Contents for November 15, 2021
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1. Martha Wilson, FF Alumn, publishes Journals with mfc-michèle didier
2. Coco Fusco, Autumn Knight, Julie Tolentino, FF Alumns, receive Anonymous Was A Woman Award
3. Cecilia Vicuña, FF Alumn, live online at Open Exchange, Nov. 16
4. Jessica Blinkhorn, Arantxa Araujo & Verónica Peña & Yali Romagoza, Barbara Rosenthal, FF Alumns, at Alive at Satellite, Miami, FL, Nov. 30-Dec. 4
5. Ana Mendieta, FF Alumn, now online in The New York Times
6. Judith Bernstein, FF Alumn, at Kasmin, Manhattan, opening Nov. 18
7. Kenneth King, FF member, new publication, and more
8. Ted Stamm, FF Alumn, at the San Jose Museum of Art, CA, thru April 3, 2022
9. Beverly Naidus, FF Alumn, at Tacoma Community College Gallery, WA, thru Dec. 10
10. Roberta Allen, FF Alumn, now online at Donald Friedman
11. Judith Ren-Lay, FF Alumn, now online in Rat’s Ass Review, and more
12. Crystal Z Campbell, FF Alumn, at Microscope Gallery, Manhattan, thru Dec. 4
13. Julie Harrison, FF Alumn, now online in Interalia Magazine, and more
14. Barbara Kruger, FF Alumn, now online in the New York Times
15. LAPD, FF Alumns, in Gladys Park, Los Angeles, CA, Nov. 20
16. Galinsky, FF Alumn, at Main Event Gallery, Manhattan, Nov. 17 and more
17. Ann Marie LeQuesne, FF Alumn, at The Play Deck, London, UK, Nov. 28
18. Ray Johnson, FF Alumn, at The Art Institute of Chicago, IL, Nov. 26, 2021-Mar. 21, 2022
19. Mark Bloch, FF Alumn, now online at WhiteHotMagazine.com
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Weekly Spotlight: Anna Mosby Coleman, FF Alumn, now online at https://franklinfurnace.contentdm.oclc.org/digital/collection/p17325coll1/id/3/rec/28
In her live solo performance an non; Anna Mosby Coleman creates an environment implementing sounds of running water in conjunction with the semantics of anonymity, identity, and acts of service. As the performer in this context, she functions as an object, a screen, whereon a video projection plays. Simultaneous projections serve as environmental parameters; and Coleman chants low-semantic prayers from dictionary entries as an non’s interactive elements of water and air evoke heaven in a bathroom, kitchen, or laundry.
Anna Mosby Coleman can be reached at annamosbycoleman@gmail.com and sometimes at @annalogous on social media.
The artist can also be contacted at the following website:
https://annamosbycoleman.org/
Thank you.
Please watch the video by visiting the following website:
https://franklinfurnace.contentdm.oclc.org/digital/collection/p17325coll1/id/3/rec/28
Thank you.
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1. Martha Wilson, FF Alumn, publishes Journals with mfc-michèle didier
Martha Wilson
Journals
27.9 × 21.6 cm
272 pages
English
Offset printing
Includes a postcard as a bookmark
The book is covered with a dust jacket
Limited to 400 copies signed by the artist
1965-1983 / 2021
Journals is produced and published by mfc-michèle didier
Journals is Martha Wilson’s selection of pages from her journals, documenting her experience as a woman and artist between 1965 and 1983. Setting up an inner dialogue, Journals is punctuated by personal notes, work notes, considerations, addresses to herself and to her relatives. The publication reconstructs the psyche of an artist in the making, staging her work but also its representation in a form of introspection that mirrors her own performance practice.
To order your copy at the price of 99 euros, please visit the following website:
https://www.micheledidier.com/en/oeuvre/details/421/martha-wilson-journals
Thank you.
We remain at your disposal for any information, do not hesitate to contact us by email at info@micheledidier.com or by phone + 33 (0)6 09 94 13 46
mfc-michèle didier
66, rue Nôtre-Dame de Nazareth, F-75003 Paris
info@micheledidier.com —
Subway: République, Strasbourg Saint-Denis, Arts et Métiers, Temple
For more information, please visit the following website:
www.micheledidier.com
Thank you.
