Goings On: posted week of February 21, 2018
CONTENTS:
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1. Jody Oberfelder, FF Alumn, at Museum of Jewish Heritage, Manhattan, March 14-18
2. Stephanie Brody-Lederman, FF Alumn, at Zimmerli Art Museum, New Brunswick, NJ, and more
3. Debra Pearlman, FF Alumn, at Sardine Gallery, Brooklyn, thru March 4
4. Charlotte Moorman & Nam June Paik, FF Alumns, in PAJ, vol. 40 no. 1, now online
5. Gabriel Martinez, FF Alumn, at William Way LGBT Community Center, Philadelphia, PA, thru Feb. 23
6. Susan Newmark, FF Alumn, at Figureworks, Brooklyn, opening March 2
7. Mariella Bisson, FF Member, in The Nation, now online
8. Joan Jonas, FF Alumn, at Tate Modern, London, UK, March 14-August 5
9. Scott Pfaffman, FF Alumn, at College Art Association, Los Angeles, CA, Feb. 22
10. Jacob Burckhardt, FF Alumn, at Anthology Film Archives, Manhattan, Feb. 21
11. Kate Gilmore, FF Alumn, at Museum of the City of New York, Manhattan, Feb. 28
12. Jennifer Monson, FF Alumn, in the New York Times, Feb. 20, now online
13. Max Gimblett, FF Alumn, at Gow Langsford Gallery, Auckland, NZ, thru March 17
14. Candida Royalle, FF Alumn, new publication forthcoming
15. Lorraine O’Grady, Kiki Smith, FF Alumns, at Linda Pace Foundation, San Antonio, TX, opening March 9
16. Mark Bloch, General Idea, FF Alumns, in the Brooklyn Rail, now online
17. Elaine Lustig Cohen, FF Member, at Pratt Manhattan Gallery, opening March 1
18. Lorraine O’Grady, FF Alumn, at the Albright-Knox Art Gallery, Buffalo, NY, thru May 27
19. Barbara Hammer, Nao Bustamante, FF Alumns, at Fashion Institute of Technology, Manhattan, Mar. 20
20. Moran Been-noon, FF Alumn, at Draiocht, Dublin, Ireland, March 1-April 30, 2018
21. Judith Bernstein, Jillian McManemin, FF Alumns, in Hyperallergic, now online
22. Marisa Morán Jahn, FF Alumn, at the Brooklyn Museum, March 17, and more
23. Edward M. Gomez, FF Alumn, in Hyperallergic, now online
24. Babs Reingold, Ruth Hardinger, Christy Rupp, FF Alumns, at David & Schweitzer Contemporary, Brooklyn, Feb. 25
25. Krzysztof Wodiczko, FF Alumn, in Artforum.com, now online
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1. Jody Oberfelder, FF Alumn, at Museum of Jewish Heritage, Manhattan, March 14-18
Knickerbocker Chamber Orchestra and Jody Oberfelder Projects Present:
Kurt Weill’s Zaubernacht (Magic Night)
Wednesday, March 14, 7pm; Thursday, March 15, 7pm; Sunday, March 18, 2pm
Museum of Jewish Heritage, 36 Battery Place, Battery Park City
Once upon a time, a time of unrest, there rested a child. On this enchanted night, she peers fretfully from her bed and sees that all is subdued; her toys are sleeping. She shrugs and falls into a deep sleep crossing into an illusory night where toys and animated characters come to life.
On March 14, 15 and 18, 2018, the Knickerbocker Chamber Orchestra (KCO) and Jody Oberfelder Projects (JOP) present Kurt Weill’s Zaubernacht (Magic Night), a dance and chamber music work that will appeal to children and adults alike. For this production, choreographer Jody Oberfelder will create compelling characters based on the dynamic score, and the Knickerbocker Chamber Orchestra will perform composer Kurt Weill’s long-lost orchestrations-the first time the original orchestrations will be heard in New York City since Zaubernacht ‘s American premiere in 1925. A KCO chamber music ensemble will be joined by singer Hai-Ting Chinn, and the intrepid and whimsical veteran JOP members Emily Giovine, Pierre Guilbault, Mary Madsen Lindsey Mandolini, Ned Malouf (on stilts!), Maya Orchin, Hannah Wendel, Mei Yamanaka, and introducing 11-year-old, Lyla Forest Butler! Lighting is by Savannah Bell, video design by Eric Siegel and costumes by Summer Lee Jack. “The Knickerbocker Chamber Orchestra is thrilled to be offering, with Jody Oberfelder Projects, the first New York City performance of Kurt Weill’s Zaubernacht, with his original, imaginative orchestrations, in 92 years!” said KCO founder and music director Gary S. Fagin.
“When Weill fled Nazi Germany in 1933, he left the original score of Zaubernacht behind. Three years later, the score was brought to America for Zaubernacht’s New York premiere, and in 1954, it was bequeathed to Yale University. But the materials were locked into the wrong safe, which was moved to a basement, where it gathered dust for more than 50 years, assumed to be empty. In 2006, the safe was opened and its sensational contents were brought to light and now, 11 years later, the Knickerbocker Chamber Orchestra and Jody Oberfelder Projects are performing this magical piece!”
“We are overjoyed to have this opportunity to delve into Kurt Weill’s rich imaginative
score. Told through the lens of a child, I’ve devised a fresh fairy tale of overcoming darkness, developing resilience, finding one’s place in the world,” said Jody Oberfelder.
About Jody Oberfelder Projects
Jody Oberfelder is a director, choreographer, and filmmaker. She and her company have toured to internationally to NoD (Prague), Gallus Theater (Frankfurt), Guelph Dance Festival (Canada), Centre National de la Danse (Paris), The International Festival of Modern Dance in Seoul, The Belgrade Dance Festival, The Merchant House (Amsterdam) and nationally at Dance Place (Washington DC), Jacob’s Pillow, MASSMoCA, The Yard, and many other spaces. In New York City, her most recent immersive heart-themed work 4Chambers was performed 86 times: in an historic home on Governors Island and in a former hospital in Brooklyn. Oberfelder has also presented work at Abrons Arts Center, Dixon Place (three commissions), Schimmel Center for the Arts, Symphony Space, The Jewish Museum, The Flea Theater, Joyce SoHo, and PS 122.
Guest Artist residencies include the Lincoln Center Institute, University of Hawai’i, Middlebury College, Wayne State University, Moravian College, NYU, and Alfred University. Jody has choreographed for Don Pasquale, directed by Anton Armendariz, Divaria Productions, and the Spanish opera company Rioja Lirica (April 2016) She’s reimagined Purcell’s Dido & Aeneas (commissioned by The Orchestra of St. Luke’s, 2008). In an original production of Stravinsky’s L’histoire du Soldat, in collaboration with the Knickerbocker Chamber Orchestra, Oberfelder adapted the original C.F. Ramuz text with the approval of Schirmer Publishing (commissioned by Brooklyn Philharmonic 2009).
