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Martha Wilson Interview Part III the Franklin Furnace Programs
Martha Wilson Interview Part III The Franklin Furnace Programs SANT: When you first organized Franklin Furnace, your main activity was collecting artist books and showing them to the public. How did you start your performance program? WILSON: Our thought was that the same artists who were publishing these books could be invited to read their published stuff, the stuff that we had in the collection. SANT: Isn’t this similar to the many public book readings that happen at many mainstream bookstores Downloaded from http://direct.mit.edu/dram/article-pdf/49/1 (185)/80/1821483/1054204053327789.pdf by guest on 26 September 2021 now? WILSON: But not at the time! No. SANT: Readings in bookstores have been around for quite sometime, haven’t they? I mean, if we go to a different place and time other than New York in the mid-s, such as San Francisco in the mid- s with the Beats, and Lawrence Ferlinghetti and the City Lights Bookstore in San Francisco, and Allen Ginsberg reading Howl ... WILSON: That’s absolutely right. OK. SANT: Were you building on anything like that? Were you aware of such things or were you reinvent- ing the wheel? WILSON: Reinventing the wheel, I would say. I was not focused on the performance program at all because my friend Jacki Apple was my coconspirator and curator. We had already collaborated on a per- formance work in . I was living in Canada at that time. SANT: What had you done together before Franklin Furnace? WILSON: We started corresponding because Lucy Lippard had come to Halifax and introduced us through the catalog to an exhibition that existed only on notecards, about ,. -
Close Listening Mira Schor and Charles Bernstein August 23, 2009
COVER FEATURE Close Listening MIRA SCHOR AND CHARLES BERNSTEIN august 23, 2009 N PROVINCETOWN LAST SUMMER, poet Charles Bernstein interviewed Mira Schor for his Art Interna- tional Radio program, Close Listening. In the first of two half-hour programs, Schor read brief excerpts from several of her essays: “Figure/Ground” from Wet, and “Email to a Young Woman Artist,” “Recipe Art,” and “Modest Painting” from A Decade of Nega- tive Thinking. The original programs can be accessed at ARTonAIR.org and at PennSound (writing.upenn. Iedu/pennsound). ABOVE: MIRA SCHOR, 2009 PHOTO BY JULIA DAULT OPPOSITE: PROVINCETOWN STUDIO WALL, 2007 40 PROVINCETOWNARTS 2010 CHARLES BERNSTEIN: You started with a reading from the axiomatic, this critical oligarchy, to use your term, doesn’t exist your essay “Figure/Ground” from Wet and you brought anymore, nobody subscribes to that. Anybody who says that shouldn’t be listened to. We’ll have no part of them! We must exclude them! They up again this image of wet. You mentioned Duchamp as a are ignorant!” So exactly exemplifying the continuation by the denial, counterexample, but I don’t think Duchamp is really the dry which I think was quite funny. artist that is your target there. Could you revisit that for a Exactly. Whereas, in fact, they are incredibly well-trained clones of the second, coming back twenty years later? original. It’s like the Invasion of the Body Snatchers—they are clones. “We are not clones. We are independent thinkers.” [Here and MIRA SCHOR: I’m not sure that Duchamp requires defend- just below, Charles is speaking in the voice of a robot, or a person ing. -
Oral History Interview with Martha Wilson, 2017 May 17-18
Oral history interview with Martha Wilson, 2017 May 17-18 Funding for this interview was provided by the Lichtenberg Family Foundation. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Martha Wilson on May 17 and 18, 2017. The interview took place at Wilson's home in Brooklyn, NY, and was conducted by Liza Zapol for the Archives of American Art, Smithsonian Institution. Martha Wilson and Liza Zapol have reviewed the transcript. Their corrections and emendations appear below in brackets with initials. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview LIZA ZAPOL: Okay, so this is Liza Zapol for the Archives of American Art, [Smithsonian Institution] oral history program. It's May 17, 2017. And if I can ask you to introduce yourself, please? MARTHA WILSON: My name is Martha Wilson, and I'm going to not hold anything back. LIZA ZAPOL: Thank you. And we're here at your home in Brooklyn. So, if I can just ask you to begin at the beginning— MARTHA WILSON: Okay. LIZA ZAPOL: —as I said. MARTHA WILSON: Okay. LIZA ZAPOL: Where and when were you born? And if you can tell me a little bit about your early memories. MARTHA WILSON: Okay. I was born in Philadelphia in Philadelphia General Hospital or something like that, and raised for the first six years of my life on a houseboat. -
Immersion Into Noise
