Goings On: posted week of April 15, 2019
CONTENTS:
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1. Margia Kramer, Jenny Holzer, Julia Scher, FF Alumns, at Carriage Trade Gallery, Manhattan, thru May 12
2. Liz Phillips, FF Alumn, at The Queens Museum, Flushing Meadows, NY, April 12
3. Michelle Handelman, FF Alumn, at signs and symbols, Manhattan, opening April 18
4. John Held, Crackerjack Kid, Ray Johnson, Sol Lewitt, Cindy Sherman, Stephen Shore, Lawrence Weiner, FF Alumns, in the New York Times, April 4
5. Galinsky, FF Alumn, at A Million Drops, Los Angeles, CA, April 17
6. James Casebere, John Jesurun, FF Alumns, receive Rome Prize 2019
7. Doug Skinner, FF Alumn, new publications now available
8. Robert Longo, FF Alumn, at Metro Pictures, Manhattan, opening April 25
9. Arlene Rush, FF Member, at The Plaxall Gallery, LIC, Queens, thru May 12
10. Corinne Spencer, FF Alumn, at La MaMa Galleria, Manhattan, April 18-May 11
11. Nicolás Dumit Estévez Raful Espejo, FF Alumn, at Van Cortlandt Park, The Bronx, May 5
12. Amy Khoshbin, FF Alumn, at Governors Island, NY
13. Coco Fusco, FF Alumn, in Artforum, now online
14. Robin Tewes, FF Alumn, new publication now online
15. Guillermo Gomez-Peña, Jane Hammond, Guadalupe Maravilla, Daniel Joseph Martinez, Peggy Shaw, FF Alumns, named 2019 John Simon Guggenheim Memorial Foundation Fellows
16. Mary Beth Edelson, FF Alumn, in The New York Times, April 10, and more
17. Lynne Tillman, FF Alumn, at White Columns, Manhattan, April 19
18. Jay Critchley, FF Alumn, in CapeCodWave.com now online, and more
19. Sydney Blum, FF Alumn, at Kim Foster Gallery, Manhattan, opening May 9
20. Adam Putnam, FF Alumn, at Penumbra Foundation, Manhattan, April 18
21. Miriam Schaer, FF Alumn, at Dorsky Gallery Curatorial Programs, LIC, Queens, opening May 5
22. Cathy Weis, FF Alumn, at Judson Church, Manhattan, April 15
23. Edward Gómez, FF Alumn, in Hyperallergic, now online
24. RENO, FF Alumn, at Dixon Place, Manhattan, April 17
25. C Carr, Larry Fessenden, FF Alumns, receive Acker Award 2019
26. Nicole Goodwin, FF Alumn, in W42ST, now online
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1. Margia Kramer, Jenny Holzer, Julia Scher, FF Alumns, at Carriage Trade Gallery, Manhattan, thru May 12
Margia Kramer’s documentary art in new installation at Carriage Trade Gallery, 277 Grand Street (2nd floor), lower Manhattan. Now to May 12
A revival of Margia Kramer’s documentary work about the FBI surveillance of American actress Jean Seberg is being shown in a new installation in a group exhibition, “The Village,” at Carriage Trade Gallery, at 277 Grand Street (second floor) in Lower Manhattan, from now to May 12th. Surveillance is a theme of the show. Other artists with works in the exhibition are Gretchen Bender, David Deutsch, Harun Farocki, Andrew Hammerand, Jenny Holzer, Craig Kalpakjian, Jorge Rigamonti, and Julia Scher.
The subject of Margia Kramer’s installation, the American actress Jean Seberg, appeared in many films. Most notably, she starred in Jean Luc Godard’s iconic film “Breathless” with Jean-Paul Belmondo. Because she contributed money to the Black Panther Party, Seberg became the target of one of the FBI’s disinformation campaigns. Margia Kramer used the Freedom of Information Act to declassify and obtain the redacted pages from Seberg’s FBI file, shown in this installation.
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2. Liz Phillips, FF Alumn, at The Queens Museum, Flushing Meadows, NY, April 12
Relative Fields in Motion
A Collaborative Improvisation
Apr 12 2019
7:30pm-8:30pm
This improvised sound and dance performance is organized in conjunction with the site-specific installation, Relative Fields in Garden (2018). The first collaboration between portraitist Heidi Howard and her mother, pioneering interactive sound sculptor Liz Phillips, the work comprises a year-long commission for the Queens Museum’s Large Wall series for women-identified artists. Relative Fields in Motion will extend Howard and Phillips’ exploration of the politics of relation and simultaneity found in the domestic sphere of the garden, and further activate their work’s synaesthetic interplay between sound, image, and movement.
Directed by Howard, the performance combines saxophone by her father, virtuoso composer and performer Earl Howard with movement by dancer Cynthia Koppe, in an expanded sound installation by Phillips including ultrasonic sensor lines. As Koppe explores the brushing, dripping, slapping and layering of Howard’s painted actions, her gestures will be processed through Phillips’ installation to modulate, resonate, and sustain sounds, creating a live-responsive mix with the field recordings of bees, leaves, birds, trains and water that loop through the twenty speaker objects in the hundred-foot-long soundscape.
Howard’s saxophone improvisation will draw from real-time observations of the varying arrangement, as well as his intimate knowledge of the source recordings from his and Phillips’ Sunnyside, Queens garden. His live response will bring further form to this range of coincidental interactions produced among each artist’s investigation and the audience’s experience, merging the context of a private, urban garden with that of an interior public space, in one dynamic and interactive event.
Cynthia Koppe is a New York based dancer. Born in Singapore, she holds a BA from Cornell University in Sociology and Dance. She has worked with Liz Santoro and Pierre Godard since 2008 and continues to work with their Paris-based company, Le Principe d’Incertitude. Cynthia was a member of Shen Wei Dance Arts from 2009-2016, helping to originate roles as well as performing repertory. She has also worked with Ellis Wood, Bill Young, Ryan McNamara, Sam Roeck, Adam Weinert and Christopher Williams, and was a reperformer in Marina Abramovic’s 2010 MoMA Retrospective. In addition to dancing, Cynthia teaches embodied movement through Pilates and Yoga.
