Goings On: posted week of May 01, 2019
CONTENTS:
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1. Peter Cramer & Jack Waters, Eileen Myles, Andrea Rosen, FF Alumns, at Performance Space New York, Manhattan, May 4
2. Susan Mogul, FF Alumn, at National Gallery, Washington, DC, May 12
3. Fiona Templeton, FF Alumn, launches new website fionatempleton.cloud
4. elin o’Hara slavick, FF Alumn, at Candela Galler, Richmond, VA, May 3-June 14, and more
5. Roberley Bell, FF Alumn, launches new website at roberleybell.com
6. Nicky Paraiso, FF Alumn, in The New York Times, April 24
7. Mira Schor, FF Alumn, in The New York Times, April 26, 2019
8. Doreen Garner, FF Alumn, in The New York Times, April 26, 2019
9. Todd Ayoung, Vitaly Komar, Ruth Liberman, Larry Miller, FF Alumns, at SHIVA Gallery, Manhattan, opening May 1
10. Sydney Blum, FF Alumn, now online at nsreviews.blog
11. Jody Oberfelder, Diane Torr, FF Alumns, at The Flea, Manhattan, May 15-19
12. Laurie Anderson, FF Alumn, in The New York Times, April 29, 2019
13. Carolee Schneemann, FF Alumn, at Electronic Arts Intermix, Manhattan, May 9
14. Ayana Evans, FF Alumn, at NADA, Governor’s Island, NY, May 4 and more
15. Jim Johnson, FF Alumn, new book published
16. Mark Bloch, FF Alumn, now online at artefuse.com
17. Harley Spiller, Donna Henes, FF Alumns, at City Reliquary, Brooklyn, May 18
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1. Peter Cramer & Jack Waters, Eileen Myles, Andrea Rosen, FF Alumns, at Performance Space New York, Manhattan, May 4
Peter Cramer & Jack Waters are being honored as galvanizing voices in the fight against AIDS, along with Ivy Arce, Kia Labeija , andTourmaline, by Performance Space New York at their springtime gala on May 4.
https://performancespacenewyork.org/shows/gala-2019/
Host
Solange Knowles
Gala Chairs
ALOK, Alan Cumming, Telfar Clemens, Suzanne Geiss, Humberto Leon,
Eileen Myles, Andrea Rosen, Chloë Sevigny, and Michael Stipe.
Performance
Princess Nokia
Creative Direction
Raul Lopez of LUAR
Honorees
Honoring the galvanizing voices in the fight against AIDS:
Ivy Arce, Kia Labeija, Tourmaline, Jack Waters and Peter Cramer
Food
DeVonn Francis of Yardy
MAY 4th
Cocktails-7pm
Dinner-8pm
Dance Party-10pm
Venue
150 First Avenue, New York, NY
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2. Susan Mogul, FF Alumn, at National Gallery, Washington, DC, May 12
My recent film “Mom’s Move” (2018, 25 min) will screen at the National Gallery in DC on May 12th at 4 PM.
I will not be there – but in case you know folks in DC.
The other films being shown look rather interesting as well
I have attached a synopsis below.
https://www.nga.gov/calendar/film-programs/spring19/mothering.html
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3. Fiona Templeton, FF Alumn, launches new website fionatempleton.cloud
announcing fionatempleton.cloud
Dear friends,
I’m excited to share with you that I have a new website, dedicated to my own work, past, present, and future. On it, you can watch clips and read about recent work, including productions of The Blue and a retrospective of my earliest pieces with the Theatre of Mistakes on in London last year, as well as revisit more distant happenings. And “Now” is where my news will live.
Have a look and drop a line in the contact section!