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2. Coco Fusco, Autumn Knight, Julie Tolentino, FF Alumns, receive Anonymous Was A Woman Award
Hello!
We are pleased to write to share news of this year’s Anonymous Was A Woman Award recipients:
Nanette Carter
Oletha DeVane
Adama Delphine Fawundu,
Anita Fields
Coco Fusco
Renée Green
Judithe Hernández
Suzanne Jackson
Autumn Knight
Adia Millett
Anna Sew Hoy
Julie Tolentino
Dyani White Hawk
Marian Zazeela
The announcement of the 2021 winners can be viewed at the following website:
https://www.anonymouswasawoman.org/
Thank you.
Also included are links to our original announcement on ArtNews
Now in its 26th year, the program has awarded over $6 million to some 265 women-identifying artists. While AWAW typically recognizes ten artists per year, donations from two generous supporters have enabled the organization to recognize four additional artists per year in 2021, 2022, and 2023. Three additional awards per year are made possible by the Meraki Artist Award, a new initiative funded by a Boston-based philanthropist who wishes to remain anonymous at this time; one additional award is made possible by an anonymous donor.
“Women supporting women…as natural as breathing.”
With best regards,
Susan Unterberg, Founder
Gaby Collins-Fernandez, Director
Lorraine Helvick, Administrator
Anonymous Was A Woman
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3. Cecilia Vicuña, FF Alumn, live online at Open Exchange, Nov. 16
Open Exchange offers a platform for audience members and special guests to sit together in an open, non-hierarchical way and create a space for narratives and collective knowledge.
In our inaugural iteration of Open Exchange, artist and poet Cecilia Vicuña, musician Ricardo Gallo, and art historian Carla Macchiavello, collaborate for the first time in an improvisation of sound, no-language, thoughts, and words. Their shared stories of living and working in New York, Colombia, and Chile shed light on a quest for communal knowledge that may provide a key for action in the face of current ecological and social crises.
Register for the November 16th program beginning at 7 pm EST by visiting the following website: https://www.eventbrite.com/e/open-exchange-cecilia-vicuna-carla-macchiavello-ricardo-gallo-tickets-203067158337?aff=odeimcmailchimp&mc_cid=a818a6af52&mc_eid=2365311626
Thank you.
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4. Jessica Blinkhorn, Arantxa Araujo & Verónica Peña & Yali Romagoza, Barbara Rosenthal, FF Alumns, at Alive at Satellite, Miami, FL, Nov. 30-Dec. 4
Please visit the following website:
https://www.performanceisalive.com/news/announcing-alive-at-satellite-miami-2021-selected-artists
Thank you.
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5. Ana Mendieta, FF Alumn, now online in The New York Times
Please visit the following website:
https://www.nytimes.com/2021/11/09/t-magazine/ana-mendieta-brunch.html?searchResultPosition=1
Thank you.
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6. Judith Bernstein, FF Alumn, at Kasmin, Manhattan, opening Nov. 18
Judith Bernstein
Gasligting Forever
At Kasmin
514 West 28th Street
New York, Ny
Opening Thursday, November 18, 6-8pm
November 18 – January 8, 2022
Tuesday – Saturday, 10am – 6pm
212.563.4474
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7. Kenneth King, FF member, new publication, and more
Kenneth King, FF Member, New Novel “The Glass Pond” Just Published
For more information, Amazon & Publisher links, please visit the following website: www.kennethkingmedia.com
Thank you.
Time, memory, and music create an unexpected looking glass as two lifelong friends reconnect after several years. Eric Seever, an award-winning author, emails Julian Forbes, the internationally renowned violinist touring India, to help him solve a mystery. Eric has just discovered the secret identity of the author whose book helped him to foretell the personal computer and Internet a decade before they occurred. When Julian returns, they meet at Max’s Comedy Club in Greenwich Village to see Eric’s madcap comedienne sister, Edith, perform her over-the-top act. Soon they begin making unusually wide-ranging discoveries about the interlocking puzzles connecting their past and future.
