Contents for March 13, 2023
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1. Xinan Helen Ran, FF Alumn, at Essex Flowers, Manhattan, opening March 16 and more
2. Nam June Paik, FF Alumn, at Museum Ostwall in Dortmunder U, Germany, March 17-Aug. 27
3. Annie Rachele Lanzillotto, FF Alumn, at John D. Calandra Italian American Institute, Manhattan, March 13
4. Mirtha Dermisache, Ed Ruscha, Kiki Smith, Cecilia Vicuña, Reginald Walker, FF Alumns, now online at NYTimes.com
5. Zackary Drucker, FF Alumn, winter news
6. Mark Bloch, FF Alumn, now online at BrooklynRail.org
7. Olivia Beens, FF Alumn, at Open Studio, Manhattan, March 17-19, and more
8. Susan Hiller, FF Alumn, at Lisson Gallery, Manhattan, March 14-April 15
9. Nicole Eisenman, FF Alumn, at Museum Brandhorst, Munich, Germany, opening March 23
10. Jill Poyourow, FF Alumn, at Grant Wahlquist, Portland, Manine, thru April 8
11. Rosecrans Baldwin, FF Member, now online at NYTImes.com
12. Franc Palaia, FF Alumn, at Green Kill Sessions, and online, March 17
13. Ken Friedman, FF Alumn, now online at KalmarKonstmuseum.se
14. Tamar Ettun, Ayana Evans, David Everitt Howe, FF Alumns, at Printed Matter, Manhattan, March 22
15. Barbara Kruger, Sol LeWitt, Lucy Lippard, Howardena Pindell, Andy Warhol, FF Alumns, now online at NYTimes.com
16. Marcia Resnick, FF Alumn, at Howl! Happening, Manhattan, March 16
17. Karen Finley, FF Alumn, at Laurie Beechman Theatre, Manhattan, April 8-May 6
18. Charles Clough, FF Alumn, now online at nysm.nysed.gov
19. Abigail Child, FF Alumn, at Anthology Film Archives, Manhattan, March 24-28
20. Rhys Chatham, Joseph Nechvatal, FF Alumns, now online
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1. Xinan Helen Ran, FF Alumn, at Essex Flowers, Manhattan, opening March 16 and more
I would like to invite you to the opening of 7000SEEDS, Thursday, March 16 from 6 to 9 PM at Essex Flowers. This is my first solo show with the gallery, and I am giddying with excitement. The address is 19 Monroe St, New York. It is on view March 16 – April 16.
I will be showing new sculptures, capsule drawings, and a drawing of a past life envisioned during a hallucinatory breathwork session in 2015. Please scroll down for a press release.
If you won’t be able to make the opening night, the gallery is open Saturdays + Sundays 12 – 6 PM and by appointment (especially Friday!). Looking forward to seeing you soon!
Sincerely,
Xinan Helen Ran
7000SEEDS
Xinan Helen Ran
March 16 – April 16
Opening Reception: March 16, 6-9pm
Essex Flowers is pleased to present 7000SEEDS, Xinan Helen Ran’s first solo exhibition with the gallery.
In late Spring 2020, people across America received suspicious, unsolicited packages of seeds that appeared to be coming from China. Packed in small padded envelopes without labels, these mysterious seeds showed up in mailboxes across all 50 states. USDA’s Animal and Plant Health Inspection Service and DHS’s Customs and Border Protection issued warnings and advised residents not to plant them. Occurring at the height of covid pandemic and concurrent with the arrival of vespa mandarinia–coined by the media as “giant Asian murder hornets”–the public perceived the incident as another conspiracy by the Chinese to interrupt the US ecosystem. The scheme, it turned out, was instead part of a “brushing scam” for positive Amazon reviews, and the seeds were tested to be common vegetable varieties found in a backyard garden–alas.
7000SEEDS digs into the shared illogical paranoia of the invasive other, and unearths the seemingly scientific cause-and-effects that we take as truth–out of anxiety and the fantasy for self-sufficiency–in a global market that is tumbling towards a slow ecological collapse. In Seed Banks (2023), oversized gelatin capsules are meticulously painted with text and images that Ran has been collecting since the pandemic. These drawings on capsules depict uncertainty, doubt, and capricious promises, that rotate over and over for viewers’ reassurance. Resting precariously on mailer-tube pedestals, each capsule is filled with a pack of “mystery seeds” from the “Great Seed Panic of 2020.” The seed varieties are obtained through USDA public records but purchased at open markets in Manhattan Chinatown, in February 2023.
Moments Before (2015), Ran links the sentiment during the 2020 Seed of Terror with inherited societal fears towards “the enemy.” The manuscript-style ink drawing depicts a soldier surrounded by treasures inside a cave, holding a bucket of explosives. Envisioned during a breathwork session in 2015, the soldier serves as a surrogate for the artist’s past lives. Awaiting the enemy before blowing themselves up, this soldier destroys, while symbolically protecting the integrity of the treasure from invaders outside the cave.
The title 7000SEEDS is inspired by the 2001 manga series 7SEEDS by Yumi Tamura, which follows the struggle of five groups of young adults after their revival from cryonic chambers called “seeds.” In the “seeds” in 7000SEEDS act both as invasive species and as intrusive thoughts–they are collected, purchased, preserved, and eventually–literally and metaphorically–planted, into a tangled fantasy of doomsday survival and destruction.
Xinan (Helen) Ran (b.1994. Inner Mongolia, China) lives and works in Brooklyn, New York. She received her MFA from Hunter College (2022), and BFA from Pratt Institute (2017). She specializes in fabric, language, and found objects to construct emotional landscapes. She searches for the point where trauma, nihilism, and humor converge. Xinan is a current mentee in New York Foundation for the Arts’s Immigrant Artist Mentoring Program (2023), was a Lower Manhattan Cultural Council Arts Center resident (2022), and an Ox-Bow Summer Fellow (2016). Apart from her studio practice, Xinan is the co-founder of Tuft Love, a rug tufting business; an art educator, and an aspirational set designer for new theaters.