Heidi Howard (b.1986, New York, NY) has exhibited her work at Nancy Margolis Gallery, New York, NY (2017, 2016, 2015), Gaa Gallery, Provincetown, MA and Cologne, Germany (2018, 2017), The Hunterdon Museum of Art, Clinton, NJ (2017), James Cohan Gallery, New York, NY (2016) and many more. She has been an artist in residence at Palazzo Monti (2018), Byrdcliffe (2014) and the Vermont Studio Center (2011). She received her BA from Sarah Lawrence College and her MFA from Columbia University. She lives and works in Queens, New York.
Liz Phillips (b. 1951, Jersey City, NJ) studied at Bennington College and received a Guggenheim Fellowship in 1986. She has been making interactive sound installations for over four decades at venues such as Harvestworks on Governors Island, NY (2017); Creative Time (1981,2001); Lincoln Center, New York, NY (2002, 2001); the Jewish Museum, New York, NY (2002); Ars Electronica, Linz, Austria (1991, 1988); the Whitney Museum of American Art, New York, NY (1988, 1985); and the Stedelijk Museum, Amsterdam, Netherlands (1978) and many more.
Earl Howard (b. 1951, Los Angeles, CA) is an American avant-garde composer, arranger, saxophonist, synthesizer player and multi-instrumentalist. Howard is one of the pioneers of what is called “new” music. He has received numerous awards including, a Guggenheim Fellowship (2011), a grant from Harvard’s the Fromm Foundation, a Regents Fellowship at University of California, San Diego, and three New York Foundation for the Arts Fellowships. In 2004 His first sound installation was commissioned for the Tiffany Collection at the Queens Museum of Art. Howard has also produced soundtracks for video artists including Nam June Paik and Mary Lucier.
Relative Fields in Motion is made possible, in part, by the Queens Council on the Arts with public funds from the New York City Department of Cultural Affairs in partnership with the City Council. Support for Relative Fields in a Garden, 2018 is provided by Agnes Gund. The Large Wall series at Queens Museum is supported by The Ferriday Fund Charitable Trust. Relative Fields in a Garden was commissioned in conjunction with the exhibition, Queens International 2018: Volumes (October 7, 2018 – February 24, 2019). QI 2018 is made possible in part by support from the National Endowment for the Arts and the American Chai Trust. Exhibitions at the Queens Museum receive significant support from Ford Foundation. Major funding for the Queens Museum is generously provided by the New York City Department of Cultural Affairs, the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature, Lambent Foundation, Booth Ferris Foundation, and the Lily Auchincloss Foundation, Inc.
queensmuseum.org
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3. Michelle Handelman, FF Alumn, at signs and symbols, Manhattan, opening April 18
LOVER HATER CUNTY INTELLECTUAL
Icons from Husters & Empires
APRIL18 – MAY 25, 2019
OPENING RECEPTION
THURSDAY APRIL 18, 6-8pm
Performances: May 4 & 5, 4pm
signs and symbols
102 Forsyth Street
New York, NY 10002
signs and symbols is pleased to present LOVER HATER CUNTY INTELLECTUAL, a solo exhibition by Michelle Handelman. The exhibition marks the first in a series of in-depth character studies from Handelman’s latest project, Hustlers & Empires (2018) which explores transgression as a mode of survival, examining the complicated relationship between pleasure and risk and how identity is formed in resistance to oppression. Part opera, part manifesto, the project draws on Handelman’s own experience of growing up among drug dealers and pimps during the 1970s, as well as the stories of three real and imagined hustlers: Iceberg Slim’s Pimp (1967), Marguerite Duras’s The Lover (1984) and Federico Fellini’s Toby Dammit (1968). Handelman recontextualizes these historical figures through three legendary queer performers JOHN KELLY, SHANNON FUNCHESS and VIVA RUIZ, directing each performer to play versions of themselves within her transgressive fiction.
LOVER HATER CUNTY INTELLECTUAL deconstructs
Hustlers & Empires by devoting the entire exhibition to the character of The Lover — a character loosely based on the life and work of French filmmaker and writer Marguerite Duras and her semi-autobiographical protagonist in her novel, The Lover, performed by queer Latinx artist and activist VIVA RUIZ. Defiance pulses through her. A layering of persons, both real and imagined, aptly describe the intertextual sphere of Handelman’s character study. At the heart of the project is a a series of songs and manifestos that Handelman created in collaboration with each performer through a rewriting of the original texts. This collaborative rewriting is used as a tool of subversion, questioning existing power structures in order to analyze pervasive issues of class, race and gender, while illuminating the trajectory of radical queerness within the criminal and cultural underground.
“My identity is a revolving door of possibilities, If you ask me what I want I’ll tell you… I want everything…because queerness is a borderless state.” Viva Ruiz in Hustlers & Empires.
Hustlers & Empires (2018) was originally commissioned by the San Francisco Museum of Modern Art and Frank Smigiel, former Associate Curator, Performance & Film, at SFMOMA. Additional support provided by Art Matters; New York State Council of the Arts; Brooklyn Fireproof Films, and funds from the New York State Council on the Arts in Partnership with Wave Farm: Media Arts Assistance Fund, a regrant program of the New York State Council on the Arts, Electronic Media and Film Program, with the support of Governor Andrew Cuomo and the New York State Legislature.
Copyright (c) 2019, Michelle Handelman Studio, All rights reserved.
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4. John Held, Crackerjack Kid, Ray Johnson, Sol Lewitt, Cindy Sherman, Stephen Shore, Lawrence Weiner, FF Alumns, in the New York Times, April 4
Tracing the Roots of Photo Sharing from Mail Art to Instagram
A new exhibition at the San Francisco Museum of Modern Art shows that image sharing is evolutionary, not revolutionary.
By Jori Finkel
April 4, 2019
SAN FRANCISCO – The image of a bright-eyed cat with many online lives peers out from a hole in the wall as you enter the new exhibition “Snap+Share” at the San Francisco Museum of Modern Art.
You might wonder if the museum has designed a show for the sake of Instagram or Facebook likes. The cat-in-hole is a recognizable internet meme, while the show’s title is itself a clear play on Snapchat, the messaging and photo-sharing app. And the museum, a short walk from Twitter headquarters, is actively competing with other cultural institutions to reach the local technology community, for both funding and audience.
