Press Release

Total Page:16

File Type:pdf, Size:1020Kb

Press Release PRESS RELEASE EXHIBITION FEATURES NEW AND HISTORICAL WORKS BY 40 ARTISTS IMPORTANT TO THE 1970s ALTERNATIVE ART SPACES MOVEMENT AND THE EARLY YEARS OF P.S.1 CONTEMPORARY ART CENTER Organized in Celebration of MoMA PS1’s 40th Anniversary by P.S.1 Founder Alanna Heiss FORTY On view June 19–August 29, 2016 MoMA PS1 2nd Floor Galleries MoMA PS1 presents FORTY, an exhibition celebrating the institution’s 40th anniversary, organized by P.S.1's founder, Alanna Heiss. The exhibition features work by over 40 artists who were key participants in the 1970s alternative art spaces movement and the early years of P.S.1 Contemporary Art Center. In 1976, Alanna Heiss founded P.S.1 as the latest venture in a series of pioneering projects organized through her non-profit organization, the Institute for Art and Urban Resources, which included the Clocktower Gallery in lower Manhattan and other disused spaces across New York City. With both the intellectual and physical room to experiment, nearly 80 artists created work for P.S.1’s inaugural 1976 show, Rooms, which has since become a landmark in the art history of 1970s New York. The artists used classrooms, stairwells, windows, closets, bathrooms, the boiler room, courtyard, and attic—often engaging directly with the existing architecture. Rooms catalyzed changes in the forms and methods of making art, and expanded ideas about how it could be shown. Four decades later, FORTY revisits the work of many of the artists who participated in the inaugural exhibition, in some cases featuring works shown in Rooms. Presented across the museum’s second floor galleries, FORTY revisits the radical vision and experimental spirit that characterized P.S.1's early years. FORTY features work by Cecile Abish, Laurie Anderson, Carl Andre, Richard Artschwager, John Baldessari, Jennifer Bartlett, Lynda Benglis, James Bishop, Daniel Buren, Colette, Ron Gorchov, Dan Graham, Robert Grosvenor, Marcia Hafif, David Hammons, Jene Highstein, Nancy Holt, Bill Jensen, Richard “Dickie” Landry, Barry Le Va, Sol LeWitt, Gordon Matta- Clark, John McCracken, Mary Miss, Max Neuhaus, Richard Nonas, Brian O’Doherty, Dennis Oppenheim, Nam June Paik, Howardena Pindell, Robert Ryman, Alan Saret, Joel Shapiro, Judith Shea, Charles Simonds, Keith Sonnier, Pat Steir, Michelle Stuart, Lawrence Weiner, Doug Wheeler, Jackie Winsor, and Robert Yasuda. Listening stations throughout the exhibition highlight a series of audio conversations between Alanna Heiss and participating artists. Produced in connection with FORTY by Clocktower Productions, a non-profit arts organization and radio station directed by Alanna Heiss, the series provides visitors with an intimate view into P.S.1’s early history. The full audio guide is available online at: momaps1.org/forty MoMA PS1’s 40th Anniversary MoMA PS1 is celebrating its 40th anniversary with a year of special exhibitions, projects, and initiatives. Marking the 40th anniversary of the institution’s opening in 1976, several exhibitions will evoke the energy and innovation of late 1960s and early 1970s New York City, including a large-scale survey of early works through 1976 by influential artist Vito Acconci, developed in close collaboration with Vito and Maria Acconci; a group exhibition curated by P.S.1 founder Alanna Heiss featuring 40 artists who were key participants in the establishment of P.S.1 Contemporary Art Center; and a focused exhibition documenting the Puerto Rico-born artist Papo Colo’s important performance works in P.S.1’s founding year. In spring 2017, MoMA PS1 will showcase a selection of the institution’s archives to draw out highlights from its rich history. PRESS RELEASE In addition, MoMA PS1 will strengthen its commitment to New York City and the borough of Queens in celebration of its 40th anniversary. With the success of free admission as a gift to New Yorkers over the past year, Marina Kellen French and the Anna-Maria and Stephen Kellen Foundation have renewed their support and MoMA PS1 will now offer free admission to all New York City residents through October 2017. The museum will also continue its engagement with the artistic community in the Rockaways by presenting a monumental, site-specific project by celebrated painter