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DTSTART;VALUE=DATE:20220102
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SUMMARY:Icons\, Iconoclasts\, and Outsiders
DESCRIPTION:September 19\, 2021 – March 20\, 2022\nInaugural Exhibition at Howl! Arts/Howl! Archive (HA/HA)\nGrand Opening: Sunday\, September 19 / 11 AM–6 PM \nHowl Arts is pleased to announce the inaugural exhibition at its new space\, Howl! Arts/Howl! Archive (HA/HA). Icons\, Iconoclasts\, and Outsiders presents works by artists\, writers\, musicians\, scenesters\, performers\, icons\, iconoclasts\, outsiders and other creators from the 1960s to the present whose life and work energized the underground and are now entering mainstream cultural discourse. HA/HA is located at 250 Bowery\, just down the block from Howl! Happening. The exhibition continues through December 23\, 2021 and is co-curated by Howl executive director Jane Friedman with Sean Mellyn and Maynard Monrow. \nIcons\, Iconoclasts\, and Outsiders unveils previously undocumented aspects of downtown life and culture—the atmosphere of a wildly diverse neighborhood that has influenced successive generations. A refined collection of works of art\, cultural history\, and ephemera\, the exhibition presents the early Ramones banner Gabba Gabba Hey (1977) and the paintings by artist and founding spirit of the gallery Arturo Vega; Candy Darling’s the worst years of my life: a five year diary\, from the collection of her longtime friend Jeremiah Newton; David Wojnarowicz’s Saint Sebastian (1981)\, a portrait of Brian Butterick from his personal collection; costumes\, props\, and videos from The Alien Comic Tom Murrin’s archive; an exquisite photographic portrait by George Dureau and explosive paintings by Richard Hambleton from the Arturo Vega estate; a signature portrait by Helen Oliver Adelson; graphite portraits by John Kelly of gifted individuals who were part of his life and creative circles; cultural chronicler and photographer Marcia Resnick’s color portrait of William Burroughs (1980); and Scooter LaForge paintings that explore contemporary social issues through humor\, lavish decoration\, and exaggerated cartoon-like figures. \nAlso from the collection are works of art and archival materials from the 60s to the present including Philly Abe; Richard Bernstein; Don Herron; Mark Morrisroe; Dustin Pittman; Jamie Reid; Walter Stedding; Patti Smith; Tabboo!; Gail Thacker; Toyo Tsuchiya; Guy Woodard; as well as Mudd Club doorman extraordinaire Richard Boch’s personal papers; and materials from the estate of Clark Render\, known for his collaboration with David Ilku in The Dueling Bankheads. \nIn the new screening room\, Howl draws from its video archive of work by Merrill Aldighieri as the first VJ and early documentarian of the legendary 80s nightclub Hurrah; the archives of Efrom Allen\, host of the early public-access television show Underground TV\, featuring a range of unconventional guests including Sid Vicious\, the Ramones\, Marilyn Chambers\, Blondie\, Steve Allen\, Buddy Rich\, Stiv Bators\, Brooke Shields\, and William Shatner; and selections from the vaults of Howl TV including live performances\, readings\, panel discussions\, and happenings with artists\, writers\, musicians\, and thought-leaders who have enlivened the gallery since its inception in 2015. \nHowl’s Permanent Collection comprises over 3\,000 objects\, including art\, rare digital and analog media\, performance-art ephemera\, and personal archives from the 1960s onward. The Collection documents the origins and growth of local cultural and social movements that have had far-reaching impact—offering a myriad of opportunities for new interpretations of the punk\, new-wave\, and no-wave movements; performance art; drag; street art; public-access television; nightlife; LGBTQ activism; the AIDS epidemic; and urban gentrification. \nImage: Richard Hambleton\, Untitled (Leaping Shadowman)\, ca 2000 \nVisitation Guidelines
URL:https://www.howlarts.org/event/icons-iconoclasts-and-outsiders-exhibition/
LOCATION:HA/HA\, 250 Bowery\, 2nd Floor\, New York\, NY\, 10012\, United States
CATEGORIES:Exhibition,Gallery,HAHA,Happening Soon
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DTSTART;VALUE=DATE:20220122
DTEND;VALUE=DATE:20220221
DTSTAMP:20260618T003240
CREATED:20211216T212435Z
LAST-MODIFIED:20220123T174519Z
UID:10000636-1642809600-1645401599@www.howlarts.org
SUMMARY:Helen Oliver The Open Road
DESCRIPTION:There is a theatrical quality to Helen Oliver’s paintings\, their scale and earthy palette recalling\, in one glance\, those eerily charmed circus or movie marquee posters of yesteryear. This feels especially true of her portraits\, which loom large enough to engulf the viewer in the formal contortions of their often-nude subjects. —Tom Breidenbach \n        \n            \n		\n\n                \n						\n						\n					\n                        ►\n                        Explore 3D Space			\n                    \n                \n                \n                	Helen Oliver: The Open Road\n				\n			\n		\n\nHowl! Happening: An Arturo Vega Project is pleased to present The Open Road\, a newly curated exhibition of paintings by Helen Oliver that takes off from her show which was cut short in 2019 by the pandemic. Known for her large-scale\, vivid portraits and nudes\, she delves below the surface of her subjects to uncover inner mysteries\, emotions\, and tensions.  \nThe expressivity of Oliver’s paintings might appear to be part of a long tradition of psychological portraiture—from that of Otto Dix to Alice Neel. There is a humanistic quality to Oliver’s endeavor that she shares with those artists. There is\, however\, a consistent ambiguity in her work. . . This singularity might best be observed in Oliver’s nude portraits. —David Ebony \nOn view will be a selection of portraits and intimate nudes that combine her eccentric\, gestural line with the deeply felt presence of the sitter to create “images [that] vacillate between the hallucinatory\, bordering on Surrealism\, and a raw pragmatic quality that makes them appear utterly truthful\,” says Ebony. Oliver’s blithe\, bohemian character imbues her paintings with an imaginative inner narrative\, and style that goes beyond any affiliations to contemporary art trends\, schools\, or movements. An air of whimsy permeates the portrait of her brother Edgar as harlequin\, while languid nudes stare frankly at the viewer.  \nSince the late 70s\, Helen Oliver has been an integral part of the artistic and performance-art scene of the Lower East Side\, tapping into the personalities of the vanguard and rendering oil paintings of artists\, musicians\, filmmakers\, and writers including Penny Arcade\, Lenny Kaye\, Mary Lou Wittmer\, Louie Cartwright\, Kembra Pfahler\, Samoa\, and Brian Damage. She is also well known for her stage-set design\, especially for her brother Edgar Oliver’s plays\, many of which premiered at La MaMa. \nShe was a founder of Pompeii Gallery on 10th Street (and later Forsyth Street) in New York City in the mid 80s. She has exhibited in New York\, Paris\, and Lucerne\, and has painted three rooms at the Carlton Arms Hotel. Originally from Savannah\, Georgia\, she moved to New York City in the late 70s after studying in Paris and receiving a B.A. from The George Washington University in Washington\, D.C. She now divides her time between New York and Tarquinia\, Italy\, where she makes her home.
URL:https://www.howlarts.org/event/helen-oliver-the-open-road/
LOCATION:Howl! Happening\, 6 East 1st Street\, New York City\, NY\, 10003\, United States
CATEGORIES:Exhibition,Gallery,Happening Soon
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