Goings On: posted week of April 22, 2019
CONTENTS:
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1. Courtney J. Martin, FF Alumn, at Yale Museum of British Art
2. Félix Gonzáles-Torres, Julie Tolentino, Jawole Willa Jo Zollar, at The Kitchen, Manhattan, opening May 24
3. Jan Fabre, Larry List, FF Alumns, at Museum and Real Bosco di Capodimonte, Naples, Italy, thru Sept. 15
4. Claire Jeanine Satin, FF Alumn, at Frost Museum, Miami, FL, opening June 8
5. Mimi Gross, FF Member, in Artnews, and more
6. Doreen Garner, FF Alumn, at JTT gallery, Manhattan, thru May 26
7. Ruth Hardinger, Yoko Inoue, Richard Nonas, C. Michael Norton, Lucio Pozzi, FF Alumns, at Five Myles, Brooklyn, opening April 27
8. Alice Eve Cohen, FF Alumn, receives Virginia Center for the Creative Arts Fellowship
9. Dread Scott, FF Alumn, in The New York Times, April 17
10. Cheri Gaulke, FF Alumn, receives Calhum award, and more
11. Ray Johnson, Adrian Piper, FF Alumns, at Museum Frieder Burda, Berlin, opening April 24
12. Beatrice Glow, FF Alumn, at Smack Mellon, Brooklyn, April 27-28, and more,
13. Jess Dobkin, FF Alumn, at Hemispheric Institute, Manhattan, April 25
14. Morgan O’Hara, FF Alumn, at Mitchell Algus Gallery, Manhattan, thru June 2, and more
15. Bob Goldberg, FF Alumn, at Basilica Hudson, Hudson, NY, April 27
16. Cathy Weis, FF Alumn, at WeisAcres, Manhattan, April 28
17. Carolee Schneemann, FF Alumn, now online at brooklynrail.org
18. Dahn Hiuni, FF Alumn, at UCLA, California, and more
19. Doug Skinner, FF Alumn, at NYU, Manhattan, April 27
20. Edward M. Gómez, FF Alumn, in Hyperallergic, now online
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1. Courtney J. Martin, FF Alumn, at Yale Museum of British Art
Yale Museum of British Art Chooses Dia Curator as Its Director
The new role is a homecoming for Courtney J. Martin, who earned her Ph.D. in art history at Yale.
by Jason Farago
April 10, 2019
The Yale Center for British Art announced Wednesday that it had named Courtney J. Martin as its new director. Ms. Martin is currently deputy director and chief curator of the Dia Art Foundation in New York.
In an interview, Ms. Martin described the appointment as an “opportunity to expand what we think of as British art, not only for the 20th and 21st centuries, but for all periods.” One of her priorities as director will be to reposition British art within a global framework of migration and cultural exchange.
“The museum has amazing collections of art that might have once been described as coming from the Commonwealth, and I would really like to show more works that come from the South Pacific and South Asia,” she said. “There are notable links between British artists working outside of the country and artists born in those places.”
Ms. Martin has deep experience with British art, particularly of the postcolonial era. She has written extensively on the Pakistani-born artist and editor Rasheed Araeen, and in 2012 she organized an exhibition of the Guyanese-British painter Frank Bowling at Tate Britain in London.
The new role at the Yale Center in New Haven, the biggest repository for British art outside Britain, is a homecoming for Ms. Martin, who earned her Ph.D. in art history at Yale, writing her dissertation on British art of the 1970s.
Ms. Martin came to Dia in 2015 as an adjunct curator, organizing the first New York exhibition in over two decades of the painter Robert Ryman. She became chief curator two years later, and she and her team gradually expanded the foundation’s purview to include a fuller range of abstract artists of the 1960s and ’70s. Artists exhibited at Dia in New York City and in Beacon, N.Y., during her tenure included Dorothea Rockburne, Mary Corse and Nancy Holt. A major presentation by Sam Gilliam, the Washington-based painter, opens this summer.
Ms. Martin will begin her new position in July. She succeeds Amy Meyers, who has led the Center since 2002 and who oversaw the renovation of its renowned building, designed by the modernist architect Louis Kahn. The museum reopened in 2016 after a year-and-a-half closure.
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2. Félix Gonzáles-Torres, Julie Tolentino, Jawole Willa Jo Zollar, at The Kitchen, Manhattan, opening May 24
Always, Already, Haunting, “disss-co,” Haunt
Opening Reception: May 24, 5-8pm
May 24-June 15
Gallery hours: Tuesday-Saturday, 11-6pm
Always, Already, Haunting, “disss-co,” Haunt explores the affective and political potential of haunting against a backdrop of cultural institutions that are ever more eager to represent certain types of “fugitive” bodies. The exhibition understands haunting as a representational illogic, or a way of rejecting the production of convenient and easily read linear narratives that are too often ghosted by particular omissions, absences, and historic violences. Through a focus on collective memory, and alternative archival practices, Always, Already, Haunting, “disss-co,” Haunt lingers alongside those events or bodies who continue to demand attention, foregrounding the inevitability of returns and the necessity of redress. The artists, writers, and curators in this show engage notions of embodiment that complicate the assumed clarity of mourning and rejoicing, presence and absence, and posit the importance of desire and pleasure.
The exhibition features works by Julie Dash, Minnie Evans, Félix Gonzáles-Torres, Green-Wood Cemetery, Shawné Michaelain Holloway, Asif Mian, Guadalupe Rosales, Mariana Valencia, Julie Tolentino, and Jawole Willa Jo Zollar.
Curated by Nia Nottage, Gwyneth Shanks, and Simon Wu, Helena Rubinstein Curatorial Fellows in the Whitney Museum of American Art Independent Study Program (ISP).