Katharina Grosse in summer 2016. Engaging New York’s Puerto Rican community—the largest in the mainland United States— MoMA PS1 is collaborating with artist Papo Colo on a festival in Puerto Rico in January 2017, with the aim of drawing attention to the island’s present economic crisis. FORTY is organized by Alanna Heiss, Founding Director, MoMA PS1, and Director, Clocktower Productions; with Beatrice Johnson, Associate Curator, Clocktower Productions; and Oliver Shultz, Curatorial Assistant, MoMA PS1. The exhibition is made possible by a partnership with Volkswagen of America. Press Contact: Molly Kurzius, (718) 392-6447 or [email protected] [email protected] For downloadable high-resolution images, register at MoMA.org/press. MoMAPS1.org • MoMA.org Hours: MoMA PS1 is open from 12:00 p.m. to 6:00 p.m., Thursday through Monday. It is closed on Thanksgiving, Christmas, and New Year’s Day. Admission: $10 suggested donation; $5 for students and senior citizens; free for New York City residents*, MoMA members and MoMA admission ticket holders. The MoMA ticket must be presented at MoMA PS1 within thirty days of date on ticket and is not valid during Warm Up or other MoMA PS1 events or benefits. *Free admission as a Gift to New Yorkers in honor of New York artists, made possible by the Anna-Maria and Stephen Kellen Foundation. Through October 15, 2017 all residents of New York’s five boroughs receive free entrance to all exhibitions during regular museum hours; excluding concerts, fundraisers, and ticketed events. Upon arrival please present proof of New York City residency such as a driver’s license, state-issued identification card or a New York City utility bill. Directions: MoMA PS1 is located at 22-25 Jackson Avenue at 46th Ave in Long Island City, Queens, across the Queensboro Bridge from midtown Manhattan and is easily accessible by bus and subway. Traveling by subway, take either the E or M to Court Square-23 Street; the 7 to 45 Road-Courthouse Square; or the G to Court Sq or 21 St-Van Alst. By bus, take the Q67 to Jackson and 46th Ave or the B62 to 46th Ave. MoMA PS1 Background: MoMA PS1 is one of the largest and oldest organizations in the United States devoted to contemporary art. Established in 1976 by Alanna Heiss, MoMA PS1 originated from a not-for-profit organization founded with the mission of turning abandoned buildings in New York City into artist studios and exhibition spaces. P.S.1 Contemporary Art Center, as it then was known, became an affiliate of The Museum of Modern Art in 2000. 2 .
Recommended publications
  • Arte No Es Vida: Actions by Artists of the Americas, 1960-2000
    1230 Fifth Avenue New York, NY 10029 212 831 7272 Contact: Lauren Van Natten T. 212 660 7102 [email protected] For Immediate Release ARTE ≠ VIDA: ACTIONS BY ARTISTS OF THE AMERICAS, 1960-2000 Landmark Exhibition at El Museo del Barrio Highlights Performative Actions by Over 75 Latino / Latin American Artists January 30 – May 18, 2008 Press Preview: Thursday, January 31, 3:00 – 5:00 p.m. NEW YORK, NY – January 17, 2008 – El Museo del Barrio, New York’s premier Latino and Latin American cultural institution, is pleased to announce its groundbreaking exhibition Arte ≠ Vida: Actions by Artists of the Americas, 1960 – 2000, which will be on view from January 30 through June 8, 2008. “Arte no es vida” surveys, for the first time ever, the vast array of performative actions created over the last half century by Latino artists in the United States and by artists working in Puerto Rico, the Dominican Republic, Cuba, Mexico, Central and South America. Curated by Deborah Cullen, Director of Curatorial Programs at El Museo del Barrio, Arte ≠ Vida is the recipient of a prestigious 2006 Emily Hall Tremaine Exhibition Award. Through a rich and lively presentation of photographs, video, texts, ephemera, props, and artworks that reference canonical works, the exhibition represents a landmark within the documentation of action art. Arte ≠ Vida expands standard descriptions of “performance art,” revealing how work created by Caribbean, Latino and Latin American artists is often not only dramatized but politicized. An accompanying exhibition catalogue will serve as the first comprehensive resource publication to address this segment of the field of performative art.
