethink humanity’s relationship with “fire, energy, and consumption.”
Funding for this exhibition is provided by ACLS/Mellon, Humanities NY, Japan Foundation (?) PSC-CUNY
Listing Information
On view: 7 March-14 April 2022
Hours: Mon-Fri, 10 am-5 pm
Sat. by appointment (to coordinate a campus visit, email: myamamura3524@gmail.com)
The show and all events will be accessible online.
Please visit the following website:
https://homelessnyc.commons.gc.cuny.edu/artists/
Thank you.
Opening Reception: 9 March 2022, 3-7 pm
Opening Event: 5-7 pm, Bibi Calderaro, Ignea (2021-)
Other Workshops and Event Schedule: Please see the attached sheet.
Kingsborough Art Museum
Arts & Science Building
2001 Oriental Blvd., Brooklyn, NY 11235
For Press Inquiries: please email: myamamura3524@gmail.com
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7. Larry List, FF Alumn, at Virginia Museum of Fine Arts, now online
As part of the Virginia Museum of Fine Art’s wonderful Man Ray: The Paris Years exhibition independent curator and FF alumus Larry List gave a talk Permanent Attraction: Man Ray & Chess highlighting the Dada/Surrealist artist’s Modernist designs laced with erotic chicanery.
Now available at Zoom on Demand, to watch it, please visit the following website:
https://us06web.zoom.us/webinar/register/5916430666378/WN_UmS4A2-8Q8eRKdJAPtQxAw
Thank you.
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8. Charles Dennis, FF Alumn, at Delaware Arts Alliance, Narrowsburg, NY, Feb. 12
Hello,
I’m very happy to be performing my duet with 14 pieces of 4 foot 2 x 4 lumber, “2 x 2 x 4” with live guitar score by Sal Cataldi, on Feb. 12 at 2 pm at the Delaware Arts Alliance in Narrowsburg, NY.
Please visit the following website:
https://delawarevalleyartsalliance.org/event/2x2x4/
Thank you.
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9. Todd Ayoung, Nina Kuo, Bing Lee, Stefani Mar, Yong Soon Min, Carol Sun, Maureen Wong, Charles Yuen, FF Alumns, now online at Primary Information
Please visit the following website:
https://primaryinformation.org/product/from-basement-to-godzilla/
Thank you.
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10. Doug Skinner, FF Alumn, releases new album
My new album is now available on Bandcamp! It’s called “It All Went
Pfft,” and contains 20 of my songs, plus an eponymous instrumental. You
can shelter from blizzards and viruses while enjoying such lyrical
outbursts as “Listen to the Birds Cry Ouch,” “Uncle’s Ankles,” “We Are
Not a Pretty People,” “Get on the Grid,” and “Let’s Not Leave the House
Anymore.” David Gold (viola) and Doug Roesch (guitar) join me on a few
songs, and the whole business was recorded by Doug Roesch and Brian
Dewan.
I won’t give a link, since they trigger filters, but you can find it on
Bandcamp, or follow a link from my website. Happy listening!
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11. Suzanne Lacy, FF Alumn, now at TheGuardian.com and more
“The world is a better place because of Suzanne Lacy. After her Cleaning Conditions performance at Manchester Art Gallery in 2013, the institution reassessed cleaning staff wages; Uncertain Futures (interviews with 100 Mancunian women over 50) is part of a research project that will aid a better understanding of … care and unpaid labour; and Oakland Revisited invites local young people to reclaim their presentation in the media. Lacy asks us what kind of city we want to live in, and the answer is certainly the one where she is making art.”
The Guardian review by Hannah Clugston
Please visit the following website:
Thank you.
and
New Article by Amelia Jones in TDR: The Drama Review
Please visit the following website:
https://muse.jhu.edu/article/840799
Thank you.
Upcoming Events:
Opening at Queens Museum, New York, on
March 13, 2022
What Kind of City? Four Events in The Whitworth Gallery and the University of Manchester,
March 24-26, 2022
Opening at the GES-2 House of Culture in Moscow on
May 8, 2022
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12. Peter d’Agostino, FF Alumn, at Wexner Center for the Arts, Columbus, OH, Feb. 5-May 8
Peter d’Agostino’s Proposal for QUBE premiered at Ohio State University Art Gallery,
Columbus, Ohio in 1978 as a video-photo-text installation. The video is now in
“To Begin, Again: A Prehistory of the Wex, 1968–89” an exhibition opening Feb 5, 2022.