Opening Reception: May 24, 5-8pm
May 24-June 15
Gallery hours: Tuesday-Saturday, 11-6pm
This exhibition is a collaboration between the Whitney Museum of American Art Independent Study Program and The Kitchen.
https://thekitchen.org/event/always-already-haunting-disss-co-haunt
Curatorial participants of the ISP are designated as Helena Rubinstein Fellows in recognition of the long standing support of the Helena Rubinstein Foundation. Support for the Independent Study Program is provided by Margaret Morgan and Wesley Phoa, The Capital Group Charitable Foundation, The New York Community Trust, and the Whitney Contemporaries through their annual Art Party Benefit. Endowment support is provided by Joanne Leonhardt Cassullo, the Dorothea L. Leonhardt Fund of the Communities Foundation of Texas, the Dorothea L. Leonhardt Foundation and the Helena Rubinstein Foundation.
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3. Jan Fabre, Larry List, FF Alumns, at Museum and Real Bosco di Capodimonte, Naples, Italy, thru Sept. 15
Franklin Furnace Alumni Larry List contributes essay about work of Franklin Furnace performance artist alumni Jan Fabre on display in Naples, Italy.
The world-famous Belgian artist and Franklin Furnace performance artist alumni Jan Fabre returns to Naples with a new project involving four places of great prestige: the Museum and Real Bosco di Capodimonte, the church of the Pio Monte della Misericordia, the Madre Museum and the Studio Trisorio gallery.
Jan Fabre. Red Gold
Gold and coral sculptures, drawings made with the artist’s blood.
Museum and Real Bosco di Capodimonte
Via Miano 2, Naples
30 March – 15 September 2019
Jan Fabre. The man holding up the cross.
Pio Monte della Misericordia
Via dei Tribunali 253, Naples
30 March – 30 September 2019
Jan Fabre. Tribute to Hieronymus Bosch in the Congo.
Studio Trisorio
Riviera di Chiaia 215, Naples
29 March – 30 September 2019
Jan Fabre. The man who measures the clouds
Mother Museum
Via Luigi Settembrini 79, Naples
30 March – 30 September 2019
At the Museum and Real Bosco di Capodimonte, the artist will exhibit a group of works in dialogue with a special selection of works of art from the museum’s permanent collection and from other Neapolitan museum institutions.The exhibition, entitled Oro Rosso. Sculptures of gold and coral, drawings made with the artist’s own blood, curated by Stefano Causa together with Blandine Gwizdala, will open on March 30th and will see gold sculptures and blood drawings created by the artist from the seventies to the present, as well as a new and surprising series of sculptures in red coral, made specifically for Capodimonte.
Fabre’s works will enter into dialogue with some pictorial masterpieces and splendid objects of decorative art from the Renaissance, Mannerist and Baroque periods selected by Stefano Causa; as the editor himself says: “Fabre tells, in a language not too different, a story of incessant metamorphoses; of materials that change destination and function; a story of bodily blood and moods, deceptions and sense traps; precious stones, corals and scarabs, come out as rain from the remains of an Egyptian tomb, fragments of armor, sequences of numbers and quotations from the Scriptures, inside a centrifugal universe of signs … which, sometimes, becomes an undergrowth in which to lower oneself with the brushes of a Flemish still life specialist “.
On display, the golden sculptures by Jan Fabre give precious body to the artist’s ideas on creation, art and its relationship with the great masters of the past. In the drawings of blood instead we find the deepest motivations of the artist, his experiments, his poetic, physical, intimate manifesto. “The blood today is gold” – says Jan Fabre – and in the exhibition at the Capodimonte Museum, the artist stages an entire universe of symbols that speak of art and beauty, of strength and fragility of the human race, of the cycle continuous life-death-rebirth.
The coral was called “red gold”, due to its preciousness and its apotropaic value. As the art critic Melania Rossi writes in the exhibition catalog published by Electa: “The ten new red coral sculptures that the Belgian master created for his personal exhibition at the Capodimonte museum seem a treasure coming from the depths of the mind of the artist. Concretions that make you think of fanciful coral reefs take on some of the most expensive forms of Fabre: skulls, anatomical hearts, crosses, swords and daggers. In turn, then, dotted with images and signs that allude to other meanings and other stories, in a continuous cycle of connections to create ancient hybrids between nature and symbol, new idols between past and future.”
Also on display in public for the first time are a set of 19 Prayer Card Drawings made by the artist in secret 25 years ago. An exclusive essay by Franklin Furnace Alumni Larry List, “Jan Fabre: The Holy Anarchist of Antwerp’s Bloody Prayer Card Collage Drawings” was commissioned for the catalogue as well.
INFO
JAN FABRE. ORO ROSSO (Red Gold)
Opening Date: 29-mar-2019
Closing Date: 30-sep-2019
Schedule: Thu – Tue 8:30 – 19:30
For Information: +39 081 7499111
E-mail: mu-cap@beniculturali.it
Location: Museo e Real Bosco di Capodimonte and other locations
Address: via Miano 2
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4. Claire Jeanine Satin, FF Alumn, at Frost Museum, Miami, FL, opening June 8
SPHERES OF MEANING: including the bookworks of CLAIRE JEANINE SATIN at The Frost Museum, Florida International University, Miami Florida.