    [Show full text]
  • William Anastasi
    WILLIAM ANASTASI Born Philadelphia, PA, in 1933 Lives and works in New York, NY AWARDS 2010 John Cage Award, Foundation for Contemporary Art SOLO EXHIBITIONS 2012 Jarry:Du/Joy, Blind Drawings, Walking, Subway, Drop, Vetruvian Man, Still, Galerie Jocelyn Wolff, Paris 2010 Drawings, Gering & López Gallery, New York, NY Isabelle Du Moulin und Nils Borch Jensen Galerie, Berlin, Germany William Anastasi, John Cage Award (Biennial Award) 2009 William Anastasi, Emilio Mazzoli Gallery, Modena, Italy William Anastasi Retrospective, curator: Inge Merete Kjeldgaard, The Esberg Museum of Modern Art, Esbjerg, Denmark 2008 Opposites Are Identical, Peter Blum Gallery (Chelsea), New York New works, Stalke Galleri / Stalke Up North / Stalke Out Of Space, Kirke Saaby, DK 2007 William Anastasi, Raw [Seven works from 1963 to 1966], The Drawing Center, New York William Anastasi, Paintings and drawings, Michael Benevento, The Orange Group, Los Angeles 2006 William Anastasi, Bjorn Ressle Fine Art, New York William Anastasi, Baumgartner Gallery, New York 2005 Drawings 1970-2005, Stalke Gallery, Copenhagen Blind, art agents, Hamburg William Anastasi, Rehbein Gallery, Cologne 2004 William Anastasi, SolwayJones, Los Angeles Galerie Jocelyn Wolff 2003 Blind, The Annex, NY 2001 William Anastasi: 1961-2000: A Retrospective at the Nikolaj Contemporary Art Center, Copenhagen 2000 William Anastasi, art agents, Hamburg 1999 ...vor mehr alseinem halben Jahrhundert, Landes Museum, Linz, Germany Drawings, Gary Tatintsian Gallery, NY 1998 I Am A Jew, The Philadelphia Museum
    [Show full text]
  • One of a Kind, Unique Artist's Books Heide
    ONE OF A KIND ONE OF A KIND Unique Artist’s Books curated by Heide Hatry Pierre Menard Gallery Cambridge, MA 2011 ConTenTS © 2011, Pierre Menard Gallery Foreword 10 Arrow Street, Cambridge, MA 02138 by John Wronoski 6 Paul* M. Kaestner 74 617 868 20033 / www.pierremenardgallery.com Kahn & Selesnick 78 Editing: Heide Hatry Curator’s Statement Ulrich Klieber 66 Design: Heide Hatry, Joanna Seitz by Heide Hatry 7 Bill Knott 82 All images © the artist Bodo Korsig 84 Foreword © 2011 John Wronoski The Artist’s Book: Rich Kostelanetz 88 Curator’s Statement © 2011 Heide Hatry A Matter of Self-Reflection Christina Kruse 90 The Artist’s Book: A Matter of Self-Reflection © 2011 Thyrza Nichols Goodeve by Thyrza Nichols Goodeve 8 Andrea Lange 92 All rights reserved Nick Lawrence 94 No part of this catalogue Jean-Jacques Lebel 96 may be reproduced in any form Roberta Allen 18 Gregg LeFevre 98 by electronic or mechanical means, including photocopying, recording, or information storage retrieval Tatjana Bergelt 20 Annette Lemieux 100 without permission in writing from the publisher Elena Berriolo 24 Stephen Lipman 102 Star Black 26 Larry Miller 104 Christine Bofinger 28 Kate Millett 108 Curator’s Acknowledgements Dianne Bowen 30 Roberta Paul 110 My deepest gratitude belongs to Pierre Menard Gallery, the most generous gallery I’ve ever worked with Ian Boyden 32 Jim Peters 112 Dove Bradshaw 36 Raquel Rabinovich 116 I want to acknowledge the writers who have contributed text for the artist’s books Eli Brown 38 Aviva Rahmani 118 Jorge Accame, Walter Abish, Samuel Beckett, Paul Celan, Max Frisch, Sam Hamill, Friedrich Hoelderin, John Keats, Robert Kelly Inge Bruggeman 40 Osmo Rauhala 120 Andreas Koziol, Stéphane Mallarmé, Herbert Niemann, Johann P.
