Contents for April 29, 2024
CONTENTS (please click on the links or scroll down for complete information on each post):
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1. Clifford Owens, FF Alumn, at Independent Art Fair, Manhattan, May 9-12
2. Taylor Mac, FF Alumn, now online at NYTimes.com
3. Joshua Fried, Julie Hair, John Jesurun, John Kelly, Ann Magnuson, Susan Martin, Trey Speegle, FF Alumns, now online at AMNY.com
4. Carlos Martiel, FF Alumn, at El Museo del Barrio, Manhattan, opening May 2
5. Tamar Ettun, FF Alumn, now online at art21.org and more
6. Victoria Keddie, FF Alumn, at Museum Angewandte Kunst, Frankfurt, Germany, June 29, and more
7. Karen Shaw, FF Alumn, at Neighbors Storefront Art Space, Manhattan, May 1-31
8. Mira Schor, FF Alumn, at Marcelle Alix, Paris, France, thru May 18
9. Shirin Neshat, Dan Perjovschi, Barbara Pollack, Laura Raicovich, FF Alumns, at Art at a Time Like This, Manhattan, May 10 and June 7-8
10. Ed Woodham, FF Alumn, in New York Review of Architecture
11. Peculiar Works Project, FF Alumns, under St. Mark’s Theater, Manhattan, May 10
12. Cynthia Karalla, FF Alumn, at 119 Broadway, Newburgh, NY, May 4
13. Harley & Micki Spiller, FF Alumns, now online at instagram.com and more
14. Peter Baren, FF Alumn, new publication now available
15. Peter Cramer, Barbara Rosenthal, Christy Rupp, FF Alumns, at Lincoln Center, Manhattan, May 3-5
16. Shelley Haven, FF Alumn, spring events
17. Mark Bloch, FF Alumn, now online at whitehotmagazine.com
18. Dee Shapiro, Susan Schwalb, FF Alumns, at National Arts Club, Manhattan, opening May 2, and more
19. Jody Oberfelder, FF Alumn, at Green-Wood Cemetery, May 4-6
20. Willie Cole, FF Alumn, at BravinLee, Manhattan, April 26-May 12
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1. Clifford Owens, FF Alumn, at Independent Art Fair, Manhattan, May 9-12
Greetings!
I hope this message finds you well.
I am excited to exhibit new and recent works on paper at the Independent Art Fair with Jay Gorney from May 9 – 12, 2024. Please see the following link to preview the work in the booth.
https://independent.artnav.co/viewing-room/2060
Looking forward to seeing you next month!
Warmly, Clifford
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2. Taylor Mac, FF Alumn, now online at NYTimes.com
Please visit this link:
‘Orlando’ Review: A Virginia Woolf Fantasy That Plays With Gender
Thank you.
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3. Lady Pink, FF Alumn, now online at NYTimes.com
Joshua Fried, Julie Hair, John Jesurun, John Kelly, Ann Magnuson, Susan Martin, Trey Speegle, FF Alumns, now online at AMNY.com
Please visit this link:
Thank you.
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4. Carlos Martiel, FF Alumn, at El Museo del Barrio, Manhattan, opening May 2
Please visit this link:
Thank you.
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5. Tamar Ettun, FF Alumn, now online at art21.org and more
Dear friends,
I hope you are taking good care. I am excited to share that I did an interview with Jurrell Lewis from Art21 about my Lilit project, here: https://art21.org/read/in-the-studio-tamar-ettun/
Printed Matter and Dreamsong created a new affordable riso edition of The Demon of Growing Pain, which you can purchase here: https://www.printedmatter.org/catalog/65349/
My new artist book, How to Trap/Release a Demon published by Dog Eye Press is available for purchase at https://shop.dreamsong.art/product/how-to-trap-a-demon ($45)
Next up: Purple Placenta at the Ford Foundation in June!
Tamar Ettun
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6. Victoria Keddie, FF Alumn, at Museum Angewandte Kunst, Frankfurt, Germany, June 29, and more
Victoria Keddie: Pshal P’shaw, limited edition album with book, raster media (DE)
Live record release performance at the Museum Angewandte Kunst [MAK], Frankfurt, Germany June 29, 2024
Pshal P’shaw is an exploration delving into phonetic expression’s auditory and rhythmic nuances through an amalgamation of text, sound, data, and customized learning software. The project originated during a residency at the Max Planck Institute of Empirical Aesthetics in 2023.
May 16-July 7, 2024
“Pshal; P’shaw” a sculptural sound installation as part of the exhibition, Contact Zones: Sajan Mani, Victoria Keddie, Andrius Arutiunian, Pamela Breda. Museum Angewandte Kunst [MAK], Frankfurt, Germany.
Curated by: Eike Walkenhorst and in affiliation with the Max Planck Institute for Empirical Aesthetics.
http://www.victoriakeddie.com/
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7. Karen Shaw, FF Alumn, at Neighbors Storefront Art Space, Manhattan, May 1-31
I think the WORLD of you! Exhibition May 1-31. Neighbors Storefront Art Space 176 Ninth Avenue, NYC Reception May 16 6-8 PM.
I think the WORLD of you! Is an exhibition of map works in various media. I have been fascinated by the drawing of borders, land ownership and the shapes these borders create. Maps are abstractions of a larger space. They reduce wonder to a scale more susceptible to comprehension.