About the Knickerbocker Chamber Orchestra
Founded in 2008, the Knickerbocker Chamber Orchestra is a professional chamber orchestra based in Lower Manhattan under the direction of Gary S. Fagin. Its mission is to bring outstanding orchestral and chamber music performances and educational programs to Downtown residents, workers and students. KCO incorporates this area’s rich history into innovative performances and educational programming, through collaboration with acclaimed soloists, choral, dance and literary organizations. KCO programs are inspired by Lower Manhattan, are performed in the extraordinary spaces of Lower Manhattan, and are created for the people of Lower Manhattan. Kurt Weill’s Zaubernacht is part of the Knickerbocker Chamber Orchestra’s 10 th Anniversary Season. For more information about the Knickerbocker Chamber Orchestra and its 10th
Anniversary Season, please visit www.knickerbocker-orchestra.org . For more information on Jody Oberfelder Projects please visit www.jodyoberfelder.com
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2. Stephanie Brody-Lederman, FF Alumn, at Zimmerli Art Museum, New Brunswick, NJ, and more
Stephanie Brody-Lederman in Collection of Zimmerli Art Museum of Rutgers University
Stephanie Brody-Lederman’s artworks “Mother’s-Thorny Subjects” and her editioned calendars 2007-2016, all from the Warner H Kramarsky Collection have been donated to the Zimmerli Art Museum of Rutgers University by Mr Kramarsky. The Zimmerli accepted this donation on November 29, 2017.
Some more good news…
A painting of mine “The Flaws You and I Share” is now featured as the cover of Interim-A literary journal of emerging and established writers. Among the established writers that they have published are: Henry Miller, Robert Creeley, William Faulkner, Alice Notley, and F Scott Fitzgerald. I am so honored to be a part of this literary journal. You can order a copy at https://interim.squarespace.com/
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3. Debra Pearlman, FF Alumn, at Sardine Gallery, Brooklyn, thru March 4
Debra Pearlman, FF Alumn, has work in the exhibition “spirit rose a metre” @ Sardine Gallery 286 Stanhope Street in Bushwick, Brooklyn. Through March 4th Curated by Lacey Fekishazy.
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4. Charlotte Moorman & Nam June Paik, FF Alumns, in PAJ, vol. 40 no. 1, now online
Now Available:
PAJ: A Journal of Performance and Art Vol 40, No 1 (Jan 2018)
Articles
Writing at the Edge of Time
Bonnie Marranca
Experimental Theatre Then and Now
Sam Shepard
Copy, Transform, Combine
Anne Bogart
The First Non-Human Action Artist: Charlotte Moorman and Nam June Paik in Robot Opera
Sophie Landres
Afternoon at the Villa Panza
Bonnie Marranca
Spider Music
David Rothenberg
Art & Performance Notes
Death in Silhouette
Benjamin Gillespie
3-D Opera
Ellen Pearlman
Elegy for the Anthropocene
Jessica Rizzo
Articles
The Eyes of the City
Richard Sandler
Gendered Bodies: Bruce Nauman Meets Meredith Monk
Michael Maizels
Jefferson Pinder and the Art of Black Endurance
Isaiah Matthew Wooden
Play
Philosophical Tales
Piet Defraeye
The Last Tragedy
Pieter De Buysser, Piet Defraeye, and Mike Devos
Books & Company: Reviews
David Owen, Melanie Bennett, Iréne Hultman
Submissions of articles and reviews can be sent to submissions.paj@gmail.com.
https://www.mitpressjournals.org/toc/pajj/40/1
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5. Gabriel Martinez, FF Alumn, at William Way LGBT Community Center, Philadelphia, PA, thru Feb. 23
“Black & Blue: The Colors of Leather”
January 12th through February 23rd, 2018
The William Way LGBT Community Center, 1315 Spruce St, Philadelphia, PA 19107
“The exhibition aims to display what black and blue means through the eyes of an artist, and what it means to embody the leather/kink lifestyle. The large group show will feature art in various media including photography, video and visual digital art, performance, print and more from artists who will offer a vision of the unique identity and sexuality of the leather and BDSM world.”
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6. Susan Newmark, FF Alumn, at Figureworks, Brooklyn, opening March 2
UNEXPECTED REALITIES:
Comics, Culture and Society in Contemporary Art
March 2 – April 15, 2018
Reception: Friday, March 2 from 6-9PM
FIGUREWORKS
168 North 6th Street
Williamsburg, Brooklyn, NY
Figureworks is pleased to present Unexpected Realities: Comics, Culture and Society in Contemporary Art. Curated by Bruce Weber, this exhibition features the work of seven artists who engage in fascinating ways with the iconography of comic book superheroes and touch on our fixation and embrace of pop culture.
Brooklyn-based artist K. Saito is devoted to drawing, but also creates mobiles, animated short films and videos. His superheroes are simply rendered with a minimum of detail and with a sense of gleeful spontaneity that tickles the underbelly of the crowded and dramatic action-based world of the comic book superhero.
Ai Kijima initially learned the crafts of sewing, knitting and crocheting from her grandmother in Kyoto. She joins together the images she discovers on bedsheets, pillowcases, clothes and related materials at thrift stores and secondhand markets. These quilted fabric pieces are filled with a dizzying array of images drawn from pop culture, many of which feature superheroes derived from comic books.
Michigan-based Mark Newport has long identified with the genre of comic book superheroes and drawn on this imagery to create knitted costumes, prints and videos which portray him performing in his garb. A skilled knitter, he fashions outfits for superhero characters that hang on coat hangers where they sag, with a mix of comedy and poignancy, under their own weight.
Susan Newmark’s mixed media works integrate collage, paint, photo imagery, found objects and fragments from popular culture to explore narratives and storytelling, place, memory, nature, and the human body. A pair of works in this exhibition are appropriated from Japanese comics, and her Wonder Woman piece is from a new series exploring different ethnicities.
Peter Kernz’s character-based drawings were inspired by viewing the film “JFK” and reading “High Treason: The Assassination of JFK and the Case for Conspiracy” by Harrison Edward Livingstone. In his drawings, Kernz explores the dark atmosphere of the case. He states, “For 7 years I gathered my material in literature and each night I took my weapons of choice: gouache, India Ink, a range of drawing pencils, and a projector.”
Los Angeles-based artist Aaron Noble creates large scale site-specific wall paintings along with related drawings, prints and works on canvas. The superhero comics of the 1960s and 1970s were his aesthetic training ground, and through them he became dramatically engaged in exaggerating and abstracting the human form.