    [Show full text]
  • Introduction and Will Be Subject to Additions and Corrections the Early History of El Museo Del Barrio Is Complex
    This timeline and exhibition chronology is in process INTRODUCTION and will be subject to additions and corrections The early history of El Museo del Barrio is complex. as more information comes to light. All artists’ It is intertwined with popular struggles in New York names have been input directly from brochures, City over access to, and control of, educational and catalogues, or other existing archival documentation. cultural resources. Part and parcel of the national We apologize for any oversights, misspellings, or Civil Rights movement, public demonstrations, inconsistencies. A careful reader will note names strikes, boycotts, and sit-ins were held in New York that shift between the Spanish and the Anglicized City between 1966 and 1969. African American and versions. Names have been kept, for the most part, Puerto Rican parents, teachers and community as they are in the original documents. However, these activists in Central and East Harlem demanded variations, in themselves, reveal much about identity that their children— who, by 1967, composed the and cultural awareness during these decades. majority of the public school population—receive an education that acknowledged and addressed their We are grateful for any documentation that can diverse cultural heritages. In 1969, these community- be brought to our attention by the public at large. based groups attained their goal of decentralizing This timeline focuses on the defining institutional the Board of Education. They began to participate landmarks, as well as the major visual arts in structuring school curricula, and directed financial exhibitions. There are numerous events that still resources towards ethnic-specific didactic programs need to be documented and included, such as public that enriched their children’s education.
    [Show full text]
  • The Museum of Modern Art: the Mainstream Assimilating New Art
    AWAY FROM THE MAINSTREAM: THREE ALTERNATIVE SPACES IN NEW YORK AND THE EXPANSION OF ART IN THE 1970s By IM SUE LEE A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2013 1 © 2013 Im Sue Lee 2 To mom 3 ACKNOWLEDGMENTS I am deeply grateful to my committee, Joyce Tsai, Melissa Hyde, Guolong Lai, and Phillip Wegner, for their constant, generous, and inspiring support. Joyce Tsai encouraged me to keep working on my dissertation project and guided me in the right direction. Mellissa Hyde and Guolong Lai gave me administrative support as well as intellectual guidance throughout the coursework and the research phase. Phillip Wegner inspired me with his deep understanding of critical theories. I also want to thank Alexander Alberro and Shepherd Steiner, who gave their precious advice when this project began. My thanks also go to Maureen Turim for her inspiring advice and intellectual stimuli. Thanks are also due to the librarians and archivists of art resources I consulted for this project: Jennifer Tobias at the Museum Library of MoMA, Michelle Harvey at the Museum Archive of MoMA, Marisa Bourgoin at Smithsonian Institution’s Archives of American Art, Elizabeth Hirsch at Artists Space, John Migliore at The Kitchen, Holly Stanton at Electronic Arts Intermix, and Amie Scally and Sean Keenan at White Columns. They helped me to access the resources and to publish the archival materials in my dissertation. I also wish to thank Lucy Lippard for her response to my questions.
