Tag Archives: Artists Space

NICOLE R. FLEETWOOD AND JACKIE WANG

This month, Nicole R. Fleetwood—curator of Marking Time—Art in the Age of Mass Incarceration at MoMA PS1—and Jackie Wang will discuss “carceral aesthetics, the legacy of revolutionary prison arts programs, and the ways that penal space, time, and matter shape the production of prison art. What kinds of worlds and images of freedom have been imagined by prisoners and those with loved ones in prison? What forms of care are embodied by social practices rooted in art-making?”*

See link below for details.

NICOLE R. FLEETWOOD and JACKIE WANG IN CONVERSATION*

Artists Space Dialogues—Carceral Aesthetics and the Politics of Love

Tuesday, November 10.

5 pm on the West Coast; 8 pm East Coast.

Marking Time—Art in the Age of Mass Incarceration, MoMA PS1, through April 4, 2021, from top: Tameca ColeLocked in a Dark Calm, 2016, collage and graphite on paper, image courtesy and © Tameca Cole / Die Jim Crow; collection Ellen Driscoll; Mark Loughney, Pyrrhic Defeat: A Visual Study of Mass Incarceration (detail), 2014–present, graphite on paper, image © Mark Loughney, courtesy of the artist; Sable Elyse SmithPivot II, 2019, stainless steel with 2k painted finish, image © Sable Elyse Smith, courtesy of the artist, JTT, New York, and Carlos / Ishikawa, London; Ronnie Goodman, San Quentin Arts in Corrections Art Studio, 2008, acrylic on canvas, image © the artist’s estate.

JUTTA KOETHER — XXAPOLLO

In her performances, Jutta Koether enacts a highly specific form of entangled action centering on and around specific artworks. Embedded with performative possibility, these objects—positioned in a room, a situation, a city—circuit together in a network of language, duration, and the artist’s active negotiation between producer and produced.*

JUTTA KOETHER—XXAPOLLO*

Sunday, January 5, at 2 pm.

Artists Space

11 Cortlandt Alley, New York City.

Jutta KoetherFifth Season Act, Apotheosically, Artists Space, 2012 (2); Koether (right) and Kim Gordon at the Mike Kelley opening, Geffen Contemporary at MOCA, Los Angeles, March 30, 2014, photograph by Rachel Murray.

JACK SMITH AT METROGRAPH

In conjunction with the exhibition Jack Smith—Art Crust of Spiritual Oasis, Artists Space and Metrograph present a retrospective of the visionary films of Jack Smith, along with rare and previously unseen documentation of Smith’’s live performances.

Smith’s work as an actor in the films of Ken Jacobs and Ron Rice will also be screened.

 

FLAMING CREATURES, SCOTCH TAPE, and OVERSTIMULATED

Saturday, September 8, at 7:30 pm.

I WAS A MALE YVONNE DE CARLO, NO PRESIDENT, SONG FOR RENT, and JUNGLE ISLAND

Saturday, September 8, at 9:15 pm.

BLONDE COBRA, THE WHIRLED, and CHUMLUM

Sunday, September 9, at 1:15 pm.

JACK SMITH IN COLOGNE (1974), THE SECRET OF RENTED ISLAND, and MIDNIGHT AT THE PLASTER FOUNDATION

Sunday, September 9, at 4:15 pm.

NORMAL LOVE and YELLOW SEQUENCE

Monday, September 10, at 6:30 pm.

JACK SMITH AT THE UNIVERSITY OF COLORADO (1980)

Monday, September 10, at 9 pm.

METROGRAPH, 7 Ludlow Street, New York City.

Jack Smith at Metrograph

JACK SMITH—ART CRUST OF SPIRITUAL OASIS

Through September 16.

ARTISTS SPACE, 55 Walker Street, New York City.

Jack Smith at Artists Space

Top: Jack Smith, Flaming Creatures (1962–1963).

Below: Jack Smith, Normal Love (1963–1964).

JACK SMITH

Image result for jack smith artist

Jack Smith and Bennett Theissen conversation in 1982:

Smith: But I want to eventually become like Liberace and do Las Vegas night clubs. He makes six million a year from working half a year, twenty-five weeks.
Theissen: What do you think he does that gets people to come see him? Would you go see Liberace?
Smith: Oh, I wouldn’t pay whatever they pay. Well, maybe I would. The people that see him can afford it, you know. But if you’re that great I think it’s worth it. Once a thing is real, then there is no price that can be put on it—it can be a low price or a very high price. What he does is really his art and yet it’s so commercial.
Theissen: He uses popular products of the culture that already exist. He uses popular songs that other people made famous and he plays them, “Hello Dolly,” or—
Smith: Yes. It’s so easy for singers and pianists. It’s so easy.
Theissen: But you do your own material. Do you think you could take things that other people wrote and do them your own way?
Smith: I do that. See, I mix in stuff that has been used already, like Hamlet.
Theissen: Would people in Las Vegas want to see Hamlet?
Smith: Well no, I like just cribbing a little bit from each source and then making something new out of old ingredients.
Theissen: Like Artaud’s statement “No more masterpieces.” He meant use the past as material. Don’t treat it like it’s in a museum or keep it in a vault, make it new.
Smith: Yes. If you can’t make something new with it, then you don’t really have the right to use other people’s stuff. But if you can find something completely new in it, or make some incredible point with it, then it’s all right.*

For their final exhibition at their Walker Street location, Artists Space presents a retrospective of the work of Jack Smith.

“With his shadow looming over the development of avant-garde film, performance art, photography, and critical discourse in New York between the 1960s and 1980s, and through the formative years of Artists Space, Jack Smith nonetheless remains an outlier among the many artistic contexts within which he has played an important role. His virtuosic output is revered for its caustic humor, self-invention, and debasement of institutional authority, which intensified throughout his ever-evolving work. Yet, since his death from AIDS-related pneumonia in 1989, his artistic legacy has proven to be similarly incalcitrant and resistant to clean-cut narrativization. In history, as in life, Smith’s comprehensive ouevre exists in renegade defiance of the capitalist imperatives of commodification and containment, as vilified in his ideas of ‘lucky landlordism,’ ‘rented island,’ ‘clapitalism,’ ‘art crust,’ and so forth.

ART CRUST OF SPIRITUAL OASIS marks the first time that many of Smith’s performances—composed and chronicled in drawings, scripts, film fragments, ‘boiled lobster color slideshows,’ audio recordings, and costumes—have been articulated. Particularly, it will frame Smith’s time in exile, as described by film historian and Smith archivist J. Hoberman. This period was marked by the artist’s eviction from his legendary SoHo loft The Plaster Foundation of Atlantis in 1971 and, consequently, by a movement towards performances staged in ad-hoc theater spaces, clubs, and notably in the literal outside of a morphing urban environment, as the artist found himself at the margins of a professionalizing art world, with the city of New York transformed by a bullish real estate market.”*

 

JACK SMITH—ART CRUST OF SPIRITUAL OASIS

Opening: Thursday, June 21, from 6 to 8 pm.

Exhibition: June 22 through September 16.

ARTISTS SPACE, 55 Walker Street, New York City.

artistsspace.org/exhibitions/jack-smith

Audio disc of Smith and Sylvère Lotringersemiotextes.com/jack-smith

printedmatter.org/catalog

themoderninstitute.com/jack-smith-theater-and-performance-works

*See “Mysterious Thing”: semiotexte.com

Below: Jack Smith.

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