And
In/Between 2023: Lush Friction
In partnership with New York Foundation for the Art’s Immigrant Artist Mentoring Program
Opening Reception on Friday, March 17th at 5:30pm, free w/RSVP
On View March 17th – April 30th
This year’s exhibit features work by artists: David Benjamin, Jin-Yong Choi, Katerina Ganchak, Laura Garcia Serventi, Emilija Gašić, Clare Gemima, Isabel Hamdan, Bipasha Hayat, Hsiao-Chu (Julia) Hsia, Pilar Lagos, Yi Hsuan Lai, Carlos Morales, Himeka Murai, Xinan Helen Ran, Linda Sok, Johanna Strobel, Hong Wu, Chen Xiangyun, and Despina Zografos
Initiated in 2019 by artist Yanira Castro as part of her Live Feed residency at New York Live Arts, In/Between is an annual immigrant artist group exhibition originally created by artists Yanira Castro, Martita Abril, and Poppy DeltaDawn. This year’s exhibition is curated by Castro, Abril, and Zahra Banyamerian. It features nineteen immigrant artists and is developed in partnership with New York Live Arts and NYFA’s Immigrant Artist Mentoring Program, with a commitment to increasing the visibility of, and conversation around the work of immigrant artists. The name In/Between reflects on the multiplicity of immigrant artists’ experiences, identities, practices, and politics, while also speaking to the liminal experience of home/residence/community.
Learn more about IAP mentorship here: https://www.nyfa.org/professional-development/immigrant-artist-program-iap/mentorship/
New York Live Arts
219 W 19th Street
New York, NY 10011
Tel: 212.691.6500
Instagram @hdogthefurtrader
Thank you.
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2. Nam June Paik, FF Alumn, at Museum Ostwall in Dortmunder U, Germany, March 17-Aug. 27
Nam June Paik
I Expose the Music
March 17–August 27, 2023
Museum Ostwall im Dortmunder U
U-Dortmund, Leonie-Reygers-Terrasse 2
44137 Dortmund
Germany
Nam June Paik liked to describe himself as “the world’s most famous bad pianist,” alluding to the musical and performative element in his work. The exhibition Nam June Paik: I Expose the Music by Museum Ostwall at the Dortmunder U presents the work of the video art pioneer by focusing on live moments that run like a thread through his artistic career.
The exhibition, which opens on March 16, 2023, shows approximately 100 works, including installations, sculptures, audio and video works, unusual scores, instructions for action and concepts, as well as photographic documents and posters. They illustrate how the audience directly experienced Paik’s performances and was actively involved, whether in a gallery space or in a live television broadcast. For the first time in Germany, the powerful spatial installation Sistine Chapel (1993) will be shown, which performs a remix of Paik specific pop/cultural history as an early example of multimedia immersion
The exhibition is curated by Rudolf Frieling (SFMOMA) in close cooperation with Museum Ostwall. It refers to the museum’s collection, which focuses on Fluxus. A central piece in the exhibition is part of the collection, Paik’s key work Schallplatten Schaschlik (1963/1980), with which visitors could create their own music mix.
Other chapters of the exhibition are devoted to Paik’s collaboration with Charlotte Moorman, his early work with Karlheinz Stockhausen and his hitherto little explored relationship with Dieter Roth . Various interactive works by Paik also involve the audience in this exhibition, for example Random Access (1963) and Participation TV (1969/1982), in which visitors generate electronic sounds or images.
As a continuation of Paik’s never realised work Sinfonie for 20 Rooms (1961), four international artists have been invited to performatively refer to Paik’s work: Aki Onda, Autumn Knight, Annika Kahrs and Samson Young will use Paik’s score as inspiration for site specific works. Their guest performances reflect an essential aspect of Paik’s work and philosophy, which is inspired by artistic dialogue.
Aki Onda (March 16 to May 7) begins with Between Objects, Noted and Unnoted Sounds, an extended musical environment as a direct homage to Paik. As a traveller and aimless nomad between East and West born in Japan, he has Korean ancestors and lives in New York Onda feels connected to Paik. He understands Paik’s Fluxus legacy as the Zeitgeist of the avant garde of the 1960s in New York, as a contrary stance to the prevailing view of art at the time. From Paik’s work, he takes up both the ephemeral nature of performance and the absurd.
Thank you.
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3. Annie Rachele Lanzillotto, FF Alumn, at John D. Calandra Italian American Institute, Manhattan, March 13
Hi folks, I’d love to see you Monday night. It’s been a long time. Thanks to those of you who already reserved a seat! Let’s celebrate my book, “Whaddyacall the Wind?” I’ll read, sell & sign books, and be in conversation with the brilliant and compassionate Stan Pugliese. Tell a friend to come. We’ll have a beautiful night:
Monday March 13th
6pm
RSVP by calling (212) 642-2094
John D Calandra Italian American Institute
25 West 43rd Street
17th Floor, New York, NY 10036
Spring 2023
Writers Read Series
Monday, March 13, 2023, 6pm
Annie Rachele Lanzillotto reads from Whaddyacall the Wind? (Bordighera Press, 2022)
The ebullient writer and performance artist Annie Lanzillotto presents her latest publication, in which she invites readers to join her on a poetic journey to learn what it is to feel “like an errant puzzle piece … never to be found, never to be put into place.” In this written adventure Lanzillotto connects with the gay community in Italy, hangs out with living cousins in the cemetery of her ancestral town Acquaviva delle Fonti, argues with the Commedia dell’arte character Pulcinella, concocts a tale of a Madonna painting’s sojourn to Italy, and asks: “What position do you want to be in for l’eternità?”
