ArtSlant - Recently added http://www.artslant.com/ny/Events/show en-us 40 Group Show - Joshua Liner Gallery - October 13th - November 12th <p>Curated by gallery artist Alfred Steiner, Why I Want to Fuck Donald Trump will open October 13, and run concurrently with the 2016 presidential election. This curated group of artists thematically tied to JG Ballard&rsquo;s 1967 essay &ldquo;Why I Want to Fuck Ronald Reagan&rdquo;, will be a visual discussion of this satirical piece which not only predicted Regan&rsquo;s presidency, but in many ways, Donald Trump&rsquo;s candidacy. Using Ballard&rsquo;s essay as a springboard for political discourse, Why I Want to Fuck Donald Trump includes numerous artists whose work collectively comments on the intersection of American politics and the over-sexualized cult of celebrity, as well as the sensationalism surrounding politics, crystallized in this election.</p> <p>The exhibiting artists discuss these heroes and idols within this critical context, exposing the fragility and fantasy we apply to politicians, in the same way these facades are constructed for celebrities. Taking these public figures off their soap boxes and pedestals, forces us to question our own understanding of the constructed &ldquo;truth&rdquo; that we surround them with. Utilizing caricature, parody, and social and political pastiches, these artists highlight a pervasive critique of the current political climate as one that has dangerously welded politicians and celebrities as one.</p> <p>Alfred Steiner&rsquo;s grotesque caricatures of Donald Trump and Hilary Clinton combine numerous hardcore pornographic images of male and female genitalia to build the facial structures of each politician. Literally illustrating Ballard&rsquo;s speculation of &ldquo;the probability of presidential figures being perceived primarily in genital terms,&rdquo; the uncanny watercolor portraits create a sense of recognition. Similarly, in a response to the presence of over-sexualized imagery in Western culture, Jonathan Yeo&rsquo;s unauthorized portrait of George W. Bush is pieced together from clippings of pornographic magazines, while Tom Sanford&rsquo;s caricatures Trump Mao and Clinton Mao superimpose hair and facial features of the American figures over an official portrait of Chairman Mao, converging their influence and values.</p> <p>Using various forms of parody, artists Rebecca Goyette, Aaron Johnson, Tim Davis, and Lamar Peterson employ a satirical approach to expose the constructed truths surrounding public figures. Goyette&rsquo;s video Ghost Bitch USA stages a revenge witch hunt, with Trump playing the role of the persecuted. In Johnson&rsquo;s reverse painting The Burial of Liberty, a ghoulish Trump is depicted alongside Uncle Sam, Marilyn Monroe, and JFK burying the Statue of Liberty: a beacon of hope and freedom. Continuing this approach, Tim Davis&rsquo; Seven Entertainers equates American politics with sex and celebrity, with Hillary Clinton sandwiched between over sexualized presidents and fictional characters: Bill Clinton, JFK, Xena Warrior Princess, Buffy the Vampire Slayer, and others. This juxtaposition of their photographed image as flattened, cardboard figures creates a lack of humanity and substance. Assisting in creating these constructed identities, Lamar Peterson points a finger at the newscaster&rsquo;s role in spinning sensational stories, illustrated via his portrait of an anchorman with a disfigured mouth.</p> <p>Giving voice to marginalized groups, Ana Wolovick&rsquo;s painting You Are Leaving the American Sector suggests a world where Trump has succeeded in erecting a wall between Mexico and the United States. Adding to this bleak prediction, Brian Andrew Whiteley&rsquo;s The Legacy Stone Project (The Donald Trump Tombstone) depicts Trump&rsquo;s tombstone with the slogan &ldquo;Made America Hate Again.&rdquo; The unauthorized original installation of the tombstone in Central Park in early 2016 was not intended to call for the death of Trump, but instead to urge him to rethink his legacy during this tense election year. The work will be installed in the Gallery with evidence tags attached from its earlier seizure for criminal investigation. Sergio Mu&ntilde;oz Sarmiento will exhibit a new work: Here I Sit, Lonely Hearted, Came to Shit but Only Farted, a discarded inverted Obama HOPE rally sign penetrates a stack of car tires and a girl&rsquo;s tyke bike with a hand scrawled sign reading &ldquo;FREE.&rdquo; The choice of items in Sarmiento&rsquo;s piece suggest the class conflict and loss of faith that has characterized recent presidential contests, while their arrangement suggests the sexual scandals that plague Democratic politicians. Continuing with sculpture, Kris Kuksi will release a bronze edition of Bank Tank, a monolithic bank atop a war tank, pointing the finger at the bureaucratic nature of the American economy.</p> <p>Other artists turn to Venn diagrams and data collection to address the perils of politics and public service. In Patrick Meagher&rsquo;s The Most Notable and Selfless Profession, bubbles amass like pop up windows on a desktop, such as Liberalism versus Conservatism, while ironically in opposition to the artwork&rsquo;s title, &ldquo;pretending to be something you&rsquo;re not&rdquo; intersects three circles reading &ldquo;SATAN,&rdquo; &ldquo;HALLOWEEN,&rdquo; and &ldquo;POLITICS.&rdquo; In this vein, William Powhida will interject his wry criticism with a new text-based work.</p> <p>An opening reception for Why I Want to Fuck Donald Trump will be held on Thursday, October 13, from 6&ndash;8pm. Exhibiting artists include Aaron Johnson, Alfred Steiner, Ana Wolovick, Andrew Schoultz, Brian Andrew Whiteley, Damien Davis, David Levinthal, Eric Yahnker, Jonathan Yeo, Kris Kuksi, Lamar Peterson, Michael Kagan, Patrick Meagher, Rebecca Goyette, Sergio Mu&ntilde;oz Sarmiento, Tim Davis, Tom Sanford, William Powhida and Zach Gage.</p> Wed, 28 Sep 2016 15:59:38 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list - WhiteBox - October 19th - November 9th <p style="text-align: justify;"><em>Acts of Sedition</em> is a mixed&ndash;media exhibition of international artists that indirectly takes its cue from two previous WhiteBox shows that addressed different facets of the U.S. elections. <em>Sedition </em>(2008) paralleled the general election leading to Obama&rsquo;s first term, while <em>#makamericagreatagain </em>(2016) was prescient in focusing on the primaries and subsequent emergence of Donald J. Trump who is now the 2016 Republican Presidential nominee. Whereas <em>Sedition</em> took the pulse of the national political climate, <em>#makeamericagreatagain </em>was more partisan as well as incorporating social media as a curatorial strategy. <em>Acts of Sedition</em> is like a third party, for it takes the aforementioned exhibitions as a point of departure but extends their thematic concerns to the contemporary world&ndash;at-large yet linking international geo-political strife to the U.S. political landscape and forthcoming Presidential elections. Artworks to be exhibited that underscore this, for example, include Carlos Aires&rsquo; collaged dollar bills.