    [Show full text]
  • Selected New York Seens
    SELECTED NEW YORK SEENS 1979 opened with a whoop, holler, and focus on the "New" sound/slides/improvisation in "Homerunrnuse" by Carolee and "Old": "New Image Painting" at the Whitney Museum Schneemam. An informal documentation slide showing of centered on ten painters using isolated images in new con- Fandango's history was screened, dong with original broad- texts, simplifying recognizable objects placed on non-associ- side issues of their earliest editions. ative grounds, transforming scale and color to yield "new" "New" style spectacles of "old" favorites were presented meanings. Artists included Nicholas Africano, Jennifer Bart- at the newly-refurbi~hedEntermedia Theatre in the Nova lett, Denise Greene (also showing drawings and paintings at Convention, a gathering of artists, writers, fhmakers, thin- Max Protetch), Michael Hurson, Neil Jenney, Lois Lane, kers, and the like, dedicated to the writings and ideas of Robert Moskowitz, Susan Rothenberg, David True, Joe Zuc- William ~~~o~ghs:readings and performances by Allen ker. Other museum and gallery exhibitions of new works Ginsberg, JO~Cage, Merce Cunningham, Anne WaIdman, Ed included two by Robert Rauschenberg (Sonnabend), wall Sanders, Tim teary, Les Levine, theatrical events with Bel- works by Rosemary Mayer (55 Mercer), metal reliefs by gium's Le Plan K, Frank Zappa reading Burroughs, and Frank Stella (Leo Castelli), photoworks by Al Souza (O.K. Laurie Anderson and Julia Heyward presenting a new audio- Harris), acrylicjskrim paintings by Chris Darton (Mary distortion story. A second event celebrated the New Year in Boone), "new Wave" collage by Henry Benvenuti (Monson), a benefit for the recently burnt-out St.
    [Show full text]
  • Key: * Organized by the Wexner Center + New Work Commissions/Residencies ♦ Catalogue Published by WCA ● Gallery Guide
    1 Wexner Center for the Arts Exhibition History Key: * Organized by the Wexner Center + New Work Commissions/Residencies ♦ Catalogue published by WCA ● Gallery Guide ●LaToya Ruby Frazier: The Last Cruze February 1 – August 16, 2020 (END DATE TO BE MODIFIED DUE TO COVID-19) *+●Sadie Benning: Pain Thing February 1 – August 16, 2020 (END DATE TO BE MODIFIED DUE TO COVID-19) *+●Stanya Kahn: No Go Backs January 22 – August 16, 2020 (END DATE TO BE MODIFIED DUE TO COVID-19) *+●HERE: Ann Hamilton, Jenny Holzer, Maya Lin September 21 – December 29, 2019 *+●Barbara Hammer: In This Body (F/V Residency Award) June 1 – August 11, 2019 *Cecilia Vicuña: Lo Precario/The Precarious June 1 – August 11, 2019 Jason Moran June 1 – August 11, 2019 *+●Alicia McCarthy: No Straight Lines February 2 – August 1, 2019 John Waters: Indecent Exposure February 2 – April 28, 2019 Peter Hujar: Speed of Life February 2 – April 28, 2019 *+♦Mickalene Thomas: I Can’t See You Without Me (Visual Arts Residency Award) September 14 –December 30, 2018 *● Inherent Structure May 19 – August 12, 2018 Richard Aldrich Zachary Armstrong Key: * Organized by the Wexner Center ♦ Catalogue published by WCA + New Work Commissions/Residencies ● Gallery Guide Updated July 2, 2020 2 Kevin Beasley Sam Moyer Sam Gilliam Angel Otero Channing Hansen Laura Owens Arturo Herrera Ruth Root Eric N. Mack Thomas Scheibitz Rebecca Morris Amy Sillman Carrie Moyer Stanley Whitney *+●Anita Witek: Clip February 3-May 6, 2018 *●William Kentridge: The Refusal of Time February 3-April 15, 2018 All of Everything: Todd Oldham Fashion February 3-April 15, 2018 Cindy Sherman: Imitation of Life September 16-December 31, 2017 *+●Gray Matters May 20, 2017–July 30 2017 Tauba Auerbach Cristina Iglesias Erin Shirreff Carol Bove Jennie C.