All my novels are informational; this one is more personal and emotional: “.. will likely inspire new connections about life, death, and art.” Kirkus Reviews
and
New YouTube Movies
Mr. Snail 4 Kids is an adaptation of a performance art piece for children (and adult children, too!) of one of my goofier characters. Mr. Snail, “the slowest animal in the world” tells kids about the secrets and mysteries of space, time, and animals while riffing with his pal, Mr. Parrot.
When originally performed live, the New York Times remarked: “The world has finally caught up with Kenneth King… At his best he is a snail, with huge antennae, inching up in a chair in ‘Ask Mr. Snail.’”
Both Mr. Snail 4 Kids and Mr Snail & Mr. Parrot are on my YouTube channel at:
https://www.youtube.com/channel/UC-iah2fbVd0rJw6H021ZHcw
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8. Ted Stamm, FF Alumn, at the San Jose Museum of Art, CA, thru April 3, 2022
For more information, please visit the following website:
https://sjmusart.org/exhibition/break-bleed
Thank you.
Friday, June 4, 2021–Sunday, April 3, 2022
Organized by Rory Padeken, curator
The circle and the square. Verticals, swoops, and folds. Flat planes and sensuous surfaces. Colors bright and vibrant. During the late 1950s and 60s, artists began to diverge from the painterly, gestural approaches of Abstract Expressionism in favor of what the American art critic Clement Greenberg in 1964 called “post-painterly abstraction.” Artists moved in a variety of directions, some in pursuit of paintings pure in color and open in composition while others toward structured, linear designs using familiar geometric shapes. Rejecting a loose application of paint, these artists stained their unprimed canvases or created flat planes of color devoid of any distinctive mark making.
Drawn primarily from SJMA’s permanent collection, Break + Bleed features both paintings and works on paper by historically significant artists who exemplify the spirit of post-painterly abstraction through an expansive range of styles including hard-edge abstraction, Color Field painting, Op art, Minimalism, and soft-edge abstraction. Artworks in this exhibition feature biomorphic and geometric shapes, angular and wavy lines, and lively planes of color. The work of Josef Albers—from his celebrated series devoted to the square, exploring the subjective experience of color—may be the most recognizable. For Karl Benjamin, interlocking and sometimes twisted shapes created energetic color associations and incongruous patterns. This exhibition also features contemporary artists like Linda Besemer, Patrick Wilson, and others who are pushing post-painterly abstraction into new territories.
Like the break of a line or page and the bleed of various elements beyond the edge or boundary of a certain area, the artworks in Break + Bleed oscillate between ideas of linearity and geometry and overlapping planes of color and form. The exhibition also features work by Joachim Bandau, Ilya Bolotowsky, Naomi Boretz, Guy John Cavalli, Mary Corse, Tony DeLap, Sam Francis, Stephen French, Sonia Gechtoff, Amy Kaufman, Patsy Krebs, Richard Lodwig, Helen Lundeberg, Brice Marden, John McLaughlin, John M. Miller, Winston Roeth, David Simpson, Frederick Spratt, Ted Stamm, Frank Stella, Amy Trachtenberg, Don Voisine, and Robert Yasuda. Also included are key loans by Nicole Phungrasamee Fein from the Bay Area and Los Angeles based–artist Eamon Ore-Giron, as well as a recently acquired multi-panel painting from 1975 by San Francisco–born artist Leo Valledor.
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9. Beverly Naidus, FF Alumn, at Tacoma Community College Gallery, WA, thru Dec. 10
Announcing Beverly Naidus’s solo exhibition at the Tacoma Community College Gallery, November 1st-December 10th, reception on Friday, December 3rd, 5-7 pm.
“The Dead Ocean Scrolls and other Possible Futures” is a new series that speaks to the precarity of this moment on our planet and imagines strategies for responding to many of the challenges we currently face. This solo exhibition includes a series of “Pandemic Healing Deities” (all digitally painted) as well as sculptural, interactive “Story Hive” where visitors can leave their own stories about how they have navigated this time and what they are imagining that we can co-create in this time of deconstructing oppressive systems as we witness the continuing collapse of modernity.
Part of the current exhibit includes large hanging “scrolls” made from a hand-sewn patchwork of scrap plastic, tracing paper, thread, digital prints, and paint. Previously these scrolls were known as “trauma curtains” and were part of the installation “We Almost Didn’t Make It,” exhibited at COCA in Seattle and ONCA in Brighton, England in 2018.