“This tale about ancestors, spiritual renewal, and a region of Italy that is both ancient and magical enfolds you like a mother. Lanzillotto is a master storyteller who will charm you as easily as her female progenitors wove spells and created legends that still captivate today.”
—Marianne Leone, author of Jesse and Ma Speaks Up
Discussion led by Stanislao Pugliese, Hofstra University.
Free, open to the public, and held in person at the Calandra Institute.
RSVP by calling (212) 642-2094.
Annie
Thank you.
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4. Mirtha Dermisache, Ed Ruscha, Kiki Smith, Cecilia Vicuña, Reginald Walker, FF Alumns, now online at NYTimes.com
Please visit this link:
https://www.nytimes.com/2023/03/02/arts/new-york-art-galleries.html?searchResultPosition=1
Thank you.
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5. Zackary Drucker, FF Alumn, winter news
Dear Friends,
I hope this finds you well! It’s been a bombastic two years since I last sent a smoke signal on this list. I have been hard at work and hitting my stride telling stories.
This year I am releasing two documentary feature films that I directed. The Stroll, which I co-directed with Kristen Lovell, won a Special Jury Award: Clarity of Vision award at 2023 Sundance.
The Stroll will go on to play BFI Flare: London LGBT Film Festival, Outfest Fusion in Los Angeles (Sunday, March 26 at 7:00 PM, TCL Chinese 6 Theaters), and Hot Docs in Toronto. Our NYC premiere will happen at the end of June to coincide with our broadcast on HBO, where it will be forever available. More info here: https://whatson.bfi.org.uk/flare/Online/default.asp?BOparam::WScontent::loadArticle::permalink=stroll
The Stroll Review by The Hollywood Reporter can be seen here: https://www.hollywoodreporter.com/movies/movie-reviews/the-stroll-review-hbo-trans-sex-workers-1235312161/
Although it has not been announced, I have a second feature doc coming out called QueenMaker: The Making of an It Girl. Which will be released on Hulu in May! You heard it here first 🙂
Most of all, I’d like to introduce you to a heartfelt short film I’m producing: Sleep Training, which is about postpartum depression and degendering parenthood. My best friend since childhood, superstar editor / filmmaker, Sunita Prasad, wrote the script based on their own experiences as a new parent. Like Sunita, the main character Neha suffers from postpartum depression which manifests in intrusive thoughts. These visions range from the horrifying to the hilarious, and eventually push Neha to the brink.
Over half of child-bearing parents studied report having some kind of intrusive thoughts. That’s why we’re making Sleep Training: to use candor and humor to start important conversations about an experience which many can relate to, but is seldom discussed or depicted on screen.
We will be filming this month with a truly stellar team, including star Meera Rohit Kumbhani (Dave Made A Maze, FOX’s Weird Loners) and Broadway alum Jess Barbagallo in a supporting role. In order to fairly compensate our talented cast and crew we need to raise $15K in two weeks. Please consider contributing to help us reach this goal!
You can make a tax-deductible contribution via our fiscal sponsor Women Make Movies right here: https://www.wmm.com/sponsored-project/sleep-training/
The last time I reached out was to raise funds for Spookable, which we filmed once and for all last month. Here’s a sneak peek of starlet Alexandra Grey + werewolf stud Marval Rex:
In the art realm — Watch my film collaboration with Rhys Ernst, She Gone Rogue (2012) at the Hammer Museum, playing in their video gallery from April 25 – May 14, 2023. This is part of Full Burn: Video from the Hammer Contemporary Collection. More info here: https://hammer.ucla.edu/exhibitions/2023/full-burn-video-hammer-contemporary-collection
The McEvoy Foundation for the Arts in San Francisco is showing my short film collaboration with Mother Flawless Sabrina, At Least You Know You Exist (2011). On view through March 31, 2023. More info here: https://www.mcevoyarts.org/exhibition/we-begin-again/
I am eternally grateful to be in community with all of you and I’m sending each and every one of you my deepest love + solidarity, as ever,
xo Z
Thank you.
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6. Mark Bloch, FF Alumn, now online at BrooklynRail.org
Yasunao Tone: Region of Paramedia
Is an article that is in the current Brooklyn Rail, print and online editions.
https://brooklynrail.org/2023/03/artseen/Yasunao-Tone-Region-of-Paramedia
Excerpts: Artists Space’s investigation into the work of performance, sound, and digital composition pioneer Yasunao Tone. Examinations into emerging technologies, and their use and misuse in the creation of sound. A comprehensive exhibition of rare ephemera, ranging from Tone’s irreverent graphic scores to manipulated sound objects and gizmos to performative actions imaginatively documented. He rearranges patterns, translates images into sound, and diverts technological devices from their intended purposes. He is known as father of the “Glitch” for groundbreaking modifications he made to pre-recorded compact discs and CD players in the mid-1980s that delighted John Cage. His Music for 2 CD Players (1985) is available to experience as audio, video, timecode, in photos and as perforated CDs. After completing an early treatise on Dada and Surrealism in 1957, his early collective Group Ongaku, available for listening. Tone’s score “Anagram for Strings,” became a piece performed during the earliest Flux-manifestations led in Europe by George Maciunas, who later published it. As comfortable with the freely improvising Group Ongaku, as with the short-lived “creative destruction” of the Neo-Dada Organizers and the conspiratorial social interventions of Hi-Red Center. The latter included colleagues who would later join him in a Japanese branch of Fluxus, as seen in rare Asahi News footage from 1961 capturing a Group Ongaku performance with Toshi Ichiyanagi. Cage, Merce Cunningham, Allan Kaprow, and Charlotte Moorman. In posters and photos from the 1970s, Tone can be seen in Flux-performances, Flux-tours around Soho, and in video shot by Larry Miller in 1979 at The Kitchen. Tone’s numerous collaborations with Cunningham and flautist Barbara Held receive extensive and elegant explorations. Every experiment from Tone’s vast oeuvre benefits from his thoroughgoing scrutiny, which is revealed throughout this exhibition.