Neighbors Storefront Art Space exists to meet the needs of a diverse community who live and work along the High Line.
Reception May 16, 6-8 PM. Hope to see you there.
Karen Shaw
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8. Mira Schor, FF Alumn, at Marcelle Alix, Paris, France, thru May 18
Mira Schor: Margin of Safety, Marcelle Alix, 4 rue Jouye-Rouve, 75020 Paris. Open through May 18
https://marcellealix.com/expositions/presentation/108/exposition-en-cours
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9. Shirin Neshat, Dan Perjovschi, Barbara Pollack, Laura Raicovich, FF Alumns, at Art at a Time Like This, Manhattan, May 10 and June 7-8
Dangerous Art, Endangered Artists
Programming:
Dangerous Art, Endangered Artists is a campaign directed at the increased rise of censorship in the U.S. and beyond. We are concerned that artists, curators, performers, and filmmakers are being targeted as never before in a time when the enemy is no longer singular and visible.
Art at a Time Like This is launching this campaign in collaboration with the Artists at Risk Connection, a human rights group that rescues artists from places where censorship leads to banning, imprisonment, or worse.
ARC and ATLT have observed a dramatic increase in restrictions on free expression—and so have you. The headlines are unavoidable, and things may only get worse with the impending election.
Together, we want to provide platforms for artists, thought leaders, and you to speak out on these issues in ways that foster dialogue, not divisions.
Beginning May 10th, Dangerous Art, Endangered Artists will provide a full day of free programming at the Independent Art Fair at Spring Studios on Varick Street in Tribeca. Speaking to this audience of curators, collectors and leaders, artists and activists will reach out to tell their stories and explain ways they need support. Panels include:
11:30 am – 1:00 pm
Art and the Politics of Resistance
Dan Perjrovschi (Romania/US), Lesia Khomenko (Ukraine/US), Rudy Loewe (UK), Xiaoyu Weng (China/US) moderated by Julie Trebault
https://www.instagram.com/perjovschidan
https://www.instagram.com/lesia__khomenko
https://www.instagram.com/rudyloewe/?hl=en
https://www.instagram.com/xiaoyuxiaoyuxiaoyu/?hl=en
https://pen.org/user/julie-trebault
Register
https://www.eventbrite.com/e/art-and-the-politics-of-resistance-tickets-861721501207
2:00 pm – 3:00 pm
Compromise and Action: Participating in a Global Art World
Laura Raicovich (US) and Tania El Khoury (Lebanon/US)
https://lauraraicovich.com/about
https://www.instagram.com/taniaelk?igsh=cmpmODRsdWttNmpi
Register
3:30 pm – 5:00 pm
Don’t Delete Art: Is Social Media Beyond Our Control?
Elizabeth Larison (US), Emma Shapiro (US/Spain), Sibila Sotomayor Van Rysseghem, Member of LASTESIS (Mexico), Jenin Yaseen (US/Palestine)
https://ncac.org/about-us/staff
https://www.instagram.com/exshaps?igsh=MTdraXVsZmtzdGdlag==
https://www.instagram.com/lastesis?igsh=MWthM2c1MmwzN2tqbA==
Register
https://www.eventbrite.com/e/dont-delete-art-is-social-media-beyond-our-control-tickets-861747799867
Ticket price: Free event. Registration Required
Dangerous Art, Endangered Artists Summit will be held on June 7th and 8th at BRIC, located on Fulton Street in Brooklyn. This landmark convening of artists, performers and writers from around the world and human rights leaders will look at the complex problem of censorship from diverse points of view.
Keynote Speaker Shirin Neshat will be joined by Nikole Hannah-Jones of the 1619 Project, Aruna D’Souza, Omaid Sharifi, Henry Ohanga AKA Octopizzio, Mari Spirito, Loren Wolffer, Jasmine Wahi, Demian DinéYazhi’ and more.
Plus, performances!
$50 for both June 7 and 8 / $30 for students
$30 for June 7 or June 8 / $15 for students
Tickets go on sale on May 15th, 2024
We hope to see our ATLT community at these events. We are open to your suggestions or questions. Please register early.
If you are supportive of this program and of our work in general, please make a donation at this time. The funds will directly support the Dangerous Art, Endangered Artists campaign.
ATLT thanks the New York State Council on the Arts, The Glenmede Trust Company and the Kettering Family Foundation for support of the Dangerous Art, Endangered Artists Campaign.
Additional thanks to Jane Lombard Gallery for Dan Perjovschi’s participation and Vitrine Gallery for Rudy Loewe’s appearance; Independent New York for hosting this event and Artists at Risk Connection for their unflagging support.
