Contents for August 30, 2021
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1. Yali Romagoza, FF Fund Recipient 2020, live at Grace Exhibition Space, Manhattan, Sept. 3
2. Coreen Simpson, FF Alumn, at Metal Museum, Memphis TN, thru Sept. 12
3. Alina Bliumis, FF Alumn, at 625 Madison Avenue, Manhattan, Sept. 8-13
4. Nancy Buchanan, FF Alumn, at El Camino College, Torrance, CA, August 30-October 24
5. Rosemary Mayer, FF Alumn, at Swiss Institute, Manhattan, Sept. 9, 2021-Jan. 9, 2022
6. Guerrilla Girls, FF Alumns, at mfc-michèle didier, Paris, France, and more
7. Laura Parnes, Christen Clifford, Nicole Eisenman, Rachel Mason, Eileen Myles, FF Alumns, at Pioneer Works, Brooklyn, opening Sept. 10
8. Doug Skinner, FF Alumn, releases new publications
9. Julie Tolentino, FF Alumn, receives Herb Alpert/MacDowell Residency, and more
10. Gearóid Dolan aka screaMachine, FF Alumn, on East 10th Street, Manhattan, Sept. 3
11. Jacki Ochs, FF Alumn, live online, Sept. 9-13
12. Steed Taylor, FF Alumn, now online in Timeout
13. Lucio Pozzi, FF Alumn, at Hudson Hall, Hudson, NY, Sept. 4-Oct. 17
14. Stefani Mar, FF Alumn, at Allied Productions, live online Aug. 30
15. Christy Rupp, FF Alumn, at Lamb Center, Saugerties, NY, Sept. 3-26
16. Nicolás Dumit Estévez Raful Espejo Ovalles, FF Alumn, live online, Oct. 7-8
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Weekly Spotlight: Rafael Sanchez, FF Alumn, now online at https://franklinfurnace.contentdm.oclc.org/digital/collection/p17325coll1/id/89/rec/112
This week we spotlight “Little Prayers and Other Works,” a 20-minute film of the 1998 performance by Rafael Sanchez with Margaret Lopez-Ambrasani, Claire Barnier, Michael Dorian, Jersey Lee Jones, Michael Kraiger, John Richardson, Ronia Ricardson, and Gail Thacker, with music by Ludwig von Beethoven, Ernesto Nazareth, and Naomi Caryl Hirsham arranged by Ramon Diaz and Rafael Sanchez, and filmed by Claire Barnier, Rafael Sanchez, and Gail Thacker. “Little Prayers” queers the traditional storytelling space of stories, plays, mythology, fables, and fairytales. Modelled after early silent films, the piece transmogrifies the traditional visual and storytelling elements of The Wizard of Oz and Disney princess movies, drawing attention to places where defined binaries become indistinct, co-opting hetero- and cis-normative spaces through rich visual narratives. The film was presented with Pseudo Online Programs and is followed by a conversation with the artist, Lia Gangitano and Alice Wu. (text by Annalise Lozier, FF Intern, Summer 2021)
A recent related project by Rafael Sanchez is at the following website: https://www.maxmayer.net/exhibitions/life-of-a-flower-rafael-sanchez-with-ellen-cantor-jim-fletcher-mark-morrisroe-gail-thacker
Please visit the artist’s website:
https://visualaids.org/artists/rafael-sanchez
Please visit the artist’s Instagram @allupinit_nyc
Please watch “Little Prayers and Other Works” here:
https://franklinfurnace.contentdm.oclc.org/digital/collection/p17325coll1/id/89/rec/112
Thank you!
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1. Yali Romagoza, FF Fund Recipient 2020, live at Grace Exhibition Space, Manhattan, Sept. 3
Franklin Furnace Fundwinner Yali Romagoza presents:
A woman’s body is her nation (Feminist Hero)
Date: September 3rd, 2021
Time: 7:00 pm EST
Where: Grace Exhibition Space (182 Avenue C, New York, NY 10003)
RVSP to yaliromagoza@yaliromagoza.org
A woman’s body is her nation (Feminist Hero) is a multidisciplinary performance project engaging with concepts of isolation and mechanisms for survival. The project combines conceptual costumes, video, Afro-Cuban rhythms, and choreography, starring Romagoza’s alter-ego, Cuquita The Cuban Doll. Romagoza is inspired by her experience of growing up in Cuba and as an immigrant to the US. In Cuquita’s world, the body is a nation. The project is a three-act performance comprising various arrangements of two short-form live performances and a performance made for the camera, allowing for multiple costume changes. The featured garments are inherently behavioral and present several options for the wearer, presenting the body as a refuge, a space of survival, resistance, and protest. In essence, a sleeve becomes a neckpiece; a pocket holds intimate objects, memories that Cuquita The Cuban Doll carries everywhere she goes.