Mark Bloch
Thank you.
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7. Olivia Beens, FF Alumn, at Open Studio, Manhattan, March 17-19, and more
You are invited to an inaugural viewing of “Out of Body”, an installation by Olivia Beens about light, shadow and reflection. Repurposed x-rays, trinkets and memorabilia collected over the years are sewn into screening that creates a semi-private area for contemplation.
Open Studio
37 Canal St (@ Ludlow), #3
New York, NY 10002
917-929-0403
March 17, 18, 19: 1-6PM
or by appointment
Thank you.
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8. Susan Hiller, FF Alumn, at Lisson Gallery, Manhattan, March 14-April 15
Susan Hiller
Rough Seas
March 14 – April 15, 2023
504 West 24th Street, New York
Lisson Gallery is pleased to present a survey of Susan Hiller’s Rough Seas works. The exhibition tracks Hiller’s investigation into a particular cultural artifact, the ‘rough sea’ tourist postcard, which she began in the early 1970s and continued until her death in 2019. Rough Seas represents the influential artist’s third exhibition with the gallery and first in New York since 2017.
Having moved to the UK in the late ‘60s, the US-born Susan Hiller was in the seaside town of Weston-super-Mare when she came across an old Edwardian postcard bearing the image of waves crashing against the shore and the legend ‘rough sea’. Soon she began collecting similar postcards from junk stores in other coastal towns, recognizing them both as a form of collective portrait, a representation of Britain as an island nation, obsessed with the weather; and also as a domesticated, miniaturized version of the Romantic tradition of the sublime. Her first work to make use of this collection was the multi-panel installation, Dedicated to the Unknown Artists (1972-76), one of the best-known British conceptual works of the period (Tate collection). Positioning herself as curator, Hiller treated the postcards as miniature artworks, products of a previously unacknowledged artistic tradition in which anonymous workers, typically women, were employed to add hand-tinted effects and painted details to photographic images.
Subsequent ‘rough sea’ postcards that Hiller continued to acquire, between 1976 and 1982, were made into various Addenda to Dedicated to the Unknown Artists: small, single works that focused on specific themes. Hiller further explored the core relationship between painting and photography, first identified in Dedicated to the Unknown Artists, in her Rough Seas works. While some of the original postcards were printed versions of photographs that had been altered by hand and then rephotographed, others were photographic reproductions of paintings. The Rough Seas play out various permutations of these possibilities, enlarging the images and arranging them into gridded groups. In early works, such as Another Sea View (1982-88) and Storm Scenes (1987), Hiller adopted the role of hand-colorizer, modifying the images in a variety of different ways; later, she experimented with digital processes to produce ostensibly
painterly effects and fantastic tonal shifts, in works such as Night Waves (2009) and Rough Dawns II (2015). In each case, the resulting scenes of storm-wracked coasts and churning waters seem to thrill us, and speak to our deepest cultural fears and desires, our complicated longing for wildness and otherness.
Installed in the gallery’s final room, On the Edge (2015) was intended by Hiller as a companion piece to Dedicated to the Unknown Artists. A similarly extensive, multi-paneled display, it eschews the earlier work’s detailed linguistic and pictorial analysis in favor of a kind of stately litany, the arrangement of 482 postcards proceeding geographically through locations around the UK’s coastline – a circumnavigation that describes the limits of terra firma, that ironically attempts to map the interface between known and unknown. The title also suggests the precariousness, the inherent lack of definition, of island boundaries, a concern more prevalent that ever in the age of climate change. For over five decades, Hiller explored the fluid interrelation between the rational and the irrational, using her art to inquire into what she called ‘unstable zones’, where the liminal, the invisible, and the unconscious hold sway. The
Rough Seas works exemplify this space. Positioning the heaving, crashing waves within the formal restraint of the grid, Hiller’s images throw into question the logic and order that the format has come to represent. “[T]hese images represent the uncontainable”, writes the novelist and critic Lynne Tillman in her 2019 essay, which has been reprinted to accompany the exhibition. “Through their infinite stasis, absolute stillness, the images speak to the permanence of the irrational and of Nature’s uncontrollable forces.”
About the artist
With a multimedia practice extending over 50 years, Susan Hiller was one of the most influential artists of her generation. Since first making innovative use of audio and visual technology in the early 1980s, her groundbreaking installations, multi-screen videos and audio works have achieved international recognition. Each of Hiller’s works is based on specific cultural artefacts from our society, which are used as basic materials. Many pieces explore the liminality of certain phenomena including the practice of automatic writing (Sisters of Menon, 1972/79), near-death experiences (Channels, 2013) and collective experiences of unconscious, subconscious and paranormal activity (Belshazzar’s Feast, 1983-4; Psi Girls, 1999; Witness, 2000). Hiller’s powerful and resonant films range from the J Street Project (2002-05), a chillingly extensive search for every street sign in Germany bearing the word Juden (Jew), to The Last Silent Movie (2007), which also documents disappearance and absence, although this time through speech recordings of dying or extinct languages. Her psychologically charged and thematically varied practice amounts to an impassioned plea for the joys and mysteries associated with irrationality.