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10. Alice Eve Cohen, FF Alumn, at Northwestern University, Evanston, IL, April 21
Ed Woodham, FF Alumn, in New York Review of Architecture
At Home with the Works
In New York City, real estate plays double duty, and apartments turn into art galleries
https://nyra.nyc/people/louis-bury
When I visited AAA3A in December 2023, a gallery where artist Blanka Amezkua has run out of her South Bronx apartment for almost a decade, several makeshift plinths not only looked stylish but also suited the quirky artworks they displayed. A wooden bench had been inverted on the floor, its legs pointing up, with an identical bench balanced atop it, legs down, as though the pieces of furniture were performing a two-person yoga pose. Colorful sculptures by artist Cesar Viveros were displayed on the benches, including a coffee mug with protruding eyeballs and birds’ beaks (Pajarito from 2022), as well as a half-purple, half-white dog-Firulais (2019)—whose skeletal body echoed the benches’ spindly forms. Nearby, atop a sturdier wooden dining table, stood Torito (2023), a towering papier-mâché bull festooned with neon lights that evoked exploding fireworks.
These curatorial decisions were happy accidents. To install Viveros’s fall 2023 exhibition, My intimate relationship with paper, Amezkua decided to improvise plinths from her furniture. She happens to own a number of benches and tables, in an otherwise modestly sized apartment, because for each exhibition she asks the artist to cook a dinner or lead a workshop, for fifteen to twenty people. The gallery’s tradition of hosting community events traces back to Amezkua’s native Mexico City, as well as her upbringing in Los Angeles, where her family held large social gatherings. “Growing up, there were always people around the house. I missed that togetherness when I moved to New York twenty years ago and have been trying to re-create it wherever I go,” says Amezkua, who has also lived in Athens, Greece.
A similar spirit of openness, as well as of necessary invention, animates other contemporary New York City home art galleries. New York has a rich history of artist-run spaces, but in the past decade, and especially in the years since Covid, home galleries here seem to be experiencing a renaissance. Perhaps social isolation left people not only longing for physical community but also accustomed to the idea of working from home. Another factor, certainly, is the lack of affordable, centrally located real estate compared with previous generations. Whatever motivates artists and arts professionals to operate home galleries, everybody who does so must be comfortable dedicating part of their domestic life to the venture. The artworks take up precious floor and wall space. Friends, acquaintances, and strangers request visits even when the gallerists (and their roommates, if they have any) might prefer time alone. Needless to say, running a home gallery is difficult and inconvenient, so much so that you’re unlikely to do it unless you consider the undertaking urgent and enjoyable.
The urgency is often, though not exclusively, financial. A commercial storefront in a prime New York City gallery neighborhood like Tribeca can easily rent for $25,000 or more per month; eliminating that overhead changes the equation of who can afford to operate a gallery and why. Take, for instance, April, who requested that her last name not be included in this article and who for several years has run Tutu Gallery from her Bed-Stuy apartment. Her goals for the gallery have been to build a community for international women artists—April is a Chinese emigrant herself—living in New York and to achieve commercial success. But she hasn’t allowed the gallery to incur more financial risk than absolutely necessary.
Limiting risk allows April to program the gallery with idealism. She gravitates toward artwork that, like immigrants themselves, exists in between categories, and she encourages her artists to respond to the apartment environment, resulting in exhibitions that she characterizes as “slightly off the wall,” literally and figuratively. In Land Language/Bahasa Bumi, for instance, a fall 2023 show that featured artists Megan Nugroho and Samuel Alexander Forest, the latter’s sculptural landscape drawings were situated in clever relation to the living room decor, with conical volcano sculptures (Krakatau, 2023) displayed on circular coffee tables and craggy iceberg sculptures (Jayawijaya, 2023) displayed on the mantelpiece.
New York has a rich history of artist-run spaces, but in the past decade, and especially in the years since Covid, home galleries here seem to be experiencing a renaissance. Perhaps social isolation left people not only longing for physical community but also accustomed to the idea of working from home.
This willingness to try things out extends to the gallery’s business practices. April describes Tutu’s commercial approach as a “hybrid” of elements from the for-profit art industry and not-for-profit DIY music scenes. While most of its artworks sell at higher price points, the gallery also offers smaller, more merch-like pieces at lower price points and has even experimented with forms of barter. Its potlatch-esque 2022 Christmas exhibition, Very Naughty Super Trashy, for example, included several hundred artworks by more than fifty artists; each visitor to the show was permitted to take one work for free.
The varieties of exchange that occur at Tutu Gallery exemplify how some home galleries aspire to commercial growth; others operate on anticapitalist principles; and most find a balance between profit- and pleasure-seeking. Until recently, for example, Putty’s Coronation gallery took zero cut of any sales. Artist David Temchulla founded the gallery in 2016 with the goals of building community and, according to its website, “offer[ing] artists the opportunity to experiment and contextualize their work without capitalist pressures.” In Putty’s earliest years, Temchulla supplemented his operating costs by renting out a bedroom in his Lower East Side apartment on Airbnb. Today, artist Benjamin Koditschek co-operates the gallery with Temchulla out of the former’s South Slope apartment.
Ed Woodham specified that he does not take any cut of sales at SHOWROOM gallery, which he has run for the past year out of his Murray Hill studio apartment. As the founder of Art in Odd Places, which since 1996 has organized charming art actions in public spaces, Woodham might seem an unlikely candidate to start a more private style of gallery. Yet the underlying motivations are quite similar. “Like my other curatorial and artistic work,” he elaborates, “SHOWROOM is a conceptual gesture, an example to others of how to design the world you want with what you happen to have around you.” His explanation, more ars poetica than mission statement, not only encapsulates the resourceful pluck found in most home galleries, but also encapsulates the kind of work his gallery exhibits. Its winter 2023–24 exhibition, Reverse – Order, featured lively watercolor portraits by artist Juan Hernandez, who in the decades since his incarceration at age sixteen has developed an art practice, with a rehabilitative bent, under conditions of severe constraint.