Opening June 8, 2019, 4-7 pm. Through August 25, 2019. One of her works will be THE KHIPU BOOK based on the Inca artfact The Khipu. It was a series of knitted cords worn by a traveling man who visited communities of Indians to collect taxes, levy fees and census taking. The cords were made of wool or cotton with strategically placed knots. They were perhaps also a means of communication. This book is the artist’s re-presentation of the artifact. In a transparent structure whose choice of form follows the concept of indeterminacy by the use of overlaying both image and text.
satinartworks.com
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5. Mimi Gross, FF Member, in Artnews, and more
Eric Firestone Gallery
MIMI GROSS: AMONG FRIENDS, 1958-1963
https://www.ericfirestonegallery.com/mimi-gross-among-friends-1958-63
Recently reviewed in Artnews , the Brooklyn Rail and Hyperallergic , the exhibition remains on view through May 4th.
Artnews, Six Superb Shows in New York
Full article:
http://www.artnews.com/2019/03/28/six-superb-shows-in-new-york-jessi-reaves-mimi-gross-nolan-simon-strategic-vandalism-notebook-caroline-goe/
Practically overflowing with radiant portraits, “Mimi Gross: Among Friends, 1958-63” at
Eric Firestone Loft should be of the major crowd- pleasers of the moment, but it feels like it’s flying under the radar. Channeling a rare, quicksil-ver sense for detail, Gross was only in her late teens and early 20s when she made these pieces in crayon, paint, and pastel, working in New York, Provincetown, and Europe, where she and friends traveled northern Italy by horse-drawn carriage, doing shadow-puppet shows in small villages. (To think that young artists today believe a night at Berghain is bohemia!) T wo highlights of many: Grand Street Boys and Grand Street Girls (both 1963), whose many young sitters look interesting enough to sustain a few seasons of prestige television about the Lower East Side during the Kennedy years. T he show depicts an artistic life that was just getting started, and already being lived very
well. – ANDREW RUSSETH
The Brooklyn Rail, Mimi Gross: Art as Social Entanglement, Johanna Drucker
Full article: https://brooklynrail.org/2019/04/artseen/Mimi-Gross-Art-as-Social-Entanglement
Among Friends: 1958-63, the exhibition of Mimi Gross’s paintings and drawings from the early 1960s at Eric Firestone Gallery, is not only a sheer visual pleasure, it also adds to\ our understanding of American modern art. Like so many “re-discovered” bodies of work, usually by women, it reveals dimensions of artistic practice that were always present but never given critical attention within certain over-determined narratives of 20th-century art. – JOHANNA DRUCKER
Hyperallergic, The Radiant Fearlessness of Mimi Gross, John Yau
Full article:
https://hyperallergic.com/490023/mimi-gross-among-friends-1958-1963-eric-firestone-loft/
The exhibition Mimi Gross: Among Friends, 1958-1963 helps to set the record straight:
Gross was a strong, confident artist when she met Red Grooms at the age of 18, and that her work continued to grow right up to their marriage in 1964. – JOHN YAU
Mimi Gross: Among Friends, 1958-1963
Eric Firestone Gallery | 4 Great Jones Street, #3 | New York | 917.324.3386 Monday – Saturday, 11AM – 6PM (and by appointment)
ericfirestonegallery.com
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6. Doreen Garner, FF Alumn, at JTT gallery, Manhattan, thru May 26
JTT
191 CHRYSTIE ST
NEW YORK NY 10002
212-574-8152
Doreen Garner
She Is Risen
April 21 – May 26, 2019
Opening reception: Easter Sunday, April 21st, 6 – 8pm
JTT gallery is pleased to present its first solo show with Doreen Garner titled, She Is Risen. In an open and intentional engagement with the twinned miracles of mortification and resurrection, the show opens on Easter Sunday, April 21, 2019.
Garner’s sculptures glisten with oscillations between female body and flesh. They shimmer; they fold and curve and seem to sweat. Her renderings of bodies move beyond representations of weight, color, and texture to reveal luminous subdermal layers of fat and muscle. They call attention to what philosopher Hortense J. Spillers describes as the “arrangements of gender,” through which gender itself is shown to be a product of an intimate relationship between race, power, and recognition.
Cloth covered in short, curly black and dark-brown hair is stretched around a working gramophone in an echo of the black women’s bodies that were made to open and open again under the gaze of prying gynecologists like James Marion Sims and Nathan Bozeman in the late nineteenth century. This performative sculpture is based on the completion of a circuit. When activated, it fills the gallery space with a sound recording of the arrest of Sandra Bland, which eventuated in her death in a jail cell days later. The gramophone’s horn, swathed in synthetic black hair, forces a reckoning with the resonances of the organic in the mechanical that calls to mind David Hammons’s insurgent practice.
Henrietta Lacks-an African American woman from Baltimore, MD whose cervical cancer cells were harvested without her consent or awareness and remain widely used in medical research decades after her death in 1951-also features prominently in the show. A large-scale sculpture depicting Lacks’s irradiated cervix is a focal point. Hardened layers of iridescent pink expandable foam are built up into an irregular elliptical shape. Strips of rose-colored silicone collaged onto the sculpture’s surface are interrupted by glossy bands of black, representing the charring effects of radiation tubes used in Lacks’s treatment. Light reflects off metal pins embedded neatly in the work in bright, tiny points. But the interior of Lacks’s body is not simply presented as an inert anatomical mock-up or a thing worthy of only revulsion. Instead, Garner’s framing of the body on display makes the site of exploitation compelling to viewers. The work’s large scale and warm colors render even the delicate threads of barbed wire intriguing. It solicits us to look closer, to draw near. As we do, we are-every one of us-implicated as witnesses to the unfolding history of a black woman made into a medical spectacle.