But the exhibition offers more than opportunities for selfies (there are two or three). Clément Chéroux, the museum’s senior photography curator (who said he received no financial support from the industry), is exploring how the transmission of images has evolved from analog to digital times. In particular, he makes a compelling argument for the serious art-historical lineage of social media photo sharing.
The show questions the common mythology that the internet has radically changed the way we share pictures of ourselves, our pets and our vacations, and created “an entirely new kind of dialogue,” as the technology reporter Nick Bilton wrote. Instead, it proposes that the roots for this kind of sharing came decades earlier, making for an evolution, not a revolution.
“We have been sending postcards and snapshots since the early time of photography,” Mr. Chéroux said, though noting that the volume and intensity of communication have of course grown with social media. “The whole exhibition is playing with this tension,” he said. “It’s new – and not so new.”
The show makes its argument most dramatically with its focus on “mail art” of the 1960s and ’70s, artists’ projects that used the Postal Service as an unwitting collaborator. Ray Johnson, for instance, sent a photographic self-portrait to Joseph Cornell in 1966 in hopes of establishing a relationship with one of his artistic heroes. And Lynn Hershman Leeson made postage stamps in 1972 with images of her face partly obscured, challenging the United States government to stamp them and further obliterate her identity.
Other mail artists in the show include On Kawara, the Japanese conceptual artist; Jan Dibbets, a Dutch artist who experimented with color photography and perspective; and Endre Tót, a Hungarian artist affiliated with the Fluxus group. Examples by dozens of lesser-known practitioners are featured in a large window display of mail art sent to the San Francisco artist and archivist John Held Jr.
Mr. Chéroux’s premise that mail art prefigured social media is debatable. The form was one of the 20th-century’s most subversive modes of art-making, with roots in the anti-art and anti-commodity movements of Dada and Fluxus – in contrast with the commercial DNA of image-sharing today. And mail artists were typically sending postcards, letters and packages to select, handpicked recipients, networks far from the enormous reach and popularity of social media.
Why not look back to other historical moments when photography was transmitted through mass media, such as the rise of photography magazines or photo books? Mr. Chéroux said his interest was more in the intimate, “person-to-person exchange of images, the gestures that say ‘I am here’ or ‘This is me,'” an impulse he says mail art and social media share.
Jeff Guess, a Paris-based artist in the show, finds the argument oddly persuasive. “I have made mail art before, and it seems to me like an amorous relationship with someone, where you spend a lot of time making art for that person. But you can also see social media as a form of interpersonal communication using images, just on a much more massive scale.”
For his computer animation Addressability in the contemporary section of show, Mr. Guess developed a program that takes images posted on Twitter under the hashtag “selfie” and disintegrates each of them into a galaxy of pixels that float in space. The shards get pieced back together into one legible image, only to explode.
While internet or digital art is still a relatively rare subject for museum exhibitions, there is a growing number of shows looking into the historical roots of the field. “Programmed: Rules, Codes, and Choreographies in Art, 1965-2018” at the Whitney, through April 14, shows how early instruction-driven conceptual art by Sol LeWitt, Lawrence Weiner and others anticipated works that were programmed by computer. “The Body Electric,” which opened recently at the Walker Art Center, takes the last 50 years of virtual life as its domain. And the ZKM Center for Art and Media in Karlsruhe, Germany – a leader in this field – just closed “100 Masterpieces With and Through Media,” a century-spanning show that also happened to include some examples of mail art.
“In the age of Snapchat, mail art becomes more interesting again,” said Peter Weibel, the artist-theorist who runs ZKM. Mr. Weibel says mail art fulfills two of his three criteria for “media art:” by using an “apparatus” for production (such as a typewriter) and one for distribution (such as a truck or plane) – it only lacks an apparatus for reception.
In “Snap+Share,” perhaps the most prescient example of mail art is Kawara’s “I Got Up …,” a set of touristy picture postcards he mailed on a daily basis to friends or colleagues from different locations. He stamped each card with the time that he got up each morning. The series seems made for posting on Twitter or Facebook, although it began in 1968. Running over 10 years, it explored the themes of image overload and information saturation that marks the current cultural moment.
The last half of “Snap+Share” shows artists today responding to this image overflow. Erik Kessels’s installation “24HRS in Photos,” first realized in 2011, takes the form of a mountain of photographic prints filling an entire gallery, meant to evoke the hundreds of thousands of images uploaded to Flickr in one 24-hour-period that year. Corinne Vionnet’s series “Photo Opportunities” features tourist sites like the Eiffel Tour and the Golden Gate Bridge. But instead of showing one image of a famous landmark, she makes a blurry (but still intelligible) composite out of dozens she found online – documenting what she calls “tourist clichés.”
Mr. Chéroux decided against including made-for-Instagram work by artists like Stephen Shore and Cindy Sherman. “You don’t need to go to a museum to see it,” he said. “You can see it on your own cellphone at home.”
The museum does stage a selfie opportunity, making available a refrigerator where people can pose with their heads in the freezer, following the instructions of the artist David Horvitz. He first posted them on social media in 2009 and the work has been generating goofy images ever since.
Another experiment in meme-making, the cat at the entrance to the exhibition returns in the very last gallery. Only now instead of a photo reproduction on the wall, the creature takes the form of a taxidermied cat poking out of a hole in the museum ceiling, its pale green eyes glinting from above. This work was made by the artists Eva and Franco Mattes, who were riffing on the famous “ceiling cat” image first posted online in 2006. They took the weightless creature looking at us looking at it – some see it as a symbol of the internet itself – and transformed it into a three-dimensional sculpture.
And it could, in our age of image acceleration, morph again in a nanosecond. Now that this cat has reached such a high perch in the museum sphere, it is bound to be photographed and posted by visitors, sending it back into the vast digital stream. In this way, the ending of the show marks another beginning, with the old-school, art-world divisions between high and low culture collapsing along the way.
“What we see today is a loop from popular culture to art back to popular culture,” Mr. Chéroux said. “And that’s the reason we encourage photography by visitors in the show, not just because it’s trendy, but because it also says something about the real reciprocity of the art being made today.
