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11 episodes with Artists Space
2 episodes with Artists Space
2 episodes with Artists Space
3 episodes with Artists Space
2 episodes with Artists Space
3 episodes with Artists Space
2 episodes with Artists Space
In this bonus episode, we're joined by the newly appointed director and CEO of the Solomon R. Guggenheim Museum and Foundation, Dr. Mariët Westermann, who is the first female appointed to the role. Mariët oversees the “constellation” of museums—four over three continents united, she says, in one mission, “to create opportunities for anyone to engage with the transformative and connective power of art and artists”. Mariët is inheriting opportunities and challenges, and we delve into some of those, from the back histories to the budgets. She talks to us about the future of the museum—from plans for the opening of the Guggenheim Abu Dhabi to the nuts and bolts of balancing the books. One of the key changes Mariët advocates for is a shift in the institutional mindset. Rather than taking a defensive stance, where the museum might try to address gaps or criticisms reactively, she hopes for a move towards a more open approach. "We are learning communities," she says. "We're full of curious people. Artists are curious." All this and much more in this special episode, which brings to an end our second season.
Join us for the almost final episode of this season where we welcome back our incredible team of editorial advisors who guide, suggest — and even challenge — what we've discussed this series. Joining us are Deana Haggag (program officer at the Mellon Foundation), Mia Locks (curator and co-founder of Museums Moving Forward), Jay Sanders (curator, writer, and director of Artists Space), and of course Allan Schwartzman, together with host Charlotte Burns. They reflect on the wonderful and wide-ranging conversations with our guests this season, about creativity, the nature of change, the future of museums, the balance between wealth and art, and new thinking in philanthropy. What if we focus on what's urgent? What if we treat art like it's essential? All this and much more...
Secession Podcast: Members ist eine Gesprächsreihe mit Mitgliedern der Secession. In dieser Folge hören Sie die Künstlerin Carola Dertnig im Gespräch mit der Kunsthistorikerin und Kunstkritikerin Sabeth Buchmann, aufgezeichnet am 16. April 2024. Carola Dertnig lebt und arbeitet in Wien. Seit 2006 leitet sie den Fachbereich Performative Kunst an der Akademie der bildenden Künste Wien. Sie nahm 1997 am Whitney Independent Study Program in New York teil und war als Gastprofessorin am California Institute of the Arts (CalArts) in Los Angeles tätig. Dertnigs Arbeiten wurden in zahlreichen Ausstellungen in Museen und Galerien gezeigt, darunter die Landesgalerie Niederösterreich, Krems; Galerie CRONE, Wien/Berlin; Galerie Andreas Huber, Wien; die Solyanka Gallery, Moskau; das REDCAT CalArts Theater, Los Angeles; das MoMA PS1, New York; Artists Space, New York; das Museum of Modern Art, New York; das mumok – Museum moderner Kunst Stiftung Ludwig Wien; die Galerie für Zeitgenössische Kunst, Leipzig, und die Secession, Wien. Im Jahr 2024 wird ihr Werk in einer Midcareer-Ausstellung Dancing through Life im OK_Linz inklusive einer Publikation präsentiert. 2013 erhielt sie den Österreichischen Kunstpreis. 2005 veröffentlichte sie gemeinsam mit Stefanie Seibold das Buch Let's Twist Again: Was man nicht denken kann, das soll man tanzen zur lokalen Performancegeschichte Wiens von den 1960er-Jahren bis heute. Sie war Mitglied des Forschungsprojekts Troubling Research: Performing Knowledge in the Arts (2009–2011) und publizierte ihr eigenes Buch Perform Perform Perform (2011). 2014 erschien die Publikation Performing the Sentence: Research and Teaching in Performative Fine Arts, herausgegeben mit Felicitas Thun-Hohenstein. Sabeth Buchmann (Berlin/Wien) lehrt seit 2004 Kunstgeschichte der Moderne und Nachmoderne an der Akademie der bildenden Künste Wien. Sie ist Mitherausgeberin von PoLyPen, eine Buchreihe zu Kunstkritik und politischer Theorie (b_books, Berlin), und Beiratsmitglied von Texte zur Kunst, der European Kunsthalle sowie des documenta Instituts und publiziert regelmäßig in Kunstzeitschriften, Sammelbänden und Ausstellungskatalogen. 2008 erhielt sie den österreichischen Art Critics Award. Zuletzt erschienen: Kunst als Infrastruktur (2023) sowie die von ihr mitherausgegebenen Bände Broken Relations: Infrastructure, Aesthetics, and Critique (2022) und Putting Rehearsals to the Test: Practices of Rehearsal in Fine Arts, Film. Theater, Theory, and Politics (2016). Das Dorotheum ist exklusiver Sponsor des Secession Podcasts. Jingle: Hui Ye mit einem Ausschnitt aus Combat of dreams für Streichquartett und Zuspielung (2016, Christine Lavant Quartett) von Alexander J. Eberhard. Schnittregie: Carola Dertnig & Sabeth Buchmann Schnitt: Paul Macheck Programmiert vom Vorstand der Secession Produziert von Christian Lübbert, Bettina Spörr
Tony Bechara, April 29 2018, ©Maku-Lopez Tony Bechara's dynamic, color-saturated paintings create a pure field of physical perception. You can see a walk through of his show here. Each canvas is meticulously painted with multicolor areas of quarter-inch squares. Using strips of masking tape, Bechara arranges carefully formulated hues into a playful and invigorating optical surface, made up of a multitude of small colored units. The work's overall rhythm is determined by a process that is systemic but designed to allow combinations of color to emerge by chance. Bechara cites influences across art history, including the colors of Matisse and Vuillard, the pointillism of Seurat and Signac, traditions of weaving and crafting, the precision of hard-edge abstraction, and the famed Byzantine-era mosaics at Ravenna. These influences are evidenced in Bechara's approach to painting: he uses a tile-like grid as the basis for his explorations into the principles of color usage, particularly the intersection of organization and randomness. The division of the surface of the painting into small modular boxes is similar to pixels; the gaze is constantly in motion. Bechara presents the viewer with their retinal and neurological relationship to color, balancing one's immediate impression of hue and the overarching logic of pattern. Tony Bechara was born in Puerto Rico in 1942 and today lives and works in New York City. A graduate of Georgetown University, Bechara attended Georgetown Law School and New York University before later studying at the Sorbonne in Paris and the New York School of Visual Art, benefiting in particular from the lessons of Richard Serra and Joseph Raphael. In the 1970s and 80s, Bechara was included in exhibitions organized by the Boulder, Colorado based Criss-Cross pattern printing collective and featured work in the group exhibition ‘Islamic Allusions' at the Alternative Museum in New York. His work was included in the 1975 Biennial Exhibition at the Whitney Museum of American Art, New York. In 1980 he was granted a fellowship by the National Endowment for the Arts, and in 1981 he was included in ‘The Shaped Field: Eccentric Formats' at MoMA PS1 in New York. Bechara has had solo exhibitions at the Alternative Museum in 1988; Artists Space in New York in 1993; and el Museo del Arte Puerto Rico in 2008. Recently, Bechara has participated in exhibitions ‘With Pleasure: Pattern and Decoration in American Art, 1972-1985; Museum of Contemporary Art, Los Angeles, CA, USA (2019), which travelled to the Hessel Museum of Art, CCS Bard, Annandale-on-Hudson, NY, USA (2021); ‘Point of Departure: Abstraction 1958-Present', Sheldon Museum of Art, Lincoln, NE, USA (2021); and ‘Artists Choose Parrish', Parrish Art Museum, NY, USA (2023).His work can be found in numerous public and private collections including the Metropolitan Museum of Art, New York, NY, USA; El Museo del Barrio, New York, NY, USA; el Museo del Arte, San Juan, Puerto Rico; the Sheldon Museum of Art, University of Nebraska, Lincoln NE, USA; Aldrich Contemporary Art Museum, Ridgefield, CT, USA; and the Massachusetts Institute of Technology, Cambridge, MA, USA. Tony Bechara, Abstract Composition, 1970-71 Acrylic on canvas, 208.6 x 166.4 x 2.9 cm82 1/8 x 65 1/2 x 1 1/8 in Collection of the Metropolitan Museum of Art, New York, NY, USA ©Tony Bechara, Courtesy Lisson Gallery. Tony Bechara, Random 28 (Blue version), 2023 Acrylic on canvas, 152.4 x 152.4 ©Tony Bechara, Courtesy Lisson Gallery. Tony Bechara, Perseus, 2010, Acrylic on canvas, 152.4 x 152.4 x 3.8 cm 60 x 60 x 1 1/2 ©Tony Bechara, Courtesy Lisson Gallery
We had a great conversation with Marcelo Spina, an award-winning international architect and educator. He is the Principal of P-A-T-T-E-R-N-S and part of the Design Studio at Southern California Institute of Architecture (SCI-Arc). He is also the co-author of Embedded, Material Beyond Materials, and Mute Icons and co-curator of Matters of Sensation at Artists Space. Check out our weekly courses at the PAACADEMY: https://parametric-architecture.com/workshops/ Check the "Mute Icons" book: https://parametric-architecture.com/mute-icons-and-other-dichotomies-in-the-real-in-architecture/ Follow us on: Instagram: https://www.instagram.com/parametric.architecture/ X: https://twitter.com/parametricarch/ Facebook: https://www.facebook.com/parametric.archi/ LinkedIn: https://www.linkedin.com/company/parametric.architecture #parametricarchitecture #architecture #podcast
Mathieu Malouf "I am genuinely trying to make beautiful paintings. Not beautiful by contemporary standards of beauty, but something more atemporal or enduring. My paintings are not anchored in any particular period. I like art that is beautiful, even if that makes no sense in our era. No one discusses whether things are beautiful or not anymore. It's more difficult to paint women than men. I have only painted men—nude men, gay men, famous men. I think men can be more ugly and weird, and it doesn't really matter; they are more forgiving. But painting women is more difficult. I started noticing how intensely omnipresent women were in art, and I thought that I probably have something to learn from that; by trying to paint women, maybe I'll discover why. It is a way for me to learn about something that people have traditionally thought is beautiful. Painting women is a way to address art history itself. The Odalisque as a historical genre intrigues me. This was a woman who was essentially enslaved, but she was always richly adorned and confidently portrayed. She looked empowered to me, like Manet's Olympia. The women in my paintings are not goofy like some of my male subjects tend to be. They are not cynical or sarcastic. Maybe painting beautiful women right now is like a comedian today telling a joke from the 1920s. Penguins have been lingering in my mind for a while. Unlike women, there are not a lot of penguins in art, maybe in a Sigmar Polke. My attraction to them began as a formal one. They are very aesthetically minimal: only three colors and simple shapes. They are crisp and uncomplicated. My painted penguins are materially simple, they are loose and flat, painted in acrylic–unlike the women, who are painted in oil and highly modeled. These two subjects are hard to paint at once, as they occupy different parts of the brain. Maybe there is an allegory there." - Mathieu Malouf Malouf lives and works in New York. He has been featured in exhibitions at institutions such as Swiss Institute, New York (2018); Le Consortium, Dijon (2018); LUMA Foundation, Zürich (2017); Artists Space, New York (2017); Stavanger Art Museum (2014); Kunsthalle Lüneburg, (2014); and SculptureCenter, New York (2012). Work by the artist is included in museum collections worldwide, including the Astrup Fearnley Museum of Modern Art, Oslo; Hirshhorn Museum and Sculpture Garden, Washington, DC; and Whitney Museum of American Art, New York. Mathieu Malouf, Untitled, 2023-24 Acrylic and ceramic plates on canvas 86 x 92 inches (218.44 x 233.68 cm) Mathieu Malouf, The Writer, 2023-24 Oil and ceramic plates on canvas 60 x 70 inches (152.4 x 177.8 cm) Mathieu Malouf, The Legionnaire, 2023-24 Oil and acrylic on canvas, artist's frame 35 x 29.5 x 2.5 inches (88.9 x 74.93 x 6.35 cm)
For the past two decades, the Black Choreographers Festival has provided an essential forum for African and African American dance in the Bay Area.