While most home gallerists do take a cut of sales, they’re less likely than other gallerists to pursue business growth as an end unto itself. Curator Daisy Sanchez—who used to run Daisy’s Room out of her former council flat in London and plans to open a new home gallery when she moves back to that city later this year—expressed reservations about “the myth of infinite growth,” preferring instead to keep operations manageable in scope and to “let young artists go rather than try to grow an apartment gallery with them.” Connie Lee—who runs Art Lives Here, a nonprofit that facilitates public art installations in underserved communities, as well as a home gallery in Harlem by the same name—also prefers for artists to “come through” one of her programs and then “move on.”
This reluctance to scale up is not only philosophical but also logistical. By their very nature, home art galleries are less public-facing than galleries with commercial leases. Often, their addresses aren’t available on their websites, and potential visitors must reach out over email or social media to obtain them. Many home gallerists hold other jobs and have no staff. “There’s a nice, natural limit to the activity,” muses Poppy Pulitzer, who used to work in the commercial gallery sector and together with artist Cal Siegel co-operates Astor Weeks, located in one of Harlem’s gorgeous Astor Row town houses. “It’s been surprising to see how each artist responds to the architecture,” she says.
The limits on home gallerists’ space and time can lead to clarity of purpose. Underland Gallery, for example, is located in Bay Ridge, a South Brooklyn neighborhood far from New York City’s more central artistic hubs. Its cofounding artists—Hannah Salyer, Ester Kwon, and Maxim Elrod—have therefore focused on serving the needs of hyperlocal arts communities. The result is an eclectic program of art exhibitions, literary readings, film screenings, and live music. Their DEATH MASQUERADE 2023 was a Halloween potluck-style installation of death masks, and at their fall 2023 PRIX FIXE exhibition visitors were seated around a table and served artworks for their viewing consideration. The ground-floor space that houses these events features sumptuous wooden moldings and bold, flora-and-fauna patterned wallpapering—the most attention-grabbing interior design I encountered in my research for this article.
The idiosyncrasies of home art galleries make visits to them feel more intimate than jaunts to traditional white-cube spaces. The experience is not only about seeing art but also about spending time in someone’s home. Gallerists tend to offer coffee or tea, sometimes even a snack, as well as a seat in the living room or around a table. Longer, deeper conversation is practically unavoidable. “Given the smaller scale of operations, visitors get more attention, which they appreciate,” reflects Bill Cournoyer, who since 2016 has run The Meeting, an art advisory firm and private exhibition space, in his West Village apartment. The intimate setting makes it easier for people to imagine how the artworks might look in their homes, and harder to pretend that art exists abstracted from life’s material conditions.
All-or-nothing assumptions about cultural relevance—the idea that if something isn’t well-known it must not be important—not only minimize the contributions of home galleries but also obscure the economic conditions, by naturalizing them, under which those galleries seek to carve out an alternative.
Yet informality can also undermine a business’s credibility, at least in some people’s eyes. “There’s a comfort to home galleries,” says artist and writer Lucas Regazzi, who together with his partner, the curator Patrick Bova, runs april april, a Bed-Stuy gallery that shows artists who live outside New York City and commissions poetry to accompany each show, “but there’s also a class-related stigma against them.” The persistence of this stigma—the notion that home galleries aren’t as serious as other types of exhibition spaces—points up the survivorship bias inherent in romanticized views of scrappy, artist-run spaces.
When underdog New York City arts venues, from A.I.R. Gallery to El Museo del Barrio, exert an outsized influence, their origin stories become part of art historical lore. But that type of success is not the fate of most alternative art venues, nor is it necessarily their founders’ ambition. To paraphrase Woodham, most such places are doing what they can with what they have, working to create cultural space for a community or an aesthetic that doesn’t currently have enough of it. All-or-nothing assumptions about cultural relevance—the idea that if something isn’t well-known it must not be important—not only minimize the contributions of home galleries but also obscure the economic conditions, by naturalizing them, under which those galleries seek to carve out an alternative.
In the era of social media, such assumptions are prevalent and easy to make. You can search for a gallery, artist, or curator and get a ballpark sense of their influence based on their follower counts and a few other search results. (You will also get a sense of how modest art world influence looks relative to mainstream influence.) In such circumstances, and especially in these early postpandemic years, home galleries’ intimate, IRL pleasures feel like a throwback to the pre-internet era of socialization, where personal and professional networks expanded more slowly, artistic communities were more centralized, and word-of-mouth cultural knowledge wasn’t a dead metaphor.
Yet even as home galleries might feel like a form of resistance against the internet’s flattening of culture, they benefit from the ease with which information is disseminated online. Unsurprisingly, multiple home gallerists told me that their or their gallery’s online presence facilitates most of its new face-to-face connections. This was especially the case for Sanchez, who, in her midtwenties, has already received notable recognition from the art press, such as a 2022 ARTnews profile. As a matter of fact, she first developed a substantial online following as a teenager, when she posted about art on Tumblr.