Immersion Into Noise Critical Climate Change Series Editors: Tom Cohen and Claire Colebrook The era of climate change involves the mutation of systems beyond 20th century anthropomorphic models and has stood, until recent- ly, outside representation or address. Understood in a broad and critical sense, climate change concerns material agencies that im- pact on biomass and energy, erased borders and microbial inven- tion, geological and nanographic time, and extinction events. The possibility of extinction has always been a latent figure in textual production and archives; but the current sense of depletion, decay, mutation and exhaustion calls for new modes of address, new styles of publishing and authoring, and new formats and speeds of distri- bution. As the pressures and re-alignments of this re-arrangement occur, so must the critical languages and conceptual templates, po- litical premises and definitions of ‘life.’ There is a particular need to publish in timely fashion experimental monographs that redefine the boundaries of disciplinary fields, rhetorical invasions, the in- terface of conceptual and scientific languages, and geomorphic and geopolitical interventions. Critical Climate Change is oriented, in this general manner, toward the epistemo-political mutations that correspond to the temporalities of terrestrial mutation. Immersion Into Noise Joseph Nechvatal OPEN HUMANITIES PRESS An imprint of MPublishing – University of Michigan Library, Ann Arbor, 2011 First edition published by Open Humanities Press 2011 Freely available online at http://hdl.handle.net/2027/spo.9618970.0001.001 Copyright © 2011 Joseph Nechvatal This is an open access book, licensed under the Creative Commons By Attribution Share Alike license. Under this license, authors allow anyone to download, reuse, reprint, modify, distribute, and/or copy this book so long as the authors and source are cited and resulting derivative works are licensed under the same or similar license. -
The Life and Times of Penny Arcade. Matthew Hes Ridan Ames Louisiana State University and Agricultural & Mechanical College
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1996 "I Am Contemporary!": The Life and Times of Penny Arcade. Matthew heS ridan Ames Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Ames, Matthew Sheridan, ""I Am Contemporary!": The Life and Times of Penny Arcade." (1996). LSU Historical Dissertations and Theses. 6150. https://digitalcommons.lsu.edu/gradschool_disstheses/6150 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. -
Federally Funded Art in the United States: Government Actions in Response to Controversy Abby Lauren Kalbfleisch
Eastern Michigan University DigitalCommons@EMU Master's Theses, and Doctoral Dissertations, and Master's Theses and Doctoral Dissertations Graduate Capstone Projects 3-2013 Federally funded art in the United States: Government actions in response to controversy Abby Lauren Kalbfleisch Follow this and additional works at: http://commons.emich.edu/theses Part of the Art and Design Commons Recommended Citation Kalbfleisch, Abby Lauren, "Federally funded art in the United States: Government actions in response to controversy" (2013). Master's Theses and Doctoral Dissertations. 456. http://commons.emich.edu/theses/456 This Open Access Thesis is brought to you for free and open access by the Master's Theses, and Doctoral Dissertations, and Graduate Capstone Projects at DigitalCommons@EMU. It has been accepted for inclusion in Master's Theses and Doctoral Dissertations by an authorized administrator of DigitalCommons@EMU. For more information, please contact [email protected]. Federally Funded Art in the United States: Government Actions in Response to Controversy by Abby Kalbfleisch Thesis Submitted to the Department of Communication, Media, and Theatre Arts Eastern Michigan University in partial fulfillment of the requirements for the degree of MASTER OF ARTS in Art Administration Thesis Committee: Ken Stevens, Chair Susan Booth Melanie Schuessler March 2013 Ypsilanti, Michigan Abstract This study documents controversies that have arisen from federally funded art programs and organizations and explores the actions taken by the government and changes made to public policy in the wake of said controversies. These actions include (1) requiring matching funding from other entities, (2) reorganization of programs, changing names of programs, and/or the elimination of programs, (3) oaths/pledges from artists/arts organizations, (4) the denial of funding, (5) the delegation of responsibility/requiring advising panels, and (6) the change or destruction of art. -
150 Artists Amplify Demands for Reform at New Orleans Museum of Art Ebony G