Yali Romagoza is a Cuban-born multidisciplinary artist currently based in Queens, NY. Romagoza’s work approaches feminism, marginalization, and the effects of political trauma on the individual. She graduated with a master’s degree in Fashion, Body, and Garment from the School of the Art Institute of Chicago (2016) and a BA in Art History from the University of Havana, Cuba. Her works have been included in Havana Biennial; Bétonsalon, Paris; Art and Social Activism Festival, NY; The Immigrant Artist Biennial, NY. Romagoza has performed at Links Hall Theater, Chicago; White Box, NY; Teatro LATEA, NY; Art in Odd Places, NY; Southeastern Center for Contemporary Art, NC; Grace Exhibition Space, NY; New York Latin American Art Triennial, NY. She has been granted awards and residencies, including Cátedra Arte de Conducta by Tania Bruguera, Bétonsalon Centred’ art et de recherché, NYFA Immigrant Artist Mentoring Program, Creative Capital NYC Taller, Franklin Furnace Fund.
Please visit the artist’s website:
http://www.yaliromagoza.org/
Thank you.
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2. Coreen Simpson, FF Alumn, at Metal Museum, Memphis TN, thru Sept. 12
Hi Cameo Nation!
I just wanted to share with you that The Black Cameo is featured in the “Divine Legacies in Black Jewelry” at the Metal Museum in Memphis TN.
See link below:
https://www.metalmuseum.org/divine-legacies
Thanks to you all for your support over the many years (1990-to present).
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3. Alina Bliumis, FF Alumn, at 625 Madison Avenue, Manhattan, Sept. 8-13
Alina Bliumis
The Camouflage of Laughter
Curated by Melissa Ragona
Room #1032
Alina Bliumis’ The Camouflage of Laughter (2020-2021) uses the grotesque, power-switching apparatuses of Medieval festivals and pageants as its starting point, but pushes this paradigm up against contemporary forms of contested political representation. Her Jacquard loom-woven tapestry forms a continuous frieze, confronting viewers with the tensions and ecstasies of social bodies.
At first, we were tempted to call this project, Feast of the Ass—pointing back to the Medieval, Christian festival/ceremony that worshipped biblical donkeys, but especially the particular “ass” that was thought to have carried Mary, pregnant with Jesus, into Egypt (fleeing from the campaign to murder young boys led by the despot, Herod the Great). As Mikhail Bakhtin describes it, along with its sister pageant, Feast of Fools—Feast of the Ass exhibited many of the central tenets of what he terms, the carnivalesque: ritual spectacles were staged, often comic, even raucous, in nature, i.e., the priest, situated next to the celebrated donkey on the altar, would often “bray” his sermon and the congregation would “hee haw” back their replies. Or, on the way to the church, a pregnant girl, holding a faux baby (doubling/confusing real and fictional instances of fertility) would ride the donkey, while bystanders sang bawdy songs of praise to the ass. These religious feasts were often accompanied by fairs that included amusements of all sorts, including a motley crew of entertainers “with the participation of giants, dwarfs, monsters, and trained animals” (Bakhtin 1968). Clowns and fools would make appearances, play-acting as kings, queens, bishops, dukes, or exotic animals—laughter abounded. Grotesque displays of eating and normally repressed bodily functions (sneezing, farting, guffawing, snorting) took central stage. Laughter, in other words, acted as a radical camouflage for social and economic critique — allowing everyone, but especially peasants, to suspend, even if for a moment the hierarchies and seriousness of ecclesiastical, feudal, and political forms.
Alina Bliumis’s work takes Bakhtinian laughter, with its focus on the grotesque, power-switching apparatuses of Medieval festivals and pageants as its starting point, but pushes this paradigm up against contemporary forms of political representation that embrace conspiracy theories and violence at the center of their operations. Her frieze-like tapestry links together scenes of power relations upended (woman-identified figures usurping masculine-occupied positions of power, animals directing humans, buffoons commanding authority), but also displays the dangers of the carnivalistic and its propensity to harness unbridled antinomian energy for racist, misogynistic, and, even, murderous ends. The latter is displayed by one panel in which she depicts one of the mobs that led the deadly siege on the US Capitol (January 2021). Tucked in among them, one can identify a less ostentatious version of Jacob Anthony Chansley, the QAnon-supporting “shaman” who wielded a spear, wore a fur hat decorated with buffalo horns, and threatened the lives of several elected officials (claiming he was an alien, being directed to do this as a “higher being” soon to ascend Earth to another reality). Besides the shared iconography of ritual, comic displays of mixed social signifiers, Bakhtin also points to the carnival’s drive to mess with language, to drag curses, obscenities, crude fictions into “learned talk,” into civic discussions. However, what happens—Bliumis asks in her current work—when carnival becomes a camouflage for conspiracy? For paranoia? For the conflating of common sense and moral hallucination?