Don Perlis’ paintings of Times Square are filled with a variety of colorful and disturbing characters who act in perverse and violent ways. Many of them are garbed in the costumes of comic book superheroes, who, ironically, uphold the stereotypical image of New York as a sinister and menacing place.
Curator Bruce Weber is also a poet and historian of American art. He has been a curator at various museums, most recently serving as Curator of Paintings and Sculpture at the Museum of the City of New York. He has published extensively on the subject of American art.
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7. Mariella Bisson, FF Member, in The Nation, now online
Please visit this link:
https://www.thenation.com/article/between-the-lies-1-of-4/
thank you.
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8. Joan Jonas, FF Alumn, at Tate Modern, London, UK, March 14-August 5
Joan Jonas
March 14-August 5, 2018
Tate Modern
Bankside
London SE1 9TG
United Kingdom
www.tate.org.uk
www.tate.org.uk
Tate Modern is proud to announce an ambitious, multi-part programme devoted to the pioneering work of Joan Jonas (b. 1936, New York). The programme, comprising a major exhibition, large-scale installations, performances, screenings and talks will take place across Tate Modern’s galleries, the Tanks, the Thames riverside, Starr Cinema and Turbine Hall, from March 14-August 5, 2018.
Jonas is a leading figure in the development of performance, video and installation. She has been instrumental in shaping the language of these art forms during the last five decades, and her work continues to resonate with and inspire a contemporary generation. In an effort to reflect the many layers of Jonas’s rich practice, and her daring movement between mediums, disciplines and sites, a cross-disciplinary curatorial team at Tate Modern-Andrea Lissoni and Catherine Wood, Isabella Maidment, Monika Bayer-Wermuth and Carly Whitefield-is taking a new, “multi-platform” approach, enabling different modes and modalities of encounter with the work.
In the exhibition galleries of the Blavatnik building, a new retrospective of Jonas’s five-decade body of work will be staged. Alongside this, a focus on Jonas’s historic and current performance practice will anchor the annual BMW Tate Live Exhibition both inside the Tanks and on the Thames riverside landscape. Subsequently, a film retrospective will be presented in the Starr auditorium, alongside a major, one-off performance of a new work occupying the expanse of the Turbine Hall.
Further details on this extraordinary opportunity to encounter Jonas’s work are as follows:
Joan Jonas: Retrospective
March 14-August 5, 2018
Blavatnik Building, Level 2 and the Tanks
Celebrating Joan Jonas’s remarkable career, this exhibition unites the artist’s most important works in the largest exhibition dedicated to her work mounted in the UK. Early and late works will be shown in dialogue reflecting Jonas’s interest in revisiting her own history.
Key themes from her practice will be explored, from her use of sound to the influence of Japanese noh theatre. Early works will include the iconic video Organic Honey’s Visual Telepathy, 1972 which explores female identity via the artist’s sexualised alter-ego, while recent installations will include Reanimation, 2010/13 and Stream or River, Flight or Pattern, 2016-17 which broach the issues of climate change and animal extinction-subjects that are central to Jonas’s current practice.
Joan Jonas is curated in close collaboration with the artist by Andrea Lissoni, Senior Curator of International Art (Film), Tate Modern and Julienne Lorz, Curator, Haus der Kunst, Munich with Monika Bayer-Wermuth, Assistant Curator, Tate Modern. The exhibition is accompanied by a fully illustrated catalogue and a programme of talks and events in the gallery. The show will tour to Haus der Kunst, Munich, in 2018 and to Serralves Museum of Contemporary Art Porto, in 2019.
The exhibition is organised by Tate Modern and Haus der Kunst, Munich in partnership with the Serralves Museum of Contemporary Art Porto.
BMW Tate Live Exhibition: Ten Days Six Nights
March 16-25, 2018
The Tanks, open daily 10am-6pm
Evening performances on March 16, 17, 21, 22, 24 and 25, 2018
Joan Jonas’s restlessly experimental work forms the foundation of Tate Modern’s annual live exhibition and seeks to experiment with new forms of sharing with its audiences. Joan Jonas inspires the BMW Tate Live Exhibition 2018 and is its special guest as well. The exhibition showcases Jonas’s work in performance and installation including ground-breaking works not staged for over 40 years. To demonstrate her lasting legacy and powerful impact on contemporary artists today, Jonas’s work will be presented in dialogue with an intergenerational selection of artists-including Jason Moran, Mark Leckey, Sylvia Palacios Whitman, Jumana Emil Abboud and patten.
Visitors are invited to explore a series of installations in the Tanks including Jonas’s masterpiece Reanimation 2010/12/13; Cones/May Windows (After Mirage), 1976; Stage Sets, 1977, alongside the video version of a newly-preserved 16mm print of Wind, 1968. The six night programme features Jonas performing live together with her long-time collaborator the celebrated Jazz pianist and composer Jason Moran, as well as two nights dedicated to three of her seminal works: Mirror Check, 1970, Mirror Piece II, 1969 Mirage, 1976, the latter performed by Jonas herself for the first time since 1980. The exhibition will extend onto the banks of the Thames for a newly reconfigured version of Jonas’s performance Delay Delay, 1972, an outdoor ritual which will play out on Bankside’s shoreline at low tide each day. In the South Tank by day, visitors can encounter a musical composition by Jason Moran. A new commission by Jumana Emil Abboud, A Happy Ending III: Tate Tales will intersect with Jonas’s long-held exploration of myth and fairytale with a contemporary Palestinian take on the oral tradition.
BMW Tate Live Exhibition 2018: Ten Days Six Nights is curated by Catherine Wood, Senior Curator of International Art (Performance), Isabella Maidment, Assistant Curator of Performance and Andrea Lissoni, Senior Curator of International Art (Film). Produced by Judith Bowdler.
In partnership with BMW
Joan Jonas: Mystic Knots
June 2-3, 2018
Starr Cinema
This Tate Film Pioneers series surveys Joan Jonas’s influential work in film and video over a period of five decades, exploring key themes and techniques, as well as drawing in the films of artists that have been influential to her practice.
Joan Jonas: Mystic Knots is curated by Carly Whitefield, Assistant Curator, Film.
Tate Film is supported by In Between Art Film
Joan Jonas: Leaving the Land. Oceans – Sketches and Notes
May 31, 2018
Turbine Hall
Combining live drawing, readings and film projection, this new multi-layered performance draws on an array of literary and mythological references as well as the artist’s own collection of sketches and notes to explore poetic and ecological aspects of ocean life.
Joan Jonas: Leaving the Land. Oceans – Sketches and Notes is curated by Isabella Maidment, Assistant Curator, Performance and produced by Judith Bowdler.
