PALIMPSEST—an exhibition in Ireland about how temporal connections alter definitions of place—features the work of Nicole Eisenman, Zoe Leonard, Hilary Lloyd, Charlotte Prodger, Martine Syms, LynetteYiadom-Boakye, and Andrea Zittel.
Curated by Charlie Porter, the show will include a new text by Olivia Laing, author of the novel Crudo (2018), and The Trip to Echo Spring (2014), a memoir about writers and alcohol.
From top: Charlotte Prodger, Sophie with Sheets 3, 2015, inkjet print, stainless steel frame, glass, courtesy of the artist and Lismore Castle Arts; Martine Syms,Notes on Gesture (4), 2015, courtesy of the artist and Sadie Coles Gallery; Zoe Leonard, Untitled, 2002, courtesy of the artist and Hauser & Wirth.
“Every time I enter a new room I scan for other queers. Maybe it’s a hunt for fleeting solidarity, maybe safety—not that the two are opposed. I didn’t know I did this until I didn’t have to, when I arrived in a place—[Fire Island]—where queer and its variants was the baseline. It is a profound experience, one I will never take for granted, even as I know the exclusions it enacts.
“This is a very personal show, in the sense that it has no pretensions of thoroughness or coherence. A series of friendships and encounters organized around a shared experience of finding one’s place. Just some people inhabiting a tiny speck of the world and—to borrow a phrase by Douglas Crimp, another friend from the island—misfitting together.” — RyanMcNamara*
McNamara brings Fire Island to Manhattan with a new exhibition of work by TravisBoyer, Jack Brusca, TM Davy, Raúl de Nieves, Nicole Eisenman, K8 Hardy, Kia Labeija, MatthewLeifheit, Hanna Liden, Tiffany Malakooti, Samuel Roeck, Paul Mpagi Sepuya, DevanShimoyama, A.L. Steiner, Wolfgang Tillmans, Cajsa von Zeipel, and himself.
*”Misfitting together” is a quote from Popism: The Warhol Sixties, by Andy Warhol and Pat Hackett (1980), referenced by Douglas Crimp in his book “Our Kind of Movie”: The Films of Andy Warhol (Cambridge, MA: MIT Press, 2012), 157, note 29:
“I [Warhol] was reflecting that most people thought the Factory was a place where everybody had the same attitudes about everything; the truth was, we were all odds-and-ends misfits, somehow misfitting together.”
From top: Ryan McNamara, Cemical Compound(6/8/2018), 2019, wood, plaster, paint, psilocybin, amyl nitrate, gamma-hydroxybutyrate, Truvada; Wolfgang Tillmans, Far awayinside (Echo Beach), 2017, inkjet print; Matthew Leifheit; Meat Rack Gathering, 2018, dye sublimation print on aluminum; Nicole Eisenman and Tiffany Malakooti, Remarkable Lesbian Chess Set, 2016, clay, wood, and paint; A.L. Steiner, Untitled (Rachel on bay, Pines), 2016–2019; Fire installation view with K8 Hardy‘s jockstrap collection—Look Pines, 2016, fiberglass mannequin, metal base, cloth, enamel paint, synthetic wig—in foreground; Devan Shimoyama, Untitled, 2015–2018, dye-sublimation print on aluminum (2); Cajsa von Zeipel, Boy’s Tears, 2019, styrofoam, fiberglass, aqua resin, plaster; Travis Boyer, Le Fountain, 2019, embellished and dyed wool blanket on beeswax, wood, and steel frame; Jack Brusca, Pines Pavilion Logo, 1980, acrylic on canvas; Kia LaBeija, New Legend Lucky 007 on Fire Island, 2018, digital inkjet print.
2018 is an election year, a chance to end Republican control of Congress.
Educate, organize, resist, register, vote…
… and check out the selection from Marilyn Minter and Andrianna Campbell’s ANGER MANAGEMENT, a pop-up featuring resistant work by JohnBaldessari, Black Women Artists for Black Lives Matter, Zoe Buckman, Nicole Eisenman, Charles Gaines, Jenny Holzer, Rashid Johnson, Joan Jonas, Barbara Kruger, Glenn Ligon, Robert Longo, Laura Owens, Jack Pierson, Mary Ping, Faith Ringgold, Laurie Simmons, Rirkrit Tiravanija, and many others.
A portion of the proceeds will go to charity and to the Brooklyn Museum.
Carolee Schneemann, Carsten Höller, Kaari Upson, Ragnar Kjartansson, Cheryl Donegan, Elizabeth Peyton, Jeremy Deller, Nicole Eisenman, and George Condo are among the forty artists participating in WHO’S AFRAID OF THE NEW NOW?, a series of public conversations this weekend at the New Museum.
The event concludes on Sunday night, December 3, at 8 pm, with a conversation between Carol Bove and Joan Jonas.
Saturday and Sunday, December 2 and 3, from 10 am through 9 pm.
New Museum
235 Bowery, New York City.
From top: Joan Jonas, photograph by Sebastian Kim; Allen Ruppersberg, Who’s Afraid of theNew Now?, from the series Preview Suite, 1988, lithograph, courtesy the artist and Greene Naftali, New York.
“WITH IT WHICH IT AS IT IF IT IS TO BE, a new film by Eve Fowler, rises and falls to the tune of this line, written by Gertrude Stein in her 1910 short story “Many Many Women.” [The 33-minute 16mm film] is a lovingly made collective portrait of female artists at work in the studio….Fowler has directed her camera, through the cinematography of the artist and filmmaker Mariah Garnett, toward the intimate spaces of women’s art work. The film’s title is a line from Stein’s text which is read as voiceover by eight writers and artists….[each lending] a personal tone and inflection to the text, accentuating the subjective dimension of each artist’s individual labor and technique.
“WITH IT WHICH IT AS IT IF IT IS TO BE documents the practices of over twenty artists based primarily in Los Angeles and New York, paying special attention to their process, their work with materials, their contemplative approaches, their manipulations. Shots cut from one studio to the next, and oscillate between focused close-ups of process-based activities and more casual portraits, where an atmosphere of trust and friendship clearly lies behind the screen. In one, the sculptor DaphneFitzpatrick walks around her studio, a dog in tow—the feel is familiar, the portrait honest. In another, the painter Nicole Eisenman climbs atop a wooden scaffold to reach the upper portion of her large-scale canvas. There, she picks from an array of brushes before getting to work on one of her own complex, group portraits, which turns scenes from the everyday into the stuff of contemporary history painting. In yet another, the choreographer Taisha Paggett performs movement work as the camera attentively follows the gestures and modulations of her expressive body.” — RachelValinsky*
WITH IT WHICH IT AS IT IF IT IS TO BE, Thursday, July 27, at 7 pm.
MOCA GRAND AVENUE, 250 South Grand Avenue, downtown Los Angeles.
*Rachel Valinsky is an independent curator, writer, and translator, and the quote here is from her review originally published in Millennium Film Journal, Issue 65, Spring 2017. Valinsky is the translator of Whites Jews and Us: Toward a Politics of Revolutionary Love by Houria Bouteldja (with a foreword by Cornel West), which Semiotext(e) will publish as part of their Intervention Series in September, 2017.
Image credit: With it which it as it if it is tobe(2016), directed by EveFowler. 16mm film, sound, transferred to video, 33:02 minutes.
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