</p> <p style="text-align: justify;">These works consist of currency that have been superimposed with imagery of Iraqi war dead in coffins draped in American flags as well as homeless individuals. On one level the work may be construed as questioning U.S war policies and economic disparity, however because money is traded in transnational financial markets whose value can fluctuate according to global events, Aires&rsquo; work reveals the symbiosis of local, national and international politics. Another work that highlight&rsquo;s an aspect of the exhibition&rsquo;s foci is Dread Scott&rsquo;s <em>A Black Man Was Hung By Police Yesterday</em> (2015). Taking the form of a flag, Scott&rsquo;s sculpture is meant to be displayed in public and is based on a similar banner hung outside the offices of the N.A.A.C.P in Manhattan from 1920-38 to draw attention to lynching of African-Americans in the Jim Crow South. In the same manner that N.A.A.C.P. attempted to alert the public of the racial violence being inflicted on our fellow Americans, Scott&rsquo;s updated version was to make people aware of the institutional violence inflicted on the African-American community by certain members of the police. The work forces us to think of how the horrors of the past are still with us today but under different guises producing the same atrocious results: unabated racial violence that is seemingly institutionalized.</p> <p style="text-align: justify;"><em>Acts of Sedition </em>argues that although sedition in colloquial nomenclature refers to subversive acts by individuals towards institutions of power, what has now manifested are acts of treason by those same entities against a myriad of communities and even the sacrosanct ideals that has made the U.S.A a beacon and haven for tolerance, inclusivity, freedom and democracy. Violence against the African-American community, xenophobia, attempts to repeal Rew vs Wade, sexual orientation and transgender discrimination, the dominance of Superpacs in our political infrastructure that buy politicians and elections are just a few of the many acts of sedition by antidemocratic and authoritarian forces that this exhibition pushes against.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">The programs of WhiteBox are made possible in part by the New York City Department of Cultural Affairs&nbsp;and New York State Council for the Arts</p> Sat, 24 Sep 2016 18:35:34 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Pamela Salisbury - The Painting Center - October 4th - October 29th <p style="text-align: justify;">The Painting Center is pleased to announce an exhibition of recent work by Pamela Salisbury. The show is comprised of sixteen small-scale paintings, ranging in size from 4 x 4 inches to 12 x 12 inches. All works are acrylic paint on wood panel. The new work represents a departure from the artist&rsquo;s earlier oil paintings, which were made from observation and often made reference to birds and their habitat. While she continues to borrow basic shapes from the natural world, the forms are more abstract, and in many examples, highly stylized. The space created through color juxtapositions, and by overlapping and fusing form, is of special interest.</p> <p style="text-align: justify;">Pamela Salisbury received a BA in Sculpture from Bennington College, VT, and an MFA in Painting from the New York Studio School of Drawing, Painting, &amp; Sculpture, where she worked as an administrative associate through 2015. Her paintings have been shown in New Jersey and New York at venues including the Huntington Museum of Art, NJ; Riverside Studio, NJ; Panther Creek, NY; and The Studio School, NY. She is especially proud to be showing at the Painting Center with her mother, the artist Lois Dickson. Salisbury lives and works full-time in Kinderhook, NY.</p> Sat, 24 Sep 2016 18:26:58 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Lois Dickson - The Painting Center - October 4th - October 29th <p style="text-align: justify;">The Painting Center is pleased to present an exhibition of recent paintings by Lois Dickson. Lois makes her paintings in response to images that emerge from her imagination. A painting can evolve using spontaneous sweeping and interlocking gestures. As images appear on her canvas, and colors ask to be present, the process of working and solving the painting begins. The result is a conflagration of images that are simultaneously imaginative and engineered, deliberate and accidental. She is very influenced by the work of early European abstract painters and by the Americans: Marsden Hartley and, especially, Arthur Dove. She states: &ldquo;I continue to be interested primarily in the fundamentals of picture making: form, space, color. With this recent body of work, I am also opening the door to surprise narratives. While I always hope to invite something &ldquo;dark&rdquo;, I find humorous personalities taking up residence. I think I&rsquo;ll let them stay for now.&rdquo;</p> <p style="text-align: justify;">Lois Dickson was born in Cleveland, Ohio. She received a Bachelor of Arts from the University of Michigan, a Master of Fine Arts from the New York Academy of Art and Honors in Drawing from the New York Studio School&rsquo;s full time Certificate Program. Lois has exhibited extensively the Northeast, including six solo shows at the John Davis Gallery, NYC and Hudson, NY; a solo show at North Point Gallery, Kinderhook, NY; and The Witherspoon Gallery, Princeton,NJ. Selected Group Exhibitions include: Nina Nielson Gallery, Boston, MA; John Davis Gallery, Hudson, NYC; and The Prince Street Gallery, The Bowery Gallery, Art and Democracy Gallery, The New York Studio School, and The Painting Center- all in NYC.</p> Sat, 24 Sep 2016 18:26:09 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Marie-Louise McHugh - Phoenix Gallery - October 5th - October 29th <div class="paragraph" style="text-align: justify;">Born in Switzerland, I grew up fascinated by paintings by Hodler, Segantini, Valotton, Amiet, Giacometti and others. Unfortunately, my art teachers were totally taken by the abstract minimalism movement of the time. They discouraged me from pursuing my love of strong, realistic imagery, the organic and narrative quality of my work. So I resorted to photography for many years.