In 2020s New York City, then, home art galleries represent less a return to the physicality of underground spaces than a reassertion of that sensibility’s pleasures. It’s a sensibility that manages to be a bit more private than is typical nowadays, without regressing into in-group exclusivity. It also offers a way of doing business that doesn’t measure its worth solely in market terms, resulting in a less hurried and less status-oriented experience than so much else that visitors encounter in the art world and beyond. Home art galleries existed long before the internet, but their persistence affirms the need for small, heterogeneous cultural initiatives that work to create the world they want with what’s at hand.
Louis Bury remains reluctant to scale up for both philosophical and logistical reasons. His most recent book is The Way Things Go (punctum books, 2023).
https://louisbury.com/the-way-things-go/
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11. Sonya Rapoport, FF Alumn, at Bibeau Krueger, Manhattan, thru May 4
Peculiar Works Project, FF Alumns, under St. Mark’s Theater, Manhattan, May 10
Friday, May 10, 2024 at 5:30pm EDT
Admission free
75 minutes
Under St. Mark’s Theater
94 St. Mark’s Place, just east of 1st Avenue, NYC (directions)
RSVP
https://www.peculiarworks.org/astorplace_2024.php
Very limited seating!
Every theater-lover should know the story of the Astor Place Riots, but it’s about much more than a fight between the two biggest actors of the day. The Riots are a national tragedy unlike any other and a cautionary tale relevant to today’s extreme political culture.
Meet the dueling Macbeths who started it all, hear from local upstarts who fanned the flames of controversy, and say the names of the dead with us. We’ll mark the occasion with ceremony & satire, songs & scenes, and will close with a procession to the site where it happened.
Maria Dessena | Mick Hilgers | Ralph Lewis | Catherine Porter
Basil Rodericks | Barry Rowell | Trav S.D. | Dan Lane Williams | Zero Boy
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12. Cynthia Karalla, FF Alumn, at 119 Broadway, Newburgh, NY, May 4
Cynthia Karalla is opening her studio in collaboration with Grit Gallery.This is a chance to experience Karalla’s design process, from initial thought to completed work. She has works in MOMA, Cooper-Hewitt, Yokohama museum and is in many major art collections around the world. Her work has been written about in The NYTimes, and most recently in Hot White Magazine by Anthony Haden-Guest. This is a great chance to see the magic of creation behind the gallery walls.
119 Broadway, 3rd floor, Newburgh, NY 12550
Ck@karalla.com / 212-860-8900
Saturday, May 4th. 4-8pm
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13. Harley & Micki Spiller, FF Alumns, now online at instagram.com and more
Please visit this link:
https://www.instagram.com/reel/C6MsG3VO3JH/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA%3D%3D
or this link:
https://www.tiktok.com/@janeaugust/video/7361850948077063466?_t=8lsdNDWl6n0&_r=1
Thank you!
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14. James Johnson, FF Alumn, now online at www.discopie.com
Peter Baren, FF Alumn, new publication now available
Peter Baren’s TWO PIPES FOURTEEN LOCATIONS, 1974 has been republished after (almost) 50 years by ImageBeeld, Brussels…
https://imagebeeldedition.com/about
https://www.instagram.com/p/C5nNyjEt7vG/
Thank you.
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15. Peter Cramer, Barbara Rosenthal, Christy Rupp, FF Alumns, at Lincoln Center, Manhattan, May 3-5
Barbara Rosenthal (FF Alum) in film at Lincoln Center:
Barbara Rosenthal onscreen at Lincoln Center in film by Bill Creston: Please join us for two screenings of the Super-8 classic “Taxi, Taxi” at Film at Lincoln Center, Friday, May 3, 6pm. This film by auteur Bill Creston was shot 1977-97 while he drove nights for the Ann Service Manhattan Cab Company. It features conversations surreptitiously recorded from the back seat, plus stunning handheld shots of of the city as he drove at all hours in all weather, interspersed with scripted clips, usually of ironic, humorous or poignant comment. His small, known cast features neo-conceptualist Barbara Rosenthal, who also shot the many scenes depicting Bill, and participated in the scripting. Creston’s original song, “Taxi, Taxi” is sung by the late actor-painter Richard Miller.
“Taxi, Taxi” will be shown opening night as a kick-off to Lincoln Center’s new series “Seeing the City: Avant-Garde Visions of New York from the Film-Makers’ Cooperative Collection and Beyond.”
Curated by Tom Day (FMC) and Dan Sullivan (Film at Lincoln Center)
May 3-7
An iconic, oftentimes cliched, cinematic setting for hundreds of films, New York has regularly played a starring role in the history of cinema. Narrative films set in New York City are almost a subgenre unto themselves and have received copious attention. Less well explored are visions of the city anchored in exploration, experimentation, and subversive political commitment. This set of programs offers a diverse and engaging introduction to some of the scores of films in The Film-Maker’s Cooperative’s collection (and beyond) that explore the city. From the lyrical evocations of the anonymity of the crowd and mass transit, and a clutch of visionary works examining the built environment, to sets of films exploring housing; the lurking shadow of ever-encroaching gentrification and works on specific areas of the city, this offering gives an alternative vision of
one of the most filmed and photographed metropolises on earth.