During the Pandemic time, Naidus spent time reflecting on the impossibility of healing those traumas and was reminded that thinking things were impossible to solve was part of the problem. She took inspiration from lots of speculative fiction, the Emergent Strategy Institute, and recent findings by radical anthropologists and historians, and began reimagining antidotes to the current dystopia. This practice required writing, meditation, working in the dirt of her garden, lots of discussions, and processing the complex layers of emotions via painting and sewing.
Naidus’ imagination became fixated on dystopic futures and the temporality of humans on earth when she first read Hiroshima by John Hersey in 6th grade. She learned to process her nightmares as art works all through her 20s and early 30s. Her goal then was to awaken others who might be numb, cynical, or disengaged and hopefully get them disturbed enough to become activists to change things. By her mid-30s, she had begun training with Joanna Macy and Thich Nhat Hanh, and she was exposed to the theoretical framework of reconstructive visions as laid out by social ecology. Her intentions for her work began to shift. She began explicitly inviting the stories of others into her process and facilitated workshops to help us dream into another future. It became clear to her that when a numb person heard that the house was on fire, they often would shut down, but when their vulnerability was touched by another’s dream or story, they might feel a sense of connection that was powerful enough to awaken to their inner activist and dreamer.
The use of plastic as a material is laden with significance for her. Her late father was a chemical engineer who designed and manufactured plastics. He was also a lifelong gardener who sprayed the fruit trees with pesticides. It was the cutting-edge technology of that time, and the tragic impacts were not yet widely known – only Rachel Carson’s classic Silent Spring was there to warn us. As a result of her early exposure to these toxins, as well as the aerial spraying of Malathion in southern California during the nine years she lived in Los Angeles, she became disabled in her late 30s and early 40s by an environmental illness. Even though she identified as someone concerned about the environment before the illness, the experience of being profoundly touched by ecocide and meeting others similarly disabled changed her forever. She was one of the fortunate ones who recovered. Her healing process included a combination of modalities and protocols that shifted her body’s chemistry and immune system, and art-making was crucial to that process. The project, CANARY NOTES: The Personal Politics of Environmental Illness that investigated the origins of pesticides and the corruption involved in marketing them, along with her Healing Deity series helped her connect to her spiritual and creative strengths and catalyzed a profound shift that lifted her out of her disability.
Although she continues to navigate the modern world of industrial chemicals with caution, this somatic experience of ecocide deeply influenced her creative voice. The ability that her body has had to heal and transform, despite what could have been a permanent limitation, has informed her imagination in a powerful way. While she is not at all certain that the worst aspects of ecocide can be avoided, she has been looking at the neuroplasticity of the brain (another fascinating use of the word plastic) and attempting to reimagine our future with a trust that often seems irrational. Since that which cannot be explained logically has informed aspects of her art for most of her life, she will continue to believe that solutions to our current problems may exist in realms currently unknown. She has tried to depict some of these questions and reflections in the “Dead Ocean Scrolls and other Possible Futures.”
As Naidus was reworking the curtains into scrolls, she found that the motif of the web spoke most vividly of the necessity to see our current problems as interconnected. A new series of digitally painted, Pandemic Healing Deities peek out of the plastic folds, bulges, and blisters, like change agents emerging to shift the energy and create transformation. A limited-edition of prints of the Pandemic Healing Deities will be available for purchase on Etsy.
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10. Roberta Allen, FF Alumn, now online at Donald Friedman
To read the article, please visit the following website:
https://donaldfriedman.com/2021/07/27/roberta-allen-art-and-language-as-one/
Thank you.
Video interview to come.
For more information about Roberta Allen, please visit the following website:
www.robertaallen.com
Thank you.
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11. Judith Ren-Lay, FF Alumn, now online in Rat’s Ass Review, and more
Friends,
Roderick Bates of Rat’s Ass Review accepted two of my poems for the Winter 2021 issue.
“Threes” and “Coupling”
You can view these poems here:
http://ratsassreview.net/?page_id=3927#Ren-Lay2
Thank you.
Also Phillip X. Levine accepted “Sensualist” for the November 2021 issue of Chronogram.
