Goings On: posted week of January 07, 2019
CONTENTS:
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1. Robin Tewes, Ed Ruscha, FF Alumns, at Adam Baumgold Fine Art, Manhattan, January 10-February 18
2. Mark Bloch, FF Alumn, in The Brooklyn Rail, now online, and more
3. Barbara Rosenthal, FF Alumn, at Mitchell Algus Gallery, Manhattan, opening Jan. 12, and more
4. Penny Arcade, FF Alumn, at Joe’s Pub, Manhattan, Jan. 10-13
5. Claire Jeanine Satin, FF Alumn, at Pinkgun Gallery, Miami, FL
6. Verónica Peña, FF Alumn, in Art Uncovered, BTRtoday, now online
7. Edward M. Gómez, FF Alumn, at Outsider Art Fair, Manhattan, Jan. 17-20
8. Xandra Ibarra, FF Alumn, in The New York Times, Jan. 4
9. Barbara T. Smith, FF Alumn, at LACMA, Los Angeles, CA, Jan. 12
10. James Prez, FF Alumn, at 57 W. 57th Street, Manhattan, opening Jan. 10
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1. Robin Tewes, Ed Ruscha, FF Alumns, at Adam Baumgold Fine Art, Manhattan, January 10-February 18
Happy New Year !
A group exhibition “Words in Pictures” features the work of FF Alumns Robin Tewes and Ed Ruscha, among others, at the Adam Baumgold Gallery.
January 10-February 18, 2019. By Appointment only.
ADAM BAUMGOLD FINE ART
104 EAST 81 ST. NEW YORK, NY 10028
212.861.7338 abaumgold@aol.com
adambaumgoldgallery.com
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2. Mark Bloch, FF Alumn, in The Brooklyn Rail, now online, and more
Two articles by Mark Bloch:
The Deep Roots and Airborne Particulars of Judson Dance Theater
(In the Brooklyn Rail)
AND
Liu Chunbing, “A Walk in the Clouds” Contemporary Ink Painting at Elga Wimmer PCC
(in White Hot Magazine)
https://whitehotmagazine.com/articles/painting-at-elga-wimmer-pcc/4113
Excerpts:
“Judson Dance Theater: The Work Is Never Done, admirably combines video installations by artist Charles Atlas, with film (Stan VanDerBeek, Andy Warhol), photography (Peter Moore, Fred McDarrah, Al Giese), sculptural objects, musical scores, poetry, and archival treasures to tell the before, during, and after story of the 1962 – 65 period. Multiple-week segments over the past and coming months featuring choreography by six principles plucked from the various galleries: Paxton, Yvonne Rainer, Deborah Hay, David Gordon, Lucinda Childs, and Trisha Brown breathe real live flesh and blood back into the framed ephemera and video projections.”
AND
“Liu also explained that Chinese painters are frequently scholars too. “Painting a line is about 70% reading and only 30% drawing.” He explained that spirit is the key to Chinese thinking. It is an abstract concept completely different from the Western approach. Liu was taught to paint based on yin and yang, female and male, yielding energy balanced by more aggressive energy or ch’i . ‘Through the line and the brush stroke they express thought and feeling,’ Liu said. The curator Zhang, added, ‘spirit is the number one thing in his mind.’ “
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3. Barbara Rosenthal, FF Alumn, at Mitchell Algus Gallery, Manhattan, opening Jan. 12, and more
Barbara Rosenthal’s column A CRACK IN THE SIDEWALK, in the bi-monthly publication RAGAZINE is online: https://www.ragazine.cc/2019/01/a-crack-in-the-sidewalk-barbara-rosenthal-4/
The topic for this issue is:
STUDIO ASSISTANTS: EXPECT THE UNEXPECTED AND WHAT ELSE TO EXPECT
and
BARBARA ROSENTHAL, FF Alumn, BACKROOM SOLO SHOW “Surreal to Conceptual Photo-Morphs” at MITCHELL ALGUS GALLERY, Jan. 12 – Feb. 17. (Wed-Sun, noon-6). Opening Saturday, January 12, 6-8.
132 Delancey St. (enter on Norfolk)
Mitchell Algus (cell: 516-639-4918)
mitcellalgusgallery.com
office@mitchellalgusgallery.com
BACKROOM SOLO by OLD MASTER OF NEW MEDIA
Jan. 12 – Feb. 17
The Mitchell Algus Gallery is pleased to announce a Backroom Solo Exhibition of Surreal to Conceptual Photo-Morphs by “Old Master of New Media,” Barbara Rosenthal. An opening reception will be held on Saturday, January 12th from 6-8pm, and the show will run through February 17th.
