Contents for January 20, 2016
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Deborah Fargo Whitman, FF Alumn, In Memoriam
1. Mirland Terlonge, FF Fund recipient 2015-16, at Green-Wood Cemetery
2. Penny Arcade, FF Alumn, at Abbey Theatre, Dublin, Ireland, Jan. 21
3. Kazuko Miyamoto, FF Alumn, at 128, Manhattan, Jan. 16
4. Rachel Mason, FF Member, at PehrSpace, Los Angeles, CA, Jan. 22 and more
5. Beverly Naidus, FF Alumn, now online and more
6. Michelle Stuart, FF Alumn, at The Bronx Museum of the Arts, opening Feb. 3
7. Marisa Morán Jahn, Joseph Keckler, Eileen Myles, Laura Parnes, Royal Osiris Karaoke Ensemble, Carmelita Tropicana, FF Alumns, receive 2016 Creative Capital Grants
8. Jane Dickson, FF Alumn, at Martos Gallery, Manhattan, opening Jan. 21, and more
9. Jane Dickson, Joe Lewis, FF Alumns, at Sacramento State, CA, opening Jan. 27
10. Judith Bernstein, Simone Forti, Barbara T. Smith, FF Alumns, at The Box, Los Angeles, CA, thru Feb. 13
11. Dyke Action Machine, FF Alumns, at The 8th Floor, Manhattan, Feb. 11
12. LuLu LoLo, FF Alumn, at Metropolitan Playhouse, Manhattan, thru Jan. 23
13. Jeanine Oleson, FF Alumn, at SculptureCenter, LIC, Queens, opening Jan. 23
14. Babs Reingold, FF Alumn, at Rutgers University, New Brunswick, NJ, opening Mar.3
15. Stephanie Brody-Lederman, Christa Maiwald, FF Alumns, at Southampton Cultural Center, Long Island, thru Feb. 16
16. Betty Tompkins, FF Alumn, at Flag Art Foundation, Manhattan, opening Jan. 20
17. David Cale, FF Alumn, in The New York Times, Jan. 12
18. Chun Hua Catherine Dong, FF Alumn, at Katzman Contemporary, Toronto, Canada, Jan. 30
19. Jane Dickson, Joe Lewis, FF Alumns, at Sacramento State University, CA, Jan. 27-March 6
20. Joseph Keckler, FF Alumn, newsletter
21. Neal Medlyn, FF Alumn, newsletter
22. R. Sikoryak, FF Alumn, at Dixon Place, Manhattan, Jan. 22
23. Howardena Doreen Pindell, FF Alumn, in The New York Times, Jan. 9
24. Allan Schwartzman, FF Board Alumn, in The Wall Street Journal, Jan. 11
25. Carolee Schneemann, FF Alumn, in The New York Times, Jan. 14
26. Yoko Ono, FF Alumn, in The New York Times, Jan. 14
27. Eileen Myles, FF Alumn, in The New York Times, Jan. 16
28. Barbara Rosenthal, FF Alumn, at Central Booking, Manhattan, Jan. 21
29. Francheska Alcantara, FF Intern Alumn, at BX Arts Factory & Bronx Music Heritage Center, Feb. 6
30. Jacki Apple, Jerry Allyn, Cheri Gaulke, Rachel Rosenthal, FF Alumns, at Willow Studios, Los Angeles, CA, Jan. 29-31
31. Dread Scott, FF Alumn, receives Harpo Foundation grant
32. Christa Maiwald, FF Alumn, newsletter
33. Halona Hilbertz, FF Alumn, at Williamsburg Art & Historical Center, Brooklyn, opening Jan. 23
34. Jim Johnson, FF Alumn, now online at http://www.blurb.com/b/6746531-ellipsis
35. Sabrina Jones, FF Alumn, at Interference Archive, Brooklyn, Jan. 21
36. Michelle Handelman, FF Alumn, newsletter
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A memorial service for Deborah Fargo Whitman, FF Alumn, will be held on Friday, January 22nd from 12:30 to 1:30 PM at 761 Fourth Avenue (at 25th Street) in Brooklyn. It will be followed at 2:00 PM by a viewing at Green-Wood Cemetery Chapel, Fifth Avenue at 25th Street in Brooklyn.
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1. Mirland Terlonge, FF Fund recipient 2015-16, at Green-Wood Cemetery
Brooklyn, Jan. 30
You are invited to be a witness.
Incessant… is an art performance that begins with being asked for a dance. Over 15 participants will take their turns on a hill in Green-Wood Cemetery. All will have the chance to bear my weight in the discomfort of winter in a place full of rich history, life, and death.
I am interested in dance as a metaphor for relationship. There is a constant give and take. There is a failure for every victory and there is no hierarchy in terms of its impact. This romance that happens, relates to my personal experiences of perpetual struggle, and my frustration with the consistent crumbling of black bodies in their failure to have relationship.
Incessant… will begin at 2:00pm in Green-Wood Cemetery on January 30th 2016 the address is, 500 25th Street, Brooklyn, NY 11232-1755.
For more information on the project and location please visit: https://www.facebook.com/events/1668423016757259/
This work was made possible, in part by the Franklin Furnace Fund supported by Jerome Foundation, The SHS Foundation, the New York City Department of Cultural Affairs in partnership with the City Council and the general operating support from the New York State Council on the Arts.
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2. Penny Arcade, FF Alumn, at Abbey Theatre, Dublin, Ireland, Jan. 21
Penny Arcade appears at Abbey Theatre, Dublin Ireland
“Theatre For Change” Symposium
January 21st 2016
http://www.abbeytheatre.ie/whats_on/event/the-theatre-of-change-symposium/
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3. Kazuko Miyamoto, FF Alumn, at 128, Manhattan, Jan. 16
CLOSING “Doll House” with Performance “Doll House”
Kazuko, Romana, Sanae, Toki and…
4:30pm, Sat. January 16th, 2016
please join us!
onetwentyeight
128 Rivington Street, New York, NY 10002
galleryonetwentyeight.org 212-674-0244
December 30, 2015 – January 16, 2016
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4. Rachel Mason, FF Member, at PehrSpace, Los Angeles, CA, Jan. 22 and more
NewsFlash:
Gravitas Ventures will be distributing The Lives of Hamilton Fish!
In 2015, the film was screened and performed at LACMA, Henry Art Gallery Seattle, Corcoran Gallery, Art in General, Northwest Film Center, Raindance Film Festival, and Anthology Film Archives.
Rock and Roll NewsFlash:
If you happen to be in Los Angeles, on January 22 at 11PM, I’ll be performing a little set of songs with Naia Izumi, an incredible musician whose guitar-playing knocked me off my feet when I saw her a few weeks back. The show is at an amazing hole in the wall off a strip-mall called PehrSpace.
Just a Flash Flash:
Thanks to Catherine Wagley for including me in the LA Weekly’s Artists to Watch in 2016. I am LOVING being back in my home city!
Copyright (c) 2016 Pony Oink, All rights reserved.
Pony Oink
1466 Queens Road
Los Angeles, CA 90069
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5. Beverly Naidus, FF Alumn, now online and more
Dark Matter Women Witnessing’s online journal issue #3 on Extinction/Devotion offers a look at parts of Beverly Naidus’s project “Curtain Call: Portable Altars for Grief and Gratitude” is now partly visible online: http://www.darkmatterwomenwitnessing.com/issues/Dec2015/articles/Extinction-Altars_Beverly-Naidus.html
Blue Mountain Center has published Beverly Naidus’s new essay, “So You Want to Be Eco-artist: Lessons in Grief and Gratitude”, an experimental piece of writing that weaves together memoir, admonitions and speculative fiction: http://bmccommons.org/index.php/2015/12/23/so-you-want-to-be-an-eco-artist-lessons-in-grief-and-gratitude/ – it will soon be published on paper as part of James Brady’s new book, Elemental: An Art and Ecology Reader. http://www.cornerhousepublications.org/publications/elemental-an-arts-and-ecology-reader-gaia-project/
The literary journal, About Place, published by Black Earth Institute has new edition, “The Future Imagined Differently” edited by Patricia Spear Jones that features a piece from Beverly Naidus’ new speculative fiction series, “We Almost Didn’t Make It.” http://aboutplacejournal.org/future-imagined/s2-iii-iv/beverly-naidus-iii-iv/
Beverly
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6. Michelle Stuart, FF Alumn, at The Bronx Museum of the Arts, opening Feb. 3
Michelle Stuart, Theatre of Memory: Photographic Works
3 February – 26 June, 2016
The Bronx Museum of the Arts
1040 Grand Concourse at 165th St
Bronx, New York 10456
718.681.6000
http://www.bronxmuseum.org/exhibitions/michelle-stuart-theatre-of-memory-photographic-works
The Bronx Museum is proud to present an exhibition of photo-based works by the noted artist Michelle Stuart. Recognized as one of the very few female pioneers of Land Art of the 1960s and 1970s, she is known for her nature-based art dating to the late 1960s and 1970s. Her more recent photographic grids, which The New Yorker has praised as “thematic patchworks that conflate history, memory, and hallucination,” constitute a crucial part of her oeuvre and have been the primary focus of her recent practice. This is the inaugural museum treatment of this innovative body of work, which redefines narrative and conducts a meditation on the culture of our time. It is also the first showing of Stuart’s art in a major institution in the New York area since her 2012 traveling survey of works on paper.
Michelle Stuart, Theatre of Memory: Photographic Work, organized by independent curator Gregory Volk, will consist of twelve recent large-scale works, including a major wall piece created specifically for this exhibition, as well as two important pieces from the early 1980s that can be seen as precursors to this later direction.
Since 2008, Stuart has been engaged in creating an inventive photographic output composed of multiple, diverse images that are often presented in the form of large grids. Photo-based images are treated through a unique process that Stuart developed herself. These form into loose narratives evocative of various times and places, often with autobiographical resonances. Overall compositions, composed of anywhere from 24 to 84 separate units, engage her central themes: memory, exploration, history, time, nature, human relationships, the cosmos, and cultural conflict. “These large, gridded works,” writes Volk in an essay for the catalogue that accompanies the exhibition, “are combinatory, eclectic, and rich with abundant correspondences and connections. They are also a visually and formally masterful and complex mesh of shifting colors, tones, shapes, and structures.”
