Artists Space

Currently & Emotion: Translations Sophie Collins Valeria Luiselli Uljana Wolf Discussion Documentation Wednesday, March 1, 2017 Artists Space Books & Talks 55 Walker Street http://artistsspace.org/materials/currently-and-emotion

Justin Allen Rin Johnson Diamond Stingily Deborah Willis Reading Documentation Tuesday, February 21, 2017 Artists Space Books & Talks 55 Walker Street http://artistsspace.org/materials/allen-johnson-stingily-willis

Justin Allen Rin Johnson Diamond Stingily Deborah Willis Reading Documentation Tuesday, February 21, 2017 Artists Space Books & Talks 55 Walker Street http://artistsspace.org/materials/allen-johnson-stingily-willis

Justin Allen Rin Johnson Diamond Stingily Deborah Willis Reading Documentation Tuesday, February 21, 2017 Artists Space Books & Talks 55 Walker Street http://artistsspace.org/materials/allen-johnson-stingily-willis

Justin Allen Rin Johnson Diamond Stingily Deborah Willis Reading Documentation Tuesday, February 21, 2017 Artists Space Books & Talks 55 Walker Street http://artistsspace.org/materials/allen-johnson-stingily-willis

Here Is Information. Mobilise. Selected Writings by Ian White Book Launch & Readings Documentation Tuesday, February 14, 2017 Artists Space Books & Talks 55 Walker Street http://artistsspace.org/materials/here-is-information-mobilise

Here Is Information. Mobilise. Selected Writings by Ian White Book Launch & Readings Documentation Tuesday, February 14, 2017 Artists Space Books & Talks 55 Walker Street http://artistsspace.org/materials/here-is-information-mobilise

Here Is Information. Mobilise. Selected Writings by Ian White Book Launch & Readings Documentation Tuesday, February 14, 2017 Artists Space Books & Talks 55 Walker Street http://artistsspace.org/materials/here-is-information-mobilise

Here Is Information. Mobilise. Selected Writings by Ian White Book Launch & Readings Documentation Tuesday, February 14, 2017 Artists Space Books & Talks 55 Walker Street http://artistsspace.org/materials/here-is-information-mobilise

Here Is Information. Mobilise. Selected Writings by Ian White Book Launch & Readings Documentation Tuesday, February 14, 2017 Artists Space Books & Talks 55 Walker Street http://artistsspace.org/materials/here-is-information-mobilise

Here Is Information. Mobilise. Selected Writings by Ian White Book Launch & Readings Documentation Tuesday, February 14, 2017 Artists Space Books & Talks 55 Walker Street http://artistsspace.org/materials/here-is-information-mobilise

Here Is Information. Mobilise. Selected Writings by Ian White Book Launch & Readings Documentation Tuesday, February 14, 2017 Artists Space Books & Talks 55 Walker Street http://artistsspace.org/materials/here-is-information-mobilise

Here Is Information. Mobilise. Selected Writings by Ian White Book Launch & Readings Documentation Tuesday, February 14, 2017 Artists Space Books & Talks 55 Walker Street http://artistsspace.org/materials/here-is-information-mobilise

Here Is Information. Mobilise. Selected Writings by Ian White Book Launch & Readings Documentation Tuesday, February 14, 2017 Artists Space Books & Talks 55 Walker Street http://artistsspace.org/materials/here-is-information-mobilise

Here Is Information. Mobilise. Selected Writings by Ian White Book Launch & Readings Documentation Tuesday, February 14, 2017 Artists Space Books & Talks 55 Walker Street http://artistsspace.org/materials/here-is-information-mobilise

Here Is Information. Mobilise. Selected Writings by Ian White Book Launch & Readings Documentation Tuesday, February 14, 2017 Artists Space Books & Talks 55 Walker Street http://artistsspace.org/materials/here-is-information-mobilise

Here Is Information. Mobilise. Selected Writings by Ian White Book Launch & Readings Documentation Tuesday, February 14, 2017 Artists Space Books & Talks 55 Walker Street http://artistsspace.org/materials/here-is-information-mobilise

Here Is Information. Mobilise. Selected Writings by Ian White Book Launch & Readings Documentation Tuesday, February 14, 2017 Artists Space Books & Talks 55 Walker Street http://artistsspace.org/materials/here-is-information-mobilise

Letter to George McMillan, New York City, 1935, read by Fran Lebowitz Dear Jane Puppet Play & Readings Documentation Wednesday, January 18, 2017 Artists Space Books & Talks 55 Walker Street http://artistsspace.org/materials/dear-jane