Bliumis’s tapestry — with a nod to actual Medieval tapestries that were dedicated to both the Feast of the Ass, as well as the Feast of Fools, will stretch around the perimeter of the room as an analog, time-based work that commits several instances of heresy. Not only will it question the “carnival symbolic” that Bakhtin so fully believed in as a way of aggrandizing the collective body as a transformative force, but it will also commit an act of anti-craft by reproducing the complexity (and labor) of handwoven Medieval tapestry via digital textiles—mirroring the viral circulation of mediated images featured. Moreover, Bliumis does not offer a conventional narrative structure of any social or moral rite of passage in this work, but rather a disjunctive, work that explores the repeating forms of gestures of resignation that have been transformed, via both on-the-ground protests, as well as the viral engines of media, into signatures of resistance.
For example, one panel depicts the “Hands Up, Don’t Shoot” meme which has become a central symbol of protests—against the escalation of police violence against black bodies—that emerged out of the Black Lives Movement. However, her approach is genealogical, rather than chronological. Simultaneously, she reaches back in time to Francisco Goya’s use of this gesture in The Third of May 1808 (1814) (depicting the Spanish resistance to Napoleon’s invading armies) and forward to a 2008 newsprint/internet image of protestors in Kenya, with their hands-up (under military police attack), opposing what they saw as the corrupt government of then elected, President Mwai Kibaki. In another panel, Bliumis depicts a young woman being arrested on the front lines of the recent female-led protests against an autocratic government in her native Belarus.
Bliumis purposefully removes the details of context throughout the tapestry — so that viewers are left with open, albeit, loaded signifiers that could be read in multiple ways. This kind of embedded tension or complex camouflage drives this urgent work.
Alina Bliumis (born in Minsk, Belarus, 1972) is NY-based artist. Alina received her BFA from the School of Visual Art, NYC, 1999 and a diploma from the Advanced Course in Visual Arts from Fondazione Antonio Ratti, Como, Italy, 2005.
Alina has exhibited internationally at the Musée national de l’histoire de l’immigration, Paris, France, the First Moscow Biennales of Contemporary Art (Russia), Busan Biennale (South Korea), AssabOne (Milan, Italy), the Bronx Museum of the Arts (NY, US), Galerie Anne de Villepoix (Paris, France), Centre d’art Contemporain (Meymac, France), James Gallery, The Graduate Center CUNY (NY, US), SPRING/BREAK Art Show (NY, USA), Museums of Bat-Yam (Israel), the Jewish Museum (NY, US), Saatchi Gallery (London, UK), Botanique Museum (Brussels, Belgium), Victoria and Albert Museum (London, UK), Tokyo Biennial (Japan), MAC VAL – Musée d’art contemporain du Val-de-Marne (France).
Her works are in various private and public collections, including MAC VAL – Musée d’art contemporain du Val-de-Marne, France; Musée national de l’histoire de l’immigration, Paris, France; The Victoria and Albert Museum, London, UK; Moscow Museum of Modern Art, Russia; Bat Yam Museum for Contemporary Art, Israel; The Saatchi Collection, UK; The Harvard Business School, USA; The National Museum of American Jewish History, Philadelphia, USA and Missoni Collection, Italy.
To view her work, please visit the following website:
www.alinabliumis.com
Thank you.