Garner deftly wields this mixture of allure and ritual. She applies common and specialized supplies with regularity and abundance: craft beads and pearls; thousands of metal staples; surgical clamps; and the platinum-catalyzed soft silicone used to make popular sex toys. The pieces shine, they undulate transforming a dark, complicated and repulsive history to an approachable one. This strategy is clearly at work in Betsey’s Flag, a silicone American flag comprised of alternating bands of brown that resolve, on further inspection, into strips of dark female flesh. The title of the work refers both to Betsy Ross, as well as Betsey, one of the enslaved women on whom Sims performed unanesthetized experimental surgery.
Garner’s Olympia likewise refigures the sitters in Edouard Manet’s iconic painting as isolated bodily parts. Signifying on Manet’s Impressionistic flattening of the surface, this piece offers an even more distilled image: a three-dimensional silicone cast of a model’s pelvis rests on a shelf near a bouquet of pink flowers made to replicate disembodied vaginal canals. The French prostitute and her black maid are reimagined as parts standing in for wholes. We might wonder whether Manet’s original derives at least part of its visual force from the implication of this very reduction. If so, then Garner’s surrealist revision leaves us without the ideological cover of the Western art historical canon to obscure the intersecting forces of gender, race, sex and power at play in the earlier painting.
She Is Risen proposes what Garner names as a “resurrection”, a subtle reiteration of a haunting and haunted scene. Black women’s bodies and flesh remain as the central but unsettled terrain of the artist’s imagination. She invites us to consider and to behold the terrible beauty of a history-our history-that wounds.
– Nicole Ivy
Nicole Ivy is a historical thinker and professional futurist who is passionate about the arts and social change. Her professional and scholarly interests include strategic foresight, public history, visual culture, and inclusive change management. She earned her B.A. in English from the University of Florida and her joint Ph.D. in African American Studies and American Studies from Yale University. Having begun her work in the museum field as an Institute of Museum and Library Services (IMLS) Graduate Fellow at the African American Museum in Philadelphia, she has held several inaugural positions at the American Alliance of Museums, including serving as its first Director of Inclusion. In addition to her work in the museum field, she has held numerous academic appointments. She was a Visiting Assistant Professor in the History Department at Indiana University, Bloomington (IUB) and a postdoctoral fellow of the Center for Research on Race and Ethnicity in Society (CRRES) at IUB. She is an Assistant Professor of American Studies at The George Washington University in Washington, D.C.
jttnyc.com
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7. Ruth Hardinger, Yoko Inoue, Richard Nonas, C. Michael Norton, Lucio Pozzi, FF Alumns, at Five Myles, Brooklyn, opening April 27
FiveMyles
558 ST JOHNS PLACECROWN HEIGHTS, BROOKLYN718-783-4438HOME ABOUT
BENEFIT EXHIBITION: APRIL 27 – MAY 19, 2019
EXHIBITION OPENING RECEPTION: SATURDAY, APRIL 27, 6-8PM
FIVEMYLES 20TH ANNIVERSARY BENEFIT
SUNDAY, MAY 19, 4PM
Join us on May 19th as we celebrate FiveMyles’ 20th birthday! Purchasing a benefit ticket will help support FiveMyles’ future programming, so that we can continue pursuing our mission of exhibiting the work of deserving, yet often under-represented artists, and connect the public with art of the 21st century! The benefit exhibition can be seen from April 27 to May 19, and showcases artwork donated by generous FiveMyles artists. One artwork will go home with each purchaser of a ticket to the May 19th Benefit Event.
A single benefit ticket (entry for one, $250) or a double benefit ticket (entry for two, $275) guarantees entry to the Benefit Event on May 19th and:
One original artwork, chosen through a raffle during the event: when your name is picked, you can claim your preferred available work (further explanations below).
A 4 minute excerpt of Hanne Tierney’s piece, “My Life In a Nutshell” (2009)
Snacks, open bar, and live music.
EARLY BIRD TICKETS ARE AVAILABLE UNTIL APRIL 10TH, AT A 10% DISCOUNT!
PURCHASE TICKETS
VIEW DONATED WORK
RAFFLE
Each artwork is assigned a number, visible both on the website and at the benefit exhibition at FiveMyles. Write the number of your ten favorite art works on the sheet we will send you when you purchase a ticket. At the event, your name will be thrown in a hat and when it is picked out, call out the number of your preferred art work. Should it already been taken, call out the number of your second choice, and so on. Please note that double tickets include two entries to the benefit event but only one original artwork.
DONATING ARTISTS :
#1 Luis Alonso
#2 Roya Amigh
#3 Eric Ashcraft
#4 Emily Berger
#5 Sharon Brant
#6 Luisa Caldwell
#7 Mary Chang
#8 Vladimir Cybil Charlier
#9 Cecile Chong
#10 Jason Cole Mager
#11 Nicholas Constantakis
#12 Nicholas Cueva
#13 Peggy Cyphers
#14 Elisa D’Arrigo
#15 Donna Dennis
#16 Karni Dorrell
#17 Michael Ensminger
#18 Columbia Fiero
#19 Michael Filan
#20 Jessica Frederick
#21 Matt Freedman
#22 Barbara Friedman
#23 Paul Gagner
#24 Anita Glesta
#25 James Gross
#26 Ruth Hardinger
#27 Carl E. Hazlewood
#28 Mara Held
#29 Dan Hill
#30 Yoko Inoue
#31 Julian Jackson
#32 Nina Katan
#33 Iona Kleinhaut
#34 Dieter Kuhn
#35 Rene Lynch
#36 Patrick Mangan
#37 Nancy Manter
#38 Jan Meissner
#39 Nina Meledandri
#40 Cyrilla Mozenter
#41 Judith Murray
#42 Richard Nonas
#43 Barbara Norman
#44 C. Michael Norton
#45 Lucio Pozzi
#46 Scott Reeds
#47 Anna Rindos
#48 Anne Russinof
#49 A.V. Ryan
#50 Naomi Safran-Hon
#51 Andra Samelson
#52 Lorenza Sannai
#53 Claire Seidl
#54 Alex Sewell
#55 Ed Shalala
#56 Constance Slaughter
#57 Ceaphas Stubbs
#58 Nathaniel Synge Murray
#59 Jessica Tawczynski
#60 Gwenn Thomas
#61 Katherine Toukhy
#62 Sam Tufnell
#63 Kim Uchiyama
#64 Rachel Urkowitz
#65 Vera Vasek
#66 Sarah Walker
#67 Jeanne Wilkinson
#68 Mark Williams
#69 Robert Yasuda
#70 Nola Zirin
#71 Emily Feinstein
#72 Dorothea Rockburne
#73 Carol Salmonson
#74 Barbara Hatfield
#75 Alex Markwith
#76 Meridith McNeal
#77 Robert Hickman
#78 Sara Erenthal
#79 Jack Ceglic
#80 Susanna Coffey
#81 Andres Hoyos
SURROGATES
If you would like to purchase a ticket but cannot make it to the event, please contact us. We will act as surrogates for you and call out your choices when your name is picked out during the raffle. Please call 718-783-4438 or email marine@fivemyles.org or hanne@fivemyles.org.