The exhibition will also debut My Still Life (2015)-a large-scale new work created for this exhibition, “an autobiographical opus of sorts,” as Volk describes it. Photographs of a series of what might be called sculptural vignettes bring together objects and images, archival and vintage personal photographs, actual things (e.g., a whale bone, a ceramic frog, a pomegranate), maps, celestial landscapes, fragments of writing on paper. These form more than evocative compositions, they are stage sets in which multiple realities are captured. By combining real objects and fictive images, and images of images, they plumb the genre of the photographic still life in a novel way. According to the artist, the works “explore the idea of ‘planes,’ for example, a sculptural frontal plane superimposed over a variety of planar realities behind, both actual and illusional. It reminds me of the Cubist idea of presenting many perspectives simultaneously.”
Also included in the Theatre of Memory are two works from the early 1980s, from Stuart’s Codex series. The artist first won acclaim in the early 1970s for earth-rubbed scrolls that incorporated soil, and sometimes other “found” elements, as a “record” of a particular site. In the 1980s, she began enlarging these ruminations on place by incorporating photograph-documents as another dimension of representation; often smaller photos surrounded a central squares of earth-rubbed paper. These earlier works demonstrate the way in which photography has been an important leitmotif throughout Stuart’s oeuvre, dating from several decades back.
A forty-page catalogue accompanies the exhibition. The Bronx Museum will host a public reception on Saturday, February 10, from 5 to 7PM.
About Michelle Stuart
Since the 1970s, Michelle Stuart has been internationally recognized for innovative works that synthesize Land Art, drawing, and sculpture. Photography, which has been present in her work both literally and conceptually since that time, has been her primary focus since 2009. Recent important traveling exhibitions include Michelle Stuart: Drawn From Nature at the Djanogly Art Gallery, Nottingham, U.K.; the Parrish Art Museum, Water Mill, New York; and the Santa Barbara Museum of Art, California, 2013-2014; Apparitions: Frottages and Rubbings from 1860 to Now, the Hammer Museum, Los Angeles and the Menil Collection, Houston, 2015-2016. Stuart is also included in the exhibition Revolution in the Making: Abstract Sculpture by Women, 1947-2016, Hauser Wirth & Schimmel, Los Angeles, 2016. One of Stuart’s earth-rubbed scrolls was featured in America Is Hard to See, the inaugural exhibition of the new Whitney Museum. Other important exhibitions include: On Line: Drawing Through the Twentieth Century at The Museum of Modern Art, New York, 2010; Afterimage: Drawing Through Process, at the Museum of Contemporary Art, Los Angeles, 1999, and the Contemporary Arts Museum, Houston; Ends of the Earth: Land Art to 1974 at the Museum of Contemporary Art, Los Angeles, and Haus der Kunst, Munich, Germany, 2012; Alice in Wonderland at Tate Liverpool, U.K., 2012.
Stuart’s work is in collections including The Museum of Modern Art, New York; the Metropolitan Museum of Art, New York; the Whitney Museum of American Art, New York; the Museum of Contemporary Art, Los Angeles; the Los Angeles County Museum of Art; San Francisco Museum of Modern Art; the Walker Art Center, Minneapolis; the Hammer Museum, Los Angeles; Santa Barbara Museum of Art; the Parrish Art Museum, Water Mill, NY; Museum of Contemporary Art, Chicago; Art Institute of Chicago; the National Gallery of Art, Washington D.C.; the Haags Gemeentemuseum, Netherlands; Kunstmuseen, Krefeld, Germany; Musée d’Art de Toulon, France; the National Gallery of Australia, Canberra; and Moderna Museet, Stockholm. She was included in documenta 6, Kassel as well as biennials in both Asia and the Middle East.
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7. Marisa Morán Jahn, Joseph Keckler, Eileen Myles, Laura Parnes, Royal Osiris Karaoke Ensemble, Carmelita Tropicana, FF Alumns, receive 2016 Creative Capital Grants
Creative Capital
2016 awardees in literature, performing arts and emerging fields
creative-capital.org
Pioneering artist support organization Creative Capital has announced its 2016 awardees, funding 46 projects selected from a nationwide pool of 2,500 proposals. The artistic disciplines being funded this year are: literature, performing arts and emerging fields. Drawing on venture-capital principles, Creative Capital seeks out artists’ projects that are bold, innovative and genre-stretching, then surrounds those artists with the tools they need to realize their visions and build sustainable careers.
The 2016 Creative Capital awardees are an incredible group of creative thinkers, representing 63 artists at all stages of their careers with an age range of 28 to 65 years old. More than half are women; and more than half identify as people of color. Each funded project will receive up to 50,000 USD in direct funding and additional resources and advisory services-such as financial consulting and communications support-valued at 45,000 USD, making the organization’s total 2016 investment more than 4,370,000 USD.
Many of these projects reflect Creative Capital’s commitment to artist-activists, who are engaging some of the most significant and hotly debated issues of our time. Projects receiving funding span a wide range of genres and forms, including an exhibition and book on the histories of transgender communities, an adaptation of Euripides’ Medea as a Latin American variety show, and an opera examining America’s relationship with guns.
“Artists today are brave, bold and deeply engaged in the world,” said Ruby Lerner, Founding President & Executive Director, Creative Capital. “The 2016 class of Creative Capital awardees are creating important and deeply moving work, with immediacy and passion. This class is diverse, it is extraordinarily talented, and we believe the 2016 Creative Capital artists will shape their fields for decades to come.”
The 2016 awardees in emerging fields are:
Tanya Aguiñiga, Los Angeles
Zach Blas, Brooklyn, NY
Peter Burr and Porpentine, Brooklyn, NY and Oakland, CA
Melanie Crean, Shaun Leonardo and Sable Elyse Smith, Brooklyn, NY
desert ArtLAB (April Bojorquez and Matt Garcia), Pueblo, CO
Heather Dewey-Hagborg, Chicago
Liz Glynn, Commerce, CA
Heather Hart and Jina Valentine, Brooklyn, NY and Durham, NC
Marisa Morán Jahn, New York
KCHUNG, Los Angeles
Yotam Mann, Brooklyn, NY
Eva and Franco Mattes, Brooklyn, NY
Irvin Morazan, Richmond, VA
Laura Parnes, Brooklyn, NY
Kenya (Robinson), Gainesville, FL
Evan Roth, Paris
Chris E. Vargas, Bellingham, WA
The 2016 awardees in literature are:
Jesse Ball, Chicago
desveladas (Macarena Hernández, Sheila Maldonado, Nelly Rosario), Brooklyn, NY
LaTasha N. Nevada Diggs, New York
Percival Everett, South Pasadena, CA
Eileen Myles, New York
Dao Strom, Portland, OR
The 2016 awardees in performing arts are:
Cornell Alston and Kaneza Schaal, New York
Jeff Becker, New Orleans
Peter Born and Okwui Okpokwasili, Brooklyn, NY
Ligia Bouton, Matt Donovan and Lei Liang, San Diego, CA
Sharon Bridgforth, San Francisco
Ben Thorp Brown, Brooklyn, NY
Ann Carlson, Santa Monica, CA
Mallory Catlett, New York
Ellen Sebastian Chang and Amara Tabor-Smith, Oakland, CA
Jim Findlay, Brooklyn, NY
Robin Frohardt, Brooklyn, NY
Sean Graney, Chicago
Brian Harnetty, Columbus, OH
Branden Jacobs-Jenkins and Carmelita Tropicana, New York
Joseph Keckler, Brooklyn, NY
Heather Kravas, Seattle
Ahamefule J. Oluo, Seattle
Pegasus Warning (Guillermo E. Brown), Los Angeles
Graham Reynolds, Austin
Royal Osiris Karaoke Ensemble (Tei Blow and Sean McElroy), Brooklyn, NY
James Scruggs, Jersey City, NJ
Erika Chong Shuch, Berkeley, CA
Yara Travieso, Brooklyn, NY
About Creative Capital
Creative Capital’s pioneering approach-inspired by venture-capital principles-surrounds adventurous artists in all disciplines with the tools they need to realize their visions and build sustainable careers. Since 1999, Creative Capital’s awards program has committed nearly 40 million USD in financial and advisory support to 511 projects representing 642 artists, including Kyle Abraham, Janine Antoni, LaToya Ruby Frazier, Theaster Gates, Meredith Monk, Laura Poitras, Rebecca Solnit and The Yes Men. Creative Capital has reached nearly 12,000 additional artists in more than 600 communities through its career-development workshops and webinars. For more information, visit www.creative-capital.org.
Creative Capital receives major support from The Andy Warhol Foundation for the Visual Arts, Doris Duke Charitable Foundation, Toby Devan Lewis, Lambent Foundation, Howard Gilman Foundation, Booth Ferris Foundation, Bloomberg Philanthropies, William K. Bowes, Jr. Foundation, Robert W. Deutsch Foundation, The Geraldine R. Dodge Foundation, The Hearst Foundations, Muriel Pollia Foundation, Paige West, The Theo Westenberger Estate, New York State Council on the Arts, National Endowment for the Arts, Cordish Family Foundation, Sylvia Golden, Rappaport Family Foundation, Stephen Reily & Emily Bingham, Catharine & Jeffrey Soros, and more than 350 other institutional and individual donors.