Other filmmakers in this four-day series include: Shirley Clarke, Stan Brakhage/Joseph Cornell, Arthur ‘Weegee’ Felig, D.A. Pennebaker, Ian Hugo, Rudy Burckhardt , Jack Smith, Paper Tiger TV, Christy Rupp, Stan VanDerBeek, Ray Wisinski and others.
“Taxi, Taxi” premiered at Anthology Film Archives in 1996, and was screened in the “Big As Life” series at MoMA. Film at Lincoln Center will screen the vintage print of Bill Creston’s original cut, but a general transfer is posted online If you can’t make it to Lincoln Center:
“Taxi, Taxi” at Film at Lincoln Center, Friday, May 3, 6pm.
Info and ticket: https://www.filmlinc.org/series/seeing-the-city-avant-garde-visions-of-new-york/
The artists will be present.
The films of Christy Rupp and Peter Cramer, FF Alumns, will be screened in this festival on May 5.
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16. Shelley Haven, FF Alumn, spring events
There’s lots happening this spring into summer—open studio, art exhibitions and onsite classes! I hope you’ll join me in person when you can, and always in spirit!
Please share this news with interested folks! And follow me on Instagram or Facebook for updates.
Enjoy spring!
Shelley
http://www.instagram.com/shelley.haven.art
@shelley.haven.art
https://www.facebook.com/shelley.haven
Saturday & Sunday, May 4 & 5: Yoho Artists Annual Open Studio, 540-578 Nepperhan Ave, Yonkers NY
50 artists’ studios will be open to the public. To find me in my studio #548 most easily, park for free in the lot off Lake Avenue behind our building and walk in through the 540 back-entrance, then elevator to 5th floor. Or travel by Metro North to Yonkers and catch the free bus or a car service!
I will have artworks in other areas of the building including The Yonkers Arts Project Space, 216 Lake Ave, which opens Thursday evening, May 2.
June 7 – September 15: Neighboring Visions: Westchester Artists Then and Now, Hudson River Museum, 511 Warburton Ave, Yonkers NY
I am honored that my gouache painting, Untermyer Gardens III, will be included in the exhibition.
Tuesday, June 25, 9:30-12:30: Drawing and Painting in the Garden with Shelley Haven, Untermyer Gardens, 945 N. Broadway, Yonkers NY
We will meet to draw and paint outside. Individual and group instruction and critique included. In case of inclement weather, we will meet indoors in a room with some views.
Read course description and register now with this link:
https://www.eventbrite.com/e/869195586397
June 8 – July 7: Notes from the Interior, Sandisfield Art Center, 5 Hammertown Rd, Sandisfield MA
I am pleased to be invited to exhibit my In the Landscape and Watkins Glen etchings in this works-on-paper exhibition.
Reception: Saturday, June 8, 4-6pm
https://sandisfieldartscenter.org/gallery/about-the-gallery/
Closing mid-May: Winter/Spring 2024 Exhibition: Artworks by Shelley Haven, Carole Naggar and Mitchell Visoky, Jazz Forum, 1 Dixon Lane, Tarrytown NY
I am exhibiting ten oil paintings. View my work during a jazz concert Fridays, Saturdays and Sundays. https://jazzforumarts.org/tickets/
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17. Mark Bloch, FF Alumn, now online at whitehotmagazine.com
please visit this link:
https://whitehotmagazine.com/articles/artists-comment-on-migration-crisis/6351
thank you.
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18.Dee Shapiro, Susan Schwalb, FF Alumns, at National Arts Club, Manhattan, opening May 2, and more
Exhibition Artist Member Dee Shapiro and Susan Schwalb among others will be showing work at the National Arts Club, 15 Gramercy Park S. Opening May 2, 2024 6-8PM. Show runs through May 29.
and
Non-Objectified curated by Kathy Battista at the Kino Saito Foundation
115 7th Street Verplanck, NY.
May 11- December 15
Find me in the Theater Gallery under NON Objectified
https://www.kinosaito.org/exhiambitions
Dee Shapiro
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19. Jody Oberfelder, FF Alumn, at Green-Wood Cemetery, May 4-6
Exploring resilience and reflection: Jody Oberfelder Projects to premiere immersive performative walk at historical Green-wood Cemetery, May 4-6
Jody Oberfelder Projects, known for their immersive dance experiences of inventive athleticism, wit, and whimsy presents And Then, Now, an immersive performative walk in partnership with the historic Green-Wood Cemetery. This ethereal and somber production unfolds within the historic grounds of The Green-Wood Cemetery from May 4th to May 6th, offering a distinct and compelling experience that seamlessly integrates dance, live music, and reflective dialogue against the stunning backdrop of one of New York’s most iconic resting places.
Guided by the visionary choreography of Jody Oberfelder and the enchanting musical repertoire of Glass Clouds Ensemble, And Then, Now invites participants on a transformative journey through Green-Wood’s verdant springtime landscape and its permanent art and sculpture. With the profound power of resilience at its core and the interconnectedness of past, present, self, and surroundings, three dancers and three musicians act as guides, leading attendees through the cemetery’s winding paths. As participants travel onward, they encounter site-specific performances at key architectural landmarks, each moment reflecting the diverse and storied history of Green-Wood.
