Contents for February 24, 2020 (Scroll down for more information):
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1. Franc Palaia, FF Alumn, at BAU, Beacon, NY, thru March 8, and more
2. Jayoung Yoon, FF Alumn, at Rockland Center for the Arts, West Nyack, NY, opening March 8, and more
3. Galinsky, FF Alumn, at City Kids Foundation, Manhattan, Feb. 25, and more
4. Suzanne Lacy, Lynn Hershman Leeson, Aviva Rahmani, FF Alumns, at 32A Cooper Square, Manhattan, Feb. 24
5. Colette, FF Alumn, at Löwenpalais, Berlin, Germany, March 2
6. Judith Sloan, FF Alumn, at Queens Theater in the Park, Flushing, March 7
7. Nicole Eisenman, FF Alumn, at Anton Kern Gallery, Manhattan, thru March 28, and more
8. Cathy Weis, FF Alumn, receives Manhattan Arts Grant 2020
9. Xandra Ibarra, FF Alumn, now online in artnews.com
10. Mark Bloch, FF Alumn, now online at whitehotmagazine.com
11. Doug Beube, FF Alumn, at Performance Arcade 2020, Wellington, NZ, Feb. 26-March 1
12. Barbara Rosenthal, FF Alumn, at Accademia di Belle Arti, Lecce, Italy, Feb. 27-28 and more
13. Liliana Porter, FF Alumn, at Sicardi Ayers Bacino, Houston, TX, opening March 19
14. Henriëtte Brouwers, John Malpede, FF Alumns, at Skid Row History Museum and Archive, Los Angeles, CA, opening March 7
15. Alicia Grullón, Saul Ostrow, FF Alumns, at PS122 Gallery, Manhattan
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1. Franc Palaia, FF Alumn, at BAU, Beacon, NY, thru March 8, and more
FRANC PALAIA, FF Alumn, is included in a group show, “TIME” at BAU, Beacon Artists Union in Beacon NY from Feb 8 – Mar 8, 2020. 506 Main ST Beacon, NY, hrs: Sat & Sun 12-6pm. www.baugallery.org. I am showing a new mixed media photograph from my street art Urban Icons series.
Also included in the “Tiny Biennale” at Temple Univerity, Rome Campus, Rome, Italy. Curated by Susan Moore. All works no bigger tha 3″x3″. Show dates: Feb 18 – Mar 11, 2020. Lungatevere Arnaldo da Brescia, 15, Rome.Italy
Solo show at Woodbury House, London, UK. April 2 – May 30, 2020. Franc will exhibit the “Capsule Collection” Large scale photographs of the shadow wall paintings of Richard Hambleton from Franc’s “NightLife” series. Also included in the exhibition are his NightLife shadow images on Hoodies, T Shirts, Skateboards and other merchandise. Location: Unit 1-2, 10/11 Archer St., Soho, London. UK. info@Woodbury-House.com. www.Woodburyhouseart.com. This gallery also shows works by Banksy and Daze.
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2. Jayoung Yoon, FF Alumn, at Rockland Center for the Arts, West Nyack, NY, opening March 8, and more
Hair: Textures of Belonging
Studio 3 Gallery
School of Arts, Jarman Building
University of Kent
Canterbury, CT2 7UG
United Kingdom
Gallery hours
Mondays – Fridays, 9AM – 5PM
https://blogs.kent.ac.uk/studio3gallery/home/upcoming-programme/
and
Perspectives Exhibit
March 8 – April 19, 2020
Opening Reception: March 8, 2020, 2-5 PM
Rockland Center for the Arts
27 South Greenbush Road, West Nyack, New York 10994
Gallery Hours
Monday – Friday: 10:00am – 4:00pm
Saturday & Sunday: 1:00pm – 4:00pm
https://rocklandartcenter.org/roca/current-exhibits/upcoming-exhibitions.html
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3. Galinsky, FF Alumn, at City Kids Foundation, Manhattan, Feb. 25, and more
Hi
Another simple email to invite you to any one of 3 upcoming benefit screenings/performances. 3 events in 3 cities, February and March 2020!
Connecticut
(Special Olympics Benefit) – New York (City Kids Foundation Benefit, with free Nuchas Empanadas (http://www.nuchas.com) ) – Minnesota (Gustavus Adolphus College) Mark your calendars, share w/friends!