Melissa Ragona is an Associate Professor of Critical Theory and Art History in the School of Art at Carnegie Mellon University, as well as an independent curator and critic. Ragona’s critical and creative work focuses on sound design, film theory and new media practice and reception. By forging approaches from the disciplines of film studies, art history, and new media technologies, her work has sought to present a more complex aesthetic, theoretical, and historical foundation for the analysis of contemporary time-based arts. Her forthcoming book project, The Warhol Tapes: Beyond Readymade Sound, examines Warhol’s tape-recording projects from the mid-sixties until the late 70s in light of audio experiments in modern art as well as contemporary practices of pattern matching and information visualization. Her essays and reviews have appeared in October, Frieze, Art Papers, Camera Obscura and numerous edited collections. She has also published in monographs on the work of artists, Heike Mutter, Ulrich Genth, Christian Jankowski, Carolee Schneemann, Jonas Mekas, Paul Sharits, Antoine Catala, and Angela Dufresne. Ragona has curated exhibitions and served as a curatorial consultant at various venues throughout the US, including the Mattress Factory Contemporary Art Museum (Pittsburgh), the Miller Gallery (Pittsburgh), PPOW Gallery (New York), The Hole Gallery (New York), as well as the Museum of Modern Art (New York). She is also a Board Member for the Carolee Schneemann Foundation in New York, serving as the Chair of its Media/Film Advisory Committee. She has lectured on experimental film, sound, performance and installation at Yale University, Princeton University, Tate Modern in London, the Museum of Modern Art (MoMA) in New York, Pioneer Works in Brooklyn, Electronic Arts Intermix in New York, Freie Universität Berlin, as well as The Academy of Fine Arts (KUVA) in Finland, and other venues both nationally and internationally.
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4. Nancy Buchanan, FF Alumn, at El Camino College, Torrance, CA, August 30-October 24
El Camino College Art Gallery is proud to present “Count Down,” an exhibition addressing global concern regarding the increasing number of animal species threatened by imminent extinction.
“Count Down”
Works by: Adrian Amjadi, Hilary Baker, Phoebe Barnum, Nancy Buchanan, Mary Clark-Camargo, Susan Davis, Lauren Evans, Satoe Fukushima, James Griffith, Gregg Hamby, WS Milner, Cynthia Minet, Lowell Nickel, Sarah Perry, Vojislav Radovanovic, Samuelle Richardson, Nancy W. Romero, Nancy Webber
August 30 – October 24, 2021
El Camino College Art Gallery
16007 Crenshaw Blvd., Torrance, California 90506
(310) 660-3010
smeiers@elcamino.edu
Please visit the following websites for more information:
www.elcamino.edu
facebook.com/ElCaminoCollege
twitter.com/ECC_Online
instagram.com/elcaminoedu/
Thank you.
Exhibitions online only during pandemic
Due primarily to actions and practices of unwitting, uncaring or otherwise hungry and desperate human beings, vast numbers of species have already vanished or are on the verge of doing so. There are certainly plenty of arguments on both sides of the questions regarding the possibility of saving animal species versus the process of evolution and the rights of the individual.
Please be invited to make your own choice as to whether you would like to be part of an attempt to rescue the animal kingdom and all that implies, in terms of balance of nature for the health of the planet or whether you prefer to observe the slaughter of elephants as threat to crops and for trophy hunting, whales for meat, tigers, cheetahs and jaguars as threat to livestock, and so on down the long list that descends to the microbial level of being. Take a look at the numerous revelatory films available on Netflix by British naturalist, Sir David Attenborough, including A Life on Our Planet. He, remarkably, is still able to declare that human beings are his favorite animals. In an astonishing gift of positivity, Attenborough offers, despite his vast knowledge of the harm that has already been done, the possibility for slowing or even reversing some of the damage. I for one hope that he is correct and will contribute in whatever way I can to this cause. Enough preaching…
Eighteen artists currently residing in Southern California present passionate images in a wide variety of media including sculpture, painting, drawing, video, mixed media installation, digital media and photography, dealing with the progressive extinction of many species of animals. Each of these artists has written a statement about his/her particular works exhibited in Count Down that follows below. El Camino College Art Gallery expresses its deep regret that this moving exhibition cannot be seen in the physical gallery space and is limited to a website exhibition. Please be sure to look at the identification for each piece so that you are able to ascertain the actual size of the image.
Thank you, Susanna Meiers, Curator
There are many organizations world wide devoted to environmental and wildlife issues. See below for a short list of four of the most well known in the U.S.
Please visit the following websites:
World Wildlife Fund: WWF Endangered Species Conservation
https://www.worldwildlife.org
Environmental Defense Fund
https://www.edf.org
The Nature Conservancy
https://nature.org
Greenpeace
https://www.greenpeace.org
Thank you.
