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GRISELDA STEINER’s poem HUDSON RIVER appears in February issue of Scene 4

photo by Sandy Hechtman

photo by Sandy Hechtman

The Hudson River
New York City

This is the river

My river

The mighty famous river

Whose coasts grow tall weeds of steel

That reflect glittering lights at dusk

This is the river

My river

Whose source is named “Lake Tear in the Clouds”

Called “The River” by the Iroquois

And Mohegans named “The River that Flows Two Ways”

This is the river

My river

Whose tides bear down to the ocean

My ocean

Whose salt waters

Life’s womb

A baptism of spirit

My ocean

Carrying boats, tankers, kayaks

Tugboats, yachts, cruises ships

Sailboats north, south in the sunset

That navigate the currents

Sharing their colors with the clouds

Grey, green, blue, teal, pearl, red, purple

Orange and yellow beams

Become a violet and pink seduction

That turn black with stars hovering

Over secret war planes

Whose engines low roar

Steal their way to foreign wars

As massive river tankers

Read the rest of the poem HERE AT SCENE 4

GINA LEISHMAN’s music performances with MR WAU WA and KAMIKAZE GROUND CREW at Lethe Lounge, Cathedral of St John’s, Weseleyan College, and Westbeth – all in February

Saturday, Feb. 4th
*MR. WAU-WA plays the songs of Bertolt Brecht @ Lethe Lounge
Times like these need songs like these…
618 W. 113th St, #3F/2R, on the Upper West Side of Manhattan
Doors open 7.30, music at 8, two sets
$20 suggested donation
Management asks”RSVP please so we can count heads Lethelounge@gmail.com”

 

GINA LESHMAN MR WAU WAU

MR. WAU WA
The Mr. Wau Wa Band was formed in 1998 as part of a project at P.S 122, which was celebrating Bertolt Brecht’s centenary. The band was inspired by a photo of Brecht from the ‘20s, performing with some clowns including the famed Karl Valentin and his partner Liesl Karlstadt. Brecht is standing in a cart playing the flageolette, behind a roll-down cartoon drawing of a strong-man being run over by a car full of revellers, with the inscription “Mr. Wau Wa”. The band is dedicated to performing the songs of Bertolt Brecht as set by his collaborators Kurt Weill, Hanns Eisler, and Paul Dessau, as well as some contemporary settings by David Hidalgo (from Los Lobos). Formed with four members of Kamikaze Ground Crew, plus the internationally renowned performance artist Rinde Eckert, members of the band are:

Gina Leishman – vocals, accordion, pump-organ
Rinde Eckert – vocals, pump-organ, accordion, euphonium
Doug Wieselman – guitars, clarinet, saxophone, vocals
Marcus Rojas – tuba, bass trombone
Kenny Wollesen – drums, percussion

GINA LEISHMAN ELIZABETH

Friday, Feb. 17th
*texts&beheadings/ElizabethR @ Wesleyan College.
This is the piece that was at BAM in 2015 and many folks missed it since it sold out very quickly.
There are 2 chances to see it, up at Wesleyan or at St. John The Divine on the 23rd…
for more info go to www.colombari.org

Thursday, Feb. 23rd
*texts&beheadings/ElizabethR @ the Cathedral of St. John The Divine
for more info go to www.colombari.org

GINA LEISHMAN KAMIKAZE
Saturday, Feb. 25th
*KAMIKAZE GROUND CREW @ Westbeth

We had such a good time last year we’re doing it again…
Westbeth Community Room, 155 Bank Street
An early gig, doors open 4.30, music at 5, two sets
$15 suggested donation

KAMIKAZE GROUND CREW
A seven-piece horn ensemble (3 brass, 3 reeds and a drummer), a super-group of New York “downtown” luminaries, each a band-leader in their own right, KAMIKAZE GROUND CREW has been performing and recording together for over 20 years, on both coasts of the US and in Europe.
Gina Leishman, co-leader, alto and baritone sax, bass clarinet, accordion, piano, vocals
Doug Wieselman, co-leader, Eb, Bb & bass clarinets, tenor & baritone sax, guitar
Peter Apfelbaum, tenor sax
Steven Bernstein, trumpet & slide trumpet
Art Baron, trombone
Marcus Rojas, tuba
Kenny Wollesen, drums & percussion

