Contents for January 02, 2020 (Scroll down for more information):
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1. Jane Dickson, FF Alumn, at Howl! Happening, Manhattan, opening Jan. 9
2. Conrad Ventur, Barbara Hammer, Carolee Schneemann, FF Alumns, at Participant Inc., Manhattan, opening Jan. 5
3. Zlatko Kopljar, FF Alumn, at Museum of Contemporary Art, Zagreb, Croatia, thru Feb. 16, 2020
4. Sydney Blum, FF Alumn, in sculpturemagazine.art now online
5. Beth B., FF Alumn, at International Film Festival Rotterdam, The Netherlands, January 27-28
6. Howardena Pindell, FF Alumn, in The New York Times, Dec. 20, 2019
7. Sally Greenhouse, FF Alumn, now online at gazettenet.com
8. Robin Tewes, FF Alumn, at Moravian College, Bethlehem, PA, opening Jan. 23
9. Shelagh Keeley, FF Alumn, at Museum of Contemporary Art Toronto, Feb. 6-May 10
10. Linda Sibio, FF Alumn, at Joshua Tree, CA and online
11. Stephanie Brody-Lederman, FF Alumn, at The Red Wheelbarrow Bookstore, Paris, France
12. Charlie Clough, FF Alumn, now online at youtube.com/watch?v=OdXU1wcbilo
13. M. Kasper, FF Alumn, new translation
14. Nicolas Dumit Estevez Raful, Felix Gonzalez-Torres, Lawrence Graham-Brown, Ana Mendieta, FF Alumns, new publication
15. Roger Shimomura, FF Alumn, receives University of Kansas honorary Doctor of Arts
16. Jacob Burckhardt, FF Alumn, at Rio Grande Union, Manhattan, Jan. 10-11
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1. Jane Dickson, FF Alumn, at Howl! Happening, Manhattan, opening Jan. 9
January 09 – February 23, 2020
Opening Reception: Thursday, January 9th / 6-8 PM
Howl! Happening: An Arturo Vega Project is pleased to present Jane Dickson’s Hot, Hot, Hot, a series of rarely seen and moody paintings of Times Square peep shows from the 1980s. Dickson’s history and legacy are rooted in Times Square. She worked and lived there from 1978 to 2008 documenting her daily lived experiences and observations as a young woman. In photos, drawings, and paintings that utilize unconventional industrial and domestic materials as surfaces-including carpet, sandpaper, and black plastic bags-she captured a time and place that was notoriously lawless, squalid, and vibrantly alive.
In her essay for the exhibition catalog, art historian Deborah Frizzell places Dickson as a critical witness and commentator on the effects of mass media on “perception and desire”:
Rooted in the street as a site for public intervention, as a place to seek out alternative stories and ways of being, Dickson works with the existing repertory of cultural imagery and reveals the slippage or difference prompted in the interplay of power and illusion in contemporary America, particularly from a feminist perspective that has been ignored and erased from view. Rather than a smoothly polished verisimilitude or a crafted collage of fragments, Dickson’s rough-cut method often disorients, jars our senses, and doubles the vertigo induced by obliquely angled perspectives or alternatively, flattened peepholes and cubicles.
While the specifics of live peep shows flaunting the broad spectrum of unenhanced bodies accepted in a pre-cosmetic-surgery era are now exotic, and the live peeps are a historic artifact of the pre-internet universe, the underlying dynamics of power and vulnerability and the stark divide between who works and who pays remain as relevant as ever.
The exhibition follows the success of the Anthology Press monograph Jane Dickson in Times Square, published in 2019; the exhibition All That Is Solid Melts into Air at James Fuentes Gallery; and the Whitney Museum’s purchase of Dobbs Hats, one of her key early Times Square paintings. To further contextualize her work, the exhibition includes a fully illustrated catalog with essays by Sara Rosen, Deborah Frizzell, Carlo McCormick, and David Kiehl.
A part of the politically charged 80s scene of artists working at the intersection of street art, hip hop, film, and installation-like David Wojnarowicz, Keith Haring, Jenny Holzer, and her filmmaker husband Charlie Ahearn-Dickson was a member of the influential artist collectives Colab (Collaborative Projects) and Fashion Moda in the South Bronx. She was one of the organizers of the now legendary Times Square Show, for which she created the poster with Charlie Ahearn and a and digital animation that ran hourly on the Spectacolor sign at 1 Times Square, the first computerized lightboard in New York. This groundbreaking digital installation led Dickson to initiate the Messages to the Public series in 1981 with the Public Art Fund, presenting a series of animated artworks on the billboards of Times Square and bringing first public attention to her friends Keith Haring, Jenny Holzer, David Hammons, and Crash among others.
In 1980 Dickson created City Maze, an installation designed for school children at Fashion Moda, the art space in the South Bronx founded by Stefan Eins, which became a platform for the burgeoning hip-hop and graffiti movements. https://youtu.be/OmN4f2_Lmvc
Beyond Times Square, Dickson’s focus has encompassed other facets of the contemporary architecture of distraction: demolition derbies, carnivals, casinos, strip malls, and highways, utilizing industrial materials such as AstroTurf, sandpaper, vinyl, and felt, for both their tactile qualities and their associations.