Letter to Miriam Fligelman Levy, New York City, 1936, read by Emily Stokes Dear Jane Puppet Play & Readings Documentation Monday, January 23, 2017 Artists Space Books & Talks 55 Walker Street http://artistsspace.org/materials/dear-jane

Letter to Paul Bowles, August, 1948, read by Pamela Sneed Dear Jane Puppet Play & Readings Documentation Monday, January 23, 2017 Artists Space Books & Talks 55 Walker Street http://artistsspace.org/materials/dear-jane

Excerpt from a letter to Natasha von Hoershelman and Katharine Hamill by Jane Bowles, June 1954, read by Tiffany Malakooti Dear Jane Puppet Play & Readings Documentation Monday, January 23, 2017 Artists Space Books & Talks 55 Walker Street http://artistsspace.org/materials/dear-jane

Letter to Paul Bowles, late May/early June, 1958, read by Ariana Reines Dear Jane Puppet Play & Readings Documentation Wednesday, January 18, 2017 Artists Space Books & Talks 55 Walker Street http://artistsspace.org/materials/dear-jane

Excerpt from "Camp Cataract," 1949, read by Christine Smallwood Dear Jane Puppet Play & Readings Documentation Wednesday, January 18, 2017 Artists Space Books & Talks 55 Walker Street http://artistsspace.org/materials/dear-jane

"A Quarreling Pair," a play by Jane Bowles, staged by Nick Mauss, and starring Deborah Eisenberg and Lynne Tillman Dear Jane Puppet Play & Readings Documentation Wednesday, January 18, 2017 Artists Space Books & Talks 55 Walker Street http://artistsspace.org/materials/dear-jane

Excerpt from "Plain Pleasures," 1946, read by Gini Alhadeff Dear Jane Puppet Play & Readings Documentation Wednesday, January 18, 2017 Artists Space Books & Talks 55 Walker Street http://artistsspace.org/materials/dear-jane

Excerpt from "Two Serious Ladies," 1943, read by James Hannaham Dear Jane Puppet Play & Readings Documentation Wednesday, January 18, 2017 Artists Space Books & Talks 55 Walker Street http://artistsspace.org/materials/dear-jane

Excerpt from "Two Serious Ladies," 1943, read by Lidija Haas Dear Jane Puppet Play & Readings Documentation Wednesday, January 18, 2017 Artists Space Books & Talks 55 Walker Street http://artistsspace.org/materials/dear-jane

Letter to “Spivy” LeVoe, Deal Beach, NJ, January 29, 1937, read by Nick Mauss Dear Jane Puppet Play & Readings Documentation Wednesday, January 18, 2017 Artists Space Books & Talks 55 Walker Street http://artistsspace.org/materials/dear-jane

Excerpt from “Curls and a Quiet Country Face,” early 1950s, read by Yto Barrada Dear Jane Puppet Play & Readings Documentation Monday, January 23, 2017 Artists Space Books & Talks 55 Walker Street http://artistsspace.org/materials/dear-jane

Lise Soskolne (W.A.G.E.) Mabel Wilson David Joselit Amin Husain Eva Mayhabal Davis Nia Nottage Sneha Ganguly Conversation Documentation Saturday, November 10, 2016 Artists Space Books & Talks 55 Walker Street #decolonizethisplace www.decolonizethisplace.org

Robin D.G. Kelley Jasbir K. Puar Amin Husain Marz Saffore Conversation Documentation Friday, November 4, 2016 Artists Space Books & Talks 55 Walker Street #decolonizethisplace www.decolonizethisplace.org

Artists: NYC Is Not for Sale Nancy Meza, Defend Boyle Heights Pati Ankalli Rodriguez, Mi Casa No Es Su Case Alicia Grullón, Mothers On The Move Sandra de la Loza, North East Los Angeles Alliance Chino Mayday, NYC Not 4 Sale Raquel Namuche, Queens Is Not for Sale Anthony Rosado Samuel Stein Shellyne Rodriguez, Take Back The Bronx Discussion Saturday, October 29, 2016, 7pm Artists Space Books & Talks 55 Walker Street For more information please visit http://artistsspace.org/programs/arti... #NYCNot4Sale #DecolonizeThisPlace http://decolonizethisplace.org/