Press inquiries: Mark Ro Beyersdorf, mark@berlinrosen.com / T 646 200 5295
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8. Jane Dickson, FF Alumn, at Martos Gallery, Manhattan, opening Jan. 21, and more
Upcoming Shows:
New York, NY
Hard Love Curated by Barry Blinderman
Martos Gallery
Opening Reception: Thursday, January 21st 6-8pm
Show runs until March 5th
Sacramento, CA
artspace 1616
1616 Del Paso Boulevard
Sacramento, CA 95815
916-849-1127
By appointment
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9. Jane Dickson, Joe Lewis, FF Alumns, at Sacramento State, CA, opening Jan. 27
Pump Up the Volume
Two person show with Joe Lewis
Robert Else Gallery, Sacramento State
Opening Reception: Wednesday, January 27th 5p-7p
Artist Talk: Kadema Hall, Room 145, 7:30p-8:30p
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10. Judith Bernstein, Simone Forti, Barbara T. Smith, FF Alumns, at The Box, Los Angeles, CA, thru Feb. 13
The Box, LA
impromptu
January 16 – February 13, 2016
Opening reception: Saturday, January 16, 4-7PM
Judith Bernstein
Julien Bismuth
Mike Bouchet
Eugenia P. Butler
Sarah Conaway
Simone Forti
Howard Fried
Sam Goodman
Wally Hedrick
Naotaka Hiro
LAFMS
Leigh Ledare
Boris Lurie
Robert Mallary
Paul McCarthy and Damon McCarthy
Al Payne
Barbara T. Smith
Corazon del Sol
Stan VanDerBeek
Benjamin Weissman
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11. Dyke Action Machine, FF Alumns, at The 8th Floor, Manhattan, Feb. 11
Please Join Us for
Artist Conversations and Performances
Related to Our Exhibition When Artists Speak Truth…
at The 8th Floor
Featuring Artist Conversations and Performances with
Avram Finkelstein of ACT UP, Adjunct Commuter Weekly,
BFAMFAPhD, Andrea Bowers, Tania Bruguera, Mel Chin,
Samuel Jablon, Carrie Moyer and Sue Schaffner
of Dyke Action Machine!, and others
We’re pleased to announce a series of artist conversations and performances, led by Shelley & Donald Rubin Foundation’s Artistic Director and exhibition curator Sara Reisman, around our current exhibition When Artists Speak Truth…, on view at The 8th Floor through March 18. All conversations and performances are free and open to the public. We hope you’ll be able to join us!
SCHEDULE OF EVENTS
Thursday, January 21, 7:00-9:00pm
The 8th Floor, 17 West 17th Street, New York City
The Poet Sculpture: Performance by Samuel Jablon
Multi-disciplinary artist Samuel Jablon will stage his literary performance The Poet Sculpture in collaboration with a number of invited poets including Steve Dalachinsky, Bob Holman, Paolo Javier, Sophie Malleret, Yuko Otomo, and Barry Schwabsky. The Poet Sculpture is comprised of portable, modular platforms, constructed from soapboxes of various dimensions, each of which pays homage to an influential poet. Performers interact with Julia de Burgos, Jayne Cortez, e.e. cummings, Allen Ginsberg, Barbara Guest, Langston Hughes, Tuli Kupferberg, Taylor Mead, Frank O’Hara, and Pedro Pietri. The physical interaction between the performers and the words of the poets defines the sculpture, creating a visual poem through voice and form. The event will be accompanied by a culinary intervention by Chef Turi Scalora.
Wednesday, February 3, 6:00-8:00pm
The 8th Floor, 17 West 17th Street, New York City
Arts Education as Cultural Capital: A Conversation with BFAMFAPhD and Adjunct Commuter Weekly
This panel, moderated by Sara Reisman, will address the economic, professional and intellectual impacts of art school, from the perspectives of students and alumni, as well as artists as adjunct lecturers. The conversation will feature Dushko Petrovich, founder of Adjunct Commuter Weekly, and BFAMAPhD core members Vicky Virgin and Caroline Woolard.
Concerned about the impact of debt, rent, and precarity on the lives of creative people, BFAMFAPhD asks: What is a work of art in the age of $120,000 art degrees? Core members Susan Jahoda, Agnes Szanyi, Vicky Virgin, and Caroline Woolard create reports, pedagogical tools, and movement syllabi including Artists Report Back, Census Report, Statements and …in which nothing can be finally paid off.
Adjunct Commuter Weekly was the first magazine to address the lifestyle needs and shared interests of a rapidly growing and increasingly influential demographic. Edited and published by Dushko Petrovich, Adjunct Commuter Weekly was created entirely by current and former adjunct commuters. First published on July 30, 2015, the print publication was shuttered on August 10, 2015 due to the financial and time constraints of the adjunct commuting staff. It has since been rebranded as ACW, an online multimedia platform.
Thursday, February 11, 6:00-8:00pm
The 8th Floor, 17 West 17th Street, New York City
Avram Finkelstein of ACT UP and Carrie Moyer and Sue Schaffner of Dyke Action Machine! in Conversation with Sara Reisman
Using the language of propaganda, political campaigning, and advertising, ACT UP’s Avram Finkelstein and Dyke Action Machine!’s Carrie Moyer and Sue Schaffner have had a pronounced visual impact on New York City-based artistic activism over the last three decades. Tackling different issues affecting the LGBT community, both groups operated a practice of direct action during a period of massive transition in the wake of AIDS and the gay rights movements. Avram Finkelstein designed the iconic Silence = Death poster, which promoted political action on the part of the gay community while DAM!’s public art project was conceived as a series of posters expressing the lesbian community’s ambivalence towards the gay rights movement’s push for same-sex marriage and parenthood, among other hetero-normative lifestyle aspirations.
Friday, February 19, 6:00-8:00pm
The 8th Floor, 17 West 17th Street, New York City
Andrea Bowers in Conversation with Sara Reisman
Artist, activist, and fair wage campaigner Andrea Bowers will discuss the role of activism within her artistic practice. Invoking American history, contemporary political issues, and protest, Bowers’ work gives visibility to the plight of excluded groups, addressing a range of issues, from environmental policy to labor conditions in the art world, including tree sitting in the California forest and a critique of the hiring practices of Frieze Art Fair in 2013 for outsourcing non-union workers.
Saturday, March 5, 12:00pm – 12:00am
Location to be announced
Referendum: Performance by Tania Bruguera
Artist Tania Bruguera will revisit her project Referendum, which was first staged in fall 2015 as part of Nuit Blanche in Toronto. The interactive performance functions as a public vote on questions surrounding immigration and borders, generally raising public awareness about the effects of borders on humankind in a time of unprecedented migration. Referendum is a companion piece to The Francis Effect (2014), a work currently on view in When Artists Speak Truth… that aims to change the perception of immigration and citizenship rights worldwide. Bruguera and her collaborators collected signatures on postcards that featured an image of the seven continents united, accompanied by the slogan “Dignity has no nationality,” which endorse Pope Francis’ supportive stance toward immigrants.
Thursday, March 10, 6:00-8:00pm
The 8th Floor, 17 West 17th Street, New York City
a few words and a few notes: Mel Chin in Conversation with Sara Reisman
A conversation between artist Mel Chin and Artistic Director Sara Reisman titled a few words and a few notes will feature dialogue and song. Currently on view in When Artists Speak Truth…, Chin’s Cross for the Unforgiven (2012) offers a painfully timely critique of the accessibility of guns in American culture. Chin inserts art into unlikely places, including destroyed homes, toxic landfills, and even popular television, investigating how art can provoke greater social awareness and responsibility. Chin also promotes “works of art” that have the ultimate effect of benefiting science, such as his ongoing project Revival Field – a pioneer in the field of green remediation, using plants to remove toxic, heavy metals from the soil – and his recent Operation Paydirt/Fundred Dollar Bill Project, an attempt to make New Orleans a lead-safe city. These projects are consistent with a conceptual philosophy, which emphasizes the practice of art to include sculpting and bridging the natural and social ecology.
About The 8th Floor
The 8th Floor is an independent exhibition and event space established in 2010 by Shelley and Donald Rubin to promote artistic and cultural initiatives. Inspired by The Shelley & Donald Rubin Foundation, the gallery is committed to broadening the access and availability of art to New York audiences. Seeking further cultural exchange, The 8th Floor explores the potential of art as an instrument for social change in the 21st century, through an annual program of innovative contemporary art exhibitions and an events program comprised of performances, salon-style discussions, and those organized by external partners. the8thfloor.org
About The Shelley & Donald Rubin Foundation
The Foundation believes in art as a cornerstone of cohesive, resilient communities and greater participation in civic life. In its mission to make art available to the broader public, in particular to underserved communities, the Foundation provides direct support to, and facilitates partnerships between, cultural organizations and advocates of social justice across the public and private sectors. Through grantmaking, the Foundation supports cross-disciplinary work connecting art with social justice via experimental collaborations, as well as extending cultural resources to organizations and areas of New York City in need. sdrubin.org
Join the conversation with the Shelley & Donald Rubin Foundation on Tumblr (shelley-donaldrubinfoundation), Facebook (The Shelley & Donald Rubin Foundation), Twitter (@rubinfoundation), and Instagram (@rubinfoundation) with the hashtags #RubinFoundation, #The8thFloor, and #ArtistsSpeakTruth.
Contacts
For further information, please contact:
William Furio
The 8th Floor
646.839.5908
media@sdrubin.org
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12. LuLu LoLo, FF Alumn, at Metropolitan Playhouse, Manhattan, thru Jan. 23
Metropolitan Playhouse Transcendental Fest
LuLu LoLo Productions presents
THE POLL TAX MATTER
A one act comedy about Henry David Thoreau,
his arrest at the shoemaker’s, and the birth of civil disobedience.
By Dan Evans
Dan Evans’ 8th play in Metropolitan Playhouse’s Annual Festival
Directed by Aimee Todoroff
Featuring:
Ethan Angelica*
Dan DeCarlo
Sidiki Fofana
Kevin Gilmartin*
Alex Orthwein
With Additional Voices by Chris Harcum*
Costume Designer: Ramona Ponce
Sound Designer: Dominick DeGaetano
*Member, Actors Equity Association An AEA Showcase
And
The Traveler I Have Spoken To
A poem based on the life and writings of Henry David Thoreau.
By Dan Evans
Read by Davidson Garrett*
Friday, January 15, 2016 @9PM
Sunday, January 17, 2016 @ 2PM
Tuesday, January 19, 2016 @ 7:30PM
Saturday, January 23, 2016 @ 7:30PM
Tickets: General: $18; Senior/Students:$15; Child (18 & under) $10
http://www.brownpapertickets.com/event/2481356
Metropolitan Playhouse
220 East 4th Street, New York, NY 10009
Tickets: 800.838.3006
Administration: 212.995.8410
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13. Jeanine Oleson, FF Alumn, at SculptureCenter, LIC, Queens, opening Jan. 23
Hello! Happy New Year!