Susan Hiller (1940-2019) was born in Tallahassee, Florida. After graduating from Smith College in 1961, she went on to do doctoral studies in anthropology at Tulane University in New Orleans with a National Science Foundation fellowship. However she abandoned anthropology to become an artist, and from the mid ‘60s was based mainly in London. Her career has been recognised by major solo and survey exhibitions at institutions including Bloomberg SPACE, London, UK (2020); The Polygon, Vancouver, Canada (2018); Officine Grande Riparazioni, Turin, Italy (2018); Pérez Art Museum Miami, Miami, FL, USA (2017); The Model, Sligo, Ireland (2014); Samstag Foundation, Copenhagen, Denmark (2014); Summerhall, Edinburgh, UK (2014); Musée d’Art Moderne et Contemporain, Toulouse, France (2014); Tate Britain, London, UK (2011); Kunstalle Nurnberg, Germany (2011); Centro Cultural Montehermoso, Vitoria-Gasteiz, Spain (2010); BAWAG Foundation, Vienna, Austria (2008); The Jewish Museum, New York, NY, USA (2008); Castello di Rivoli, Turin, Italy (2006); Kunsthalle Basel, Switzerland (2005); Museu Serralves, Porto, Portugal (2004); Baltic Centre for Contemporary Art, Gateshead, UK (2004); Museum of Contemporary Art, Roskilde, Denmark (2002); Henie-Onstad Kunstsenter, Oslo, Norway (1999); ICA, Philadelphia, PA, USA (1998); Tate Gallery, Liverpool, UK (1996); Kettle’s Yard, Cambridge, UK (1989); and ICA, London, UK (1986). She participated in Documenta 13 and 14, Kassel, Germany (2012, 2017); Manifesta 11, Zurich, Switzerland (2016); and in British Art Shows 2, 5 and 8, touring, UK (1984, 2000, 2015). Hiller’s work features in numerous international private and public collections including the Centre Pompidou, Paris, France; Ludwig Museum, Cologne, Germany; Museum of Modern Art, New York, NY, USA; the National Gallery of Art, Washington DC, USA; Tate Collection, London, UK; Seralves Foundation, Porto, Portugal; and Centro de Arte Contemporanea Inhotim, Brumadinho, Brazil.
About Lisson Gallery
Lisson Gallery is one of the most influential and longest-running international contemporary art galleries in the world. Today the gallery supports and promotes the work of more than 60 international artists across two spaces in London, two in New York, one in Shanghai and Beijing, as well as a forthcoming gallery in Los Angeles, opening 15 April. Established in 1967 by Nicholas Logsdail, Lisson Gallery pioneered the early careers of important Minimal and
Conceptual artists, such as Art & Language, Carl Andre, Daniel Buren, Donald Judd, John Latham, Sol LeWitt, Richard Long and Robert Ryman among many others. It still works with many of these artists as well as others of that generation from Carmen Herrera to the renowned estate of Leon Polk Smith. In its second decade the gallery introduced significant British sculptors to the public for the first time, including Tony Cragg, Richard Deacon, Anish Kapoor, Shirazeh Houshiary and Julian Opie. Since 2000, the gallery has gone on to represent many more leading international artists such as Marina Abramović, Ai Weiwei, John Akomfrah, Susan Hiller, Tatsuo Miyajima and Sean Scully. It is also responsible for raising the international profile of a younger generation of artists led by Cory Arcangel, Ryan Gander, Van Hanos,
Hugh Hayden, Haroon Mirza, Laure Prouvost, Pedro Reyes, Wael Shawky and Cheyney Thompson.
For press enquiries, please contact
David Simantov, Communications Manager
+1 212 505 6431 (Office)
+1 917 243 9933 (Cell)
i: @lisson_gallery
t: @Lisson_Gallery
fb: LissonGallery
Thank you.
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9. Nicole Eisenman, FF Alumn, at Museum Brandhorst, Munich, Germany, opening March 23
Nicole Eisenman
What Happened
March 24–September 10, 2023
Opening: March 23, 7–11pm
Artist talk: March 24, 6–8pm
Museum Brandhorst
Theresienstraße 35a
80333 Munich
Germany
Hours: Tuesday–Sunday 10am–6pm,
Thursday 10am–8pm
Nicole Eisenman. What Happened at Museum Brandhorst surveys for the first time the entire spectrum of the artist’s work in painting, drawing, and sculpture, bringing together approximately 100 works dating from 1992 to the present. Nicole Eisenman’s work is consistently formally inventive and materially ambitious. She has been hugely important to generations of lesbian and queer viewers, and the deep humanism of her work engages all audiences. She confronts the most worrying political and economic crises of our time, holds out for new kinds of resistance and community, and almost always, she brings to her work her anarchic sense of humour.
The exhibition begins with Eisenman’s murals and drawing installations from the 1990s where lesbian social and sex life was central to her image-making. A group of self-portraits from around 2004 show Eisenman confronting the predicament of the out-of-favour painter. Her works from the late 2000s engaged with the social and economic crises of the period, just as her paintings of the 2010s confront the omnipresence of screens in our social lives. While the exhibition explores the connection of her work to its various contexts, it also pays tribute to her formal experimentation, for instance with a room of her reliefs, sculptures, and prints focusing on the motif of the head. The penultimate section of the exhibition features large vertical paintings in which Eisenman confronted the rise of right wing popularism under Trump, while also celebrating those who resisted this turn. The show also celebrates Eisenman’s extraordinary ambition in sculpture with the inclusion in Munich of her multi-part sculpture, Procession.
The exhibition is accompanied by a comprehensive catalog documenting the full range of Eisenman’s work. Essays by curators Mark Godfrey and Monika Bayer-Wermuth survey developments in Eisenman’s work since the 1990s, while Chloe Wyma considers Eisenman’s recent engagements with national and institutional politics. Alongside are texts by artists, curators and writers, many of whom have collaborated with Eisenman and provide personal reflections on significant past projects or reflect on the lesbian and queer communities to which she has been so central. These contributors include Jadine Collingwood, Britta Peters, Ann Philbin, Helena Reckitt, Joe Scotland, A.L. Steiner and Nicola Tyson.
Curated by Monika Bayer-Wermuth and Mark Godfrey.
In cooperation with Whitechapel Gallery in London.
The exhibition is supported by
PIN. Freunde der Pinakothek der Moderne e.V.
Allianz, Partner of PIN. Freunde der Pinakothek der Moderne e.V.