Chinatown Is Not for Sale Peter Kwong Liz Moy Margaret Lee, 47 Canal Juan Puntes, WhiteBox Betty Yu, Chinatown Art Brigade Discussion Saturday, October 22, 2016, 7pm Artists Space Books & Talks 55 Walker Street For more information please visit http://artistsspace.org/programs/chin... #ChinatownNot4Sale #DecolonizeThisPlace http://decolonizethisplace.org/

NEON Eve Essex Performance Documentation Wednesday, July 13, 2016, 7pm Artists Space Books & Talks 55 Walker Street For more information visit http://artistsspace.org/materials/neon

Yates McKee, Nina Felshin, Amin Husain, Victoria Sobel Conversation Documentation Wednesday, June 29, 2016, 7pm Artists Space Books & Talks 55 Walker Street In "Strike Art: Contemporary Art and the Post-Occupy Condition" (Verso, 2016), Yates McKee shows that during the five years since Occupy Wall Street—a period that has also witnessed the upsurge of the black liberation movement, climate justice mobilizations, the struggles of workers, debtors, students, tenants, and more—artists have increasingly embedded their practice in expanded fields of political organizing. While much such work has taken place outside the art system, in many cases it has also involved doubling back upon art institutions themselves as arenas of action in ways exceed the traditions of Institutional Critique, including the work of groups such as The Natural History Museum; Free Cooper Union; the Global Ultra Luxury Faction, known for its actions at the Guggenheim; and the recent intervention of the Decolonial Cultural Front at the Brooklyn Museum. In such work, creative direct action is coupled with long term movement-building work in which the reclaiming of certain artistic infrastructures proceeds alongside the cultivation of new political formations that far exceed the domain of art per se. This conversation takes the release of "Strike Art" as the occasion to address the following proposition: If we are seeing a move from Institutional Critique to institutional liberation (the latter being an admittedly multivalent term) it is imperative that an ethos of decolonization be developed in the process—one that draws links between struggles against displacement, dispossession and white supremacy from the occupied Lenape territory of Manhattan itself, to the frontiers of real estate speculation in New York such as Chinatown and Bushwick, and the ongoing colonization of Palestine. Webpage: http://artistsspace.org/materials/strike-art

Wednesday, March 2, 2016, 7pm Doors open 6pm Artists Space Books & Talks 55 Walker Street One of the defining characteristics of Artists Space’s work is dialogue: dialogue between artists, writers, scholars, theorists and our audiences. Artists Space Dialogues takes the simple format of a public conversation between two people. Every month renowned art historian Bettina Funcke will talk with an influential figure in the field of contemporary art and visual culture, investigating their work and thinking, their histories, trajectories, and processes. Douglas Crimp Wednesday, February 3, 2016, 7pm Sarah Morris Wednesday, March 2, 2016, 7pm John Knight Wednesday, April 13, 2016, 7pm For more information click here artistsspace.org/programs/sarah-morris

Wednesday, February 3, 7pm Doors open 6pm Artists Space Books & Talks 55 Walker Street One of the defining characteristics of Artists Space’s work is dialogue: dialogue between artists, writers, scholars, theorists and our audiences. Artists Space Dialogues takes the simple format of a public conversation between two people. Every month renowned art historian Bettina Funcke will talk with an influential figure in the field of contemporary art and visual culture, investigating their work and thinking, their histories, trajectories, and processes. Douglas Crimp Wednesday, February 3, 2016, 7pm Sarah Morris Wednesday, March 2, 2016, 7pm John Knight Wednesday, April 13, 2016, 7pm For more information click here http://artistsspace.org/programs/douglas-crimp

Talk Tuesday, January 19, 7pm Artists Space Books & Talks 55 Walker Street "Despite efforts to obscure slavery and indigenous dispossession in the genealogy and narrative of American nationhood, these realities remain deeply embedded in the relationship between race and markets where in fact race and economic domination are fused. Racial hierarchy is continually replenished through the market, while the market encodes property in accord with racial regimes. For example, "black" spaces are forever unstable, subprime, and "waste," making them always available for (re) appropriation through various technologies such as debt, (de)regulation, and development." – Cheryl I. Harris In conjunction with Cameron Rowland's exhibition 91020000, Artists Space presents a talk by Cheryl I. Harris, Professor of Law and Director of the Center for Critical Race Studies at UCLA School of Law. Harris is the author of key texts in the field of critical race theory including "Whiteness as Property" (1993) and "Equal Treatment and the Reproduction of Inequality" (2001). For more information click here: http://artistsspace.org/programs/the-afterlife-of-slavery

