Contents for March 27, 2023
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Larry Walczak, FF Alumn, In Memoriam
Scott Johnson, FF Alumn, In Memoriam
Weekly Spotlight: Dragging the Archive, Closing Panel, Mar. 28, 3 pm online, and more
1. Betty Tompkins, Martha Wilson, FF Alumns, now online at CulturedMag.com
2. Barbara Hammer, FF Alumn, at KOW, Berlin, Germany/Galeria Jaqueline Martins São Paulo, Brazil, thru April 29
3. Tutu Gallery, FF Member, Brooklyn, opening March 31
4. Xaviera Simmons, Kiyan Williams, FF Alumns, now online at NYTimes.com
5. Petah Coyne, Dread Scott, Saya Woolfalk, FF Alumns, now online at NYTimes.com
6. Yoko Ono, FF Alumn, now online at NYTimes.com
7. Agnes Denes, Barbara Hammer, Lynn Hershman Leeson, Ana Mendieta, Nina Sobell, FF Alumns, at ZKM Center for Art and Media Karlsruhe, Germany, thru Jan. 27, 2024
8. Crystal Z Campbell, FF Alumn, at Mt. Holyoke/U Mass Amherst/Smith College, MA, Mar. 31-Apr. 1
9. Jibz Cameron aka Dynasty Handbag, FF Alumn, at Pioneer Works, Brooklyn, May 20-21
10. Baillie Vensel, FF Intern Alumn, at Pratt Institute, Brooklyn, opening April 17
11. Sonya Rapoport, FF Alumn, at Casemore Gallery, San Francisco, CA, opening April 1
12. Annie Lanzillotto, FF Alumn, at City Lore, Manhattan, Apr. 4
13. Dan Graham, FF Alumn, at 303 Gallery, Manhattan, thru April 8, and more
14. Max Gimblett, FF Alumn, now online at SquareCylinder.com
15. Rhys Chatham, Joseph Nechvatal, FF Alumns, now online with Centre Pompidou, Paris, France
16. Franc Palaia, FF Alumn, now online at youtube.com
17. Charles Dennis, FF Alumn, now online at InsideAndOutUpstateNY.com
18. Linda Stein, FF Member, at Konstmuseet i Skövde, Sweden, April 21
19. Nicole Eisenman, FF Alumn, at Pierogi, Brooklyn, opening Mar. 31
20. Sydney Blum, FF Alumn, at The Grace Arts Centre, Tatamagouche, Nova Scotia, April 15
21. Nicole Eisenman, FF Alumn, now online at NYTimes.com
22. Yura Adams, FF Alumn, at Turley Gallery, Hudson, NY, opening April 8
23. Mark Bloch, FF Alumn, now online at WhiteHotMagazine.com
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Larry Walczak, FF Alumn, In Memoriam
Larry Walczak passed on March 20, 2023 due to heart complications. As many of you know, he was a dedicated artist and art educator. He passed away with his pet feline Neelix at his lakeside home in Erie PA He was a graduate of Erie Technical Memorial High School where he studied with Joseph Plavcan for three hours a day for three straight years. He received scholarships and teaching assistantships from Columbus College of Art, Mercyhurst University and Ohio University. He moved to Manhattan in 1979 and lived there and in Hoboken, N.J. and finally in Brooklyn. In New York he embraced the idea of artist organized presentations and exhibitions. He designed and illustrated for a variety of commercial clients including The New York Times, WNBC, TWA, American Artist magazine and many more. As a teacher he spent several semesters teaching Collage at Cooper Union School of Art & Architecture as well as the Center for Media Arts, Parsons School of Art and others. He spent several years working with the Brooklyn Arts Council teaching in neighborhoods of Chinese, Hispanic, Caribbean, African-American and Hasidic students. In 1994 he was awarded the Very Special Arts New York City Mayor’s Award at Gracie Mansion. In Williamsburg, Brooklyn he became an active participant in the “largest artist neighborhood in the world” that supported over a dozen artist run galleries. With “eyewash projects” he and his partner Annie Herron organized several exhibitions that caught the eye of The New York Times.
Larry Walczak continued creating collages, artist books and theme exhibitions. He has artwork included in the collections of The Museum of Modern Art, PS 1/Moma in Queens, The Brooklyn Art Museum and Artists Space NYC. He returned to his hometown of Erie for his final years due to health considerations. He was an avid New York Yankee fan and film addict. He was 73 years old.
Thank you.
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Scott Johnson, FF Alumn, In Memoriam
Please visit this link:
https://www.nytimes.com/2023/03/26/arts/music/scott-johnson-dead.html?searchResultPosition=1
Thank you.
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Weekly Spotlight: Dragging the Archive, Closing Panel, Mar. 28, 3 pm online, and more
Tuesday 28th March: Closing Panel for Dragging the Archive
Dragging the Archive – a personal re:encounter with Franklin Furnace’s cyber beginnings has been up since January 19th and is now in its very final days. Very grateful to all who have made this exhibition possible: funders, friends, and staff at both Pratt Institute and Franklin Furnace Archive. Thanks to all who have visited the exhibition so far – if you are near NYC and haven’t made it yet, this is your last chance!!
To mark the end of this exhibition, you are warmly invited to join the Closing Panel – which will take place on Zoom via Franklin Furnace’s Loft on March 28, 3-4pm ET / 8-9pm GMT.
Register here: https://us02web.zoom.us/meeting/register/tZ0rcuqrrDsjGdwIAo4YqyjKSI6Ly1J8Ov-B
In this online closing panel for the 8th Annual Live at the Library exhibition collaboration between Pratt Institute Library and Franklin Furnace, curator Elly Clarke will review the 3-month run of the exhibition and live events. Dragging the Archive events included:
a workshop on how to read archival materials by Cristina Fontánez Rodríguez,
https://franklinfurnace.org/dragging-the-workshop/
a trans-Atlantic, trans-institutional collaboration between students from Pratt Institute and Goldsmiths College, University of London and Pratt Professor Kim Bobier;
a live remake of the first-ever Franklin Furnace / Pseudo Studio live Netcast by Halona Hilbertz, 25 years later to the day;
https://franklinfurnace.org/dragging-up-the-performance-loft/
a Virtual Tour of the exhibition.
https://franklinfurnace.org/dragging-the-archive-virtual-tour-loft/
At this Closing Panel Elly will be joined by founding director Martha Wilson; current Director Harley Spiller, Pratt archivist Cristina Fontánez Rodríguez; Professor Kim Bobier, artist Halona Hilbertz, and designer Yunjia Yuan. The results of the Goldsmiths/Pratt collaboration will also be shared at this event for the first time.