Please come see new work in an exhibition at SculptureCenter* entitled The Eccentrics. The opening is on Saturday, January 23rd from 6-8pm, and it runs through April 4th. I’m also presenting a related performance on Tuesday, March 1-please reserve tickets here.
I’m really excited about this project. It includes a 3D video, Figures of Speech, and series of related objects – a clay speaker with smelted and hammered copper wire, 3D printed objects, and sound to hear and feel.
I hope to see some of you at either or both events. Please let me know if you’d like more information. I’m also moving to a gorgeous new studio in Dumbo on Feb. 1, so please let me know if you’d like to come by!
Thanks,
Jeanine
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14. Babs Reingold, FF Alumn, at Rutgers University, New Brunswick, NJ, opening Mar.3
Exhibition News
I’m delighted to participate in “The Feminist Art Project @ Ten” with work from my “Luna Window” series.
Please join me at the opening celebration Thursday March 3rd!
Six TFAP-NJ Artists in Celebration of
The Feminist Art Project’s 10th Anniversary
TFAP@TEN
January 19 – April 8, 2016
Anonda Bell, Nancy Cohen, Jaz Graf, So Yoon Lym, Babs Reingold, and Adrienne Wheeler
Mary H. Dana Women Artists Series Galleries / Douglass Library, Rutgers University
#TFAPatTEN
Thursday, March 3, 2016 – 5pm
Artists’ Discussion and TFAP 10th Anniversary Celebration
New Brunswick, NJ – The Mary H. Dana Women Artists Series, a program of the Center for Women in the Arts and Humanities (CWAH) in partnership with Rutgers University Libraries, announces a group exhibition in honor of The Feminist Art Project’s 10th Anniversary entitled TFAP@TEN. Established at Rutgers University in 2006, The Feminist Art Project (TFAP) is an international collaborative initiative advancing the aesthetic and intellectual contributions of women in the visual arts. Boasting a searchable calendar of over 3,000 feminist art exhibitions, conferences, artist talks and lectures, publications and much more, TFAP has become a hub for educational resources and information on feminist art in the U.S. and internationally. TFAP has 55 regional coordinators throughout the world who facilitate networking and regional program development. The TFAP@CAA Day of Panels has become a highlight at the College Art Association (CAA) annual conferences. Visit feministartproject.rutgers.edu to find out more about the calendar, events, regional groups, and educational resources.
TFAP@TEN features the works of 6 artists in the TFAP Regional New Jersey Chapter. Collectively these artists’ works intertwine visceral aspects of the natural world and the human condition, while having a strong focus on formal practice and narratives. Jaz Graf’s drawings and So Yoon Lym’s works on paper focus on patterns and textures inspired by animals, organic materials, and the human body. Found and used materials infiltrate the sculptural works of both Adrienne Wheeler and Babs Reingold. Anonda Bell’s site-specific installations and Nancy Cohen’s mixed media works encompass space with figurative and organic forms that are both eerie and comforting. To accompany the exhibition, CWAH will publish a comprehensive free online catalog.
The exhibition will be on view from January 19 – April 8, 2016, in the Mary H. Dana Women Artists Series Galleries at the Mabel Smith Douglass Library, Rutgers University. On Thursday, March 3rd at the Douglass Library, there will be an artists’ discussion starting at 5pm with a TFAP 10th Anniversary Celebration to follow at 6pm. The exhibition and event are free and open to public. Please RSVP for the event to: womenart@rci.rutgers.edu. Further information about the exhibition, event, and parking can be found at cwah.rutgers.edu.
The Mary H. Dana Women Artists Series Galleries are located in the Mabel Smith Douglass Library (8 Chapel Drive, New Brunswick, NJ 08901). Gallery hours are Monday through Friday 9am – 4:30pm. Contact CWAH about accessibility needs at womenart@rci.rutgers.edu.
The Mary H. Dana Women Artists Series was founded in 1971 by renowned artist and Rutgers Graduate Joan Snyder, and is the oldest continuous running exhibition venue for contemporary women visual artists in the U.S. The Feminist Art Project is a program of the Center for Women in the Arts and Humanities, a unit of the Office of the Senior Vice President for Academic Affairs, and a consortium member of the Institute for Women’s Leadership at Rutgers, The State University of New Jersey.
Babs Reingold
babs.rr@gmail.com
babs@babsreingold.com
http://www.babsreingold.com
c-201-424-5452
Upcoming Exhibitions
2016 Solo exhibition: “The Last Tree”, Burchfield Penny Art Center, Buffalo NY, July – December
2016 Group exhibitions:
“The Feminist Art Project 10 Year Aniversary Show”, Rutgers, New Brunswick, NJ January – April
“The Nature of Things”, Drawing Rooms, Jersey City, NJ, April – May
Current show
Monotype “Tree with Nine Moons No 1” in “Marks Made: Prints by American Women artists from the 1960s to the Present” at the MFA St. Petersburg FL through January 24th 2016
http://www.fine-arts.org/collection/marks-made-prints-by-american-women-artists-from-the-1960s-to-the-present/
Solo Exhibits
Luna Window
http://www.babsreingold.com/exhibitions/luna-windows/luna-window-ac-institue.php
The Last Tree:
http://www.babsreingold.com/exhibitions/the-last-tree/the-last-tree-ise-cultural-foundation.php
Hung Out In The Projects:
http://www.babsreingold.com/exhibitions/hung-out-in-the-projects/hung-out-in-the-projects-morean-art-center.php
Press
Conversation with Midori Yoshimoto
http://old.ragazine.cc/?s=Babs+Reingold
Review of “The Last Tree”
http://www.haberarts.com/trees2.htm
Follow on
https://www.facebook.com/babs.reingold
https://twitter.com/babsreingold
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15. Stephanie Brody-Lederman, Christa Maiwald, FF Alumns, at Southampton Cultural Center, Long Island, thru Feb. 16
Winter Light Reception Saturday at Southampton Cultural Center
Jan 1-Feb 16. Reception Jan16 5-7. 25 Pond Lane, Southampton, L.I. 631 287 4377. Hours M-Sun 11-2:30.
Curated by Arlene Bujese.
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16. Betty Tompkins, FF Alumn, at Flag Art Foundation, Manhattan, opening Jan. 20
Betty Tompkins
The Flag Art Foundation
CECILY BROWN, JEFF KOONS, CHARLES RAY
&
BETTY TOMPKINS: WOMEN WORDS, PHRASES, AND STORIES
Opening Reception: Wednesday, January 20, 6-8pm
On view through May 14, 2016
545 West 25th Street, 9th & 10th Floors
9th Floor
CECILY BROWN, JEFF KOONS, CHARLES RAY
Ranging from lushly painted canvases to sculptures of extraordinary technical acumen, Cecily Brown, Jeff Koons, Charles Ray includes three artworks by each artist that address themes of youth, nostalgia, and intimacy, and highlight the intersection of innocence and subversion.
Jeff Koons and Charles Ray’s unprecedented approach to material, scale, and surface have redefined the possibilities of sculpture. Mining the rich psychological territory of childhood and familial relationships, both artists elevate innocent subject matter to monumental status. Cecily Brown explores youth and transience in kaleidoscopic compositions of fleshy, abstracted figures, utilizing the materiality of paint to replicate physical sensation and the illusion of motion.
10th Floor
BETTY TOMPKINS
WOMEN Words, Phrases, and Stories
WOMEN Words, Phrases, and Stories marks the first comprehensive presentation of 1,000 intimately-scaled, hand-painted works, each of which features a word or words used to describe women. The language in the exhibition ranges from flirtatious to derogatory, and emanates from Tompkins’s career-long commitment to challenge the representation of female identity, the politics of pleasure, and the role of sexuality in contemporary culture.
www.flagartfoundation.org
545 West 25th Street | New York, NY 10001 | 212.206.0220
Wednesday – Saturday, 11am-5pm
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17. David Cale, FF Alumn, in The New York Times, Jan. 12
The New York Times
Theater
Review: A Woman Grows Up in ‘Employee of the Year’
NYT Critics’ Pick
“Employee of the Year,” with Violet Newman, returns in the Under the Radar festival at the Public Theater.
MARIA BARANOVA
By CHARLES ISHERWOOD
JANUARY 12, 2016
“Employee of the Year” was performed in October 2014 as part of the Crossing the Line festival. Following are excerpts from Charles Isherwood’s review, which appeared in The New York Times on Oct. 17, 2014; the full text is online here. The play continues through Sunday as part of the Under the Radar festival at thePublic Theater, 425 Lafayette Street, Manhattan; 212-967-7555,undertheradarfestival.com.
“I’m 45.”
“I’m 54.”
“I’m 62 now.”
“I’m 71.”
The years of a woman’s life flit by like leaves blown in a stiff breeze in “Employee of the Year,” an original and affecting theater work from the inventive company 600 Highwaymen.
What’s most striking about this simple but fresh-feeling piece is less the content than the form in which it is presented, or rather the performers who present it. Although the narrator describes her life from the age of 3 to the age of 80, all five of the actors who tell her story are 9 or 10.
The fragmentary first-person narrative, written by Abigail Browde and Michael Silverstone, who also directed the production, begins with the protagonist’s earliest memories: of standing in her yard at 3 and suddenly yearning for her mother, and, later, of playing with her mother, at 7, in the park.
“She is throwing this kite in the air, and we are running and laughing so much that I tumble into the grass,” says Rachel Dostal, who narrates the early section of the story with a clear, almost affectless delivery that will be matched by all the accomplished performers.
Ten years pass suddenly, and J., as the narrator calls herself, is 17 and going out on a date. But an innocent night out ends in tragedy, when J. returns home to find that her house has burned down, and her mother has died in the fire. More disorienting still, when her mother’s friends come to take J. to live with them, she learns that, in fact, she was adopted.
As they narrate the story of J.’s lifelong – quite literally – search for her birth mother, the performers move around and strike simple poses, stretching a single arm out to the side, lying on the ground, or occasionally grouping and running back and forth, in fits of giggles.
These minimalist, dancelike moves infuse the piece with an odd, frolicsome energy that keeps it from growing too static. So do the songs peppering the narrative, sung a cappella. Composed by David Cale, they are touching and often funny, simply composed and woven deftly into the narrative.