FIVEMYLES IS A 501(C)3 NOT-FOR-PROFIT ORGANIZATION. THE COST OF EACH TICKET IS ENTIRELY TAX-DEDUCTIBLE. THE FUNDS RAISED THROUGH THE BENEFIT WILL ALL BE USED TO SUPPORT FIVEMYLES’ PROGRAMMING.
DIRECTIONS:
Take 2, 3, or 4 trains to Franklin Avenue. Walk two blocks against the traffic on Franklin. Walk 3/4 block to 558 St. Johns Place. FiveMyles is within easy walking distance from the Brooklyn Museum.
FIVEMYLES, INC. ALL RIGHTS RESERVED.
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8. Alice Eve Cohen, FF Alumn, receives Virginia Center for the Creative Arts Fellowship
Alice Eve Cohen Awarded Fellowship by VCCA
(Amherst, VA) – Alice Eve Cohen of New York, NY, has been awarded a fellowship by the Virginia Center for the Creative Arts (VCCA). Alice Eve Cohen will be among approximately 25 Fellows focusing on their own creative projects at this working retreat for visual artists, writers, and composers.
VCCA is a unique Virginia-based organization of national stature and international impact. One of the largest year-round artist residency programs, VCCA hosts over 400 artist-Fellows annually at its Mt. San Angelo facility in Amherst, VA and 50 annually at the Moulin à Nef in Auvillar, France. VCCA has been a wellspring of music, literature, and the visual arts, providing residencies for artists during the most important and the least supported phase of their work–the creative phase.
A typical residency ranges from two weeks to two months. Each artist is provided with a private bedroom, a private studio and three prepared meals a day. This distraction-free atmosphere, as well as the energy that results from having some 25 creative people gathered in one place, enable artists to be highly productive.
The artists who come to VCCA, whether emerging or established, are selected through competitive peer review on the basis of the important or innovative work they are doing in their respective fields. Since its founding in 1971, VCCA has hosted over 5,900 writers, visual artists, and composers. VCCA Fellows have received worldwide attention including MacArthur fellowships, Pulitzer Prizes, Guggenheim fellowships, National Endowment for the Arts awards, the National Book Award, Grammy Awards, and Academy Award nominations.
For more information visit vcca.com
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9. Dread Scott, FF Alumn, in The New York Times, April 17
The New York Times
April 17, 2019
‘Perilous Bodies’
Through May 11. Ford Foundation Gallery, 320 East 43rd Street, Manhattan; 212-573-5000, fordfoundation.org.
Some credit for the almost unbearable intensity of “Perilous Bodies,” the group show that inaugurates the Ford Foundation’s new gallery for art concerned with social justice, goes to its 19 artists from around the world. Confronting ills from sexual violence in India to resource extraction in Africa, most of them succeed in getting to the heart of very difficult material. (The gallery was part of an overall renovation, and most of the work in the show is unrelated to the foundation’s contemporary art collection.) But most of the credit is due to the show’s curators, Jaishri Abichandani and Natasha Becker, who wove their work together.
Because balancing artistry against anguish is so challenging, and because such a balance is even more sensitive to its context than art usually is, no single piece can be sure of landing cleanly on its own. Mohamad Hafez’s delicate dioramas of half-destroyed Syrian buildings might register merely as beautiful, and Tiffany Chung’s backlit photos of similar rubble, taken alone, are tonally ambiguous. Tenzin Tsetan Choklay’s movie “Bringing Tibet Home,” which follows his friend and fellow exile, the artist Tenzing Rigdol, as he smuggles a truckload of Tibetan soil through Nepal to Dharamsala, India, is undeniably melancholy, but it’s also as absorbing as “Indiana Jones.”