More info & booking link here: https://franklinfurnace.org/dragging-the-archive-closing-panel/
It would be wonderful to see you.
Now Online: Dragging the Archive Video Tour
Click the video below to watch a 40 min tour shot in January by Tsubasa Berg.
Dragging the Archive – virtual Tour, shot & edited by Tsubasa Berg. To watch the live virtual tour with Martha Wilson click here: https://franklinfurnace.org/dragging-the-archive-virtual-tour-loft/
In memory of Michael Katchen, 1955-2023
During the run of this exhibition, Franklin Furnace’s archivist Michael Katchen, who I knew back when I was an intern at Franklin Furnace in the late 90s, very sadly died of a long illness. His 35mm slide photos form a key part of the exhibition – through the image for the main exhibition poster, the lightbox works I presented, and a 30 minute film I made of all the slides I found in Future of the Present grant winning artist folders from 1998-2003, at Franklin Furnace HQ. The slides are shown in the in the order in which they were stored in their slide sheets. In the most part I believe these photos had never been seen outside the archive. Michael did receive a copy of the poster but didn’t make it to the exhibition, sadly. But his photographs tell what other archival materials cannot and fro that I am very grateful, and happy to have been able to give these brilliant and insightful pictures a platform.
Watch the video here: https://www.youtube.com/watch?v=D7bkcLVZWkM
Dragging the Archive: Michael Katchen’s Slides, 1998-2003
Axisweb events
5th April at 7pm GMT; 2pm ET: Instagram Live with Cristina Fontánez Rodríguez
On 5th April, on the penultimate day Dragging the Archive, I will be in conversation with Pratt Archivist Cristina Fontánez Rodríguez, live from the exhibition. (Though I will be in London.) Please join us! 7pm UK / 2pm Eastern Time.
On Axisweb’s Instagram page: https://www.instagram.com/axisweb/
12th April, 6-8pm GMT: Dragging up an Exhibition – 2-hour workshop
Online, via Axisweb.
In this (free) workshop we will collectively and playfully curate / conjure up an exhibition out of (found) objects taken (/brought) from y/our homes or workspaces.
Through individual and collective writing, (non-scary) role play and discussion, we will explore the stories these objects might tell – alone, and in dialogue with others.
We will imag[in]e these objects in different (dis)guises – [different drags] – the art object, the archival fragment, the historical artefact, the evidence, and other outfits that may emerge out of this gathering. And then we will set them together as an exhibition, complete with interpretative texts and a collectively-written curatorial statement.
This workshop is inspired by Elly Clarke’s exhibition Dragging the Archive: a personal re:encounter with Franklin Furnace’s cyber beginnings, which presented objects from deep storage as Readymade sculptures alongside faded faxes and a 1990s modem – among other things.
Further info & booking link here: https://www.artsjobs.org.uk/events/18628
Earlier this month: Researching in Two Acts with Clareese Hill at Critical Media Lab
Earlier this month, Clareese Hill and I (and my brave little dog Nick) travelled (across sea and land) to Basel in Switzerland for a 2 week residency / fellowship at Critical Media Lab and Atelier Mondiale. Alongside presenting our performative paper Researching in Two Acts at a colloqium, we ran a 3 day workshop with students from the Experimental Design MA. Coinciding with the Trans*feminist digital depletion strike, we made use of my medium format Holga camera and showed students how to use the old fashioned black & white darkroom. We also wrote a lot, drew and talked. During the colloquium both #Sergina and The Guide made appearances, pr/offering tarot readings, a collectively performed delivery of Waiting for Ice Cream, and shoulder-releasing dance moves to the tune of I Got My Phone In My Wallet. Due to the digital depletion strike, almost no digital evidence of this exists. But it was a fun moment.
In our second week there Clareese & I shot a film of this presentation, with genuis help from Gillian Wylde (who was behind the camera in the still below). We will edit this over the next couple of months.
Many thanks Helen V Pritchard for the opportunity to make and present work at Fachhhochschule Nordwestschweiz.
Below is a link to info about our sympoisum, and to a journal article written also with Clareese, published last week in Studies in Theatre and Performance journal. Open access, available here: https://www.tandfonline.com/doi/full/10.1080/14682761.2022.2141201
Researching in Two Acts:
https://criticalmedialab.ch/researching-in-two-acts/
Writing from the _________________
https://www.tandfonline.com/doi/full/10.1080/14682761.2022.2141201
Many thanks for reading!!! Hope our paths may meet before too long.
Elly
Closing Panel Participant Bios
Kim Bobier
Kim Bobier specializes in modern and contemporary periods. Her practice emphasizes critical race art history and the politics of representation, especially through the lens of Black studies and gender and sexuality studies. She harnessed these perspectives in her dissertation,
“Representing and Refracting the Civil Rights Movement in Late Twentieth-Century Art.” Bobier is the recipient of fellowships from institutions such as the Whitney Museum of American Art’s Independent Study Program, the Mellon Black Metropolis Research Consortium, and the Luce American Council of Learned Societies. Her writing appears in Afterimage, African Arts Journal, Nka: Journal of Contemporary African Art, Art Journal, International Review of African American Art, Panorama: Association of Historians of American Art, Routledge’s anthology Social Practice Art in Turbulent Times, and elsewhere. She is currently at work on the book project Monitoring and Modeling Citizenship: Racializing Surveillance and the Body Politic in Contemporary Art. Most recently she co-edited Women & Performance’s special issue “Views from the Larger Somewhere: Race, Vision, and Surveillance”.
Elly Clarke
Elly Clarke is an artist interested in the performance and burden (‘the drag’) of the physical body and object in a digitally mediated world. She explores this through photography, screengrabs, video, music, writing, community-based projects and #Sergina – a multi-bodied, border-straddling drag queen who, across one body and several, sings and performs online and offline about love, lust and loneliness (and data discharge) in the mesh of hyper-dis/connection. Clarke’s work has been shown at venues that include Kiasma, Helsinki; Galerie Wedding, Berlin; mac Birmingham; the Banff Centre and the Lowry, Salford Quays.
Now, in collaboration and sometimes competition with her alter ego #Sergina, Clarke is doing a practice-led PhD at Goldsmiths London, examining the ‘Drag of Physicality in the Digital Age’, in which she is proposing drag as a potential mode and method of resistance to the feedback loop of bodies and data, and the constant tracking and tracing of identities in a capitalist surveillance context.
