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Hundreds of rock music fans jam highway leading from Bethel, New York, Aug. 16, 1969 as they try to leave the Woodstock Music and Art Festival. Two hundred thousand persons spent a rainy night at the festival. (AP Photo)

Hear interview and see the pix:
WFUV – Back to the Garden

Read Kate Walter’s “Woodstock – My Queer Love Story” HERE

Quogue Gallery’s mission is to present a program of artistic excellence by showcasing the work of prominent, mid-career and emerging artists in the modernist tradition. Its core focus is on discovering and exhibiting figurative and abstract expressionist painters who are recognized historically as well as those of great promise who have fallen through cracks of history.
Since its founding in 2014, the Gallery’s growing presence in the modern and contemporary art world has been acknowledged by the press. The gallery has been featured in many publications, including the New York Times, Dan’s Paper, Beach Magazine, Hamptons Art Hub, Artnet News, Southampton Press, and others. The gallery also has been recognized for the quality of its exhibitions by Hamptons Art Hub, Artnet News and other outlets.

Beverly Brodsky’s work at Quoque Gallery

Invisible Monuments
Fri, Aug 2, 2019, 7 pm
Sat, Aug 3, 2019, 4 pm
Floor 3, Susan and John Hess Family Gallery and Theater

The 2019 Biennial features three weekends of film programming selected by guest curators. Invisible Monuments (August 2–3) is curated by Matt Wolf.

At the corner of Gansevoort and Washington Streets, the recently constructed Whitney Museum lies at the intersection of multiple queer New York histories. Through newly commissioned and historic works by Sam Green, Barbara Hammer, and a collective of filmmakers from FIERCE and Paper Tiger Television, this program reflects on the erasure and preservation of queer history. Beyond a traditional film screening, this expanded documentary event revitalizes films from the past and tells new stories through performance and conversation to recognize living history, the social realities of aging and trauma, and a spirit of resistance against gentrification.

This screening will be followed by a conversation with Matt Wolf and a selection of the artists and filmmakers.

FIERCE and Paper Tiger Television
Fenced Out, 2001

Sam Green
As yet untitled, 2019

Barbara Hammer
History Lessons Redo: The Meat Market, 2019

Tickets are required ($10 adults; $8 students, seniors, and visitors with disabilities; free for members). Capacity is limited; visitors are encouraged to purchase tickets in advance.

BUY TICKETS

“While all New Yorkers understand the challenge of finding housing with ample space within their budget, the need for affordable artists’ space extends beyond just housing. Studio space within Manhattan and much of Brooklyn also remains at a premium. Artists need studios in which to work, paint, choreograph, rehearse and record, and write. They need this space in order to create the work we love…..

If we New Yorkers value the arts as much as we say we do, it’s about time we made it possible for artists to live and work here without barely scraping by or moving to other cities more welcoming—and affordable—than our own.”

—- quoted from “Making Space for Artists” by Patricia Jones, Westbeth Interim Executive Director in Chelsea News

Read entire article HERE

Jamal Jackson in performance at WESTFEST. photo: Brigid Pierce

“Right in time for spring cleaning, the Westbeth Artists Housing flung open its doors for the annual WestFest, inviting dance into every nook, hallway, and courtyard. Now in its ninth season, WestFest celebrates the diverse choreographic voices of the city and provides an opportunity for the public to see over 30 artists in both conventional and site-specific spaces.

In a festival format, it is a welcome surprise to discover artists whose work you must have more of. Rather than ending at its walls, WestFest Top Floor urges a continual exploration of its many dancers.”

– Emeri Fetzer for Dance Enthusiast

Read the entire article with photos at Dance Enthusiast

Opening reception: Thursday, May 30th, 5:00 – 8:00 PM
Exhibition dates: May 30th – June 8th, 2019
Gallery Hours: Wednesday – Friday, 1:00 – 7:00 PM and Saturday, 12:00 – 6:00 PM
Location: 245 Broome St, New York, NY 10002
Closing: Sat. June 8, 12:00 – 5:00 pm

“DYNAMIS brings together New York based artists from different areas of the globe who explore ideas of potentiality in a world dominated by cultural alienation. Works on display interconnect in areas that transcend the artists studio practices by speaking about feelings of aspirations, belonging, displacement and power, as well as women’s agency in domestic spaces. Artists featured are: Rashwan Abdelbaki (NYC/Syria), Chantal Feitosa (NYC/Brazil), Kyung-jin Kim (NYC/South Korea), Cansu Korkmaz (NYC/Turkey), and Angélica Maria Millán Lozano (NYC/Colombia)”.

http://www.residencyunlimited.org/programs/ru-exhibition-dynamis/

This exhibition is curated by the RU alumna curator Luciana Solano and graciously hosted by Equity Gallery.
Please feel free to contact Luciana lusolano@me.com to walk you through, if you want!