Thank YOU
RG
a) Connecticut – Special Olympics “Music Theater Comedy Benefit” – This Saturday, Feb 22nd, 6pm curtain at the Keeney Memorial House, Wethersfield Connecticut. Live music and improvisational theater/comedy in a sold out venue. Bring family, food, refreshments and join us for this special benefit for the Special Olympics. Donation $20.00 and RSVP a must. RSVP info here (https://www.facebook.com/events/755816604921409/) .
b) NYC – The Bench Film Benefit Screening for the City Kids Foundation – This Tuesday, Feb 25th, 6:30pm doors and free empanada dinner donated by NUCHAS (https://www.nuchas.com/) EMPANADAS! Screening 7-8pm produced by the Stage Network. Join us at the East Village Playhouse, 340 East 6th St. NYC 10009, between 1st Ave and 2nd Ave, for this special benefit for City Kids Foundation. Suggested donation: “pay what you can” rsvp here (https://www.eventbrite.com/e/city-kids-foundation-nyc-benefit-screening-of-the-bench-a-homeless-love-story-tues-feb-25-for-city-tickets-94207772985)
c) MINNESOTA – The Bench Live Solo Performance at Gustavus Adolphus College, Saturday March 28th. Email galinskynow@gmail.com for more details.
Special thanks to Chris Noth, Barry “Shabaka” Henley, Terry Schnuck, Gina Rugolo, Julia Lomino, Joe Trentacosta, Andrew Galinsky, and Amy Seham for their constant support.
For bookings, performances, screenings, workshops please email galinskynow@gmail.com
http://www.galinskycoaching.com and http://www.thebenchplay.com
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4. Suzanne Lacy, Lynn Hershman Leeson, Aviva Rahmani, FF Alumns, at 32A Cooper Square, Manhattan, Feb. 24
In this conversation, artists Suzanne Lacy, Lynn Hershman Leeson, and Aviva Rahmani, joined by writer Nancy Princenthal, will discuss how they have addressed sexual violence through art and activism. Princenthalʼs recent book, Unspeakable Acts: Women, Art and Sexual Violence in the 1970s, looks back at the period when sexual assault first became something women could talk about.
This panel discussion is in conjunction with dieFirmaʼs inaugural exhibition, …for Gloria, on view through March 1st. Gloria Kisch lived and worked in Los Angeles from 1961-1982 and participated in the Womanʼs Building where many artists explored the subject of violence against women. Critic and Womanʼs Building co-founder Arlene Raven once described Kischʼs practice as, “a meditation on physical, psychic, and collective environments.”
Special thanks to Jenny Jaskey for organizing.
The event is free and open to the public. Space is limited,
seating is first come first served.
Please RSVP at programs@diefirmanyc.com
Monday, February 24, 2020
6:30 PM – 8:30 PM
32A Cooper Square Manhattan 10003
The conversation will be followed by a reception at 7:30pm
Please enjoy this One-on-One interview with Aviva for the November/ December 2019 issue of Canvas Magazine, the premier magazine for art and culture from the Middle East and Arab world.
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5. Colette, FF Alumn, at Löwenpalais, Berlin, Germany, March 2
Lumiere prepares to leave the Löwenpalais!
DATE: Monday March 2nd
TIME : 6- 10 PM
ADRESS: Löwenpalais, Koenigsallee 30-32, 14193 Berlin
OPEN BAR
Since 2015 the Löwenpalais has been blessed with the presence of the legendary NYC artist: Colette/LaboratoireLumiere & with her Art displayed in the foyer as well as throughout the building, sometimes occupying it !
Colette is now in the process of dismantling her art installations packing her artworks and belongings, preparing herself to leave the Löwenpalais and return to her home NYC.
Come & join us in case you have never visited the Foundation Starke , meet Colette or wish to revisit and wish her a bon voyage
there will also be a Moving Sale. Colette ‘s Clothes, Accessories other Personal Belongings etc – in the Basement.( this time NOTan Art installation)
Also a perfect opportunity to grab A Colette Art Souvenir from Colette’s LaboratoireLumiere
We looking forward to seeing you! Myron Stuelper of the Loewen Palais
RSVP: myron.stuelper@gmail.com or laboratoirelumiere@gmail.com
Contact: Myron Stülper: 0176 32101618 or laboratore lumiere 0162 832 0941
by appointment, if you are not able to attend ,or prefer to make a private visit to Colette’s studio .
While in Berlin Colette has had numerous exhibitions, performances and presentations, besides her elaborate occupations @the Stiftung Starke .
in Berlin galleries : solo & exhibitions at Seven Stars, Suzanne Albrecht, 2018 Photo Kunst, Kornfeld Gallery, Kwadrat gallery ,2016-2019 Neumeister Bar-Am 2016& Werkstattgalerie 2016…etc . She also exhibited abroad: in Paris, Zulu Land, Stockholm, Poland, Slavania, Italy, Athens Greece while traveling back and forth to NYC and exhibiting there as well.