Mimetic Exchange: Michael Taussig on Juan Downey and Jean Rouch Screenings & Talk Wednesday, December 2, 2015, 7pm Artists Space Books & Talks 55 Walker Street In the second of a series of programs forming part of the Union Gaucha Productions survey, screenings of the films The Laughing Alligator by Juan Downey and Les Maîtres Fous (The Mad Masters) by Jean Rouch will be followed by a talk by anthropologist Michael Taussig. This audio recording documents the talk given by Taussig following screenings of the two films. Michael Taussig (born 1940 in Sydney, Australia) is a Professor of Anthropology at Columbia University in New York. Taussig's most recent book is The Corn Wolf (2015), a collection of his writing that marries storytelling with theory, and analysis with ethnography. His previous books include Beauty and the Beast (2012), What Color is the Sacred? (2009), Walter Benjamin’s Grave (2006), My Cocaine Museum (2004), Magic of the State (1997), Mimesis and Alterity (1993), and The Devil and Commodity Fetishism in South America (1980), among many other publications. For more information click here http://artistsspace.org/programs/mimetic-exchange

Jeff Preiss and Union Gaucha Productions Screenings & Discussion Thursday, November 19, 7pm Artists Space Books & Talks 55 Walker Street Filmmaker Jeff Preiss's long-term engagement with Union Gaucha Productions has encompassed the production of collaborative work, as well as sharing with Nicolás Guagnini and Karin Schneider an involvement in the co-operative exhibition space Orchard, which operated in the Lower East Side of New York between 2005 and 2008. This evening of screenings and conversation between the three artists, dedicated to Preiss's work, draws on these exchanges among others and includes the presentation of three films: the early 8mm film Boy Town (1987); Twins (2001), a 16mm film produced by Guagnini and Schneider with Preiss; and the premiere screening in 24fps HD video of Part 1 of STOP (2012), Preiss's feature-length chronicle distilled from footage shot between 1995 and 2011. This audio recording documents the discussion, between Jeff Preiss, Karin Schneider and Nicolás Guagnini, that followed the three screenings. Jeff Preiss is a filmmaker living in New York. During the eighties he became involved in the production of experimental cinema; work from this time was included in Big as Life, a History of 8mm at the Museum of Modern Art, New York, 1998. Through much of the eighties he was co-director of the pioneering Lower East Side Film series Films Charas. In 1984 he traveled to Berlin to shoot the Rosa Von Praunheim produced vampire film, Der Bis. In 1987, Preiss was invited by photographer Bruce Weber to be Director of Photography on a series of short films and two feature documentaries, Broken Noses and Let’s Get Lost — the latter winning the Venice Film Festival Critics Award and an Academy Award nomination for best documentary. After three years of collaborating with Weber, Preiss’ film career began to include directing commercials and music videos (clips for Iggy Pop, Malcolm McLaren, REM, B52s, Mariah Carey / Nike, Coke, Sony, etc) and in 2014 the feature film Low Down. In 1995 he became a partner at Epoch Films. During this period he continued to shoot experimental projects and completed a series of video installations in venues including The Whitney Museum of American Art, Musée d’art Moderne de la Ville Paris, Museum Boijmans in Rotterdam, MediaCity 2000 in Seoul Korea, and The Pompidou Center. Preiss was a founding member of the co-operatively run Lower East Side exhibition space Orchard and currently serves on the board of Light Industry. For more information click here http://artistsspace.org/programs/jeff-preiss-and-union-gaucha-productions

