Filed under: THE WEEK/THE WEEKEND | Tags: 2011, 2012, 22, 4, 42, 7th, a, actress, adam, America Robert, and, annual, apple, art, artist, artists, arts, Ashley’s, assemble, back, Bedroom, beth, big, BIGGEST, brooklyn, by, Canem, Chamber, CIRCE, composer, Concrete Brain, CONQUER NATIONAL, CONQUER NATURE, conversation, cooperation, craft, Dangerously American, Delisle, Density, Downes Simultaneous NATIONAL, Dreaming, DUO DIAMOND, Edelson, effects, Eggs Sigils, Eleanor, energy, Ensemble The, Ensemble Vonnegut, EVANS, experimental, Featuring, festival, Festival Brancusi, FETISH Low, fight, Fixins Contemporary, for, Frances, future, Future THE, Guanzhong Slavoj, Guy, Heartney, historians, hosted, hyper, in, ink, international, is, Issue, JERUSALEM Frackonomics GRADUATE, JUKEBOX Freeze, K., Kathleen, lady, Lara, Launch, library, live, LIVES, lorin, magazine, Manhattan League, mary, McDormand Drawn, Moody, music, Networked, new, night, ny, nyc, of, Offit, on, or, our, paintings, paris, party, Party Either, Patrick, Percussion, performances, photographs, pianists, Pink Extreme, playwright, poet, poetry, poets, Pornography Revolutionary, presented, presents, PRESENTS…PRACTICE! Greenlight, professional, Quarterly, Reading “The, residence, review, Rick, Ron, Rosal Late, Ruhl, Salon Contemporary, sarah, SERIES PETER, SHE, Sidney, Signs Ladies, smith, spring, STABINSKY, Stein Cave, STOOPS, surreal, TERRIFIER, the, theatre, to, Tracy, vision, Wentrack HYDROGEN, Wilson, with, women, Wu, year, york, your, Žižek
The 22 Magazine is putting on a show this Thursday at Vaudeville Park in Brooklyn. Hope you can join us!
Check out a preview for the show.
The 22 Magazine Presents: Fixins
The 22 Magazine is pleased to present an evening of music, art, food and puppetry with Andru Bemis, Anna Gevalt, Elizabeth Laprelle and Katherine Fahey, who along with singing, will be presenting a cranky. Also known as scrolling panorama, or crank box, the cranky is an old-fashioned hand-cranked scrolling device, illustrating a story or song. They will be joined by FAHEY, puppeteer Daniel Patrick Fay, and visual artists Jimmy McBride, Megan Canning, Eileen Hoffman, Reineke Hollander and more. There will be a potluck style buffet, so feel free to bring something to contribute! The event will take place on April 26, at Vaudeville Park in Brooklyn.
Filed under: THE WEEK/THE WEEKEND | Tags: and, ann, Banquet, Baptista's, brooklyn, cabaret, cave, CHATHAM Radio, Church ECSTATIC, Cyro, EMEFE String, Fest, Forum Baby, frontrunner, future, happiness, holy, Left, Leprechauns, music, Night! Superhuman, of, ONEIDA, orchestra, party, past, rhys, Soda Presentation, st, string, the, Theories, Trinity
A unique phenomenon in the U.S. and the world, Left Forum convenes the largest annual conference of a broad spectrum of left and progressive intellectuals, activists, academics, organizations and the interested public. Conference participants come together to engage a wide range of critical perspectives on the world, to discuss differences, commonalities, and alternatives to current predicaments, and to share ideas for understanding and transforming the world. The conference is held each spring in New York City.
They play an eclectic mix influenced by New Orleans brass bands, jug music, southern gospel and hot jazz and feel at home at the Village Vanguard or playing on the street. The band features members New Orleans band the Loose Marbles and alumni of Stephane Wrembel’s Hot Club of NY. With Ben Polcer, Trumpet; Patrick Harison, Accordion; Jared Engel, Banjo; David Langlois, Washboard and Peter Ford, Washtub bass.
Presentation Party Night!
It’s that time again! You bring the brains, we bring the beer. This month we are happy to be hosted by our friends @ the 538 Johnson lofts. Topics on the bill: • Indie Publishing • A Tree Grows in Brooklyn: 1912 to 2012 • Slugs! • Edith Wilson: Our First Female President • The Novartis/RFID Scandal • TBD Presentation Party Night is a lecture series that combines a love of community, education, and drinking. We offer the chance for individuals to share a short presentation on any topic and spark group discussion. The evening will consist of 6 brief/educational/entertaining presentations followed by Q&A, with free food and beer while it lasts. The event is traditionally held potluck style. Bring a snack to share and BYOB if you can. Let me stress that THIS IS A FREE EVENT and no one is required to bring a damn thing if they don’t feel like it. Come join us for a night of drinking with friends and learning from your peers — there’s nothing else quite like it!
A group show, THE CAVE will be presented at Frontrunner Gallery March 16th-31st. Produced by Corinne Beardsley, 20 artists and performers are building a cave out of cardboard and wheat pasting newsprint to paint, draw, install sculpture, projections, soundscapes, and host performances of music and theater. The show will inhabit two spaces at 59 Franklin St.- the 400 sq. foot gallery, and it’s project space in the deep caverns of the building. The audience will discover the dark spaces using crafted flashlight torches.