Commissioned by TBA21-Academy
Artists Talk: Joan Jonas with Marina Warner
June 1, 2018, 6:30-8pm
Starr Cinema
Joan Jonas will be in conversation with acclaimed writer and historian Marina Warner, who, like Jonas, has explored the enduring power of myths and fairy tales.
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9. Scott Pfaffman, FF Alumn, at College Art Association, Los Angeles, CA, Feb. 22
Panel Presentation: “A Room of One’s Own: National Models for Creating Artists Spaces and Artists Housing”
February 22, 2018, 4:00-5:30 pm, Room 403 B
College Art Association Annual Conference, Feb 21-24, 2018
Chair: Michele Gambetta, ArtCondo
Panelists:
Scott Pfaffman, Kaplan Retirement Homes for Artists
Keith McNutt, Actors Fund
Barbara Broughel, Co-Habitat Project
Following the 2016 Oakland Ghost Ship fire, issues of safe and legal artists’ spaces have gained prominence. Lack of affordable spaces, rising rents and gentrification are additional issues. For artists, (work) space is a “means of production” and pivotal for a creative livelihood. This Session will include Keith McNutt from the Actors Fund, an established and national non-profit, and Scott Pfaffman, founder of Kaplan Retirement Home for Artists, and Barbara Broughel founder of Co-Habitat Project, two artist-led groups forging new ways of thinking about spaces for artists to live and work within, with a focus upon safe, legal and sustainable approaches. Emphasis will be upon the models proposed and their methodologies. Michele Gambetta, panel Chair, is founder of ArtCondo, a NYC based community-focused real estate project working to help artists purchase and own spaces to live and work in, so they can remain in NYC. (www.ArtCondo.com)
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10. Jacob Burckhardt, FF Alumn, at Anthology Film Archives, Manhattan, Feb. 21
BLACK COSMETICS MOGUL’S LIFE IS RECALLED IN NEW FILMMAKERS NEW YORK DOCUMENTARY PROGRAM
THE SARA SPENCER WASHINGTON STORY, an award winning short documentary about the life of noted black businesswoman, philanthropist, and political activist Sara Spencer Washington will proudly screen on Wednesday, February 21st at 6PM as part of New Filmmakers New York documentary program at Anthology Film Archives.
In the 1920s, door-to-door sales of her hair supplies in Atlantic City, New Jersey and a patented hair straightening technique led to an East Coast chain of dozens of beauty schools called Apex. There were offices in Cuba and in South Africa as well. Boasting thousands of sales agents by the 1940s, her factory, warehouse, guest resort, farm, drug store and publishing company led to a million dollar empire which yearly gave thousands of black women (and men) cosmetology degrees, financial independence and self-esteem. Many students went on to open their own salons with interest-free loans provided by Apex.
“Now is the time to learn a depression-proof business.” was the motto of “The Madame,” as she was called. In the 1930s she adopted her young niece Joan Cross so as to have an heir to the Apex fortune upon her death in 1953.
Interviewed are former employees, customers, models, and historians including Boardwalk Empire author Nelson Johnson. They tell of The Madame’s breaking the color barrier at Atlantic City’s Captain Starn’s Restaurant, sponsoring the first black float in the city’s famous Easter Parade, and creating one of the first black-owned golf courses on the East Coast. Sara Spencer Washington was also famous for purchasing a ten thousand dollar war bond that led to her christening the S.S. Harriet Tubman.
The half-hour documentary is directed, written and produced by Royston Scott (son of Apex heiress Joan Cross), with camera and editing by Jacob Burckhardt. The film recently won Best Documentary at the Hollywood Black Film Festival and the Black International Cinema Berlin festival, and Best Short Documentary at the Harlem International film Festival.
WATCH THE TRAILER AT: www.sswmovie.com
THE SARA SPENCER WASHINGTON STORY – 28 minutes- USA
New Filmmakers New York
Anthology Film Archives
Wednesday, February 21st
6:00 pm – First Documentary Program
32 Second Avenue (At Second Street)
New York, N.Y. 10009
$ 7.00 – good for all of the evenings films.
www.newfilmmakers.com
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11. Kate Gilmore, FF Alumn, at Museum of the City of New York, Manhattan, Feb. 28
FEB28
Performance & Protest in Public Art
Public
Hosted by Museum of the City of New York
Wednesday, February 28 at 6:30 PM – 8:30 PM
Museum of the City of New York
1220 Fifth Ave at 103rd St, New York, New York 10029
www.mcny.org
Performance artists Tania Bruguera and Kate Gilmore both consider questions of power and identity in their work. Politically motivated, Havana-native Bruguera explores the relationship between art, activism, and social change, often through the lens of immigration, while the New York-based Gilmore engages with ideas of femininity, gender, and sex. In this intimate conversation, the two artists will discuss their turn to performance as a medium for critiquing contemporary issues of politics, gender, and society with Risë Wilson, Chief Program Officer for the High Line and founder of The Laundromat Project.
Reception to follow during which Gilmore will stage a live, site specific performance.
The work is supported by \Art, an annual fellowship that partners artists with Cornell Tech graduates to create new art, new art forms, and new art technologies. Gilmore is the 2017 \Art Artist and the 2017 \Art Fellows are Renée Esses and Nishad Prinja.
This program is inspired by our exhibitions “Art in the Open: Fifty Years of Public Art in New York” and “Beyond Suffrage: A Century of New York Women in Politics.”
About the Speakers:
Kate Gilmore is a fine artist drawing on multiple mediums including video, sculpture, photography, and performance. She currently lives and works in New York City and has exhibited at the Whitney Biennial, the Brooklyn Museum, and PS1/MoMA Contemporary Art Center.
Tania Bruguera is a Cuban installation and performance artist whose work is in the permanent collection of the MoMA and the Bronx Museum of the Arts, among others. Her work explores the relationship between art, activism, and social change and examines the social effects of political and economic power.
Risë Wilson (moderator) is Chief Program Officer for the High Line, where she is charged with spearheading a new phase of community engagement that highlights the intersections of public art, design, and the natural world. She is also founder of The Laundromat Project, which brings socially relevant and socially engaged arts programming to everyday community spaces.
$25 for adults | $20 for seniors, students & educators (with ID) | $15 for Museum members.
Includes Museum admission.
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12. Jennifer Monson, FF Alumn, in the New York Times, Feb. 20, now online
Please visit the complete illustrated article linked here (text only follows below):
The New York Times
DANCE
From the Prairie to the City, Dancing to Invoke the Dawn
By GIA KOURLASFEB. 20, 2018
Wake up before sunrise, head to the prairie and start moving.
No, this was not your ordinary rehearsal process.