It’s the 6th poem of 15 on this link.
You can view it at the following website:
https://www.chronogram.com/hudsonvalley/poetry-november-2021/Content?oid=14135904
Thank you.
In this world of virtuality, I am happy to be included.
All the best,
j
For more information about the artist, please visit the following website:
judithren-lay.com
Thank you.
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12. Crystal Z Campbell, FF Alumn, at Microscope Gallery, Manhattan, thru Dec. 4
Please visit the following website:
https://microscopegallery.com/crystal-z-campbell-notes-from-black-wall-street/
Thank you.
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13. Julie Harrison, FF Alumn, now online in Interalia Magazine, and more
I’m thrilled to have an article entitled “Julie Harrison’s Bodies” in Interalia Magazine, written by critic, poet and publisher extraordinaire Kimberly Lyons. Interalia Magazine is dedicated to the interactions between the arts, sciences and consciousness. Issue #68, Meeting Points, is edited by Richard Bright, a prolific artist and writer in his own right.
For more information about the article, please visit the following website:
https://www.interaliamag.org/articles/julie-harrisons-bodies/
Thank you.
For more information about Kimberly Lyons and Richard Bright, please visit the following websites:
https://www.poetryfoundation.org/poets/kimberly-lyons
https://www.richardbrightart.com/interalia-magazine
Thank you.
I’m also very happy to be spending the month of November in Pasadena California as an artist-in-residence at The Residency Project (TRP). I’ll post more on Instagram soon.
For more information about The Residency Project, please visit the following website:
https://www.theresidencyproject.org
Thank you.
For the author’s instagram, please visit the following website:
https://www.instagram.com/julie_harrison_nyc/
Thank you.
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14. Barbara Kruger, FF Alumn, now online in the New York Times
To read the article, please visit the following website:
https://www.nytimes.com/2021/11/11/arts/design/barbara-kruger-art-institute-review.html?referringSource=articleShare
Thank you.
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15. LAPD, FF Alumns, in Gladys Park, Los Angeles, CA, Nov. 20
Public Conversation
Creating a Compassionate Community
Engaged Women in Skid Row
Saturday, November 20, 2pm.
In Gladys Park – soon General Jeff park, 808 E. 6th Street
(corner E. 6th street and Gladys Avenue)
With Soma Snakeoil, Monique Noel, Josie Mattson, Natosha Smith and moderated by Cathy Gudis.
LAPD’s project “Compassion & Self-Deception” takes on the mind-boggling contradictions of a city (ours) that votes to create housing for houseless people –and then doesn’t want any of it built anywhere near them: whether that be permanent housing, or temporary housing.
The November 20 conversation, moderated by UCR Public History Professor Cathy Gudis, will be an opportunity to dialogue further about the moral crisis—what perpetuates it and how to undo it.
Soma, Monique, Josie, and Natosha came together with other engaged women in Skid Row to write a letter and submitted an Amicus Brief in response to the lawsuit against the City and County of Los Angeles brought by the LA Alliance for Human Rights. The women will elaborate on the concerns that motivated their Amicus Brief: the lawsuit’s misrepresentation of the Skid Row community and its history, intended to displace Skid Row community members and disappear Skid Row.
Panelists will address 41.18, sweeps, Project Room Key, the takeover of public space and the significance of the historical boundaries of Skid Row. The engaged women who signed the amicus brief will be present for this conversation. And we invite all Skid Row residents, service organizations and officials to join in this conversation.
Los Angeles Poverty Department will perform excerpts from their performance The New Compassionate Downtown, prior to the conversation.
About the panel:
Cathy Gudis is a professor of history at the University of California, Riverside, a longtime participant in Los Angeles Poverty Department projects, and a scholar-in-residence at the Skid Row History Museum & Archive. She is interested in how we can activate Skid Row community history to generate current-day social justice.
Soma Snakeoil is Executive Director of The Sidewalk Project, a street-based harm reduction organization with chapters in 5 cities, including a mobile SSP in Skid Row. She is an artist, activist, Dominatrix and playwright. Soma’s passion for the houseless community comes from lived experience as a long-term former PWUD, being unhoused, and almost 18 years of the spectrum of sex work, including survival sex.