Mail Artists included in the exhibition, Snap+Share: Transmitting Photographs from Mail Art to Social Networks, San Francisco Museum of Modern Art, San Francisco, California, March 30-August 4, 2019, from the John Held, Jr. Collection.
Alvey, David (USA), Arenella, Roy (USA), Bates, Keith (England), Becker, Christopher (USA), Bed, Helen (USA), Bennett, C. Mehrl (USA), Bleus, Guy (Belgium), blurr, buZ (USA), Bondioli, Guido (Guatemala), Bunus, Ioan (France), Castelli, Gabriele (Italy), Colby, Sas (USA), Cote, R. F. (Canada), Crackerjack Kid (USA) Cristin, Laura (Italy), Crittenden, Sara (USA), Dickau, Mike (USA). Durland, Steven (USA), Dyar, Mike (USA), Fake Fine Art (USA), Ferranto, Matt (USA), Fish, Pat (USA), Fox, Harry (England), Framelius, Kimmo (Finland), Gerard, Pamela (USA), Greene, Michael (USA), Gronx Art (Argentina), Grundmann, Elke (Germany), Hall, Francis (USA), Harris, Patricia (USA), Herley, Peter (USA), Hunter, David (USA), Irmer, Sugar (Germany), Janke, Eberhard (Germany), Kemp, Joshua (USA), Kover, Jonas (USA), Kowalski, Krzysztof (Poland), Laskin, Gary (USA), Lenoir, Pascal (France), Little Apple Press (USA). Lloyd, Ginny (USA), Madawg (USA), Marilyn Dammann (USA), Melnikov, W. R. (Russia), Menerin, Moreno (Italy), Miller, Ken (USA), Petasz, Pawel (Poland), Pie, Elroy (USA), Private World (USA), Rasmussen, Steen (Denmark), Romanin, Sabine (Italy), Rutkovsky, Fran (USA), Ryan, Leanda (England), Scannell, Tim (USA), Shimanovsky, Valery (Russia), Short, C. Steven (USA), Skudzinskas, Gytis (Lithuania), Smith, E. Z. (USA), Smith, Susan (Canada), Soup, Jenny (USA), Spaulding, D. C. (USA), Stigler, Eldrich, Summers, Rod (Netherlands), Syndicato (USA), Taylor, Neal (USA), Tostado, Johnny (USA), Tsubouchi, Teruyuki (Japan), Unknown, Wilson, Jokie X (USA), Wilson, May (USA), Kruusamae (Estonia), Windsor, Jay (USA), Winnes, Frederick (Germany), Y. Nott (USA)
73 artists from 17 countries (Argentina, Belgium, Canada, Denmark, England, Estonia, Finland, France, Germany, Guatemala, Italy, Japan, Lithuania, Netherlands, Poland, Russia, USA).
Donations to the John Held, Jr. Collection made by: Russell Butler (aka buZ blurr), Joe Camel, Joel Cohen (aka Ragged Edge Press, The Sticker Dude), Ian Hamilton (aka Private World), Eleanor Kent, Jonas Kover (aka JK Post), Julie Peasley (aka McJob), Ed Plunkett, Daniel Ryan (aka Jokie X Wilson).
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5. Galinsky, FF Alumn, at A Million Drops, Los Angeles, CA, April 17
Pop-UP Benefit in Hollywood at A Million Drops Learning Center
Wednesday Evening April 17th, 8-9pm at A Million Drops 1711 North Van Ness Ave., LA CA – free parking! Tix here https://www.brownpapertickets.com/event/4213142 With brutal honesty and absurd humor, Galinsky transforms himself into five incorrigible and equally lovable people whose lives become forever entwined. Based on true stories and real people, The Bench explores the emotional heartbreak of five individuals experiencing homelessness. Directed by Jay O. Sanders, Presented by Chris Noth and Barry “Shabaka” Henley, Produced by Terry Schnuck
The Bench Pop-Up Benefit shows raise awareness and money for organizations that are doing battle with the homeless epidemic. Here is more about the organization this event is raising money for: A Million Drops Learning Center. A Million Drops is an L.A. based non-profit organization dedicated to providing direct, individual support to homeless, at-risk young adults in Los Angeles who want to make a difference in their lives and need a helping hand to do so. http://amilliondrops.org
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6. James Casebere, John Jesurun, FF Alumns, receive Rome Prize 2019
The American Academy in Rome awards the Rome Prize to a select group of artists and scholars who represent the highest standard of excellence in the arts and humanities. The recipients are invited to Rome to pursue their work in an atmosphere conducive to intellectual and artistic freedom, interdisciplinary exchange, and innovation.
Two Franklin Furnace alumns receive this year’s prize, John Jesurun and James Casebere.
https://www.aarome.org/sites/default/files/pr_en/2019-20-rome-prize-winners-english.pdf
For over four decades Casebere has devised both simple and complex models that are subsequently photographed in his studio. His pioneering work established him at the forefront of artists working with constructed photography and as one of the leading figures among the group of artists now referred to as the Pictures Generation. Casebere’s constructions exploring architectural, art historical, and cinematic sources, are made of simple materials, pared down to essential forms. His empty, abandoned spaces are hauntingly evocative and often suggest either prior or forthcoming events, encouraging the viewer to imagine a narrative or otherwise construct a symbolic, iconic reading of the work.
For additional information on James Casebere, please visit skny.com
For press, please contact Adair Lentini at the gallery, 212.239.1181 or via email at Adair@skny.com
For all other inquiries, please contact Cecile Panzieri at the gallery, 212.239.1181 or via email at Cecile@skny.com
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7. Doug Skinner, FF Alumn, new publications now available
“Upside-Down Stories” is now available from Black Scat Books!
Charles Cros and Émile Goudeau were quintessential Bohemian poets of the 1880s. Cros also experimented with the phonograph and color photography; Goudeau founded the Hydropathes, who met to declaim poetry while not drinking water. Cros and Goudeau’s only collaboration was a series of five exuberant stories published in 1880, which satirized such hot topics as divorce and capital punishment with bawdy humor and wild flights of fancy. All five stories are included here, plus four solo stories by Cros that complete the series, all translated and annotated by Doug Skinner. These dense and nutty gems will surprise you! You can find it on Amazon, or from blackscatbooks(dot)com.