D’Agostino created an interactive program in response to QUBE, the first commercial
application of two-way interactive cable-TV in the U.S. that originated in Columbus.
Challenging QUBE’s claims that it was offering a new form of ‘participatory television’
to viewers, the program was abruptly canceled before it was cablecast. A virtual edition
of the installation is on the web.
Please visit the following website:
http://peterdagostino.com/QUBE2.html
Thank you.
A catalog, TeleGuide – Including Proposal for QUBE, documents the initial OSU
exhibition, and another that followed at the Long Beach Museum of Art in 1979.
Subsequent exhibitions of the QUBE project include the Sao Paulo Bienal, 1983 and
Lehman College Art Gallery, NY, 1999. [ www.printedmatter.org/catalog/300]
The video is distributed by Electronic Arts Intermix, New York.
[https://www.eai.org/titles/proposal-for-qube]
“To Begin, Again” examines cultural currents ultimately giving rise to the Wexner Center.
During the 1970s and 1980s, The Ohio State University emerged as an unlikely laboratory
of avant-garde culture, offering a platform for dialogue and experimentation across
audiences and media. This creative ferment shaped the orientation of contemporary art on
campus and in the region, ultimately inspiring the creation of the Wexner Center in 1989.
Artists include FF Alumns Vito Acconci, Jerri Allyn, Peter d’Agostino, Agnes Denes,
Hans Haacke, Barbara Hammer, Sol LeWitt, Nam June Paik, Adrian Piper, Nancy Spero,
and Richard Tuttle; and Benny Andrews, Lynda Benglis, Mel Bochner,Joan Brown,
Chris Burden, Peter Campus, Michael Reverend St. Patrick Clay, Betty Collings,
Columbus AIDS Task Force, Charles Csuri, Peter d’Agostino, Futura2000, Sam Gilliam,
Eva Hesse, Isaac Julien, Tom Kalin, Shigeko Kubota, Barry Le Va, Duane Michals,
Dennis Oppenheim, Dan Reeves, Dorothea Rockburne, Robert Smithson, Allan Sekula,
Frank Stella, and Woody and Steina Vasulka.
https://wexarts.org/exhibitions/begin-again-prehistory-wex-1968-89
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13. Maya Ciarrocchi, FF Alumn, at Governors Island, NYC, thru May 11
Welcoming our 2022 artists-in-residence to
The Arts Center at Governors Island!
LMCC is thrilled to welcome a new cohort of artists to The Arts Center at Governors Island! Our 2022 Arts Center artists-in-residence will spend the next few months working in their studios, exploring Governors Island, developing their practice in conversation with one another, and engaging with themes of social and climate justice, NYC harbor history, urban ecology, and water.
We’ll be profiling members of the cohort on Instagram over the next few weeks. Be sure to follow us on social media for an inside look at our artists’ work and creative process throughout the residency period!
Arts Center Residency 2022: Session One
Kriston Banfield
Maya Ciarrocchi
Elizabeth Demaray
Sinem Dişli
Casual FreyDay (Julia Frey & Sam Day Harmet)
Isadora Frost
Jennifer Chia-Ling Ho
Katarina Jerinic
Leslie C Kerby
Stephanie Kyuyoung Lee (Office of Human Resources)
Landon Newton
maura nguyễn donohue
Leah Ogawa
Lindsay Packer
Laziza Rakhimova
Maryam Turkey
Sally Beauti Twin
Michael Watson
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14. Elise Kermani, FF Alumn, at AGON Film Festival, Athens, Greece, May 10-16
My film “Iphigenia: Book of Change” was just selected for the AGON Film Festival in Athens, Greece. So we will be going to one of my favorite cities in May, if Covid doesn’t interfere.
Please visit the following website:
https://www.agonfestival.com/en/
Thank you.
#archeology #AGON #filmpoetry #greekmythology #fimfestival
Elise Kermani
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15. Virginia Maksymowicz, Blaise Tobia, FF Alumns, at City Lore, Manhattan, thru Mar. 31 and more
The comprehensive exhibition “Art/Work” about the federal government’s employment of artists in the 1970s is currently on view at two Lower East Side galleries in NYC.
It will continue through March 31 2022 at City Lore (56 East First Street).