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5. Rosemary Mayer, FF Alumn, at Swiss Institute, Manhattan, Sept. 9, 2021-Jan. 9, 2022
Rosemary Mayer
“Ways of Attaching”
September 9, 2021 – January 9, 2022
“Ways of Attaching” is the first institutional survey exhibition of American artist Rosemary Mayer (1943-2014). The exhibition provides an overview of the artist’s work, moving from early conceptual experiments of the late 1960s through to textile sculptures and drawings made in the early 1970s, before focusing on propositional and durational performances and temporary monuments made from 1977-1982. Highlighting Mayer’s formal interest in draping, knotting and tethering, the exhibition focuses on the artist’s process of constructing real and imagined networks and constellations, in which friends and historical figures feature in expressions of affinity and attachment.
For the full exhibition text, please visit the following website:
https://www.swissinstitute.net/exhibition/rosemary-mayer-ways-of-attaching/
Thank you.
Rosemary Mayer: Ways of Attaching is organized in partnership with Ludwig Forum, Aachen; Lenbachhaus, Munich; and Spike Island, Bristol, where the exhibition will travel in 2022. The exhibition is organized in collaboration with Marie and Max Warsh of the Estate of Rosemary Mayer.
On the occasion of the exhibition, two books will be published: a catalogue of the exhibition, featuring new essays and scholarly contributions to Mayer’s practice planned for publication in May 2022, and a book of correspondence between Mayer and her sister, Bernadette Mayer, published in December 2021.
Rosemary Mayer (1943-2014) was a prolific artist involved in the New York art scene beginning in the late 1960s. Best known for her large-scale sculptures using fabric as the primary material, she also created works on paper, artist books and outdoor installations exploring themes of temporality, history and biography. She was additionally a writer, art critic and translator. Mayer was a founding member of A.I.R. Gallery, the first cooperative gallery for women in the U.S. and had one of the earliest shows there. During the 1970s and 1980s, her work was also shown at many New York alternative art spaces, including The Clocktower, Sculpture Center and Franklin Furnace, and in university galleries throughout the country. In 1982, her translation of the diary of Mannerist artist Jacopo da Pontormo was published along with a catalogue of her work. Recent exhibitions of Mayer’s work have taken place at Southfirst, Brooklyn (2016), Lamar Dodd School of Art at the University of Georgia (2017), ChertLüdde, Berlin (2020) and Gordon Robichaux, New York (2021). Her work was included in the exhibition Bizarre Silks, Private Imaginings and Narrative Facts, etc., curated by Nick Mauss at Kunsthalle Basel (2020).
This exhibition is made possible through support from the Terra Foundation for American Art. Additional support is provided by the Robert Lehman Foundation; ChertLüdde, Berlin and Gordon Robichaux, New York.
This exhibition is organized by Laura McLean-Ferris, Chief Curator, with Alison Coplan, Curator.
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6. Guerrilla Girls, FF Alumns, at mfc-michèle didier, Paris, France, and more
Exhibition from September 4 to October 9, 2021
Opening on Saturday, September 4, from 3 pm to 8 pm
Please visit the following website for our press release:
https://www.micheledidier.com/cspdocs/exhibition/files/2021_pr_guerrillagirls5.pdf
Thank you.
We are pleased to inform you that, for the second time, the Guerrilla Girls will occupy the space of mfc-michèle didier.
Since 1985, the Guerrilla Girls have been denouncing a series of behaviours that take place in the art world and which concern sexist and racial discrimination, as well as a series of practices tied to corruption and more generally to politics.
The Guerrilla Girls will be showing at mfc-michèle didier their latest filmed actions, along with their related posters.
The complete set entitled, “Guerrilla Girls Forever: Poster Suite 2017-2021,” includes the following twelve posters:
— As mulheres precisam estar nuas para entrar no Museu de Arte de São Paulo?, 2017
— Las Mujeres Artistas en Ecuador están en la lona, 2017
— Dear Boss, No Wonder You Don’t Pay Us a Living Wage, 2018
— If You Keep Women Out They Get Resentful, 2018
— Nach 96 jahren entdeckt die Kestner künstlerinnen!, 2018
— 3 Ways to Write a Wall Label When the Artist Is a Sexual Predator, 2018
— Don’t Stereotype Me, Malayalam, 2018
— Guerrilla Girls’ Code of Ethics for Art Museums Monument, 2019
— MoMA Loves DaDA Not MaMA, 2019
— Jeffrey Epstein, Leon Black and MoMA, 2019
— Hollywood Is Still Worse Than the U.S. Senate, 2019
— Are there more Naked Women than Women Artists in Art Museums, 2021
“Your assignment is to think of something you really want to complain about. Then, communicate your message in a unique, creative way.” – Kathe Kollwitz and Frida Kahlo
The Guerrilla Girls will also activate, for the first time in France, a Complaints Department which they have translated as Département des plaintes, Bienvenue à Toutes et à Tous.