Media partners
ARTE
Monopol
Thank you.
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10. Jill Poyourow, FF Alumn, at Grant Wahlquist, Portland, Manine, thru April 8
Jill Poyourow: You’re Gonna Make It After All!
3/3/23 – 4/8/23
Grant Wahlquist Gallery is pleased to announce Jill Poyourow’s second solo exhibition at the gallery, “You’re Gonna Make It After All!” The exhibition will run from March 3 through April 8, 2023. The gallery will host a reception with the artist on Saturday, March 18th, from 2 – 5 pm.
https://www.grantwahlquist.com/poyourow-youre-gonna-make-it
“You’re Gonna Make It After All!” is a focused presentation of new paintings and monoprints by an artist whose practice is exceptionally expansive: biology, natural history, migration, personal and cultural genealogy, the history and uses of photography, popular culture, illness, abstraction, and quotidian observations—Poyourow wrestles with and synthesizes them all. Originally trained in the environmental and biological sciences, Poyourow’s earliest works were driven by a hunger to capture the world around her, and this impulse to digest the panoply of her experiences remains, further deepened by lessons learned as a student of Allan Sekula and John Baldessari at CalArts and the indelible imprint of studio visits with feminist artists such as May Stevens and Eleanor Antin. Storytelling is at the heart of all her work, and Poyourow’s own story traverses the heady Los Angeles art world of the 1980s and 90s and her past nearly two decades in the woods of Cape Neddick, Maine. “You’re Gonna Make It After All!” contains many stories, which emphasize resiliency and solidarity from a uniquely Jewish American, feminist perspective.
There are many protagonists in these tales. Some are family members: Great Aunt Esther, who taught Poyourow how to draw and paint as a child; Great Uncle Alex, a lyricist in New York’s vaudeville circuit of the early 20th century; ancestors who made the journey from Eastern Europe to the United States for many of the same reasons as other members of the Jewish diaspora; and the artist’s late and dearly missed mother. These family stories intersect with larger historical narratives, for example that of Emma Lazarus, the Jewish poet and activist whose poem “The New Colossus” is inscribed on the pedestal of the Statue of Liberty (“Give me your tired, your poor, your huddled masses yearning to breathe free!”). Lazarus is the namesake of the Emma Lazarus Clubs, organizations of progressive Jewish women including Poyourow’s Great Aunt Esther, and this exhibition includes many iterations of a letter of solidarity Esther wrote on the Bronx Council of Emma Lazarus Clubs’ behalf to African American civil rights hero Rev. Joseph A. DeLaine in 1955.
These pieces also include numerous images of icons of popular culture of the second half of the 20th century, which not only serve as a generous access point for the viewer but also manifest Poyourow’s commitment to exploring where the public and the personal intersect. These icons share a sense of buoyancy, sometimes quiet, sometimes brash, that make them beloved by audience members who do not always share their backgrounds: Barbra Streisand as Fanny Brice riding a tugboat through New York harbor past the Statue of Liberty in “Funny Girl” (“Nobody’s gonna rain on my parade!”); Jennifer Grey held aloft as “Baby” Houseman in the Borscht Belt (“Nobody puts baby in a corner!”); and, of course, Mary Tyler Moore tossing her hat into the air.
Significantly, the dominant style of the works in “You’re Gonna Make It After All!” is collage-like, and nearly all of them contain some mixture of the above reference points and characters. The mood is Rauschenbergian: bright colors (pastel or acid pinks, blues, yellows, and greens), hybrid media, public and private meanings all mixed together. The exhibition’s retinal zing prompts reflection on enduring and resolutely contemporary questions: How do the stories we inherit and retell create that ever-slippery thing we call “the self”? How does trauma instill or defeat resiliency? How, without collapsing real and salient differences between them, can the experiences of oppressed groups contribute to meaningful solidarity? How do we contextualize and appreciate prior expressions of solidarity in view of changing understandings of what solidarity means? Poyourow’s embrace of these questions results in works that are personal, specific, accessible, and open all at once—and above all, exceptionally fresh.
Jill Poyourow received a B.S. from Western Washington University, Bellingham, and a B.F.A. and M.F.A. from California Institute of the Arts, Valencia. Poyourow’s solo exhibitions include: Grant Wahlquist Gallery; POST, Los Angeles (catalogue with essay by Chris Kraus); and the Apex Gallery, South Dakota School of Mines, Rapid City. Her work has been featured in group exhibitions at venues including: POST; Thomas Solomon’s Garage, Los Angeles; the Center for Maine Contemporary Art; Dave Muller’s Three Day Weekend, Los Angeles; Los Angeles Contemporary Exhibitions; the Skirball Cultural Center, Los Angeles; the Armory Center for the Arts, Pasadena; the Laguna Art Museum, Laguna Beach, California; Annika Sundvik Gallery, New York; Side Street Projects, Santa Monica; and the First Biennale Internazionale delle Arti FiliForme.
The gallery is located at 30 City Center, Portland, Maine. Gallery hours are Wednesday through Saturday, 11 am to 6 pm, and by appointment. For more information, visit http://grantwahlquist.com, call 207.245.5732, or email info@grantwahlquist.com.
https://www.grantwahlquist.com/poyourow-youre-gonna-make-it
Thank you.
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11. Rosecrans Baldwin, FF Member, now online at NYTImes.com
Please visit this link:
Thank you.
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12. Franc Palaia, FF Alumn, at Green Kill Sessions, and online, March 17
Words Carry Us with Betty MacDonald hosts Franc Palaia on Sunday, March 19 at 7 PM, at Green Kill Sessions. More information is below.
This event is a livestream production event open to a live audience of 30. The livestream is broadcast on YouTube Channel. Tickets are 10 dollars.