Her latest solo presentation in NYC was in September Vivian Horan fine arts.
During her stay at the Löwenpalais in Berlin ,Colette was awarded at Guggenheim 2016. & created a monumental installation in the Attic of PS1Moma (June to Dec. 2016 part of #40 exhibition ) .Her solo exhibition at Mitchel Algus Gallery NYC was named best of 2017 by Art Forum , & Colette was featured in “the eye never sleep festival in Poland” with a large scale exhibition of new works “Lumiere ‘s Adventures in Zulu Land II ” at the municipal Gallery in Bydosgoz Poland June to Aug. 2019.
Currently her works are part of exhibition “all of them witches” at Jeffrey Deitch Gallery in LA and in “auto Portrait” at Lachennman Gallery Frankfurt
For more info on colette’s recent activities,:colettetheartist.strikingly.com
-recent interview Good morning 2020 .
https://tmlarts.com/colette-2020/?fbclid=IwAR2usrtocvENzmfIJOafGOsB5CUr4LVwhUwQtD581y2xjpeIg4RwI-3brD0
Myron Stülper
Management
Löwenpalais
Koenigsallee 30-32
14193 Berlin
Tel: +49 30 26039501
Mobile: +49 176 32101618
E-Mail: myron.montefury@gmail.com
Web: www.loewenpalais-events.de
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6. Judith Sloan, FF Alumn, at Queens Theater in the Park, Flushing, March 7
Judith Sloan at the Queens Theater in the Park with a new work in development IT CAN HAPPEN HERE
March 7, 8 pm
Free
Reservations HERE:
https://queenstheatre.secure.force.com/ticket/#/instances/a0F2E00000qVncyUAC
It Can Happen Here is a play with music originally commissioned by Queens Council on the Arts, Artist Commissioning Program
Queens Theater in the Park presents a reading/performance
Written by Judith Sloan
Directed by Alexandra Aron
Cast includes: Judith Sloan, Sasha Boykin, Yael Reich, Bianca Vitale, Gabrielle Flores
About the play: The title, It Can Happen Here, refers to the Sinclair Lewis novel, It Can’t Happen Here, which chronicled the fictitious election of a power-hungry politician who stirred up fear by promising a return to patriotism. For nine months, Sloan – award-winning playwright/actor and longtime chronicler of Queens (Crossing the BLVD https://www.youtube.com/watch?v=Wcl78awSegY&feature=youtu.be 1001 Voices: Symphony for a New America) https://vimeo.com/257071360- talked with residents of Southeastern Queens about our hopes, fears, and aspirations. “What struck me over and over were stories of love and support that often fly under the radar in times of extreme duress. I decided to zoom in on conversations between women. Like the novel, It Can’t Happen Here, my play is inspired by real events,” says Sloan. In the play, Riva and Serena, two hairdressers from different generations and races, embark on a dream and create a sound studio in the basement of their hair salon in a Queens neighborhood. We hear humorous stories about their families, customers, and neighbors, as well as discussions of gentrification and our current political climate. Then, when a family member of one of their clients faces deportation, the women are confronted with a moral dilemma.
BUY THE SINGLE HERE https://itcanhappenhere.hearnow.com/ 99 cents
For more information: Info@earsay.org
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7. Nicole Eisenman, FF Alumn, at Anton Kern Gallery, Manhattan, thru March 28, and more
Announcing Nicole Eisenman’s fourth exhibition at Anton Kern Gallery of paper pulp works created at Dieu Donné as part of Eisenman’s Lab Grant Residency:
Incelesbian, at Anton Kern Gallery, Thursday, February 20, opening 6-8pm.
On display from February 20 to March 28, 2020, to the public.
Concurrently with the exhibition, Incelesbian, Dieu Donné and Anton Kern Gallery are publishing a catalog of the complete set of Nicole Eisenman paper pulp works created over the past two years. The fully illustrated, 92- page book will include a text by Matt Longabucco.
Anton Kern Gallery
16 East 55th Street
New York, NY 10022
Eisenman’s work was prominently featured in the Venice Biennale, the Whitney Biennial (both 2019), and in the decennial Skulptur Projekte Münster in Münster, Germany (2017). Recent solo exhibitions include Baden Baden Baden at Staatliche Kunsthalle Baden-Baden, Baden Baden, Germany (2018); Dark Light at Secession, Vienna, Austria (2017); a mid-career retrospective, Al-Ugh-Ories at the New Museum, New York (2016); and her traveling survey exhibition, Dear Nemesis, Nicole Eisenman 1993-2013 at The Museum of Contemporary Art San Diego (2015), The Institute of Contemporary Art, Philadelphia (2014), and the Contemporary Art Museum of St. Louis (2014). The upcoming solo exhibition STURM UND DRANG will open in late February 2020 at the Contemporary Austin in Austin, Texas.