</div> <div class="paragraph" style="text-align: justify;">&nbsp;</div> <div class="paragraph" style="text-align: justify;">In the 70&rsquo;s I moved to the USA, returned to painting and never stopped. I immersed myself in images of organic forms...the Pear, the female figure, the Cone Flower.</div> <div class="paragraph" style="text-align: justify;">&nbsp;</div> <div class="paragraph" style="text-align: justify;">During the past three years, I took a leap of faith and started painting small abstract works inspired by nature, gardens, walks in the park, color and light. It has been very exciting to work with thick layers of colorful paint applied with palette knives. Ironically, it is my reluctance to waste paint that lead to this transformation. For a long time, after a day&rsquo;s work on a large painting, I would make a quick small painting or sketch with the leftover paints on my palette.</div> <div class="paragraph" style="text-align: justify;">&nbsp;</div> <div class="paragraph" style="text-align: justify;">I have also used the iPad with various painting Apps to further my exploration of abstract images. The only problem with the digital media is that the images have to be reproduced on either paper, canvas or metal which result in something very different from an oil painting. I am still searching for the ideal way to reproduce them. The two abstract painters who inspired me greatly for the work on exhibit are Alma Thomas and Joan Mitchell.<br /><a href="http://www.ateliermchugh.com/" target="_blank">www.ateliermchugh.com</a></div> Sat, 24 Sep 2016 18:20:07 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Star Li, Katherine Evans, Richard des Jardins - Phoenix Gallery - October 5th - October 29th <h2 class="wsite-content-title" style="text-align: justify;"><span style="font-size: small;">Richard Des Jardins</span></h2> <div class="paragraph" style="text-align: justify;"><span style="font-size: small;">Richard Des Jardins (b. 1948) studied Fine Arts at Universite de Quebec and Ecole Des Beaux Arts in Quebec, Canada. Upon completing his studies, he continued with his art, but also went on to have careers in visual merchandising for home furnishings in Montreal, floral design and set styling in New York City, as well as a successful interior design practice.&nbsp; He has shared his aesthetic sense of design and color and his knowledge of spatial concepts with interior design students at the Fashion Institute of Technology over the last 30 years.</span><br /><span style="font-size: small;">&nbsp;In 2000 he returned to further exploration of space through paintings and mixed media art work.&nbsp; In the collection exhibited, his sense of space through mixed media is further enhanced with gold and silver leaf. The reflection off of these materials creates a movement as the eye moves in exploring the collage and engages one in the spatial experience.</span><br /><span style="font-size: small;"><a href="http://ludo19489.wixsite.com/desjardinsfinearts" target="_blank">www.desjardinsfinearts.com</a></span></div> <div class="paragraph" style="text-align: justify;">&nbsp;</div> <div class="paragraph" style="text-align: justify;"> <h2 class="wsite-content-title"><span style="font-size: small;">Katherine Evans</span><br /><span style="font-size: small;">"New Works"</span></h2> <span style="font-size: small;">Assorted gestures in Kat Evans&rsquo; abstracts vibrate with color. Moods flicker between bold brush strokes and layered textures. Integral to her work is the interaction of color and its ability to evoke an emotional response. The disciplined compositions arrange complex color harmonies that emerge from intuition open to chance.</span><br /><span style="font-size: small;">Kat&rsquo;s artwork has been shown in numerous juried solo and group exhibitions, one juror praising its &ldquo;jewel-like quality.&rdquo; Within the last 15 years she has won many awards for paintings (including the Winner Circle Award at the Westport Arts Center as selected by the Whitney Museum Director) and been included in many juried exhibits, and presented numerous solo shows in the Northeast. Her&nbsp;work can be found in private collections throughout the U.S. and Europe.</span><br /><span style="font-size: small;">For Kat Evans, creativity is a family trait. Her father, a WPA artist, worked on the famous Coit Tower murals in San Francisco. Evans studied graphic design at the University of Bridgeport (summa cum laude) and continued her education at the Parsons School of Design, Yale University and the Center for Contemporary Printmaking in Norwalk. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; <a href="http://www.kevansart.com" target="_blank">www.kevansart.com</a></span></div> <div class="paragraph" style="text-align: justify;">&nbsp;</div> <div class="paragraph"> <h2 class="wsite-content-title" style="text-align: justify;"><span style="font-size: small;">Star Li</span></h2> <div class="paragraph" style="text-align: justify;"><span style="font-size: small;">Star Li was born in 1986 and has attended school in Japan, Korea, Canada and the U.S over 10 years. She majored in Biology, Commerce, Film Making and Painting during these years and finally got her Master of Fine Art degree in San Francisco. She is now living in New York as a professional artist.</span><br /><span style="font-size: small;"><strong>&nbsp;</strong><a href="http://www.hyalinestar.com" target="_blank">www.hyalinestar.com</a></span></div> </div> Sat, 24 Sep 2016 18:18:09 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Françoise Grossen - Museum of Arts and Design - October 18th - March 15th, 2017 <div id="moz-reader-content" style="display: block;" dir="ltr"> <div id="readability-page-1" class="page"> <div class="field-item even"> <p style="text-align: justify;">In the 1960s, Fran&ccedil;oise Grossen rejected the rectilinear loom that constrained contemporary weaving for an intuitive approach to fiber that resulted in the creation of large-scale, suspended rope forms constructed of knots, loops, braids, and twists. At the time, fiber was still associated with utility rather than fine art, and Grossen&rsquo;s freehand, three-dimensional handling of the medium was considered a revolutionary gesture that upset the traditional hierarchy subordinating craft to art. A number of other artists in the 1960s and 1970s, including Eva Hesse, Sheila Hicks, and Magdalena Abakanowicz, also began working with fiber in innovative ways, and they shared Grossen&rsquo;s interest in the process of making and the desire for unmediated contact with everyday materials such as rope, string, cord, and twine.