I’m also included in two recent anthologies. “The Best of Le Scat Noir”
(also from Black Scat) collects Norman Conquest’s journal of that name, including many of my cartoons, stories, and translations. “The Book of Weirdo,” Jon B. Cooke’s long-awaited history of R. Crumb’s humor magazine, is now out from Last Gasp; like the other contributors, I’m represented with a cartoon, photo, and brief memoir.
Get these books and start reading!
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8. Robert Longo, FF Alumn, at Metro Pictures, Manhattan, opening April 25
Robert Longo
Amerika
April 25 – May 25, 2019
Opening Reception: April 25, 6 to 8pm
Robert Longo’s Amerika marks the beginning of a two-part exhibition by the artist and is a continuation of his Destroyer Cycle series, an investigation into the politics of power, futility, and aggression. Longo will open the second part of the exhibition, Fugitive Images, in November at Metro Pictures.
Amerika consists of three large-scale works that reflect the fraught events dominating the current U.S. news cycle. Entering the gallery, the viewer is confronted by Longo’s Death Star 2018, a monumental sculpture that responds to the exponential proliferation of mass shootings in the United States. The rear gallery features a chilling, three-panel charcoal drawing of the White House rendered in the artist’s uncompromising technique. In the upstairs gallery, an immersive film installation incorporates iconic imagery extracted from the media–some of which Longo has used as source material for his extraordinary charcoal drawings.
Death Star 2018 (a version of which was first presented at Art Basel in Switzerland last year) is an expanded/updated reconfiguration of Longo’s 1993 sculpture of the same name. A suspended globe studded with over 40,000 copper and brass assault rifle bullets, the work comprises more than twice the number of bullets used in the original to reflect the unprecedented increase in mass shootings in the U.S. over the last 26 years, giving an alarming statistical abstraction a jarring material form. The artist’s ominous depiction of the White House, in which the audience’s perspective is positioned from below, directs our view up toward the looming presidential residence, surrounded by a sinister forest and turbulent sky.
Robert Longo was born in 1953 in New York, where he lives and works. In 2016, Garage Museum of Contemporary Art, Moscow, presented a major exhibition of his works alongside those of Francisco Goya and Sergei Eisenstein. The exhibition, titled Proof, traveled to the Brooklyn Museum in 2017 and then to the Deichtorhallen Hamburg in 2018.
*In order to support efforts to reduce gun violence, Longo and Metro Pictures are donating 20% of the proceeds from the sale of Death Star 2018 to the Everytown for Gun Safety Support Fund.
Read more about Death Star 2018 in Newsweek and artnet.
For press inquiries, please contact Christine McMonagle at christine@metropictures.com.
Follow the gallery on Instagram @metro_pictures. 519 West 24th Street New York NY 10011 T 212 206 7100 gallery@metropictures.com
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9. Arlene Rush, FF Member, at The Plaxall Gallery, LIC, Queens, thru May 12
“Undefined Palate” and more Coming soon The Plaxall Gallery, Drink Me, Taste Me – An Exhibition of Curious Things @plaxallgallery
The Plaxall Gallery
5-25 46th Avenue, Long Island City, Queens – between Vernon and 5th Street. The entrance to the gallery
space is on the parking lot (west) side of the building at the second loading bay.
Exhibition on View: April 11th, 2019 to May 12th, 2019
#chocolates #resin #sculpture #glasssculpture #femaleartist #gender #feminist #cakedish #edibleart #fakefood #temptation
Arlene
www.arlenerush.com
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10. Corinne Spencer, FF Alumn, at La MaMa Galleria, Manhattan, April 18-May 11
Join us on April 18th, 2019, 6-8 PM for an opening from
Shanna Maurizi & Corinne Spencer
a selection of video and sculptural works
April 2019
Shanna Maurizi & Corinne Spencer
April 18 – May 11, 2019
La MaMa Galleria is proud to present Shanna Maurizi and Corinne Spencer for its final exhibition of Spring 2019, curated by Elise Gardella. By their variant investigations, the artists invoke the vastness of the unnamed and the unseen. They go beneath the surface to search, explore-to see and bring into our view the revelations of their questions. Maurizi queries the categorization of the solid and the ephemeral, blurring the division of moment and memory, knowing they create each other. Spencer’s process is intuitive, existing outside of an explicit narrative. She draws from a multitude of sources spanning the disciplines of dance, theater, performance art, film, and sound to create lush, textured work which operate in the realm of emotion, sensation, and spiritual experience.
In Shanna Maurizi’s new work in film and cast glass, ideas become solid objects and vice versa, as if shape is a thought form and these forms are imprinted on our memory. Her incantatory 6-minute film was created from hundreds of analog photographs, compiled directly from the camera roll without any editing. The photographs sequence through landscapes and domestic interiors, snapshot and documentary conceit carrying equal weight.
Iteratively etched into the prints’ surface are contour drawings of different objects; a conjoined pyramid and a sphere which shift and travel as the film plays. The film returns again and again to the intangible, inscrutable shape of something that perhaps can’t be seen at all, always out of view, forming through remote viewing. These archetypal shapes, manifesting form in cast black glass, struggle to become real. Formed themselves by the transmuting of base elements, the sculptures broadcast a cryptic impenetrability. Here, photographic and casting processes mirror each other as impressions of the actual, tangible form. Maurizi engages the question of the permanence of images and the slippery nature of memory, measuring the loss inherent to any reproduction.
Corinne Spencer’s Time is a river… is a selection from her ongoing video installation cycle, HUNGER. Born from a profound, spontaneous occurrence in which Spencer experienced the abrupt removal of all boundaries between herself and the world, HUNGER explores ecstatic interconnection and the trauma of alienation-extrapolating from this singular, personal incident, a mythologized journey into longing, emptiness, desire, rapture, and love. Weaving a path with video, sound, light and sculpture, HUNGER creates a pulsing landscape through which the viewer is guided underground into the shimmering depths of the psychic interior.