Filed under: THE WEEK/THE WEEKEND | Tags: 22, 26th, artists, as, brian, brooklyn, burns, Chelsea, city, Clemente Soto Vélez Cultural, collage, Daniel Subkoff, degraw, Educational Center, festival, fits, flora, for, fuentes, future, gardens, graham, Ideas, industrail, james, landscape, magazine, new, ny, nyc, of, pasts, photography, porcelain, pulls, romero, schroder, sculpture, shredder, st, sugar, Susan, the, toil, Video, West, Will Chancellor, world, york
Closing May 8th.
As The World Burns
Final Week at James Fuentes LLC, Gallery hours; Wed. – Sun., 11-6pm.
Special New York Gallery Week extended day, Sunday, May 8th, 12-8pm.
View exhibition images: here
New York Gallery Week link: here
James Fuentes LLC proudly presents, as part of The New Museum’s Festival of Ideas For The New City;
Daniel Subkoff & Will Chancellor
Past Fits and Future Pulls
Clemente Soto Vélez Cultural and Educational Center at 107 Suffolk St between Rivington and Delancey.
If you have trouble locating this project please text; (917) 509-2250
Saturday from 10am to midnight
Sunday from 2:30pm until 7pm
Festival of Ideas: link
Subkoff & Chancellor are offering their artwork for free to everyone who joins them, and ultimately back to the earth itself. Having traded their cash for living native seeds, soil and local clay, they’ve constructed a 13 foot tall sculpture with this material that they invite the public to help disassemble. Visitors are welcome to grab a handful of the sculpture and recast it in a provided mold, walking away with a small sculpture of their own. If left in an appropriate place such as an abandoned lot, garden or any soft ground it should dissolve and yield a significant number of native wildflowers within a month. If taken home and treated as an art object, it will likely dry out, crack and expire worthless. The main small sculptural casting will be of a rendition of Tlaloc, the elemental Aztec god of water, rain and fertility whose name translates as “he who is made of earth”.
April 14, 2011–May 14, 2011
Susan Graham’s exhibition, New Gardens, features sculpture, photography and video that use strategies of pattern and decoration to poetically depict the eternal struggle between nature and technology. Central to the exhibition are Toile Landscape, a large scale installation of Graham’s delicate sugar sculptures, and the intimate porcelain Toile Floating Landscape sculptures. Mimicking the recurring patterns of complex pastoral scenes found on Toile de Jouy, these works depict clusters of invented flora interspersed with industrial structures such as transmission towers, satellite dishes, or even cell phone towers disguised as trees. Charming, delicate and foreboding, each small pastoral scene compresses nature and technology in a bittersweet attempt at reconciliation. Graham’s photographs and videos on view in New Gardens depict skies choked with flocks of airplanes, modern-day birds staking their claim on the atmosphere. These works showcase Graham’s deft touch and ability to evoke rich, multivalent narratives from a few simple, quiet gestures. New Gardens is Graham’s fourth solo exhibition with the gallery.
April 14, 2011–May 14, 2011
Cletus Johnson: Collage 1968–2010 presents a selection of Johnson’s beguiling collages, including collaborative pieces made with famed Black Mountain poet Robert Creeley. Johnson’s works are composed of deceptively simple materials inviting private, almost meditative contemplation on subjects of longing, erotic love and primal lust. Their quietude evokes a Cagean musicality, while a minimal juxtaposition of images wrings endless narrative associations. Envelopes containing black and white photographs of a woman’s breast are intimate love letters being sent and received, revealing a desire to both contain and set free the object of affection. Amusement park ride tickets are coupled with cropped images of naked male youths, granting the viewer permission to experience desire. Portrayals of Antinous—Roman Emperor Hadrian’s lover—as Cyclops become homorobotic emblems of a carnal hunger for an idealized beauty. Johnson’s collages show him as a master of the simple, poetic intervention.
Filed under: EVENTS | Tags: 1939, 22, art, artists, artworld, brooklyn, future, magazine, Museum, new, ny, nyc, of art, perfect, queens, reconstructing, the, world's fair, york
Sunday, April 10, 2011 3:00 to 6:00pm
DURATION: April 10 – August 14, 2011
Reaching from Flushing Bay on the north side to Kew Gardens on the south, and from the Federal Building on the east side in Flushing to the western entrance gate on 111th Street in Corona, the New York World’s Fair comprised a massive area covering 1,216 acres when it opened on April 30, 1939. The fair broke ground on June 29, 1935 and took over three arduous years to construct, through a nearly miraculous evolution from a salt marsh formerly utilized in the mid to late nineteenth century as a bucolic recreational area and for commercial ventures such as beer gardens and oyster farming. From the turn of the century to 1934, these wetlands were profoundly transformed into the notorious ash dumps of Tammany Hall crony Fishhooks McCarthy’s Brooklyn Ash Removal Company, which were originally introduced into the American vernacular by F. Scott Fitzgerald’s The Great Gatsby.