</p> <p style="text-align: justify;">Process as an aesthetic value in the art world of the 1960s and 1970s provides one context for this groundbreaking work. Grossen also found inspiration in utilitarian structures and objects made of fiber, such as rope suspension bridges, Peruvian <em>khipus</em>, marine ropes for docking and anchoring, and natural forms such as the exoskeletons of insects. Her practice has always involved translating these sources into abstract forms through a cumulative, repetitive approach that she describes as &ldquo;rope upon rope, braid after braid.&rdquo; Through this methodical process her work takes shape, shifts, &shy;&shy;&shy;and mutates into forms that elegantly thematize transformations of the natural and the cultural, from the processing of fiber into utilitarian rope to its subsequent elevation in her work as a medium of sculpture.</p> <p style="text-align: justify;">As part of MAD&rsquo;s POV series, Grossen has mined the Museum's permanent collection and brought her own rope sculptures together with a selection of work from MAD's unusual collection of baskets, as well as other work in fiber, wood, and metal. Privileging elemental methods of construction as a language of abstraction, Grossen&rsquo;s selections highlight an approach to contemporary sculpture that focuses on the artist&rsquo;s direct transformation of material and links it to a wider discussion about ways of making in culture at large.</p> <p style="text-align: justify;">MAD's POV series invites guests' perspectives on the Museum's permanent collection through the lens of their own practices. Grossen&rsquo;s exhibition is the first POV to address the full MAD collection, and part of the second season of POV exhibitions, alongside Lauren Kalman&rsquo;s <em>But if the Crime Is Beautiful&hellip;</em>in the Tiffany &amp; Co. Foundation Jewelry Gallery.</p> <p style="text-align: justify;"><em>Fran&ccedil;oise Grossen Selects</em> is organized by Windgate Research and Collections Curator Elissa Auther with the support of Curatorial Assistant and Project Manager Sophia Merkin.</p> <p style="text-align: justify;">Support for <em>Fran&ccedil;oise Grossen Selects </em>is generously provided by Michele and Marty Cohen, Blum &amp; Poe, and the Swiss Arts Council Pro Helvetia.</p> <p style="text-align: justify;"><em>Fran&ccedil;oise Grossen Selects</em> is part of MAD Transformations, a series of six exhibitions presented this fall that address artists who have transformed and continue to transform our perceptions of traditional craft mediums. Building upon the exhibition <em>Voulkos: The Breakthrough Years</em>, which celebrates the work of an artist known for drastically changing the way clay is categorized as an art material and discipline, the MAD Transformations exhibitions consider fiber, clay, and jewelry and metals&mdash;disciplines (along with glass and wood) that compose the bedrock of the Museum of Arts and Design&rsquo;s founding mission and collection, and that continue to morph in the hands of contemporary artists today.</p> </div> </div> </div> Sat, 24 Sep 2016 18:11:23 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Lauren Kalman - Museum of Arts and Design - October 18th - March 15th, 2017 <div id="moz-reader-content" style="display: block;" dir="ltr"> <div id="readability-page-1" class="page"> <div class="field-item even"> <p style="text-align: justify;">Taking up the subject of gold (specifically jewelry and adornment) as representative of power, wealth, love, and sex,&nbsp;<em>Lauren Kalman:&nbsp;But if the Crime Is Beautiful...</em>,&nbsp;created by visual artist and metalsmith Lauren Kalman, is MAD's second POV exhibition in the Tiffany &amp; Co. Foundation Jewelry Gallery.</p> <p style="text-align: justify;">In reference to Austrian architect Adolf Loos' 1910 lecture "Ornament and Crime," in which he declared decoration regressive and fit only for degenerates and criminals (this included women and minorities), Kalman commits a "crime" by covering the inside and outside of MAD's jewelry cases with 2,000 gold-plated brass leaves. Loos' theories laid the groundwork for modernism, known for its spareness, rectilinearity, and rationality. In this installation, the upright white cases in the jewelry gallery stand in for Loos' modernism.</p> <p style="text-align: justify;">Kalman employs her gold-plated brass leaves as representative of the leaves of kudzu, an invasive vine species that engulfs, spreads, and creates new decorative forms wherever it thrives. Furthermore, similar to invasive kudzu, as guest curator and installation designer Kalman recontextualizes the jewelry gallery, MAD's historic collection, and other artists' practices in an act both beautiful and suffocating. The organic, gilded foliage overtakes the pristine gallery space and weaves in and around gold jewelry from MAD's collection, upending minimalism and austerity. Kalman highlights the relationship between decoration (gold) and female sexuality (another "crime") in her video work made specifically for the exhibition. Though decoration and femininity are still often marginalized in society, Kalman uses them as opportunities for deviance and protest.</p> <p style="text-align: justify;">MAD's POV series invites guests' perspectives on the Museum's permanent collection through the lens of their own practices.&nbsp;<em>Lauren Kalman:&nbsp;But if the Crime Is Beautiful...</em>&nbsp;is organized by Assistant Curator Barbara Paris Gifford.</p> <p style="text-align: justify;">Support for&nbsp;<em>Lauren Kalman: But if the Crime Is Beautiful&hellip;</em> is generously provided by&nbsp;Michele and Marty Cohen, Rotasa Foundation,&nbsp;Susan and Larry Ach,&nbsp;Nancy and David Solomon, and&nbsp;Janet and John Winter.</p> <p style="text-align: justify;"><em>Lauren Kalman:&nbsp;But if the Crime Is Beautiful...</em>&nbsp;is&nbsp;part of MAD Transformations, a series of six exhibitions presented this fall that address artists who have transformed and continue to transform our perceptions of traditional craft mediums. Building upon the exhibition <em>Voulkos: The Breakthrough Years</em>, which celebrates the work of an artist known for drastically changing the way clay is categorized as an art material and discipline, the MAD Transformations exhibitions consider fiber, clay, and jewelry and metals&mdash;disciplines (along with glass and wood) that compose the bedrock of the Museum of Arts and Design&rsquo;s founding mission and collection, and that continue to morph in the hands of contemporary artists today.