The exhibition features a selection of six 26″x40″ digitally printed, manipulated distortions of full-frame analog 35mm photographs from her ongoing series “Surreal Photos,” hung as a contiguous installation.
In each rectangularly framed work, a single trapezoidal slice of dreamlike reality appears to thrust or twist or waft through space. Photographed in international locations, often at night, the subject matter — a horse, a tower, a staircase, a doorway, a church, a roof, a window, a bird, a doll — resonates with the viewer’s own psychological undercurrent. Hung contiguously, with the images at different levels within the frames, they bring a musical lilt and implied narrative to the installation.
Barbara Rosenthal has been creating highly idiosyncratic photographs since 1972, and image/text/performance videos since 1976. This exhibition is part of her Seventieth Birthday International Retrospective, the other Jan-Feb events of which will take place in Helsinki at the Vuotalo Cultural Center on January 28 and the Lava Klub on January 29; in Brussels at Nadine Laboratory for Contemporary Arts on February 5; and in Berlin at the Boddinale Film Festival on February 9.
Rosenthal was born in The Bronx (1948). She was a long-time member of the Photography Department of Parsons School of Design. She also taught Video at Jersey City State College and Manhattanville College, and Writing at CUNY. Five books of her Surreal Photos and writings have been published since 1981 by Visual Studies Workshop Press and Deadly Chaps Press, and over thirty of her limited edition photo-text bookworks are in the collections of MoMA, The Whitney, The Tate, Artpool Budapest, and Berlin Kunstbibliotek.
http://en.wikipedia.org/wiki/Barbara_Rosenthal
http://www.barbararosenthal.org/
463 West Street, #A629
Skype: barbararosenthal
Twitter: @BRartistNYC
Facebook: barbara.rosenthal1
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4. Penny Arcade, FF Alumn, at Joe’s Pub, Manhattan, Jan. 10-13
Penny Arcade’s landmark 1990 seperation of church and state, freedom of expression show with erotic dancers left the neo burlesque scene in the wake of its one year off broadway run in 1992 at NY’s legenderary Village Gate after playing for two seasons at PS122 where it was developed . After touring the world internationally as a mainstream commercial hit in 35 cities around the planet it left the burlesque movement every where it played.
B!D!F!W! today is more relevent and necessary than it was at it’s inception
If you are interested in art that remains relevent for almost 30 years and how to make it
B!D!F!W! is a masterclass by an artist at the top of her powers in a genre she helped create
3 more shows at Joe’s Pub Jan 10, 12, 13
https://vimeo.com/293714146
]
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5. Claire Jeanine Satin, FF Alumn, at Pinkgun Gallery, Miami, FL
Pinkgun Gallery
Is now representing the work of
Claire Jeanine Satin
Pinkgun Gallery
785 125th Street
Miami, Florida 33162
786 514-3245
@pinkgungallery.com
pinkgungallery@hotmail.com
A space specializing in unique pieces of vintage art, accessories furniture and designs.
Satin’s work includes jewelry and specialty objects
Thank you
Claire Jeanine Satin
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6. Verónica Peña, FF Alumn, in Art Uncovered, BTRtoday, now online
VERÓNICA PEÑA, FF Alumn, interviewed by Kimberly Ruth for BTRtoday’s ART UNCOVERED
Link:
http://www.btrtoday.com/listen/artuncovered/veronica-pena/
Art Uncovered, hosted by Kimberly Ruth, presents interviews with an eclectic mix of artists and creators. On the show they discuss their work and how it may intersect with technology, pop-culture, science and the larger culture. BTRtoday’s mission is to inform and impact the audience in a positive way by identifying artists and cultural trends on the rise and contextualizing them alongside those that may be more established.
Kimberly Ruth is a New York based multi-media artist. Her work explores the failures and inconsistencies of language, especially in the digital age. Through text, photography, video and performance, she works to unveil, de-construct, poke fun at and critique the way words and images fail each other and their promise of an objective truth. She has recently exhibited at Galapagos Kunsthalle, New York; CICA Museum, South Korea; and SOMA, Mexico City. She has attended residencies such as LMCC Swing Space, SOMA Summer, Byrdcliffe in Woodstock, NY, and Vermont Studio Center.