Monique Noel leads on Women’s Justice and is Director of Development & Special Projects at the Los Angeles Community Network (LACAN). She is a Womanist, Pan Africanist, activist, organizer and Doula connected with various national and international causes advancing social justice. Monique has a background in international human rights law, is part of the Black Migrant Legal Support Network in Los Angeles and is a Board member of BAJI. In supporting women in their power Monique organizes healing and empowerment activities for women of color.
Josie Mattson has been a registered nurse and public health nurse for 14 years and has spent the last 6 years working in Skid Row, doing outreach and direct patient care. She focuses on adapting the delivery of healthcare services to meet the needs of the population served. She follows principles of harm reduction, trauma informed care, and stigma elimination in her work.
Natosha Smith is a visual artist who enjoys painting murals. A native to Los Angeles who spends her free time fighting for human civil rights, women’s equality, freedom, and justice for all. She is an active member of LA Poverty Department, DWAC and a LACAN freedom singer. A poetess, designer, activist, and organizer who is proud to use her artistry as a tool to fight against oppression.
About LA Poverty Department’s Compassion & Self-Deception Project:
The project includes three elements: 1. LAPD’s recent performance, “The New Compassionate Downtown,” that dared to imagine a downtown that draws people to it who value the wisdom and compassionate practice exemplified by Skid Row residents and workers. 2. Robby Herbst’s Guide, the twelve-page broadsheet exploring the socio-emotional impact of Los Angeles’ housing catastrophe: “Compassion and Self Deception: A Guide To Los Angeles’ Moral Crisis.” You can get your Guide at the event. And 3. A series of public conversations:
The first conversation, “Creating the Compassionate City,” took place May 6th with arts and social change practitioners Karen Mack, LA Commons; Charles Porter, UCEPP and Jeremy Liu, PolicyLink, moderated by John Malpede. The conversation addressed not just the creation of housing but importantly, the creation of agency for all city residents to envision and determine their futures.
The second conversation, “Compassion & Self-Deception,” was July 1 with visual artist Robby Herbst, Matt Harper of the LA Catholic Worker community, and Los Angeles based activist, rabbi, and scholar, Aryen Cohen who all contributed their thoughts to the Guide. UCR Professor of religious studies, Michael Scott Alexander moderated the conversation around the questions: “How Should an Angelino React to the Suffering They Encounter on a Daily Basis?” And: How can we understand Los Angeles – a living contradiction. A place where some people put care for the civic body above all else, while others, in the words of Curtis Mayfield, “would hurt all mankind just to save his own.”
The public conversations will continue throughout the fall and winter of 2021.
This event “Creating a Compassionate Community: Engaged Women in Skid Row,” is the third conversation in the series. This public conversation was made possible with support from California Humanities, a non-profit partner of the National Endowment for the Humanities.
For more information, please visit the following website:
Calhum.org
Thank you.
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16. Galinsky, FF Alumn, at Main Event Gallery, Manhattan, Nov. 17 and more
Galinsky FF Alumn Presents…… Book Launch Party with Daniel Pinchbeck at the Main Event Gallery, 11.17.21 7:00-9:00 pm
Join us at “The Main Event Gallery” (42 Avenue B in the East Village NYC) for the paperback release of Daniel Pinchbeck’s book, When Plants Dream: Ayahuasca, Amazonian Shamanism, and The Global Psychadelic Rennaissance. Pinchbeck will be giving a speech and the gallery will be open for viewing. Free Admission, 21+ With Vax Card
Galinsky FF Alumn Presents…… Poetry In New York At Book Club Bar, featuring 4 great poets
Every third Thursday of the month at 8pm Galinsky presents Poetry in New York at Book Club Bar 197 East 3rd street in the East Village NYC. Free Admission Free Speech featuring: Luxlun, Peggy Robles-Alvarado, Tongo Eisen-Martin (poet laureate of San Francisco) and Galinsky.
Galinsky FF Alumn Presents… Smoke and Sketch at The Main Event Gallery 11.23.21 8:00-11:00pm
Smoke, puff, & create. Join us for a one night journey through art and your expression. Come to draw and share stories with hip hop artist Jungle, and share artistic insight with artist Cait. We provide paper, pads, pencils, and TME Medicinals.