The Département des plaintes is a device designed to collect complaints and protests in a free and anonymous manner.
The public is invited to write down their grievances on paper and post them on the gallery walls. Rather than confining themselves to their own claims and observations, the Guerrilla Girls leave room here for the construction of a collective protest space.
All the data collected will then be archived and processed by the Guerrilla Girls.
From September 4th to October 9th 2021, don’t hesitate to come and complain under the banner named Département des plaintes.
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7. Laura Parnes, Christen Clifford, Nicole Eisenman, Rachel Mason, Eileen Myles, FF Alumns, at Pioneer Works, Brooklyn, opening Sept. 10
Hi All,
Please join me for the New York premiere of the installation version of Tour Without End at Pioneer Works.
For more information, please visit the following websites:
https://www.tourwithoutend.com
https://pioneerworks.org/exhibitions/laura-parnes-tour-without-end
Thank you.
The opening is September 10, 7-9PM. The show runs from September 10th through November 28th, 2021. There will be a screening with live performances on November 12 TBA that will include The Blow (Melissa Dyne, Khaela Maricich), Crickets (JD Samson, Roddy Bottum) and Macy Rodman!
Tour Without End (2014-2019) is a multi-platform installation that casts real-life musicians, artists, and actors as bands on tour, and expands into a cross-generational, Trump–era commentary on contemporary culture and politics. It features members of Gang Gang Dance, Le Tigre, The Julie Ruin, MEN, Eartheater, MGMT, Light Asylum, and more.
In addition to the film, Tour Without End also highlights the extensive and growing archive of live performance in NYC shot during the four-year production schedule and the raw footage from improvised scenes, while portraits of performers taken by Justine Kurland are arranged in a grid.
The film’s multitude of characters include: Wooster Group founder Kate Valk, Jim Fletcher (The NYC Players), musicians Lizzi Bougatsos, (Gang Gang Dance), Kathleen Hanna (The Julie Ruin), Brontez Purnell (The Younger Lovers), Eileen Myles, Alexandra Drewchin (Eartheater), Nicole Eisenman, K8 Hardy, Johanna Fateman (Le Tigre) Shannon Funchess (Light Asylum), JD Samson (MEN), Gary Indiana, Kembra Pfahler, (Voluptuous Horror of Karen Black), Rachel Mason, Tom McGrath, Matthew Asti (MGMT), Becca Blackwell, Christen Clifford, Alessandra Genovese (Crush), Rogelio Ramos (Love Pig), Kenya Robinson (Cheeky LaShae) and Neon Music (Youth Quake).
Many thanks to all the cast and crew!
Hope to see you soon.
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8. Doug Skinner, FF Alumn, releases new publications
My translation of Charles Cros’s “Principles of Cerebral Mechanics” is now available from Wakefield Press!
Please visit the following website:
https://wakefieldpress.com
Thank you.
Charles Cros (1842-1888) was a unique bohemian polymath, who drank with Verlaine and Rimbaud, pioneered the comic monologue, and did early work on color photography and the phonograph. In the “Principles,” he attempts to understand the inaccessible mechanisms of visual perception by designing imaginary machines that perform its functions. It’s a brilliant work of imagination, based on an unusual approach to methodology.
The 22nd issue of “Black Scat Review” is also out from Black Scat Books! It’s devoted to “Errata,” and I contribute two pieces, “Shakespeare Misspelled” and “Typos on Title Pages,” both in doubtful taste.
You can find out more at the following website:
http://blackscatbooks.com
Thank you.
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9. Julie Tolentino, FF Alumn, receives Herb Alpert/MacDowell Residency, and more
I received a 2020 Herb Alpert/MacDowell Residency
Please visit the following website to view the announcement: https://herbalpertawards.org/about/residency-prizes
Thank you.
2022 QueerArt Mentor in Interdisciplinary Arts/Performance
QueerArtMentorship supports a year-long exchange between emerging and established artists in four different creative fields: Film, Literature, Performance, and Visual Art.
For more information about Julie Tolentino and QueerArtsMentorship, please visit the following website:
https://www.queer-art.org/julie-tolentino
Thank you.
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10. Gearóid Dolan aka screaMachine, FF Alumn, on East 10th Street, Manhattan, Sept. 3
Gearóid Dolan aka screaMachine, FF Alumn, City Artist Corps street intervention performance on Friday September 3rd in the East Village, NYC, 9pm.