In 2008 Dickson created a beloved series of 68 life-size mosaic figures of New Year’s Eve revelers installed in the Times Square subway station. Dickson’s work has been widely exhibited nationally and internationally, and is included in the collections of more than 30 museums including The Whitney Museum of American Art, The Metropolitan Museum of Art and The Museum of Modern Art. In 2016, The National Portrait Gallery-Smithsonian Institution acquired her portrait of Fab 5 Freddy from 1983, where it is currently on display. In 2018, the Whitney acquired Dobb’s Hats (1981), a historically essential example of the female gaze in New York City-the city at night and the sex trade.
Details
Start:
January 9
End:
February 23
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2. Conrad Ventur, Barbara Hammer, Carolee Schneemann, FF Alumns, at Participant Inc., Manhattan, opening Jan. 5
http://participantinc.org/seasons/season-18/a-green-new-deal
Conrad Ventur, A green new deal
January 5 – February 9, 2020
Opening reception, Sunday, January 5, 7-9pm
From January 5 to February 9, 2020 Participant Inc is pleased to debut A green new deal, a solo exhibition by Conrad Ventur. In recent years and by necessity, Ventur has become a gardener, manifesting a commitment to sustainable life work amid the precarity of maintaining an art practice in New York. A green new deal represents this period of training and growth through new works in photography, video, and installation.
At the center of the exhibition is a functioning greenhouse, housing plants gathered by the artist and on loan from his friends. Ventur will tend to the plants throughout the run of the exhibition, and parts of the installation will be donated to a community garden at its conclusion. In tandem, Ventur’s new feature-length single-channel video, The Internship, edited by Ying Liu, is projected large-scale. It is comprised of recordings made during his first gardening job as horticulturist at Wave Hill Public Gardens in the Bronx and conversations about gardening with artist Barbara Hammer made during the final months of her life. Shot with a pair of camera-fitted sunglasses, The Internship documents Ventur working, socializing, observing, and commuting to the gardens – metaphoric of his interests in memory, ecology, habitat, and utopia.
Drawing from both his professional transition and the history of his own work, A green new deal reflects a genealogy of influence. Ventur’s ongoing partnership with Participant Inc largely involved his long-term collaboration with Mario Montez. Around 2010 while researching Warhol’s early films, Ventur learned that the reclusive underground actor had begun to emerge from retirement after 35 years. They began a friendship through Ventur’s re-staging of Warhol’s ‘screen tests’ using the same methods and Factory stars, including Montez. They continued their collaboration for three years, Ventur noting that, “I began to think about people, not just the media in which they were recorded years ago.” Ventur subsequently produced a series of digital c-prints, videos, and live performances with Montez, which was to culminate in Mario Montez Returns, a six-week performance environment starring the actor in November 2013. Montez died on September 26, 2013.
Ventur had come to love Montez as a friend, a muse, grandfather, and drag mother all in one. With Mario’s sudden departure, he struggled with what we were still capable of organizing, if anything at all, and while tribute screenings were held in November 2013, A green new deal feels like a continuation of that tribute. Here, mentors Hammer and Carolee Schneemann are prominently featured through photographic portraits, presented alongside Ventur’s self-portraiture as a gardener and art worker; photographs made in the garden of the artist’s chosen family; and cyanotypes of material pruned and collected through the process of the artist’s gardening labor. In essence, A green new deal is just what its title could imply: an expression of resilience amidst precarity and loss; a modest gesture within a larger political call for sustainability made through processes of labor and stewardship.
Conrad Ventur is a multimedia artist and horticulturist based in New York City. His intimate photographic series emerge from years collaborating with his subjects. His work, which also encompasses video, installation, and independent publication projects, considers ecology, family, habitat, and memory. Ventur studied photography at the Rochester Institute of Technology (BFA, 1999) and fine art at Goldsmiths, University of London (MFA, 2008). Recent solo exhibitions include IVY at Baxter Street at the Camera Club of New York, 2016 and Pink Seat at Rokeby, London, 2016. Recent group exhibitions include Be Seen: Portrait Photography After Stonewall, The Wadsworth Atheneum, Hartford, CT, curated by Patricia Hickson (2019) and Face to Face: Portraits of Artists, The Philadelphia Museum of Art, curated by Peter Barberie (2018). Ventur’s moving image work has screened at The Andy Warhol Museum, Pittsburgh; C/O Berlin; The Museum of Modern Art, New York; Museum of the City of New York; Participant Inc; and the Yerba Buena Center for the Arts, among other venues. Ventur is a grantee of the Arch and Bruce Brown Foundation (2017) and the Franklin Furnace Fund (2013). His work is held in the permanent collections of The Philadelphia Museum of Art, The Wadsworth Atheneum, and The Whitney Museum.