Under the Radar 2016: 600 Highwaymen: Employee of the Year
NYT Critics’ Pick
Public Theater – Martinson Hall425 Lafayette St.E. Village212-260-2400www.publictheater.org
Category Off Broadway, Play
Runtime 70 min.
Preview January 7, 2016
Opened January 7, 2016
Closing Date January 17, 2016
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18. Chun Hua Catherine Dong, FF Alumn, at Katzman Contemporary, Toronto, Canada, Jan. 30
Chun Hua Catherine Dong, Performance at Katzman Contemporary, Toronto, Canada, Jan 30, 2016
Chun Hua Catherine Dong will perform ” The Other Words,” at Katzman Contemporary, Toronto, as part of Duration & Dialogue, a three-day festival of durational performance art.
Performance: 10:00am – 12:00pm, Jan 30, 2016
Followed by a conversation with Johanna Householder
” The Other Words,” explores the otherness in translation. Translation is political, and translating a text is like chewing up rice and then feeding it to somebody else. She is interested in transfiguration and transformation – the shape and form of languages, and how translation cuts across cultural barriers and begins to address how we relate to the world.
Chun Hua Catherine Dong is a visual artist working with performance art, photography, and video. She received a M.F.A. from Concordia University and a B.F.A from Emily Carr University Art & Design in Canada. She has performed and exhibited her works in New York, Boston, London, Delhi, Dublin, Helsinki, Moscow, Turin, Tornio, Toronto, Venice, Montreal and Vancouver. Her video work has been screened in Mexico, Germany, Italy, Ireland, Colombia, Spain, The Netherlands, Finland, Poland, Greece, Romania, Croatia, Denmark, Sweden, Scotland, USA, and Canada. Among many other awards, she is the recipient of Franklin Furnace Award for avant-garde art in New York in 2014.
For more info
http://www.katzmancontemporary.com/1601-duration-dialogue
https://www.facebook.com/events/173128643044409/
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19. Jane Dickson, Joe Lewis, FF Alumns, at Sacramento State University, CA, Jan. 27-March 6
“PUMP UP THE VOLUME”
Jane Dickson and Joe Lewis
Robert Else Gallery
Sacramento State University’
January 27 – March 6, 2016
Pump Up the Volume is Jane Dickson and Joe Lewis’ celebration of hip hop’s ascension into a global movement from its earliest moments that they witnessed in the South Bronx. The exhibition consists of approximately 60+ discrete pieces, including portraits of important genre artists, dating from 1979 – 2015. There is also an audio component overlay of 278 songs (18 hours of music) tracing the history of hip-hop music from the Bronx.
Today, from Soweto to Dallas, Mogadishu to Hong Kong, Cairo to Nome; from La Scala to Remy Martin, Nike to Pepsi, and BMW to the Ballet; wherever you are, Street Art, Hip Hop, Graffiti, and Break Dancing are ubiquitous global currency.
Who would have believed in the 1970s that The South Bronx was the weed in the crack of the pavement of the Western Aesthetic canon whose growth would shatter the dominance of that cultural narrative? That essentially teenage voices, sights, and movements could shake the very foundations of global art and society? And not just any voices. Black, Brown, Yellow, and yes, a few White voices too. Voices from underserved and unrepresented neighborhoods abandoned by the powerful that rose up to prove that one group’s vision could not maintain a stranglehold on the development and implementation of aesthetic criteria.
Jane Dickson arrived in Times Square in 1978 and began working on projects at Fashion Moda in the South Bronx in 1979. She created City Maze there in 1980 with Graffiti artists Crash and Noc and began collaborating with her future husband, Charlie Ahearn on the first hip hop movie “Wild Style” in 1981. Often working on industrial materials, her paintings examine the conventions and disjunctions of contemporary American life, from the crowded theatricality of street life in New York. More than 30 museums including the Metropolitan Museum, the Whitney, MoMA, and the Brooklyn Museum own her work
Lewis’s works are reflections of his introduction to hip-hop and street culture. He grew up on B’way during the golden age of the pop music business and subsequently wound up in the South Bronx at Fashion Moda curating and producing art, performance and music. Primarily using text, his focus is on “the Word”; its influence on animate and inanimate ideas, places and things like “revolution.” He also considers ways one might get out of the ghetto for good. Sometimes, he muses on the mystical and supernatural meaning of everyday things when taken out of context, like a prep school boys dressing and acting like a “gangsters.” Lewis has exhibited widely in the US and abroad. His work is in collections at the Studio Museum in Harlem, Los Angeles County Museum of Art, and Deutsche Bank.
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20. Joseph Keckler, FF Alumn, newsletter
Friends,
Happy New Year. I am thrilled to announce that I have been awarded a Creative Capital Award 2016 to develop my performance piece Let Me Die. Artnet News reports, and mentions my piece in this write-up. With the multi-faceted support of Creative Capital I should be able to really bring this piece to life (or to execute it, har har) over the next couple of years!
I just got back to NYC from Ann Arbor, where I have been the Witt Artist in Residence at The University of Michigan Stamps School of Art & Design. There I had the opportunity to work on this new piece of mine, as well as make couple new videos (forthcoming) with the help of students. I presented a 4-hour work-in-progress performance at MOCAD, and Hyperallergic reported on it. You can see me in all my glory, pretending to be immolated before a giant Youtube fireplace.
Also, I am doing a concert tonight at the charming and lively Pangea. Tickets are available here. I’ll throw in a couple operatic deaths, as well as do a set of my songs, and present some other new and recent material. I’ll be accompanied by pianist Brittany Anjou and violinist Dan Bartfield. Then next Thursday, January 21st I’ll be part of an event at the Cabinet event space in Brooklyn with classicist Shane Butler, in conjunction with the launch of his book The Ancient Phonograph, about the voice, in antiquity and beyond.
Finally, I wrote a song for this piece going up at BAM, Rimbaud in New York by The Civilians, and I will be appearing in the show as well. It happens in early March. Regarding other thespian forays, the original cast recording of Preludes has just come out.
Yours,
Joseph
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21. Neal Medlyn, FF Alumn, newsletter
Hi everybody, it’s me, Neal Medlyn! It’s a been a little while since we talked because I’ve been doing a lot of things. Like, a whole lot of things. I played some punk songs for the first time in many years, I’ve rededicated myself to eating flan, I even teach a class now.
Anyway, long story short, I have two big pieces of news to tell you:
One: I’m opening for Champagne Jerry at New York Live Arts from March 2-5, 2016. As a semi-retired performance artist, it’s going to be a real thrill and I have all sorts of exciting things planned for you to see and do. So come! I also appear on Champagne Jerry’s new album which comes out at the same time as the show and there will be a few songs of mine (perhaps) on the deluxe digital edition of the album.
Tickets and information available here:
Champagne Jerry in the Champagne Room feat. Neal Medlyn
Two: My Pop Star Series has become a book! 53rd State Press informs me that it will be out very soon and will be available to buy at the aforementioned shows in March. It’s got the scripts of all seven of my Pop Star shows along with explanatory things and wonderful pictures by the amazing Paula Court.
Hope yr doing good. See you soon!
PS have you seen the Hannah Montana/Miley Cyrus concert film? Well maybe you should.
Neal Medlyn
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22. R. Sikoryak, FF Alumn, at Dixon Place, Manhattan, Jan. 22
Dixon Place presents:
A reading of ITUNES TERMS AND CONDITIONS: THE GRAPHIC NOVEL
Featuring R. Sikoryak, Brian Dewan, Paul Boocock, and James Godwin.
R. Sikoryak has drawn the entire, unedited text of the iTunes Terms and Conditions as a graphic novel, in over 90 distinct comics styles. It has appeared online at http://itunestandc.tumblr.com.
For this performance, Sikoryak will project the artwork & read from the text, accompanied by live music by Brian Dewan. They will be joined by special guest readers Paul Boocock and James Godwin. You’ll see how far they get in 45 minutes (the show’s running time).
Friday, January 22, 2016 at 7:30 pm
Dixon Place Lounge, 161A Chrystie Street (btw Irvington & Delancey), NYC
Admission is free, but you can make a reservation here: https://web.ovationtix.com/trs/pr/954334
The Dixon Place Lounge is open before, during and after the show. Bar proceeds directly support DP’s artists and mission.
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23. Howardena Doreen Pindell, FF Alumn, in The New York Times, Jan. 9
The New York Times
Museum Explores Trials and Triumphs of Female Artists
By AILEEN JACOBSON JAN. 9, 2016
At first glance, “You Go, Girl! Celebrating Women Artists,” the exuberantly titled exhibition at the Heckscher Museum of Art, looks like many other surveys of American art, especially on Long Island, filled with lots of landscapes and abstracts. But step a little closer – close enough to notice details and read the texts on the walls – and you’ll learn about the difficulties that female artists have faced and how they’ve adapted or triumphed over them.
Take, for example, “Berthe Morisot & Me,” a collage from the 1970s by Miriam Schapiro. The title refers to a well-known artist of the 19th century who focused on domestic scenes, in part because she couldn’t enter bars or other venues where male artists often found their subjects. Ms. Schapiro framed samples of Ms. Morisot’s work with decorative patterns that evoke quilting and other crafts historically associated with women.
“Miriam Schapiro has been so crucial to the advancement of women in the arts, and she’s connecting to historical women in her art,” said Lisa Chalif, the exhibition curator.
In 1971, Ms. Schapiro, who died last year, co-founded, with Judy Chicago, the first feminist art program in the United States, at the California Institute of the Arts in Valencia. (An earlier version of the program had been introduced at Fresno State College the year before.) The 1970s saw the founding of many female-centric artist organizations and the staging of protests by women who felt they were not getting the same opportunities as male artists to show their work, Ms. Chalif said.
Because the exhibition is drawn from the museum’s permanent collection and doesn’t cover all eras, it “is not the story of women in art,” Ms. Chalif said. However, there are common threads in the artists’ lives. Women were often barred from art schools and from drawing nude models in the 19th century, and up through the 20th century, several opted to change their career paths after they married or had children.
Ellen Thayer Fisher, born in 1847, learned drawing and painting techniques from her brother, the artist Abbott Handerson Thayer. “Like most female artists of her generation, Fisher did not have access to nude models and therefore depicted subjects that were more readily available, in her case flora and fauna,” explained wall text from the show. She painted “Lady Slipper,” a watercolor of an orchid, in 1878.