Karen-Ludwig- WHERE WAS I

KAREN LUDWIG in solo performance WHERE WAS I? at Joe’s Pub on Thursday April 13th at 9:30pm

Karen-Ludwig- WHERE WAS I
WHERE WAS I? tells the funny and poignant story of a lifetime spent in one of our most passionate and public professions. From playing Meryl Streep’s lover in Woody Allen’s Manhattan, to her heart-rending film portrayal of Ethel Rosenberg in Citizen Cohn, to her many memorable theater performances, Karen Ludwig has shared the New York stage and screen for over four decades with some of Broadway and Hollywood’s biggest stars. WHERE WAS I? is a moving and often hilarious journey of a dedicated artist in search of her identity. It is a vital and compelling story of a lifetime working in the arts.

WHERE WAS I? is directed by two-time Emmy Award winning Dorothy Lyman.

KAREN LUDWIG, actor, director, writer and teacher has appeared on Broadway in Craig Lucas’, PRELUDE TO A KISS with Steve Guttenberg and John Randolph, Neil Simon’s BROADWAY BOUND with Joan Rivers, THE DEVILS with Anne Bancroft, THE BACCHAE with Irene Pappas. Her many Off-Broadway performances at The Public Theater include MUSEUM by Tina Howe and, as a member of Andre Gregory’s Manhattan Project for two years, she performed in THE SEAGULL and Wallace Shawn’s OUR LATE NIGHT traveling with the Company throughout the United States and Europe. She was in the world premiere of MOONCHILDREN at The Royal Court in London as well as playing Lady McDuff in MACBETH at the Stratford Shakespeare Festival in Canada; both directed by Peter Gill. Her first film was Woody Allen’s MANHATTAN, (Meryl Streep’s lover), SPIDERMAN 2, THIRTEEN DAYS opposite Kevin Costner, THE FIELDS, opposite Cloris Leachman and THAT AWKWARD MOMENT with Zach Efron. Ms. Ludwig is very proud of her work as Ethel Rosenberg in HBO’s CITIZEN COHN opposite James Woods after which she helped raise money for the Rosenberg Foundation for Children. TV includes NYPD BLUE, ER, PARTY OF FIVE, JUDGING AMY, BLUE BLOODS, ELEMENTARY and many LAW AND ORDER episodes.

WHERE WAS I? is part of the 15th Anniversary season of the Theater series at the Downtown Urban Arts Festival.

TICKET INFO AND RESERVATIONS:
Joe’s Pub

ELISABETH CONDON UnNatural Life

Elisabeth Condon solo show
UNNATURAL LIFE at Emerson Dortch Gallery Feb 10 – March 31, 2017

ELISABETH CONDON UnNatural Life

“Condon ‘hates’ the birds and flowers’ reference to stifled, feminized, upper class tastes. At the same time, their tasteful ornamentation is her ‘secret sin.’ As both conceptual and visual problems, the images are loaded with implications that sabotage the perfection of the pours. Like Philip Guston’s late-1960s break from pure abstraction, however (Guston: ‘I got sick and tired of all that Purity!'(1)), Condon’s attempt to integrate recognizable images with abstraction revels in difficulty, rather than retreating from it.”

“With their gorgeous colors, over-bloomed flowers, and zones of glitter, Condon’s paintings can be judged hastily as pretty, decorative, and not at all serious. Getting lost in their sumptuous painting passages can mask a disdain for references to a specific combination of gender, age, class, and taste. Though decoration symbolizes everything Condon railed against as a young woman, she felt it necessary ‘to go back in’ and reclaim her experience, and to give voice to women whose creative expression has been confined to women’s work.”