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3. Zlatko Kopljar, FF Alumn, at Museum of Contemporary Art, Zagreb, Croatia, thru Feb. 16, 2020
CONSTRUCTIONS / ZLATKO KOPLJAR RETROSPECTIVE
Museum of Contemporary Art Zagreb
14.12.2019 – 16.02.2020.
History, Architecture, Performance: On Zlatko Kopljar’s Body of Work
Ory Dessau
In 2002 Zlatko Kopljar blocked the main entrance to the Museum of Contemporary Art in Zagreb. He did so with a twelve-ton block of reinforced concrete, corresponding in size to the measurements of the building’s doorway. Titled K4 (1998-2002), the action was part of the group exhibition Here Tomorrow, in which curator Roxana Marcoci offered an examination of the contemporary Croatian art scene seven years after the end of the war in former Yugoslavia. However, since it kept the museum closed and inaccessible, the protective concrete shield of Kopljar’s K4 implied that even in 2002 the war was not over yet. By sealing its entrance Kopljar referred to the museum as if situated in a stage prior to demolition. He marked the museum’s building as a future ruin among already existing ruins. Likewise, Kopljar’s sealed entrance also suggested that the premises were being purged, purified of the near past sediments and ghosts of the war.
For additional information please visit:
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4. Sydney Blum, FF Alumn, in sculpturemagazine.art now online
Wow, just discovered this wonderful review of my work by Ray Cronin for Sculpture Magazine! It was just published, and so very grateful.
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5. Beth B., FF Alumn, at International Film Festival Rotterdam, The Netherlands, January 27-28
INTERNATIONAL FILM FESTIVAL ROTTERDAM
SCREENING
MONDAY, JANUARY 27, 2020
LYDIA LUNCH
LIVE PERFORMANCE
TUESDAY, JANUARY 28, 2020
TICKETS NOW ON SALE
Will Sell Out
https://iffr.com/nl/2020/films/lydia-lunch-%E2%80%93-the-war-is-never-over
Check out our new website for the great press we received at DOC NYC and for updates on screenings: https://www.lydialunchmovie.com/
And, we have amazing holiday gifts – tote bags and posters to purchase on-line. https://www.grave-matter.com/lydia-lunch
LYDIA LUNCH – The War Is Never Over by Beth B is the first career-spanning documentary retrospective of Lydia Lunch’s confrontational, acerbic and always electric artistry. As New York City’s preeminent No Wave icon from the late 70’s, Lunch has forged a lifetime of music and spoken word performance devoted to the utter right of any woman to indulge, seek pleasure, and to say “fuck you!” as loud as any man. In this time of endless attacks on women this is a rallying cry to acknowledge the only thing that is going to bring us together – ART…as the universal salve to all of our traumas.
Film Info: www.lydialunchmovie.com
Facebook: https://facebook.com/LydiaLunchFilm/
Twitter: @lydialunchfilm
Instagram: @lydialunchfilm
Contact: bethprod@gmail.com
www.bethbproductions.com
Copyright (c) 2019 Beth B Productions, All rights reserved.
Our mailing address is:
Beth B Productions
New York, NY
New York, NY 10003
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6. Howardena Pindell, FF Alumn, in The New York Times, Dec. 20, 2019
The New York Times
December 20, 2019
Gabe Cohn
The Shed’s Second Season to Feature New Commissions and Familiar Faces The Shed’s Second Season to Feature New Commissions and Familiar Faces
The art center’s 2020 season will present work from Claudia Rankine, the choreographer William Forsythe and more.
As it settles into New York’s cultural fabric, the Shed – the $475 million arts center in Hudson Yards that opened earlier this year – has a question to answer: After a flashy first season that has included a “kung fu musical,” Björk and a concert series conceived by the director Steve McQueen, how do you keep people interested?
The venue’s sophomore season, announced Friday, is a response to that question.
“One thing we wanted to do was to have a wide enough range of commissions in that first season to demonstrate that there was something for most people in our program,” Alex Poots, the Shed’s artistic director and chief executive, said in an interview.
“There’s less pressure on this season to do everything,” he added.
It’s still an eclectic mix.
The 2020 season will include the world premiere of “Help,” a theatrical work by the author and poet Claudia Rankine that explores white male privilege – a subject that Rankine also addressed in an article in The New York Times Magazine this year. “Help” will be directed by Taibi Magar, with movement choreography by the dancer Shamel Pitts. It will debut in March.
The United States premiere of “Misty,” a play by the British playwright and actor Arinze Kene, will come in September. “Misty” had a buzzy debut in London at the Bush Theater last year, before transferring to the West End. The Shed has commissioned an altered version.
In May, the Shed’s flagship space, the McCourt Theater, will host a large-scale interactive artwork from the visual artist Tomás Saraceno, part of an exhibition, “Particular Matter(s),” that deals with climate change.
The season will also feature work by the artists Ian Cheng and Howardena Pindell, plus commissions from the Shed’s “Open Call” program, which develops work by New York artists.