BETH CAMPBELL is someone who's work first emerged in 2000 and impressed the f*ck out of me at the first greater New York Show. I became an instant fan and have watch her work has expanded and developed since then. So I was thrilled to have her on as my guest. This question from an interview by Sara Murkett in the Huffington Post describes what people often wonder when they see the body of Campbell's work: "It seems to me that to make the work that you do, you would need to have a good sense of industrial design, architectural planning, design and math. Is this something that came naturally to you or something that had to develop because that was the kind of work that you wanted to make?" We went deeper into what Beth's influences, (church, youngest of 7, etc...) and experiences, (living in a small town, childhood hours roaming outside, etc..), led her to conceptualize and realize her ideas. Beth is an original human with a deep connection to her work and a rarely seen commitment to realizing her vision in her work to a level of perfection, no matter what obstacle she needs to wrestle to get there. Follow Beth HERE: @bethcampbell7 BIO (Beth's body of work is vast , diverse and philosophical. I invite you to do your own research!) BETH CAMPBELL, BORN IN ILLINOIS IN 1971, RECEIVED HER BFA FROM TRUMAN STATE UNIVERSITY, KIRKSVILLE, MO (1993), AND HER MFA FROM OHIO UNIVERSITY, ATHENS, OH (1997), AFTER WHICH SHE ATTENDED THE SKOWHEGAN SCHOOL OF PAINTING AND SCULPTURE, MADISON, ME (1997). SHE CURRENTLY LIVES AND WORKS IN BROOKLYN, NY. CAMPBELL HAS HELD OVER A DOZEN SOLO EXHIBITIONS AT GALLERIES AND INSTITUTIONS INCLUDING KATE WERBLE GALLERY, NEW YORK, NY (2019, 2017, 2012); THE ALDRICH CONTEMPORARY ART MUSEUM, RIDGEFIELD, CT (2017); ANNE MOSSERI-MARLIO GALERIE, BASEL, CH (2014); COUNTRY CLUB, CHICAGO, IL (2012); JUNE LEE CONTEMPORARY ART, SEOUL, KOREA (2011); SCULPTURE CENTER, CLEVELAND, OH (2010); MANIFESTA 7 (2008); NICOLE KLAGSBRUN GALLERY, NEW YORK, NY (2008, 2005, 2004); THE PUBLIC ART FUND (2007); AND WHITE COLUMNS, NEW YORK, NY (2000). IN 2007, SHE PRESENTED A SOLO PROJECT, FOLLOWING ROOM, AT THE WHITNEY MUSEUM OF AMERICAN ART, NEW YORK, NY. HER WORK HAS BEEN SHOWN IN NEW YORK AT VENUES INCLUDING MOMA PS1, THE NEW MUSEUM OF CONTEMPORARY ART, THE BROOKLYN MUSEUM OF ART, ANDREA ROSEN GALLERY, ARTISTS SPACE, AND THE BLOOMBERG FINANCIAL OFFICES IN CONJUNCTION WITH SCULPTURE CENTER. CAMPBELL HAS ALSO BEEN FEATURED IN EXHIBITIONS AT THE CARNEGIE MUSEUM OF ART (PITTSBURGH, PA); THE ANDY WARHOL MUSEUM (PITTSBURGH, PA); CONTEMPORARY ARTS CENTER (CINCINNATI, OH); OK CENTER (LINZ, AT); HALES GALLERY (LONDON, UK); AND EX3 CENTRE FOR CONTEMPORARY ART, (FLORENCE, IT). HER WORK HAS BEEN REVIEWED IN ARTFORUM, THE NEW YORK TIMES, THE LOS ANGELES TIMES, THE NEW YORKER, ART LIES: A CONTEMPORARY ART QUARTERLY, THE NEW CRITERION, ART IN AMERICA, TIMEOUT NEW YORK, NEW YORK MAGAZINE, ARTNEWS, THE BROOKLYN RAIL, BOMB, THE VILLAGE VOICE, AND THE WALL STREET JOURNAL. CAMPBELL RECEIVED A GUGGENHEIM FELLOWSHIP IN 2011, A RESIDENCY AT KOHLER ARTS CENTER IN 2010, AND A LOUIS COMFORT TIFFANY FELLOWSHIP IN 2009. OTHER GRANTS AND FELLOWSHIPS INCLUDE THE JOHN MICHAEL KOHLER ARTS CENTER, ARTS/INDUSTRY RESIDENCY (2010), THE POLLOCK-KRASNER FOUNDATION GRANT (2006), AND THE REMA HORT MANN FOUNDATION ART GRANT (2000). HER WORK IS INCLUDED IN THE COLLECTIONS OF THE MUSEUM OF MODERN ART, NEW YORK, NY; THE WHITNEY MUSEUM OF AMERICAN ART, NEW YORK, NY; ALTOIDS CURIOUSLY STRONG COLLECTION, THE NEW MUSEUM OF CONTEMPORARY ART, NEW YORK, NY; THE NEW SCHOOL, NEW YORK, NY; BLOOMBERG RADIO AND NEWS, NEW YORK, NY; AND LANDMARKS AT THE UNIVERSITY OF TEXAS AT AUSTIN, AUSTIN, TX.