Eisenman is the 2018 recipient of the Suzanne Deal Booth/FLAG Art Foundation Prize, a 2015 MacArthur Foundation fellow, and winner of the 2013 Carnegie Prize. Her work is featured in the permanent collections of the Ludwig Museum, Cologne, Germany; Museum of Modern Art, New York; Museum of Contemporary Art, Los Angeles; Hammer Museum, Los Angeles; SF MOMA, San Fra
About Dieu Donné
Dieu Donné is a leading cultural institution dedicated to serving established and emerging artists through the collaborative creation of contemporary art using the process of hand papermaking.
The artistic and educational programs at Dieu Donné are made possible with public funds from the National Endowment for the Arts, the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature, the New York City Department of Cultural Affairs in partnership with the City Council; and Foundation support including: Lily Auchincloss Foundation, Inc., Milton & Sally Avery Arts Foundation, Inc, Bloomberg Philanthropies, The Ford Foundation – Good Neighbor Program, Horace W. Goldsmith Foundation, The Minnow Fund, The New York Community Trust, The O’Grady Foundation, The Partnership Fund for New York City, The John Ben Snow Foundation and Memorial Trust, The Andy Warhol Foundation for Visual Arts, and the Windgate Charitable Foundation along with major individual support.
and
Nicole Eisenman
Sturm und Drang
February 27 – August 16, 2020
The Contemporary Austin, Austin, TX
Vielmetter Los Angeles congratulates Nicole Eisenman on her solo exhibition Sturm und Drang at The Contemporary Austin’s Jones Center and Laguna Gloria locations, as part of Eisenman’s 2020 Suzanne Deal Booth / FLAG Art Foundation Prize.
The exhibition encompasses a wide range of media including drawing, painting, and sculpture. It will be accompanied by a full-color catalogue. For more information, visit The Contemporary Austin’s website.
1700 S Santa Fe Ave, Los Angeles, CA 90021 +1 213 623 3280
vielmetter.com
Copyright (c) 2020 Vielmetter Los Angeles, All rights reserved.
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8. Cathy Weis, FF Alumn, receives Manhattan Arts Grant 2020
Please visit this link:
https://lmcc.net/wp-content/uploads/2020/02/CE-FY20-Grantee-List.pdf
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9. Xandra Ibarra, FF Alumn, now online in artnews.com
Please visit this link: https://www.artnews.com/art-news/news/xandra-ibarra-work-removed-san-antonio-1202678675/
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10. Mark Bloch, FF Alumn, now online at whitehotmagazine.com
https://whitehotmagazine.com/articles/or-rrose-s-lavy-/4513
Mark Bloch has written an article on the endgame of the great 57th Street Duchampian gallery Francis Naumann Fine Art’s which will close its doors at the end of this month. In Whitehot Magazine, Bloch reviews “Depicting Duchamp: Portraits of Marcel Duchamp and/or Rrose Sélavy”
“What could be better than art that is mixed with humor, intelligence, and eroticism? His last show, a collection of portraits of Duchamp, is a tour de force because it shows works that each carry one of these interesting stories, either of the intelligent, humorous or erotic variety or in the best cases, all three.”
“One of the voices that have kept Duchamp’s questions alive, Francis M. Naumann, is voluntarily closing the doors of his own gallery at 24 West 57th Street in New York after an extraordinary run. Before opening shop, Naumann was an art historian and curator who specialized in the subject of Duchamp and New York Dada in particular.”
“Two tendencies developed in the ensuing years as a result of Duchamp’s infra-thin questions and gestures. One faction, comprised mostly of latecomers to Marcel’s subtle soirée, is enormous, practically all-encompassing now, and it has destroyed what was once barely admirable about the old art world, reducing it to an incomprehensible vomitorium of bad jokes and Botox eroticism, choking itself with freshly minted dollar bills while it congratulates itself for its good taste and restraint for managing to keep itself one garish gold nugget shy of Donald Trump’s interior decoration skills. But there is another more nuanced camp that has always taken its cues directly from Duchamp, riffing on the wry richness of his output and the important implications of his suggestions. That faction “got” the deadly messages lurking behind Marcel’s jokes from the beginning and has collectively made it their mission to insure that his unanswered queries continue to breathe. “
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11. Doug Beube, FF Alumn, at Performance Arcade 2020, Wellington, NZ, Feb. 26-March 1
Friends,
I’m honored and pleased to tell you that my social justice art installation entitled ‘Wash’ will be premiered at the Performance Arcade 2020, in Wellington, NZ. The installation will be exhibited in a shipping container (along with twenty other artists exhibiting/performing in their own shipping containers). The exhibition will be open to the public from 2/26-3/1. Wash is an interactive installation where participates are invited to wash away ethnic slurs cut into the surface of handmade soap. With my NZ video assistant we’re hoping to livestream or at least post daily images and videos to Instagram of audience members washing the slurs from the inked soaps.