Alongside newcomers, the 2020 slate will feature artists behind two of the first season’s big shows.
The choreographer William Forsythe, who brought “A Quiet Evening of Dance” to the Shed this year, will return to the venue in October to debut a new work jointly commissioned by the Shed and Boston Ballet.
And after leading an interpretation of Verdi’s “Requiem” at the Shed last month, the conductor Teodor Currentzis, along with the MusicAeterna chorus and orchestra, is set to perform another program in November, the details of which will be announced next year.
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7. Sally Greenhouse, FF Alumn, now online at gazettenet.com
Please visit this link:
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8. Robin Tewes, FF Alumn, at Moravian College, Bethlehem, PA, opening Jan. 23
Save The Date: January 23-February 22, 2020
Opening: January 23, 6-8pm
Payne Gallery at Moravian College, Bethlehem Pennsylvania
is pleased to present Inside Out,
showcasing paintings by New York artist Robin Tewes.
This exhibition gathers together a unique selection of Tewes’ work which was created from 1979-2019 – a span of 40 years.
Catalogue available
For more information contact: leidichd@moravian.edu
David Leidich Director
Payne Gallery Moravian
College
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9. Shelagh Keeley, FF Alumn, at Museum of Contemporary Art Toronto, Feb. 6-May 10
Please visit this link:
https://museumofcontemporaryart.ca/shelagh-keeley-exhibitions-2020/
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10. Linda Sibio, FF Alumn, at Joshua Tree, CA and online
The Art Workshop
This workshop series is designed around teaching participants to utilize the symptoms from their mental illness as techniques to create art. This workshop empowers peers to not see symptoms as negative but as aspects of themselves that can be used as a creative tool. Using a strength-based approach helps a participant find a form of expression, beyond words, that can be used to describe their lived experiences. The scope of an art workshop is limited only by the imagination in finding new modes of expression. The Journal of Clinical Psychology notes that using art to communicate a mental state and past trauma “complements the biomedical view by focusing on not only sickness and symptoms themselves but the holistic nature of the person.”
The Cracked Eggs workshop is run by a peer-own and operated production company: Bezerk Productions. The workshops are a multi-session process that results in the completion of a participant-designed art exhibition and/or performance. Workshop classes will focus on performance, writing, and art using a series of techniques that include the use of the psychological model (now known as the biopsychosocial model of health and illness) as a method of expression.
Participants focus on the creative process rather than the final “creative” product. Focusing on the creative process allows the workshop facilitator to create an environment that empowers the participants to:
• Give voice to experiences and feelings not easily expressed in words
• Develop self-awareness and self-esteem
• Work on social skills
• Explore experiences and feelings through the lens of spirituality and religious iconography
• Explore other means to manage behaviors and/or symptoms
• Gain different perspective to assist in problem solving
Workshop facilitators will guide the workgroup participants through exercises designed to use the symptoms from mental illness as art-making tools and techniques. Focus is given to understanding and identifying individual thoughts and feelings and helping workshop participants cope with difficulties and stress in an effort to help with the recovery process.
As currently designed, each workgroup “session’ or cohort will be 12 weeks in length. Each week there will be two classes that are 3 1/2 hours long. A total of 6 cohorts, held in different regions throughout the County, will constitute a series with at least two series completed during the course of this project. Learning achieved during the first series may impact the scheduling as the second and any subsequent series as to the length of a cohort and the number of series offered. After each 12 weeks cohort, a one month break will occur between each cohort. During these breaks the following activities will occur:
• Presentation of performance and/or art project completed by participants of previous cohort
• Collection and analysis of data from previous cohort
• Collection of lessons learned from previous cohort
• Adjustment to future cohorts based on lessons learned and data analysis, as appropriate.
One of the central questions being asked during this project is: Can this workshop, designed by a consumer, be replicated using different facilitators with lived-experience? In order to determine this, during the first series, possible facilitators will be identified, empowered, and trained by the program director in order to become the future facilitators of the workshop cohorts. During the second series, the program director will take on an oversight role while those that were trained become the primary facilitators for the workshop. If successful, this opens the possibility of running multiple cohorts simultaneously and increase the ability to serve more consumers.
This project aligns with the MHSA Innovation Component purpose by making a change to an existing mental health practice/approach including adaptation for a new setting or community.
Meet the Artist and Founder of Bezerk Productions, Linda Carmella Sibio
Linda Carmella Sibio is an accomplished artist who has overcome many of the challenges that come with living with severe mental illness. After her father died, Linda grew up watching her mother struggle with both bipolar disorder and schizophrenia, resulting in her mother’s eventual suicide. Linda spent much of her youth in an orphanage, where she began to express herself and her reality through art. The arts became Linda’s passion and she went on to graduate from Ohio University with a Bachelor of Fine Arts in painting (with minors in creative writing and silk-screening), study art history and sculpture in Italy, and take on a combination of classes, trainings, and mentorships that spanned across 9 years.