Meg investigates the rape and murder of avant-garde feminist artist Theresa Cha. Jessica discovers the unlikely connection between Sha Na Na and Brian Eno.Please check out our website, follow us on Instagram, on Facebook, and...WRITE US A REVIEW HEREWe'd LOVE to hear from you! Let us know if you have any ideas for stories HEREThank you for listening!Love,Meg and Jessica
In this episode I had the honor to sit down with artist Jeffrey Gibson joined by curator and co-editor of An Indigenous Present, Jenelle Porter. We were given space at SITE Santa Fe in Director Louis Grachos office to have a long and generative conversation while we celebrated the book's launch over Indian Market weekend. We talk about Jeff's practice and his journey to this moment and the Artist shares the vulnerable, complicated, difficult and joyous path of choosing to be an Artist, offering reflection from what he has learned along the way, understanding how the practice and studio has evolved in the 20 some years of being a working Artist. We then dive in with both Jeff and Jenelle to speak on Jeff's thought process behind An Indigenous Present, learning about the years of care and intention behind the project, which is, as Jeff reflects, an “Artist book about Artists”. We round out our 2 plus hour chat with the excitement and work that has come with Jeffrey being named the artist to represent the U.S. at the 60th Venice Biennale. As we end our chat, both Jeff and Jenelle share important and practical insight on how to navigate the art worlds and art markets and Jeffrey reminds us all that “Artists do have the power to set precedence in institutions”. Featured song: SMOKE RINGS SHIMMERS ENDLESS BLUR by Laura Ortman, 2023 Broken Boxes introduction song by India Sky More about the publication An Indigenous Present: https://www.artbook.com/9781636811024.html More about the Artist Jeffrey Gibson Jeffrey Gibson's work fuses his Choctaw-Cherokee heritage and experience of living in Europe, Asia and the USA with references that span club culture, queer theory, fashion, politics, literature and art history. The artist's multi-faceted practice incorporates painting, performance, sculpture, textiles and video, characterised by vibrant colour and pattern. Gibson was born in 1972, Colorado, USA and he currently lives and works in Hudson Valley, New York. The artist combines intricate indigenous artisanal handcraft – such as beadwork, leatherwork and quilting – with narratives of contemporary resistance in protest slogans and song lyrics. This “blend of confrontation and pageantry” is reinforced by what Felicia Feaster describes as a “sense of movement and performance as if these objects ... are costumes waiting for a dancer to inhabit them.” The artist harnesses the power of such materials and techniques to activate overlooked narratives, while embracing the presence of historically marginalised identities. Gibson explains: “I am drawn to these materials because they acknowledge the global world. Historically, beads often came from Italy, the Czech Republic or Poland, and contemporary beads can also come from India, China and Japan. Jingles originated as the lids of tobacco and snuff tins, turned and used to adorn dresses, but now they are commercially made in places such as Taiwan. Metal studs also have trade references and originally may have come from the Spanish, but also have modern references to punk and DIY culture. It's a continual mash-up.” Acknowledging music as a key element in his experience of life as an artist, pop music became one of the primary points of reference in Gibson's practice: musicians became his elders and lyrics became his mantras. Recent paintings synthesise geometric patterns inspired by indigenous American artefacts with the lyrics and psychedelic palette of disco music. Solo exhibitions include ‘THE SPIRITS ARE LAUGHING', Aspen Art Museum, Colorado (2022); ‘This Burning World', Institute of Contemporary Art, San Francisco, California (2022); ‘The Body Electric', SITE Santa Fe, New Mexico (2022) and Frist Art Museum, Nashville (2023); ‘INFINITE INDIGENOUS QUEER LOVE', deCordova Sculpture Park and Museum, Lincoln, Massachusetts (2021); ‘To Feel Myself Beloved on the Earth', Benenson Center, Art Omi, Ghent, New York (2021); ‘When Fire is Applied to a Stone It Cracks', Brooklyn Art Museum, Brooklyn, New York (2020); ‘The Anthropophagic Effect', New Museum, New York City, New York (2019); ‘Like a Hammer', Madison Museum of Contemporary Art, Madison, Wisconsin (2019); Seattle Art Museum, Seattle, Washington (2019); Mississippi Museum of Art, Jackson, Mississippi (2019); Denver Art Museum, Denver, Colorado (2018); ‘This Is the Day', Blanton Museum of Art, Austin, Texas (2019); Ruth and Elmer Wellin Museum of Art, Clinton, New York (2018) and ‘Love Song', Institute of Contemporary Art, Boston, Massachusetts (2013). For the Toronto Biennial 2022, Gibson presented an evolving installation featuring fifteen moveable stages at Museum of Contemporary Art Toronto, Ontario, Canada. Other recent group exhibitions include ‘Dreamhome', Art Gallery of New South Wales, Sydney, Australia (2022); ‘Crafting America', Crystal Bridges, Bentonville, Arkansas (2021); ‘Monuments Now', Socrates Sculpture Park, Queens, New York (2020); ‘Duro Olowu: Seeing Chicago', Museum of Contemporary Art, Chicago, Illinois (2020) and The Whitney Biennial, Whitney Museum of American Art, New York City, New York (2019). Works can be found in the collections of Denver Art Museum, Denver, Colorado; Eiteljorg Museum, Indianapolis, Indiana; High Museum of Art, Atlanta, Georgia; Museum of Fine Arts, Boston, Massachusetts; The Museum of Modern Art, New York City, New York; National Gallery of Canada, Ottawa, Canada; Rose Art Museum, Brandeis University, Waltham, Massachusetts; San Francisco Museum of Modern Art, San Francisco, California; Seattle Art Museum, Seattle, Washington; Smithsonian Institution, Washington, DC and Whitney Museum of American Art, New York City, New York, amongst others. Gibson is a recipient of numerous awards, notably a MacArthur Foundation Fellowship (2019), Joan Mitchell Foundation, Painters and Sculptors Grant (2015) and Creative Capital Award (2005). More about Curator/Writer Jenelle Porter: Jenelle Porter is a curator and writer living in Los Angeles. Current and recent exhibitions include career surveys of Barbara T. Smith (ICA LA, 2023) and Kay Sekimachi (Berkeley Art Museum, 2021); Less Is a Bore: Maximalist Art & Design (ICA/Boston, 2019); and Mike Kelley: Timeless Painting (Mike Kelley Foundation and Hauser & Wirth, New York, 2019). She is co-editor of An Indigenous Present with artist Jeffrey Gibson (fall 2023), and a Viola Frey monograph (fall 2024). From 2011 to 2015 Porter was Mannion Family Senior Curator at the Institute of Contemporary Art/Boston, where she organized Fiber: Sculpture 1960–present and Figuring Color: Kathy Butterly, Felix Gonzalez-Torres, Roy McMakin, Sue Williams, as well as monographic exhibitions of the work of Jeffrey Gibson, Jessica Jackson Hutchins, Dianna Molzan, Christina Ramberg, Mary Reid Kelley, Arlene Shechet, and Erin Shirreff. Her exhibitions have twice been honored by the International Association of Art Critics. As Curator at the Institute of Contemporary Art, Philadelphia (2005–10), Porter organized Dance with Camera and Dirt on Delight: Impulses That Form Clay, the first museum surveys of Trisha Donnelly and Charline von Heyl, and numerous other projects. From 1998–2001 Porter was curator at Artists Space, New York. She began her career in curatorial positions at both the Walker Art Center and the Whitney Museum of American Art. She has authored books and essays including those on artists Polly Apfelbaum, Kathy Butterly, Viola Frey, Jeffrey Gibson, Sam Gilliam, Jay Heikes, Margaret Kilgallen, Liz Larner, Ruby Neri, and Matthew Ritchie, among others. An Indigenous Present: Conversation with Jeffrey Gibson and Jenelle Porter
image credit: Star Montana rafa esparza (b. 1981, Los Angeles; lives and works in Los Angeles) received a BA from University of California, Los Angeles in 2011. Solo exhibitions have been held at Artists Space, New York (2023); Commonwealth and Council, Los Angeles (2021); MASS MoCA, North Adams (2019); ArtPace, San Antonio (2018); and Ballroom Marfa (2017). Selected group exhibitions have been held at Commonwealth and Council, Mexico City (2022); Museum of Contemporary Art Tucson (2022); Moody Center for the Arts, Rice University, Houston (2020); San Diego Art Institute (2019); Whitney Museum of American Art, New York (2017); and Hammer Museum, Los Angeles (2016). esparza is a recipient of a Pérez Prize (2022), Latinx Artist Fellowship (2021), Lucas Artist Fellowship (2020), Louis Comfort Tiffany Foundation Award (2017), Art Matters Foundation Grant (2014), and California Community Foundation Fellowship for Visual Artists (2014). He has participated in residencies at Artpace San Antonio (2018) and Wanlass Artist in Residence, OXY ARTS, Los Angeles (2016). esparza's work is in the collections of Los Angeles County Museum of Art; Dallas Museum of Art; San Jose Museum of Art; Minneapolis Institute of Art; Museum of Contemporary Art, Los Angeles; Kadist Art Foundation; Whitney Museum of American Art, New York; Solomon R. Guggenheim Museum, New York; and Vincent Price Art Museum, Los Angeles. 110 Northbound, photo by Yomahra Gonzalez Camino Exhibition, photo by: Yomahra Gonzalez Hermila, photo by Yomahra Gonzalez
Zack Khalil (Sault Tribe of Chippewa Indians) is a filmmaker and artist from Bahweting (so called Sault Ste. Marie, Michigan) currently based in Brooklyn, New York. His work centers Indigenous narratives in the present—and looks toward the future—through the use of innovative nonfiction forms. Zack is a core contributor to New Red Order, a public-secret society which calls attraction toward Indigeneity into question, yet promotes this desire, and enjoins potential non-Indigenous accomplices to participate in the co-examination and expansion of Indigenous agency. His work has been exhibited at Artists Space, Museum of Contemporary Art Detroit, Museum of Modern Art, Whitney Museum of American Art, Lincoln Center, Walker Arts Center, and the Sundance Film Festival among other institutions. Zack is the recipient of various fellowships and grants, including the Jerome Hill Artist Fellowship, Sundance Art of Nonfiction Grant, and Gates Millennium Scholarship. Contact Zack at 1-888-newred1 and newredorder.org Production Credits: Tiokasin Ghosthorse (Lakota), Host and Executive Producer Liz Hill (Red Lake Ojibwe), Producer Malcolm Burn, Studio Engineer, Radio Kingston, WKNY 1490 AM and 107.9 FM, Kingston, NY Tiokasin Ghosthorse, Audio Editor Kevin Richardson, Podcast Editor Music Selections: 1. Song Title: Tahi Roots Mix (First Voices Radio Theme Song) Artist: Moana and the Moa Hunters Album: Tahi (1993) Label: Southside Records (Australia and New Zealand) (00:00:22) 2. Song Title: Storm (SINGLE, 2023) Artist: Otyken Label: N/A (00:25:05) 3. Song Title: Red Flags feat. Aleah Bell Artist: PLEX Album: Who Am I To Judge? (2022) Label: Merilainen Music Inc. (00: 48:15) 4. Song Title: Imba Artist: Otyken Album: Kykakacha (2021) Label: Aboriginal Records (00:51:17) AKANTU INSTITUTE Visit Akantu Institute, an institute that Tiokasin founded with a mission of contextualizing original wisdom for troubled times. Go to https://akantuinstitute.org/ to find out more and consider joining his Patreon page at https://www.patreon.com/Ghosthorse.