But nothing’s ordinary when it comes to the contemporary choreographer and improviser Jennifer Monson who has been creating daring works in New York’s experimental downtown dance scene since the 1980s. Ms. Monson, 56, has long been drawn to the natural world, too. In 2000, she changed her choreographic course and began exploring the relationship between movement and the environment. For her five-year “Bird Brain” project, for instance, she and her dancers – performing outside – followed the migrational path of birds and gray whales.
For her latest project, she resumed outdoor dancing – at dawn – in preparation for her new work, “bend the even,” which is at the Chocolate Factory this week. That process opened up a new universe of movement, sound and light. In the finished production, all three elements are treated equally with the hope that, together, they will produce an otherworldly, sensorial fourth element.
In “bend the even,” moments of stillness contrast with bursts of sweeping movement that brush the dancers’ bodies across the stage as the musicians, Jeff Kolar and Zeena Parkins – he plays electronics; she, the harp – perform live, both from the audience and onstage. The lighting is by Elliott Cennetoglu, also onstage.
Ms. Monson’s dancing partner is Mauriah Kraker, a graduate student at the University of Illinois at Urbana-Champaign. Ms. Monson is on the faculty there, splitting her time between New York and Illinois, where she started outdoor rehearsals a year ago.
Ms. Monson wants to hold on to the feeling of being outdoors, but also to give it a concrete base. “It’s researching the basics of the physics of sight and sound and movement,” she said in an interview at the Chocolate Factory in Long Island City, Queens. “I’ve had to question a lot of my own assumptions about what development is or what composition is, and this piece has let me resist some of my patterns and just let something emerge out of the way we’re working together.” It was through those morning rehearsals that she and her collaborators began to shape their experiences into a production that doesn’t recreate dawn, but offers a different sense of time and place. It’s in the title: When something’s bent, Ms. Monson said, it creates a tension. “It’s like being a pervert,” she said with a smile. “Not straight. A friction against what’s obvious.”
Here are edited excepts from the interview with Ms. Monson and several of her collaborators.
Could you describe what you and your collaborators do on the prairie?
JENNIFER MONSON We ride our bikes to Barnhart Prairie in Urbana, but if it’s snowing we drive. We try to get there 15 minutes before any light comes into the sky, and then we stay and dance as our research process. One of our [movement] scores is “walking backward in a prairie” where we go out to the edge of the prairie and walk backward, so there’s this real peripheral sense of the world enveloping you from behind. We also had a residency at the Atlantic Center for the Arts in Florida.
How did being at the beach change things?
JEFF KOLAR Experiencing the sun rising over the water is very different than on the prairie where it’s sort of dark and dank for a long time. It felt like we had more space or that time was different.
What was it like on the prairie?
KOLAR The first time I went it was snowing and super cold. It’s sort of like readjusting your eyes and ears, or like sensory deprivation with a long pause of waiting for something to happen. We’re usually out there for two hours.
MONSON More like an hour and 20 minutes. It feels like eight hours to me sometimes. Time just totally stops.
Why dawn?
MONSON That period of time is very vibrational. Like Jeff was saying, you’re kind of uncomfortable, it’s cold, you’re not warmed up. So I have to kind of deal with myself in order to be available to this larger thing that’s out there. It’s not about the movement – over time, you stop watching that and something else is arriving into the space.
KOLAR You’ve been talking about it as having everything disappear.
MONSON To me, the shape of the movement isn’t what’s valuable. It’s the fact that we go through this process of doing it with the sound and the light that generates a fourth thing.
How do you choreograph that?
MONSON My work’s very process based, so it’s very much about the way we listen to each other and the way we keep a conversation going about defining the ways that we’re listening together. In working with Mauriah we can’t really rely on vision as a way of seeing each other.
MAURIAH KRAKER I think it’s a really interesting way to get to know someone, too: waking up and stumbling through this other environment and doing our own very personal solo practice on the prairie and at the same time being aware that as my presence recedes, other things can come in.
How does the lighting play into this?
ELLIOTT CENNETOGLU In Florida, there was a sort of ambient streetlight lighting so you could see each little texture in the sand, each little ripple and then over time, the light coming from the opposite way over the water, sort of flopping the shadow. That’s an inspiration.
MONSON There’s something very humbling about putting yourself in relationship to things that are so big that you can’t know them. Or the way that you know them is through just being alive. It feels like a strategy to be alongside other things that I don’t understand or that are different.
Why is important that you are all onstage together?
MONSON The presence that each body holds is where those decisions are coming from, so I think it’s really important to see it. I didn’t want to make a piece and have it be lit. I didn’t want to make a dance and have music come to it. I wanted everything.
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13. Max Gimblett, FF Alumn, at Gow Langsford Gallery, Auckland, NZ, thru March 17
MAX GIMBLETT
SUNSET MOON
GOW LANGSFORD GALLERY
AUCKLAND
21 February-17 March 2018
Gow Langsford Gallery, Auckland
At the age of 82, Max Gimblett shows no signs of slowing down. The upcoming solo exhibition across both our Lorne St and Kitchener St Galleries showcases new abstract paintings that are vital and energetic, utilizing a fresh colour palette of pastels, which are contrasted with dark accents and gilded gestures.
Gimblett’s methodology of all mind/no mind from Zen Buddhism is central to his artistic practice. Wystan Curnow writes, “… [Max Gimblett] does not in the usual sense watch what he is doing – there’s no time… The eye acts much as the arm does and aims to interact with it.”[1] Gesture precedes thought in a burst of pigment on canvas. In Gimblett’s practice, Eastern spiritual beliefs and an interest in Jungian psychology combine with Western influences such as modernism and abstract expressionism. His paintings have the assured confidence of a long, meditative practice.
This exhibition of new paintings will also see the launch of a new series of unique screenprints on paper, completed during his visits to New Zealand throughout the past year.
Since his 80th birthday, celebrated in early 2016 with the exhibition one day in the afternoon of the gods, Max has been awarded an Honorary Doctorate from The University of Waikato for his contributions as an artist, scholar, teacher, and philanthropist. His works are held in numerous public and private collections internationally and are increasingly sought after.
[1] Curnow, Wystan and Yau, John. Max Gimblett. Craig Potton Publishing in association with Gow Langsford Gallery, 2002.