Although Linda showed signs and symptoms of mental illness throughout her childhood, it was not until after she graduated from college that she was diagnosed with bipolar disorder and paranoid schizophrenia, the same illnesses her own mother suffered from. Linda sought help for her symptoms. At one point, she was in an institution and taking over 20 medications, many of which were heavy anti-psychotics. Linda used her art as her way to speak to the rest of the world about mental illness and express to the world what life is like living on the fringe of society. Linda has put on art exhibitions from Los Angeles to New York and has been the recipient of numerous honors, awards, and grants for her art and performance work. Linda realized the benefits of incorporating expression and commentary through art, in combination with behavioral health services and medications, as an innovative approach that led her to stabilize her own mental illness and live a productive and inspiring life. Linda was able to assist in starting the Los Angeles Poverty Department (LAPD), a performance troupe consisting of people with mental disabilities in L.A.’s “Skid Row” that promote awareness and demonstrate experiences and perceptions they have due to their illness.
Linda now resides in Joshua Tree, CA where she facilitates a series of workshops at a local community college. These workshops encourage and assist people with psychological challenges to express themselves through various forms of art and performance. “Art creates a bridge that helps people understand in an intelligent manner what the artist is feeling and seeing. It is what bridges the gap and allows intelligent discussions between the mentally ill and those who are not.” Linda believes that using art can strengthen cognitive abilities and socialization skills as well as empower those with mental illness to accept their own idiosyncrasies and utilize their creativity and emotions to show mental illness in a more positive light, reducing mental illness stigma. Now, Linda wants to bring her peer-driven methods into the forefront of alternative and innovative therapy options through the program, Cracked Eggs.
and
CONTACT: Linda Sibio
PHONE: 760-808-5326
E-MAIL: sibio@lindasibio.com
Who: Linda Sibio of Sibio/Crazy for a Day is collaborating with Cody Montgomery of Totally Blown fame. Cody got his start in fashion on a tree farm in Iowa while Linda Sibio went to the Fashion Institute of Technology for two years on a scholarship. Both were drawn to social themes in fashion and art. Sibio has explored insanity throughout her career as a contemporary artist which has also emerged in her socially prolific t-shirts which include meditation for the oppressed and mental health stigmas which affect society as a whole. Cody’s passion is gun violence. His shirts are created by the chaotic images that emerge when fabric is destroyed by his excellent marksmanship. A portion of the profits from his line go to three organizations against gun violence.
What: In the collaboration between the two artists/designers Montgomery took t-Shirts from Sibio’s line Octa Root and Hip Madness and used his magic in deconstructing the imagery in the shirt. Out of the black shirts emerge earthy brown tones and Right Concentration turns into Soft Focus. Images are enhanced by the process of dyeing the shirts and shooting them that create a new vision entirely. While Sibio’s hand is focused on details and anti-symmetric shapes Cody looks for subtle nuances to pull his vision together. The results are ten powerful T’s that look like Jackson Pollock had some say in the design.
When: The collaboration takes place on two internet shops: www.totallyblown.us
More information at @totally—blown and at www.crazyforday.com @crazy4aday.com
We are launching our collaboration on Monday Dec. 2, 2019.
Artist Bios:
Totally Blown was founded in 2012 by Cody Montgomery while living in a remote cabin off the grid on his family tree farm in Iowa called the Danger Shack. While Cody was living in this humble setting a mouse got into his clothing and chewed all these little holes in one of his T-shirts. The shirt became Cody’s favorite piece of clothing and he began innovating and testing new ways to recreate this chaotic effect. One day it clicked, and Cody found himself out behind the cabin blasting holes in his clothing with his brother’s 12 gauge shotgun and there it began. Shortly after, Cody relocated to Joshua Tree, California where he found a desert aesthetic that matched the look and wildness conducive to launching Totally Blown. Since 2013, Cody has been blasting holes in clothing in order to recreate the incredible aesthetic of the original inspiration, but over the years the focus has turned more and more to addressing gun use and gun violence with his work. Now a portion of the profits from Totally Blown goes directly to Everytown For Gun Safety, March For Our Lives, and Mom’s Demand. These are three of the leading organizations spearheading common sense gun laws, educating people on gun violence, doing extensive research, and mobilizing the charge to create a safer world for us all to enjoy. This unique combination has created a brand that is socially active, encourages a dialogue, makes wearable art objects that are radical and thought provoking, and challenges people to consider their own role in ending gun violence
Sibio’s obsession with clothing began in early high school when she made most of her own clothes. Instead of going to graduate school she went to F.I.T. where she learned to make textile art. She re-invested her interested in fashion while living in Los Angeles where she collected and wore vintage clothes from the fifties. After moving to the desert friends gave her clothing from thrift stores, the trash, and give-a-ways. Her fine art wasn’t financially paying off so she started her business “SIBIO/Crazy for a Day” and was fortunate enough to have her T’s at the Hammer Museum (part of pop-up shop with Andrea Zittel). Her socially prolific T’s have been written up by Andrew Asch at Apparel News. (Read More)
This year she did two shows in New York City at the Andrew Edlin Gallery and curated by Martha Wilson of Franklin Furnace fame, “Economics of Suffering” is an installation centered on elements of economics which affect people psychologically. It explores the oppression of the 99%ers and how the 1% gets unfair tax advantages while the poor cannot find food to eat or a place to sleep. Sibio also performed “Emotional States of Zero” which exemplifies the horror of Wall St. and the effects the economy has on the psyche. Linda Sibio was the only female and artist on a panel called “Unusual Brains: Neurodiversity and Artistic Creation” hosted by the New Museum in New York City and a part of the Outsider Art Fair. She was an invited guest to an exhibit put on by Franklin Furnace at Pratt Institute of Design this year called “Label This.”Linda just came back from Columbus, Ohio, where she taught her class; The Insanity Principal at VSA Art.