Yours,
Fiona
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4. elin o’Hara slavick, FF Alumn, at Candela Galler, Richmond, VA, May 3-June 14, and more
elin o’Hara slavick’s photographic works from Hiroshima, Nagasaki and Fukushima are on exhibit in the shows Arboreal, Bailey Contemporary, Pompano Beach, Florida, May 3 – June 28, 2019 and Dear Leader, Candela Gallery, Richmond, Virginia, May 3 – June 14, 2019
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5. Roberley Bell, FF Alumn, launches new website at roberleybell.com
I am pleased to announce the launching of my new updated website.
roberleybell.com
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6. Nicky Paraiso, FF Alumn, in The New York Times, April 24
Please visit this link:
https://www.nytimes.com/2019/04/23/arts/dance/la-mama-moves-nicky-paraiso.html
thank you
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7. Mira Schor, FF Alumn, in The New York Times, April 26, 2019
Please visit this link:
https://www.nytimes.com/2019/04/25/arts/design/art-galleries-nyc.html
thank you.
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8. Doreen Garner, FF Alumn, in The New York Times, April 26, 2019
Please visit this link:
Thank you.
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9. Todd Ayoung, Vitaly Komar, Ruth Liberman, Larry Miller, FF Alumns, at SHIVA Gallery, Manhattan, opening May 1
On view: May 1, 2019 – June 21, 2019
Opening Reception: May 1, 2019, 5:30 – 8:00 PM
SHIVA Gallery
860 11th Ave, New York, NY 10019
(212) 237-1439
Curated by Andrew Weinstein
The Anya and Andrew Shiva Gallery is pleased to announce the opening of the art exhibition “Baneful Medicine.”The artists included in the exhibition are Todd Ayoung, Aziz + Cucher, Christine Borland, Allison Burtch, Abigail DeVille, Heather Dewey-Hagborg, Oasa DuVerney, Susan Erony, Arie A. Galles, Aharon Gluska, Anna Halberstadt, Adam Harvey, Eduardo Kac, Verena Kaminiarz, Vitaly Komar, John SH Lee, Simone Leigh, Ruth Liberman, Larry Miller, and Aurelia Moser.
At Auschwitz, the Nazi death camp, it was a doctor, Josef Mengele, who decided who would live and die. On the camp receiving ramp, Mengele’s daily “selection” placed Darwin’s idea of “natural selection” in human hands; eugenics, a field pioneered by Darwin’s cousin, Francis Galton, inspired the Nazi dream of engineering a master race. What we now call the Holocaust was a medical “operation.”
German doctors at the time were the finest in the world. And yet many committed atrocities on human research subjects. How could doctors betray the Hippocratic Oath they had pledged to “do no harm” – not only in Nazi Germany but also in places like Tuskegee, Alabama? There, starting in 1932, a year before the Nazis came to power, American doctors failed to treat African American men with syphilis to study the course of the disease; this followed a long history of medical abuses against African Americans, such as gynecological studies on enslaved women by J. Marion Sims. In 1947, American jurists held Nazi doctors to account at the Nuremberg Doctors’ Trial and established modern bioethics with the mandate of “informed consent” for human research subjects; nevertheless, the Tuskegee syphilis study continued for decades after, alongside other examples of criminal medicine in the US and abroad, in which government and corporate researchers regarded the bodies of people of color, the poor, prisoners and military personnel as tissue for research. As bioengineering moves toward a posthuman future, corporations patent genes, and governments use genetic markers for surveillance, how much more conscientious are the methods and mindset of medical science than they used to be?
The exhibition opens to the public on May 1, 2019, and will be on view until June 21, 2019. The opening reception will be held on May 1, 2019, from 5:30 to 8:00 PM.
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10. Sydney Blum, FF Alumn, now online at nsreviews.blog
NS Reviews Mind and Media Sydney Blum at Studio 21
Elissa Barnard April 23, 2019
Sydney Blum describes her undulating, colour-charged, wall sculptures in a poetic way.
“They are shields, they are wings, they are air, they are water flow. They are currents, a breeze, a piece of paper flying,” she says in a phone interview from her Tatamagouche home.
Getting ready to show May 9 in New York City, she is exhibiting for her first time in Halifax at Studio 21 in Icarus-Colour-Space.
To create these majestic, optically-spellbinding pieces she went back to a childhood of sewing and a memory of the story of Icarus from a beloved book of myths and legends.
The artist, who taught for 17 years at New York’s Parsons College of Fine Art, starts each of her series with an idea.