Born in Istanbul to Iranian parents, Solmaz Sharif is the author of Customs (Graywolf Press, 2022) and Look (Graywolf Press, 2016), a finalist for the National Book Award. She holds degrees from U.C. Berkeley, where she studied and taught with June Jordan's Poetry for the People, and New York University. Her work has appeared in Harper's, The Paris Review, Poetry, The Kenyon Review, the New York Times, and others. Negar Azimi is a writer and editor and occasional curator. She is the Editor-in-Chief of the publishing and curatorial project Bidoun, a former fellow at the Cullman Center for Scholars and Writers at the New York Public Library, a member of the Beirut-based Arab Image Foundation, and a board member of Artists Space.
We are hosting Paul O'Neill. We closed our last episode at a crucial and rather existential moment. This second part of our conversation extends to our small group of audience members. You will hear Paul responding to questions on the educational turn, auto-theory, and variations on how to work with artists.Ahali Conversations are often recorded with an intimate group of audience members, so if you'd like to be in the loop, and join live sessions, please feel free to get in touch.EPISODE NOTES PART 2This episode includes questions by Alessandra Saviotti, Ula Soley, Enrico Arduini, and Furkan İnan. Paul O'Neill is a curator, artist, writer, and educator. He is currently the artistic director of Publics, in Helsinki, Finland.Institute of Contemporary Arts (ICA) is an artistic and cultural center based in London. https://www.ica.art/Mick Wilson is an artist, educator and researcher based in Gothenburg and Dublin.Adrian Rifkin is a professor of art writing at Goldsmiths, University of London. http://gai-savoir.net/Dr. Andrea Phillips is BALTIC Professor and Director of BxNU Research Institute, Northumbria University & BALTIC Centre for Contemporary Art.Richard Birkett was a curator at the ICA, London; and at the Artists Space in New York. He is currently a curator at the Yale Union art center in Portland, Oregon.Dave Beech is an artist and writer. https://www.davebeech.co.uk/Sarah Pierce is an artist based in Dublin.Nought to Sixty was a program of exhibitions and events, curated by Richard Birkett at the ICA, in 2008. Over the course of six months, the program was presenting solo projects by sixty emerging British- and Irish-based artists. https://archive.ica.art/nought-sixty-artists-index/The Copenhagen Free University is an artist-run institution, dedicated to the production of critical consciousness and poetic language. https://en.wikipedia.org/wiki/Copenhagen_Free_Universityunitednationsplaza is a project by Anton Vidokle in collaboration with Boris Groys, Jalal Toufic, Liam Gillick, Martha Rosler, Natascha Sadr Haghighian, Nikolaus Hirsch, Tirdad Zolghadr, and Walid Raad It operated as a temporary, experimental school in Berlin, following the cancellation of Manifesta 6 on Cyprus, in 2006. The project traveled to Mexico City (2008) and to New York City under the name Night School (2008-2009) at the New Museum. Its program was organized around a number of public seminars, most of which are available in the online archive. https://www.unitednationsplaza.org/The text Paul was referring to –Introduction to The Paraeducation Department– written by Annie Fletcher and Sarah Pierce is in the anthology Curating and the Educational Turn edited by Paul O'Neill and Mick Wilson: https://betonsalon.net/PDF/essai.pdfKate Zambreno is an American novelist, essayist, critic, and professor.Roland Barthes (1915 – 1980) was a French literary theorist, essayist, philosopher, critic, and semiotician. https://en.wikipedia.org/wiki/Roland_BarthesOctavia Butler (1947 – 2006) was an American science fiction author. Her writings have finally attracted well-deserved attention in the past years.https://en.wikipedia.org/wiki/Octavia_E._ButlerMaryam Jafri is a Copenhagen-based American artist. The artist's book Independence Days presents an expanded version of her photo installation and includes texts by Ariella Aïsha Azoulay, Paul O'Neill, Nina Tabassomi. https://www.maryamjafri.net/Lygia Pimentel Lins (1920 – 1988), better known as Lygia Clark, was a Brazilian artist and co-founder of Neo-Concrete movement. https://en.wikipedia.org/wiki/Lygia_ClarkP! is a multidisciplinary gallery and project space formerly in New York, currently based in Berlin. http://p-exclamation.com/Taken place in P!, in 2016, We are the (Epi)center was a group exhibition organized with the Center for Curatorial Studies, Bard College, featuring: Can Altay, David Blamey, Katarina Burin, Jasmina Cibic, Céline Condorelli, Marjolijn Dijkman, Chris Kraus, Gareth Long, Ronan McCrea, Harold Offeh, William McKeown, Eduardo Padilha, Sarah Pierce, Richard Venlet, Grace Weir, and many others.PARSE is an international artistic research publishing and biennial conference platform based in the Faculty of Fine, Applied and Performing Arts at University of Gothenburg. This is the visual essay Paul was referring to: https://parsejournal.com/article/before-and-after/Autotheory refers to a critical approach in which the author uses personal experiences as the major creative force and the body as the source of knowledge.Sigmund Freud (1856 – 1939) is an Austrian neurologist and the founder of psychoanalysis. Jacques Marie Émile Lacan (1901-1981) is a French psychoanalyst and interpreter of Sigmund Freud's studies. Their contributions to the psychoanalytic theory have been influential on the literary theory in terms of deciphering a work based on the psychological condition its author is in, or conversely, portraying such condition through unconscious revelations of the author within the work.Maggie Nelson is an American writer. https://en.wikipedia.org/wiki/Maggie_NelsonSemiotext(e) is an independent press, publishing works of theory, fiction, madness, economics, satire, sexuality, science fiction, activism, and confession. http://www.semiotextes.com/McKenzie Wark is an Australian-born writer and professor of Media and Culture at Hudson University.Raymond Williams (1921 – 1988) was a Welsh socialist writer, academic, novelist, and critic. In his essay Dominant, Residual, and Emergent, he characterizes the grounded parts of cultural groups and their operating methods. https://en.wikipedia.org/wiki/Raymond_WilliamsStephen Wright is a writer and gardener. Listen to Episode 1 to get to know him better. https://www.ahali.space/episodes/episode-1-stephen-wrightTania Bruguera is an artist and activist. https://www.taniabruguera.com/Dr. Gregory Sholette is a New York-based artist, writer, teacher, and activist.NTS is a global radio station and media platform founded in 2011 by Femi Adeyemi. https://www.nts.live/Bjork is an Icelandic singer, songwriter, composer, record producer, and actress. https://bjork.com/Annie Fletcher is the Director of the Irish Museum of Modern Art.Leninism is a political ideology developed by Russian Marxist revolutionary Vladimir Lenin that proposes the establishment of communism through dictatorship of the proletariat.Stalinism is a totalitarian extension of Leninism and a period of governing by Joseph Stalin in the Soviet Union from 1927 to 1953.COALESCE is an ongoing exhibition project by Paul O'Neill which takes place at different locations with different artists and shapes around the idea of cohabitation.
Andrew Ross received his BFA from The Cooper Union in 2011, where he was awarded the Gelman Trust Award for Excellence in Sculpture. He attended Skowhegan School of Painting and Sculpture in 2011. He's been a resident and/or fellow of programs including The Triangle Arts Association, The Drawing Center's Open Sessions, LMCC's Swing Space, The Macedonia Institute, The Bruce High Quality Foundation, and he is a current awardee of Two Trees' Cultural Space Subsidy Program. Ross has exhibited in group exhibitions at The Hessel Museum, The Drawing Center, The Studio Museum in Harlem, Artists Space, Center for the Humanities at CUNY, White Columns, and Greene Naftali. He has staged solo exhibitions at Signal (Brooklyn, NY), American Medium (NY, NY), Clima Gallery (Milan, Italy), and False Flag (Long Island City, NY). Ross' work has been reviewed in Artforum, Art in America, Cultured, Flash Art, Mousse, and the Brooklyn Rail. Ross is a sculptor and new media artist who creates fragmentary constructions with figurative elements and everyday objects. With attention to metaphoric associations that his imagery elicits Ross' tableau scenes oscillate between speculative fiction and cartoonish satire. His figures are chimeric and mythical in appearance yet typically occupied with some form of work and juxtaposed with commonplace detritus. Joining traditional sculpture, assemblage and digital imaging, Ross's works capture existential issues regarding the conundrum of representation in our age of many avatars.