A portion of Linda’s profits goes to the Non-profit Bezerk Productions.
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11. Stephanie Brody-Lederman, FF Alumn, at The Red Wheelbarrow Bookstore, Paris, France
A small solo exhibition of the paintings of Stephanie Brody -Lederman has been installed at The Red Wheelbarrow Bookstore, 9 rue de Médicis, Paris 6 France. An exhibition of Brody-Lederman’s work in depth will take place in May 2020 at The Red Wheelbarrow.
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12. Charlie Clough, FF Alumn, now online at youtube.com/watch?v=OdXU1wcbilo
Please visit this link:
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13. M. Kasper, FF Alumn, new translation
M. Kasper’s latest translation of Belgian Surrealist literature, just out, is The Subversion of Images by Paul Nougé (Wakefield Press), notes and snapshots from 1929 that constitute a manual for making unsettling images, a modest modernist masterpiece here presented as a facsimile of the limited, first edition of 1968.
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14. Nicolas Dumit Estevez Raful, Felix Gonzalez-Torres, Lawrence Graham-Brown, Ana Mendieta, FF Alumns, new publication
For more information on this publication: https://robertandchristopher.com/product/a-to-z-of-caribbean-art/
A to Z of Caribbean Art is a joyous celebration of the lives and works of many of the most outstanding, prolific, groundbreaking, critical, fascinating, and controversial artists of the Caribbean. Thanks to the abécédaire format of this book, a multiplicity of artists have ended up in lively dialogue here. We connect people separated by geography, language, and time: 120 years of movements, moments, schools, and sociopolitical contexts; countries as far apart as Bermuda in the north to Guyana in the south; and the French, Dutch, English, and Spanish Caribbean.
Each artist is represented by a page that shows a definitive work, biographical details, and a short write-up about their oeuvre. These artists were selected based on a number of factors, including critical discourse around their work, inclusion in a significant publication, work written about in regional or international trade magazine, and participation in a curated exhibition at a major institution, or at a regional or international biennial.
Edited by: Melanie Archer and Mariel Brown
Writers: Gerald Alexis, Melanie Archer, Monique Barnett-Davidson, Dominique Brebion, Carlo A. Célius, Marta Fernandez Campa, Pat Ganase, Carlos Garrido Castellano, Ariana Green, Therese Hadchity, Katherine Kennedy, Indra Khanna, Geoffrey MacLean, Luz Merino, Patricia Mohammed, José Manuel Noceda, Keisha Oliver, Adam Patterson, Annie Paul, Marsha Pearce, Rob Perrée, Veerle Poupeye, Letitia Pratt, Judy Raymond, Myrtha Richards Marie-Joseph, Nicole Smythe-Johnson, Mercedes Trelles Hernández, Natalie Urquhart, Yolanda Wood.