“Condon’s injection of feminine elements into the predominantly male ‘grand gesture’ of large-scale abstract painting manifests a feminist acknowledgment of individual experiences. Recalling Chimamanda Ngozi Adichie’s proclamation, ‘I have chosen to no longer be apologetic for my femininity,'(2) Condon’s paintings permit birds, flowers, and decoration to sit alongside expressions of angst and tensity, as well as beauty, as part of women’s, and human, experience.”

excerpts from
Elisabeth Condon’s Unnatural Life
by Erica Ando
1. Robert Storr, Guston (New York: Abbeville Press, 1986), 52.
2. Chimamanda Ngozi Adichie, We Should All Be Feminists (New York: Anchor Books, 2014), 39.

ABOUT ELISABETH CONDON
Elisabeth Condon is a painter, traveler, and Chinese scroll aficionado, whose work re-interprets Chinese principles of balance for an information-saturated world. Awards and fellowships include a Hanban Confucius Institute Understanding China Fellowship, the PULSE Prize, Pollock Krasner Foundation Grant, Florida Individual Artist Grant and numerous University research grants. Upcoming and recent artist residencies include Wave Hill’s 2017 Winter Workspace residency in Riverdale, NY, Art & History Museums, Maitland, FL, a Hemera Foundation Tending Spaces Artist Fellowship, the Florida Everglades (AIRIE), Swatch Art Peace Hotel Shanghai, Grand Canyon National Park, Wupatki National Monument, Corporation of Yaddo, Fountainhead and Red Gate, among others. In 2017 she will complete a public art commission for Tampa’s International Airport.

Condon has exhibited in venues such as the Museum of Fine Art in St. Petersburg, FL, National Art Museum of China, Beijing, Shenghua Art Centre, Nanjing and 1285 Avenue of the Americas Art Gallery, New York. Condon’s work is held in public collections including the J.P. Chase Collection, the US Embassy Beijing, Swatch Art Peace Hotel Traces Collection Shanghai, and The Sweeney Print Collection at the Museum of Fine Art in St. Petersburg, FL. She has shown with and been represented by Emerson Dorsch of Miami since 2006.

ABOUT EMERSON DORSCH
Emerson Dorsch reflects the generative partnership of founder Brook Dorsch and curator Tyler Emerson-Dorsch. The contemporary art gallery represents select South Florida-based artists, and we also host leading visiting artists, curators and musicians to do projects at and around the gallery at least once per year. EDG began as Dorsch Gallery on Coral Way in 1991, moved to Wynwood in 2000, and re-opens in Little Haiti in 2017.

Emerson Dorsch represents a core group of select South Florida-based artists. We believe in the joys of an artful life, of experiencing art close to the source. The gallery also has an invitational program for national and international artists to explore and seed new partnerships. Through all the gallery’s activities, we foster art patronage and artistic community.

Image:
Elisabeth Condon
Unnatural Life, 2016
acrylic and ink on linen
57 x 72 inches
Courtesy Emerson Dorsch Gallery

General inquiries:
info@emersondorsch.com
305-576-1278

EMERSON DORSCH | 5900 NW 2ND AVE | MIAMI, FL 33127

Sculptors Guild

CURRENTLY 80 : Celebrating 80 years of The Sculptors Guild

Sculptors Guild

Show Dates February 5 – February 24, 2017
Opening Reception: Sunday February 5h 1pm – 4pm
Closing Reception: Friday Febrary 24th 6pm-8pm

Gallery Hours: Wednesday – Sunday 1pm – 6pm

The Sculptors Guild celebrates its historic 80th anniversary with an exhibition curated by distinguished poet and critic John Yau at Westbeth Gallery in the West Village from February 5-24, 2017.

The Sculptors Guild is a collective of contemporary professional sculptors “…looking to have the freedom to make and show work within a community that supports and encourages their practices. A rare feat in a world full of the detritus of pop culture and commodity-driven creation”, writes Brienne Walsh, art critic and historian.

Curator, John Yau, will be curating signature works by current Sculptors Guild members alongside historical pieces from the Guild’s collection. Works by founding member Chaim Gross as well as pieces from the Renee and Chaim Gross Foundation, including drawings by member Louise Nevelson will be exhibited.

The founding of Sculptors Guild in 1937 was a seminal event for modern sculpture in America. Its members were at the forefront of American Modernism especially in their openly expressed rejection of the staid conventions. The result was an esthetic paradigm shift that would have significant impact on the international art scene during the years of reconstruction following the global devastation of WWII.