Nestled in the heart of Brooklyn, The Green-Wood Cemetery, established in 1838, is a National Historic Landmark spanning 478 acres of picturesque landscapes adorned with hills, valleys, glacial ponds, and winding paths. Boasting one of the largest outdoor collections of nineteenth- and twentieth-century statuary and mausoleums, Green-Wood bears witness to the legacies of its 580,000 permanent residents. Performance participants will visit landmarks such as the Pierrepont Monument, the resting place of the most important family in 19th-century Brooklyn Heights, and the castle-like Chauncey Mausoleum. Featuring an eclectic range of composers from Vaughn Williams to Missy Mazzoli, the immersive experience brings people closer to the world as it was and is, while honoring the art, history, and natural beauty of New York City.
“In this season of rebirth, amidst a challenging time for our collective humanity, we extend a heartfelt invitation to our neighbors to witness moments of exquisite artistry and profound reflection among the historic backdrop of The Green-Wood Cemetery,” explains Oberfelder. “Through dance, music, and dialogue, let us honor the enduring power of connection by bridging the gap between the echoes of the past and their tangible influence on our present lives.”
And Then, Now is sponsored in part by the NYC Department of Cultural Affairs, the Harkness Foundation for Dance, The Starry Night Foundation at the Chicago Community Foundation, Alina K. Roytberg Foundation, Dorothy Lichtenstein, Judith Hannan, Cheryl and Max Batzer, Eric Webster, Earl Weiner and many others generous individuals and foundations.
Event and ticket information
And Then, Now will offer four performances: Saturday, May 4 at 4:00 p.m.
Sunday, May 5 at 11:00 a.m. and 2:00 p.m. Monday, May 6 at 6:30 p.m.
*This is an outdoor event. In the event of rain, a postponed performance will be held on Wednesday, May 8 at 6:30 p.m.
Tickets are $30 and $25 for members of The Green-Wood Cemetery. An $18 discount ticket is available for students, seniors, or artists by emailing events@green-wood.com. Tickets can be purchased at https://www.green-wood.com/and-then-now
Venue information
The Green-Wood Cemetery is located at 500 25th Street in western Brooklyn. The main entrance is at the intersection of Fifth Avenue and 25th Street, and guest check-in will take place at the Arch.
Due to the challenging nature of the performance route, this event is not ADA compliant and not recommended for children under the age of 10. Guests are strongly encouraged to wear suitable footwear.
Repertory notes
And Then, Now | World Premiere (2024)
Concept, Direction, and Choreography by Jody Oberfelder
Music by Glass Clouds Ensemble: Raina Arnett (violin), Noémie Chemali (viola), Marisa Karchin (Voice) Costumes by Reid & Harriet
Dramaturgy by Rebekah Morin
Sound Design by Sean Hagerty
Danced by Maria Anton, Andi Farley Shimoto, Michael Greenberg, Jody Oberfelder, Justin Lynch
Immersive and site-specific, And Then, Now takes participants on a traveling journey throughout the historical Green-Wood Cemetery, delving into the profound significance of reliance and interconnectedness, and inviting them to experience the echoes of the past shaping our present through dance, music, and reflective dialogue.
About Jody Oberfelder
Jody Oberfelder is a New York based director, choreographer, and filmmaker. She creates art which aims to illuminate life. Whether stage, film, site or installation, her works expand how one experiences dance. Her works often provide audiences with experiences of intimate engagement whether in a vast space or
guiding journeys through theatrical environments, historical habitats, bridges, train stations, or ordinary places. Recent projects include a series of site inspired pieces, including Walking to Present; excerpts of which were recently performed in April ‘21 at the Victoria and Albert Museum (London). A rendering of Walking to Present has also been presented by the Brooklyn Public Library and the Center for Brooklyn History and will premiere in the DANCE Munich Festival in May 2023. Amphitheater, a site-specific piece to “Save the Park ” premiered at the East River Park Amphitheater in June ‘21. Her pieces include a body trilogy: 4Chambers, (an immersive piece where the action took place in four chambers of the heart, 2013-14, The Brain Piece (NYLA 2017) and Madame Ovary (May ‘19) at the Flea Theater. Life Traveler explores communication, history, and human connection through immersive, audience participatory movement, and recently has been performed at the Tanzmesse (Dusseldorf), Lommertbrug (Amsterdam), and the Millennium Bridge (London). Life Traveler was also performed at the Philly Fringe Festival (October ‘21), and Tsisit Fringe Festival (London, October ‘21). Monument, a site-specific piece for Trolley Dances, was commissioned by the San Diego Dance Theatre, and premiered in June ‘21. Additional works include Screen. Dance. Window. (August ‘20) for the 4th Congress of Psychogeography, Object Place Walking, presented at the Walking’s New Movements Conference (November ‘20) in Plymouth, UK. On the Move Shortly, performed at St. Pancras Station in London, and Things, a collaboration with the Brisbane, Australian quintet Topology, Kurt Weill’s Zaubernacht, commissioned by the Kurt Weill Foundation, and Dido & Aeneas, commissioned by the Orchestra of St. Lukes.