    [Show full text]
  • Art Boris Lurie and NO!Art
    1 Boris Lurie in NO!art Boris Lurie and NO!art Boris Lurie in NO!art Boris Lurie and NO!art Kazalo 4 Boris Lurie Andreja Hribernik 24 Uvod Introduction Ivonna Veiherte 26 Skrivna sestavina umetnosti – pogum 40 The Secret Component of Great Art – Courage Stanley Fisher (1960) 56 Izjava ob Vulgarni razstavi Vulgar Show Statement Boris Lurie (1961) 58 Izjava ob Vključujoči razstavi 59 Involvement Show Statement Stanley Fisher (1961) 62 Izjava ob razstavi Pogube Doom Show Statement Boris Lurie (1964) 66 Spremna beseda k razstavi kipov NO! Sama Goodmana 68 Introduction to Sam Goodman ‘NO-sculptures’ Thomas B. Hess (1964) 70 Spremna beseda k razstavi kipov NO! 71 Introduction to the NO-sculptures show Tom Wolfe (1964) 73 Kiparstvo (Galerija Gertrude Stein) 74 Sculpture (Gallery Gertrude Stein) Dore Ashton (1988) 76 Merde, Alors! 78 Merde, Alors! Harold Rosenberg (1974) 80 Bika za roge 81 Bull by the Horns Contents 84 Boris Lurie 107 Sam Goodman 122 Stanley Fisher 128 Aldo Tambellini 132 John Fischer 134 Dorothy Gillespie 138 Allan D’Arcangelo 142 Erró 148 Harriet Wood (Suzanne Long) 152 Isser Aronovici 154 Yayoi Kusama 158 Jean-Jacques Lebel 164 Rocco Armento 166 Wolf Vostell 172 Michelle Stuart Marko Košan 176 Pričevanje podobe (Lurie, Mušič, Borčić) 184 The Testimony of an Image (Lurie, Mušič, Borčić) 190 Seznam razstavljenih del List of exhibited works BORIS LURIE Portret moje matere pred ustrelitvijo / Portrait of My Mother Before Shooting, 1947, olje na platnu / Oil on canvas, 92,7 x 64,8 cm © Boris Lurie Art Foundation BORIS LURIE Tovorni vagon, asemblaž 1945 Adolfa Hitlerja / Flatcar.
    [Show full text]
  • Curriculum Vitae Table of Contents
    CURRICULUM VITAE Revised February 2015 ADRIAN MARGARET SMITH PIPER Born 20 September 1948, New York City TABLE OF CONTENTS 1. Educational Record ..................................................................................................................................... 2 2. Languages...................................................................................................................................................... 2 3. Philosophy Dissertation Topic.................................................................................................................. 2 4. Areas of Special Competence in Philosophy ......................................................................................... 2 5. Other Areas of Research Interest in Philosophy ................................................................................... 2 6. Teaching Experience.................................................................................................................................... 2 7. Fellowships and Awards in Philosophy ................................................................................................. 4 8. Professional Philosophical Associations................................................................................................. 4 9. Service to the Profession of Philosophy .................................................................................................. 5 10. Invited Papers and Conferences in Philosophy .................................................................................
    [Show full text]
  • How Four Museums Are Taking Dramatic Measures to Admit More
    Women's Place in the Art World Case Studies: How Four Museums Are Taking Dramatic Measures to Admit More Women Artists Into the Art Historical Canon We examine how four museums are adopting different strategies to move the needle on the representation of women in art history. Julia Halperin & Charlotte Burns, September 19, 2019 Opening for "Hilma af Klint: Paintings for the Future." Photo: Paul Rudd © Solomon R. Guggenheim Foundation. Our research reveals just how little art by women is being collected and exhibited by museums. But some institutions are beginning to address the problem—and starting to find solutions. Here are four case studies. The Pioneer: Pennsylvania Academy of the Fine Arts, Philadelphia In recent years, institutions including the San Francisco Museum of Modern Art and the Baltimore Museum of Art have made headlines by selling off the work of canonized white men to raise money to diversify their collections. But few are aware that another museum quietly undertook a similar project way back in 2013. Now, the Pennsylvania Academy of the Fine Arts serves as a case study for how such moves can create permanent and profound change within an institution. PAFA’s decision to auction Edward Hopper’s East Wind Over Weehawken (1934) at Christie’s for $40.5 million was deemed controversial at the time. But the museum and art school has gone on to use the proceeds from that sale to consistently acquire significantly more works by female artists each year than institutions with far larger budgets, such as the Brooklyn Museum, the Museum of Fine Arts, Houston, and the Dallas Museum of Art.