ARTBUILT Studios photo: Celeste Sloman

At 50,000 square feet, ArtBuilt Brooklyn, where Ms. Dickinson, Mr. Handelman and roughly 100 other artists now work, was constructed with a creative combination of private investment and civic support from Mayor Bill de Blasio’s administration, specifically the Affordable Real Estate for Artists program of the Department of Cultural Affairs and the New York City Economic Development Corporation.
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Its intention is to provide physical stability to redress the economic volatility of being an artist working in New York. ArtBuilt offers below-market rents — between $13 to $24 a rentable square foot, compared with approximately $28 to $36 a square foot for commercial space in Brooklyn last year, according to CoStar, a real estate research company. Ms. Dickinson pays $1,092 for 827 square feet; Mr. Handelman pays $1,146 for 868 square feet.

Esther B. Robinson and Guy Buckles, the founders of ArtBuilt, said they worked backward from what artists said they needed …“I went backward from the math — until the math worked,” said Ms. Robinson, a former filmmaker who has a kind of unstoppable enthusiasm, even when jet-lagged. Ultimately, that meant scaling the project to 50,000 square feet, from 10,000, to bring down the rents.

– William L Hamilton

Read the entire articlein the Art and Design Section of NY Times April 22 2019

See Also Westbeth Board of Directors

Kinescope Gallery in collaboration with Fillmore Projects is pleased to present Metaphorical Transitions: Lost and Found in the Still Life, an exhibition of charcoal drawings by Sandra Caplan. Opening reception, April 6 from 5–7pm.

This everyday substance, which has no beauty on its own, aided my researches into chiaroscuro and the invisible … I must say, however, that charcoal does not allow kindness, it is sober and only with real emotion can you draw results from it.
Odilon Redon

Working in situ in Le Marche, Italy, as well as recreating scenes after the fact back in NYC, Sandra Caplan composes rich, loaded landscapes in charcoal from the still life. Patterned fabrics, ribbons, and the edges of fallen magnolia leaves are among the many objects that become moving lines, which insinuate themselves into the drawings as lost and found unifying parts. Her subtle use of negative space encourages this movement and recalls earlier work where Caplan used fabric ribbons (also on view) as device in a more minimal context. Now those ribbons can be found in her dense, charcoal drawings, along with the white pastel lines that enrich the various tonalities.

The architecture of Le Marche occupies background space in many of these works. The enduring and hard-edged structures provide a counterpoint to the fragile lifespan of the organic forms, which consume the page. Space and light are explored through the density of forms in her drawings. In Caplan’s hands Redon’s assertion that “black is the most essential color” rings true — using charcoal she captures not only the beauty inherent in the individual objects but also the spirit and intensity of her materials.
Sandra Caplan has shown her work in New York City at: Cast Iron Gallery, First Street Gallery, The Prince Street Gallery, The Brooklyn Botanic Garden, Westbeth Gallery, Fordham University, and the World Financial Center. Her work has also been shown at Boston University Gallery, the Winnipeg Art Gallery, the Glenbow Alberta Art Institute, and the Palazzina Azzura, among other international locales. Awards and residencies include: The Canada Arts Council, The MacDowell Colony, and the Yale Norfolk Summer Program. She has taught at MoMA, The Brooklyn Museum, The School of the National Academy of Design, and other prestigious institutions. Her work is housed in private and corporate collections worldwide. Caplan earned MFAs from both Boston University and Yale University. She lives and works in New York City and Italy.

The exhibition is viewable from the sidewalk daily noon to 9pm from April 6 through May 11, 2019 or by appointment.

Metaphorical Transitions: Lost and Found in the Still Life has been curated by Fillmore Projects for Kinescope Gallery.

For press inquiries and for appointments please contact info@fillmoreprojects.com

Kinescope Gallery 616 East 9th Street NY NY 10009 kinescope.gallery

photo: Elinor Carucci for The New Yorker

Hammer is a pioneering visual artist known primarily for her films, most of which deal with lesbians, personal histories, and the body.

Hammer is dying. At seventy-nine, she has lived with cancer for thirteen years and has exhausted all available treatment options. She has spoken publicly, repeatedly, about her impending death, both as an artist reflecting on her creative life and as an activist for allowing terminally ill patients to take charge of the dying process.

– Masha Gessen
The New Yorker

Read full article HERE