Go here and find link to purchase tickets: https://greenkill.substack.com/p/words-carry-us-march-19-7-pm-green
There are two ticket categories:
Please note that if you are buying tickets for someone else, you must use their email address when filling out the Eventbrite form otherwise the ticket holder will not be able to access the event. Eventbrite recognizes the email address of the buyer only.
Live audience
Audience members who wish to attend a performance in-person will reserve a ticket to attend the livestream event.
Livestream ticket holders will also receive a link which they can watch later on their own device.
In person audience is limited to 30.
Please consider helping the poets and Green Kill. These times are hard for performance spaces.
Franc Palaia
Franc Palaia an award-winning New York based multi-disciplinary artist working in painting, photography, public art, murals, sculpture, scenic and lamp design. Exhibitions include the Metropolitan Museum of Art, NY, Whitney Museum of American Art annex, LA MoCA , OK Harris gallery, PS1, New Museum, ACA Galleries, Saatchi Museum, London, Vassar College, Fundacio Salvador Dali-Gala in Spain, the Velan Arte Contemporanea in Turin, Italy and the American Academy in Rome. His works are included in the permanent collections of MoMA, Newark, Montclair and Brooklyn Museums, Prudential Insurance, Robert Wood Johnson and the New Jersey State Museum. Many of Franc’s large outdoor murals are featured in Poughkeepsie and throughout Hudson Valley and the Tri-State area, he has worked with and assisted many well-known artists among them Annie Leibovitz, Billy Name, Salvador Dali , Tomas Saraceno, Pope L. and Richard Hambleton. Franc was producer and host of “Arts Focus” a half-hour interview program on Time Warner Cable TV.
Betty MacDonald
Writer/actor Betty MacDonald contributed to the writing of and performed in TMI’s What to Expect When You’re Not Expecting. Her essay “Before Roe v. Wade” appears in the anthology Get Out of My Crotch! Her work is included in the anthologies 80 Things To Do When You Turn 80, Open House, Better With Age. and Lightwood, an online magazine. Betty presented her essay “First Love” for 650Read at the Cell Theatre in New York City, and at Vassar College. Her essay “Daughter of Twins” is on video for 650Read’s Mother’s Day presentation. Her essay “Not Jewish Enough” is on video for 650Read’s Jew-ish. Betty presented her essay, “I’m Not a Woman of My Age!” at City Winery in New York City for Read650’s “Coming of Age” event. Betty hosts Words Carry Us, a livestream show of readings and interviews from Green Kill in Kingston, NY.
Following her early career as a continuity writer and radio personality Tiny Lee, Betty became a travel industry correspondent. Unfortunately, she’s a homebody and finds travel uncomfortable and exhausting. For over 30 years, storytelling has influenced her work as a performer with Community Playback Theatre in the Hudson Valley.
Website: bettymoonmacdonald.com
Green Kill, 229 Greenkill Avenue, Kingston NY 12401 347-689-2323
Thank you.
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13. Ken Friedman, FF Alumn, now online at KalmarKonstmuseum.se
92 Events presents works of art from six decades by the Fluxus artist Ken Friedman.
Born in the USA, Friedman now lives in Sweden. Friedman’s work is conceptual and
language based. It draws on everyday life to challenge the notion of the artwork as a
unique object.
92 Events is a series of introductory texts working as ideas for sculptures, absurd
actions and concrete poetry. Like a director or orchestra conductor Friedman
instructs the observer, the receiver of the message, to act. The term “events” stems
from “event score”, a concept which was originally coined within philosophy of music
and which was later picked up within Fluxus as short performance scores.
Friedman’s events are consciously playful, even absurd, and they describe a series of
actions that break with traditional conceptions of art by leaving the performance to
the observer. Much like performing a musical score, Friedman’s written notes let
anyone perform the artwork to create something more than simple repetitions.
Unlike playing a recording, the score leaves room for interpretation and each
performance is unique. Moreover, everyday objects stand out as potential art
materials. Ordinary items such as shoes, clocks and crockery are accessible to most
people. They allow almost everyone to be co-artists in Friedman’s instructions –
regardless of where they are in the world.
An interest in the common object and expressing oneself through words is something
that Friedman has in common with many other Fluxus artists. This global art group
had its heyday in the 1960s and 1970s. It is better described as an attitude or life
philosophy than a style. Humor, collaboration, intermedia and ideas (rather than end
results) are important elements. Fluxus consists of an eclectic group of individualists,
often from completely different backgrounds to the traditional artists of the academy.
Fluxus unites musicians, poets, dancers, composers, chemists, folklorists, and many
others.
Ken Friedman joined Fluxus as the youngest member in 1966. But the first events
had started to take shape as ideas in his mind long before he considered them art, or
himself an artist. Ken Friedman planned to become a minister for the Unitarian
Church before he came into contact with Fluxus through the artist Dick Higgins.
During a visit in New York, he met Higgins and Fluxus co-founder George Maciunas.
Maciunas liked Friedman’s ideas and invited him to join Fluxus. In an interview with
Torrance Art Museum Friedman says:
“A short while later, George asked me what kind of artist I was. Until that moment, I
had never thought of myself as an artist. George thought about this for a minute, and
said, ‘You’re a concept artist.’
“I like the fact that I became part of Fluxus before I became an artist.”
The name “Fluxus” stems from flux meaning “flow” or “continuous movement,”
reflecting the free flow of ideas crucial to the artists and their work. Fluxus artworks
are often made for dissemination, adapted to the particular conditions of situations
and place, and adapted to media. An event can be published in a catalogue, gifted to a
friend, nailed to a public noticeboard, or perhaps printed on boxes like the objects
called Fluxkits.
Friedman’s scores are living documents. By working through language as
instructions, descriptions and documents, they slide between past, present and
future. They work in a condition of possibility with limitless potential for variation
and interpretation. They are perfect examples of art working as mental amusement
where our imagination can travel even when our bodies can’t.