Gow Langsford Gallery
26 Lorne Street, Auckland, 1010, New Zealand
Phone +64 9 3039391
Email info@gowlangsfordgallery.co.nz
&
Kitchener Street
Corner Kitchener and Wellesley Streets, Auckland, 1010, New Zealand
Phone +64 9 3034290
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14. Candida Royalle, FF Alumn, new publication forthcoming
Candida Royalle, FF Alumn, who died in 2015 is the subject of a biography to be published by WW Norton. The author is Jane Kamensky, Director of the Schlesinger Library of Women’s Lives, Radcliff Institute, Harvard. Candida’s archives were acquired by the Schlesinger Library in 2016. Her extensive journals and papers are being digitized and catalogued and will be open to the public in Spring 2019. The biography is expected out by 2021. Candida was a porn star who became a pioneer filmmaker through her company Femme Productions where she made erotic movies from a woman’s point of view. She is credited with creating what is now referred to as the feminist porn genre.
Cherchez la Femme!
Veronica Vera, D.H.S.
Doctor of Human Sexuality
Author & Founder
Miss Vera’s Finishing School
For Boys Who Want To Be Girls
www.missvera.com
212-242-6449
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15. Lorraine O’Grady, Kiki Smith, FF Alumns, at Linda Pace Foundation, San Antonio, TX, opening March 9
Linda Pace Foundation
Reclaimed
March 10, 2018-January 26, 2019
Opening: March 9, 7:30-9:30pm
Linda Pace Foundation
150 Camp St.
San Antonio, TX 78204
USA
The Linda Pace Foundation announces its 2018 exhibition, Reclaimed, a presentation of 25 monochromatic works by some of the most influential contemporary female artists working today, all drawn from the Foundation’s diverse collection. Artists include Laura Aguilar, Dorothy Cross, Judy Dater, Annette Messager, Lorraine O’Grady, Robyn O’Neil, Linda Pace, Tracey Rose, Lara Schnitger and Kiki Smith, with works spanning 1975 through 2009.
As the title implies, the exhibition addresses the concept of ownership-both literally and figuratively-and the notion of “reclaiming” what’s ours, from our lands and governments to our physical bodies and basic human rights. Central to each of the works on view are themes of nature, identity and the female form, often times as a depiction of non-traditional feminine ideals. For instance, in Mexican-American photographer Laura Aguilar’s self-portrait series, “Stillness,” the artist displays her large, naked body against the natural landscape. By fusing the cracked earth, bulbous rocks and knotted tree trunks of the San Antonio wilderness with the curvatures and folds of her own unconventional shape, Aguilar asserts her beauty as an extension of nature.
Other artists in the exhibition address these themes by exploring the decentralization of the human body. In Annette Messager’s sculptural installation Mes voeux sous filets, dozens of photographs, each containing a single foot, mouth, ear, nose, breast, etc. hang beneath a layer of netting. Inspired by religious relics historically hung from church ceilings, Messager employs these symbols as a commentary on blurred gender binaries and the widespread objectification of the physical form.
Similarly, in Landscape (Western Hemisphere), a single channel video installation, Lorraine O’Grady’s hair serves as the primary subject. Filmed at an extreme close-up and presented without context, the gently-blowing strands are reminiscent of a dense forest, and by drawing this comparison between African American femininity and the western world, O’Grady points to the fraught history of colonization and its continued effects on racial equality today.
Throughout the exhibition, the color palette-or lack thereof-and focus on photography, film, cast sculpture and works on paper, underscores the seriousness of the subject matter and harkens back to more traditional methods of artistic production. A departure from the Foundation’s typical spotlight on experimental and new media works, this unexpected selection provides insight into the depth and variedness of the permanent collection.
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16. Mark Bloch, General Idea, FF Alumns, in the Brooklyn Rail, now online
https://brooklynrail.org/2017/12/art/General-Idea-in-Perspective
Mark Bloch explores the entire career of the Canadian art trio, General Idea, with an in-depth web feature for the Brooklyn Rail.
“The Estate of General Idea (1969-1994) had their first exhibition with the Mitchell-Innes & Nash Gallery on view in Chelsea, featuring several “ziggurat” paintings from the late 1960s, alongside works on paper, photographs and ephemera that highlight the central importance of the ziggurat form in the rich practice of General Idea.
“It got me thinking about the unique Canadian trio’s sumptuous praxis and how it evolved from humble roots in the underground of the early 1970s to its sophisticated position atop the contemporary art world of today. One could say that the ziggurat form is a perfect metaphor for a staircase of their own making that they ascended with grace and elegance, which is true. But they also had to aggressively lacerate and burn their way to the top, armed with real fire, an acerbic wit and a penchant for knowing where to apply pressure. Even the tragic loss of two thirds of their members along the way did not deter their rise, making the unlikely climb all the more heroic.”
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17. Elaine Lustig Cohen, FF Member, at Pratt Manhattan Gallery, opening March 1
Rosmarie Tissi, 2018 poster design for Albers, Lustig Cohen, Tissi, 1958 – 2018, commissioned by
Pratt Institute
Curated by
Phillip Niemeyer
March 2-April 28, 2018
Opening reception
March 1, 6-8 PM
This exhibition presents sixty years of graphic design and art work by three influential women artist-designers: Anni Albers, Elaine Lustig Cohen, and Rosmarie Tissi.
Pratt Manhattan Gallery
144 West 14th Street, Second Floor
New York, NY 10011
212.647.7778
exhibits@pratt.edu
Gallery Hours
Monday-Saturday, 11 AM-6 PM Thursday until 8 PM
Free and open to the public
www.pratt.edu/exhibitions
@prattexhibits
#ALCT
Pratt Manhattan Gallery, 144 West 14th St., New York, NY 10011
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18. Lorraine O’Grady, FF Alumn, at the Albright-Knox Art Gallery, Buffalo, NY, thru May 27
We Wanted a Revolution, Albright-Knox Art Gallery
Alexander Gray Associates is pleased to announce We Wanted a Revolution: Black Radical Women, 1965-85, including work by Lorraine O’Grady, at the Albright-Knox Art Gallery, Buffalo, NY. The exhibition is curated by Catherine Morris and Rujeko Hockley, and organized by Andrea Álvarez and Jasmine Magaña.
February 17, 2018 – May 27, 2018
Focusing on the work of black women artists, We Wanted a Revolution: Black Radical Women, 1965-85 examines the political, social, cultural, and aesthetic priorities of women of color during the emergence of second-wave feminism. It is the first exhibition to highlight the voices and experiences of women of color in order to reorient conversations around race, feminism, political action, art production, and art history in this significant historical period.
The exhibition features O’Grady’s Rivers, First Draft (1982/2015), and Untitled (Mlle Burgeoise Noire) (1980-83/2009), accompanied by the original gown worn by O’Grady during the performance in 1980-83.
We Wanted a Revolution: Black Radical Women, 1965-85 will travel to the Institute of Contemporary Art, Boston, Massachusetts. The exhibition is accompanied by two publications.
More information on We Wanted a Revolution: Black Radical Women, 1965-85.