Please visit the following website:
https://citylore.org/about-the-gallery/current-exhibition/
Thank you.
and through March 19 2022 at Cuchifritos Gallery and Project Space (in the new Essex Market).
Please visit the following website:
Thank you.
This exhibition is focused on the largest of the CETA-funded artist projects – administered by the Cultural Council Foundation in NYC from January 1978 through June 1980. It employed almost four hundred artists per year (visual, literary and performing) in community service assignments and in project administration. It was just one part of overall CETA employment in the arts that gave work to about 20,000 artists and arts support staff nationally, from 1974 through mid 1980. The size of this program roughly equals that of the WPA artist programs of the 1930s, yet unlike the WPA, CETA is nearly lost to history. This exhibition is part of the ongoing effort to preserve CETA Arts’ legacy and keep its successful model as a reference for current efforts to repair the huge damage done to the cultural sector by the pandemic.
We have a personal prospective on this. Having received our MFA degrees at UCSD in 1977, we returned to NYC and were very fortunate to both be hired for the CCF project (in a very competitive process). For two years we worked in community service four days a week and in our studios one day per week, received health insurance and vacation time, and were paid a salary that would equate to about $45,00 per year in today’s dollars. We found the project to be extremely diverse – racially and ethnically, gender-wise and age-wise – well ahead of the curve, and also very well managed. In retrospect, we are amazed that CETA was put into place with bipartisan support (and signed into law by Richard Nixon!).
More on CETA Arts – nationally and in NYC – can be found at the website maintained by the CETA Arts Legacy Project.
Please visit the following website:
Thank you.
Blaise Tobia + Virginia Maksymowicz
TandM Arts • Philadelphia
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16. Galinsky, FF Alumn, at The Main Event Gallery, Manhattan, Feb. 14 and more
FF Alumn Galinsky ask you to get on a Love High, Feb 14, 8-10pm
Monday February 14th 8-10pm – “Love High” Valentine’s Day Open Mic. Come share too much, or too little, and enjoy exotic herbs and erotic words. First 10 people who sign up perform, 4 minute time limit, all art forms are welcome. Free admission -VAX card required for entry *20% off everything on the menu during the show The Main Event Gallery, 42 Avenue B (at 3rd st.), NY NY 10009
and
FF Alumn Galinsky producing “Boxers” Group Show Art Opening February 22nd 6-10pm
Tuesday February 22nd 6-10pm “Boxers” Group Show Art Opening – Featuring various boxes by Scott Covert, Tom Mikos, Nora Ruth Griffin, and Renee Delosh. Free admission -VAX card required for entry – *20% off everything on the menu during the show The Main Event Gallery, 42 Avenue B (at 3rd st.), NY NY 10009
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17. Jodie Lyn-Kee-Chow, Dakota Gearhart, FF Alumns, at Wave Hill, The Bronx, Feb. 13 and more
Wave Hill Winter Workspace
Wave Hill
4900 Independence Avenue, Bronx, NY
Sun, Feb 13, 2022
1:00PM – 3:00PM
The Winter Workspace takes place over two, eight-week sessions and provides artists with free studio space, a financial stipend and access to Wave Hill’s living collection. Since 2010, the Winter Workspace has supported more than 100 artists. During their sessions, artists are given intimate access to the greenhouses and to horticultural and curatorial staff. Experimentation is encouraged while artists expand their practices at Wave Hill. Artists also engage with public audiences through Drop-In Sundays and Open Studio events. See calendar for listings. At the core of the Winter Workspace is the recognition that creating art within the context of a garden is a uniquely stimulating experience.
Session 1: January 3–February 27
Blanka Amezkua, Dr. Ayanna Dozier, Dakota Gearhart, Natalia Nakazawa, Jodie Lyn-Kee-Chow
Session 2: February 28–April 24
Caroline Garcia, Christopher Lin, Xavier Robles, and New York Community Trust Van Lier Fellows Deep Pool and Amina Ross
RSVP
(Registration to the Feb. 13 and 16th programs is free and includes admission to the grounds. Please present your e-ticket at the front entrance for free admission.)
Wave Hill Winter Workspace 2022 drop-in-sunday:
https://www.wavehill.org/calendar/winter-workspace-2022-drop-in-sunday
Thank you & Have a great week,
Jodie
https://art.gmu.edu/visual-voices/
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Goings On is compiled weekly by Danelly Reyes, Franklin Furnace University Intern, Winter 2022
