BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Howl! Arts - ECPv6.16.3//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-WR-CALNAME:Howl! Arts X-ORIGINAL-URL:https://www.howlarts.org X-WR-CALDESC:Events for Howl! Arts REFRESH-INTERVAL;VALUE=DURATION:PT1H X-Robots-Tag:noindex X-PUBLISHED-TTL:PT1H BEGIN:VTIMEZONE TZID:America/New_York BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20180311T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20181104T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20190310T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20191103T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20200308T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20201101T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20210314T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20211107T060000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=America/New_York:20200705T000000 DTEND;TZID=America/New_York:20200706T000000 DTSTAMP:20260606T192241 CREATED:20200703T024350Z LAST-MODIFIED:20200703T133311Z UID:10000335-1593907200-1593993600@www.howlarts.org SUMMARY:The Full Moon Show The Full Buck Moon DESCRIPTION:Untitled (Embodiment\, Disembodiment and Desire)\nBy Samantha CC\nFor the Full Buck Moon\, Howl is pleased to present Samantha CC’s Untitled (Embodiment\, Disembodiment and Desire). Performance on the edge\, Full Moon Shows showcase young talent and seasoned performers channeling the spirit of the Alien Comic\, Tom Murrin. Streaming from midnight to midnight on Howl! Happening’s homepage. \nSamantha CC says about Untitled: \nThe body enforces limitations on the soul\, and can sometimes feel like a trap\, and yet it is also a site of pleasure and rich human experience. The shells and water in the glass container represent motion and restlessness inside the container of the body. The transparency of the container calls into question whether the barrier between physical and metaphysical is superficial or not. \nMy art practice incorporates performance\, writing\, video\, and sound. For this piece\, my materials are shells\, the sky\, water\, my hands\, and a giant glass urn.  \nAbout Samantha CC \nSamantha CC is an interdisciplinary performance artist from Brooklyn.  Her performances often incorporate original video projections and sound design. Much of her work incorporates science-fiction aesthetics as a means of exploring human fragility and the individuation process. While most of her recent work has been solo performance\, she has also worked with choreographers such as Monica Mirabile of Fluct\, Sarah Kinlaw\, and Jes Nelson. She has presented work at Roulette Intermedium\, The Wild Project\, Knockdown Center\, Pioneer Works\, Secret Project Robot\, AC Institute\, Outpost Artists Resources\, and Superchief Gallery to name a few. She also has an ongoing curatorial project called The Great BE which features performance and video work from artists of the African diaspora.” URL:https://www.howlarts.org/event/the-full-moon-show-the-full-buck-moon/ LOCATION:NY CATEGORIES:Happening Soon,Special Event ATTACH;FMTTYPE=image/jpeg:https://www.howlarts.org/wp-content/uploads/2020/07/Full-Buck-Moon-Images-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20200628 DTEND;VALUE=DATE:20200629 DTSTAMP:20260606T192241 CREATED:20200616T152243Z LAST-MODIFIED:20200713T185622Z UID:10000331-1593302400-1593388799@www.howlarts.org SUMMARY:QUEER BUTOH 2020 (VIRTUAL) DESCRIPTION:Premiering June 22 at 7:30 PM  \nVANGELINE THEATER/NEW YORK BUTOH INSTITUTE and HOWL ARTS \nIn celebration of Pride 2020\, Vangeline Theater/New York Butoh Institute in collaboration with Howl Arts is pleased to present Queer Butoh 2020 (VIRTUAL). This year\, we are pleased to present the works of Mee Ae\, Dustin Maxwell\, Davey Mitchell and Scoop Slone on Howl TV. Queer Butoh is dedicated to the memory of Brian Butterick aka Hattie Hathaway. Queer Butoh continues June 23–28 on vimeo.com/vangeline and howlarts.org. \nPraise for Queer Butoh: New York Times \nAt its origin\, the introduction of Butoh in Japan was widely controversial. The first homoerotic butoh performance\, Kinjiki (Forbidden Colors)\, created by Tatsumi Hijikata in 1958\, caused controversy amongst its spectators.  \n“Butoh is essentially the dance of the marginalized\, and the LGBTQ population is still largely marginalized in the world\,” says Vangeline\, curator of this series. “This year\, despite obvious challenges\, it is particularly important to find ways to celebrate our LGBTQ artists for the 50th-anniversary celebration of Pride.”  \nMEE AE in Swoon \nSwoon sprung from feelings of desire woven through with shame\, as is so often the case due to internalized feelings of wrongness for my attraction to women. By expressing through movement what feels so inexpressible otherwise\, these feelings were transmuted into the purifying core desire I have for dance. As a result\, this piece came to represent a commitment ceremony of sorts between dance and I. —Mee Ae \nMee Ae is a Butoh-inspired dancer and choreographer. She graduated from Bard College in 2000 with a BA in Drama and Dance\, and landed in New York City in 2001\, whereupon she was awarded a full scholarship to study at Peridance Capezio Center. In 2004 she began her training in Butoh with Vangeline\, and her performance career with Vangeline Theater. Since then\, she has performed throughout Europe\, Canada\, and the United States with Big Art Group\, Desert Sin\, Proto-type Theater\, Caravan Stage Company\, Jenni Hong Dance\, Abigail Levine\, Malinda Allen\, Insect Ark\, Theo Kogan\, Mike Gordon\, Jamie Lidell\, Rob Roth\, Timothy Saccenti\, Lee Walton\, and Yael Kanarek.     \nThe dancer and choreographer currently lives in Ithaca\, New York\, and has been the recipient of several awards from Community Arts Partnership including the Artist in Community Grant\, Strategic Opportunity Stipend\, and the Fellowship for Artists. Her work focuses on utilizing dance as an engine to empower and bring visibility to marginalized communities\, through events such as The Arts & Mental Health\, Queer Butoh\, Ivy Q\, We Step into the Light\, Dancing for Life\, Go Go Go Variety Show\, and One Out of Seven. \n\nFilmed by Lauren Stefanelli (PEGASYS Media Center) at Community School of Music & Arts (CSMA) on December 13\, 2019\nChoreographed and performed by Mee Ae\nMusic by Sheenah Ko; costume by Mee Ae\nLength of video: 4:40 \n\n  \nDUSTIN MAXWELL in a dark forest partly illuminated: portal  \nDustin Maxwell by Olga Rabetskaya\nDustin Maxwell’s multipart and multimedia work\, in a dark forest partly illuminated\, is a recognition and exposition of the Shadow (all that is rejected) and the Sacred that hide in plain sight. The film component of the work\, dark forest: portal\, represents an inlet on the wellspring of materiality. It is a mesmerizing invitation to dive below the surface and to be with the whole.  \nDustin Maxwell is a movement-based visual artist currently living in New York City. He was born queer into a Mormon family of eight in Albuquerque\, New Mexico\, where he took his first ballet class at the age of three. As a teenager he studied modern dance and Barbara Clark’s somatic approach with his teacher\, Joanne Emmons. In 2005 he relocated to Minneapolis\, where he spent a decade studying dance and performing locally and internationally. He began studying Butoh with Gadu Doushin in early 2012. His work is sourced from ritual and sensitizing practices and aims to preserve those elements within “finished” works. Otherness\, sexuality\, spirituality\, death\, and the magic of being are themes central to his art and life. His dances and performance installations have been presented in theaters\, galleries\, basements\, alleyways and countrysides in Minnesota\, New York\, and Germany. He holds a BA in Dance from the University of Minnesota\, Twin Cities. He is a 2019 Jerome Hill Artist Fellow and was nominated for a 2015 SAGE Award for Outstanding Performer.  \n\nFilmed and edited by Dustin Maxwell\nChoreographed by Dustin Maxwell\nPerformed by Dustin Maxwell\nMusic by Dustin Maxwell\nLength: 7:04 \n\n  \nDAVEY MITCHELL in Diary of a Mad Swan  \nImage by Michael Blase\n“There is no place like HOME”\, is the phrase that comes to mind when I think of Butoh.  “Home” in the sense of finding one’s self – completeness of being; and within that being is your journey – your life experiences – struggles and accomplishments\, happiness\, and sorrow.  As a mature dancer\, Butoh has graciously accepted me with all the baggage that I carry from my journey and has allowed me to spill my guts of grief to orgasmic glories. It has taught me the power of stillness and given me a voice of balance where my masculine and feminine energies can speak my truth!.” —Davey Mitchell \nAn expressionist of the arts in New York City for over 30 years\, Davey began his dance training at the Alvin Ailey Dance School in the 1980s. Through the span of his dance career with various dance companies\, highlights include performances at the Brooklyn Academy of Music\,  The Duke Theater\, PS. 122\, The Riverside Church and Adelphi University to name a few.  