You can read the proposal on my website by clicking the ‘Wash’ link to the page that shows the description and photographs. I encourage you to read the insightful essays by three American linguists who specialize in ethnic slurs, their history and contemporary usage. In their essays, Michael Adams, Cecelia Cutler and Hiram Smith discuss what it means to vilify someone by ‘othering’ them. In context to ‘Wash’ and its timely significance in today’s culture, their discussion is particularly poignant.
I’ll be at the exhibition every day and invite you to drop by if you’re in the area. It’s only an eighteen hour plane ride from NYC to NZ (not including layovers) and worth the trip to see other international artists participating in this unique venue. I look forward to seeing you soon.
Peace,
Doug
Wash on Doug’s Website
https://dougbeube.com/home.html
or click the link below to view ”Wash’ on my website
https://dougbeube.com/section/443418-Wash.html
The Performance Arcade 2020
https://www.theperformancearcade.com
Doug: Wash: Participating Artist
https://www.theperformancearcade.com/artists/Doug-Beube
PA Artists
https://www.theperformancearcade.com/artists
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12. Barbara Rosenthal, FF Alumn, at Accademia di Belle Arti, Lecce, Italy, Feb. 27-28 and more
LECCE, ITALY
Thurs., Feb. 27, 3pm
Fri., Feb. 28, 11:30am
ACCADEMIA di BELLE ARTI
Via Giuseppe Libertini, 3
73100 Lecce LE, Italy
+39 0832 258611
accademialecce.it
Segreteria Tel.0832 258622 infosegreteria@accademialecce.it
The Accademia has mounted an installation of Surreal to Conceptual Photography by New York visual artist / writer / performer Barbara Rosenthal among sculptures and surround-sound audio by her Italian host, Claudio Scardino. Rosenthal will screen her video composite Hands & Feet and Other Shorts, present an overview of her 55-year career and speak with students, guests and visitors. She will talk about being a student in Italy, 1968-69, and works created here during subsequent visits nd expositions, such as her text-art billboards in Padua, 2009-2010. These were giant iterations from her project Provocation Cards, which she produced as Provocation Cards Interact in Piazza Del Popolo in 2017 and will reprise in Milan March 8. Of special interest is the autobiographical, philosophical and anthropological underpinnings of her content, and she will be joined onstage by philosophy and anthropology professors from Puglia.
LECCE, ITALY
“”Reading and Book-Signing by New York Author, Barbara Rosenthal: The Gianicolo at Sunset; ” and “In Ostia”
reading to Italy-inspired chapters from her novel ‘Wish for Amnesia'”
Sat., Feb. 29, 11:30am
FELTRINELLI LIBRERIA
Via Giuseppe Libertini, 3
73100 Lecce LE, Italy
+39 0832 258611
accademialecce.it
As she did for her successful 2015 evening at Giubbe Rosse Film and Literary Café in Florence, Barbara Rosenthal will read chapters from her novel “Wish for Amnesia.” A translator will be onstage during reading and discussion.
Barbara Rosenthal
http://en.wikipedia.org/wiki/Barbara_Rosenthal
http://www.barbararosenthal.org/
463 West Street, #A629
NY, NY, USA 10014-2035
eMediaLoft@gMail.com
Skype: barbararosenthal
Twitter: @BRartistNYC
Facebook: barbara.rosenthal1
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13. Liliana Porter, FF Alumn, at Sicardi Ayers Bacino, Houston, TX, opening March 19
Liliana Porter
Red Brush and Other Situations
Opening reception with the artist
Thursday, March 19, 6-8pm
Please save the date for the opening reception with the artist of Red Brush and Other Situations, a solo exhibition of new work by Argentine artist Liliana Porter.
Opening reception: Thursday, March 19, 6-8pm
Exhibition walk-through with Liliana Porter: Friday, March 20, 11am-1pm
Exhibition dates: March 19 – May 16, 2020
Sicardi Ayers Bacino
1506 W. Alabama St.
Houston, Texas 77006 USA
Tel +1 713.529.1313
info@sicardi.com
Instagram Twitter Facebook
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14. Henriëtte Brouwers, John Malpede, FF Alumns, at Skid Row History Museum and Archive, Los Angeles, CA, opening March 7
WHAT: Exhibition created by Rosten Woo, Anna Kobara, Henriëtte Brouwers, John Malpede
How to house 7,000 people in Skid Row?