Spencer’s work is rooted in the black feminine body as it moves through space, unbound by time and history. She creates lush, textured work that lives in the realm of emotion, sensation, and spiritual experience. Here the black feminine body becomes the container of the universe-the gateway, path, and vehicle through which she excavates the mystery, profanity, and magic of an interior landscape rich in tension and contradiction. The interior landscape is measured and lawless, dangerous and sensuous, resilient and frail. She works with these tensions, stitching together artifice and authenticity, fantasy and reality, violence and desire, the mythological and the mundane to create sensorial, tactile work, which places both movement and material at its center.
Shanna Maurizi is an artist and experimental filmmaker living and working in Brooklyn, New York. Her films and expanded cinema have garnered festival awards and screened at venues such as Anthology Film Archives and the Ende Tymes Festival in NYC, Other Cinema, the Lab and SF Cinematheque in San Francisco, the Rotterdam Kunsthal and V1B3 in London, and she was nominated for best emerging director at VisionFest Tribeca Cinemas. Her works on paper have been shown at Famous Accountants, Songs for Presidents and Observatory in NYC, unFAIR Miami Beach, the Santa Monica Museum of Art and Gallery 825 in Los Angeles among many others. Her short film Late Night with Carl Sagan premiered at NewFilmmakers NYC, and her recent film Sunken Treasure won the Art and Science Award at the 56th Ann Arbor Film Festival, and also received a 2019 Foundation for Contemporary Art grant for a theatrical screening at the Art Kino Croatia. She is originally from California and holds an MFA from California College of the Arts and a BA in Photography from San Francisco State University.
Corinne Spencer is a video artist based in Brooklyn, NY. She received her BFA from Massachusetts College of Art and Design, 2010 and attended Skowhegan School of Painting & Sculpture, 2014; in 2015 the city of Boston commissioned a presentation of her ongoing video installation, HUNGER. Segments of HUNGER have been widely screened: Hysteria, Hysterical Feminisms; Divisions, Skowhegan School of Painting & Sculpture, Project Space; Samson Projects, NADA NY; Mother Salon, Lucid Body House; FEM_BODIED, Pittsburgh Filmmakers; Women Between Arts, The New School. Solo exhibitions include: Like Muscle to the Bone, PearlArts, Pittsburgh, PA; This Eternal Thread, Inner Fields, Brooklyn, NY; HUNGER, BAAD!, Bronx, NY. Spencer has received a St. Botolph Club Foundation Emerging Artist Award; a Franklin Furnace Grant, and was resident visiting artist at the inaugural session of Pearl Diving Movement Residency, Pittsburgh, PA. She is a 2019 MacDowell Artist Colony Fellow and currently in residence at the Meerkat Media Collective, Brooklyn, NY.
Founded in 1984, LaMaMa Galleria is a nonprofit gallery committed to nurturing experimentation in the visual arts. It serves the East Village community by offering diverse programming to an inter-generational audience, and expanding the parameters of a traditional gallery space. As a non-profit, La Galleria is able to provide artists and curators with unique exhibition opportunities that are largely out of reach in a commercial gallery setting.
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Thurs-Sun, 1-7pm or by appointment
lamama.org/lagalleria
for more information, email lamamagalleria@gmail.com
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11. Nicolás Dumit Estévez Raful Espejo, FF Alumn, at Van Cortlandt Park, The Bronx, May 5
The Tree and I
Presented as part of Call//City as Living Laboratory
Led by artist Nicolás Dumit Estévez Raful Espejo and John Butler, this WALK will help participants connect viserally with local trees, while developing a deeper understanding of the role of the riparian forest in Van Cortlandt Park.
Sunday, May 5, 2019
12:30 PM- 2:00 PM
Van Cortlandt Park
115 Van Cortlandt Park S, NY 10471
For more information or to RSVP:
https://interland3.donorperfect.net/weblink/weblink.aspx?name=E342387&id=44
During this experiential walk, participants will be guided through an unfolding series of performative exercises seeking to kindle one’s intimate relationship with trees. Walk and talk therefore go hand-in-hand with each other as we pursue as a group our path through Van Cortlandt Park, in the Bronx, and then move on to forge one-on-one connections with specific elms, oaks, maples, and dogwoods, among the other species in the area. We will have the opportunity to join in the goings-on of our tree through different breathing approaches, move to the dance of the branches while finding bonds between the sentient being in-front of us and our bodies, disclose orally or in writing a personal conundrum to our tree while using silence to receive advice from our listener, and open up to the possibility of forging a lasting friendship with the tree we have befriended.
Friends of Van Cortlandt Park ecological project manager John Butler will help participants understand the relationship between tree heath and overall environmental health, and will discuss efforts to restore the riparian forest in Van Cortlandt Park.
During the last 25 years Nicolás Dumit Estévez Raful Espejo has been teaching, writing, collaborating, learning, dancing, walking and performing in the Bronx, thus generating a rare archive of the goings on in the borough that includes: videos, photographs, publications, documents, memorabilia, audios and embodied experiences.
John Butler is a cartographer and stream ecologist. He is currently the Friends of Van Cortlandt Park’s Ecological Project Manager and a graduate student at City University of New York (Lehman College). He has worked for the past five years in urban conservation project management within the public land system, securing grants and running stewardship projects.
Butler blends together a passion and understanding in the field of ecology with map design and development abilities to build representations that tell the stories the raw data does not easily do. He plans to continue down the path of creating cartographic pieces as additions to his work in land conservation and biogeography.
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12. Amy Khoshbin, FF Alumn, at Governors Island, NY
LMCC’s Arts Center at Governors Island
opens Sept 2019
In case you missed it-LMCC will open our newly renovated Arts Center at Governors Island in September 2019. We envision LMCC’s Arts Center as an incubator for creative process and space of engagement connecting artists and audiences.
Focusing on themes of ecology, sustainability and resilience, opening programs will include site-specific exhibitions by Yto Barrada and Michael Wang, as well as a full calendar of open studios, performances, talks and workshops.