I’m excited to share that I am part of the #CityArtistCorps! This award was created to activate and energize New York City’s artists and engage the public with arts activities this summer and fall. I’m proud to bring you my street intervention multimedia performance project “Protest: Queer Liberation March” on Friday September 3rd, 9-11pm in the East Village NYC (rain date Saturday September 4th). Come and view the piece on East 10th Street between Avenues C&D, or join in and participate.
Thanks to @nyfacurrent, @NYCulture, @MadeinNY, and @queenstheatrenyc for the support!
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11. Jacki Ochs, FF Alumn, live online, Sept. 9-13
20th Anniversary Re-release of Award-winning 9/11 Documentary Film
On September 11, 2001, producer Jacki Ochs, who lived blocks from the Twin Towers, was forced to evacuate her family. Days later, director Susanna Styron began volunteering at Ground Zero. The following year, as the site closed and the city and country moved on, the two filmmakers felt compelled to address the ongoing trauma by telling a story of hope and healing. This became the acclaimed documentary film “9/12: From Chaos to Community,” which is being re-released for streaming, in honor of the 20th anniversary of 9/11.
“9/12” tells the story of a group of dedicated New Yorkers who volunteer at Ground Zero and form unexpected — even unlikely — bonds with first responders and with each other. Through their stories, we present a portrait of the city within a city that was Ground Zero and examine how a diverse group of people transcended politics and culture in an effort to heal their city and themselves.
“9/12” will be streamed for free from Thursday, September 9 through Monday, September 13, and is available for rent and purchase at www.912film.com.
Praise for “9/12: From Chaos To Community”
“It’s about Ground Zero, but more broadly it’s about the extraordinary sense of solidarity, fellow-feeling, and, yes, patriotism that was experienced by nearly everyone in New York, and maybe everyone in the country, in the days and weeks after the attack. This is a moving picture in more ways than one. The milk of human kindness flows through it, mixed with tears.”
— Hendrik Hertzberg, The New Yorker
“Having witnessed part of that effort myself, I am especially grateful to the filmmakers for capturing so poignantly and accurately the shared feelings of awe, camaraderie, loss, and love that brought everyday people together in our city’s greatest time of need.”
— Steve Buscemi, actor, former firefighter
“A poem to a group of everyday New Yorkers who discover in themselves a quiet greatness born from the darkness of 9/11.”
— Academy Award-winning director Davis Guggenheim
For more information, please contact info@912film.com.
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12. Steed Taylor, FF Alumn, now online in Timeout
Please read his article by visiting the following website:
Thank you.
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13. Lucio Pozzi, FF Alumn, at Hudson Hall, Hudson, NY, Sept. 4-Oct. 17
Julie Evans / John Lippert / Lucio Pozzi / Lorenza Sannai
(curator: Lucio Pozzi)
Hudson Hall
327 Warren Street
Hudson NY
September 4 – October 17, 2021
Opening: September 4
Because of Covid concerns the opening will be timed; kindly make your reservations at the following link:
https://hudsonoperahouse.secure.force.com/ticket/#/events/a0S1Q00000EMLa9UAH
Thank you.
……
(in italiano qui sotto)
We work next door from one another and yet it took years before we actually got to know the art we make. After a while I realized that there is an uncalculated, indefinable invisible thread that weaves its way between our studios. While everyone’s work displays traceable influences, the art is not dependent on them. Instead of fettering our work to pre-declared themes, we let our feelings and thoughts seep into our art by osmosis. For this exhibition I have selected a limited range of everyone’s output. The paintings are all of an intimate size. These artists have no wish to seek novelty or to hide their affinities. What matters to them is to find instruments of thought and process that can allow and foster their pursuit of the unfathomable. Somehow they share an avoidance of rigid programs. They rather never know exactly what happens next and never know when a painting is finished. In my opinion, this art is an indispensable complement to art that engages in social commentary or activism. It is art of the solitary pilgrim, of disorientation, of the solitude (not loneliness) of the modern painter. The paintings are single entities that encourage those who wish to stop and look, to project their own universe into them.