Although educational opportunities improved in the 20th century, Alice Morgan Wright, born in 1881, was not allowed to sketch nude men in her classes at the Art Students League. Undeterred, she attended boxing and wrestling matches. She also became a women’s suffragist. Her monotype “Nude” (before 1930), shows a very muscular man.
Among the women who changed course after marriage was Elsie Driggs, who in 1935 gave up painting – for which she had been acclaimed – to manage the career of her husband, the artist Lee Gatch, and raise their family. However, she continued to use watercolors, working at her kitchen table. After her husband died in 1968, she returned to painting and mixed media. In “Riot,” her circa 1929 watercolor and pencil on paper, she “captures the unruly aggression of a mob,” according to more wall text from the show.
Like Ms. Driggs, Mary Nimmo Moran devoted herself after marriage to managing the career of her artist-husband, Thomas Moran, and raising their children. But Mr. Moran encouraged her to try etching, at which she excelled. Her etching “Solitude” (1880) was based on her observation of nature.
Her husband is better known, as is the case with a few other artists in the exhibition, including Elaine de Kooning, wife of Willem de Kooning, and Helen Torr, wife of Arthur Dove. (All three couples lived on Long Island.)
Things didn’t always end well if the wife stood out. After Rhoda Holmes Nicholls’s work was accepted to the Paris Salon in 1897 while that of her husband, Burr Nicholls, was rejected, the couple separated and later divorced. “Newspapers across the country spun the story into a cautionary tale of the threat a woman’s success posed to domestic and marital bliss,” the museum’s wall text explains. Her watercolor “Thistle Down and Dark Trees, Shinnecock,” c. 1890s, was made on the East End.
“Big Daddy Paper Doll,” a 1971 serigraph by May Stevens that shows a white male figure and several outfits he could wear, including those of a butcher and an executioner, is the most blatantly political work in the exhibition, Ms. Chalif said.
Other artists, like Howardena Doreen Pindell, a professor at Stony Brook University, who has often addressed feminism, racism and other issues in her art, have works in the show that are not political. Ms. Pindell’s 1996 mixed-media “Relationships (Kandinsky #1), is mostly abstract with the words “love” and “joy” in several languages scattered about. Audrey Flack’s 1972 “Lady Madonna,” a lithograph with gold leaf, depicts a weeping figure made in the 17th century by the Spanish sculptor Luisa Roldán.
Janet Culbertson’s 1979 “Scene VIII,” a textured landscape, is part of her series about the Grand Canyon, the artist said in a phone conversation, and is also part of her work as a self-described “eco-feminist.” Starting in the 1970s, she said, “Some of us linked our viewpoint with saving the earth.”
Ms. Culbertson, who lives in Shelter Island Heights, was in a show of four female artists at the Heckscher in 1980 organized by Katherine Lochridge, then the director. “It was so terrific to have that,” she said. “This is a renewal of that type of positive thinking.”
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24. Allan Schwartzman, FF Board Alumn, in The Wall Street Journal, Jan. 11
The Wall Street Journal
Sotheby’s Buys Blue-Chip Art Advisory Firm
Auction house agrees to pay up to $85 million for Art Agency, Partners
By KELLY CROW
http://www.wsj.com/articles/sothebys-buys-blue-chip-art-advisory-firm-1452513943
In a novel bid to expand the way auction houses do business, Sotheby’s said Monday it had agreed to buy a blue-chip art advisory firm in a deal that could be valued up to $85 million.
The company-Art Agency, Partners-was started two years ago by former New Museum curator Allan Schwartzman and former Christie’s rainmaker Amy Cappellazzo.
By branching into the art advisory business, Sotheby’s said it aims to position itself as an indispensable guide to heavyweight collectors seeking advice about ways to expand or retool their art holdings.
Such advisory firms have proliferated in recent years. They serve as independent consiglieri to collectors, hired to help buyers navigate the opaque, high-stakes world of auctions, galleries and fairs to amass coveted artworks.
Art Agency’s current clients include Dallas Museum of Art trustee Howard Rachofsky and Brazilian mining magnate Bernardo Paz, whose 5,000-acre park Instituto Inhotim is dotted with oversize art installations selected in part by Mr. Schwartzman, its creative director.
Sotheby’s said it bought Art Agency for $50 million with a pledge to pay an additional $35 million if undisclosed performance targets are met by the firm’s 15 members over the next five years. Under the terms of the deal, the house will hire the firm’s staff and absorb its art fund and entire client roster. Mr. Schwartzman said the firm’s clientele had been notified, adding, “Everyone was really supportive.”
The move is the latest salvo from Sotheby’s new chief executive Tad Smith, who wants the art house to offer clients services beyond the traditional business of buying and selling of art.
“Clients have come to our specialists asking if there is any way to pay them separately for advice or curatorial help,” Mr. Smith said, “but we didn’t have a structure for that until now.”
Mr. Smith added that he wants to expand Sotheby’s expertise to include providing market intelligence, advising on potential purchases at other houses or helping organize exhibits of collectors’ works.
The purchase also responds to an increasing pressure from the art world on Sotheby’s and rival, Christie’s International, to expand beyond their traditional auctions.
However, Sotheby’s deal could backfire if collectors feel pressured to shop at the art house. Clients will pay their advisers on a retainer basis so that fees aren’t linked to sales, Sotheby’s said. (Retainers could also bring the house steady fees even if auction sales waver overall; clients say Art Agency’s fees can top $10,000 a month.)
Dallas Museum’s Mr. Rachofsky, one of Art Agency’s first clients, said he plans to continue his working relationship with Mr. Schwartzman, but said he’s still digesting the long-term ramifications-and potential conflicts of interest.
“What Allan does is pretty intensive and creative in helping me shape my collection,” he said, “but Sotheby’s is in the gathering and distribution business, so it is hard to say how the personalized aspect will translate.”
Other art advisers remain cautious. Beverly Schreiber Jacoby, chief executive of BSJ Fine Art in New York, said she thought the deal might ultimately serve as a way for Sotheby’s to reassure investors after its recent lackluster sale of Al Taubman’s estate, and offer a buffer against a softening market.
“Sotheby’s is looking to find a floor for its stock and gain greater access to property,” Ms. Jacoby said, “while the agency gets added protection.”
Sotheby’s share price has halved since June. However, on Monday, the deal helped boost the stock nearly 7% to $23.15.
Sotheby’s acquisition comes two months after it offered voluntary buyouts and several weeks after Mr. Smith hired Marc Porter , another top deal maker at Christie’s.
A new management hierarchy is also emerging, much of it led by newcomers to Sotheby’s. Under the house’s newly created fine art division, Mr. Porter will serve as co-chairman alongside Mr. Schwartzman and Ms. Cappellazzo. Mr. Porter will focus on expanding private sales globally, while the other two will work as advisers and oversee several specialist departments including impressionist, modern and contemporary art.
Eventually, Sotheby’s said, additional collecting categories spanning the 20th and 21st centuries will fall under the new division’s purview including American art, Latin American art and modern British art
Former investment banker and lawyer Adam Chinn, the firm’s third partner, is executive vice president of world-wide transaction support succeeding Mitchell Zuckerman, a 37-year veteran of the house who is retiring.
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25. Carolee Schneemann, FF Alumn, in The New York Times, Jan. 14
The New York Times
Galleries to Mount Joint Carolee Schneemann Exhibition
Inside Art
By ROBIN POGREBIN JAN. 14, 2016
Sure, the artist Carolee Schneemann may be best known for pulling a scroll out of her vagina.
But that piece, “Interior Scroll,” in which she read aloud from the scroll the remarks of one of her critics, dates back to 1975. More recently, she has been working on motorized sculptures, often with video projections.
“I’m very anxious for the culture to pay attention to the work that’s not 40 years old,” said Ms. Schneemann, 76. “Culturally, my use of the body has dominated the larger body of work. I hope now this will be redressed.”
That hope stems from the decision by two galleries to join forces in representing Ms. Schneemann – P.P.O.W. and Galerie Lelong, which will also mount a two-part solo exhibition of the artist’s work together in October.
“There’s been in the last five years a revisiting of the importance of first-wave feminist artists, of women artists and of performance art, and Carolee spans all those categories,” said Mary Sabbatino, Galerie Lelong’s vice president and partner. “People have not fully appreciated her work.”
Having represented Ms. Schneemann for nearly 20 years, P.P.O.W. felt it needed assistance in giving her more global exposure, said Wendy Olsoff, P.P.O.W.’s co-owner, adding that the artist’s influence extends to pop stars like Lady Gaga and Miley Cyrus and contemporary artists like Marina Abramovic.
To be sure, Ms. Schneemann is having a moment, with a major retrospective at the Museum der Moderne in Salzburg, Austria; two monographs on her work; and the Museum of Modern Art’s recent acquisition of her kinetic 1963 piece, “Four Fur Cutting Boards.”
Art institutions are re-examining their collections from the 1960s and ’70s, the gallerists say, to include artists, like Ms. Schneemann, who have historically been overlooked.
“Finally, museums are realizing that she was this totally key player,” Ms. Olsoff said, “who was subsumed by the male artists of her generation.”
Artist’s Vision for Ballet
When the choreographer Justin Peck was thinking about a visual vocabulary for his new ballet, “The Most Incredible Thing,” based on the Hans Christian Andersen story of the same name, he discovered Marcel Dzama at David Zwirner Gallery.
“His work had a narrative and otherworldly quality to it and very specific color palettes,” Mr. Peck said. “He incorporated a lot of dancer figures.”
So Mr. Peck enlisted the Brooklyn-based Mr. Dzama to do both the sets and the costumes for his ballet, which will have its first performance by the New York City Ballet on Feb. 2.
Mr. Dzama, 41, said his work had often been inspired by dance from the 1920s and dance magazines from the 1960s and ’70s, material that informed his costume designs.
“I wanted the whole thing to look timeless,” the artist said, “so it had this foot in the past but almost the past looking into the future.”