Verónica Peña is an interdisciplinary artist and independent curator from Spain based in the United States. Her work explores the themes of absence, separation, and the search for harmony through Performance Art. Peña is interested in migration policies, cross-cultural dialogue, and women’s empowerment. Recent works include experimental participatory performances that create shared moments amongst strangers. Peña has performed in various countries around Europe, Asia, and America. In the United States, her work has been featured at Times Square, Armory Show, Hemispheric Institute of Performance and Politics, Queens Museum, School of the Art Institute of Chicago, Grace Exhibition Space, Triskelion Arts, Defibrillator Performance Art Gallery, Momenta Art Gallery, Gabarron Foundation, Dumbo Arts Festival, and Consulate General of Spain in New York, amongst others. She is a recipient to the Franklin Furnace Fund 2017-18. She was a recipient of the Socrates and Erasmus Grants, a Universidad Complutense de Madrid Fellowship, and a candidate for the Dedalus Foundation Grant. She has published “The Presence Of The Absent”, a thesis about her body of work. She was a visiting artist at The School of the Art Institute of Chicago. She curates “Collective Becoming”, an initiative to make cities a place less hostile. She is currently at work on her new project about freedom, fear, and resistance, “The Substance of Unity.” http://www.veronicapena.com
Verónica Peña
Interdisciplinary Artist
www.veronicapena.com
veronicapemar@gmail.com
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7. Edward M. Gómez, FF Alumn, at Outsider Art Fair, Manhattan, Jan. 17-20
OAF Curated Space | Phyllis Kind, Outsider Art’s Grande Dame
Booth P3
Outsider Art Fair 2019
A founding participant in the Outsider Art Fair when it was launched in 1993, Phyllis Kind operated galleries in Chicago and New York, and became a grande dame in the specialized field she did so much to promote. To mark her passing late last year and to honor her legacy, this year’s fair presents a memorial exhibition featuring works by artists whom Kind represented or collected, and which influenced her understanding of art brut and outsider art. This exhibition has been curated by art critic and Raw Vision magazine senior editor Edward M. Gómez, in collaboration with OAF assistant director Allison Galgiani.
From Raw Vision, issue RV100 (winter 2018/2019), available now, at the fair:
Phyllis Kind (1933-2018)
The legendary American art dealer Phyllis Kind, who, over a decades-long career, played a leading role in the development of an international market for the work of art brut and outsider artists, died on September 28, 2018, at her home in San Francisco. She was 85 years old.
Born Phyllis Barbara Cobin in New York in 1933, Kind, whose father was a dentist, and whose mother worked with him, attended the city’s Bronx High School of Science. In the 1950s, she studied chemistry at the University of Pennsylvania, where she met her future husband, Joshua Kind. Later, back in New York – now married, with her first child – Phyllis taught elementary school while Joshua pursued doctoral studies in art history; after moving to Chicago, in 1967 the Kinds opened a gallery specializing in Old Master prints. While learning about the art business, Phyllis earned a master’s degree in English literature from the University of Chicago.
The 1960s and the 1970s were a formative period for Kind, whose aesthetic outlook, like that of many of the contemporary artists with whom she associated, came to embrace a range of offbeat cultural expressions and progressive social trends. In the late 1960s, at Chicago’s Hyde Park Art Center, she encountered paintings by Jim Nutt, Gladys Nilsson, Karl Wirsum, and other members of the Hairy Who artists’ group, whose mix of fantasy, humor, and funky eroticism, along with their unabashedly handcrafted quality, offered an antidote to the cool, detached air of East Coast Pop Art. Many of those artists, whose work Kind went on to show, were interested in and collected folk art, outsider art, and vernacular commercial art.
Kind also admired the work of such local painters as Ed Paschke and Roger Brown, artists associated with the so-called Chicago Imagists. She showed their creations at her first Phyllis Kind Gallery, which she opened in Chicago in the 1970s. Later in that decade, she opened a second gallery in New York’s SoHo district. (By now she had become a divorced mother of four.)