    [Show full text]
  • FOR IMMEDIATE RELEASE June 4, 2018 INTERNATIONAL PRINT
    FOR IMMEDIATE RELEASE June 4, 2018 INTERNATIONAL PRINT CENTER NEW YORK PRESENTS: MULTILAYERED: New Prints 2018/SUMMER Selected by Juan Sánchez June 26 – September 22, 2018 Reception & Artist Talks: Thursday, June 28, 6–8pm (Press & Member Preview: 5–6pm) Images: (L) Kyle Goen. Harriet Tubman on William Morris' “Thistle” (Gold), 2018. 2-color screenprint on gold leaf wallpaper. Sheet: 37 x 23 ½ in. Printed by the Erik Hougen; published by the artist. Edition: 22. (C) Richard Armendariz. Tell Me Where It Hurts, 2018. Woodcut. Sheet: 47 ½ x 36 ½ in. Printed by Tracy Maytello and Alex Giffin; published by Flatbed Press. Edition: 12. (R) Natalia Kwiatkowska. The Family, 2017. Intaglio. Sheet: 39 x 22 5/8 in. Printed and published by the artist. Edition: 5. All images © the artists. International Print Center New York (IPCNY) announces the fifty-eighth presentation of its New Prints Program, a biannual, juried open call for prints and print-based work created in the preceding twelve months. Titled Multilayered, the exhibition was selected by Juan Sánchez, one of the most significant artists of the Nuyorican cultural movement. As a multimedia artist with an activist stance, Sánchez draws on symbols, images, and texts from popular and traditional culture to explore questions of ethnic and national identity. Sánchez dedicates this exhibition to Sam Coronado (1946– 2013), a printmaker, activist, and educator who dedicated his life to the Latinx arts community; Coronado is the subject of artist Sandra C. Fernandez’s print on exhibition. The 43 prints and print-based works on view in Multilayered reflect Sánchez’s interest in new narratives for an increasingly hybridized cultural world.
    [Show full text]
  • Fame-Obsessed 'Forty' at Moma PS1 Shows An
    Fame-Obsessed ‘Forty’ at MoMA PS1 Shows an Alternative Art Scene That No Longer Exists The original alternative spaces movement captured the era’s raw- nerved energy. Ben Davis, August 22, 2016 Installation view of Ba-O-Ba Fluorescent by Keith Sonnier in FORTY. Image courtesy MoMA PS1. Photo by Pete Deevakul. PS1 began as the Institute for Art and Urban Resources, in a city mired in a nasty financial crisis. Throughout the 1970s and ’80s, Alanna Heiss’s risk- taking nonprofit was a major force in the “alternative spaces” movement, and https://news.artnet.com/exhibitions/forty-at-moma-ps1-review-611432 the art she presented looms large in the contemporary imagination. It’s important, today, to reckon with its legacy. This summer, to celebrate its birthday, PS1 (now MoMA PS1) has brought back its founding director to curate “Forty,” a love letter to its early legacy. The thing is, though, a love letter might not be the best place to look for a real critical reckoning with the past. The show, taking over the second floor of PS1, is a kind-of-sort-of tribute to “Rooms,” the legendary first show from 1976, back when it really was a scrubby old schoolhouse, not the dressed-down, hipper-than-thou annex of MoMA that it is now. Nam June Paik in “Forty” at PS1. Courtesy of Ben Davis. Overall, the vibe of the art here is inscrutable and scrappy. There’s plenty of charm nestled away in PS1’s various nooks, from Nam June Paik’s witty sculpture of a candle framed in an old-style TV tube, to Colette’s voluptuous, grotto-like environment, or Dennis Oppenheim’s tableaux that evokes a spooky marionette crime scene.
    [Show full text]