</p> </div> </div> </div> Sat, 24 Sep 2016 18:08:54 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list - Museum of Arts and Design - October 20th 7:00 PM - 8:00 PM <div id="moz-reader-content" style="display: block;" dir="ltr"> <div id="readability-page-1" class="page"> <div class="field-item even"> <p style="text-align: justify;">Between the early 1950s and 1968, Peter Voulkos reshaped expectations around the ceramic medium, and created a varied body of work both in abstract and pottery forms. Today, this work seems more relevant than ever, as artists increasingly turn to ceramics for its expressive possibilities. This panel, composed of the leading specialists on Voulkos and contemporary artists, will consider the nature of his achievement and its ongoing resonance. Also under discussion will be the cultural associations that Voulkos has inspired. The panel will consider his work not only in aesthetic terms, but also in relation to issues of gender and American identity.</p> <p style="text-align: justify;"><strong>Panelists:</strong></p> <p style="text-align: justify;"><strong>Glenn Adamson</strong>, moderator and co-curator of Voulkos: The Breakthrough Years.</p> <p style="text-align: justify;"><strong>Andrew Perchuk</strong>, Deputy Director of the Getty Museum and co-curator of Voulkos: The Breakthrough Years.</p> <p style="text-align: justify;"><strong>James Melchert</strong>, former student of Voulkos in the 1950s; Artist; Professor of Art, Emeritus, U.C. Berkeley, 1964 &ndash;1994, and former Director of the Visual Arts Program at the National Endowment for the Arts.</p> <p style="text-align: justify;"><strong>Nicole Cherubini</strong>, artist working primarily in ceramic sculpture and mixed media. Cherubini's solo exhibitions include the Perez Art Museum Miami (Miami, FL), the Santa Monica Museum of Art (Los Angeles, CA) and the Institute of Contemporary Art (Philadelphia, PA), among many others.</p> <p style="text-align: justify;"><strong>Arlene Shechet</strong>, artist. Solo exhibitions include the&nbsp;RISD Museum (Providence, RI); the&nbsp;Weatherspoon Art Museum (Greensboro, NC); the&nbsp;Nerman Museum of Contemporary Art (Overland Park, KS) The Tang Teaching Museum and Art Gallery (Sarasota Springs NY); the&nbsp;Museum of Contemporary Art Denver (Denver CO); and a twenty-year survey of her work at the&nbsp;Institute of Contemporary Art, Boston&nbsp;(Boston, MA) in June 2015, among many others.</p> <p style="text-align: justify;">This program is organized in conjunction with the exhibition <a href="http://www.artslant.com/ny/events/show/429128-voulkos-the-breakthrough-years" target="_blank">Voulkos: The Breakthrough Years</a>.</p> </div> </div> </div> Sat, 24 Sep 2016 18:05:39 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Peter Voulkos - Museum of Arts and Design - October 18th - March 15th, 2017 <div id="moz-reader-content" style="display: block;" dir="ltr"> <div id="readability-page-1" class="page"> <div class="field-item even"> <p style="text-align: justify;">Spanning the years 1953&ndash;1968, <em>Voulkos: The Breakthrough Years</em>&nbsp;is the first exhibition to focus on the early career of Peter Voulkos, whose radical methods and ideas during this period opened up the possibilities for clay in ways that are still being felt today.</p> <p style="text-align: justify;">While trained as a traditional potter, Voulkos defied mid-century craft dictums of proper technique and form to completely reinvent his medium. He combined wheel throwing with slab building, traditional glazes with epoxy paint, figuration with abstraction, and made huge ceramic structures with complex internal engineering. The exhibition will feature approximately 31 examples from this crucial body of early work, most of which have not been exhibited on the East Coast for four decades. Also included will be three of the artist's rarely seen works in oil on canvas, which help to demonstrate how Voulkos developed his ideas concurrently in painting, sculpture, and pottery.</p> <p style="text-align: justify;">Voulkos is a central figure in the history of MAD, featured in numerous exhibitions, including two monographic surveys, and an exemplar of the cross-disciplinary thinking that the Museum supports. Both the exhibition and accompanying scholarly catalogue will provide a detailed account of the breakthrough works from Voulkos' vital period of experimentation.</p> <p style="text-align: justify;"><em>Voulkos: The Breakthrough Years</em>&nbsp;is co-curated by Andrew Perchuk, Deputy Director of the Getty Research Institute, and Guest Curator Glenn Adamson, with Assistant Curator Barbara Paris Gifford.</p> <p style="text-align: justify;">Major funding for <em>Voulkos: The Breakthrough Years</em> is provided by the Henry Luce Foundation.</p> <p style="text-align: justify;">Additional support is generously provided by Nanette L. Laitman, KLM Royal Dutch Airlines, the Stavros Niarchos Foundation, Regina and Marlin Miller, Jun and Ree Kaneko, The Robert Lehman Foundation, Leatrice and Melvin Eagle, Dick and Gloria Anderson, Ted Rowland, the Knafel Family Foundation, and Jeffrey Spahn Gallery.</p> <p style="text-align: justify;">This project is also supported by an award from the National Endowment for the Arts.</p> <p style="text-align: justify;">This research was supported by a Craft Research Fund grant from The Center for Craft, Creativity &amp; Design, Inc.</p> <p class="p1" style="text-align: justify;">Media Partner: artnet.</p> <p style="text-align: justify;">Following its run at MAD, <em>Voulkos: The Breakthrough Years</em> will be on view at the Renwick Gallery in Washington, DC, from April 7 through August 20, 2017.</p> <p style="text-align: justify;"><em>Voulkos: The Breakthrough Years</em>&nbsp;is part of MAD Transformations, a series of six exhibitions that address artists who have transformed and continue to transform our perceptions of traditional craft mediums. MAD&rsquo;s six fall exhibitions consider fiber, clay, and jewelry &amp; metals, disciplines that were the bedrock of the museum&rsquo;s founding mission and collection, and that continue to morph in the hands of contemporary artists today.</p> </div> </div> </div> Sat, 24 Sep 2016 18:03:52 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Chris Antemann - Museum of Arts and Design - September 22nd - February 5th, 2017 <div id="moz-reader-content" style="display: block;" dir="ltr"> <div id="readability-page-1" class="page"> <div class="field-item even"> <p style="text-align: justify;"><em>Chris Antemann: Forbidden Fruit</em> celebrates the collaboration between Oregon-based artist Chris Antemann and the renowned MEISSEN Porcelain manufactory. In 2011 Antemann was invited to participate in MEISSEN&rsquo;s Art Studio Program, where she worked closely with MEISSEN&rsquo;s master artisans to create unique pieces and a series of limited editions that strike a perfect balance between her distinctive style and MEISSEN&rsquo;s identity. These pieces are arranged in <em>Forbidden Fruit</em> as a grand installation that reinvents and invigorates the great figurative tradition.