Cristina Fontánez Rodríguez
Cristina Fontánez Rodríguez is the Virginia Thoren and Institute Archivist at Pratt Institute Libraries and Visiting Assistant Professor at the Pratt Institute School of Information. Prior to joining Pratt, Cristina was a National Digital Stewardship Resident for Art Information at the Maryland Institute College of Art’s Decker Library. Cristina’s work is focused on the application of social justice principles to archival practice through participatory and non-hierarchical ways of knowledge-seeking and making. She is a founding member of Archivistas en Espanglish, a collective dedicated to amplifying spaces of memory-building between Latin America and Latinx communities in the US and currently co-runs Barchives, an independent outreach initiative that brings archivists to bars to talk about New York City’s archival collections and local history. She holds a BA in Geography from Universidad de Puerto Rico and an MLS with a certificate in Archives and Preservation of Cultural Materials from CUNY Queens College.
Halona Hilbertz
Born in Austin, Texas to German parents, Halona Hilbertz moved to Munich, Germany, at 8 years of age, later to Düsseldorf. Studied Painting and Performance Art at Hochschule der Bildenden Kuenste Saar, Saarbruecken, Germany, and at Nova Scotia College of Art and Design, Halifax, Canada. Moved to New York City in 1996. Halona makes objects and collages. Her work has been included in various group and solo shows in Germany, France, Canada, China, the UAE and the United States. Halona co-founded Full Tank, an all-female experimental band with all original songs; her current band is Fetzig, also a DIY band. She lives in Bed-Stuy, Brooklyn.
Martha Wilson
Martha Wilson (American, b. 1947) is a Feminist artist and gallery director, founding the non-profit Franklin Furnace in 1976 and continuing to run it to this day. Notably working in photography and performance, Wilson uses costume and role-play to explore female subjectivity and challenge societal norms. Her work gained attention in part thanks to curator and critic Lucy R. Lippard, who recognized Wilson’s contributions to Conceptual and Feminist art.
Wilson’s work has been exhibited by P.P.O.W gallery, A.I.R. Gallery, P.S.1 Contemporary Art Center, the Whitney Museum of American Art, and many more. She is also a member of musical performance group DISBAND, which was active in New York from 1978 to 1982 and reunited at P.S.1 in 2008, in conjunction with the major museum retrospective Wack! Art and the Feminist Revolution.
Yunjia Yuan
Yunjia is a graphic designer based in lenapehoking (Brooklyn, NY) and came from Shanghai, China. She believes in the power of design to drive things forward, for both utilitarian purposes and conceptual inquiries. In her free time, she enjoys melding design, writing, and interactive media to reveal everyday normalcy, surveillance, and power.
The exhibition runs through 6th April and is online at https://franklinfurnace.org/dragging-the-archive
Thank you.
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1. Betty Tompkins, Martha Wilson, FF Alumns, now online at CulturedMag.com
Please visit this link:
Thank you.
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2. Barbara Hammer, FF Alumn, at KOW, Berlin, Germany/Galeria Jaqueline Martins São Paulo, Brazil, thru April 29
Hudinilson Jr. & Barbara Hammer
We are thrilled to present simultaneously with KOW gallery, Berlin and in our São Paulo gallery, two pioneers of sexual emancipation, Barbara Hammer (1939-2019) and Hudinilson Jr. (1957-2013). The exhibitions mark the first time the two artists can be seen together
Barbara Hammer was born in Hollywood in 1939. Her documentaries and experimental films are among the earliest and most comprehensive depictions of lesbian identity, love, and sexuality. For more than five decades, Hammer was an increasingly influential voice of queer feminism, and a chronicler of women’s self-empowerment in the U.S. and many other places around the world. Following film retrospectives at MoMA in 2010, Tate Modern in 2012, and her first solo exhibitions at KOW beginning in 2011, the art world began to take an interest in Hammer’s now historic body of work, which includes performances, installations, and works on paper. Numerous institutional exhibitions and publications followed.
Hudinilson Jr. was one of the most emblematic artists of his generation, influencing the entire Brazilian artistic scene, not only through his individual production between the 1970s and 2000s but, mainly as a catalyzing personality for experimental collectives and exhibitions. Xerography, which became his favorite technique over the years – both for practical and conceptual reasons – began to interest Hudinilson in 1976, when the artist learned to operate the machine to its limit, exploring all graphic possibilities. He enlarged details, cut them, widened again, distorting the images of his body to the point where they became pure abstract texture. He said that this exercise was a losing oneself in seeing, an “exercise in seeing myself ”, an expression that entitled many of his series.
Period
25.03—29.04.2023
Galeria Jaqueline Martins São Paulo
São Paulo
Rua Dr. Cesário Mota Júnior, 443
01221 020 — São Paulo, Brazil
+55 11 2628 1943
Tuesday to Friday, 10am to 7pm
Saturday, 12pm to 5pm
Thank you.
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3. Tutu Gallery, FF Member, Brooklyn, opening March 31
Name: Tutu Gallery
Artist: Huidi Xiang
Exhibition: when held properly,
Opening time: 3/31/2023, 6-9PM
Closing date: 5/14/2023
Address: Willoughby Ave x Stuyvesant Ave, DM @gallerytutu or email tutugallery.meow@gmail.com for exact address
URL:
https://www.tutugallery.art/huidi
Any additional info please refer to AAA-A listing:
https://www.aaa-a.org/events/huidi-xiang-when-held-properly
Tutu Gallery announces sculptor Huidi Xiang’s first solo exhibition in New York: when held properly, opening Friday, March 31, 2023, with 6 new sculptures made this year tailored for the gallery’s home base. Charting the journey of her ongoing immigration and introspection on her role as a minority female in late capitalism, Huidi uses a mixture of symbols from video games and popular culture as her language to describe how affective labor metamorphoses into physical and internal harm by the larger system we exist under.
This body of work was initially conceived from Huidi’s preoccupation with Shoe Goomba, a shoe-wearing, mushroom-shaped monster character in Super Mario Bros. A late addition to the game, Shoe Goomba can be defeated by the standard jump move, or, a stealth attack from below which then grants Mario possession of A Goomba’s Shoe (also known as The Shoe), allowing him to safely move through spiked grounds and monsters. Extended to real-life living in New York, putting on a good pair of shoes prompts a mental switch from nesting to facing the outside world, provides comfort on the go, and can even be used to deceive others about the wearer’s socio-economic class.
Thank you.
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4. Xaviera Simmons, Kiyan Williams, FF Alumns, now online at NYTimes.com
Please visit this link:
https://www.nytimes.com/2023/03/24/t-magazine/monumental-black-art.html?searchResultPosition=1
Thank you.