“…This is a valley of ashes–a fantastic farm where ashes grow like wheat into ridges and hills and grotesque gardens where ashes take the forms of houses and chimneys and rising smoke and finally, with a transcendent effort, of men who move dimly and already crumbling through the powdery air. Occasionally a line of grey cars crawls along an invisible track, gives out a ghastly creak and comes to rest, and immediately the ash-grey men swarm up with leaden spades and stir up an impenetrable cloud which screens their obscure operations from your sight…
The valley of ashes is bounded on one side by a small foul river, and when the drawbridge is up to let barges through, the passengers on waiting trains can stare at the dismal scene for as long as half an
Mountains of ash almost one hundred feet high were created by the dumping and subsequent burning of over one hundred rail cars per day packed with household refuse, stove ash and animal carcasses. These mountains were excavated and moved, then mixed with meadow mat and top soil, to create land fill on the future fairgrounds. This rigorous reclamation of the landscape took one year by teams of laborers working in 24-hour shifts eerily illuminated by Westinghouse Corporation’s “manmade perpetual sunlight:” over three hundred 80′ towers each shining 1500-watts of light, to prepare the land for construction.
Under the stewardship of NYWF Corporation President Grover Whalen, Mayor Fiorello La Guardia and NYC Parks Commissioner Robert Moses, and bookended by the foment of the Great Depression and the commencement of World War II, a fabulously futuristic and harmoniously conceived fair arose in Queens, far away from Manhattan. Beckoning like the magical Emerald City of Frank L. Baum’s 1939 work, The Wizard of Oz, the fair’s exuberantly planned utopian vision of “The World of Tomorrow,” as close as a 10 minute train ride, still proved to be financially unattainable to the majority of immigrant populations whose businesses and homes bordered its periphery.
With vintage gelatin silver prints, blueprints and original documents, Future Perfect: Re-Constructing the 1939 New York World’s Fair will illustrate the colossal undertaking that was the creation of the fair. Copies of the original blueprints for Harrison and Fouilhoux’s symbolic Trylon and Perisphere’s steelwork (inspired by the domes of San Marco in Venice) provide the underpinning of this exhibition along with a marvelous cache of photographs ground out on a non-stop basis by the official NYWF Department of Press. Whalen’s publicity machine produced heroic captions for these photographs such as “the 1,216 acre site was made in a 190-day engineering feat of moving nearly 7,000,000 cubic yards of ash “mountain” and meadow mat in a ‘once worthless area’ on Flushing Bay and within a few minutes by rail from mid-town Manhattan…to be a permanent city park after the fair.”
From the fair’s inception, Robert Moses envisioned the remains of the fairgrounds after the closing in 1940 as a people’s park, his “Versailles” for the city as today, Versailles is France’s patrimony, a stately LeVau and Hardouin-Mansart’s design integrated with gloriously landscaped gardens. It wasn’t until much later, after the subsequent 1964-65 New York World’s Fair, that Moses was able to realize much of his original ambitious plans for what is presently Flushing Meadows Corona Park.
The Queens Museum of Art’s permanent home in the New York City Building is one of the very few original structures left standing, and was designed to be the future home of a skating/roller rink. Optimistically touted by the press office as “… a $1,200,000 ‘Glass House’ (permanent) almost ready for the placing of fascinating exhibits depicting modern municipal service to man,” numerous city agencies had exhibits including the NYC Police Department whose “Murder at Midnight,” was a staged re-enactment of a crime scene investigation, the ‘30s version of CSI’s crime detection techniques. The building became La Guardia’s favorite location and the site of his summer office for the two summers the fair was in existence.
Other vintage prints of previously unexhibited scenes from the collection will be on view: Whalen and La Guardia breaking ground on the fair’s future site; designers’ scale model of the fair in the making which was subsequently shipped to Chicago as La Guardia’s promotional tool for selling the fair to businesses and the masses; clearing the Corona ash dumps; building of sewer, water, roadways and other infrastructure projects; plantings of trees, shrubs and flower beds; the erection of pavilions; aerial views of planes flying over the incomplete steelwork of the Trylon and Perisphere and the New York City building; carpenters and painters building Con Edison’s City of Light; and even vintage prints and original documents relating to the design and construction of Salvador Dali’s fabulist pavilion, Dream of Venus, realized in the fair’s Amusement Zone.
Future Perfect: Re-Constructing the 1939 New York World’s Fair is curated by Louise Weinberg, Registrar/Archives Manager.
The Queens Museum of Art is grateful to numerous donors to our World’s Fair collection who have made this exhibition possible, some anonymous and others too numerous to mention. We are especially indebted to Irene Feldman and Charles W. Schwartz whose contributions of the NYWF Department of Press photographs form the core of this exhibition. Thanks to Kenny Greenberg – Krypton Neon LLC http://www.neonshop.com for his generous contribution of neon lighting for this exhibition. Exhibition design by Arnold Kanarvogel, Queens Museum of Art.
Future Perfect: Re-Constructing the 1939 New York World’s Fair is supported in part by the New York City Department of Cultural Affairs and New York State Council on the Arts.