Viewed all together, though, under a spray of 418 cast-foam miniature Hellfire missiles – the Pakistani-American artist Mahwish Chishty’s memorial to the civilian casualties of American drone strikes – they’re as shocking as getting hit by a truck. Stagger into the next room to see Teresa Serrano’s extremely disturbing short video “La Piñata,” in which a man alternately gropes a small female mannequin and beats it to pieces; the Australian artist Hannah Brontë’s equally unsettling all-female rap video about climate catastrophe; and Dread Scott’s 1999 installation of six shooting targets, one for each of six black men killed by the police in the 1990s, over a wooden coffin (“The Blue Wall of Violence”). Then go into the Ford Foundation’s tranquil, tree-filled atrium and sit quietly for a while. WILL HEINRICH
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10. Cheri Gaulke, FF Alumn, receives Calhum award, and more
CALHUM RESEARCH & DEVELOPMENT GRANT
Acting Like Women: Performance Art and The Woman’s Building
Sponsor Organization: Chimaera Project
Project Director: Cheri Gaulke
Acting Like Women revisits the California feminist art movement of the 1970s and examines its influence on today’s art and social movements. The film will focus on the Woman’s Building in Los Angeles as an incubator for new art forms and practices and as a model and inspiration for women artists all over the country. For more please visit https://calhum.org/congratulations-to-the-2019-california-documentary-project-grant-awardees/?fbclid=IwAR3M_nGhnTUs5bxQEu1nxXw364qCsBuein56nKZY-LeoMClWCYqVldK7jsM
and
Gloria’s Call, a short documentary by Cheri Gaulke (FF alum) screens in upcoming film festivals.
May at Hot Docs Canadian International Documentary Festival, Toronto, ON; Black Maria Film Festival Tour, Morristown, NJ; Fine Arts Film Festival, San Pedro, CA; WOFF Best of the Fest, Eastbourne UK; and June at Chicago Underground Film Festival, Chicago IL.
From the cafés of Paris to the mountaintops of Samiland, a scholar’s life is forever changed through her friendships with the women artists of Surrealism.
In 1971, graduate student Gloria Orenstein received a call from Surrealist artist Leonora Carrington that sparked a lifelong journey into art, ecofeminism and shamanism. The short film, Gloria’s Call, uses art, animation and storytelling to celebrate this wild adventure from the cafes of Paris to the mountaintops of Samiland. The film is produced by artists Cheri Gaulke (director, FF alum), Cheryl Bookout, Anne Gauldin (FF alum), Sue Maberry (FF alum), and Christine Papalexis.
Gloria’s Call received the “Michael Moore Award for Best Documentary Film” at the 57th Ann Arbor Film Festival.
For more information: Gloriascall.com
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11. Ray Johnson, Adrian Piper, FF Alumns, at Museum Frieder Burda, Berlin, opening April 24
THE RAY JOHNSON ESTATE AND MUSEUM FRIEDER BURDA | SALON BERLIN ARE PLEASED TO ANNOUNCE…
JR – ADRIAN PIPER – RAY JOHNSON
MUSEUM FRIEDER BURDA | SALON BERLIN
AUGUSTRASSE 11-13, 10117 BERLIN
0049 (0) 30 240 47404
WWW.MUSEUM-FRIEDER-BURDA.DE/EN/SALON-BERLIN
Opening: Wednesday, April 24th, 2019, 7-9 pm
“Mail-Art has no history, only a present.” This statement made by Ray Johnson in 1977 has probably never been more true than in the context of today’s correspondence and communication behavior, specifically concerning social networks. Online, everything exists in the present moment. The information we create and circulate is transported by media without hierarchy or centrality, developing the artificial intelligence of tomorrow. Social networking as facilitated by the internet has restructured global society.
In this exhibition, Salon Berlin of Museum Frieder Burda brings together three artists from different generations, with different roots and strategies, who share a common focus: an appeal to the viewer to become actively involved in the artwork, allowing it to fulfil its true purpose: only this “pact” between artist and audience brings the often ephemeral artwork to its intended completion.
Ray Johnson, Adrian Piper, and JR: in the work of all three artists, interacting in an art context becomes a model for social interaction and participatory commitment. The result is art that seeks to establish a sense of inter-engagement and belonging to a global community, transcending differences in language, religion, and ideology: emancipating the viewer to collaborate with the artist stimulates political articulation, drives a self-conscious approach to lived democratic responsibility, and raises awareness of the importance of the individual voice. While the “father of mail-art” Ray Johnson (b. 1927, Detroit, d. 1995, New York) used the gesture of communication and interaction is central to his mail art practice and as a stylistic device in his collages, the diversity of the work of conceptual artist Adrian Piper (b. 1948, New York) reflects an open understanding of art that links the personal with the political. For multimedia artist JR (b. 1983, Paris), meanwhile, the cityscape becomes a canvas for large-scale black-and-white collages that aim to activate the participative forces of local residents. All three are concerned with abolishing the classical boundaries of the artwork, linking art and life, and upending elitist definitions of art.
Artistic director and curator Patricia Kamp on the exhibition: “While preparing this show, we were often surprised by the intensity of the dialog between the works of Ray Johnson, Adrian Piper, and JR. This reminded us once again that we do not live as individuals surrounded by meaningless, isolated facts, but that we are part of a multitude of references, correspondences, and encounters that connect us with other people and the world. We very much hope that our visitors will share this experience. The way the art on show touches people by rendering visible their faces and voices for more humanity and an open society is both enriching and a key aspect of this exhibition.”
Special opening hours during Gallery Weekend:
Thu, 25. April, 10am – 8pm
Fr, 26. April, 10am – 9pm
Sat, 27. April, 11am – 6pm
Sun, 28. April, 11am – 6pm
More information: http://www.rayjohnsonestate.com
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12. Beatrice Glow, FF Alumn, at Smack Mellon, Brooklyn, April 27-28, and more,
OPEN STUDIOS
Please join me and my brilliant cohort for Open Studios and the reception for the Smack Mellon Benefit Art Exhibition!
Since last July, I have been participating in Smack Mellon’s Studio Program, an amazing opportunity that provides six artists with 11 months of a private studio, a fellowship, access to a fabrication shop and media lab, and studio visits with curators, critics and gallerists. Join us for DUMBO Open Studios at Smack Mellon where we will share our process with the public.