About Glass Clouds Ensemble
The Glass Clouds Ensemble is a New York-based contemporary chamber music collective featuring violinists Raina Arnett and Lauren Conroy and soprano Marisa Karchin. This season, the ensemble partners with composting org Earth Matter NY, with concerts at the Tenri Cultural Institute, James Cohan Gallery, and on Governors Island. In their inaugural 2022 season, the GCE commissioned and premiered a concert of new works at the James Cohan Gallery in New York City in collaboration with Monica Ibacache of Beyond Organic Design. The Glass Clouds Ensemble has been invited to artist residencies at Yellow Barn, the Avaloch Farm Music Institute, and the Banff Centre, and has performed with Music for Food and the Brooklyn New Music Collective. They have recorded improvisations for multimedia podcast Spark Sputter & Die for Wharf Cat Records, and were featured on a panel discussion at the School of the Art Institute of Chicago titled “Creative Catalysts: Performance Art Reacting to the Climate Crisis.” The Glass Clouds Ensemble is a first prize winner of the 2023 AVIMC competition, and has received grants from the Lower Manhattan Cultural Council and Chamber Music America.
About Green-Wood Cemetery
Established in 1838, The Green-Wood Cemetery, a National Historic Landmark, is recognized as one of the world’s most beautiful cemeteries. As the permanent residence of over 570,000 individuals, Green-Wood’s magnificent grounds, grand architecture, and world-class statuary have made it a destination for half a million visitors annually, including national and international tourists, New Yorkers, and Brooklynites. At the same time, Green-Wood is also an outdoor museum, an arboretum, and a repository of history. Throughout the year, it offers innovative programs in arts and culture, nature and the environment, education, workforce development, restoration, and research, as well as bold initiatives in climate resiliency and sustainability. For more information, please visit
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20. Willie Cole, FF Alumn, at BravinLee, Manhattan, April 26-May 12
Willie Cole new Rog rollout / coffee / artist Q&A
Sunday May 5th 1-3PM
In BravinLee’s The Golden Thread
BravinLee Editions is pleased to announce Wille Cole’s second rug project:
Original Sin
145 x 128 inches (368 x 325cm)
Sustainably hand-knotted in Nepal by artisan weavers
150 knots, Tibetan wool.
Edition: 12 + 2APs
Coffee Reception in The Golden Thread Fiber Art Exhibition
Sunday, May 5th, 1-3PM
The Golden Thread Fiber Art Exhibition
207 Front Street, New York (Fulton + Beekman)
Tuesday – Sunday (Thru May 12th)
Standing on the Foundation of American Prosperity (Excerpt)
Talima Haha
“Our perception of time often pushes events backward or forwards, but to me, they’re all present simultaneously.” Willie Cole
From slave ships to the Underground Railroad, slave quarters to lunch counters, Jim Crow to integration, cotton fields to the first elected Black President, George Floyd, and Black Lives Matter, the Black American experience is a tapestry woven with moments of resilience, struggle, progress, and calls for justice and equality, cinched by courage and hope for a brighter day.
Rugs have a rich historical context as essential elements of human culture and artistry, often serving as functional floor coverings and intricate works of art. The first known examples of knotting textiles similar to rugs can be traced back to ancient African civilizations, where the art of macrame (a form of textile produced using knotting techniques) was developed. These early techniques laid the foundation for creating more sophisticated and elaborate rug-making traditions worldwide, showcasing the importance of textiles in human history and the evolution of craftsmanship over time.
Just as a rug lays a foundation for a room, offering a canvas for intricate designs and patterns to unfold, the thread of American history serves as a foundation for contemplation, weaving together the diverse threads of the nation’s past to create a complex and rich narrative. Each thread in a rug represents a different culture, event, or individual, much like the various elements that have contributed to shaping America’s identity. By examining these intricate weavings of history, one can better understand the complexities, challenges, and triumphs that have defined the American experience. The rug created by Willie Cole, entitled Original Sin, challenges the viewer to decide if the rug should be on the wall or the floor.
Willie Cole is a multidisciplinary artist who defines himself as a “perceptual engineer.” His work is a profound amalgam of cultural narratives and histories that spans drawing, printmaking, painting, sculpture and installation. He is best known for transforming domestic objects such as irons, ironing boards, hair dryers, shoes, and others into pivotal artistic statements that speak to the complexity of African American life.
Halima Taha, New Jersey 2024
Halima Talima’s Complete Essay
https://bravinleeprograms.cmail20.com/t/y-l-xudhjty-pmiihuy-i/
BravinLee editions is a proud member of GoodWeave. Founded in 1994 by children’s rights activist and Nobel Peace Prize winner Kailash Satyarthi, GoodWeave provides a certification program that allows companies that pass inspection to attach a logo certifying that their product is made without child labor and provides for the long term educational and rehabilitation of children rescued from working illegally in the textile industry. For more information: https://goodweave.org/
https://en.wikipedia.org/wiki/Children%27s_rights
https://bravinleeprograms.cmail20.com/t/y-l-xudhjty-pmiihuy-h
BravinLee Offsite
The Golden Thread
207 Front Street (Fulton + Beekman)
info@bravinlee.com
Tuesday-Sunday 12-7, Thru May 12
BravinLee.com Insta: @bravinlee @bravinleerugeditions
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Join Franklin Furnace today:
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After email versions are sent, Goings On announcements are posted online at
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Goings On is compiled weekly by J-Lynn Rose Torres, FF Intern, Winter 2024
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