Juliana Huxtable & LaTasha N. Nevada Diggs Readings Friday, October 9, 7pm Artists Space Books & Talks 55 Walker Street “Performance is a bothersome word for writerly poets” writes poet Nathaniel Mackey in his essay “Sight-Specific, Sound-Specific…” from 2005. Despite twentieth century poetry’s rich tradition of performance, Mackey notes that in poetry there is often an expectation for words do the performing, as opposed to people or things. Yet, language exists beyond just words, and functions in tandem with images, gestures, bodies and technologies. In this series of readings, distinctions between the language of performance and the performance of language are blurred. Foregrounded are writerly poets who embrace images, gestures, bodies and technologies in the presentation of their poetry – as elements that don’t overshadow their poetics, but are embraced as part of its liveliness, and of reading as a social experience. The series is structured via themes of sound, the body, technology, theater and comedy. These themes offer different formal histories for poets to explore the presentation of poetic language. Juliana Huxtable and LaTasha N. Nevada Diggs both experiment with the effects of audio distortion and sampling. Sophia Le Fraga, Ian Hatcher and Alejandro Miguel Justino Crawford all utilize different digital technologies to question the ground of their poetry. Whitney Claflin and Corina Copp present relational and formal theatrical environments out of which their poetics unfold. There is an invisible architecture often supporting the surface of the poem, interrupting the progress of the poem. It reaches into the poem in search for an identity with the poem, its object is to possess the poem for a brief time, even as an apparition appears. writes Barbara Guest in her poetic essay, “Invisible Architecture” (2000). In this she understands the formal and historical context of the poem as a material that contributes to its meaning – as both apart from and a part of poetic language. Reading functions similarly; it is not a neutral action, but contributes to the meaning of the text presented. In a moment when language and presentation of self alike are understood as multiple, and bound within wider, connected systems, performance becomes a means of making the “invisible architecture” of the poem visible, and activating it as a poetic material in itself. Juliana Huxtable is an artist, poet, performer, and DJ who often uses her own body, gender fluidity, and identity as her primary subject. Huxtable’s work was featured in the 2015 Triennial, Surround Audience at the New Museum, New York (2015), as well as at MoMA PS1, New York (2014); White Columns Annual, White Columns, New York (2014); Take Ecstasy with Me, Whitney Museum of American Art, New York (2014); and Frieze Projects, London (2014), among other venues. She lives and works in New York. For more information click here http://artistsspace.org/programs/huxtable-diggs

Alejandro Miguel Justino Crawford, Ian Hatcher & Sophia Le Fraga Readings Friday, October 16, 7pm Artists Space Books & Talks 55 Walker Street “Performance is a bothersome word for writerly poets” writes poet Nathaniel Mackey in his essay “Sight-Specific, Sound-Specific…” from 2005. Despite twentieth century poetry’s rich tradition of performance, Mackey notes that in poetry there is often an expectation for words do the performing, as opposed to people or things. Yet, language exists beyond just words, and functions in tandem with images, gestures, bodies and technologies. In this series of readings, distinctions between the language of performance and the performance of language are blurred. Foregrounded are writerly poets who embrace images, gestures, bodies and technologies in the presentation of their poetry – as elements that don’t overshadow their poetics, but are embraced as part of its liveliness, and of reading as a social experience. The series is structured via themes of sound, the body, technology, theater and comedy. These themes offer different formal histories for poets to explore the presentation of poetic language. Juliana Huxtable and LaTasha N. Nevada Diggs both experiment with the effects of audio distortion and sampling. Sophia Le Fraga, Ian Hatcher and Alejandro Miguel Justino Crawford all utilize different digital technologies to question the ground of their poetry. Whitney Claflin and Corina Copp present relational and formal theatrical environments from which their poetics unfold. There is an invisible architecture often supporting the surface of the poem, interrupting the progress of the poem. It reaches into the poem in search for an identity with the poem, its object is to possess the poem for a brief time, even as an apparition appears. writes Barbara Guest in her poetic essay, “Invisible Architecture” (2000). In this she understands the formal and historical context of the poem as a material that contributes to its meaning – as both apart from and a part of poetic language. Reading functions similarly; it is not a neutral action, but contributes to the meaning of the text presented. In a moment when language and presentation of self alike are understood as multiple, and bound within wider, connected systems, performance becomes a means of making the “invisible architecture” of the poem visible, and activating it as a poetic material in itself. Ian Hatcher is a writer, programmer, and sound artist whose work explores cognition in context of digital systems. He is the author of Prosthesis (Poor Claudia 2015) and The All-New (Anomalous 2015). With Amaranth Borsuk and Kate Durbin, he is co-creator of Abra, a conjoined analog (artist's book) + digital (iOS app) poetry instrument/spellbook. >> ianhatcher.net For more information click here http://artistsspace.org/programs/crawford-hatcher-le-fraga