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5. Petah Coyne, Dread Scott, Saya Woolfalk, FF Alumns, now online at NYTimes.com
Please visit this link:
Thank you.
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6. Yoko Ono, FF Alumn, now online at NYTimes.com
Please visit this link:
Thank you.
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7. Agnes Denes, Barbara Hammer, Lynn Hershman Leeson, Ana Mendieta, Nina Sobell, FF Alumns, at ZKM Center for Art and Media Karlsruhe, Germany, thru Jan. 27, 2024
Renaissance 3.0
A Base Camp for New Alliances of Art and Media in the 21st Century
March 25, 2023–January 7, 2024
ZKM | Center for Art and Media Karlsruhe
Lorenzstr. 19
76135 Karlsruhe
Germany
Hours: Wednesday–Friday 10am–6pm,
Saturday–Sunday 11am–6pm
T +49 721 81001200
Facebook: https://www.facebook.com/zkmkarlsruhe/
Instagram: https://www.instagram.com/zkmkarlsruhe/
Twitter: https://twitter.com/zkmkarlsruhe
YouTube: https://www.youtube.com/channel/UCt2TPRa7dYWOS1isCzbABVg
Vimeo: https://vimeo.com/user34897004
The research and exhibition project Renaissance 3.0. A Base Camp for New Alliances of Art and Science in the 21st Century traces an arc from the Arab and Italian Renaissance to the media art of the twenty-first century with a reference to a third Renaissance in art.
The scientification of art was already a core tenet of the Renaissance, but its importance has faded over the centuries. Art was primarily oriented towards things that can be grasped with the natural eye, while science has been using instruments since the 16th century to reach previously inaccessible res invisibiles of the microcosm and the macrocosm. Now, in the digital twenty-first century, a shift is taking place. Artists are increasingly working with the same tools, methods and programs as science. This common pool of tools points to the beginning of a third Renaissance.
The emergence of a new culture of tools in the twenty-first century is illustrated in the center of the exhibition space: An interactive Wissensfeld (knowledge base) allows visitors to physically select concepts in space to access the corresponding explanations. The artistic Wissensfeld is devised as an experimental collaboration between humans and machines, in which human and machine learning are interacting.
With more than 35 international media art positions, Renaissance 3.0 provides insights into artistic laboratory situations and artistic-scientific collaborations. In doing so, the exhibition creates a space for a new culture of tools and a multidisciplinary field of knowledge for the twenty-first century—from biochemistry to genetic engineering and information design to neuroscience and unconventional computing.
As part of the base camp idea, all guests are invited to participate in the physical and digital outreach program.
The Tool_Lab in the exhibition space offers a platform to everyone to exchange, experiment and (re)imagine tools for the future.
The ZKM | Center for Art and Media Karlsruhe mourns the death of Peter Weibel, who passed away on March 1, 2023, after a short serious illness. Until the end, he worked intensively on his exhibition and research project, Renaissance 3.0. To mark the opening of the exhibition, Peter Weibel invited internationally renowned scientists and Nobel Prize winners from disciplines such as quantum physics, biochemistry, medicine and art history for a two-day symposium at the ZKM | Karlsruhe to stake out possible alliances of art and science for the twenty-first century together. This symposium will be hosted in his honor.
Please click here for further information: https://zkm.de/en/exhibition/2023/03/renaissance-30
Artists
Louis Bec, Otto / Oskar Beckmann, Michael Bielicky / Kamila B. Richter, Hubert Blanz, Jonathan Borofsky, Tega Brain, James Bridle, Daniel Canogar, Lutz Dammbeck, Agnes Denes, Anna Dumitriu / Alex May, Thomas Feuerstein, Holger Förterer, Julie Freeman, Christoph Girardet, Barbara Hammer, Rafael Lozano-Hemmer, Ivan Henriques, Lynn Hershman Leeson, Jan van IJken / Jana Winderen, Interspecifics, Manfred Kage, Jens Kull, Armin Linke, Bernd Lintermann, Christian Losert / Daniel Dalfovo, Ana Mendieta, Dorcas Müller, Pasi Orrensalo, Paul Panhuysen, Constanza Piña Pardo, Helen Pynor, robotlab, Tomás Saraceno, Sivu, Nina Sobel, Saša Spačal, ::vtol::, Götz Dipper / Peter Weibel, Michel Winterberg, Liang Zhipeng
Curated by
Peter Weibel, Anett Holzheid with Sarah Donderer, Nina Liechti, Beatrice Zaidenberg
Opening program
Friday, March 24, 7pm CET
Symposium on the exhibition Renaissance 3.0
Saturday, March 25–Sunday, March 26, 2023
The complete program is available here: https://zkm.de/en/event/2023/03/symposium-on-the-exhibition-renaissance-30
The symposium will be held in German at ZKM.
Free of charge and open to the public.
Online broadcast at zkm.de/en/livestream
Also at the ZKM: “The Next Renaissance” by the EU Platform EIT Culture & Creativity
Friday, March 24–Saturday, March 25, 2023
The European platform of the EIT Culture & Creativity develops perspectives of radical change. The symposium with participants from all across Europe also features a workshop and an interactive presentation by the Catalan Fundación Épica La Fura dels Baus.
Please find further information on “The Next Renaissance” here: https://www.nextrenaissance.eu/
Thank you.
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8. Crystal Z Campbell, FF Alumn, at Mt. Holyoke/U Mass Amherst/Smith College, MA, Mar. 31-Apr. 1
After Archives / Archives After
March 31-April 1, 2023
Mt. Holyoke, UMass Amherst, Smith College
A two-day program that intersects artistic practice and theory to consider the ideas, methods, and desires of archival space as a site for creative production featuring the work of Lauren Russell, Crystal Z. Campbell and Christina Sharpe.
Description
The Archive(s) have been a part of methodological and discursive praxis in the artist’s studio for years. Between recovery, erasure, and reimagining, once rarified at the periphery of artistic engagements, the process of mining collections of memory, both public and private, have become a prescient form of creative activity. Artists use archive, the archive, archives, to reconstruct historical narratives; sometimes playing the role of either community-centered or institutional archivist, themselves. Freed from the logistical center of colonial and post-colonial world order, as Sue Breakall writes “Archives no longer belong to the lawmakers and the powerful; archivists see themselves as serving society rather than the state.” We now practice the ways in which public, private, political, bureaucratized, and historically marginalized people are all fragmented and formed throughout the archive, which suggests a space that is not contained by subject or field of practice. The way one comes upon the site and space of archival recovery is unique to both the material frozen or fluid in time, and the person and their subjectivities. Hal Forster notes of this turn toward interventions in the archive and “its utopian ambition – its desire to turn belatedness into becomingness, to recoup failed visions in art, literature, philosophy, and everyday life into possible scenarios of alternative kinds of social relations, to transform the no-place of the archive into the no-place of utopia … [a] move to turn ‘excavation sites’ into ‘construction sites’.”