This work was driven by thoughts about motion “in the etheric sense so the idea of a transcendence of moving back and forth between the secular and the more spiritual level.
“I wanted to create something beautiful and it needed to have some sense of motion. I’m a practical sculptor. I do things in a non-tech way.”
The wings are laboriously created out of hundreds of pieces cut from heavy, architectural chipboard. She painted each piece individually to get her waves of gradiated colour and then assembled the artwork by “sewing” one tiny piece to another with metal thread.
Blum works with a grid. “I love grids. I love the order of them, the solidity of them. They’re very formal but also can be can be individualized and made very emotional.”
As her form goes from flat to fluid it is supported by an exo-skeleton of wire. She keeps the back of her piece – and her process – visible so you can see the wire and the numbers on the squares, all originally mapped out on paper. “Both sides are part of the piece.”
sheer amount of labour is staggering. “I work six hours a day. Because I was doing a row a day or every other day there was enough variation. Every square is a different colour so I’m constantly mixing different colours and it’s quite engaging.”
Her inspiration for colour can be from looking at a winter sky to, in the case of 2017pnkorgylw-grn (titled in a colour code), seeing an apple in her orchard.
“It was the most beautiful, perfect apple and the transition in colour was so subtle and I thought, ‘How would you begin to capture that and why would you want to?’ I did want to and I didn’t come close!”
apple inspired the colour in Sydney Blum’s ICS2017pnkorgylw-grn, of paper chipboard, paint, pencil and wire, 33 x 41 x 21,” at Studio 21.
Blum, who practices Tai Chi and Chi Gong, creates a remarkable fluidity in wave-like motion and sees her sculptures as stopped motion within a continuous movement in space and time.
“Any movement of energy through a form interests me. The idea of an earthquake when a force can move through a solid and re-form is fascinating and a version of that is in the tides and the water and a breeze that starts in one tree and moves to the next.”
Blum has exhibited in Europe and in the U.S; her work has been written about in Art Forum, Art in America and The New York Times.
In 2009 she moved to Tatamagouche. “I moved here specifically to be in proximity to the water and the power of the tides. I wanted to internalize that in my body before I died.”
In her New York show, Both Sides of the Sky, at the Kim Foster Gallery, the grid itself has a gradient of colour which is a new development in this series. These images are online (https://kimfostergallery.com/sydney-blum/), along with her earlier Fuzzy Geometry series painstakingly constructed out of strands of hair from coloured wigs.
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11. Jody Oberfelder, Diane Torr, FF Alumns, at The Flea Theater, Manhattan, May 15-19
Jody Oberfelder Projects present:
Madame Ovary
The Flea Theater
May 15-19, 2019
http://theflea.org/shows/madame-ovary/
Tickets $20
Th-Sat 7 pm Sun. 3 pm
Wed. Opening night Gala 7 pm $150
Guest of Honor: Julie Lewit-Nirenberg
and Honoring Diane Torr
Madame Ovary is the third in a body trilogy, following the the heart and brain. This piece has two energies bumping up against each other, a deep pervasive emotional ride, and a more raw punk rock feel.
Created/written and directed: Jody Oberfelder
(in collaboration with performers:
Dancers: Elizabeth Hart (bass), Emily Giovine, Lou Mandolini, Mary Madsen, Jody Oberfelder, Maya Orchin, Mei Yamanaka
Lighting: Kathy Kaufmann
Pianist: Isabelle O’Connell
Music: Missy Mazzoli (with generous contributions from New Music USA)
Rock songs written by Jody Oberfelder
Sound Design: Almeda Beynon
Costumes: Jody Oberfelder
cell: 917-518-6227
web: jodyoberfelder.com
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12. Laurie Anderson, FF Alumn, in The New York Times, April 29, 2019
Please visit this link:
https://www.nytimes.com/2019/04/25/arts/design/laurie-anderson-hirshhorn-museum.html
thank you.