Mr. Dzama will also create a large installation for the promenade of the ballet’s home, the David H. Koch Theater at Lincoln Center, as part of the company’s fourth Art Series, which invites contemporary visual artists to create works for exhibition. This is the first time that an artist has made work for both the Art Series and a City Ballet production.
Because of Mr. Dzama’s obsession with the chess-loving Marcel Duchamp, his installation – which will go on display on Tuesday – has a chess theme and will feature video, drawings and sculpture.
It incorporates the promenade’s two Elie Nadelman nudes and involves polka dots, elements that will be also reflected in Mr. Dzama’s highly theatrical costumes for the ballet.
“I wanted this piece to have a real craftsmanship to it,” Mr. Peck said. “I did not want computerized projections. I wanted it to feel handmade.”
Honoring a Short Career
As a student at Cooper Union some years ago, Augusto Arbizo saw the work of Moira Dryer at the Mary Boone Gallery and it made a lasting impression.
So Mr. Arbizo, director of the gallery 11R (formerly Eleven Rivington), decided to inaugurate his 195 Chrystie Street location with his second solo exhibition of that artist, who died of cancer in 1992 at the age of 34.
“Her work always stayed with me,” he said. “I had a personal connection to it.”
The show, which runs through Feb. 7, features Ms. Dryer’s paintings and works on paper from throughout her short career, including watercolors, and collages that have not been on view before.
Mr. Arbizo also includes printed matter to provide context for those unfamiliar with Ms. Dryer, who was born in Toronto.
She was a former studio assistant to Elizabeth Murray and Julian Schnabel and also worked as a prop and set maker for New York theaters. Her work is in the permanent collections of the MoMA, the Whitney and the Guggenheim.
“I would go on studio visits and bring up her name,” Mr. Arbizo said. “None of these young artists knew her.”
The exhibition seems well timed, given that Lily Siegel, an independent curator, is working on a comprehensive Dryer exhibition and catalog that has yet to find a home.
“She was so gifted,” Mr. Arbizo said of Ms. Dryer. “There’s no knowing what work she might have made.”
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26. Yoko Ono, FF Alumn, in The New York Times, Jan. 14
The New York Times
Yoko Ono’s ‘The Riverbed’ Has a Therapeutic Bent
By KEN JOHNSON JAN. 14, 2016
As a conceptual artist, Yoko Ono practices a vapid kind of spiritual therapy. Visiting her two-gallery exhibition is like attending a New Age summer camp program run by a bossy teacher who treats everyone like children.
Each of the largest exhibition spaces at Andrea Rosen and Lelong is occupied by an Ono participatory installation titled “The Riverbed, ” which has square black cushions and rounded river stones distributed about. Some of the stones are inscribed with words like “dream” and “wish” in small black letters. Visitors are invited to pick up a stone, sit on a cushion and let feelings of anger and fear transfer to the stone. I selected a baseball-size rock and considered the idea of downloading my negative feelings into it, but I can’t say that I seriously tried. In any event, I didn’t feel much altered by the experience.
Another therapeutic activity, “Mend Piece,” is in smaller rooms in both galleries. Here tables are loaded with broken white crockery and string, tape, glue and scissors, which are supposed to be used to assemble pieces into some kind of a whole. Ms. Ono’s instructions explain, “As you mend the cup, mending that is needed elsewhere in the Universe gets done as well.” Wouldn’t that be nice. A small bar in both of these rooms provides free cups of coffee to stimulate visitors’ creativity and sociability. About all this, the most pressing question I had was, Why are two big Chelsea galleries required to host duplicates of the same enervating exercises in wishful thinking?
Yoko Ono
‘The Riverbed’
Andrea Rosen Gallery
525 West 24th Street, Chelsea
Through Jan. 23
Galerie Lelong
528 West 26th Street, Chelsea
Through Jan. 29
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27. Eileen Myles, FF Alumn, in The New York Times, Jan. 16
The New York Times
Eileen Myles, the Poet Muse of ‘Transparent’
By BROOKS BARNES
JAN. 16, 2016
BEVERLY HILLS, Calif. – Rocking a pinstriped Paul Smith suit and boots that she had picked up in Paris, Eileen Myles rolled into the Golden Globeshere last weekend on the arm of her girlfriend, Jill Soloway, the creator of the Amazon series “Transparent,” who was outfitted in a pink tuxedo and platform sneakers. Cool? The epitome.
But talk about a “dyke out of water,” as Ms. Myles later described herself. At 66, she has spent the last four decades in the relative obscurity of punk poet-dom, publishing over 20 books of poetry, fiction and criticism, almost all with maverick presses. A generation of female writer-performers view her as indispensable. The rest of us: Eileen who? “I’m a loudmouthed lesbian, which means mainstream invisible,” she said.
That is changing, though, and in many ways Ms. Myles – to her ecstatic bewilderment – has Hollywood to thank.
First came “Grandma,” starring Lily Tomlin as Elle, an indomitable lesbian poet. The character was not overtly modeled on Ms. Myles, according to Paul Weitz, the film’s writer-director. But her poetry is showcased. (When Mr. Weitz called to seek permission, the ever-blunt Ms. Myles recalled responding: “Am I going to be some old lesbian sitting on the porch scratching her balls? Because that’s kind of embarrassing.”)
The second season of “Transparent,” the acclaimed series about gender and sexual identity, arrived late last month, and Ms. Myles is all over it. Cherry Jones plays a poet based on her, her poetry is recited by various characters across multiple episodes, and Ms. Myles appears as an extra. “The best thing @transparent_tv has done is made more people aware of @EileenMyles,” the critic Ken Tucker wrote on Twitter.
The timing was perfect: HarperCollins had just published her collection “I Must Be Living Twice: New and Selected Poems 1975-2014” and reissued “Chelsea Girls,” her out-of-print 1994 autobiographical novel, both of which generated strong reviews. As the books, movie and series started feeding one another, Ms. Myles finally started reaching the masses. (Well, maybe not Kardashian masses. But still.)
“It’s real, and it’s accidental,” she told me at a coffee shop the afternoon after the Globes. “You know, evolution is not an even process. There are surges, and there are micromoments. Certainly a career as an artist is that way.”
She added of her current surge: “I’m a little grateful, humble. And I’m excited to see what happens next. I keep being told: ‘You need to capitalize on this. You’ve got to use it.’ So I’m going to go sit in Texas – I have a house in Marfa – and try to decide what the most important thing is to do next.”
The answer may involve a screenplay or series of her own.
“I have some ideas about there being a show that is even more about poets,” she said. “Poems, as eggs, should be put in larger baskets.”
Adapting “Chelsea Girls” for the screen is another possibility, she said. The book recounts her childhood and then takes an alcohol-soaked ride through the East Village of New York in the 1980s. (Not in the book: Ms. Myles recalled how she and her girlfriend at the time planned to make art films, including one called ‘Lavender Booties,’ about two butch lesbians who are always crocheting. It was to be in black and white – except for the booties.)
But Ms. Myles’s new status as a Hollywood inside-outsider hasn’t entirely softened her feelings about the entertainment business. She was still reeling from the Globes, which she described as “a mild acid trip.” And a bad one, in some ways. She was incensed, for instance, about Ricky Gervais’s monologue, which included a graphic joke about the genitalia of Jeffrey Tambor, who plays a transgender character on “Transparent.”
“It was completely horrifying and such an incredible example of bullying,” she said. “The message was, ‘Here, this is fun, this is what we serve first at our party.'” She continued: “But there’s also a bright side, I guess. That kind of contempt, sexism and bullying is the squawks of a falling empire, which I think Hollywood is.” (Mr. Gervais, responding to an outcry that his monologue, including a joke about Caitlyn Jenner, was transphobic, said on Twitter: “You have every right to be offended. Just don’t cry when no one cares.”)
Ms. Myles met her girlfriend in May, when they were panelists at a museum event in San Francisco. Coincidentally, Ms. Soloway, 50, had been doing research on Ms. Myles, whom she had never met, because her “Transparent” writing staff had suggested modeling a character on her.
“Jill admitted later that she had this whole dossier on me,” Ms. Myles said. “It was cute and romantic.”
Ms. Soloway, in a December profile in The New Yorker, said that, around that time, she had read one of Ms. Myles’s journals, which had been purchased by the “Transparent” staff. “I open it up, and the first thing it says is, ‘Whoever falls in love with me is in trouble,'” Ms. Soloway told the magazine.
Asked what she meant by that, Ms. Myles broke into a goofy grin.
“It could also be true that anybody who falls in love with Jill is in trouble – deeply, deeply in trouble,” she said, with a laugh. “If you both have strong wills, you’re always pushing the boundaries. Love is trouble, you know, which is one thing that is so great about it.”
In an email, Ms. Soloway said: “I see Eileen as a wayward walking country minister posing as a dyke poet. Her mind is the most expansive mind I’ve ever had the pleasure of being in contrast to. There is no thought or impulse of mine, be it revolutionary, feminist, radical, dirty, beautiful, silly, abstract or murderous, that feels ugly. That totally frees me up to say to myself: more, more, more.”
In person, Ms. Myles was generous and engaging, even when I stumbled upon the occasional sore subject. For instance, I mentioned an article about her in The Boston Globe in which she was described as the New York poetry scene’s “godmother even before she was old enough to be a godmother.” Wrong thing to say. “Godfather would be better,” she said, a bit curtly. “I ask my nephew to call me Uncle Eileen.”
Ms. Myles continued: “Gender is such a big issue today, but in so many micro ways. Here’s an example. I wear my jeans low, and I continually get stopped at airports. The scans tell them I should be a man. The T.S.A. people call it a ‘groin anomaly.’ Can you believe that?
“One screener woman literally said to me, ‘Do you have a penis?’ And I answered, ‘Were you seeing a penis on your monitor?’ And she said, ‘I’m asking you seriously: Do you have a penis?'” (Ms. Myles’s answer: “Not today.”)
Ms. Myles grew up in blue-collar Arlington, Mass. Deciding in 1974 that she wanted to pursue a career in poetry, she moved to New York and became an assistant to James Schuyler, the Pulitzer Prize-winning poet.
She seems to have done an impossibly enormous amount of living. She once toured the country in a minivan with an all-female poetry group called Sister Spit. She has conducted writing workshops in Mexico, taught at the University of California, San Diego, served as artistic director of the Poetry Project in New York and – oh, yeah – run for president; she campaigned as an “openly female” write-in candidate in 1991 and 1992, traveling to 28 states.