Joy Episalla repositions the photographic and video/moving image into the territory of sculpture. Since the 1980s, Episalla has exhibited widely in the United States and Europe, including solo exhibitions at Tibor de Nagy, NYC; Participant, Inc., NYC; International Center of Photography, NYC; and Galerie Joseph Tang, Paris. Their work has been featured in exhibitions including Greater New York, MoMA/PS1; Artists Space, NYC; ICA Philadelphia; Centre Pompidou, Paris; and Centrale for Contemporary Art, Belgium. They are the recipient of a 2003 Louis Comfort Tiffany Foundation Award. Episalla is a founding member of the queer art collective fierce pussy. Joy Episalla foldtogram (daylight 2), 2018 gelatin silver object 24 x 20 x 3/4 inches Joy Episalla foldtogram (35' 2.5" x 44, August, iteration 6) 2018-2022 silver gelatin object dimensions variable
Amy Taubin on Tribeca 2022 + Leos Carax's Pola X (extended TV version) + Artists Space Welcome to The Last Thing I Saw. I'm your host, Nicolas Rapold. This week I was delighted to catch up with Amy Taubin to discuss the latest edition of the Tribeca festival and other recent viewing. We share some of our highlights from the festival, and we also mull the recently surfaced, extended TV version of Pola X from director Leos Carax. Plus: the Attention Line exhibition at Artists Space. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow's Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass
Jenny Holzer was born in 1950 in Gallipolis, Ohio. She received a BFA in printmaking and painting from Ohio University, Athens, Ohio, in 1972, and an MFA in painting from the Rhode Island School of Design, Providence, in 1977. Holzer then moved to New York and enrolled in the Independent Study Program at the Whitney Museum of American Art. That same year, she created her first text-based works, initiating an ongoing artistic investigation of language in which she presents both original and appropriated texts to deconstruct how personal and political meaning are created in Western culture's patriarchal, consumer-oriented society. For Truisms, her series comprising terse one-liners written between 1977 and '79, and Inflammatory Essays, which were composed between 1979 and '82, Holzer anonymously pasted posters of unswerving, declarative statements around New York City. Since then her text-based work has evolved in numerous mediums. In the 1980s Holzer used electronic signs to present her work in such prominent public spaces as Times Square in New York and Piccadilly Circus in London, as well as in sport stadiums. She began producing engraved marble and granite benches, initially bearing text from Under the Rock (1986), and stone sarcophagi inscribed with Laments (1988–89), a moving reflection on the devastating repercussions of the AIDS crisis. For her 1989–90 retrospective at the Solomon R. Guggenheim Museum in New York, Holzer created a site-specific LED sign that wound its way around the parapet of the Frank Lloyd Wright–designed rotunda, displaying aphorisms and declarations from all of her work to date. She represented the United States at the Venice Biennale in 1990 and was awarded the Golden Lion for her Venice Installation, where she presented a series of her writings—including Mother and Child (1990), an account of motherhood—incised on a marble floor and emanating from LED signs.Holzer has produced public memorials as well as outdoor nighttime projections, such as Arno (1996), presented on the surface of the Arno River in Florence. Her texts have also been projected on Rio de Janeiro's cityscapes and oceans (Xenon for Rio de Janeiro, 1999), on beach shores and mountainsides (For San Diego, 2007), and on building facades across the world. Most recently, Holzer has returned to her earlier practice of using declassified American government documents as a subject for her art. Silkscreened on oil-painted backgrounds, these new works denounce acts of brutality and military practices conducted during the Iraq war. Holzer has had solo exhibitions at the Kunsthalle Basel (1984); Brooklyn Museum, New York (1988); Dia Art Foundation, New York, and Solomon R. Guggenheim Museum (both 1989–90); Haus der Kunst, Munich (1993); Art Tower Mito, Japan (1994); Contemporary Arts Museum Houston (1997); Neue Nationalgalerie, Berlin (2001, 2011); Kunsthaus Bregenz, Austria (2004); MAK, Vienna (2006); Museum of Contemporary Art Chicago (2008–09; travelled to the Whitney Museum of American Art [2009], and Fondation Beyeler, Riehen, Switzerland [2009–10]); Tate Modern, London (2018–19); and the Guggenheim Museum Bilbao (2019), among other institutions. Select group exhibitions include Eating Friends, Artists Space, New York (1981); Around 1984: A Look at Art in the Eighties, MoMA PS1 (2000); and Surprise, Surprise, Institute of Contemporary Arts, London (2006). Her works have appeared in Documenta (1982, 1987); Whitney Biennial (1983, 1985); Carnegie International (1985); Sculpture Project, Münster (1987); Venice Biennale (1990, 2005, 2007, 2015); Florence Biennial (1996); Singapore Biennial (2006); and Gwangju Biennial (2012). She has been the recipient of several important awards, and in 2016 she was made an Officier of the Order of Arts and Letters by the French government. Holzer is one of the six artist-curators who made selections for Artistic License: Six Takes on the Guggenheim Collection, Solomon R. Guggenheim Museum (2019–20). She lives and works in New York.From https://www.guggenheim.org/artwork/artist/jenny-holzer. For more information about Jenny Holzer:“5 ways Jenny Holzer brought art to the streets”: https://www.tate.org.uk/art/artists/jenny-holzer-1307/5-ways-jenny-holzer-brought-art-streets“Jenny Holzer”: https://projects.jennyholzer.com“Jenny Holzer”: https://www.interviewmagazine.com/art/jenny-holzer
RIck Prol has a solo exhibition, Empty City up at at James Fuentes Gallery, 55 Delancey St, NYC, through Saturday, March 26, 2022, Prol has been a well-know artist for over 40 years with a consistent practice, His work is beautiful, engaging to look at with a dark spin. I dig into the emotional connection in Prol's life experience to find out where it came from. Rick Prol was a contemporary of all of the famous East Village Artists of that time and Rick articulates well what it felt like to live in the East Village and how genuinely dangerous is was. Also his Dad put A LOT of pressure on him! James Kalm has a great video of the opening of this show. You can see the work and feel the excitement in the room HERE. More about Rick Prol: Born: 1956, New York, NY. Cooper Union, BFA, 1980, also studied at New York Studio School, 1975-76. Currently lives and works in New York City. Rick Prol started showing his work in 1982, during the heyday of the East Village art scene of the 1980s. The East Village scene embraced the idea of a community of experimental artists living in and thriving off of the grittiness and cultural richness of the area. Prol quickly became an icon of the era, known for his dark yet vibrant, cartoonish descriptions of fantastical murder and mayhem in the rat-infested urban jungle. Prol's paintings incorporate various styles including Art Brut and Expressionism, laced with various art historical references and laden with sincere depictions of the urban human condition. In addition to painting, Prol's studio practice includes work in a variety of media such as sculpture, drawing, installation and writing. Prol writes "My work is a form of self portraiture and is a kind of prophesy-voodoo, it is strongly influenced by my surroundings but only as a starting off point. My intent is for a universal message." Termed as a "Veteran Master of Gothic Angst" by Edward Leffingwell of Art in America, March, 2004, Prol has exhibited widely over the years, as well as curated exhibitions including East Village A.S.U., 2004, at the B-Side Gallery in the East Village, in response to the exhibition East Village U.S.A. at the New Museum, in New York. Recent surveys of his work have been presented at the Ohio State University, Columbus, OH and The Hudson Valley Center for Contemporary Art, Peekskill, NY. He has presented solo exhibitions with Hal Bromm, B-Side Gallery, Willoughby Sharp, and Andrew Kreps in New York; Barbara Farber in Amsterdam; and Leeahn Gallery in South Korea; and has been included in group exhibitions at Artists Space and PS1, among others. Prol's work is included in the collections of the Museum of Modern Art, Guggenheim Museum, Stedelijk Museum, Museum of Contemporary Art Chicago, Hirschhorn Museum and Sculpture Garden, The Aldrich Contemporary Art Museum, Holocaust Museum, and Smithsonian Libraries. Follow RIck Prol on Instagram HERE: https://www.instagram.com/rickprol/
Betty Yu is a multimedia artist, photographer, filmmaker and activist born and raised in NYC to Chinese immigrant parents. Ms. Yu integrates documentary film, new media platforms, and community-infused approaches into her practice, and she is a co-founder of Chinatown Art Brigade, a cultural collective using art to advance anti-gentrification organizing. Ms. Yu has been awarded artist residencies and fellowships from the Laundromat Project, A Blade of Grass, International Studio & Curatorial Program, Intercultural Leadership Institute, Skidmore's Documentary Storytellers' Institute, KODA Lab, Asian American Arts Alliance, En Foco, China Residencies, Flux Factory and Santa Fe Art Institute. Her work has been presented at the Brooklyn Museum, Queens Museum, NY Historical Society, Artists Space, SPACE Gallery, Margaret Mead Film and Video Festival, Tribeca Film Festival's Interactive Showcase, 2019 BRIC Biennial; Old Stone House, and Squeaky Wheel Film and Media Art Center. In 2018 she had a solo exhibition at Open Source Gallery in New York. In 2017 Ms. Yu won the Aronson Journalism for Social Justice Award for her film "Three Tours" about U.S. veterans returning home from war in Iraq, and their journey to overcome PTSD. She holds a BFA from NYU's Tisch School of the Arts, a MFA in Integrated Media Arts from Hunter College and a One-Year Certificate from International Center Photography New Media Narratives program. Ms. Yu teaches video, social practice, art and activism at Pratt Institute, Hunter College, and The New School, in addition she has over 20 years of community, media justice, and labor organizing work. In the Fall 2020, Betty had her curatorial debut as she presented Imagining De-Gentrified Futures, an exhibition that featured artists of color, activists and others along with her own work at Apexart in Tribeca, NYC. Betty sits on the boards of Third World Newsreel and Working Films; and on the advisory board of More Art. The current project that was discussed in the interview: We Were Here: Unmasking Yellow Peril The book mentioned in the interview was Race for Profit. My grandparents in New York City in the 1950s with the cut out of 1882 Chinese Exclusion Act in the Background, Digital Collage, 2020. (Dis)Placed in Sunset Park: My Personal Story from Betty Yu on Vimeo.