Press Inquires
press@alexandergray.com
Alexander Gray Associates is a contemporary art gallery in New York. Through exhibitions, research, and artist representation, the Gallery spotlights artistic movements and artists who emerged in the mid- to late-Twentieth Century. Influential in cultural, social, and political spheres, these artists are notable for creating work that crosses geographic borders, generational contexts and artistic disciplines. Alexander Gray Associates is a member of the Art Dealers Association of America.
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19. Barbara Hammer, Nao Bustamante, FF Alumns, at Fashion Institute of Technology, Manhattan, Mar. 20
March 20, FIT
Fashion Institute of Technology
227 W 27th St
New York NY 10001
Grrls on Girls II: Bonded
Katrina del Mar’s Gang Girls 2000, 1999 (27 min);
Viva Ruiz’s telenova, Monja Satanica, 2006 (15 min);
Barbara Hammer’s Menses, 1974 (4 min);
Jill Reiter’s Frenzy, 1993 (12 min);
Nao Bustamente and Matt Johnstone’s The Perfect Ones, 2006 (8 min).
Grrls on Girls II is the second installment in a film series curated by Jane Ursula Harris that celebrates the transgressive, DIY feminism of riot grrl culture through women filmmakers. The films in Bonded bring together queer campy takes on female bonding that are saturated with sex and revenge, alternately evoking Russ Meyers, telenovas, female cults, and queercore.
Lesbian street gangs fight it out on New York’s Lower East Side (Katrina del Mar, GIRL GANG 2000 (1999)); evil, perverted nuns have their way with a delinquent teen (Viva Ruiz, MONJA SATANICA (2006)); menstruating women undergo strange blood rituals (Barbara Hammer, MENSES (1974)); rabid groupies descend on an all-girl band (Jill Reiter, FRENZY, (1993)); and an amnesiac housewife from Beverly Hills wanders into a punk dyke bar (Nao Bustamente and Matt Johnstone, THE PERFECT ONES, 2006.
Filmmakers Hammer, del Mar, Ruiz and Reiter will be in attendance, and will participate in a Q & A with the curator following the program.
and
March 29th or 30th
Dashwood Books
55 Bond Street
https://www.dashwoodbooks.com/
Book Signing: Truant: Photographs 1970-1979, Barbara Hammer
(Press image titled “Bowsprit”
Please write anika sabin to ask finalized date and time as Barbara Hammer will be in Berlin
anika@becapricious.com
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20. Moran Been-noon, FF Alumn, at Draiocht, Dublin, Ireland, March 1-April 30, 2018
Hello!
You are invited to the opening of PLATFORM 2018 Landing Collective (myself & Aliina Lindroos) are excited to be part of.
Residency Open Studio:
In March and April we’ll be in residence in Draíocht and are inviting anyone who is interested in collaboration or just for a chat about the work, the ideas of home, migration, and acculturation to come in and meet with us. Get in touch if you want to come visit us in Blanchardstown! Draíocht, The Blanchardstown Centre, Blanchardstown, Dublin 15, Ireland.
D15 RYX6
Moran Been-noon
mobespaces.wordpress.com
intersectinginterests.wordpress.com
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21. Judith Bernstein, Jillian McManemin, FF Alumns, in Hyperallergic, now online
Dear Friends,
I recently published a review with Hyperallergic on Judith Bernstein’s Money Shot at Paul Kasmin Gallery.
Judith Bernstein Shines a Blacklight on Trump’s Crimes
The show closes on March 3rd and shouldn’t be missed.
XO
JILLIAN MCMANEMIN
http://www.jillianmcmanemin.com/
jmcmanemin@gmail.com
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22. Marisa Morán Jahn, FF Alumn, at the Brooklyn Museum, March 17, and more
NYC PREMIERE:
CAREFORCE ONE TRAVELOGUES
Sat, March 17, 2018 | 2-4 pm
Brooklyn Museum
Free with museum admission – pay what you wish
Join us for the New York premiere of the Sundance-supported docuseries CareForce One Travelogues followed by a program of art, music, film, performance, and lively conversation!
Keynote: Saskia Sassen, Scholar, Columbia University
Speakers:
Hrag Vartanian, Editor-in-chief and Co-founder, Hyperallergic
Yael Melamede, Oscar and Emmy-winning filmmaker, SALTY Features
Allison Julien, National Domestic Workers Alliance, We Dream in Black;
Ilana Berger, Executive Director, Hand in Hand: Domestic Employer Network
Music
Nepali revolutionary song by Narbada Chetri, Adhikaar for Human Rights
Music + performance by M Peach aka Mariana Martin Capriles
Beats by Larisa Kingston Mann aka Dj Ripley, HEAVY/Dutty Artz NYC
NYC Host Committee
Sunny Bates, Co-Founder, Kickstarter, Braintrust at TEDTalks
Suzy DelValle, President, Creative Capital
Beka Economoupoulous, Co-Founder, Not An Alternative, Natural History Museum
Kendal Henry, Director, Percent for Art Program in the City of New York
Christiane Paul, Curator, The Whitney; Director and Chief Curator, Sheila C. Johnson Design Center at The New School’s Parsons School of Design
Betsy Richards, Opportunity Agenda; Indigenous arts advocate
Cameron Russell; Model, Cultural Producer, Activist
Lina Srivastava, Transmedia Producer
Tricia Wang, Tech Ethnographer; Co-founder, Sudden Compass, Magpie Kingdom
About the film: A humorous and touching road tale, the CareForce One Travelogues features the artist Marisa Morán Jahn, her son Choco, and their buddy Anjum Asharia as they travel from their homes in NYC to Miami in a fifty-year old station wagon, the CareForce One. Meeting up with nannies, housekeepers, caregivers, and allies along the way, this series explores how care intersects with some of today’s most pressing issues – immigration, the legacies of slavery, racial discrimination, and more. The series is part of the CareForce, a public art project that amplifies the voices of America’s fastest growing workforce, caregivers. www.careforce.co.
Run time: 30 mins | Director: Marc Shavitz | Produced by Studio REV- & SALTY Features w/ ITVS/PBS
NEW TEAMMATES!
Social impact designer Leslie Martinez joins us to create civic media tools for new immigrants.
Musician, artist, and New School student Jacob Fisher joins our team to collaborate on the interactive media components for our upcoming exhibition at Sugar Hill.