Juliana Huxtable & LaTasha N. Nevada Diggs Readings Friday, October 9, 7pm Artists Space Books & Talks 55 Walker Street “Performance is a bothersome word for writerly poets” writes poet Nathaniel Mackey in his essay “Sight-Specific, Sound-Specific…” from 2005. Despite twentieth century poetry’s rich tradition of performance, Mackey notes that in poetry there is often an expectation for words do the performing, as opposed to people or things. Yet, language exists beyond just words, and functions in tandem with images, gestures, bodies and technologies. In this series of readings, distinctions between the language of performance and the performance of language are blurred. Foregrounded are writerly poets who embrace images, gestures, bodies and technologies in the presentation of their poetry – as elements that don’t overshadow their poetics, but are embraced as part of its liveliness, and of reading as a social experience. The series is structured via themes of sound, the body, technology, theater and comedy. These themes offer different formal histories for poets to explore the presentation of poetic language. Juliana Huxtable and LaTasha N. Nevada Diggs both experiment with the effects of audio distortion and sampling. Sophia Le Fraga, Ian Hatcher and Alejandro Miguel Justino Crawford all utilize different digital technologies to question the ground of their poetry. Whitney Claflin and Corina Copp present relational and formal theatrical environments out of which their poetics unfold. There is an invisible architecture often supporting the surface of the poem, interrupting the progress of the poem. It reaches into the poem in search for an identity with the poem, its object is to possess the poem for a brief time, even as an apparition appears. writes Barbara Guest in her poetic essay, “Invisible Architecture” (2000). In this she understands the formal and historical context of the poem as a material that contributes to its meaning – as both apart from and a part of poetic language. Reading functions similarly; it is not a neutral action, but contributes to the meaning of the text presented. In a moment when language and presentation of self alike are understood as multiple, and bound within wider, connected systems, performance becomes a means of making the “invisible architecture” of the poem visible, and activating it as a poetic material in itself. LaTasha N. Nevada Diggs is the author of TwERK (Belladonna, 2013). Her interdisciplinary work has been featured at MoMA, the Walker Art Center and the 2015 Venice Biennale. A native of Harlem, LaTasha is the recipient of numerous awards; of them include New York Foundation for the Arts and the National Endowment for the Arts. For more information click here http://artistsspace.org/programs/huxtable-diggs

Talks & Readings Thursday, October 1, 7pm Artists Space Books & Talks 55 Walker Street Ariana Reines will open the evening with a reading of “Littoral Madness”, a section from Chris Kraus’ forthcoming critical biography of Kathy Acker, and will complete the evening with readings of her poetry. In between two talks will be delivered by Melissa Gordon and Meredyth Sparks on the value of presence in art in relation to gender, history and genius. Melissa Gordon will discuss her research into female artists who have “dropped out” of the art world, framing their actions within the wider context of feminist art’s expansion / rejection of authorship, and attempting to debunk the assumptions of failure surrounding the gesture of being absent. Touching on the fallible notion of ‘the original’ and the problematic gesture of “aggregating” as recently written about by David Joselit, Gordon will consider recent court cases around authorship in order to question where the boundaries of an artist persona / authorship are mapped in the contemporary playing field. She will discuss Cady Noland’s essay “Towards a Metalanguage of Evil”, published in the Documenta IX catalogue in 1992, as a key to understanding the “game” in which presence and absence operate. Meredyth Sparks will address the structural problems that arise in attempting to integrate “recovered” or “overlooked” artists into an art historical canon, as well as the complexities surrounding authorship as it relates to gender. Sparks will focus on two artists, the Baroness Elsa von Freytag-Loringhoven and Eileen Gray, both of whom made significant contributions to modern art, poetry and architecture, respectively, but who have only recently begun to be recognized within primary historical narratives. The Baroness Elsa von Freytag-Loringhoven (1874 – 1927) was a German-born poet, sculptor and proto-performance artist whose influence on and shaping of Dada have been, until recently, marginalized and misunderstood. New research by the Baroness’s biographer, Irene Gammel, among others, uncovers evidence to suggest that Marcel Duchamp’s Fountain (1917), arguably the most significant artwork of the 20th century, was perhaps a work by the Baroness. Eileen Gray (1878- 1976) was an Irish-born designer and architect whose house, E. 1027 (1926-29), had for many years been attributed to Le Corbusier. This misattribution stems, in large part, to an (in)famous act of “claiming” on Le Corbusier’s part, a physical and conceptual appropriation that has only recently begun to be reconsidered by historians. With this discussion, Sparks hopes to examine how these artists’ contributions have, in the best case scenario, been misattributed or, in the worse case, intentionally claimed. Re-visiting these placards might open a new art historical or studio-based space for production where, instead of merely correcting or righting a dominant narrative, we might conceive of art and history as an accumulation (rather than a singular realization or articulation) of ideas and methods. For more information click here artistsspace.org/programs/presence-and-absence This public event was part of We (Not I), a four-day program of discursive meetings, presentations, and events bringing together a wide range of female artists, writers, curators and thinkers identifying with feminist practices to exchange and produce content addressing questions around the role of "we" in contemporary art practice, held at Artists Space between September 30 and October 3, 2015. For more information click here artistsspace.org/programs/we-not-i By request of the author, Ariana Reines' reading of Chris Kraus' chapter "Littoral Madness" has been removed from this recording.