150 Artists Amplify Demands for Reform at New Orleans Museum of Art Ebony G. Patterson, William Powhida, and Xaviera Simmons have joined the call for art workers “to place strict conditions on their collaboration with NOMA,” which is being accused of bigotry and discrimination. Hakim Bishara October 12, 2020 The New Orleans Museum of Art (NOMA) with Roy Lichtenstein’s “Five Brushstrokes” in 2015 In June, a group of former staff members at the New Orleans Museum of Art (NOMA) accused the institution of enabling a “plantation-like culture” in an open letter that described instances of surveillance and discrimination of Black and LGBTQ workers at the museum. Backed by hundreds of supporters, they launched the initiative #DismantleNOMA which calls on the museum to fundamentally reform its work environment and to immediately separate itself from its current leadership. These demands are amplified in a new open letter released today, October 12, by a wide group of artists, art workers, and organizers from across the country. The letter, signed by more than 150 supporters to date, calls on NOMA to “take the first step toward restoring its relationship with the New Orleans community it claims to serve by immediately implementing the thirteen changes put forth by #DismantleNOMA.” Symbolically released on Indigenous Peoples Day, federally recognized as Columbus Day, the open letter follows the opening of a new exhibition at NOMA this past weekend. When asked about the timing of the letter, its authors told Hyperallergic: “In the United States EVERYDAY holds the potential for resistance. Our interest in Indigenous Peoples Day extends only so far as its meaning encourages colonial institutions like NOMA to reflect on the persistent and ongoing nature of their settler violence.” “Every day since this country’s inception we have seen violence enacted on Indigenous and Black people,” they continued. -
Art Now LA January 28, 2018 William Powhida: After
Art Now LA January 28, 2018 William Powhida: After ‘After the Contemporary’ The Aesthetic Prankster Charlie James Gallery January 20 - March 3, 2018 by Jody Zellen William Powhida is a New York-based artist whose work often looks critically at the contemporary art market. He openly satirizes and attacks aspects of the art world and is unabashed about using his critiques for his own advancement. In an exhibition at the Aldrich Contemporary Museum of Art in 2017 entitled After the Contemporary, Powhida explored the relationship of the artist to the art market. His exhibition at Charlie James Gallery continues this investigation. After ‘After the Contemporary’, presents a grid of 120 hand-painted advertisements that actually did appear (2000-present) and might appear (2019-2025) in the magazine Artforum. These works are hung in chronological order and span two walls. The paintings of Los Angeles-based artist Dave Muller come to mind as Muller also creates loose images from appropriated art-based sources. However, one of Powhida’s goals is to point out the predictable patterns and myopic scope of Artforum ads by inventing new galleries and exhibition spaces. Within the grid, he reproduces ads by Prada, Hauser & Wirth, Gagosian Gallery, and Bruno Bischofberger, who usually advertises on the back cover of the magazine. A full-page Artforum ad is expensive, so only these blue chip galleries can afford them. Surprisingly, Powhida includes images of protest or commemoration within the array, for example 9/11 (2001), an image of the second plane flying towards an already burning World Trade Center tower and Central Park Iraq War Protests (2003), which depicts a crowded rally. -
Barbara-Zucker-CV-1.Pdf
Barbara Zucker Born, Philadelphia, PA. Lives and works in Burlington,Vermont, and New York, New York. Studio: 444 S. Union St. Burlington, Vermont 05401 802 863 8513 Fax: 802 864 5841 email: [email protected] Education University of Michigan, BS in Design Hunter College, MA Cranbrook Academy of Art Selected One Person Exhibitions Barbara Zucker: Time Signatures, The Gershman Y, Phila., Pa. 2007 Time Signatures: Tufts University, Mass., 2005 Universal Lines: Homage to Lilian Baker Carlisle and Other Women of Distinction”; Amy Tarrant Gallery, The Flynn Center for the Performing Arts, Burlington, Vt., 2001 Robert Hull Fleming Museum, Burlington, VT, 1998, 1980 One Great Jones Gallery, NYC, 1997 Paley Gallery, Moore College of Art, Phila., PA, 1996 (catalog) “For Beauty’s Sake,” Artists’ Space, NYC, 1994 Haeneh Kent Gallery, NYC, 1990 Webb and Parsons, Burlington, VT, 1989, 1991 Benjamin Mangel Gallery, Phila., PA, 1989 The Sculpture Center, NYC, April, 1989 Pam Adler Gallery, NYC, 1983, 1885 Swarthmore College, PA, 1983 Fine Arts Center, University of Massachusetts, Amherst, 1982 Joselyn Art Museum, Omaha, Nebraska, 1981 Robert Hull Fleming Museum, Burlington, VT, 1981 Robert Miller Gallery, NYC, 1978, 1980 Pennsylvania Academy of Fine Art, 1980 Marion Deson Gallery, Chicago, 1979, 1985 112 Greene Street Gallery, NYC, 1976 A.I.R. Gallery, NYC, 1972, 1974 Rutgers University, Douglass College, New Brunswick, NJ, 1973 Selected Group Exhibitions ‘Radical Lace and Subversive Knitting”, The Museum of Arts and Design, New York, 2007 “From the Inside Out: Feminist Art Then and Now”, New York, 2007 Winter Salon , Lesley Heller Gallery, December, New York, 2006 “Selfish“, curated by Lori Waxman, 128 Rivington, New York, 2004 Reading Between the Lines”, curated by Joyce Kozloff; Wooster Arts Space, New York, 2003 “Drawing Conclusions: Work by Artists Critics”, curated by Judith Collishan, New York Arts, New York, 2003 “The Art of Aging”, Hebrew Union College Museum, New York, 2003-2004; traveling exhibition, through 2006. -