</p> <p style="text-align: justify;">Inspired by eighteenth-century porcelain figurines and decorative art, Antemann&rsquo;s delicate and intricately detailed sculptures are lavishly presented on a central banquet&nbsp;table alongside a selection of stand alone sculptures and a nine-light porcelain chandelier. Her centerpiece, <em>Love Temple</em> (2013), is inspired by MEISSEN's great historical model of Johann Joachim K&auml;ndler's monumental <em>Love Temple</em> (1750). Stripping the original design back to its basic forms, Antemann added her own figures, ornamentation, and flowers to her five-foot work, as well as a special finial with three musicians to herald the arrival of guests to the banquet of &ldquo;forbidden fruit&rdquo; below.</p> <p style="text-align: justify;">Using the Garden of Eden as her metaphor, Antemann has created a contemporary interpretation of the eighteenth-century banqueting craze by inserting her scantily clad male and female figures. Posed in intimate and playful vignettes of seduction, Antemann&rsquo;s figures convey narratives of domesticity, social etiquette, and taboos while making formal references to classic Baroque MEISSEN figurines. The ceramist invents a new narrative on contemporary morality in a setting that evokes the decadence of Fran&ccedil;ois Boucher and Jean-Antoine Watteau.</p> <p style="text-align: justify;"><em><em>Chris Antemann: Forbidden Fruit</em>&nbsp;</em>is a traveling exhibition organized by Chris Antemann. The artworks were produced with Antemann by the MEISSEN Porcelain Manufactory in the MEISSEN Art Campus. It was secured for the Museum of Arts and Design by William and Mildred Lasdon Chief Curator Shannon R. Stratton with the support of Curatorial Assistant and Project Manager Angelik Vizcarrondo-Laboy.</p> <p style="text-align: justify;">Support for <em>Chris Antemann: Forbidden Fruit</em> is generously provided by Arlene Schnitzer and Jordan Schnitzer, Joan and Alan Safir, Sandra Kissler and Mort Weinstein, Dorothy Saxe, and MEISSEN&reg;.</p> <p style="text-align: justify;"><em><em>Chris Antemann: Forbidden Fruit</em>&nbsp;</em> is part of MAD Transformations, a series of six exhibitions presented this fall that address artists who have transformed and continue to transform our perceptions of traditional craft mediums. Building upon the exhibition <em>Voulkos: The Breakthrough Years</em>, which celebrates the work of an artist known for drastically changing the way clay is categorized as an art material and discipline, the MAD Transformations exhibitions consider fiber, clay, and jewelry and metals&mdash;disciplines (along with glass and wood) that compose the bedrock of the Museum of Arts and Design&rsquo;s founding mission and collection, and that continue to morph in the hands of contemporary artists today.</p> </div> </div> </div> Sat, 24 Sep 2016 17:59:39 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Coille Hooven - Museum of Arts and Design - September 22nd - February 5th, 2017 <div id="moz-reader-content" style="display: block;" dir="ltr"> <div id="readability-page-1" class="page"> <div class="field-item even"> <p style="text-align: justify;">For over fifty years, Coille Hooven has been working in porcelain and creating psychologically charged sculpture that explores domestic-centered narratives from the kitchen to the bedroom. One of the first ceramists to bring feminist content to clay, Hooven uses porcelain to honor the history of women&rsquo;s work, confront gendered inequality, and depict the pleasures, fears, and failures of partnering and parenting.</p> <p style="text-align: justify;">Hooven&rsquo;s sculptures range from teapots and vessels to figurative busts and dioramas, and they mine the domestic psyche to produce vignettes that resonate with familiarity despite an undisguised use of the fantastical. Developing her own vocabulary of archetypes, she regularly revisits certain creatures and forms: a domestic palette of aprons, pillows, shoes, and pies, as well as a cast of characters that includes mermaids, fish, snakes, and anthropomorphic beasts that appear part-dog, part-horse, and part-human. While these creatures may appear familiar and amiable at first, tension lurks underneath. Recalling fairy tales, fables, and myths, Hooven&rsquo;s sculptures conjure a vision of the unconscious&mdash;both the joy and buoyancy of dreams, as well as the discomfort and despair of anxiety and doubt.</p> <p style="text-align: justify;"><em>Coille Hooven: Tell It By Heart</em> assembles more than thirty years of Hooven&rsquo;s work. Hooven studied with David Shaner at the University of Illinois at Urbana-Champaign, and later relocated to Berkeley, California, with her two children. Citing Peter Voulkos and Robert Arneson as influential in her decision to move west, Hooven became part of the Bay Area clay community, where she worked independently from academia and forged a career making both functional pottery and ceramic sculpture. In 1979 she became only the second woman to be in residence at the Kohler Co.&rsquo;s plant in Kohler, Wisconsin, as part of their renowned Arts/Industry residency program.</p> <p style="text-align: justify;"><em>Coille Hooven: Tell It By Heart&nbsp;</em>is curated by Shannon R. Stratton, William and Mildred Lasdon Chief Curator, with the support of Curatorial Assistant and Project Manager Angelik Vizcarrondo-Laboy.</p> <p style="text-align: justify;">Support for <em>Coille Hooven: Tell It By Heart </em>is generously provided by Michele and Marty Cohen, Marge Levy, and Friends of Coille Hooven.</p> <p style="text-align: justify;"><em>Coille Hooven: Tell It By Heart</em>is part of MAD Transformations, a series of six exhibitions presented this fall that address artists who have transformed and continue to transform our perceptions of traditional craft mediums. Building upon the exhibition <em>Voulkos: The Breakthrough Years</em>, which celebrates the work of an artist known for drastically changing the way clay is categorized as an art material and discipline, the MAD Transformations exhibitions consider fiber, clay, and jewelry and metals&mdash;disciplines (along with glass and wood) that compose the bedrock of the Museum of Arts and Design&rsquo;s founding mission and collection, and that continue to morph in the hands of contemporary artists today.