Neke Carson – Retrospective Vito Acconci – Seedbed Sonnebend 1972

EUNICE GOLDEN Reorient Human Figure

PARTICIPANTS

Martha Wilson,Vito Acconci, Willoughby Sharp, Hannah Wilke,
Eunice Golden, Neke Carson, Roberta Allen, Adrian Piper, Roger
Welch, Karen Shaw, Jeff Way, Hans Breder, Susan Bee, Marc H.
Miller, Gene Beery, Eleanor Antin, Walter Weissman, Lorraine
O’Grady, Peter Moore, Joan Jonas, Jaime Davidovich, Bettie
Ringma, Mac Adams, Kerry Schuss, Morgan O’Hara, Stefan Eins,
Tehching Hsieh, Jack Smith, Indra Tamang, Charles Henri Ford,
Lynn Hershman Leeson, Trisha Brown, Duff Schweninger, Jared
Bark, James Collins, Betty Tompkins, Arthur Cohen, Christopher
D’Arcangelo, Roy Colmer, Dennis Oppenheim, Marcia Resnick,
Gerald Hayes, Terry Berkowitz, Charles Gatewood, Christopher
Rauchenberg, Stuart Brisley, Lee Lozano, Gordon Matta-Clark,
Bill Beckley, E’wao Kagoshima, Robert C. Morgan, Colette,
Janice Guy, Carolee Schneemann

The Mitchell Algus Gallery presents Concept, Performance, Documentation, Language, a group show of work that employs photography, performance, surveillance, data acquisition and participatory intervention to make art that is narrative, analytical, speculative, critical and documentary.

With 50 artists, most of whom worked–and continue to work–in New York, Concept, Performance, Documentation, Language illustrates the shared interests and common endeavor that animated a loosely defined community of artists from the late 1960s to the early 1980s. The exhibition is a meditation on what history gets written and, provided context and equanimity, how that perceived history can be comprehensively and cohesively revised. History is a process.

Interestingly, the current show parallels in part, Jeffrey Deitch’s first curatorial outing in 1975, Lives: Artists who deal with peoples’ lives (including their own) as the subject and/or medium of their work. Many of the participants in Lives were younger conceptual artists engaged in the openly aesthetic practice of vernacular sociology, behavioral psychology, and local ethnography. Unlike first-generation conceptualists such as Sol LeWitt, Joseph Kosuth or Lawrence Weiner whose work was rigorously formal and to a degree academic, these new artists set out to consider real life, their life, and produce some edifying, playful, acerbic, or confounding analysis and documentation of it. Many of the artists also began to broach trenchant questions of personal and group identity, igniting concerns that continue to preoccupy much recent art.

GALLERY (Exhibitions, Artists, Information)

Mitchell Algus Gallery
132 Delancey Street, 2nd floor
New York, NY 10002
212-844-0074
office@mitchellalgusgallery.com

bold – current or former Westbeth residents

Arlene Gottfried
BACALAITOS & FIREWORKS

March 3 – April 16, 2016

Daniel Cooley Fine Art
508- 526 West 26th Street
New York, NY

OPENING Thursday March 3, 6PM – 8PM

Conversation with Arlene Gottfried and Paul Moakley
Saturday April 2 at 3PM

More info on Arlene Gottfried
Arlene Gottfried – Singer, Photographer
www. arelenegottfried.com

Lorraine O’Grady: Miscegenated Family Album (Sisters III), L: Nefertiti’s daughter, Maketaten; R: Devonia’s daughter, Kimberly, 1980/94, Cibachrome prints, 26 by 37 inches overall; at the Carpenter Center for the Visual Arts

“Where Margins Become Centers” explored forms of internalized and externalized oppression. Photographic diptychs filled the walls, establishing seductive dualities—aesthetic twinnings that propose both false origins and uncanny parallels.
– from Kirsten Swenson review in Art in America Review February 2016
http://www.artinamericamagazine.com/reviews/lorraine-orsquogrady/
Lorraine O’Grady’s exhibit “Where the Margins Become Center” was at the Carpenter Center for the Visual Arts at Harvard from October – January 10, 2016.

Jan 23, 2016. Caille Millner’s article brings new understanding to the content of O’Grady’s work. Unlike those who’ve seen Rivers, First Draft as surrealist — in the way early readers saw García Márquez’s 100 Years of Solitude as surrealist when that novel was, if not realistic, quite real — Millner deftly demystifies the piece’s collage aesthetic as literalized metaphor. She sees the 1982 Central Park performance as an instructional guide to women of color who want to become artists.

http://www.theparisreview.org/blog/2016/01/13/rivers-first-draft/

Feb 03, 2016. In this cover feature, her most important published interview to date, O’Grady discusses Flannery O’Connor as a philosopher of the margins, working out emotions via Egyptian sculpture, Michael Jackson’s genius, and feminism as a plural noun.

http://www.brooklynrail.org/2016/02/art/lorraine-ogrady-with-jarrett-earnest

Lorraine O’Grady website.

NEW WEBSITE

lorraineogrady.com now back online!

Feb 10, 2016. When the website first launched in 2007, it was seen as a model artist site. When it died in September 2015, tears were shed. But the loss proved a great opportunity. Now, after four months of round-the-­clock work, the rebuild is being launched with not only a new look and interface, but expanded resources and info. The Art, Writing and Press menus have grown and become more user­-friendly… and there’s a new Home page with images and featured items, as well as a new About page with its own gallery.

http://lorraineogrady.com

Michelle Weinberg HAIKU 2014

Friday, Feb 19, 6:30 pm
Center for Book Arts
28 West 27th St, 3rd Flr
New York, NY 10001
212-481-0295

Artist Roundtable discussion in conjunction with the Featured Artist Project exhibition SWEAT Broadsheet Collaboration.

Participating artists are Lea Nickless, Carol Todaro and Michelle Weinberg.

SWEAT Broadsheets, on view at the Center for Book Arts through April 2, consists of seventy-eight broadsheets created in collaboration by 46 artists and 40 writers in South Florida.

Fine art prints created in a wide variety of media, including letterpress, silkscreen, etching, digital pigment prints, relief prints, monoprints and many forms of hand work, including hand coloring, hand-cut paper and applique on fabric. The SWEAT Broadsheet is an ongoing process of collaboration that stimulates new concepts and methodology.

Artists include Gary Moore, Michelle Weinberg, Lea Nickless, Tom Virgin, Carol Todaro, Laura Tan, Alfredo Useche, Rosemarie Chiarlone, and Sara Stites.

REFLECTIONS ON 14TH ST, a show of paintings by Sheila Schwid opens on Feb 7, 2016 at the Grady Alexis Gallery, El Taller Workshop .

Show dates: February 7 – March 9, 2016
Opening Reception: Sunday Feb 7, 3:30PM – 6:00 PM

Gallery: 215 West 99th Street, Lower Level, NYC

More Info: www. tallerlatino.org
More Info on Sheila Schwid: https://westbeth.org/artist/sheila-schwid-painter/

Twelve photographs by Marilyn Schwartz were published by Triple Point records in a boxed limited-edition release “Call It Art”, of the New York Art Quartet (Jazz) from 1964-1965. Nominated for 2014 Grammy® awards in Best Historical Album and Best Album Notes categories

The book features music manuscripts and notebook pages from the musicians’ archives, an extensive itinerary, the complete history of the NYAQ, artists’ bios, and musical analysis.

Marilyn Schwartz’s art work, of the past forty years as well as those of twenty other artists are currently being archived in a project by the Research Center for Arts and Culture, Joan Jeffri, Director and the Actors Fund.