The exhibition space at Kalmar konstmuseum invites visitors as well as professional
musicians, dancers and actors to be co-artists in Ken Friedman’s exhibition, taking on
and interpreting one or more of the scores in their own way. Just as a piece of music
comes to life when musicians interpret the notes, Friedman’s events are only fully
realised when the instructions are turned into actions – even if only in the mind.
Ken Friedman (born 1949 in New London, Connecticut) joined Fluxus in 1966 as the
youngest member of the group. He has collaborated closely with other artists and
composers within Fluxus, among them Dick Higgins, Nam June Paik and John Cage.
Friedman was key in establishing Fluxus West, a node for Fluxus activities in the
western states of the USA. During the 1960s and 1970s, Fluxus West expanded to
include Germany and Great Britain.
In 1976, Friedman finished a PhD in behavioural science, while also working as an
artist. In the 1990s, Friedman worked as a management consultant and designer.
This led to a career in academia: first as Professor of Leadership and Strategic Design
at Norwegian School of Management in Oslo, later as Dean of the Design Faculty at
Swinburne University of Technology in Melbourne where he is now Professor
Emeritus. Since then, Friedman became Chair Professor of Design Innovation Studies
at Tongji University in Shanghai.
Kalmar Konstmuseum maintains a website on the exhibition here:
https://www.kalmarkonstmuseum.se/en/exhibition/92-events/
Thank you.
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14. Tamar Ettun, Ayana Evans, David Everitt Howe, FF Alumns, at Printed Matter, Manhattan, March 22
Hello!
I have a book launch and a game show performance for Texts from Lilit at Printed Matter on March 22, 6-8pm. I think the game show will be really fun and special and I would love to see you there! Ayana Evans and David Everitt Howe, FF Alumns, are among the performers
https://www.printedmatter.org/programs/events/1569
Thank you.
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15. Barbara Kruger, Sol LeWitt, Lucy Lippard, Howardena Pindell, Andy Warhol, FF Alumns, now online at NYTimes.com
Please visit this link:
https://www.nytimes.com/2023/03/08/arts/design/artist-job-blanton-museum.html?searchResultPosition=1
Thank you.
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16. Marcia Resnick, FF Alumn, at HOWL! Happening, Manhattan, March 16
Live Mag! & Howl! Happening
5 Years
You’re invited—celebrate 5 years of partnership between Howl! Happening and Live Mag!
An evening of Art, Film, and Poetry and the launch of Issue #19!
Featuring special guests Marcia Resnick, Brett De Palma, Sono Kuwayama, Luigi Cazzaniga, Leah Elimeliah, Sarah Arvio
Hosted by Howl! Director Jane Friedman and Live Mag! Publisher Jeffrey Cyphers Wright and Editors Lori Oritz and Ilka Scobie
Pick up a copy of Issue 19
Thursday, March 16, 2023, from 6:00 to 8:00pm
6 East First Street, between 2nd Ave and Bowery, NYC
Thank you.
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17. Karen Finley, FF Alumn, at Laurie Beechman Theatre, Manhattan, April 8-May 6
Karen Finley: Covid Vortex Anxiety Opera Kitty Kaleidoscope Disco
Saturdays, April 8 – May 6 at 7pm
In Covid Vortex Anxiety Opera Kitty Kaleidoscope Disco, America’s most (in)famous performance artist Karen Finley returns with this reflection on our pandemic era traumas and a culture overwhelmed by anxiety. Finley looks back a time of Zoom discos, bingeing on animal videos, and pandemic hobbies like baking. Looking back while trying to look forward to reimagine a new future creates the framework for this passionate and often comical new work.
The New Yorker’s Hilton Als says, “Karen Finley is a profound theater-artist. Her artistry is due in part to her ability to alchemize ‘news’ and make it art… She is irreplaceable.” Come see why.
At The Laurie Beechman Theatre
407 West 42nd Street at 9th Ave, inside West Bank Café
Tickets are $24 or $35 for VIP reserved front row tables
There is also a $25 food/drink minimum at all performances at this venue.
Tickets and info here: https://web.ovationtix.com/trs/pr/1152563
Thank you.
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18. Charles Clough, FF Alumn, now online at nysm.nysed.gov
Please visit this link:
http://www.nysm.nysed.gov/education/videos/interview-artist-charles-clough
Thank you.
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19. Abigail Child, FF Alumn, at Anthology Film Archives, Manhattan, March 24-28
Dear Friends, Colleagues and Family,
Please join me in a celebration of my work with 8 different selections of my films playing at Anthology Film Archives, Manhattan, March 24-28. Each screening includes some of my favorites (some famous; some rarely screened) in roughly chronological order. I will be present at all shows. There will be a reception after the 1st show on Friday March 24th and a number of the participant collaborators—musicians, dancers, poets—will be present for respective screenings. It is a great chance to see these films, which have often shown only once in the New York City arena. I will be happy to see you all—particularly after this enforced period of communal isolation.
Warmly,
Abby
for schedule and tickets and more please visit this link:
http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2023#showing-55729
Thank you.
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20. Rhys Chatham, Joseph Nechvatal, FF Alumns, now online
XS exemplification of XS the No Wave Opera (1984-1986) by Rhys Chatham and Joseph Nechvatal ~ made for and included in the No Wave show Who You Staring At: Culture visuelle de la scène no wave des années 1970 et 1980 at Centre Pompidou in Paris 2023.
Now online here https://www.youtube.com/watch?v=bo8gYAkAq44
Thank you.
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For subscriptions, un-subscriptions, queries and comments, please email mail@franklinfurnace.org
Please join Franklin Furnace today:
https://franklinfurnace.org/membership/
After email versions are sent, Goings On announcements are posted online at https://franklinfurnace.org/goings-on/goingson/
Goings On is compiled weekly by Mackenzie Penera, FF Intern, Spring 2023
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