As the 21st century border between our daily lives and what we can capture and record of our daily lives has in some sense collapsed completely through social media and data collection. Are we all part of a constant and global process of creating and amending a digital archive? Yet, as we continue to broaden the terminology and language of memory and future-memory work through archives, what lineage or genealogy of archival retrieval are we working from? What methodologies for artists define the archive? Sometimes composed of nearly everything that can be collected, framed through processes of memory and interpreted to render meaning, we archive. In her essay, The House Archives Built, Dorothy Berry, says “The archive is nebulous, but archives are institutions defining documentary history: the things within the archive are the facts and the things without are suspect. The word holds such power because without archives we have memory, and to value memory as fact requires a transformative mindset that institutions seem to feel they cannot survive.” The archive is sort of a mythic set of entanglements, encompassing time, geography, embodiments, and sedimentary elements of historical process. Yet, individual archives are specific, whether IRL or online, or as hybridized access points, they exist through some discrete process of naming and perceived knowing. By bringing together artists and visual makers and thinkers who use the archive or archives as sets of artistic material through which to consider the present, this panel and workshop(s) will seek to share framework practices, and consider where the archival impulse exists today.
Does the conceptual apparatus of the archive provide artists a terrain through which to explore unrecognized histories, counternarratives to confront historical myth, or a space to create futurisms from which we then look back in time? Do we risk aestheticizing the past? Speaking to this space of collapsing the past and present, silenced stories, and geographical a priori, John Akomfrah once said, “the blurring of boundaries and borders is in fact an ethical and aesthetic strategy”. Perhaps our continuing archival work lives in working to conjure and imagine new ethical strategies that hold accountable the failed ethical orders of the past. What are our archival strategies? What have we learned that garners us with more possible present and futures, and what potentially recapitulates the past through nostalgia? There is a form of serious and critical “play” at work for those who engage in what is lately called memory work. We understand archival administration to be a technology of the colonial project, and yet, this is not the sole bearing of archival space. If the project of western History, which has mapped itself so thoroughly through our lives, is constructed and performed through image and narrative that assemble, reassemble, settle, and fix relations of colonial/imperial power structures. Can archival play and archive at the margins create an index of imaginative tools for unfixing those same systems?
After Archives // Archives After brings together creative practitioners in writing and visual art, joined by people in the 5 College community to ponder questions of the archive.
Join us, Co-organizers, Cameron Awkward-Rich, Alexis Callender, and Sarah Stefana Smith
More info and program schedule: http://www.sarahstefanasmith.com/after-archives
Crystal Z Campbell
Thank you.
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9. Jibz Cameron aka Dynasty Handbag, FF Alumn, at Pioneer Works, Brooklyn, May 20-21
Dynasty Handbag: Titanic Depression
Pioneer Works
May 20-21, 2023
8:30PM, 7:30PM door
Tickets on sale March 23, 2023
Dynasty Handbag’s Titanic Depression—made in collaboration with video artist SUE-C—sends up James Cameron’s (no relation) 1997 Hollywood hit, reimagining it as a hilariously bleak parable of human arrogance in today’s era of runaway, consumerism-driven climate change. Co-presented by New York Live Arts as part of its 2023 Live Arts festival Planet Justice, Titanic Depression is Dynasty Handbag’s first major institutional commission in nearly eight years and debuts a live, interactive new soundscape by Chloe Alexandra Thompson.
More so a live multimedia event than solely performance, Titanic Depression combines animation, video, soundscapes and improvisation into a story about how a ship advertised as unsinkable strikes an iceberg on its maiden voyage and sinks; fitted with too few lifeboats, Titanic’s poor, third class passengers were largely left behind as the vessel’s wealthier occupants were rushed to safety. The disaster became a potent symbol of the haves versus the have nots.
Turned into numerous films—the most financially successful being Cameron’s—this well-worn narrative of class and gender inequality is, in the hands of Handbag’s outrageous physicality and unique improvisational skills, wildly digressed, veering from Hollywood’s obsession with disaster plots to our morbid fascination with death—namely, our own. She plays various characters in the film, such as “Rose,” who sparks a torrid, interspecies romance with “Jack,” a mute octopus escaping the warming seas by stowing away on the ship disguised as a giant ladies hat. While the iceberg melts in balmy weather before the Titanic reaches it, the vessel goes down anyway in a tour de force of nonsensical, collective doom—a tragicomedy of our own making that no amount of metal straws or fastidiously-sorted recycling will fix. At a time of climate crisis on seemingly every front, “levity arises out of the sheer pressure cooker of the era we are collectively experiencing,” as the artist has noted. Taking on the role of a ship, Pioneer Works itself becomes a character in the show, nodding to the Queen Mary 2 that docks just down the street from the building and plies the same transatlantic route as the Titanic.
Dynasty Handbag: Titanic Depression was commissioned by Pioneer Works and curated by David Everitt Howe. It is co-presented by New York Live Arts as part of Live Ideas 2023: Planet Justice. The performance is made possible with support from Creative Capital, The Guggenheim Foundation, Ballroom Marfa, Center for Performance Research, Chorus Foundation, and MacDowell.
press release by David Everitt Howe
About the Artists
Jibz Cameron (Co-creator, Writer, Performer) The peerlessly subversive, wacky, dark, and dystopian Dynasty Handbag—alter ego of performer, visual artist, actor, and writer Jibz Cameron—quite literally bites the hand that feeds her; she often parodies queer liberals and the institutions they support, as well as herself. Playing multiple characters who usually end up breaking down, slipping into alcoholism, or otherwise doing the wrong things, she “combats the terror of being alive,” as she’s previously written, by failing spectacularly. Cameron’s work as Dynasty Handbag has spanned over 20 years and has been presented at arts venues such as The New Museum of Contemporary Art, The Broad Museum, The Hammer Museum, REDCAT, BAM, and the Centre Pompidou, among others. She has been heralded by the New York Times as “the funniest and most pitch perfect performance seen in years” and “outrageously smart, grotesque and innovative” by The New Yorker. Cameron is a 2022 Guggenheim fellow, a 2021 United States Artist Award recipient and a 2020 Creative Capital Grant awardee. She produces and hosts Weirdo Night, a monthly comedy and performance event in Los Angeles and New York. Her film Weirdo Night is an official 2020 Sundance Film Festival selection.