Now as a solo performer\, he continues to showcase his work as a guest artist in collaboration with choreographers and special events. For more info www.artbydavey.com \n\nChoreographed and Performed by Davey Mitchell\nCostume by Davey Mitchell\nFilmed by on November 9\, 2016\, for Queer Butoh 2016 at Howl Arts\nMusic: Bolero by Maurice Ravel and Tempus Vernum by Enya\nLength: 9 minutes\n\n  \nSCOOP SLONE in Fragments \nScoop Slone by Joan Greenfield\nA being exists alone in the primal future past. Through Its locality It pieces together memories of Its forgotten identity in a reclamation of Its Self. —Scoop Slone \nScoop Slone’s creative practice explores identity\, self-awareness\, and self-actualization through performance\, sculpture\, and installation. Employing non-organic modern materials that reference folk and primal tradition(s)\, Scoop investigates meaning and constancy as experienced through the solitude of alter ego Geometrica 222. Character development draws on repetition\, meditation\, shamanism\, sound\, and phonation\, while referencing personal narratives and gender-fuck drag.  \nScoop began an artistic career singing for Portland Opera and switched personas\, jumping into the New York City rock-opera scene. Praised by the New York Times for “gamely vocal stylings\,” Scoop becomes known for vocal and character morphing in all genres of media and theatrical performance. An introduction to Butoh in 2018\, coupled with costume and object fabrication\, commenced a new artistic trajectory in Scoop’s artistic process and the public personification of Geometrica 222. In July 2019\, HERE Arts debuted Future Perfect with Scoop’s first Butoh performance exhibit and installation. Fragments is the second incarnation of that work in progress.  \n\nFilmed and edited by Eleanor Kipping at FiveMyles Gallery\, Brooklyn\, on Feb 1\, 2020\nChoreographed and performed by Scoop Slone \nSoundscapes by Scoop Slone\nEngineers: Mark Unthank and MP Kuo; “There is a land” by You Man\nCostumes and installation by Scoop Slone\nScoop Slone assembled from rubber bands\, cable ties\, paper straws\, speaker cable\, pom poms\, and wood \nLength: 25:25 URL:https://www.howlarts.org/event/queer-butoh-2020-virtual/ LOCATION:NY CATEGORIES:Performance,Special Event ATTACH;FMTTYPE=image/jpeg:https://www.howlarts.org/wp-content/uploads/2020/06/Mee-Ae-photo-by-JariPoulin.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20200625T190000 DTEND;TZID=America/New_York:20200625T210000 DTSTAMP:20260606T192241 CREATED:20200622T165827Z LAST-MODIFIED:20200703T033406Z UID:10000333-1593111600-1593118800@www.howlarts.org SUMMARY:Reclaiming the Dream: DESCRIPTION:The Unfinished Business of Queer Liberation and the Movement for Black Lives\nA Community Dialogue with Ann Northrop\, Cypha\, Lola Flash\, and Jay W. Walker moderated by Howl education director Katherine Cheairs. \n“When I dare to be powerful—to use my strength in the service of my vision—then it becomes less and less important whether I am afraid.”  —Audre Lorde \nHow do we make meaning and find the courage to move through the reality of the COVID-19 global pandemic that has infected millions of people and caused the death of over 500\,000 people worldwide? What lessons are emerging from the movement for Black Lives\, sparked by the death of George Floyd\, bringing thousands of protestors out into the streets in many cities throughout the US\, as well as the UK\, Japan\, Ireland\, South Korea\, and Australia? Why did it take so long to extend the Civil Rights Act of 1964 to gay\, lesbian\, and transgender workers when the Stonewall Uprising occurred in 1969? In what ways do these questions inform each other?  \nReclaiming the Dream: The Unfinished Business of Queer Liberation and the Movement for Black Lives is a virtual community dialogue to provide voice to the current moment and vision for the future. Join veteran activist and journalist Ann Northrop; multi-dimensional artist Cypha; photographer Lola Flash\, whose work often focuses on social\, LGBT\, and feminist issues; and organizer\, activist\, and Reclaim Pride Coalition co-founder Jay W. Walker for an in-depth and thoughtful conversation moderated by Howl education director Katherine Cheairs. \n\nAnn Northrop  \n \n  \nAnn Northrop is a veteran activist and journalist. After a mainstream career as a writer and producer at CBS News\, ABC\, National Journal\, and others\, Ann quit and took a job as an educator to youth on HIV and on homosexuality. At the same time\, she joined ACT UP/New