Oral History Interview with Suzanne Lacy, 1990 Mar. 16-Sept. 27
Oral history interview with Suzanne Lacy, 1990 Mar. 16-Sept. 27 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Suzanne Lacy on March 16, 1990. The interview took place in Berkeley, California, and was conducted by Moira Roth for the Archives of American Art, Smithsonian Institution. This interview has been extensively edited for clarification by the artist, resulting in a document that departs significantly from the tape recording, but that results in a far more usable document than the original transcript. —Ed. Interview [ Tape 1, side A (30-minute tape sides)] MOIRA ROTH: March 16, 1990, Suzanne Lacy, interviewed by Moira Roth, Berkeley, California, for the Archives of American Art. Could we begin with your birth in Fresno? SUZANNE LACY: We could, except I wasn’t born in Fresno. [laughs] I was born in Wasco, California. Wasco is a farming community near Bakersfield in the San Joaquin Valley. There were about six thousand people in town. I was born in 1945 at the close of the war. My father [Larry Lacy—SL], who was in the military, came home about nine months after I was born. My brother was born two years after, and then fifteen years later I had a sister— one of those “accidental” midlife births. -
13 Feminist Art Shows to See in Honor of Women's History Month
Exhibitions 13 Feminist Art Shows to See In Honor of Women’s History Month See these shows in New York and around the country, featuring women artists and feminist icons. Sarbani Ghosh, March 6, 2017 Susan Bee, Pow! (2014). Courtesy of A.I.R. Politics got you down? Grab back! March is Women’s History Month, and what better way to pay homage to all the pioneering women who have advanced the cause for women’s equality than to go see these 12 shows and exhibitions? Currently on view in New York and around the country, these shows feature the work of pioneering feminist artists, old and new: Vadis Turner, Black Nest , 2016. Photo Courtesy Equity Gallery and © Vadis Turner 1. “FemiNest” at Equity Gallery “FemiNest” brings together the works of Natalie Frank, Karen Lee Williams, Michele Oka Doner, Barbara Segal, Page Turner, and Vadis Turner around the idea of a “nest,” in both its literal and metaphorical meanings. The show explores new spaces for women, considering spirituality, materiality, societal behaviors in the domestic and non-domestic spheres, protection, and gender-specific production, via works in sculpture, textiles, painting, and many other media. Location: Equity Gallery, 245 Broome Street, New York Price: Free Date and time: Through March 25. Wednesday to Saturday, 12 p.m.–6 p.m., and by appointment. Yayoi Kusama’s Aftermath of Obliteration of Eternity. 2. “Yayoi Kusama: Infinity Mirrors” at the Hirshhorn Yayoi Kusama has been making headlines recently with her polka dots and pumpkins at the Hirshhorn Museum. Her “Happenings” in New York in the 1960s, where she explored the naked body as a stage for performance, were just the start of her rebellion against patriarchal systems of power. -
Mira Schor and Jason Andrew with PHONG BUI
ii BROOKLYNRAIL CRI ICA L PE:RSP CTIVES O N A RTS, PO LITICS, AN D CU LTU RE Art October 5th, 2009 INCONVERSATION Mira Schor and Jason Andrew WITH PHONG BUI On the occasion of the painter Jack Tworkov’s retrospective Against Extremes: Five Decades of Painting, which will be on view at The UBS Art Gallery until October 27, 2009, and the publication of The Extreme of the Middle: Writings of Jack Tworkov, published by Yale University Press, both curator, Jason Andrew, and editor, Mira Schor, paid a visit toOff the Rail Hour at Art International Radio to talk with Publisher Phong Bui about Tworkov’s life and work. Phong Bui (Rail): Having read the whole volume of writing and seen the show, I was struck by his incredibly astute observations which seemed to me must have derived from the capacity for self- criticism and self-analysis, and which gave him a sense of deliberate eloquence in his continuity as a painter and thinker. There are two things I remember reading from the book which really stayed with me: one is the first sentence from the journal entry, which he started right after the war, 1947, the same year as his first one-man show at Charles Egan Gallery, “Style is the effect of pressure. […] In the artist, the origin of pressure is in his total life—heredity, experience, and will […]—but the direction flows according to the freedom he allows his creative impulse.” Two is the long article “Notes on My Painting,” which was published in Art in America in 1973 under the invitation of Brian O’Doherty, where in the end he says, “Above all