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13. Carolee Schneemann, FF Alumn, at Electronic Arts Intermix, Manhattan, May 9
Carolee Schneemann: Daylong Tribute Screening
EAI will honor Carolee Schneemann (1939-2019) with a daylong screening of her film and video work, tracing fifty years of her career, from 1962 to 2012. The program, which spans the many decades of her extraordinary, ferociously pathbreaking approach to performance and the moving image, will screen twice, from 10am to 2pm and again, from 2pm to 6pm. Following the screening, guests will be invited to P•P•O•W’s 6th floor gallery space for their opening of Tooth and Paw, a show of works by Schneemann’s beloved feline companion, La Niña, visualized by Schneemann during the last year of her life.
Thursday, May 9th, 2019
10 am – 6 pm
Electronic Arts Intermix (EAI)
535 West 22nd St, 5th Floor
New York, NY 10011
Free admission
In a career that spanned roughly six decades and multiple disciplines-encompassing painting, sculpture, writing, performance, photography, film, video, and multimedia installations-Schneemann challenged taboos and traditions through her fiercely unapologetic, visionary work. Her early and prescient investigations into themes of gender and sexuality, identity and subjectivity, and the cultural biases of art history, as well as her fearless work bearing witness to war and political violence, laid the groundwork for an inestimable number of artists who would follow in her path. Her influence, cited by artists as varied as Barbara Hammer, Martha Rosler, VALIE EXPORT, Paul McCarthy, Pipilotti Rist, and Ragnar Kjartansson, is impossible to overstate.
Early films Viet-Flakes (1962-67, re-edited 2015) and Snows (1967-2009), unflinching responses to the atrocities of the Vietnam War, look forward to a lifelong examination of political violence, in Lebanon, Palestine, Sarajevo, Haiti, in the September 11 attack on the World Trade Center, and, most recently, in Syria.
The celebrated and notorious Meat Joy (1964, re-edited 2010), as well as Water Light/Water Needle (Lake Mah Wah, NJ) (1966), Body Collage (1967), and Illinois Central Transposed (1968-69), document Schneemann’s contributions to what she termed “kinetic theater” and to performance in the 1960s, perhaps most famously through her involvement with Judson Dance Theater. Originally shot on film in 1964 and re-edited on video in 2010, Meat Joy also represents the fruitful collaboration between Schneemann and artist Trevor Shimizu (then Technical Director at EAI), one of many videos Schneemann would edit at EAI.
The program will also include the “Autobiographical Trilogy,” Fuses (1964-67), Plumb Line (1968-71), and Kitch’s Last Meal (1973-76). Among her most influential and controversial works, the self-shot erotic film Fuses would radically transform the treatment of sex and sexuality in cinema, anticipating theorizations of a female gaze by nearly a decade. Schneemann would later write, “Perhaps because Fuses was made by a woman, of her own life, it is both a sensuous and equitable interchange; neither person is ‘subject’ or ‘object.'” Schneemann would recall, “After one of the first screenings of Fuses, a young woman thanked me for the film. … Fuses let her feel her own sexual curiosity as something natural and … she now thought she might begin to experience her own physical integrity in ways she had longed for.”
Fuses may represent a female gaze, but it is also structured by the gaze of Kitch, Schneemann’s cat and muse, as Kitch watches Schneemann and her partner James Tenney’s lovemaking. The first of Schneemann’s “muse-cats,” Kitch is mourned in Schneemann’s longest film – and one of her most powerful – the dual projection Kitch’s Last Meal. The film also includes some of Schneemann’s most incisive commentary on the status of women artists, which would reappear in her artist’s book, Cézanne, She Was a Great Painter, and in her performance piece Interior Scroll. Schneemann revisits the original 1975 Interior Scroll performance in her 1995 video Interior Scroll – The Cave. Two more “muse-cats” are featured in Infinity Kisses – The Movie (2008), in which Schneemann shares kisses with her cats Cluny and Vesper. Holland Cotter, writing in the New York Times, contends that Infinity Kisses – The Movie, edited by Schneemann at EAI in 2008, “may be her most unguardedly sensual work.”
The program will also feature Schneemann’s performative lectures, the embodied and conceptual approach to the lecture as artwork she pioneered. Including Ask the Goddess (1991), Vulva’s School (1995), Mysteries of the Pussies (1998-2010), and Americana I Ching Apple Pie (2007), the program concludes with Pinea Silva (2012), performed as part of EAI’s 40th Anniversary Benefit in December 2011.