To RSVP, please visit the following website:
smokeandsketch.eventbrite.com
Thank you.
21+ With Vax Card Only
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17. Ann Marie LeQuesne, FF Alumn, at The Play Deck, London, UK, Nov. 28
Ann Marie LeQuesne invites you to “Play”
Sunday Nov 28 – 1 pm
The Play Deck
80 Lincoln Court
Bethune Road
London N16 4EA
The games offered are minimal so I would like you to decide how to use them. What are the rules? Are there teams? Please come to the play deck at 1 PM and “Play” will begin. I will be filming from four floors up. Look forward to seeing you!
“Play” is the 24th Annual Group Photograph
For more information, please visit the following websites:
www.amlequesne.com
www.vimeo.com/annmarielequesne
www.theannualgroupphotograph.com
Thank you.
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18. Ray Johnson, FF Alumn, at The Art Institute of Chicago, IL, Nov. 26, 2021-Mar. 21, 2022
Ray Johnson C/O
The Art Institute of Chicago
November 26, 2021 – March 21, 2022
Ray Johnson c/o brings together more than 200 works from across the artist’s multidisciplinary practice in the most exhaustive exhibition of Johnsoniana in over two decades. Presented at the Art Institute, it is organized by Caitlin Haskell, Gary C. and Frances Comer Curator, Modern and Contemporary Art, with Jordan Carter, associate curator, Modern and Contemporary Art.
Caitlin Haskell remarked, “With the acquisition of the William S. Wilson Collection of Ray Johnson in 2018-19, the Art Institute immediately became a leading center for the research and exhibition of Johnson’s extraordinary body of work, particularly his radical reconceptions of art in the 1950s and 60s. Ray Johnson c/o opens up the Wilson Archive to the public for the first time since its arrival in Chicago, and suggests a new approach to Johnson as an orchestrator of complex interpersonal collaborations by following the paper trails that particular correspondents amassed and preserved.” Co-Curator Jordan Carter added, “Rather than presenting a singular Ray Johnson, the exhibition acknowledges that the artist, through his exchanges, cultivated multiple personas. So that, in a sense, everyone had their own Ray Johnson. Like the members of the NYCS, visitors to the exhibition will encounter the material, conceptual, and essentially social dimensions of works by a truly interdisciplinary artist who choreographed deeply personal collaborations through the mail—each offering a fragment of Ray and a unique perspective into his fugitive practice.”
Ray Johnson c/o takes an all-embracing view of the artist’s interdisciplinary bodies of work, featuring an extraordinary group of his most celebrated collages, and reexamining lesser-known projects that have been seen traditionally as peripheral to his studio practice. The exhibition is accompanied by a major scholarly publication designed by Irma Boom and a companion project, c/o Tender Buttons, organized by Jennifer Cohen, assistant research curator in the Director’s Office.
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19. Mark Bloch, FF Alumn, now online at WhiteHotMagazine.com
https://whitehotmagazine.com/articles/other-art-fair-in-brooklyn/5204]
Mark Bloch covers
The Other Art Fair in Brooklyn in Whitehot Magazine
I enjoyed the Other Art Fair, the first fair I have been to since the Spring Break event that took place the month that the pandemic kicked in, in early March of 2020. This time, with COVID on the run but still very much here, I decided to go ahead and visit the Other Art Fair on Sunday afternoon, not realizing it was the day of the New York Marathon… The Other Art Fair in Brooklyn, billed as “an art fair for a new generation of art buyers,” was an opportunity to visit with an effusive and enthusiastic selection of some 130 independent, veteran, and up and coming artists…. This was not a place for particularly political art or a showcase for time-based work but was instead a solid venue for two-dimensional imagery in a variety of media…. A project called “Drawn on the Way” invited visitors to wear round stickers identifying themselves as works of art. Participants were inviting illustrator Sara Nisbett, roaming the crowd, to create spot illustrations of them as visitors as “spontaneous works of art, creating a living art gallery.” I also roamed the vast space, talking process with several of the exhibitors to get a feel for the show and their guests. (excerpt)
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Goings On is compiled weekly by Joanna Seifter, Fall Intern, 2021