And
SOLO EXHIBITION
March 1 – June 3, 2018
Opening Reception: Wed Feb 28th, 7-9 pm
Family Reception: Thurs March 1st, 1-4 pm
Sugar Hill Museum of Art and Storytelling
898 St. Nicholas Avenue @ 155th Street
Art: Marisa Morán Jahn, Jacob Fisher, Anjum Asharia, Taehee Whang, and the Library Club of El Pital, Honduras
Architect: Darío Nuñez-Ameni, Atelier DNA
Guest Curator: Amy Rosenblum Martín, Educator, Guggenheim
Organizer: Lauren Kelley, Museum Director and Chief Curator
Bibliobandido: Story Eater is a participatory, multimedia installation that unfolds the story world of Bibliobandido, a story-eating bandit that terrifies little kids until they offer him stories they’ve written. The legend of Bibliobandido has travelled to communities where storytelling is urgent in Honduras, Nicaragua, El Salvador, Seattle, Miami, San Francisco, New York, and beyond. In each location, youth, librarians, and grown ups invent new characters and episodes, spawning thousands of young believers
For this installation at Sugar Hill Museum of Art and Storytelling, visitors are invited to experience a mysterious environment replete with burbles from Bibliobandido’s belly, explore a hand-knit canopy (“enneper”) evoking both shadowy rainforest and membrane, peer into a secret peephole, make a book, and share a story to appease the appetite of the well-loved villain! This is Bibliobandido’s first U.S. exhibition in any major U.S. museum.
And
PUBLIC ART, PERFORMANCE, DESIGN, PEDAGOGY
Curated by Trevor Smith, Playtime (Feb 10-May 6, 2018) is an exhibition and digital platform at the Peabody Essex Museum in Salem, MA that features Pedro Reyes, Nick Cave, Colleen Macklin, Cao Fei, Lara Favaretto, Mark Bradford, Angela Washko, Cory Arcangel, Eugenia Bell, and others.
In conjunction with the exhibition Playtime (Feb 10-May 6, 2018), the Peabody Essex Museum and Horizons for Homeless Children commissioned Studio REV- to create an activity guide featuring the colorful character Mister Miss Match Cha Cha Cha who craves patterns, rhyme, and rhythm, but can’t keep a beat. The activity guide will be shared with Horizon’s amazing and dedicated volunteer Playspace Activity Leaders to use in almost 100 shelters across the state of Massachusetts. Children living in homeless shelters face enormous challenges that often lead to developmental delays. Encouraging trauma-informed, play-based activities helps boost their learning, self-esteem, and creative agency.
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23. Edward M. Gomez, FF Alumn, in Hyperallergic, now online
New York
Saturday, February 17, 2018
Greetings, art lovers and media colleagues:
The Italian-born, Brooklyn-based artist Luisa Rabbia is known for the fine craftsmanship of her paintings, drawings and mixed-media sculptural works. In the past few years, she has been working on a series of large-scale, thematically and technically ambitious paintings in her Love-Birth-Death series. As this series’ title suggests, in these new works, Rabbia has taken on some of life’s — and art history’s — biggest, most enduring themes.
My article about Rabbia’s newest works has just been published in HYPERALLERGIC. It examines her current solo exhibition at Peter Blum Gallery in New York, in which two of the big paintings in the new series are on view, along with other new works. This article also describes a concurrent exhibition of Rabbia’s art at the Collezione Maramotti in Italy, where the third, monumental painting in her new series is on display, as well as other works the artist created over the past several years.
Rabbia’s art both evokes and responds to a sense of wonder in the face of some of the biggest moments or mysteries that mark any person’s journey through life.
See my well-illustrated article here:
Please share this article with your own contacts.
With best wishes,
EDWARD
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24. Babs Reingold, Ruth Hardinger, Christy Rupp, FF Alumns, at David & Schweitzer Contemporary, Brooklyn, Feb. 25
Invitation from Babs Reingold
Planet Ax4+1
Panel Discussion: February 25th 3pm
David & Schweitzer Contemporary
I’m pleased to exhibit “The Last Tree: Squared” in this exciting exhibition focusing on the environment and climate change.
Artists panel discussion moderated by Eleanor Heartney
February 25th at 3pm
With
Ruth Hardinger • Kelin Perry • Babs Reingold
Christy Rupp • Rebecca Smith
Planet Ax4+1
at David & Schweitzer Contemporary
February 2- 25th 2018
56 Bogart St. Brooklyn NY 11206
For more information contact Michael David at michael@davidandschweitzer.com
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25. Krzysztof Wodiczko, FF Alumn, in Artforum.com, now online
Please visit the complete illustrated article linked here (text only follows below):
Artforum.com
February 16, 2018
HIRSHHORN’S DECISION TO POSTPONE WODICZKO PROJECTION IS A MISSED OPPORTUNITY, CRITICS SAY
After a school shooting at Marjory Stoneman Douglas High School in Parkland, Florida, left seventeen people dead, the Hirshhorn Museum in Washington, DC, decided to reschedule the restaging of an artwork-a massive projection featuring a large image of two hands, one holding a gun and the other a candle, that was set to be displayed on the building’s exterior. The decision has sparked an outcry among art critics and creative professionals.
For Philip Kennicott, the chief art and architecture critic of the Washington Post, the museum’s response was misguided. “No doubt the museum would have attracted controversy had it gone forward with the projection now, in part from people genuinely troubled by the images. But postponing it plays into a fundamental misunderstanding of how artworks like this operate,” Kennicott wrote in an editorial for the Washington Post.
Los Angeles Times critic Christopher Knight called it “a missed opportunity” on Twitter. “This would be the perfect time for the art world to address gun violence,” he wrote. Andrew Russeth of Artnews also chimed in on Twitter: “Project it every single night until sensible gun control legislation is passed and signed into law.”
The museum released a statement on the day of the shooting, Thursday, February 14, that said, “Now is a time for mourning and reflection, and out of sensitivity to our community in DC and beyond, the Hirshhorn, Smithsonian leadership, and artist Krzysztof Wodiczko have made the decision to postpone the artist’s projection, Hirshhorn Museum, Washington, DC. We remain committed to exhibiting this important work, which is still relevant today-thirty years following its original showing. We look forward to restaging the work in its original format at a later date.” The artist added, “To me, the silence feels most respectful. In this case, not showing the projection shows respect and sensitivity to the people who suffer from this great tragedy.”
However, many critics of the decision have pointed out that there may be no right time to show the work. Robin Bell, a Washington, DC-based artist known for his own projections-on more than one occasion he has projected words and phrases on the facade of the Trump International Hotel as an act of protest-also disagreed with the Hirshhorn. “Yesterday was the eighteenth school shooting in forty-five days in the US. We need this art more than ever,” he wrote on Twitter.
The restaging of the piece, which was first commissioned and projected on the museum thirty years ago, was meant to coincide with the opening of the exhibition “Brand New: Art and Commodity in the 1980s,” which will be on view until May 13. Wodiczko created the work as political commentary on the hot-button issues that were central to the 1988 presidential election, such as gun control and reproductive rights.
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Goings On is compiled weekly by Harley Spiller