Sue Slagle aka SUE-C (Visual Designer and Co-Creator) is an award-winning artist, engineer and educator whose work in “real time cinema” presents a new, imaginative perspective on live performance. Her evolution as a new media artist began in late-90s San Francisco where she was an influential member of the electronic music scene, owning the experimental record label Orthlorng Musork, organizing audio-visual cultural events and teaching the first creative coding classes in Max Software. After finishing her masters degree in engineering at UC Berkeley she moved to Oakland where she became co-owner of the Ego Park gallery and helped launch the First Friday art walks. Sue is a Creative Capital awardee and MacDowell Fellow and has been covered in The Wire magazine, BoingBoing and the MIT Press book Programming Media. She has performed at the Library of Congress, REDCAT, Ars Electronica, MUTEK, SONAR, Ann Arbor Film Festival, NPR’s Tiny Desk and Transmediale, collaborating with musicians such as Morton Subotnick, Luc Ferrari, Laetitia Sonami, AGF, Paul DeMarinis, Wobbly, Ava Mendoza and Negativland.
Chloe Alexandra Thompson (Sound Designer) is a Cree, Canadian, interdisciplinary artist and sound designer. Thompson approaches sound as a mode of connection—embracing the kinesthetic agency of sound to compose abstract feats of spatialized audio recording and synthesis. Her work engages tactics of material minimalism to create site-specific installations that sculpt droning, maximalist experiences out of space and sound. Using audio programming software, computational processing, and acoustic instruments, Thompson’s work seeks to create connection by guiding audience participants through these augmented experiences. In January 2021, Cycling ‘74, announced Thompson as one of the first Max Certified Trainers. Her sound design has been featured in the works of artists across the fields of music, performance, TV and film. She is presently part of the Working Consortium in developing First Nations Performing Arts.
Sacha Yanow (Dramaturg) is a NYC/Lenapehoking based performance artist and actor. Their solo practice is rooted in theater, queer performance and radical jewish tradition, using humor and physicality to explore themes of gender, aging, loss and diaspora. Sacha’s work has been presented by venues including MoMA PS1, Danspace Project, Joe’s Pub, and the New Museum in NYC; PICA’s TBA Festival/Cooley Gallery at Reed College in Portland, OR; and Festival Theaterformen in Hanover, Germany. They have received residency support from Baryshnikov Arts Center, Denniston Hill, LIFT Festival UK, Lower Manhattan Cultural Council, Mass MoCA and Yaddo, among others. They served as Director of Art Matters Foundation for 12 years, and previously worked at The Kitchen as Director of Operations.
Thank you.
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10. Baillie Vensel, FF Intern Alumn, at Pratt Institute, Brooklyn, opening April 17
Hello!
I am writing to invite you to my MFA thesis Exhibition opening next month at Pratt. It will feature photographs and videos from my body of work titled Whatever Love Means which examines the role of mass media in the cultivation of power. For the past two years, I have been working with images of Princess Diana and the British royal family to understand our relationship with celebrity, legacies of colonialism, and the cycles of history. I am so excited to share this work with you all who have been a great source of inspiration, support, and community throughout my time at Pratt.
The work will be presented in a two person exhibition with my esteemed colleague, Shengqi Ming, curated by Anika Sabin. Please find the details below!
I hope to see you at the opening on Monday April 17th from 5-8pm at the Pratt Photography Gallery located in the lower level of the ARC building on Pratt’s Brooklyn Campus.
With love and gratitude,
Baillie
Thank you.
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11. Sonya Rapoport, FF Alumn, at Casemore Gallery, San Francisco, CA, opening April 1
The Sonya Rapoport Legacy Trust and Casemore Gallery, San Francisco, are excited to announce a new solo exhibition featuring early computer art and works on paper by Sonya Rapoport.
Please join us for an opening reception: 5 – 7pm on Saturday, April 1st.
This show coincides with Rapoport’s inclusion in the ongoing exhibition Coded: Art Enters the Computer Age, 1952 – 1982 at Los Angeles County Museum of Art, which continues to gather significant media attention, including a recent feature on PBS NewsHour.
Sonya Rapoport, A 20th Century Portrait (Unknown), 1979. Plotter print, Prismacolor, and pencil on vellum, 31 x 40 inches.
Force Fields
Early Computer Art & Works on Paper by Sonya Rapoport
April 1st – May 13th, 2023
Opening Reception: 5 – 7pm, Saturday, April 1st, 2023
Casemore Gallery
1275 Minnesota Street, San Francisco
Tuesday – Saturday, 12 – 5pm
Casemore Gallery presents an exhibition of works on paper by Sonya Rapoport (1923-2015), recognized as a pioneer of computer art. The exhibition explores the evolution of her engagement with the computer, from her earliest drawings on printout paper in the late 1970s, through her computer-mediated “audience participation performances” in the 1980s.
Rapoport–whose work is currently on view in the exhibition Coded: Art Enters the Computer Age, 1952-1982 at Los Angeles County Museum of Art–began using the computer in 1976, when she found discarded continuous-feed computer printout paper in a bin in the basement of the UC Berkeley mathematics building. Drawn to the futuristic aesthetic of sprocket holes, grid lines, and carbon-black, dot-matrix printed code, she drew into the existing patterns with graphite, colored pencil, and ink stamps, and stitched the construction together with colorful yarn to create drawings such as Right-On (1976).
In 1977 Rapoport wrote, “my work is an aesthetic response triggered by scientific data. The format is computer print-out, a ritualistic symbol of our technological society.”
By the early 1980s, Rapoport had learned to code and was using the computer to analyze and visualize data. At a time when computers were primarily used for business, science, and military applications, Rapoport was gathering and processing data about what she called “soft material,” including her biorhythms, her shoe collection, her home, and the objects on her dresser, an approach she characterized as a feminist use of new technology.
Sonya Rapoport, Surface (detail), 1981. Prismacolor, pencil, ink stamp, acetate collage, and photocopy on paper, 24 x 202 inches.
In A 20th Century Portrait (Unknown) (1979), part of Rapoport’s Objects On my Dresser series, she represents her subject as a multidimensional “netweb” plot, perhaps referring to the analytical, quantitative perceptions of the computer. But behind this enigmatic image is a social interaction where Rapoport discussed the objects on her dresser with an unknown subject – an idiosyncratic personality test of sorts. The related large-scale drawing Surface (1981, above) features photocopied images and appropriated text on computer paper that reveals the complex, interconnected psychological relationships that Rapoport had with the objects on her dresser.