Kind became the first dealer in the United States to show the works of “outsider” artists (the term was still new) side by side with those of schooled, contemporary artists. About evaluating artists’ portfolios, she said, “I look for a strong, original vocabulary of form and for evidence that artists are making art not because they might want to but instead because they have to.” Kind presented the work of classic European art brut creators, such as Adolf Wölfli, Carlo Zinelli, and Augustine Lesage, and the remarkable drawings, paintings, and mixed-media works of such notable self-taught artists as Henry
Darger, Howard Finster, Martín Ramírez, Domenico Zindato, and Hiroyuki Doi. (In showing works by Doi, Katsuhiro Terao, and other Japanese artists in the early 2000s, she became the first dealer in the West to become engaged with East Asia’s still young outsider-art scene.) Her roster of innovative, trained contemporary artists included, among others, William N. Copley, Robert Colescott, Alison Saar, and Gillian Jagger.
Erudite, sassy, and quietly proud of her status as a doyenne of the outsider art field, Kind was an old-school kind of dealer, not merely an art merchant but rather an avid researcher-connoisseur who eagerly shared her enthusiasm for her discoveries. “It distresses me when people just do a figure eight without stopping to really engage with the works on view – or to introduce themselves and chat,” she once said, referring to the way some visitors popped into her New York gallery, spun quickly around its two main rooms, and then departed, only superficially taking in a carefully mounted exhibition’s themes and offerings.
Kind closed her Chicago outlet in 1998 and, in late 2008, suffered a mini-stroke. The next year, she closed her New York space. At that time, the late Ingrid Sischy, a former editor in chief of Artforum, recalled, “The art world had a narrow view of what ‘important’, ‘progressive’, or ‘avant-garde’ was in the 1970s, when [Phyllis] came out swinging. She was unwavering in her support of artists with very unique, independent visions.”
2018 Raw Vision Ltd., all rights reserved; used by permission
https://www.outsiderartfair.com/new-york
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8. Xandra Ibarra, FF Alumn, in The New York Times, Jan. 4
Please visit the complete illustrated article linked here (text only follows below):
https://www.nytimes.com/2019/01/04/arts/dance/miguel-gutierrez-this-bridge-chocolate-factory.html
The New York Times
A Choreographer Gives In to His Ambition of Recklessness
by Gia Kourlas
January 4th, 2019
A couple of years ago, the choreographer Miguel Gutierrez found himself in a strange situation that really shouldn’t have been so strange: He was at a reception with a group of dance and performance artists, and the conversation was flowing – from Spanish to English and back again.
“I don’t know that I’ve ever had this experience of a bicultural moment within the experimental space of performance and dance,” he said. It’s not that that space doesn’t exist, he added, but “I hadn’t fully been in that context – it was a bit of a tectonic shift inside of myself.”
It also served as the catalyst for his new piece, “This Bridge Called My Ass,” for which he’s assembled a cast with two common points: They come from that experimental space. And their heritage is Latin American.
In “This Bridge,” Mr. Gutierrez, who is Colombian-American, explores how being a queer, bicultural, multilingual, first-generation immigrant relates to his experience as an interdisciplinary artist. Named after “This Bridge Called My Back,” an anthology of third-wave feminist essays and poetry by women of color, the production considers the metaphor of a bridge: How do all of his different sides meet?The resulting work opens at the Chocolate Factory on Jan. 9 as part of American Realness, the annual festival, now in its 10th year, highlighting provocative new dance and performance works. “This Bridge” is an intimate spectacle: a mix of the untamed and the tactile, the sensorial and the formal. Along with Mr. Gutierrez, the cast features Alvaro Gonzalez, John Gutierrez (no relation), Xandra Ibarra, Nibia Pastrana Santiago and Evelyn Sanchez Narvaez. Stephanie Acosta, a Cuban-American artist, serves as its dramaturg and assistant director.
“This Bridge” even includes an over-the-top telenovela, or a Spanish soap opera, written by Mr. Gutierrez, which exaggerates his performers’ personalities.
“I turned Xandra – this amazingly wonderfully pervy queer Chicano artist – into a crazy, drunk villainous kind of figure, because there is always that person in these telenovelas,” he said. “Evelyn is like the court jester, the weirdo on the outside, and I’m the kind of dopey, hapless one who is asking questions and doesn’t understand anything.” But what underlies “This Bridge,” Mr. Gutierrez said, is a consideration of something that has long piqued him: “the perception that artists of color are always doing content work” – dealing with identity politics – “and white artists are only doing form and line.” While he sees black artists examining this duality and their place in experimental dance, he said, “I don’t see the same wave happening with Latin American artists.” Mr. Gutierrez, 47, started thinking about these issues when he was a student and discovered two formative books: “This Bridge Called My Back” helped him find a voice for his own rage and passion when he was part of the group Queer Nation; and Sally Banes’s “Terpsichore in Sneakers,” which chronicled artists from the 1960s collective Judson Dance Theater, got him pondering the perceived division in dance between identity and personal exploration on the one hand and abstraction and formalism on the other.