Screenings:
Viet-Flakes
1962-67 (re-edited 2015), 8:31 min, toned b&w, 16 mm film on HD video
Meat Joy
1964 (re-edited 2010), 10:33 min, color, sound, 16 mm film on video
Fuses
1964-67, 29:37 min, color, silent, 16 mm film on HD video
Water Light/Water Needle (Lake Mah Wah, NJ)
1966, 11:13 min, color, sound, 16 mm film on HD video
Body Collage
1967, 4:12 min, b&w, silent, 16 mm film on video
Snows
1967-2009, 20:24 min, color and b&w, sound, 16 mm film on video
Illinois Central Transposed
1968-69, 18:15 min, color, 16 mm film on video
Plumb Line
1968-71, 14:27 min, color, sound, 16 mm film on HD video
Kitch’s Last Meal (Composite)
1973-76, 54:11 min, color, sound, Super 8mm film on HD video
Ask the Goddess
1991, 8:24 min, color, sound
Interior Scroll – The Cave
1995, 7:31 min, color, sound
Vulva’s School
1995, 7:15 min, color, sound
Mysteries of the Pussies
1998-2010, 7:43 min, color, sound
Americana I Ching Apple Pie
2007, 16:37 min, color, sound
Infinity Kisses – The Movie
2008, 9:18 min, color, sound, HD video
Pinea Silva
2012, 9:24 min, color, sound, HD video
Viet-Flakes
1962-67 (re-edited 2015), 8:31 min, toned b&w, 16 mm film on HD video
Meat Joy
1964 (re-edited 2010), 10:33 min, color, sound, 16 mm film on video
Fuses
1964-67, 29:37 min, color, silent, 16 mm film on HD video
Water Light/Water Needle (Lake Mah Wah, NJ)
1966, 11:13 min, color, sound, 16 mm film on HD video
Body Collage
1967, 4:12 min, b&w, silent, 16 mm film on video
Snows
1967-2009, 20:24 min, color and b&w, sound, 16 mm film on video
Illinois Central Transposed
1968-69, 18:15 min, color, 16 mm film on video
Plumb Line
1968-71, 14:27 min, color, sound, 16 mm film on HD video
Kitch’s Last Meal (Composite)
1973-76, 54:11 min, color, sound, Super 8mm film on HD video
Ask the Goddess
1991, 8:24 min, color, sound
Interior Scroll – The Cave
1995, 7:31 min, color, sound
Vulva’s School
1995, 7:15 min, color, sound
Mysteries of the Pussies
1998-2010, 7:43 min, color, sound
Americana I Ching Apple Pie
2007, 16:37 min, color, sound
Infinity Kisses – The Movie
2008, 9:18 min, color, sound, HD video
Pinea Silva
2012, 9:24 min, color, sound, HD video
About EAI
Founded in 1971, Electronic Arts Intermix (EAI) is a nonprofit arts organization that fosters the creation, exhibition, distribution, and preservation of moving image art. A New York-based international resource for media art and artists, EAI holds a major collection of over 3,800 new and historical media artworks, from groundbreaking early video by pioneering figures of the 1960s to new digital projects by today’s emerging artists. EAI works closely with artists, museums, schools and other venues worldwide to preserve and provide access to this significant archive. EAI services also include viewing access, educational initiatives, extensive online resources, technical facilities, and public programs such as artists’ talks, screenings, and multi-media performances. EAI’s Online Catalogue is a comprehensive resource on the artists and works in the EAI collection, and features expansive materials on media art’s histories and current practices: www.eai.org
This program is supported, in part, by public funds from the New York City Department of Cultural Affairs, in partnership with the City Council, and New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature.
Accessibility Information: Our space is on the fifth floor and is wheelchair accessible via elevator. There are two non-gender-segregated and wheelchair accessible bathrooms. If you have any accessibility-related questions, please email info@eai.org for more information.