Talk Tuesday, September 22, 7pm Artists Space Books & Talks 55 Walker Street The International Art Exhibition in Solidarity with Palestine was inaugurated in Beirut, Lebanon, in March 1978, and was intended as the seed collection for a museum in exile. Inspired by the Museum of Resistance in Exile in Solidarity with Salvador Allende, the museum took the form of an itinerant exhibition that was meant to tour until it could "repatriate" to Palestine. Organized by the Palestine Liberation Organization (PLO), comprising almost 200 works, donated by 200 artists from nearly 30 countries, the exhibition remains one of the most ambitious, in scale and scope, to have ever been showcased in the Arab world until this day. Tragically, during the Israeli army's siege of Beirut in 1982, sustained shelling destroyed the building where the works were stored as well as the exhibition's archival and documentary traces. This historical "ghost" exhibition has been an area of sustained research for Beirut-based writers and curators Kristine Khouri and Rasha Salti in recent years, culminating in the exhibition Past Disquiet: Narratives and Ghosts from the International Art Exhibition for Palestine, 1978, at the Museu d'Art Contemporani de Barcelona (MACBA) this year. This exhibition revisited the world of art and political engagement among the international anti-imperialist left during the 1970s, uncovering the extraordinary networks of individuals and practices behind it. Using recorded testimonies and private archives it retraced the complicated mesh of networks of affiliation and solidarity that linked militant artists across the world in the context of the Cold War. The exhibition also addressed similar museographic initiatives centered on the impassioned defense of causes, and emerging from shared soil, such as the struggle against the Pinochet dictatorship in Chile, and against apartheid in South Africa. Khouri and Salti's presentation at Artists Space Books & Talks will focus on their research conducted towards the exhibition at MACBA, considering how their methodology responded to and intersected with the historical context of The International Art Exhibition in Solidarity with Palestine, and other such examples of political engagement rarely studied in prevailing contemporary historical narratives. Their talk parallels Past Disquiet's attempts to construct a speculative history of the PLO initiative and equivalent practices in the 1970s, and its address of the problematics of oral history, the trappings of memory, and of writing history in the absence of cogent archives. This presentation is supported by the Arab Fund for Arts and Culture, and is part of the AFAC Cultural Week in New York 2015 entitled Uncover, Discover, Recover - Narratives from a Region in Transformation, running September 20th till the 26th. For more information click here artistsspace.org/programs/past-disquiet

Talk Friday, October 2, 7pm Artists Space Books & Talks 55 Walker Street This discussion will consider the construction, performance and broadcast of gender archetypes over the last fifty years, and how these have been transformed, critiqued and subverted within visual art – specifically in the work of Dara Birnbaum and Joan Jonas. Both were part of a generation of women artists who began working in the 60s and 70s, and were pioneers in their radical address of subjectivity, imagery, artistic processes and technology. Within the wider social and political context, their work contained a powerful message of transformation that was extremely prescient: firstly, in relationship to writing by theorists such as Judith Butler and Donna Haraway in the early 90s; and, more recently, the digital and virtual revolution’s effect on identity construction and performance. For more information click here artistsspace.org/programs/how-to-be-a-woman This public event was part of We (Not I), a four-day program of discursive meetings, presentations, and events bringing together a wide range of female artists, writers, curators and thinkers identifying with feminist practices to exchange and produce content addressing questions around the role of "we" in contemporary art practice, held at Artists Space between September 30 and October 3, 2015. For more information click here http://artistsspace.org/programs/we-not-i

Double Bind with Rhea Anastas, Daniel Bozhkov, K8 Hardy, Leigh Ledare, and John Miller Book Launch & Talk Sunday, September 13, 4pm Co-presented with A.R.T. Press http://www.artresourcestransfer.org/#art/about For more information click here http://artistsspace.org/programs/double-bind