4 settembre – 17 ottobre, 2020
inaugurazione: 4 settembre, ore 17:00 – 19:00
Siamo vicini. Lavoriamo a due passi uno dall’altra, eppure ci sono voluti degli anni prima che vedessimo la nostra arte. Dopo un po’ mi sono accorto che esiste un filo non calcolato, invisibile indefinibile che si intreccia nel tessuto dei nostri studi. Le influenze nell’opera di ciascuno di noi sono ovvie, ma l’arte non dipende da esse. Piuttosto che incatenare il nostro operato a temi prestabiliti, lasciamo che i nostri sentimenti e pensieri filtrino nelle opere per osmosi. Per questa esposizione ho selezionato da ciascuno una parte limitata della sua produzione. I quadri sono tutti di misura intima. Questi artisti non cercano la novità e nemmeno di nascondere le proprie affinità. A loro importa trovare strumenti di pensiero e processo che sostengano la loro ricerca dell’ineffabile. Evitano programmi rigidi. Preferiscono non saper bene cosa succederà e non sanno mai quando un quadro è finito. Penso che quest’arte sia un complemento indispensabile all’arte di commento sociale o attivista. E’ arte del pellegrino solitario, del disorientamento, della fiera solitudine del pittore moderno. I quadri sono entità singole che incoraggiano coloro che desiderano fermarsi e guardare, a proiettarci dentro il proprio universe.
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14. Stefani Mar, FF Alumn, at Allied Productions, live online Aug. 30
In honor of Allied Productions, Inc’s 40th anniversary, we invite you to our online celebration of artist vanguard Carl Michael George, featuring Mxer of Ceremonies Jackie Kay and tributes by Jim Hubbard, Stefani Mar, Esther McGowan, Kembra Pfahler, and Susan Salinger.
More info on Carl can be found at the following website:
http://alliedproductions.org/
Thank you.
August 30th Monday at 7pm.
Join the Zoom Meeting here:
https://us06web.zoom.us/j/83715271312?pwd=UUVISUw3OHluQ2xsQk5IeENxeXFZdz09
Thank you.
Meeting ID: 837 1527 1312
Passcode: 692093
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Find your local number by visiting the following website: https://us06web.zoom.us/u/kdRIPXCmy2
Thank you.
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15. Christy Rupp, FF Alumn, at Lamb Center, Saugerties, NY, Sept. 3-26
Christy Rupp
Wet / Land
Lamb Center, 41 Market St, Saugerties NY
Weekends, Sept 3-26
Come see my filter structures, made to collect sediment from the unprecedented turbid releases dumped into the Esopus Creek in recent years. Constructed from steel and muslin, the filters are left in the creek for a few weeks to make visible all the mud coming through the creek because NYC’s Department of Environmental Protection would prefer not to spend the money to separate the clean water bound for NYC faucets from that of downstream communities located below the Ashokan Reservoir. This is climate change coming home as storms are increasing the discharge, and there is no provision for dealing with it in the future, illustrating yet again NYCs sense of denial in planning for resiliency amid accelerating unstable weather events. In the coming weeks we will have a climate therapist on hand to assist visitors with their anxiety regarding the rising waters around the NYC watershed. The sculptures mimic the appearance and behavior of resident filter feeding organisms like Mayflies, snails and leeches.The exhibition also includes native plant herbaria collected by botanist Kris Garnier, this is a project of Shoutout Saugerties.
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16. Nicolás Dumit Estévez Raful Espejo Ovalles, FF Alumn, live online, Oct. 7-8
Nicolás Dumit Estévez Raful Espejo Ovalles to present at The Lesbian, Gay, Bisexual & Transgender Community Center (The Center) as part of the “In My Mind Confrence”
A Free Online Gathering Over Two Days
“Youth Mental Wellness – Resilience in Uncertainty”
October 7 and 8, 2021
For more details and to register, please visit the following websites:
https://www.inmymindconference.com
https://www.inmymindconference.com/registration
Thank you.
About In My Mind Conference 2021:
Our 2021 conference continues as a free virtual gathering with a potentially larger participation – many from previous conferences and first timers – welcome! As a participant, you are likely to meet others from around the world, the country and your neighborhood/community from the comfort of your home.
Recognizing the limitations imposed on us by the continuing pandemic and the fatigue many experience from too much online/screen time, this year’s Conference will span two days – truncated each day. It will be primarily led by our young LGBTQ+ people of color community members, who will share with us their view of the present and their thoughts for the future. Subject areas will raise and discuss issues focused on LGBTQ+ people of color mental health – “In My Mind.”
The conference hones in on issues impacting mental health, such as foster care, homelessness and shelter system, incarceration, physical health, substance abuse and recovery, transgender issues, sexual health, cultural sensitivity and acceptance (sexual orientation and gender identity), HIV, COVID-19, racism, homophobia and transphobia, education, coping with isolation, social media, external environmental factors, and much more.
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Goings On is compiled weekly by Harley Spiller