The primary objectives of the founders as stated in an early exhibition catalogue were: “to unite sculptors of all progressive aesthetic tendencies into a vital organization in order to further the artistic integrity of sculpture and give it its rightful place in the cultural life of
this country.”

Sculptors Guild is a not-for-profit organization based in New York City with a professional membership of acclaimed international sculptors of diverse esthetics. Our mission is to promote, encourage, and serve as an advocate for sculpture and to make contemporary sculpture a relevant part of the cultural experience.

SCULPTORS GUILD INC FOUNDED IN 1937 is a 501c2 Artist Collective

For further info: contact sculptorsguild@gmail.com

JOAN HALL

Joan Hall solo show of collages
HOMENAJE opens Feb 4, 2017 at
Interseccion Gallery of Contemporary Art, Fabrica la Aurora, San Miguel de Allende

JOAN HALL

She will also present a lecture/slide show at the Biblioteca on February 14th on Collage: Past & Present.
This lecture will also be presented at Westbeth this coming spring.

Part 1: Collage & Assemblage, Past & Present
Part 2 : The Art of Joan Hall

Collage has rapidly gained popularity as an art form in the United States. I believe that there are sociological reasons for this. Everyone is in a hurry and the medium of collage conveys a feeling of spontaneity. With the advent of the computer and the Internet, our world had become fragmented. This is reflected in the bits and pieces that make up a collage and assemblage. Based on this, I have compiled a lecture/slide show on collage and assemblage from 12th century Japan to contemporary digital photo illustration
Part 1 includes works by Picasso, Braque, Matisse, Cornell, Rauschenberg, and many other artists. You will see how artists recycled everyday materials into artwork, using spare tires, shredded money, and even ones own blood! The use of collage in illustration has become a familiar sight. You will learn how collage artists cope with some hilarious, yet frustrating experiences in the publishing workplace. This program is both entertaining and educational.
Part 2 consists of my own artwork.

Native New Yorker Joan Hall’s artwork has appeared on covers of Time Magazine, The New York Times and numerous other publications. Her collages and assemblages have been exhibited in galleries and museums worldwide, including The Centre Georges Pompidou in Paris and the Museo Tamayo in Mexico City. She was commissioned by the American Cultural Center of the US State Department to lecture, exhibit, and conduct workshops in France, India, Brazil, and Mexico.

Edyta kulzak use this one 2

Edyta Kulczak in Metropolitan premier of Rigoletto Jan 21, 2017

Edyta kulzak use this one 2

photo Karen Almond

photo Karen Almond

Since its debut in 2013, Michael Mayer’s Vegas-strip take on Rigoletto has been perhaps the most talked-about production in the Metropolitan Opera’s repertoire. With its topless pole-dance, flashing neon, and lines of cocaine, it is more than anything a send-up of Verdi and Piave’s classic tragedy. On some nights, the gentle parody is quite effective, offering a self-effacing interpretation that softly teases the piece’s flirtation with melodrama, winking at the audience but still retaining enough respect for the work to convey its emotional elements honestly.

And for the second night in a row, the Met got a fine pinch-hit appearance, as
Edyta Kulczak combined playful camaraderie and motherly warmth…

– Eric Simpson Jan 21, 2017

Read rest of review HERE

PAT LASCH: NY Times article – Ars Longa Except When MoMA Throws It Out

PAT LASCH in NYT

ARS LONGA by Randy Kennedy for New York Times January 21, 2017

The New York sculptor Pat Lasch has spent her career making work that plays with the distinction between ordinary things and things belonging in museums: realistic-looking ball gowns made from dried acrylic paint; plaster eggs; towering decorative cakes fashioned from wood and paper.

Her fascination with cakes grew out of a notion of them as markers of time’s passage, through birthdays, weddings and other occasions. And cakes have also helped her remember her father, a German-born pastry chef who gave her some life advice when she worked in his bakery as a teenager, piping the icing: “If you make a mistake, put a rose on it.”