April 27-28, 2019
Saturday & Sunday, 1-6PM
Smack Mellon
92 Plymouth Street, Brooklyn NY 11201
Smack Mellon Benefit Art Exhibition
I am honored to have donated “Afghan Poppies” (24 x 24 in. digital print on silk) to the Smack Mellon Benefit Art Exhibition. Opening reception will take place on April 27 and the Kentucky Derby Party & Art Auction will take place May 4. Get your tickets here!
ALMOST SOLD OUT !
Thanks to your ongoing support, the limited edition version of Aromérica Parfumeur is almost sold out with only 5 copies left! This 1st edition comes with an olfactory artwork and dust jacket. I am now accepting pre-orders for the 2nd edition now through May 31, 2019.
Upcoming Activities
• April 27 – April 28: Dumbo Open Studios with Smack Mellon Studios, Brooklyn, US
• May 4: Smack Mellon Kentucky Derby Party and Art Auction
• June 10 – June 16: Presenter, GAX 2019 Global Asia/Pacific Art Exchange, Asian Indigenous Conference at Concordia University, Montreal, Canada
• June 11-August 31: GAX Library Exhibition, Concordia University, Montreal, Canada
• June 18: Lunchtime Lecture: Beatrice Glow, School of Visual Arts, New York, US
• June 19: Expanding Perspectives: Our New York Histories, A conversation with Beatrice Glow, Nona Faustine and Jack Tchen at the American Folk Art Museum, New York, US
• July-August: Smithsonian Artist Research Fellowship in Washington D.C., US
• October 19-November 10: Solo Project, Taipei Contemporary Art Center, Taiwan
Copyright (c) 2019 Beatrice Glow, All rights reserved.
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13. Jess Dobkin, FF Alumn, at Hemispheric Institute, Manhattan, April 25
Dear friends,
As many of you know, I’ve been in New York this year working on my performance archive research with the support of a Canadian Chalmers Arts Fellowship. I’ve also been so fortunate to be an artist in residence at the Hemispheric Institute. I’ll be presenting this talk and conversation at the Hemi this Thursday, April 25 and invite you to join me. The event is free and open to the public and will also be live video broadcast here: https://hemisphericinstitute.org/en/live
Come for the content, stay for the stellar snacks, drinks and hospitality!
With love,
Jess
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14. Morgan O’Hara, FF Alumn, at Mitchell Algus Gallery, Manhattan, thru June 2, and more
Dear Friends and Colleagues,
I have the unusual opportunity this spring to show six series of my work from the last 50
years in three simultaneous solo exhibitions in New York City.
The first exhibition with forty-three of my LIVE TRANSMISSION DRAWINGS opened on
February 27 with MAGDALENA KECK GALLERY at ROLL AND HILL and has been
extended to 13 May.
The second exhibition, at MITCHELL ALGUS GALLERY opens on 27 April and runs through 2 June. Mitchell is showing work from PORTRAITS FOR THE TWENTY-FIRST CENTURY begun in 1982, and HANDWRITING THE CONSTITUTION, a social art project I began in January 2017.
The third exhibition, at ANITA ROGERS GALLERY, will present TIME STUDIES begun in 1972, LETTERPRESS, AND SILVERPOINT work. This show opens 1 May and runs through 15 June.
On Saturday, May 4, I will be giving a tour of all three shows, beginning at MITCHELL
ALGUS from 12:30 – 1:30, proceeding to ANITA ROGERS for a HANDWRITING THE
CONSTITUTION session from 2:30 – 4:30 and concluding with MAGDALENA KECK at
ROLL AND HILL with a cocktail reception from 4:30 – 6:30.
You and friends are welcome to join us. To register for all or a segment of the free tour
please send an email to Lydia Waldmann: lydiawaldmann@gmx.de
I wish you the best,
Morgan
MAGDALENA KECK GALLERY
ROLL AND HILL
MORGAN O’HARA, ON STAGE: LIVE TRANSMISSION drawings
3 Mercer Street, New York, New York 10013
in SoHo, just north of Canal, west side of Mercer
hours: 10:00 – 6:00 Monday – Friday, Saturday 12:00 – 6:00
718 387 6132
27 February through 13 May 2019
Opening: 27 February 6:00 – 10:00 pm with live performance.
Cocktail reception Saturday 4 May from 4:30 – 6:30.
MITCHELL ALGUS GALLERY
MORGAN O’HARA: PORTRAITS FOR THE TWENTY-FIRST CENTURY and
HANDWRITING THE CONSTITUTION
132 Delancey St, New York, New York, New York 10002
lower Eastside, corner Norfolk, subway: Delancey/Essex
hours: Wednesday through Sunday, 12:00 – 6:00pm
212 639 4918
27 April through 2 June 2019
Opening: Saturday 27 April 6;00 – 8:00 pm
HANDWRITING THE CONSTITUTION opportunity daily during gallery hours.
ANITA ROGERS GALLERY
MORGAN O’HARA: TIME STUDIES – LETTERPRESS – SILVERPOINT
15 Greene Street, New York, New York 10013
SoHo, just north of Canal, west side of street, ground floor
hours: 10:00 – 6:00 Monday through Saturday
347 604 2346
Opening: 1 May 6:00 – 8:00pm
HANDWRITING THE CONSTITUTION session 4 May 2:30 – 4:30pm.
All are welcome to participate.
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15. Bob Goldberg, FF Alumn, at Basilica Hudson, Hudson, NY, April 27
Next Weekend, the Famous Accordions of the Hudson Valley will perform at Basilica in Hudson, NY, as part of the 24-hour Drone Event.