</p> </div> </div> </div> Sat, 24 Sep 2016 17:56:46 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Margaret Wertheim, Christine Wertheim - Museum of Arts and Design - September 15th - January 22nd, 2017 <div id="moz-reader-content" style="display: block;" dir="ltr"> <div id="readability-page-1" class="page"> <div class="field-item even"> <p class="Body" style="text-align: justify;"><em>Crochet Coral Reef: TOXIC SEAS</em> celebrates the tenth anniversary of the &ldquo;Crochet Coral Reef&rdquo; (2005&ndash;present), an ongoing project by sisters Margaret and Christine Wertheim and their Los Angeles&ndash;based organization, the Institute For Figuring. Mixing crocheted yarn with plastic trash, the work fuses mathematics, marine biology, feminist art practices, and craft to produce large-scale coralline landscapes, both beautiful and blighted. At once figurative, collaborative, worldly, and dispersed, the &ldquo;Crochet Coral Reef&rdquo; offers a tender response to the dual calamities facing marine life: climate change and plastic trash.</p> <p class="Body" style="text-align: justify;">With 2016 the hottest year on record, living reefs everywhere are under stress. Into these arenas of color huge areas of whiteness now intrude; bleaching events signal that corals are sick and dying. In 2005, in response to devastation of the Great Barrier Reef in their native Australia, the Wertheims began to crochet a simulation of healthy and ailing reefs. Using the algorithmic codes of crochet, the sisters produce crenellated forms that are representations of hyperbolic geometry, which is also manifest in the undulating structures of corals, kelps, and other reef organisms. The Wertheims and their collaborators, a core group of worldwide &ldquo;Crochet Reefers,&rdquo; fabricate an ever-evolving artificial ecology.</p> <p style="text-align: justify;">This exhibition consists of three main &ldquo;habitats.&rdquo; A giant <em>Coral Forest</em> and a collection of miniature <em>Pod Worlds</em> represent the diversity of living corals through the varying textures, colors, and forms of crocheted yarn and beads. A <em>Bleached Reef</em> and a brand new <em>Toxic Reef</em> serve as invocations of dying corals, while <em>The Midden</em>&mdash;four years&rsquo; worth of the Wertheims&rsquo; own domestic plastic trash&mdash;constitutes a deeply personal response to the issue of plastic waste in the oceans, including human-made phenomena such as the Great Pacific Garbage Patch.</p> <p style="text-align: justify;"><em>&ldquo;The &ldquo;Crochet Coral Reef&rdquo; mixes environmental science with science fiction to create a call to action in this time of response-ability and sisterhood with the sea.&rdquo; &ndash; Margaret and Christine Wertheim</em></p> <p class="Body" style="text-align: justify;"><em><em>Crochet Coral Reef: TOXIC SEAS</em></em>, a unique presentation of the "Crochet Coral Reef" that focuses on climate change and ocean health, is curated by Assistant Curator Samantha De Tillio for the Museum of Arts and Design.</p> <p class="Body" style="text-align: justify;">Major support for <em>Crochet Coral Reef: TOXIC SEAS</em> is provided by Michele and Marty Cohen. Additional support is generously provided by Nanette L. Laitman, Barbara and Donald Tober, The Coby Foundation, Ltd., and The Donald and Barbara Zucker Family Foundation.</p> <p style="text-align: justify;"><em><em>Crochet Coral Reef: TOXIC SEAS</em> </em>is part of MAD Transformations, a series of six exhibitions presented this fall that address artists who have transformed and continue to transform our perceptions of traditional craft mediums. Building upon the exhibition <em>Voulkos: The Breakthrough Years</em>, which celebrates the work of an artist known for drastically changing the way clay is categorized as an art material and discipline, the MAD Transformations exhibitions consider fiber, clay, and jewelry and metals&mdash;disciplines (along with glass and wood) that compose the bedrock of the Museum of Arts and Design&rsquo;s founding mission and collection, and that continue to morph in the hands of contemporary artists today.</p> </div> </div> </div> Sat, 24 Sep 2016 17:54:55 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list GCC - Mitchell-Innes & Nash - 26th St. - October 13th - November 23rd <p style="text-align: justify;">Mitchell-Innes &amp; Nash announces <em>Positive Pathways (+)</em>, an exhibition of works by artist collective GCC, opening October 13, 2016. This is the group&rsquo;s debut show at Mitchell-Innes &amp; Nash and their first in the United States since <em>GCC: Achievements in Retrospective</em> at MoMA PS1 in 2014.</p> <p style="text-align: justify;">The exhibition, which includes installation, wall sculptures, video and sound, focuses on the increasingly pervasive trend of Healthy Living and Positive Lifestyles gaining momentum in the Middle East. In particular, GCC explores the ways in which these lifestyle attitudes are appropriated, employed, and transformed as part of a greater political mechanism.</p> <p style="text-align: justify;">The spirit of Silicon Valley-style start up culture &ndash; with its propensity for coalescing New Age thought, a relaxed casual outlook, and corporate incentives &ndash; has been imported to the Gulf, but the result does not necessarily index the same images, manifesting itself in the region in unexpected and amalgamative forms unique to its circumstance.</p> <p style="text-align: justify;">The exhibition at Mitchell-Innes &amp; Nash expands upon GCC&rsquo;s 2016 project at the most recent Berlin Biennale, a sculptural installation of a woman and child. The woman is performing Quantum Touch exercise, a non-contact touch therapy that became popular in the West in the late 1990s, on a boy as they stand on sand surrounded by a running track. The work, from where the exhibition borrows its title <em>Positive Pathways (+)</em>, focuses on the ways that the positive energy movement and body healing practitioners have become partly co-opted by governments in the region &ndash; such as the creation new ministerial positions like the UAE&rsquo;s Minister of Happiness, and the emergence of life coaches and Feng Shui consultants employed by hereditary leaders. Also on view will be a set of sculptural reliefs created using Thermoforming, a commonly used industrial process where thermoplastic sheets are heated and formed on a mold. The reliefs are based on 3D renderings of stills taken from YouTube videos and images found online of people from the region who practice in or promote the positive energy movement. Ranging from politicians to social media celebrities to TV clerics, these individuals utilize Positive Lifestyle attitudes as a base for state policy, for example, or even as a means to &ldquo;update&rdquo; the&nbsp;image of orthodox Islam to coincide with the rising popularity of these New Age attitudes. Taking on the form of the archaeological narrative relief, both the subjects and victims of international cultural heritage wars, the exhibition features representations of images from the healing movement in the region. Referring to the erasure and creation of cultural myths, these reliefs create narratives of the present, a mechanism of both nation building and the politics of cultural extinction and creation. The exhibition will also be accompanied by pamphlets produced in Kuwait, functioning as a pseudo-catalogue for the exhibition, mimic the tone and design of suggestive packets often used to disseminate information in the Gulf Region.