Today's guest is Brendan Lorber, Brendan is a visual artist, poet, prose writer and editor, and his most recent book is entitled If this is paradise why are we still driving? It is published by the Subpress Collective. Recently, and as we discuss in this episode, the pandemic and in the process of seeking relationship, Brendan has found himself creating a series of hand drawn maps of the known poetic and musical universe. Imagine what a map of Gertrude Stein, David Bowie, Gwendolyn Brooks and Madonna might look like. The maps have found homes at the Museum of Modern Art, The Free Black Women's Library, Opus 40 Gallery, Artists Space, The Free Library of Philadelphia, The Woodland Pattern Center, The Scottish Poetry Library, and private collections in nine countries. He also teaches map-making classes online through Uncommon Goods, and some of these classes help students explore and relationships, and in case you have yet to find that perfect gift for your valentine, see the links below in order to sign up for one of his classes. In this episode, we hear so much more about Brendan, his creativity origin story, amazing stories about his family, and we have a blast learning about how Brendan grabs his string and flies his kite. Enjoy.Brendan's Website - https://brendanlorber.com/index.htmlBrendan's classes at Uncommon Goods - https://www.uncommongoods.com/artist/34798Instagram - @brendanlorberTwitter - @brendanlorberIf this is Paradise, Why are We Still Driving? for purchase via Amazon Kites and Strings Website: https://www.kitesandstrings.com/Facebook: https://www.facebook.com/kitesandstringspodcastTwitter: @KitesandstringsInstagram: @Kites_and_stringsemail: Kitesandstringspodcast@gmail.comKites and String's is produced and edited by Steve Ploum at Turning Stones Counseling, Inc.Our theme music is by Harrison Amer, and all other original music by purple planet music at https://www.purple-planet.com. Our logo-design is by Cole Monroe at Blue Stag Creative.
A couple weeks ago, I (Devika) visited the Artists Space gallery in downtown Manhattan to check out the ongoing exhibit, "Feel at Home Here," by New Red Order—a “public secret society” with rotating members who creates exhibitions, videos, and performances that question and re-channel our relationships to indigeneity. As I walked into the gallery, the lobby welcomed me with an assortment of marketing paraphernalia: a poster advertised “Savage Philosophy™”; a red landline invited me to call a hotline; and a screen played a video of a white man exhorting me to “never settle” and to realize my "fullest potential” by joining his organization, New Red Order. Was this the merchandise section of the gallery? A marketing or recruitment video? Or a parody? I couldn't quite tell at first. This slippage between satire and fact, which constantly reminds us of the all-too-real absurdity of the settler colonial project, is the modus operandi of New Red Order. As I walked further into the exhibit, one wall featured a sardonic timeline of the history of the Improved Order of Red Men, a whites-only political society that New Red Order riffs on subversively. One section of the room was modeled as a real-estate office for “Giving Back™" land. And the centerpiece featured a rotating video installation, which included New Red Order's ongoing feature-film-slash-recruitment-campaign, Never Settle. To dig into the exhibit's provocative plays with time, futurity, guilt, ownership, and desire, I spoke to New Red Order's “core contributors," as they describe themselves: Jackson Polys, Adam Khalil, and Zack Khalil. Today's podcast presents a short excerpt of our conversation, featuring Adam and Jackson, but look out for the full interview in the Film Comment Letter on Thursday, June 24. For show notes, go filmcomment.com/blog/the-film-comment-podcast-new-red-order
In this episode we interview Ken Goldberg. Goldberg is an artist and William S. Floyd Jr. Distinguished Chair in Engineering, UC Berkeley. His artwork, exploring the intersection of the digital and the natural world, includes a living garden tended by a robot via the internet and the award-winning film “Why We Love Robots”. Goldberg's has shown at the Whitney Biennial, Venice Biennale, Pompidou Center, Walker Art Center, Ars Electronica, ZKM, ICC Biennale, Kwangju Biennale, Artists Space, and the Kitchen. He is Founding Director of Berkeley's Art, Technology, and Culture Colloquium and named IEEE Fellow in 2005. His work is in several permanent collections including the Whitney Museum in NYC. If you like this episode, please subscribe. Please also send us your ideas of people you'd like us to interview for future episodes. Reviewing the podcast also helps us get the word out to more people. email: artrobotdeath@gmail.com
L.A. based artists Amanda Ross-Ho and Erik Frydenborg talk about shifting focus and priorities after a year of the pandemic. As teachers, the two discuss what it's been like to work with students over the last year, and they also find common threads across their art practices: attention to detail, engaging with time and archival material, and inviting the viewer into an open-ended dialogue. "The craft element was not just about a well-made object, but a way to see other objects with precision and close attention to form. Like reading the contexts in which objects come into the world, and where they've been—I think of craft as being not just a tool, but a way to respect materiality. It's a respectful ceremony for objecthood, so thereby it entends to other things in the world that you have not made... For us it's also like a church of—it's devotional. It's totally ritual, devotional, it's reverence, it's a world view." –Amanda Ross-Ho and Erik FrydenborgAmanda Ross-Ho holds a BFA from the School of the Art institute of Chicago and an MFA from the University of Southern California. She has exhibited widely, both nationally and internationally. Solo exhibitions include Cherry and Martin, Los Angeles, Hoet Bekaert, Belgium,The Pomona Museum of Art, Mitchell-Innes and Nash New York, The Visual Arts Center, Austin, TX, Shane Campbell Gallery, Chicago, The Museum of Contemporary Art Los Angeles, Vleeshal Center for Contemporary Art, Middelburg, Netherlands, the Bonner Kunstverein, Bonn, Germany, Tramway, Glasgow, Scotland, The Approach, London, Praz-Delavallade, Paris, and Mary Mary, Glasgow, and Kunsthall Stavanger, Norway. Group exhibitions include Artists Space, New York, The Henry Art Gallery, Seattle, The Orange County Museum of Art, The Museum of Contemporary Art, Los Angeles, The Yerba Buena Center for the Arts, San Francisco, The Museum of Contemporary Art, Chicago, The Walker Art Center, Minneapolis, The New Museum, New York, and The Museum of Modern Art, New York. She was included in the 2008 Whitney Biennial, and the 33rd Ljubljana Biennial of Graphic Arts, curated by Slavs and Tatars. She has presented commissioned public works at The Museum of Contemporary Art, Chicago, City Hall Park, New York City, the Parcours Sector of Art Basel Switzerland, and the Crystal Bridges Museum of American Art. Ross-Ho's work has been featured in Artforum, The New York Times, ArtReview, Modern Painters, Art in America, Flash Art, Art + Auction, and Frieze among others. She is Professor of Sculpture at the University of California, Irvine and lives and works in Los Angeles.Erik Frydenborg was born in 1977 in Miami, Florida. He holds a BFA from MICA in Baltimore, MD, and an MFA from the University of Southern California. Frydenborg has held solo exhibitions at The Pit, Glendale, CA, Andrew Rafacz Gallery, Chicago, IL, Albert Baronian, Brussels, BE, The Suburban, Oak Park, IL, and Cherry and Martin, Los Angeles, CA. Previous group exhibitions include NADA House, New Art Dealers Alliance, Governor's Island, New York, NY, 100 Sculptures, Anonymous Gallery, Paris, FR, Divided Brain, LAVA Projects, Alhambra, CA, Real Shapes, Dateline, Denver, CO, Skip Tracer, M. LeBlanc, Chicago, IL, Knowledges, Mount Wilson Observatory, Los Angeles, CA, Re-Planetizer, Regina Rex, New York, NY, TRAUMA SAUNA, ASHES/ASHES, Los Angeles, CA, Full House, Shanaynay, Paris, FR, BAD BOYS BAIL BONDS ADOPT A HIGHWAY, Team Gallery, New York, NY, Trains, Night Gallery, Los Angeles, CA, Set Pieces, Cardi Black Box, Milan, IT, and The Stand In (Or A Glass of Milk), Public Fiction, Los Angeles, CA. Frydenborg's work has been reviewed in Artforum, FlashArt, and The Los Angeles Times, among other publications. From 2017 through 2019, Frydenborg was a partner in the cooperative artist-run Los Angeles gallery AWHRHWAR. Erik Frydenborg lives and works in Los Angeles.
Adele Bertei - Contortions, Peter Laughner & Why Labelle Matters - in conversation with David Eastaugh Bertei began her career playing guitar and singing in the Wolves, her first band with Laughner. She left Cleveland for New York City in 1977 shortly after Laughner died prematurely of complications due to alcoholism. Bertei quickly became a prominent figure in the no wave art and music scene in NYC, playing Acetone organ and guitar in the original line up of the Contortions fronted by James Chance. While working as personal assistant to Brian Eno in 1978, Bertei took him to a series of concerts at Artists Space in New York, which resulted in Eno producing the iconoclastic LP No New York for the Virgin/Antilles label, featuring the Contortions and three other no wave bands.
Robin Lee Crutchfield talking about his life with DNA, Dark Day and much more with David Eastaugh. Robin Lee Crutchfield is an American artist. He is best known as one of the founding musicians of the former New York No Wave scene. He has performed at such hallowed musical grounds as CBGB's, Max's Kansas City and Artists Space; as well as had his work on display at prestigious venues like MoMAand The Whitney Museum of American Art.