A group of 18 players (accordions, ukuleles and percussion) will premiere “Hudson Valley Dronescape (with Bears, Squirrels and Trees)”
The event runs from 12 Noon Saturday to 12 Noon Sunday. Our segment will take place from 4:pm to 5:pm Saturday.
Details about the event:
https://basilicahudson.org/24-hour-drone/
Basilica Hudson
110 S Front St
Hudson, NY 12534
Some examples can be seen at:
https://www.youtube.com/channel/UCKPVmBmnjozlvFsTRYpY-kw/
Famous Accordions of the Hudson Valley:
Bob Goldberg with:
Jem Altieri
Debbie Allen
Carmen Borgia
Nicholas Collins
Ryder Cooley
Jerry Curtis
Brian Dewan
Jeanie Douglas
Matthew Fass
Lee Free
Kathleen Helenius
Connor Martin
Jerelynn Mason
Donna McGrath
Kristen Schara
John Sturman
Jeanne Velonis
Jon Byron Woodin
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16. Cathy Weis, FF Alumn, at WeisAcres, Manhattan, April 28
Eva Karczag & Vicky Shick + Cathy Weis
April 28, 2019 at 6pm
WeisAcres
537 Broadway, #3 NYC
A duet that feels like a solo. A solo that feels like a duet. Curated by Cathy Weis.
Performers Eva Karczag & Vicky Shick return to Sundays on Broadway to present a re-working of their duet, “your blue is my purple.” Colleagues since their days in the Trisha Brown Company in the 1980’s, Shick and Karczag are often mistaken for each other on the street and even on stage. In this duet, they continue to investigate their curiosities, similarities and differences. This work was created in part during the Tisch Summer Residency Festival at New York University.
Cathy Weis will perform Jury Duty. As she moves onstage, Weis tells stories about being called for jury duty and describes what it’s like for her to move through the world. A live image of Weis is projected behind her, adding a new layer of meaning to her musings.
WeisAcres
537 Broadway, #3
All events begin at 6:00 pm – doors open at 5:45 pm.
No reservations. No late seating.
$10 suggested contribution.
Keep in mind, this is a small space.
Please arrive on time out of courtesy to the artists.
Please be advised: Due to repairs, the elevator will not be available this season. Audience members must use the stairs. We apologize for the inconvenience.
For more information, please visit cathyweis.org.
Sundays on Broadway is made possible in part with public funds from Creative Engagement, supported by the New York City Department of Cultural Affairs in partnership with the City Council and the New York State Council on the Arts with the support of Governor Andrew Cuomo and administered by LMCC.
LMCC empowers artists by providing them with networks, resources, and support, to create vibrant, sustainable communities in Manhattan and beyond.
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17. Carolee Schneemann, FF Alumn, now online at brooklynrail.org
Please visit this link:
thank you.
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18. Dahn Hiuni, FF Alumn, at UCLA, California, and more
Hi everyone! Some of my offerings this summer. Join us, or tell a friend! Happy Summer!
UCLA Extension
1. Autobiographical collage, May 11-June 8, 2019, 2-5PM
2. History of Contemporary Art, Mondays & Saturdays, June 24-July 8, 2019 (Mondays 7-10pm, Saturdays 10-1PM)
More info at: https://www.uclaextension.edu/design-arts/art-history-studio-arts-photography
Provincetown Art Association & Museum (PAAM)
1. Drawing on the Collection, July 15-19, 2019, 10AM-1PM
2. Intro to Photoshop, July 15-19, 2019, 2-4:30PM
More info at: https://www.paam.org/teaching-artists/dahn-hiuni/
or visit www.dahnhiuni.com
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19. Doug Skinner, FF Alumn, at NYU, Manhattan, April 27
I’ll be part of the lineup for Profane Illuminations, a day of talks at NYU organized by Mark Pilkington of Strange Attractor Press. I’ll present my talk “Music from Elsewhere,” discussing and playing music attributed to fairies, trowies, banshees, aliens, spirits, and angels; as well as music from alchemists, occultists, Cathars, cryptographers, secret societies, and dreams. Other speakers include Erik Davis, Peter Bebergal and Gareth Branwyn, Amy Hale, Kristen Gallerneaux, and Dave Tompkins.
It’s on Saturday, April 27, at Einstein Auditorium (34 Stuyvesant St., at 9th St., between 2nd and 3rd Avenues), NYC, and it’s free. The talks run from 12 to 8 pm; I’ll be on at about 3:30. More info at strangeattractor(dot)co(dot)uk/news/profane-illuminations.
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20. Edward M. Gómez, FF Alumn, in Hyperallergic, now online
Dear art lovers and media colleagues:
My article about Shintō: Discovery of the Divine in Japanese Art, a new exhibition at the Cleveland Museum of Art, has been published in HYPERALLERGIC, the arts-and-culture magazine.
I examined this remarkable exhibition, which was almost a decade in the making, on the eve of its recent opening and at that time I interviewed its organizer, Sinéad Vilbar, the museum’s curator of Japanese art.
This exhibition looks at the history, development, and main themes of Shintō, Japan’s indigenous, animistic religion, and features some 125 painted scrolls and screens, calligraphic works, wood sculptures, and decorative-art items, many of which have been designated by Japanese government authorities as important works of their country’s cultural patrimony. Such art objects are rarely displayed publicly, at least not for long periods. As a result, this notable exhibition will be presented only in Cleveland, one of the great encyclopedic museums in the United States. It will not travel to other venues.
The exhibition’s accompanying catalog features essays by Vilbar and numerous experts on classical Japanese art, including several senior officials from Japan’s national museums.
You can find this new article here:
I hope you’ll enjoy reading this article!
I send you all best wishes…
EDWARD M. GÓMEZ
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Goings On is compiled weekly by Harley Spiller
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