We are excited to announce our 2019 Artists-in-Residence at the Arts Center. These artists explore themes of social practice, New York City Harbor and Governors Island history, the environment and climate change. Learn more about our residents here:
https://lmcc.net/resources/artist-residencies/arts-center-residency/?mc_cid=ae3fe14ee2&mc_eid=2301ee1686
2019 Artists-in-Residence at LMCC’s Arts Center
Nicole Awai
Yto Barrada
Colleen Billing
Baris Gokturk
Maya Kaminishi Jeffereis
Brendan Kiely
Amy Khoshbin
Hilary Lorenz
Jillian McDonald
Ander Mikalson
Lize Mogel
Aviva Rahmani
Leah Raintree
Aida Šehović
J. Soto
Aaron Suggs
Sam Van Aken
Asiya Wadud
Michael Wang
Hypokrit Theatre Company
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13. Coco Fusco, FF Alumn, in Artforum, now online
Please visit this link:
thank you.
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14. Robin Tewes, FF Alumn, new publication now online
I’m happy to share with you this terrific book now on the top 10 seller list for non fiction. My painting from the Movie Theatre Series is on the cover. Please visit this link:
thank you.
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15. Guillermo Gomez-Peña, Jane Hammond, Guadalupe Maravilla, Daniel Joseph Martinez, Peggy Shaw, FF Alumns, named 2019 John Simon Guggenheim Memorial Foundation Fellows
Please visit this link:
https://www.gf.org/news/foundation-news/fellowships-awards-in-the-united-states-and-canada/
Thank you.
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16. Mary Beth Edelson, FF Alumn, in The New York Times, April 10, and more
The New York Times
April 10, 2019
Mary Beth Edelson
Through April 21. David Lewis, 88 Eldridge Street, fifth floor, Manhattan; 212-966-7990, davidlewisgallery.com.
Some basic facts regarding the 18 examples of Mary Beth Edelson’s “Great Goddess Cut-Outs” that currently line the walls of David Lewis’s gallery in her new show, “Shape Shifter”: They were made in 1974-75 with acrylic and plywood in her studio in New York. They or others from the series were shown in her solo exhibition at the Corcoran Gallery of Art in Washington, D.C. in 1975. They have almost never been seen since, certainly not in such numbers.
A subsequent consideration may be how radically these works reshape your sense of Ms. Edelson’s achievement or the history of 1970s feminist art. Surely my amazement is not unique. A favored Edelson motif is the goddess as a metaphor for women’s powers – of resilience, transformation and anger. Her best-known ’70s works are her “Woman Rising” photographs, in which she enacts mythic rituals, sometimes tongue-in-cheek, amid natural landscapes, as shown by several examples in this exhibition. But the power of the cutouts is less about narrative than materiality and form: totemic presences conjured by brusque but beautiful painted surfaces and towering scale. They are aggressively alive with spirit while also raising issues regarding primitivism and essentialism that are much more suspect today than earlier. But they are among the physically most convincing works of Ms. Edelson’s career. Feel them first; parse them later. ROBERTA SMITH
and
The New Yorker, April 4, 2019
Mary Beth Edelson
Every person who owns a T-shirt that reads “The Future Is Female” should be required by law to see this show of works from the feminist past. The main event is the “Great Goddess Cut-Outs,” a totemic series of painted silhouettes from the mid-nineteen-seventies, which Edelson made in her SoHo loft, where art and life, private ritual and public protest, all bled together. Eighteen of these abstracted figures-titles include “Shell Venus,” “Bird Isis,” and “Louise”-line the walls of one room, surrounding visitors like an orderly coven. An intimate series of black-and-white photographs from the same era hangs nearby, self-portraits of the artist performing outdoors in far-flung locales (Iceland, Yugoslavia). Edelson appears as a blur in most of these pictures. The artist isn’t present so much as she’s evanescent-a shape-shifting pioneer. Andrea K. Scott
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17. Lynne Tillman, FF Alumn, at White Columns, Manhattan, April 19
White Columns
Friday 19 April, 2019 / Doors 6.30pm
An Evening with Lynne Tillman
Lynne Tillman – reading from ‘Men and Apparitions’ (Soft Skull Press, 2018)
– to be followed by a conversation with Matthew Higgs on/about the exhibition
‘Caroline Goe – works from the collection of Lynne Tillman’
(On view at White Columns through 4 May, 2019.)
First come. Refreshments will be served.
White Columns / 91 Horatio Street (new address) / NY 10014
www.whitecolumns.org
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18. Jay Critchley, FF Alumn, in CapeCodWave.com now online, and more
Artist, Activist, Trickster & Shaman – A Profile: http://capecodwave.com/jay-critchley-artist-activist-trickster-shaman-a-profile/
A home at the End of the World: Provincetown and the AIDS Crisis
http://www.newnownext.com/a-home-at-the-end-of-the-world-provincetown-and-the-aids-crisis/04/2019/?fbclid=IwAR2jBA1Oo40IyHo6v1KDCC8qP2fxDlRdPfwxZrorWVObgP-CI5gRBw1ZPX8
Jay Critchley
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19. Sydney Blum, FF Alumn, at Kim Foster Gallery, Manhattan, opening May 9
Sydney Blum
Both Sides Of The Sky
Kim Foster Gallery 529 West 20th St., NY, NY 212-229-0044
Opening: May 9, 2019 Thursday 6-8
Exhibition runs from May 9, 2019- June 8, 2019
http://kimfostergallery.com/sydney-blum/
and, on Instagram: sydneyblum.art
Icarus is the figure in Greek myth whose father fashioned wings of feathers and wax so that they could escape imprisonment on an island. Icarus, young and full of life, skateboarded through the sky, as it were. Yet in spite of his father’s warnings, he flew too near the sun, the wax on his wings melted, and he fell to his death. Icarus was fueled by hubris, seduced by desire and yearning, unaware of the dangers of going in only one direction.
Nature knows what Icarus did not, and corrects itself. There is that longing to soar, being tempted as much by the sky as the sea, the rhythms of each being so similar, one literally reflecting the other. Sydney Blum’s Icaurus-Colour-Space (ICS) series derive from all of this. They describe a fragment of space, time and color. Where the imperceptible transitions of color, contraction and expansion of space destabilize what we know and we are faced with what we don’t know. Each ICS sculpture is a fragment of a continuum-of-color and movement, somewhere “after before and before after”; a moment among moments in all directions.
Blum lives in relative isolation in Northern Nova Scotia in Canada along the Northumberland Strait. She moved there intentionally to be in a quiet remote place where she could internalize the rhythm of the tide. The artist is interested in dowsing subtle energies, how fluid moves, what happens when the current shifts. Her most recent work attempts to extend the notion of flow and color vibration by changing the sharply “contrasting” black grid to one that “complements” the underlying color, resulting in more of a color clash.