</p> <p style="text-align: justify;">In conjunction with the exhibition, an off-site screening of video works by the collective at Anthology Film Archives will occur on October 15, 2016 followed by a Q&amp;A with all eight collective members.</p> <p style="text-align: justify;"><strong>About GCC</strong></p> <p style="text-align: justify;">GCC, an acronym that does not necessarily stand for but alludes to the Gulf Cooperative Council (the intergovernmental political and economic partnership that connects six countries in the region), is an artist &ldquo;delegation&rdquo; or collective composed of eight members, all of which have strong ties to the Arabian Gulf region of the Middle East. The group was formed in 2013 at Art Dubai and has since shown at Kraupa-Tuskany Zeidler in Berlin; Project Native Informant in London; The New Museum, Whitney Museum of Art, and MoMA PS1 in New York; Musée d&rsquo;Art Moderne in Paris; 9th Berlin Biennial; Sharjah Art Foundation, UAE; and Fridericianum in Kassel.</p> <p style="text-align: justify;">Since its debut at Sultan Gallery, Kuwait, the group has continued to address the changing states of contemporary culture within the Gulf region. The collective&rsquo;s practice, which includes photography, sculpture, and video, explores the nuanced and acute aspects that set apart the imagery of the Middle East, of such the Western World is often unaware. GCC is a reflection of the recent turn toward a global contemporary art scene: the artists live between Kuwait, New York, Amsterdam, London, and Berlin. Apart from several summits held in Switzerland, Kuwait, France and, most recently, New York, Whatsapp is the group&rsquo;s primary mode of communication.</p> <p style="text-align: justify;"><strong>Collective members:</strong><br /> Nanu Al-Hamad (b. 1987)<br /> Khalid Al Gharaballi (b. 1981)<br /> Abdullah Al-Mutairi (b. 1990)<br /> Fatima Al Qadiri (b. 1981)<br /> Monira Al Qadiri (b. 1983)<br /> Aziz Al Qatami (b. 1979)<br /> Barrak Alzaid (b. 1985)<br /> Amal Khalaf (b. 1982)</p> Sat, 24 Sep 2016 17:51:09 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Group Show - Limner Gallery - October 20th - November 19th Sat, 24 Sep 2016 17:48:09 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Group Show - IPCNY International Print Center New York - October 1st - December 3rd <p style="text-align: justify;">International Print Center New York (IPCNY) presents&nbsp;<strong><em>Black Pulp</em></strong><em><strong>!</strong>,&nbsp;</em>an exhibition that examines evolving perspectives of Black identity in American culture and history from 1912 to 2016 through contemporary works of art and rare historical printed media. The exhibition includes works by artists, graphic designers, and publishers in formats ranging from little known comic books to covers for historic books and magazines, to etchings, digital prints, drawings, and media-based works by some of today&rsquo;s leading artists. The exhibition is organized by artists William Villalongo and Mark Thomas Gibson, and is accompanied by an illustrated catalogue, extensive didactics, and free public programming.</p> <p style="text-align: justify;">The exhibition features contemporary works by an intergenerational group of 21 artists from the Black diaspora: Derrick Adams, Laylah Ali, Firelei B&aacute;ez, Nayland Blake, Robert Colescott, Renee Cox, William Downs, Ellen Gallagher, Trenton Doyle Hancock, Lucia Hierro, Yashua Klos, Kerry James Marshall, Wangechi Mutu, Lamar Peterson, Pope.L, Kenny Rivero, Alexandria Smith, Felandus Thames, Hank Willis Thomas, Kara Walker, and Fred Wilson.</p> <p style="text-align: justify;"><strong><em>Black Pulp!</em></strong><em>&nbsp;</em>situates these works in the context of rare historical books, comics, newspapers, and related ephemera, from Alain LeRoy Locke&rsquo;s&nbsp;<em>The New Negro&nbsp;</em>(1925) and Wallace Thurman&rsquo;s quarterly&nbsp;<em>Fire!!: Devoted to the Younger Negro Artists&nbsp;</em>(1926) to Jackie Ormes&rsquo; comic strip&nbsp;<em>Torchy in Heartbeats&nbsp;</em>(1953). Other historical artists and writers on view are Gwendolyn Bennett, E. Simms Campbell, Miguel Covarrubias, Charles Cullen, Countee Cullen, Sadie Iola Daniel, Aaron Douglas, Emory Douglas, W.E.B. Dubois, George J. Evans, Jr., Elton C. Fax, Billy Graham, Oliver W. Harrington, George Herriman, Alvin Hollingsworth, Langston Hughes, Zora Neal Hurston, Charles S. Johnson, James Weldon Johnson, Lois Mailou Jones, Jacob Lawrence, Gertrude McBrown, Dwayne McDuffie, Owen Middleton, Richard Bruce Nugent, Laura Wheeler Waring, Charles White and Carter G. Woodson.</p> <p style="text-align: justify;"><a href="http://www.ipcny.org/blackpulpeditions/" target="_blank"><strong>New Benefit Editions</strong></a> by Mark Thomas Gibson available for purchase on the occasion of <em>Black Pulp!</em></p> <p style="text-align: justify;"><strong>Free Public Program</strong><br /> <strong><em>Strategic Existence: Satire, Comics, and Authorship</em></strong><br /> A panel discussion &amp; musical event on&nbsp;Saturday, October 22, 7:30&ndash;9:30pm<br /> School of Visual Arts (SVA) Theatre,&nbsp;333 West 23rd Street, NYC</p> <p style="text-align: justify;">Panelists: exhibiting artists Trenton Doyle Hancock and Laylah Ali, and Ariell Johnson of Amalgam Comics &amp; Coffeehouse in Philadelphia.<br /> Moderated by Michael B. Gillespie, Assoc. Prof. of Film at CCNY and author.<br /> Introductory remarks <em>Making Black Modern: An Historical Grounding</em>&nbsp;by Caroline Goeser, PhD and author.&nbsp;A special live musical performance by writer and musician Greg Tate and Burnt Sugar Arkestra&nbsp;Chamber will accompany this event. <strong><em>Black Pulp!</em></strong> curators William Villalongo and Mark Thomas Gibson will&nbsp;welcome the participants.</p> <p style="text-align: justify;">RSVP to&nbsp;stephanie@ipcny.org. The event is preceded by extended viewing hours of&nbsp;<strong><em>Black Pulp!</em></strong>&nbsp;at IPCNY from 6&ndash;7pm.</p> <p style="text-align: justify;"><strong>Credits</strong><br /> <strong>Black Pulp!</strong> at IPCNY is made possible through the generous support of Katherine Farley and Jerry I. Speyer, Agnes Gund, Sara and Joshua Slocum, Marnie S. Pillsbury, Bernard I. Lumpkin and Carmine D. Boccuzzi, and Peggy Cooper Cafritz.</p> Sat, 24 Sep 2016 17:44:11 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list