Shoe-Field (1982-1989) began with a performance at a home computer store in Berkeley, where participants were asked how they felt about their shoes. Their answers were analyzed by a computer and they were given a printed Shoe-Psyche Plot that represented their feelings as an electromagnetic force field printed in ASCII characters. Rapoport’s artistic process–which she described as “quantifying qualitative information–can be seen in a video that documents the interactive performance of Shoe-Field at Media Gallery, San Francisco in 1986.
“Rapoport’s use of technology should not blind us to the fact that she is working out a structure of human interactions, even if they are based on their relationships with inanimate objects, their shoes.”
Richard Cándida-Smith, A Throw of the Dice: Between Structure and Indeterminacy, 2012
Sonya Rapoport, Shoe-Field Map (detail), 1982-85. Dot-matrix print on continuous feed computer printout paper.
Please join us for an opening reception, 5 – 7pm, Saturday, April 1st, 2023!
Thank you.
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12. Annie Lanzillotto, FF Alumn, at City Lore, Manhattan, Apr. 4
“Who Brings Their Oncologist On Stage With Them?”
“Conversations We Never Had”
Tuesday April 4th
7pm
City Lore
56 E. First Street New York, NY 10003
Annie Lanzillotto & Dr. Sandy Kempin in an open exploratory:
“A Brooklyn Jew Cures A Bronx Italian, How World War II Inadvertently Saved Her Life Yet Ruined Her Life, and the Wartime Accident in Bari that led to the Birth of Chemotherapy: A Love Story”
These dialogues are 42 years in the making.
This first “open rehearsal” event will be for invited guests who might be interested in our stories and have questions to help this find its way in the world. Come with questions. We’ll weave them into the show.
The purpose of the event is to take a step toward either a film doc or play, as we work out inherent biomedical ethical conflicts in the Dr/Pt relationship.
We’ll be “on stage” together in dialogue about the impact of WWII on our families, how chemotherapy and radiation therapy were invented and utilized on Baby Boomers… how our two lives converged… and conjectures on the future of medicine and healing.
Let me know if you’re coming, so we have a rough head count. If you want to help set-up, or with hospitality, holler.
thankful to be out and about
Annie
Annie Rachele Lanzillotto
Artistic Director
Thank you.
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13. Dan Graham, FF Alumn, at 303 Gallery, Manhattan, thru April 8, and more
Dan Graham at 303 Gallery : Projects for Publication
Just over one year ago, we lost a visionary artist and dear friend in Dan Graham.
Dan will be honored in a Memorial to be held at The Metropolitan Museum of Art in New York at the end of March. 303 Gallery (March 21 – April 8), Lisson Gallery (March 21 – April 8), Marian Goodman Gallery (March 15 – May 6), 3A Gallery (March 25 – May 6), and Printed Matter (March 21 – April 8) are honored to present works by Graham across their New York City spaces to coincide with the memorial, paying tribute to a figure whose legacy extends beyond his art making and will continue to be felt by the many who encountered Graham while he was alive.
303 Gallery invited David Platzker to curate a concise history of Dan Graham’s earliest Projects for Publication produced between 1966 and 1981. In these works Graham is a poet, music critic, cultural theorist, and artist engaged in bridging the gulf between artistic output and an artist actively seeking populist venues for placement for his works. Those sites of engagement include the magazines Harpers’s Bazaar, Extensions, Art-Language, New York Review of Sex & Politics, Screw, Fusion, and other periodicals.
On view alongside these works will be Dan Graham’s Neo-Baroque Walkway, 2020. Graham’s model allows the viewer to become both participant and spectator in perceiving the space physically and psychologically in relation to other spectators.
Despite his disavowal of Conceptual Art as a term, Dan Graham was one of its earliest pioneers through early text-based works, typographic wall pieces and schematic poems, not to mention the seminal illustrated magazine essay, Homes for America (1966). He exhibited the work of his peers Donald Judd, Sol LeWitt, and Robert Smithson at the John Daniels Gallery in New York, where he was briefly the curator and director, before showing alongside these and many other Minimalists and Conceptualists during the 1960s and ’70s.
The main focus of Graham’s art since the late 1970s was an ongoing series of public architectural installations, which he called pavilions, derived from geometric forms and rendered in plate glass, two-way mirror, and steel armatures. Graham intended his pavilions to function as punctuation marks, pausing or altering the experience of physical space, providing momentary diversion for romance or play, or else as places to delve into other activities, like reading or viewing videos. These deceptively simple structures recall many of the artist’s earlier experiments with perception, reflection, and refraction, but depart from them in their non-gallery setting as long-term additions to the landscape. Graham had an encyclopedic sphere of references and wrote about everything from Dean Martin and rock music to astrology and urban architecture.
303 Gallery is located at 555 West 21 Street, New York, NY 10011. For more information please visit 303 Gallery’s website 303gallery.com.
This press release is archived at: https://specificobject.com/projects/DAN-GRAHAM-303-GALLERY/
Thank you.
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14. Max Gimblett, FF Alumn, now online at SquareCylinder.com
Please visit this link:
https://www.squarecylinder.com/2023/03/max-gimbletts-calligraphic-wonders/
Thank you.
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15. Rhys Chatham, Joseph Nechvatal, FF Alumns, now online with Centre Pompidou, Paris, France
A video documenting the Centre Pompidou, Paris March 8th event XS: The Opera Opus: An Operatic Transvaluation of No Wave Aesthetics by Joseph Nechvatal and Rhys Chatham has been published online at the Centre Pompidou website here: https://www.centrepompidou.fr/fr/ressources/media/duO44r3
Thank you.
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16. Franc Palaia, FF Alumn, now online at youtube.com
hello Friends,
Here is a video of my interview from my show at Greenkill Gallery in Kingston if you missed it.
https://www.youtube.com/live/xdaY9rLkZII?feature=share
Franc
Thank you.
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17. Charles Dennis, FF Alumn, now online at InsideAndOutUpstateNY.com
Please visit this link:
Hope to see you there!
Limited Tickets Available here:
https://allevents.in/kingston/avant-garde-arama-visits-the-lace-mill/10000543043506747
Cheers, Charles
Thank you.