Complementary colors are colors that are directly opposite each other in the color spectrum and when placed next to each other create the strongest contrast. Blum’s new work experiments with grid tones that complement the color amplifying the optical vibration, thereby further driving the sense of movement within the form. The new combination-using color complements vs. contrast– produce a different frequency and stronger vibration between the gradient and the grid. As before, she initially explores this in two-dimensional studies and then develops the 3D ICS sculptures.
The challenge here has been to select grid colors that intensify the vibration throughout the ICS piece while still giving enough structural organization of the space to produce velocity and movement with care to not overwhelm it. The organization and color choices rely even more on intuition than her previous work with the black grid. In determining these choices she needs to feel and sense when the vibration is maximized.
For further information, please contact the gallery.
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20. Adam Putnam, FF Alumn, at Penumbra Foundation, Manhattan, April 18
This Thursday, April 18th, 6-8PM, please join us for the official book launch of ASMR4 v.6 at The Penumbra Foundation,
36 E 30th Street, New York, NY
ASMR4 is a small run, 16-page, quarterly publication co-edited by Katie Murray, Victoria Sambunaris, Dan Torop, and Adam Putnam. The first four volumes served as both conversation and message. The current series focuses on the strange and forgotten. The latest issue, presents archival images and film stills from the life of the legendary matadora Patricia McCormick (1929-2013, bullfighter 1951-62).
She had shunned an art career to become the Lady Bullfighter, a defiant and extraordinary path, particularly for a woman at that time. McCormick would later write, “I could keep this up all day! I am in no hurry to kill, you lovely, brave beast. But I must, before you learn how to kill me. I know you will die at the height of your courage, trying to fathom the illusive cloth that you can’t get your horns into, searching for the real enemy you would destroy.” Victoria Sambunaris
ASMR4 v.6, Del Rio, as well as previous volumes, will be on sale at Petzel bookstore as well as through PayPal.
send inquiries to sales@asmr4.net
http://asmr4.net
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21. Miriam Schaer, FF Alumn, at Dorsky Gallery Curatorial Programs, LIC, Queens, opening May 5
Join us on May 5 (2-5pm) at Dorsky Gallery Curatorial Programs in Long Island City, NY for the opening reception of The Hand & I, a group textile exhibition, Curated by Yulia Tikhonova.
HAND & I brings together nineteen artists who use the delicate medium of embroidery to address society’s most pressing issues. While the Hand patiently makes stitch after stitch-
straight, backwards, stem, chain or blind-the I presides over a resounding call for resistance to inhumane social policy. These artists address the difficult problems of climate, race, gender, immigration, and the U.S. prison system-their needlework a cri de coeur for social justice.
Artists include: Fanny Allié, Blanka Amezkua, Melissa Calderon, Liz Collins, Ana de La Cueva, Erika Diamond, Gabriele Fulterer & Christine Scherrer, Kate Huh & LJ Roberts, Barb Hunt, Annie Lucas, Katrina Majkut, Noelle Mason, Raymond Materson, Cat Mazza, Miriam Schaer, Sayaka Suzuki, Chanel Thomas, Angie Wilson.
Exhibition dates: May 5 – July 14, 2019
Opening reception: Sunday, May 5, 2:00-5:00 p.m.
For more details: https://www.dorsky.org/#hand
To view the brochure: https://www.dorsky.org/Brochure%20PDFs/1902hand&I_H_low.pdf
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22. Cathy Weis, FF Alumn, at Judson Church, Manhattan, April 15
Cathy Weis performs at
Movement Research at the Judson Church
April 15, 2019 at 8pm
On Monday, April 15th, Cathy Weis will perform her latest work Fishsticks, a duet with Tyler Fairbanks, at 8pm at Movement Research at the Judson Church.
It all began when Scott Heron made a school of paper mache sparkling fish to float above him on stage in The Sea Around Us. Months passed. Years passed. The school morphed into a single fish reaching for the heavens.
Two dedicated fishermen, Tyler Fairbanks and Cathy Weis, wrangling with this passionate fish, end up in a stalemate in hell.
The event is free, no reservations required. Doors open at 7:45pm.
For more information and for the full evening lineup, please visit the Movement Research website.
Judson Memorial Church
55 Washington Square S
New York, NY 10012
For more information about this and other Cathy Weis Projects events, please visit cathyweis.org.
For more information about this and other events,
visit our website at cathyweis.org or email us at info@cathyweis.org.
Copyright (c) 2019 Cathy Weis Projects. All rights reserved.
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23. Edward Gómez, FF Alumn, in Hyperallergic, now online
Dear art lovers and media colleagues:
My article about the Swiss contemporary artist Miriam Cahn’s bracing new exhibition, Ich als Mensch (I as Human), has been published in HYPERALLERGIC, the arts-and-culture magazine.
Recently, in Bern, Switzerland’s capital city, I saw this exhibition at the Kunstmuseum Bern. It’s on view there through June 16.
You can find this new article here:
Cahn, who was born in Basel 1949 and today lives and works in southeastern Switzerland, turns anger and frustration about injustice, aggression, and inhumane behavior into art that is at once seductive and in-your-face unsettling. Taking on such subjects as war, Europe’s refugee crisis, racism and bigotry, and sexually motivated violence, her paintings and drawings can provoke visceral reactions.
I hope you’ll enjoy reading this article!
I send you all best wishes…
EDWARD M. GÓMEZ
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24. RENO, FF Alumn, at Dixon Place, Manhattan, April 17
LILY + RENO’S PROGRESS REPORT Wed, April 17th @ 7:30
DIXON PLACE 161 Chrystie, NYC
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25. C Carr, Larry Fessenden, FF Alumns, receive Acker Award 2019
Please visit this link:
https://www.thevillager.com/2019/03/acker-awards-to-honor-dtowns-avant-garde/
thank you
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26. Nicole Goodwin, FF Alumn, in W42ST, now online
Please visit this link:
https://issuu.com/w42st/docs/w42st_issue_52_the_body_issue
thank you.
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Goings On is compiled weekly by Harley Spiller
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