Designed by: Richard Mark Rawlins
Advisors: Gerald Alexis (Haiti), Dominique Brebion (French Caribbean), Holly Bynoe (The Bahamas), Annalee Davis (Barbados), Susanne Fredricks (Jamaica), Pat Ganase (Trinidad and Tobago), Indra Khanna (Guyana), Geoffrey MacLean (Trinidad and Tobago), Tirzo Martha (Dutch Caribbean), José Manuel Noceda (Cuba), Annie Paul (Jamaica), Marsha Pearce (Trinidad and Tobago), Veerle Poupeye (Jamaica), Lilliana Ramos Collado (Puerto Rico), Judy Raymond (Trinidad and Tobago), Marina Reyes Franco (Puerto Rico), Nicole Smythe-Johnson (Jamaica), Natalie Urquhart (Cayman Islands)
ARTISTS
Carl Abrahams
A k u z u r u
Olga Albizu
Thierry Alet
José R. Alicea
M.P. Alladin
Allora & Calzadilla
Juan Carlos Alom
Hurvin Anderson
Victor Anicet
Ano
Janine Antoni
Deborah Anzinger
Gesner Armand
Ewan Atkinson
Sybil Atteck
Belkis Ayón
David Bade
Firelei Báez
Myrna Báez
Ralph and Vera Baney
Wray Banker
Abel Barroso
Castera Bazile
John Beadle
José Bedia
La Vaughn Belle
Mario Benjamin
Rigaud Benoit
Christian Bertin
Jeannette Betancourt
Wilson Bigaud
Terry Boddie
Isaiah James Boodhoo
Edward Bowen
Frank Bowling
David Boxer
Ernest Breleur
Karl Broodhagen
Everald Brown
Tania Bruguera
Alex Burke
Jackson L. Burnside III
Stanley Burnside
Holly Bynoe
Francisco Cabral
Canute Caliste
Charles Campbell
María Magdalena Campos-Pons
Tony Capellán
Mario Carreño
Liset Castillo
Marie-Hélène Cauvin
Carlisle Chang
Alison Chapman-Andrews
Dudley Charles
Robert Charlotte
Camille Chedda
Albert Chong
Pat Chu Foon
LeRoy Clarke
Nayda Collazo-Lloréns
Jaime Colson
Myrlande Constant
James Cooper
John Edward Cox
Renee Cox
Luis Cruz Azaceta
Blue Curry
Annalee Davis
Susan Dayal
Maksaens Denis
Jean-Ulrick Désert
Juan Roberto Diago
Roberto Diago
Polibio Díaz
Rex Dixon
Philippe Dodard
Peter Doig
Roland Dorcély
Préfète Duffaut
John Dunkley
Edouard Duval-Carrié
Davin K. Ebanks
Jeannette Ehlers
Antonia Eiriz
Gilles Elie-Dit-Cosaque
Juan Francisco Elso
Embah
Carlos Enríquez Gómez
Nicolás Dumit Estévez Raful
Roberto Fabelo
Laura Facey
Amos Ferguson
Rafael Ferrer
Denzil Forrester
Jose Manuel Fors
Carlos Garaicoa
Aimée García
Scherezade García
José García Cordero
Joscelyn Gardner
Colin Garland
Jean-Claude “Tiga” Garoute
Luisa Geigel
Felix Gonzalez-Torres
Lawrence Graham-Brown
Stanley Greaves
Marlon Griffith
David Gumbs
Guyodo
Abigail Hadeed
Anna Ruth Henriques
Quisqueya Henríquez
Gilberto Hernández Ortega
Jackie Hinkson
Boscoe Holder
Lorenzo Homar
Satch Hoyt
Nadia Huggins
Albert Huie
Jean-Marc Hunt
Bendel Hydes
Hector Hyppolite
Marcos Irizarry
Deborah Jack
Barbara Jardine
Leasho Johnson
Jasmin Joseph
Remy Jungerman
Patricia Kaersenhout
Kcho
Roshini Kempadoo
Mark King
Yubi Kirindongo
Alberto Korda
Wifredo Lam
Charl Landvreugd
Marc Latamie
O’Neil Lawrence
Jaime Lee Loy
Amy Leong Pang
Dubréus Lhérisson
Georges Liautaud
John Lie A Fo
Daniel Lind-Ramos
Donald Locke
Hew Locke
Leila Locke
Elvis López
Marcos Lora Read
Los Carpinteros
Che Lovelace
Miguel Luciano
Shastri Maharaj
Brent Malone
José Man Lius
Edna Manley
Pauline Marcelle
Tessa Mars
Tirzo Martha
Alida Martínez
Raúl Martínez
Antonio Martorell
Olivia McGilchrist
Wendell McShine
Ana Mendieta
Manuel Mendive
Pierre Pascal “Pasko” Merisier
Ronald Mevs
Joiri Minaya
Peter Minshall
Ibrahim Miranda
Madsen Mompremier
Tony Monsanto
Philip Moore
Arnaldo Morales
Petrona Morrison
Kishan Munroe
Lavar Munroe
Osaira Muyale
Wendy Nanan
Nikolai M. Noel
Philomé Obin
Ryan Oduber
Chris Ofili
Karyn Olivier
Shuck One
Fausto Ortíz
Steve Ouditt
Zak Ové
Raquel Paiewonsky
Karl Parboosingh
Jorge Pardo
Bruno Iwa Pedurand
Amelia Peláez del Casal
René Peña
Douglas Pérez Castro
Bernadette Persaud
Salnave Philippe-Auguste
André Pierre
Marcel Pinas
Jorge Pineda
Fidelio Ponce de León
Eduardo Ponjuán González
Rene Portocarrero
Wilfredo Prieto
Omari Ra
Belkis Ramírez
Sandra Ramos
Dhiradj Ramsamoedj
Ras Akyem-i
Ras Ishi Butcher
Ras Mosera
Richard Mark Rawlins
Mallica “Kapo” Reynolds
Peter Dean Rickards
Pippa Ridley
Arnaldo Roche Rabell
Freddy Rodríguez
René Francisco Rodríguez
Carlos Rodríguez Cárdenas
Nora Rodríguez Vallés
Chemi Rosado-Seijo
Sheena Rose
Radcliffe Roye
Oneika Russell
Louisiane Saint Fleurent
Tomás Sánchez
Beatriz Santiago Muñoz
Petion Savain
Esterio Segura Mora
Heino Schmid
Dawn Scott
Anna Serrao
Arthur Simms
Kelly Sinnapah Mary
Pascal Smarth
Lionel St. Eloi
Roberta Stoddart
Hugh Stollmeyer
John Stollmeyer
Tavares Strachan
Darío Suro
Maxwell Taylor
Philippe Thomarel
Phillip Thomas
Jasmine Thomas-Girvan
Thierry Tian-Sio-Po
José Toirac
Tonel
Ruben Torres Llorca
Rafael Tufiño
Luce Turnier
Stacey Tyrell
Fernando Varela
Noel Vaucrosson
Nari Ward
Rodell Warner
Barrington Watson
Osmond Watson
Tessa Whitehead
Alberta Whittle
Nick Whittle
Cosmo Whyte
Aubrey Williams
Llewellyn Xavier
Frantz Zéphirin
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15. Roger Shimomura, FF Alumn, receives University of Kansas honorary Doctor of Arts
Shimomura will receive the degree of Doctor of Arts in honor of extraordinary contributions to the field of visual arts and outstanding artistic achievements.