Using predominantly white casts in Europe changed everything. “We were playing with a lot of the same formal ideas,” he said, “but something else was coming up for me. It wasn’t that it didn’t work. It was just that I realized it felt like any investigation around abstraction or improvisation or form would probably just be read as that.”
He wanted to go deeper, and that’s when it hit him: “What it would be like to work with a group that was all Latin American?”
In the opening section, which is improvisation based, the dancers work with materials, including a ladder, stools and clamps, as well as pieces of fabric, which they drape over their bodies and carry throughout the space. At times, it really does feel like a bridge is being built and torn down over and over again. All the while, the dancers show their skin, their flesh, their sweat. To Mr. Gutierrez, the pieces of fabric conjure different images, like color block painting and Brazilian Tropicália. “Sometimes they become boundaries,” he said. “Sometimes they become a shape of a discarded thing. There’s not a lot of reverence. It’s not like, ‘Oh this beautiful canvas.’ There’s even a tent city illusion.”
Within this painterly setting – Tuçe Yasak’s lighting manages to change the temperature from hot to cool – the performers generate and manipulate the sound. They move speakers. They stop it suddenly by closing a laptop. “Is it building, is it growing?” Mr. Gutierrez said. “Sometimes yes, sometimes no.”
In other words, in his creative world, nothing needs to be entirely concrete. “One of my big frustrations with dance is the way in which the image takes over the spontaneity or the possibility of its own collapse,” he said. “I’m interested in an ambition of recklessness.”Ms. Acosta, the dramaturg and assistant director, is in the studio constantly. “This Bridge” is something that she hasn’t seen before, she said, both in terms of its cast and its subject matter. And then there’s the question of language.”We’re a fully bilingual room at all times, and there’s a way in which that’s some of the subject, but it also does change how we work,” she said. “We’re usually translating ourselves. Here, there’s a freedom of code switching, and I think that lets everybody lean into their own personal experience. How did we get to this dance floor together? What does it mean for all of us to be together doing this work?”
It’s a fitting return for Mr. Gutierrez, who for the past several years has taken a break from presenting his work in New York, where he lives. “I was definitely burned out and having real questions about the trajectory of career and careerism and how it was playing out in my life,” he said. “I just wanted to put things on pause.”
He also wanted a relationship – he has a boyfriend now – something that didn’t seem possible in his life of residencies and touring. “And the dirty thing that starts to happen in your 40s,” he said, “is the sense that you have to really justify your continued relevance in the field.”
What brought him back into the fold was what many New Yorkers grapple with: “I had to pay the rent,” he said, with a laugh. But there was something else, too. He was part of the creative team behind “Variations on Themes From Lost and Found: Scenes From a Life and Other Works by John Bernd” (2016), about the East Village choreographer and dancer who died of AIDS in 1988.
“That project was like serving an artist who I hadn’t realized was an ancestor of mine,” he said. “It was a very different kind of way of making something.”
Since he wasn’t the sole choreographer, he could breathe a little. It also made him realize, he said, that one place he’s happy is in rehearsal. “This is what I’m supposed to do,” Mr. Gutierrez said. “Sometimes I feel like I don’t even get to complain about it or I don’t get to decide that I don’t want to do this. It’s not about me. It’s my service.”
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9. Barbara T. Smith, FF Alumn, at LACMA, Los Angeles, CA, Jan. 12
Talk: Artists on Art-Barbara T. Smith
at LACMA
Saturday, Jan. 12
2PM
FREE, reservations required.
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10. James Prez, FF Alumn, at 57 W. 57th Street, Manhattan, opening Jan. 10
James Prez
PLAY BALL
Opening Reception:
January 10th, 2019, 6-9pm
On view through February 16th
LOCATION
57 West 57th Street, Suite 1207
New York, NY 10019
DIRECTIONS
F, N Q R W trains to 57th Street
Gallery is located between 5th and 6th Avenues
CONTACT
Email: info@57W57arts.com
Phone: (212) 644-8337
HOURS
Wed – Friday, 12-5, Saturday 12-4, or by appt.
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Goings On is compiled weekly by Harley Spiller
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