Recently Ms. Lasch, 72, discovered a mistake that even the loveliest rose is unlikely to fix: The Museum of Modern Art, which commissioned a 5-foot-2-inch-tall cake sculpture in 1979 as part of its 50th anniversary, appears to have discarded the piece, which Ms. Lasch wanted to borrow for a retrospective of her work opening in March at the Palm Springs Art Museum in California.

Ms. Lasch, a first-generation feminist who started working in the early 1970s, said she contacted the Museum of Modern Art last fall after the curator in Palm Springs, Mara Gladstone, was unable to find records of the cake sculpture in the archives at MoMA. “Mara said, ‘Pat, I don’t know how to tell you this,” Ms. Lasch recalled in a recent interview.

Read more here
https://www.nytimes.com/2017/01/20/arts/ars-longa-except-when-moma-throws-it-out.html

Kate Walter article on AM New York: The resistance to Donald Trump just got under way

PEN Demonstration on steps of NYPL

PEN Demonstration on steps of NYPL

PEN Demonstration on steps of New York Public Library

PEN Demonstration on steps of NYPL

PEN Demo

PEN Demo

PEN Demo

PEN Demo

All photos Kate Walter

Read Kate Walter’s latest article in AM New York

Let New York be the capitol of the resistance,” said playwright Eve Ensler to the large crowd gathered on the steps of the New York Public Library on Fifth Avenue earlier this week.

She was speaking at the event “Writers Resist: Louder Together for Free Expression” sponsored by PEN American Center, which advances literature.

Authors, poets, journalists read on the library steps drawing from the canon of political poets: Audre Lorde, Claude McKay, Allen Ginsberg, Muriel Rukeyser, Gwendolyn Brooks. American Poets Laureates Robert Pinsky and Rita Dove offered inspiration with inaugural poems.

Fearing a backlash against free expression under a Donald Trump administration, I joined PEN America as a professional member. It is important to belong to a writers group that is political. PEN is an international group that fights for imprisoned writers around the world.

As an opinion and freelance writer, I used to worry about rejection and overdue checks. Now, I worry about reprisal and censorship. So, I stood in the cold for more than two hours to get recharged with this message: We will not be quiet, or stand down.

Click here for complete article: http://www.amny.com/opinion/columnists/kate-walter/the-resistance-to-donald-trump-just-got-underway-1.12983590

KARIN BATTEN HOT SPOTS FOR WEB

HOT SPOTS
Brooklyn, New York, Zurich

KARIN BATTEN HOT SPOTS FOR WEB

HOTSPOTS
BROOKLYN, NEW YORK, ZÜRICH

>URBAN LANDSCAPES BY

Karin Batten, New York

Ralph Raphael Fleming, Brooklyn

Eugen Meier, Zürich

Josette Urso, Brooklyn

WESTBETH GALLERY

55 Bethune Street Gallery Hours: Wednesday-Sunday
New York, NY 10014 1pm – 6pm

Show Dates: March 31st-April 15th
Reception: March 31st 6-8pm

The artists in this diverse group share a lineage to 1990’s Switzerland with their connection to the artist Fred Engelbert-Knecht who ran Galerie A-16 in Zürich. Karin Batten, Eugen Meier and Josette Urso had solo exhibitions at Galerie A-16 and Ralph Raphael Fleming joins the extended family via Al Loving. Each artist also shares unique impressions from their immediate urban environment. Working with abstraction and representation, these artists reveal stories of city life through their involvements with the urban setting.

Karin Batten explores the city from unique perspectives and vantage points. Witnessing the city from above, she sees the cohesive unit of the fragmented city emerge. Using oil sticks she constructs deep textures that capture the magnificence of New York City’s skyline and terrain.

Ralph Raphael Flemming
creates intricate collages from urban billboards and commercially printed advertisements. Although his process involves the tearing, cutting and manipulating of found paper, he refers to his pieces as “paintings”.

Eugen Meier is an architect and painter currently living and working in Zürich and the South- West of France. His city-reliefs, made with remnants of paper, plywood and iron are cut, painted and polished and reference the tangled flow of city streets, railway connections and skyscrapers.

Josette Urso makes paintings, drawings and collages. She sees the city less as a series of architectural forms and more as a living, breathing entity – literally a buzzing environment made up of layers upon layers of human history and mystery.