Please visit this link:
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16. Jacob Burckhardt, FF Alumn, at Rio Grande Union, Manhattan, Jan. 10-11
Rio Grande Union, Inc.
Presents
THE CATTLE
JANUARY 10 & 11
2020
9 PM
(50 minutes)
Doors open at 8:30 PM
541 Broadway
Between Prince & Spring Streets
Performers
Michael Hammond, text
Cleek Schrey, music
Jacob Burckhardt, video
Douglas Dunn, dance
Tickets are $15
Purchase tickets from Eventbrite
HERE
Background for
The Cattle
from Michael Hammond —
Several years ago I wrote and performed a ten-minute monologue for the Boston Theatre Marathon entitled The Cattle, a brief account of a man struggling to explain the repeated appearance of cattle in his living room. Since that first and only performance I’d been considering how I might expand the piece and re-imagine its presentation. Then, in April, 2018, I saw Douglas Dunn perform his solo piece Time Out, and I had my “Eureka!” moment: that speechless but expressive figure before me belonged in the world of The Cattle. After a lively and inspiring conversation — courtship? — Douglas agreed to join me. We quickly agreed there should be a musician on stage with us, and convinced Cleek Schrey to join us. When the three of us agreed we wanted video in the mix, we pulled Jacob Burckhardt aboard. I’ve always been fascinated by Douglas’s background as a member of the improvisational dance ensemble Grand Union, who, I’m told, approached performance in the spirit of “let’s just show up and see what happens.” Make no mistake, I believe in careful and thorough preparation — and I suspect Grand Union did, too — but I have always strived to make that preparation the springboard, and not the pool. So here’s to one more flying leap…
BIOS
MICHAEL HAMMOND
is writing this in the third person for some reason. He is an actor, director, and playwright, and a faculty member at Boston University’s School of Theatre. He was a member of Shakespeare & Company for many years, last serving there as associate artistic director, and has appeared as an actor on Broadway, and at various regional theaters. More, to the point, Michael perceives this current collaboration with Douglas, Cleek, and Jacob to be a very welcome breath
of fresh air.
CLEEK SCHREY is a fiddler, improviser, and composer from Virginia, now based in NYC. Recent engagements include the Big Ears Festival (TN), the Kilkenny Arts Festival (IR), SuperSense Festival of the Ecstatic (Aus) and the Issue Project Room (NYC) with electronic music pioneer David Behrman. He collaborates with musicians from a wide spectrum of scenes and styles. Frequent collaborators include David Behrman, the viol da gamba player Liam Byrne, traditional fiddle icon Caoimhín Ó Raghallaigh, and the avant-pop collective Exo-Tech. The journal Sound Post has noted that Cleek “possesses a rare combination of traits: deep respect for traditional music and the people who make it, and an unbounded curiosity about new directions for sound”. He is currently artist-in-residence at Robert Wilson’s Watermill Center and pursuing doctoral studies in Music Composition at Princeton University.
All the while making underground movies,
JACOB BURCKHARDT has worked at a variety of jobs: Blueberry picker, Steel Mill laborer, grape harvester, Fuller Brush man, Truck driver, Taxi driver, camera repairman. He did sound recording and mixing from North Africa to the porn industry. After making two features, It Don’t Pay To Be An Honest Citizen, and Landlord Blues, he eschewed the money raising rat race, and prefers shorts, in film and video, where it is possible to preserve a direct relationship between the film and the film makers. He has collaborated several times with Douglas Dunn, including the sound design for Matches (1988).
DOUGLAS DUNN: New York based dancer and choreographer working continuously since 1968. Awards include a Bessie and France’s Chevalier des Arts et des Lettres. Teaches Open Structures at NYU and presents Salons at his Manhattan studio. Dancer Out of Sight, his book of collected writings, is available at Amazon.com.
douglas@douglasdunndance.com
www.DouglasDunnDance.com
212-966-6999
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Goings On is compiled weekly by Harley Spiller