“Eileen is kind of like a gunslinger, with pretension as the enemy,” Mr. Weitz said in a phone interview.
She laughed at the image.
“You know, Jill and I wrote this document – I guess it’s a manifesto – when we were in Paris that talks about how men should agree to stop writing books for 50 years, and men should stop making films for 100 years,” she said. “Extreme! But I think that movements only grow by hyperbole. It’s not that we literally think it will happen or should happen or has to happen. But it has to be put out there. Because I want everything. I don’t want delicate change – the chipping away slowly. Screw that.”
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28. Barbara Rosenthal, FF Alumn, at Central Booking, Manhattan, Jan. 21
Barbara Rosenthal, FF Alumn, will participate in the pane at Central Booking, 21 Ludlow Street, Thursday, Jan 21, 6:30pm,
Humanizing the Dehumanized:
the Legacy of Eugenics and the Relevance Today
Admission $5
Moderator: Nickie Phillips
Panelists: Noah Fuller, Geraldine Ondrizek, Barbara Rosenthal
This panel will explore the legacy of Eugenics and the ways that “scientific” data has been used to justify atrocities. The panelists will discuss how the categorization of individuals, dehumanization, and bureaucratization converged to reinforce cultural prejudices and the lasting impact of these policies and practices. The study and reception of bio-criminological explanations of criminality will be discussed in light of the history of eugenics within the field of criminology, as well as other unfortunate implications of the movement to “purify” the population.
Nickie D. Phillips is an associate professor in the Sociology and Criminal Justice Department at St. Francis College in Brooklyn, NY. She received her Ph.D. from CUNY Graduate Center, New York in 2006. She is co-author of Comic Book Crime: Truth, Justice, and the American Way (NYU Press) published in 2013.
Noah Fuller is a curator, artist, and educator working in Brooklyn and an inaugural member of NYU’s Art, Education & Community Practice Master’s program. He co-curated Haunted Files: The Eugenics Record Office and is the lead curator of the current exhibition In the Shadow of the Highway: Robert Moses’ Expressway and the Battle for Downtown.
Geraldine Ondrizek is a Professor of Art and artist at Reed College who collaborates with scientists to make multi-media works. She is the recipient of a Ford Family Fellowship and a Mellon Art and Science Grant. Her project Shades of White focused on eugenics in the US. In 2015 she was at The Max Plank Berlin researching the origins of Biometrics. Her BFA is from Carnegie-Mellon and MFA from the University of Washington.
Barbara Rosenthal is a NY Media Poet who works in performance, video, photography, prints, objects and artists’ books. VSW Press published four of her image text-books. Her new novel, WISH FOR AMNESIA is just out from Deadly Chaps Press. Rosenthal has been published in LiveMag, MacGuffin, Assembling, Afterimage, etc; reviewed by the Village Voice, NY Times, and Flash Art International; taught at Parsons, Manhattanville, SUNY/Nassau, and CUNY/Staten Island; and she writes reviews for Ragazine.
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29. Francheska Alcantara, FF Intern Alumn, at BX Arts Factory & Bronx Music Heritage Center, Feb. 6
Memories Un+remembered: Thinking of Home
featuring: Francheska Alcantara
Exhibition and Performance of Rasgos del laberinto (Labyrinth’s Features)
In collaboration with BX Arts Factory & Bronx Music Heritage Center
Saturday, February 6th from 6 to 9pm
1303 Louis Nine BLVD Bronx, NY 10459
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30. Jacki Apple, Jerry Allyn, Cheri Gaulke, Rachel Rosenthal, FF Alumns, at Willow Studios, Los Angeles, CA, Jan. 29-31
FRIENDS & COLLEAGUES
ANNOUNCING an ARTISTS’ BOOK EXHIBITION
@ FABRIK EXPO Jan.29-31, 2016
Location: Willow Studios, 1324 Palmetto Street,
Arts District in Downtown Los Angeles
, CA 90013
Curated by JACKI APPLE featuring 25 unique works by eleven artists Jacki Apple, Helen Thorington, Rachel Rosenthal, Jerri Allyn, Cheri Gaulke and Sue Mayberry, Robert McGinley, Paul Soady, Nobuho Nagasawa, Chihiro Minato, and Chiaki Saito
The exhibition will feature one-of-a kind artists’ books, plus signed and numbered limited edition books including photo/text books, hand-printed books, sculptural books, illustrated books, and more. Many of these works are already in prestigious collections, with only a few remaining copies left for purchase.
Special Feature: The late great Rachel Rosenthal’s Nihon Journal only 2 signed copies still available.
Look forward to seeing you there. For tickets see http://fabrikexpo.com
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31. Dread Scott, FF Alumn, receives Harpo Foundation grant
Harpo Foundation is pleased to announce our 2015 grant and residency fellowship recipients. This latest distribution of funds is supporting emerging and under-recognized visual artists through 6 direct grants to artists, 4 project grants to organizations, and 3 residency fellowships.
We would like to thank all of the artists and organizations who responded to these opportunities and shared their work with us.
Congratulations to our 2015 Grantees and Residency Fellows (alphebetical by artists’ last names):
James Angello Native Artist Fellow at Vermont Studio Center
Carolina Caycedo Direct artist grant
Liz Glynn Direct artist grant
Silvia Gruner and the Americas Society Project grant
Shadi Harouni Direct artist grant
Chris Larson and the Walker Art Center Project grant
Ibrahim Mahama and Eli and Edythe Broad Art Museum, Michigan State University Project grant
Annesofie Sandal Emerging Artist Fellow at Santa Fe Art Institute
Park McArthur and Chisenhale Gallery Project grant
Rachel Mulvihill Native Artist Fellow at Vermont Studio Center
Zoe Sheehan Saldana Direct artist grant
Dread Scott Direct artist grant
Anna Tsouhlarakis Direct artist grant
In other news, the deadline for the 2016 Harpo Native American Residency Fellowship at the Vermont Studio Center is February 15th! Apply here.
The Foundation’s guidelines for the 2016 grant cycle will be posted online as soon as they are available. Please sign up to receive our email notifications online or join our facebook page where we post regular updates.
Best wishes to all for a very happy new year.
Julie Deamer
Executive Director
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32. Christa Maiwald, FF Alumn, newsletter
My work “The Cake and I” recently entered the collection of the Parrish Art Museum in Southampton, NY, as a gift of Amy Plumb Oppenheim. Another piece was recently purchased by the East End Hospice in Westhampton Beach, NY. I am currently in “Winter Light: East End Artists” at the Southampton Cultural Center through Feb. 16. I will be in “Dealer’s Choice” at Kathryn Markel Fine Arts in Bridgehampton, NY, Feb. 13-March 6. Thank you. Christa Maiwald
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33. Halona Hilbertz, FF Alumn, at Williamsburg Art & Historical Center, Brooklyn, opening Jan. 23
I’m taking part in the Williamsburg Art & Historical Center’s Salon again, showing the brand-new piece
“White (She has short hair now)”.
Opening is this Saturday, January 23rd, 4 to 6pm, at 135 Broadway in Williamsburg/Brooklyn. Stop by!
Halona Hilbertz
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34. Jim Johnson, FF Alumn, now online at http://www.blurb.com/b/6746531-ellipsis
Please check out the preview for my new book, Ellipsis on Blurb. http://www.blurb.com/b/6746531-ellipsis
Thank you.
Jim Johnson
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35. Sabrina Jones, FF Alumn, at Interference Archive, Brooklyn, Jan. 21
OUR COMICS OURSELVES
Identity, Expression, and Representation in Comics Art
An exhibit of cartoonists (including yours truly) and the comics that inspired us.
WHEN:
Opening Thursday January 21st, 7-10PM (but I’ll leave by 9!)
WHERE:
Interference Archive
131 8th Street – #4
Brooklyn, NY 11215
(2 blocks from F/G/R trains at 4th ave./9th street)
HOW MUCH:
Free admission, but you might want to buy the $10 catalog
http://interferencearchive.org/
Visit www.sabrinaland.com to learn about Bohemians and more.
Thank you.
Sabrina Jones
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36. Michelle Handelman, FF Alumn, newsletter
M I C H E L L E H A N D E L M A N
UPCOMING EXHIBITIONS
JAN/FEB 2016
Dear Friends, I’ve got a few things going on in NYC, Detroit, Philadelphia & Miami this month, so if you’re near please stop by. Wishing you all a great start to a very scintillating and prosperous New Year!
All my best,
Michelle
www.michellehandelman.com
LOVE 2016
Curated by Rachel Stern
Jan 19 – Feb 21, 2016
LeRoy Neiman Gallery, Columbia University
Artists: Nayland Blake, Julianne Hagerty Cole, Nick Doyle, TM Davy, Genesis Breyer P-Orridge, Leigh Ledare, Michelle Handelman, Susan Metrican, Sheila Pepe, Thomas Roma, Marc Swanson, and others.
and
Moving Time: Video Art at 50, 1965-2015
Curated by Michael Rush
Oct 17, 2015 – Feb14, 2016
Eli and Edythe Broad Art Museum
The exhibition traces the impact various artists have had on the art form-from its birth in the 1960s with artists Andy Warhol and Nam June Paik, to the rarely-seen work of international artists continuing to push the media forward today.
and
IRMA VEP, THE LAST BREATH
Fashion In Film Festival
Wearing Time: Returns, Recalls, Renewals.
January 31, 2016, 4:00pm Click here
Introduction by Tom Gunning
Fashion Project at Bal Harbour Shops, Miami
International House | Philadelphia
February 4, 2016, 7:00pm
Post-Screening talk with Virgil Marti and Michelle Handelman. Click here
+ Part of the 100 Years of Irma Vep Series
Copyright (c) 2016 Michelle Handelman Studio, All rights reserved.
Our mailing address is:
Michelle Handelman Studio
68 Jay St. #504
Brooklyn, NY 11201
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For subscriptions, un-subscriptions, queries and comments, please email mail@franklinfurnace.org
Goings On is compiled weekly by Harley Spiller
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Goings On is compiled weekly by Harley Spiller