Our mailing address is: 535 West 22nd St, 5th Fl, New York, NY 10011
Our phone number is: (212) 337-0680
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14. Ayana Evans, FF Alumn, at NADA, Governor’s Island, NY, May 4 and more
Hey, Hey, Hey!
So as you might have heard on social media… I’m show with NADA!
Starting this weekend, I will be participating in their summer programming that includes presentations by over 45 artists from NADA Member galleries and non-profits across 34 rooms in three historic, turn-of-the-century Colonial Revival houses. This exhibition will be open to the public every weekend, Friday through Sunday, 11 am-5 pm from May 2nd – August 4th. My first set of performances for this project are THIS Saturday at 1 pm and 3 pm. (Full details below.)
“My Colonial Get-Away, Fu** It, I Ain’t Budgin'”
Location: NADA House, House #403, Colonels Row, Governors Island
Price: Free
Open 11 am – 5 pm.
Performance Times: 1 p.m. and 3 p.m
They will not be identical performances.
*Sponsored by the EFA Robert Blackburn Print Making Workshop (EFA-RBPW)
My immersive installation will include: hand painted the walls, lithographs with chine collé on plexi-glass printed at EFA Robert Blackburn Printmaking Workshop,custom fabrics that function as over-flowing curtains in the space, and a video installation featuring my collaborative performance from Ghana’s Chale Wote Festival with Tsedaye Makonnen, Nana Ama Bentsi-Enchill, Megan Livingston. Both the plexi-glass prints and the soft sculpture curtains will be for sale as part of a limited edition publication created in collaboration with The EFA Robert Blackburn Printmaking Workshop.The entire installation is based on my own painted references to the signature outfit of my Operation Catsuit series.
There will also be special programming on July 13th (time TBD) and a closing performance Aug 4th at 3 pm.
Hopefully, you can see the installation before it closes!
I should also mention that Artnet made this post, which included “My Colonial Get-Away…” in its list of:
Editors’ Picks: 18 Things Not to Miss in New York’s Art World, Frieze Week Edition
Artist Ayana Evans. Photography by Bob Krasner, courtesy of EFA.
12. “Ayana Evans: My Colonial Get-Away, Fu** It, I Ain’t Budgin'” at NADA House
As one of the rising talents exhibiting in NADA’s new summer-long program on Governors Island, cross-disciplinary artist Ayana Evans has engineered a “feminist takeover” of part of the alliance’s temporary installation space in three historic houses. For one afternoon only, Evans will lead a participatory, mobilized performance that brings to life her show’s interest in re-examining social frameworks, leveraging the aspirational value of fantasy, and honoring a cat-suited, tiger-striped defiance that can create real change against all odds.
-Tim Schneider
I promise I didn’t pay him to write that, but boy I wish I had. He deserves it. Ha!
More soon! Xx,
Ayana
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15. Jim Johnson, FF Alumn, new book published
I’m pleased to announce the publication of my new book, Snares & Cages. Now available at Lulu.com:
http://www.lulu.com/shop/jim-johnson/snares-cages/paperback/product-24060024.html
Happy May Day!
Jim
Jim Johnson
jim@discopie.com
www.discopie.com
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16. Mark Bloch, FF Alumn, now online at artefuse.com
Mark Bloch on Donald Sultan’s new paintings on Artefuse
https://artefuse.com/2019/04/23/donald-sultan-mimosa-paintings-and-drawings-at-ryan-lee/
“Donald Sultan: Mimosa Paintings and Drawings at Ryan Lee”
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17. Harley Spiller, Donna Henes, FF Alumns, at City Reliquary, Brooklyn, May 18
Come one come all to help me celebrate my 60th birthday on Saturday May 18, from 3-9 pm at City Reliquary Museum, 370 Metropolitan Avenue, Brooklyn. The special exhibition on view is “Psychic City.” Urban Shaman Momma Donna Henes will attend! You and yours are invited to dress in your mystical best. There will be readings and pizza and beer and fun for all ages. In lieu of gifts please consider a tax-deductible donation to City Reliquary, a 501(c)3 non-profit organization.
Thank you and hope to see you there…Harley 917-553-4831
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Goings On is compiled weekly by Harley Spiller
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