WHEN: Opening Reception March 7, 6 to 8pm
Exhibition hours: Thurs, Fri & Sat. 2-5 pm
Exhibition dates: March 7 through August 29, 2020.
WHERE: Skid Row History Museum and Archive
250 S. Broadway, Los Angeles, CA 90012
A project of Los Angeles Poverty Department
For Further Information on the Exhibition and Special Events Please call or email
Tel. 213 413-107 | info@lapovertydept.org | lapovertydept.org
How to house 7,000 people in Skid Row?
We’re talking about housing everyone now living on the streets of Skid Row -and more.
Tired of promises and no solutions to L.A.’s housing crisis? At the exhibition, learn together and in public how housing works and could work in L.A.
A coalition of Skid Row community members and groups have created “Skid Row Now & 2040” a plan that identifies funding sources to house people who have extremely low incomes. The exhibition created by Woo, Kobara, Brouwers & Malpede makes the solutions in the plan graphically legible.
You will be able to understand how each funding mechanism works and how many dollars could be raised and therefore how many people could be housed by the City’s adoption of these income-generating tools. They include dollars for housing that could be generated from: inclusionary zoning, a vacancy tax, and the creation of a tax-increment financing district. Worry not— all these concepts will be graphically and simply explained by the exhibition. What you get to do is choose your mechanisms and determine their geographical boundaries. When your stack of dollars from each of your sources reaches $3.5 Billion, Congratulations! You have a viable plan for housing 7,000 People in Skid Row. Next: the hard work of getting City Council to enact it.
At the March 7th opening, The Los Angeles Poverty Department will present a 25-minute introduction to the exhibition —-a dystopic, performative warning: one that imagines a new Amazon headquarters in Skid Row.
During the development phase of the project, “How to House 7,000 People on Skid Row,” presented two public conversations with housing policy experts and community organizers. Additional public events will take place during the run of the exhibition. At the next event, on Wednesday March 18, from 4-8pm, members of the Anti-Eviction Mapping will continue to collect stories associated with particular places on Skid Row— a continuation of the work they began in October at the Festival for All Skid Row Artists.
The project “How to House 7,000 People in Skid Row” is supported with funding from A Blade of Grass, The Andy Warhol Foundation for the Visual Arts, with additional support provided by an Engaging Humanities Grant from the University of California Humanities Research Institute.
Artist Bio’s
Rosten Woo is an artist, designer, and writer living in Los Angeles. His projects aim to help people understand complex systems, re-orient themselves to places, and participate in group decision-making. He acts as a collaborator and consultant to a variety of grassroots organizations including Little Tokyo Service Center, the Black Workers Center, Los Angeles Alliance for a New Economy, and Esperanza Community Housing Corporation, as well as the city of Los Angeles, and the California State Parks. His work has been exhibited at the Cooper-Hewitt Design Triennial, the Venice Architecture Biennale, and various piers, public housing developments, shopping malls, and parks. He is co-founder and former executive director of the Center for Urban Pedagogy (CUP), winner of the 2016 National Design Award for institutional achievement. His book “Street Value” about race and retail urban development was published by Princeton Architectural Press in 2009.
By day, Anna Kobara works in non-profit affordable housing development and finance. By night, she works with the Anti-Eviction Mapping Project (AEMP) on data visualization and mapping projects. Her work aims to support community organizations heading housing justice campaigns such as rent control, tenant rights, anti-displacement, anti-dispossession, and anti-gentrification. Her recent work includes supporting Tenants Together with their Rent Control for All campaign by creating an online, interactive database of rent control and renter protection policies throughout California.
John Malpede directs, performs, and engineers multi-event projects that have theatrical, installation, public art, and education components. In 1985, he founded Los Angeles Poverty Development (LAPD), a performance group comprised primarily of homeless and formerly homeless people who make art, live, and work on Skid Row. He has produced projects working with communities throughout the US, as well as in the UK, France, the Netherlands, Belgium, and Bolivia. His 2004 work RFK in EKY sought to recreate Robert Kennedy’s 1968 “war on poverty” tour in the course of a four-day, 200-mile series of events focused on historic and current issues and social policy. As a 2008-2009 fellow at MIT’s Center for Advanced Visual Studies, Malpede developed Bright Futures in response to the worldwide financial crisis. In 2013, John Malpede received the Doris Duke Performing Artist Award. In 2014, the Queens Museum of Art in New York City mounted the first retrospective gallery exhibition on the work of the LAPD, which traveled to the Armory Center for the Arts in Pasadena in 2016. “How to House 7,000 People in Skid Row” is the continuation of Woo and LAPD’s 2017 project “The Back 9”.