Katie and Steve speak with Jay Sanders, Executive Director and Chief Curator of Artists Space, a vanguard artist-centered arts nonprofit, founded in 1972 and located in New York City, about the devastating impact of the pandemic shutdown on small arts nonprofits, as well as the inspiration and community being cultivated in this moment of hardship. Resources: https://artistsspace.org/about https://www.americansforthearts.org/by-topic/disaster-preparedness/the-economic-impact-of-coronavirus-on-the-arts-and-culture-sector https://www.artnews.com/art-news/news/arts-organizations-coronavirus-losses-report-1202687488/ https://hyperallergic.com/565254/covid-19-unesco-icom-study/?utm_medium=email&utm_campaign=D052120&utm_content=D052120+CID_5b52f14555a5e4874a6468534c7b8eb5&utm_source=HyperallergicNewsletter&utm_term=13%2520of%2520Museums%2520Worldwide%2520May%2520Close%2520Permanently%2520Due%2520to%2520COVID-19%2520Studies%2520Say
Well this is a strange session—but on so many levels. First of all, Meryl Meisler was Dylan's digital art teacher when he was in 7th Grade. They haven't seen each other in ten years-since school really-and meet up IRL in the studio. Loved seeing them together and hearing in their reflections how they affected each other. Meryl got Dylan into her first film festival as a kid! The other part of this session is between Dylan and myself, with Meryl taking the shrink role. I had offended Dylan about four years ago when we were on stage together. And that's all I'm saying. This is the closest I've come to crying on the mic though! And with all this going on, we barely got to touch on the fact that Dylan is the current Miss Subways!! https://www.nytimes.com/2019/10/08/nyregion/Miss-Subways-NYC.html Here's some info about Meryl Meisler, an incredible photographer artist. You can see her work and all that stuff here: Her bio is too long for this post but you'll recognize these places in it: Meisler has received fellowships, grants and residencies from the New York Foundation for the Arts, Light Work, YADDO, The Puffin Foundation, Time Warner, Artists Space, C.E.T.A., the China Institute and the Japan Society. Her work has been exhibited at the Brooklyn Museum, Brooklyn Historical Society, Dia Art Foundation, MASS MoCA, Islip Art Museum, Annenberg Space for Photography, the New Museum for Contemporary Art, New-York Historical Society, Steven Kasher Gallery, The Whitney Museum of American Art and in public spaces including Grand Central Terminal, South Street Seaport, Photoville and throughout the NYC subway system. Full bio here. More about Dylan Mars Greenberg: It's insane how much great work she's accomplished and she's only 22! The most inspiring way to find out about Dylan is from this wonderful documentary by Piano Whitman that I totally recommend: http://nobudge.com/main/woman-from-mars. And here's a headline from when she was only 19! "How a 19 Yr Old Directed & Sold 6 Feature Films with Dylan Mars Greenberg". More about his seven feature films and music videos with notable artists on her Wikipedia page here.
Ted is a poet and professor in town to give a reading at Artists Space, he also happens to be one of my oldest friends. Here we discuss the relationship between government, fascism and free speech, how to disrupt networks through writing and his time living on trains and in the back of a truck as a physical form of the same network defying protest. He also reads from his new manuscript "The Economy Disappears" and soon to be published book "Thanksgiving" coming out on Golias Books this spring.https://www.goliasbooks.com/thanksgiving
I ART New York interviews Brooklyn based artist Lisa Levy; she discusses her performance art, paintings, and her talk show “Dr. Lisa Gives a Shit”, in which she adopts the role of psychiatrist. Lisa infuses humor into her work while retaining a tone of seriousness in each of her projects. Lisa’s artwork has been exhibited widely including at the New Museum, Bronx Museum, White Columns, and Artists Space. The music intro and outro music are by singer, songwriter Ivo Dimchev. Follow on Instagram: #Ivo_Dimchev and on Spotify. Title tracks “I Cure” and “I Can Not”. I ART New York is produced by your hosts, Izabela Gola and Rebecca Major.
Sanna Almajedi talks to composer and trombonist Peter Zummo, and Eve Essex, a musician who performs with alto saxophone, piccolo, voice and electronics. The music heard in this episode was recorded live during the fifth edition of Satellite at Bar Laika on March 12, 2019, featuring Zummo and Essex. Peter Zummo is a composer and trombonist whose music encompasses both the contemporary-classical and vernacular genres. His work is informed by five decades of realizing the work of other composers, poets, bandleaders, choreographers, directors, and filmmakers. The way in which he maneuvers the contemporary trombone is genre non-conforming, and still finds a place in any genre. Zummo worked closely with Arthur Russell, appearing on many of his recordings. He has also collaborated with Pauline Oliveros, Phil Niblock, and Yasunao Tone. His music has been released by Foom, Optimo Music, and Experimental Intermedia Foundation. Eve Essex is a Brooklyn-based musician who performs with alto saxophone, piccolo, voice and electronics, harnessing elements of classical, drone, free jazz, and distorted pop. She has performed as Das Audit (with guitarist Craig Kalpakjian), as well as in trios Hesper (with James K and Via App), and HEVM (with MV Carbon and Hunter Hunt-Hendrix). She has also collaborated extensively with Juan Antonio Olivares as installation/performance-art duo Essex Olivares. Her first solo album, Here Appear, was released by Soap Library (cassette) and Sky Walking (LP) in 2018. She also appears on Pan’s compilation Mono No Aware. Select solo performances include Artists Space, Outpost Artists Resources, Safe Gallery, and Meakusma Festival. Satellite is a monthly experimental music series curated by Sanna Almajedi.
We went to many events so you didn’t have to. We discuss the Festival Workers Association born during the many controversies of this year’s Small Press Expo. While OK was in Maryland Lucia went to the Marx@200 show at Verso Books, which was a celebration of Peter Frase’s new book “The Four Futures” and included Alfredo Jaar’s … Continue reading "Episode 15 – W.A.G.E. & SPX & Marx@200"
A Fucking Didactic Educational AUDIO File! We basically spin a weird collage about surveillance and privacy (a lost cause). A lot of time traveling this episode. We go back in time 5-7 years when folks were rushing Youtube with How To videos like it was the dang gold rush. We receive a prescient transmission from Jack … Continue reading "Episode 11 – HOW NOT TO BE SEEN"
Rindon Johnson is a multidisciplinary artist and writer. His sculptures, videos and performances have been shared at Human Resources, Los Angeles; MoMA PS1; Artists Space and National Gallery of Victoria, Melbourne - among others. Rindon is the author of "Nobody Sleeps Better Than White People" from Inpatient Press, the virtual reality book, "Meet in the Corner" from Publishing-House.Me and "Shade the King" from Capricious. On this episode, Annie and Rindon discuss his recent sculptural and VR work, representing the discomfort in intimacy, and being a queer parent. To see Rindon’s work, check out his website. Follow him on Instagram @rindonjohnson. Follow us on Instagram at @posturemag and like us on Facebook for updates. You can also become an official Posture member and receive exclusive content, our latest annual print issue, special event invitations, discounts from our partners, and more. Visit posturemag.com/online/membership for more information.
Milepost 5 has provided affordable space for hundreds of artists over the years, and it's being sold. As April Baer reports, the deal offers lessons about mixing art and commerce. Also OPB political analyst Bill Lunch and senior political reporter Jeff Mapes dig into the week's political developments. We get into a gun bill that just passed the Oregon House, charges of ethics violations against former governor John Kitzhaber and moves by the Washington Legislature to abolish the death penalty.
Lisa Sigal is an artist living and working in Brooklyn, New York. She was born in Philadelphia and received her BFA from Tyler School of Art. She then attended Skowhegan and went on to get her MFA in apinting from Yale University. She has has solo shows at the Mattress Factory in Pittsburgh, LAX Art in LA, Samson Projects in Boston, the Aldrich Museum in Connecticut, White Columns in NYC and many more. She’s been in group shows too numerous to name, but a few include the New Museum, P.S.1, the Brooklyn Museum of Art, Artists Space, Painting Center, Art i n General and many more. Her work has been covered in Art News, Art in America, Artforum, Time Out, The New York Times and many others. She has won the Anonymous Was A Woman Grant, a Guggenheim Fellowship, a NYFA Grant, amongst others. Lisa is also the co-founder and co-curator, with Nova Benway, of Open Sessions, a program for artists run by The Drawing Center. Brian met up with Lisa at her Gowanus studio and they spoke about public art, old Soho days, gentrification, music and her current show at Miller Contemporary.
Walking Through Walls with Philip Smith "Philip Smith's compelling readable memoir of his father—a psychic, exorcist, hands-on healer, and… decorator!—is as entertaining as it is bizarre, all the way to its unexpected and deeply moving conclusion." —John Berendt, author of Midnight in the Garden of Good and Evil For the first time since 2014, Bestselling Author & Renowned Artist Philip Smith returns to the Outer Limits of Inner Truth Radio Show. Philip talks about his Father Lew Smith whom some could say has similarities to legendary mystic Edgar Cayce. Philip Smith's pictographic work was first seen in the seminal Pictures Exhibition at Artists Space. Curated by Douglas Crimp,the show included Robert Longo, Sherrie Levine, Troy Brauntuch, Jack Goldstein and Philip Smith. These five artists established the movement that has become known as The Pictures Generation that now includes Cindy Sherman, RichardPrince, Laurie Simmons and others. The curious and psychologically-charged images in Smith's new paintings are drawn from found imagery in 1950s Cold War spy manuals, lingerie ads, books on mysticism and numerology, lost magic books and early genetic diagrams. Smith works the canvas like a physicist's blackboard where he can postulate new image formulations and equations. The paintings are characterized by slightly visible erased imagery that serves as both memory and ghost- like images reminiscent of Smith's childhood that was filled with séances and talking spirits. The result is a disorienting universe characteristic of Smith's long association with both pop culture and metaphysical practices. “I think of the paintings really as drawings, as if the canvas were just a large sheet of paper. This allows me to work freely and automatically as if in some sort of trance state. The result is somewhat similar to the intent of Jain paintings from India or Tibetan thangkas, which serve to open a door to another realm. This often results in a curious sensation of time travel for the viewer.” Smith's work has been included in both the Whitney and Beijing Biennials and is in the permanent collection of the Whitney, Boston Museum of Fine Arts, Dallas Museum of Art, Miami Art Museum, Detroit Institute of Art, among others. Smith's unusual life story has been captured in his memoir, WALKING THROUGH WALLS, published by Simon and Schuster. It is the true story of growing up with a father who discovers that he has supernatural powers and can talk to the dead and heal the sick. SHOWTIME has acquired the book for a weekly television series, now in development.