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18. Linda Stein, FF Member, at Konstmuseet i Skövde, Sweden, April 21
Event Title: Androgynous Protection: A Linda Stein Retrospective
Dates: April 22 – September 10, 2023
Location: Konstmuseet i Skövde, Trädgårdsgatan 9, Våning 1, 541 30, Skövde, Sweden
In-Person Artist Lecture: Fri, April 21, 2-3 pm
Reception: Sat, April 22, 12-4 pm,
Artist/Curator Discussion: Sat, April 22, 1-2 pm
Linda Stein is an American feminist artist with Jewish roots, now being introduced to European audiences through a major solo exhibition at the Art Museum in Skövde, Sweden. Ever since the 1960s, Linda Stein has been devoted to the LGBTQ and feminist movement through her artistic practice. Working across many mediums, including drawings, paintings, prints, and large sculptures, she explores themes of gender, power, persecution, and heroism.
The museum recently acquired a large collection of Stein’s art, which will be on view from April to September 2023. Reception, lectures, and events are to be held on opening weekend.
Thank you.
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19. Nicole Eisenman, FF Alumn, at Pierogi, Brooklyn, opening Mar. 31
Out of Character
Opening Friday 31 March 2023
Above Left: Matt Freedman, “Enlightenment.” Above Right: Lisa LaBracio and Anna Samo, “The Opposites Game”
A group exhibition featuring animation, drawing, painting, and sculpture by —
Meredith Allen, Greg Barsamian, Signe Baumane, David Brody, Hugo Crosthwaite, Brian Dewan, Nicole Eisenman, Matt Freedman, George Griffin, Red Grooms, Willy Hartland, Emily Hubley, John and Faith Hubley, Darina Karpov, Lisa LaBracio, Matt Marello, Morgan Miller, Frank Mouris, Michaela Müller, Gary Panter, Joyce Pensato, Pes, Anna Samo, David Scher, Guy Richards Smit, Kathy Stecko, Nate Theis, Jim Torok, Martin Wilner, William T. Wiley
Exhibition Dates | 31 March through 20 May 2023
Opening Reception | Friday 31 March. 6–9pm
Location | Pierogi 177 North 9th St. Brooklyn, NY 11211
There will be a series of weekly screenings, live performances, and artist talks, details to be announced.
There will be a concurrent “Out of Character” exhibition on view at
Mana Contemporary Jersey City beginning in April and including animation projections along with unique drawings, paintings, and sculpture by many of the same
artists plus screenings of works by additional animators. Dates and schedule to be announced.
Thank you.
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20. Sydney Blum, FF Alumn, at The Grace Arts Centre, Tatamagouche, Nova Scotia, April 15
https://www.gracejollymore.com/eventsandtickets/2023/4/15/celebrating-sydney-blum-at-the-grace
Celebrating Sydney Blum at The Grace
Saturday, April 15, 2023
6:00 p.m.-7:00 p.m.
The Grace Arts Centre
31 Creamery Road, Tatamagouche, NS, B0K 1V0, Canada
Last Fall, Sydney Blum was included in an exhibit at the Museum of Modern Art in New York City. The exhibition, which ran from October 2022 to February 2023, was centred around the iconic Just Above Midtown or JAM gallery that operated through the 70s and 80s and promoted marginalized voices in New York’s art scene. As a part of exhibiting with JAM, Sydney was invited to include original work from her earlier career as well as present some of her new work at the opening reception and party at the MoMA..
We will be hosting Sydney’s MoMA presentation on her work and career as well as a conversation with the artist to celebrate both Sydney’s inclusion in the MoMA exhibit and her distinguished career! All are welcome. Join us as we celebrate Sydney and their work!
Admission is by donation to The Grace. The bar will be operating and light refreshments will be served.
Thank you.
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21. Nicole Eisenman, FF Alumn, now online at NYTimes.com
Please visit this link:
Thank you.
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22. Yura Adams, FF Alumn, at Turley Gallery, Hudson, NY, opening April 8
Hello friends – Excited to announce that I have a show at Turley Gallery that will open April 8, 2023, 3-5 pm, located at 98 Green St, Hudson, NY 12534.
ExtraMundane
Yura Adams and Brian Wood
with Gracelee Lawrence in the Drawing Room
I am exhibiting sculpture, a new direction, half of the work produced in 2023.
Please join me to view the work in the center of the beautiful space that is the Turley Gallery.
Turley Gallery, April 8–April 30, 2023. Open Friday–Sunday, 12–5 PM and by appointment.
Wait! What is the video doing here?
Come and see what I made of it.
Yura Adams
@yuradams
Thank you.
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23. Mark Bloch, FF Alumn, now online at WhiteHotMagazine.com
The Power of the Gaze
By Mark Bloch
A Review of art by Elli Chrysidou and Heejung Kim
at
Paris Koh Fine Arts
Fort Lee, NJ
Curated by Thalia Vrachopoulos
March 6th to March 31, 2023
https://whitehotmagazine.com/articles/heejung-kim-power-the-gaze/5727
In this exhibition, the curator juxtaposes the oeuvres of two established female artists to examine how the eye motif can be used to avert catastrophe and bring good fortune. “The gaze involves much more than seeing,” says Thalia Vrachopoulos….Parallels in modern art are also many. We have all seen Rene Magritte’s The False Mirror, the 1928 painting of an eye reflecting clouds, a simple Surrealistic masterpiece that expressed uncomplicated but mysterious truths.
Another Surrealist, Kurt Seligmann, was a Swiss-American member of the movement who was extremely influential for his vast knowledge of the occult and what he termed “magic.” His home library included not only alchemy but a number of classic books about the evil eye…The theme of protection against evil forces via symbols and amulets was also reflected in an article Seligmann wrote entitled “The Evil Eye” in the very first issue of the influential journal VVV, the Surrealist magazine published in New York City by David Hare, Marcel Duchamp, André Breton, and Max Ernst. VVV was published from that issue in June 1942, through 1944.
In it, Seligmann called the evil eye “one of the most feared magico-diabolic forces” that is attracted to beauty “because… the Latin word invidia – envy – describes its action: to look into the very interior of things. The evil eye produces poisonous emanations which penetrate into the victim’s body.” He went on to discuss the Gorgon–a monster-figure in Greek mythology that converts onlookers to stone–which he called “the occidental prototype of the evil eye.” In particular, Seligmann emphasized the psychological attributes of the eye as a protective symbol that helps deter evil forces, fear and disaster.
The two artists complemented each other and illuminated the theme as my eye meandered from Chrysidou’s sharp two dimensional focus to the playful but unassailable physicality of Kim’s work that disembogues into the room. This eye-catching atmosphere in Suechung Koh’s warm Paris Koh Fine Arts Gallery in Fort Lee, New Jersey is worth a look.
Thank you.
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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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