Henriëtte Brouwers is the Associate Director of the Los Angeles Poverty Department. Since 2000 she co-directs, produces and performs in many LAPD performances and she worked with John Malpede on the creation of RFK in EKY (2004) a community-based re-enactment of Robert F. Kennedy’s 1968 trip to investigate poverty in Appalachia. Born in the Netherlands, Brouwers performs, directs and has taught throughout the US, the Netherlands and France. She was a member of Augusto Boal’s Theatre of the Oppressed group and studied corporeal mime with Etiènne Décroux in Paris, France. In Amsterdam she founded movement theater ACTA and performed with Shusaku & Dormu Dance Theatre, Grif Theater, Nationaal Fonds, a.o. The Theatre Project in Baltimore, Highways in Santa Monica and UT Knoxville, TN presented her work in America. Henriëtte performed with Touchstone Theatre, PA and 7 Stages Theater in Atlanta and was the movement director for Blue Monk by Robert Earl Price, for the 1996 Olympic Arts Festival. She devised a series of performances based on the Mexican legend of La Malinche and La Llorona: The Weeping Woman. Brouwers is featured in Bill Viola’s renowned ‘The Passions’ series.
About Los Angeles Poverty Department
Based in the Skid Row neighborhood since 1985, Los Angeles Poverty Department (LAPD) is the first ongoing arts initiative on Skid Row, a non-profit arts organization that connects lived experience to the social forces that shape the lives and communities of people living in poverty. LAPD creates performances and multidisciplinary artworks, which express the realities, hopes, dreams and rights of people who live and work in L.A.’s Skid Row. LAPD has created projects with communities throughout the US and in The Netherlands, France, Belgium, and Bolivia.
About The Skid Row History Museum and Archive
The Skid Row History Museum & Archive operates as an archive, exhibition, performance and meeting space curated by LAPD. It foregrounds the distinctive artistic and historical consciousness of Skid Row and functions as a means for exploring the mechanics of displacement in an age of immense income inequality, by mining a neighborhood’s activist history and amplifying effective community strategies.
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15. Alicia Grullón, Saul Ostrow, FF Alumns, at PS122 Gallery, Manhattan
PS122 Gallery
150 First Avenue
entrance on 9th street
New York, NY 10009 Gallery Hours
Friday – Sunday
12-6p + by appt.
Every weekend in March, join us for Performing Authorship: 31 Days in March, a project organized @ps122gallery by Saul Ostrow for Critical Practices Inc.’s curatorial program, CPI_CURRICULA. The exhibition assembles the work of eight collaborative teams to author works that are either hybrids, syntheses, or amalgams of the teams’ members sensibilities. The Core Group represents four generations (1970s-2000s) of artists: Russell Maltz, Cris Gianakos, Michael Gitlin, Hannah Bigeleisen, Alicia Grullón, MK Guth, Ivelisse Jiménez and Bradley Tucker. Other participating artists include Bat-Ami Rivlin, Lee-Tal, Steven Bukowski, Dan Bainbridge, Linda Hutchins, Chloë Bass, Suje Garcia, Brian E. Bridgford, and Sally Belk Gambrell Bridgford, among others.
New works will be added to the exhibition on March 6, 13, 20, 27.
A closing reception will be held on Sunday, March 29 @PS122Gallery – 4:00 – 7:00 PM!
Yours,
Ian Cofre, Director
CURATED BY SAUL OSTROW FOR CPI_CURRICULA
March 1 – March 31, 2020
Closing Reception: Sunday, March 29, 4 – 7 pm
New Works will be added to the exhibition on March 6, 13, 20, 27
Performing: to carry out, accomplish,
or fulfill (an action, task, or function)
Authorship: the state or fact of
being the writer of a book, article,
document, etc. or the producer of
a creative work
Collaboration: the action of working
with someone to produce or create
something
From the Curator, Saul Ostrow:
Performing Authorship: 31 Days in March assembles the work of eight collaborative teams to author works that are either hybrids, syntheses, or amalgams of the sensibilities of the teams’ members. The idea for this project came from discussions with Ian Cofre, Director of PS122 Gallery, and artist Russell Maltz; all three of us are affiliated with Critical Practices Inc. It was determined that it would be fun to do something a little different- something old school, i.e. ad hoc. So rather than organize an exhibition around a topic-it was determined that CPI would organize a project based on a situation-a set of conditions, terms, and tasks. To this end, it was determined that it might be of interest to consider the gallery primarily as a site of production. This inversion has its roots in Robert Morris’s Continuous Project Altered Daily, which 51 years ago was performed in March 1969 at the Castelli Warehouse. Morris had brought to the site a wide range of industrial materials, as well as a quantity of earth, which he would re-arrange daily. The project raised various questions about the nature of art as a product of variation and repetition. Morris at the end of each day photographed the indeterminate nature of each day’s final form.