Whose Global Village: Rethinking How Technology Shapes Our World (NYU Press) In Whose Global Village?, Ramesh Srinivasan explores how new technologies often reinforce the inequalities of globalization because developers rarely take into account communities outside the Western world. By sharing stories of collaboration with Native Americans in California and New Mexico, revolutionaries in Egypt, and villages in rural India, Srinivasan urge us to re-imagine social media, the Internet, and even mobile phones from the perspective of these diverse cultures. Praise for Whose Global Village? “The 2016 election showed us what happens when technologies like Facebook, that are supposed to connect us, actually leave us in bubbles and oblivious to the world that doesn’t agree with us. Whose Global Village?shows that another technology is possible, and in fact exists, through examples across the world that are all about furthering cultural voices and conversations.” --The Yes Men “In the age of video streaming and the internet, indigenous peoples can fight for their rights as we see with the Dakota Pipeline and across the world today. Whose Global Village? points the way forward to a digital world that recognizes the dignity and voices of indigenous peoples.”--Winona La Duke, Executive Director of Honor the Earth “Upstart successes like The Young Turks are becoming less common, partially as a result of the increasing corporatization and monopolization of social media. Whose Global Village? offers an alternate path, out of the self-selected echo chambers that marginalize non-western and indigenous voices, and into a future where new technology operates in greater harmony with grassroots concerns and culturally diverse populations across the world.”--Cenk Uygar, Founder of The Young Turks Ramesh Srinivasan isthe Director of the Digital Cultures Lab and Associate Professor of Information Studies and Design and Media Arts at UCLA. His work has been featured by Al Jazeera, The Washington Post, The Young Turks, National Public Radio, and The Huffington Post. Rigo 23 is an artist living in Los Angeles and working globally. His work has been the subject of solo exhibitions at REDCAT and Fowler Museum in Los Angeles; the New Museum and Artists Space, in New York City and Museu de Arte Contemporanea, Rio de Janeiro in Brasil. His work has been included in the First Kochi-Muziris Biennale in India; 2nd Aichi Triennial in Japan; 3rd Shenzhen Hong-Kong Bi-City Biennial of Urbanism and Architecture, in China; 5th Auckland Triennial in New Zealand; 10th Lyon Biennale in France; the 2006 Liverpool Biennial in the UK, and the 2004 California Biennial, among others.
Whose Global Village: Rethinking How Technology Shapes Our World (NYU Press) In Whose Global Village?, Ramesh Srinivasan explores how new technologies often reinforce the inequalities of globalization because developers rarely take into account communities outside the Western world. By sharing stories of collaboration with Native Americans in California and New Mexico, revolutionaries in Egypt, and villages in rural India, Srinivasan urge us to re-imagine social media, the Internet, and even mobile phones from the perspective of these diverse cultures. Praise for Whose Global Village? “The 2016 election showed us what happens when technologies like Facebook, that are supposed to connect us, actually leave us in bubbles and oblivious to the world that doesn’t agree with us. Whose Global Village?shows that another technology is possible, and in fact exists, through examples across the world that are all about furthering cultural voices and conversations.” --The Yes Men “In the age of video streaming and the internet, indigenous peoples can fight for their rights as we see with the Dakota Pipeline and across the world today. Whose Global Village? points the way forward to a digital world that recognizes the dignity and voices of indigenous peoples.”--Winona La Duke, Executive Director of Honor the Earth “Upstart successes like The Young Turks are becoming less common, partially as a result of the increasing corporatization and monopolization of social media. Whose Global Village? offers an alternate path, out of the self-selected echo chambers that marginalize non-western and indigenous voices, and into a future where new technology operates in greater harmony with grassroots concerns and culturally diverse populations across the world.”--Cenk Uygar, Founder of The Young Turks Ramesh Srinivasan isthe Director of the Digital Cultures Lab and Associate Professor of Information Studies and Design and Media Arts at UCLA. His work has been featured by Al Jazeera, The Washington Post, The Young Turks, National Public Radio, and The Huffington Post. Rigo 23 is an artist living in Los Angeles and working globally. His work has been the subject of solo exhibitions at REDCAT and Fowler Museum in Los Angeles; the New Museum and Artists Space, in New York City and Museu de Arte Contemporanea, Rio de Janeiro in Brasil. His work has been included in the First Kochi-Muziris Biennale in India; 2nd Aichi Triennial in Japan; 3rd Shenzhen Hong-Kong Bi-City Biennial of Urbanism and Architecture, in China; 5th Auckland Triennial in New Zealand; 10th Lyon Biennale in France; the 2006 Liverpool Biennial in the UK, and the 2004 California Biennial, among others.
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
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
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
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 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
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
The IMA presents a talk titled 'Fiction and the Future Anterior' by Berlin-based artist and writer Patricia Reed. Reed’s artworks have been featured in exhibitions at the Witte de With, Rotterdam; Haus der Kulturen der Welt, Berlin; Kunsthaus Langenthal, Langenthal; Württembergische Kunstverein, Stuttgart; Audain Gallery, Vancouver; and 0047, Oslo, among others. As a writer, Reed has contributed to several books and periodicals, including #ACCELERATE: The Accelerationist Reader; The Psychopathologies of Cognitive Capitalism Vol. II; Mould Magazine; Who Told You So?!; Intangible Economies; Cognitive Architecture: From Biopolitics to Noopolitics; Critical Spatial Practice; C Magazine; Fillip, Art Papers, Shifter, and Framework. Lectures have included those at The Future Summit – Montréal Biennale; Tate Britain, London; University of Westminster; Dampfzentrale, Bern; Artists Space, New York; MIT, Massachusetts; abc, Berlin; Archive Kabinett, Berlin; and The Winter School Middle East, Kuwait. Reed plays host to the Inclinations lecture series at Or Gallery in Berlin. She teaches and is a board member for The New Centre for Research & Practice, and is part of the Laboria Cuboniks working group.
This week: The second installment of our pirate radio sessions, recorded live from NADA 2011! We are joined by local heroes The Museum of Contemporary Art, Chicago curators Michael Darling and Naomi Beckwith. Naomi Beckwith is a curator at the Museum of Contemporary Art, Chicago. Beckwith joined the curatorial staff in May 2011. A native Chicagoan, Beckwith grew up in Hyde Park and attended Lincoln Park High School, going on to receive a BA in history from Northwestern University in Evanston, Illinois. She completed an MA with Distinction from the Courtauld Institute of Art in London, presenting her master's thesis on Adrian Piper and Carrie Mae Weems. Afterward, she was a Helena Rubenstein Critical Studies Fellow at the Whitney Museum Independent Study Program in New York. Beckwith was a fall 2008 grantee of the Andy Warhol Foundation for the Visual Arts and was named the 2011 Leader to Watch by ArtTable. She serves on the boards of the Laundromat Project (New York) and Res Artis (Amsterdam). Prior to joining the MCA staff, Beckwith was associate curator at The Studio Museum in Harlem. Preceding her tenure at the Studio Museum, Beckwith was the Whitney Lauder Curatorial Fellow at the Institute of Contemporary Art, Philadelphia, where she worked on numerous exhibitions including Locally Localized Gravity (2007), an exhibition and program of events presented by more than 100 artists whose practices are social, participatory, and communal. Beckwith has also been the BAMart project coordinator at the Brooklyn Academy of Music and a guest blogger for Art21. She has curated and co-curated exhibitions at New York alternative spaces Recess Activities, Cuchifritos, and Artists Space. Beckwith curated the exhibition 30 Seconds off an Inch, which was presented by the Studio Museum in Harlem November 12, 2009 – March 14, 2010. Exhibiting artworks by 42 artists of color or those inspired by black culture from more than 10 countries, the show asked viewers to think about ways in which social meaning is embedded formally within artworks. Michael Darling (born 1968) is the James W. Alsdorf Chief Curator at the Museum of Contemporary Art, Chicago (MCA). Darling joined the MCA staff in July 2010. Darling received his BA in art history from Stanford University, and he received his MA and PhD in art and architectural history from the University of California, Santa Barbara. Darling has worked as an independent writer and curator, contributing essays on art, architecture, and design to publications including Frieze, Art Issues, Flash Art, and LA Weekly. Darling frequently serves as a panelist, lecturer, and guest curator on contemporary art and architecture. Prior to joining the MCA, Darling was the Jon and Mary Shirley Curator of Modern and Contemporary Art at the Seattle Art Museum (SAM), where he was awarded SAM's Patterson Sims Fellowship for 2009-10. In 2008, Darling began the program SAM Next, a series of contemporary art exhibitions presenting emerging or underappreciated artists from around the globe. Artist Enrico David, who exhibited as part of SAM Next, has since been nominated for the Turner Prize. Darling curated the SAM exhibitions Target Practice: Painting Under Attack 1949-78 (June 25 – September 7, 2009), and Kurt (May 13 – September 16, 2010). Target Practice showcased the attacks painting underwent in the years following World War II. Kurt explored Kurt Cobain’s influence on contemporary artists. Darling was associate curator at the Museum of Contemporary Art, Los Angeles, before joining SAM. He co-curated The Architecture of R.M. Schindler (2001), which won the International Association of Art Critics “Best Architecture or Design Exhibition” award. The exhibition also won merit awards for interior architecture from the Southern California American Institute of Architects and the California Council of the American Institute of Architects.
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