Finding Words Angie Keefer & Lynne Tillman A talk, a reading and a conversation in assorted voices Wednesday, September 30, 2015, doors 6.30pm, starts 7pm sharp Artists Space Books & Talks 55 Walker Street For more information click here http://artistsspace.org/programs/finding-words This public event was part of We (Not I), a four-day program of discursive meetings, presentations, and events bringing together a wide range of female artists, writers, curators and thinkers identifying with feminist practices to exchange and produce content addressing questions around the role of "we" in contemporary art practice, held at Artists Space between September 30 and October 3, 2015. For more information click here artistsspace.org/programs/we-not-i

Dr. Theodore Feder and Janet Hicks of the Artists Rights Society, Maxwell Graham, Hans Haacke, Lauren van Haaften-Schick, R. H. Quaytman, and Justice Barbara Jaffe Presentations & Discussion Wednesday, July 22, 2015, 7pm Artists Space Books & Talks 55 Walker Street $5 Entrance Donation Members Free, Guaranteed Entry In light of recent action at the congressional level concerning artists’ resale rights, this event will provide a public forum for discussion around the proposed legislation of secondary market art sales in the US, and will locate these developments in relation to historical and international precedents and alternative models. In 2014 and 2015 Congressman Jerrold Nadler (Democrat, 10th District of New York) introduced into congress the American Royalties Too Act, or ART Act, which would grant visual artists a resale right enabling them to collect a percentage of any works re-sold for a profit at public auctions over a value of $5000. While there have been many previous unsuccessful attempts to pass such legislation in the US, this current bill brings with it indications of a potentially different outcome: the Copyright Office recommended in a 2013 report that a federal resale royalty for visual artists should be adopted, this past May the U.S. Court of Appeals for the Ninth Circuit upheld portions of the California Resale Royalty Act concerning in-state sales of visual artworks, and this month the World Intellectual Property Organization's Standing Committee on Copyright and Related Rights (SCCR) announced that they will discuss visual artists’ resale rights in December 2015. In order to stimulate discussion, and to ask what artists and the broader art community might want—or not want—from such legislation, this event brings together speakers from backgrounds in art, art history, and law for a series of presentations and discussions. Dr. Theodore Feder and Janet Hicks of the Artists Rights Society will outline the ART Act and the work they have done lobbying for the bill, followed by curator and art historian Lauren van Haaften-Schick, who will provide a historical perspective concerning artists' contracts and the legal history of art in the US. These presentations will be followed by a discussion between art dealer Maxwell Graham, artists Hans Haacke and R. H. Quaytman, and Justice Barbara Jaffe, New York Supreme Court, New York County, moderated by van Haaften-Schick. The evening will conclude with an open floor debate, at which all present are welcome to share thoughts and experiences. Even if the 2015 congressional session does not vote on the bill, or if it fails to pass, the recurrent interest in the issue of resale rights for artists merits greater involvement and consideration of the issue from those who stand to be impacted most—artists. This event is the first in a series organized by the recently formed W.A.G.E. Artists' Resale Rights Working Group: Richard Birkett April Britski Maxwell Graham Leah Pires Cameron Rowland Lise Soskolne Lauren van Haaften-Schick http://artistsspace.org/programs/the-artists-resale-right

Artist Panel Thursday, July 16, 2015, 7pm Artists Space Books & Talks 55 Walker Street $5 Entrance Donation Members Free, Guaranteed Entry This discussion considers Tom of Finland’s influence upon and reception by artists, as preeminent postwar gay icon. Moderator Bob Nickas will be joined by New York artists Collier Schorr, Nayland Blake and Carlos Motta. With the rise of queer theory since Tom of Finland distributed his first drawings in the early 1940s, its assimilation into the art world and the academy, and a growing, though necessarily incomplete, queer awareness within mainstream culture, both queer subject matter and its representation and contestation by artists have shifted radically. Tom of Finland’s drawings established an iconic, deviant masculinity, fundamentally playful and proud. They are formative to many artists’ understanding of the possibilities of representing a body. Yet their joyful projection of, and play upon, identity overlays an instinctive complexity: some of the drawings handle deep-seated taboos, including Nazi iconography unhinged as fetish symbols, whilst cops are guys to fuck and be fucked by, whether through prison bars or in public. The work is washed with a power play imbued within the process of representation itself. As queer art practice has been deconstructed through lines of multiplicity and intersectionality, so have historical understandings of power, and deviation from dominant power, been complexified. For this reason the relationship between Tom of Finland’s work and contemporary artists’ practice remains important. http://artistsspace.org/programs/drawing-in-a-straight-line