In the case of Performing Authorship: 31 Days in March, rather than focus on the temporality and variability of the artwork, I thought that what would be most interesting is an exhibition that addressed the terms and conditions of production; in particular the assumed individuality of authorship, as a product of the supposed isolation of the studio. Taking this as my premise, I decided to focus on the notion of collaboration-the action of working with someone to produce or create some entity which would be neither one person’s nor an other’s. Unlike Morris’s project, the resulting work in this case would be unique and specific.
The next decision to be made was, who would be the Core Group of artists-and how many should there be? It was a given that these artists had to represent various aesthetics, intellectual and philosophical tendencies and practices, as well as being generationally diverse. Then there was the question of how much instruction were the participants to be given, since they in turn would be inviting collaborators. As such I turned to the guiding principles of all of Critical Practices Inc. (criticalpractices.org) programs: I would draft The Rules of the Game (available on request) for Performing Authorship: 31 Days in March.
CPI_Curricula was originally designed to encourage the production of collaborative projects by and facilitating the interactions between individual artists (and groups), as well as critics and other interested parties. After some deliberation, it was decided Performing Authorship: 31 Days in March would consist of 8 collaborative teams. The Core of Russell Maltz, Cris Gianakos, Michael Gitlin, Hannah Bigeleisen, Alicia Grullón, MK Guth, Ivelisse Jiménez, and Bradley Tucker represents 4 generations (1970s-2000s) of artists. Each week, two teams are scheduled to make and install their work. The collaborations need not be produced on site, but the work must be completed and installed in accord with the given schedule. All the projects will be presented the final weekend of the exhibition. Consequently, the two most important rules to come out of this process were: 1.) Each projects’ material parameters and timeframe will be defined by the nature of PS122 Gallery resources and schedule. 2.) Nothing can be done physically to the space that the artist is not prepared to restore to its previous condition (this must be done immediately in that there are only 4 days between scheduled exhibitions).
With the intent of further demystifying the creative process by extending the dialog relative to art to public spaces, a PI_LTR On Authorship will be scheduled for the last weekend of the exhibition. All collaborators will be invited to participate with each inviting one additional participant.
PERFORMING AUTHORSHIP: 31 DAYS IN MARCH
SCHEDULE
Installation March 1-5; Open to the public March 6-8
• Team Russell Maltz
• Team Michael Gitlin
Installation March 9-13; Open to the public March 13-15
• Team Cris Gianakos
• Team Hannah Bigeleisen
Installation March 16-20; Open to the public March 20-22
• Team Alicia Grullón
• Team MK Guth
Installation March 23-27; Open to the public March 27-31
• Team Ivelisse Jiménez
• Team Bradley Tucker
DATE TBD – Critical Practices Inc. Round Table: On Authorship
CLOSING RECEPTION: Sunday, March 29, 4 – 7 pm
PS122 Gallery is a dynamic, cooperatively run not-for-profit, alternative space in the East Village that provides opportunities and support services for emerging and underrecognized artists since 1979. The gallery reopened in January 2019 following a six-year hiatus while the historic City of New York-owned building was renovated and brought up to code, doubling the gallery in size and expanding programming capacity. In its 40th Anniversary Year, PS122 Gallery is working from an ethos of #YearZeroinForty, acting as a platform in order to reengage with its surrounding community, identify new communities, and discover how it can address their needs. Under the artistic direction of Gallery Director, Ian Cofre, the 2019-2020 yearlong season is dedicated to multigenerational legacies, deep time, and long-term explorations, processes and thinking.
PS122 Gallery is free and open to the public and inclusive of all people, regardless of race, ethnicity, age, LGBTQIA identity, and class. Conveniently located on the ground floor of the 122 Community Center in the East Village of Manhattan near several public transportation lines, PS122 Gallery provides wheelchair accessibility through the 122CC main entrance, as well as wheelchair accessible water fountains and all-gender restrooms.
#ps122gallery #ps122 #eastvillage #40thAnniversary #paintingspace #YearZeroinForty
Copyright (c) 2019 PS122 Gallery, All rights reserved.
PS122 Gallery · 150 1st Ave Frnt Room · New York, NY 10009-5782 · USA
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Goings On is compiled weekly by Harley Spiller