York. Arrested many times for civil disobedience\, Ann has also worked with Queer Nation\, the Lesbian Avengers\, and many more\, and is currently helping plan the Queer Liberation March for Black Lives and Against Police Brutality. For the last 24 years\, Ann has combined activism and journalism as co-host of the weekly TV news program Gay USA. \nhttps://www.goodtroublemag.com/home/queer-liberation-march-ann-northrop\nhttps://reclaimpridenyc.org/ \nCypha  \n \n  \n“I grew up in Brooklyn\, a kid from the projects who refused to become a statistic after art saved my life. When I was seven\, I started sketching comic book and graffiti characters. In my teens\, I turned to street art where I made a name for myself with the tag ‘CYPHA’. As I got older\, I explored more mediums such as painting\, graphic design\, music production\, photography\, video production\, and tattooing. \n“I love working in all of these fields—they are expressions of who I am. I regularly use these mediums in my work whether it is within the creative industry or on my own personal projects. My imagination is working non-stop; it is what drives me to constantly learn. \n“Throughout my professional career\, I’ve always strived to consistently think outside the box\, which has made me an award-winning creative\, a strategic designer\, and a compelling storyteller. Since my street art days\, CYPHA has stuck\, and it is now my artistic identity that has taken me from the streets and galleries of New York to working with some of the biggest brands in the world. For me creativity never stops. It is not just work; it’s my life.” —CYPHA \nhttps://www.howlarts.org/event/no-more-black-targets/\nhttps://newsone.com/3697095/no-more-black-targets-movement/ \nLola Flash  \n \n  \nFlash uses photography to challenge stereotypes and offer new ways of seeing that transcend and interrogate gender\, sexual\, and racial norms. She received her bachelor’s degree from Maryland Institute and her master’s from London College of Printing\, in the UK. Flash works primarily in portraiture with a 4 x 5 film camera\, engaging those who are often deemed invisible. In 2008\, she was a resident at Lightwork. Most recently\, Flash was awarded an Art Matters grant\, which allowed her to further two projects\, in Brazil and London. Flash has work included in important public collections such as the Victoria and Albert Museum in London. Her work is featured in the publication Posing Beauty\, edited by Deb Willis and currently on exhibit across the U.S.\, and she is in the current award-winning film Through A Lens Darkly. Flash’s work welcomes audiences who are willing to not only look\, but see. \nhttp://www.lolaflash.com/surmise\nhttps://aperture.org/blog/lola-flash-ready-moment/ \nJay W. Walker  \n \n  \nJay W. Walker is an organizer\, activist\, and co-founder of the Reclaim Pride Coalition. He has conceived\, produced\, and co-produced numerous fundraising events\, public awareness campaigns\, rallies\, and protests focusing on LGBTQ issues\, HIV/AIDS (Jay is a longtime HIV survivor)\, hate crimes\, the Black Lives movement\, and other issues over the last 20 years. He has worked with groups such as The October 19th Coalition (founding member)\, Gay Men’s Health Crisis (former special events producer)\, Gays Against Guns (founding member\, Board of Directors\, and Steering Committee)\, Rise and Resist (founding member\, former Board of Directors)\,  and Sing Out Louise (founding member). Walker has also written for several publications including POZ\, NewNowNext\, and Strauss Publications. He was the director of development for Ironbound Community Corporation in Newark\, NJ\, from June 2018 to May 2020.  https://keywiki.org/Jay_W._Walker \nKatherine Cheairs \n \n  \nKatherine “Kat” Cheairs is a filmmaker\, educator\, curator\, activist and community artist. Kat’s areas of interest and research include: HIV & AIDS; visual culture; media arts therapy; community arts; and\, critical race theory in art education. Kat has appeared and presented on panels at the Tribeca Film Institute\, BAM\, Pratt Institute\, The New School\, New York University\, The Studio Museum in Harlem\, The Aperture Foundation\, and UnionDocs. Ms. Cheairs has a Master of Fine Arts in Film and Television Production from the Dodge College of Film and Media Arts at Chapman University. Katherine is the education director for Howl! Happening: An Arturo Vega Project. \n\nAbout Howl Arts Inc.  \nHowl Arts Inc. (Howl) is dedicated to preserving the past and celebrating the contemporary culture of New York City’s East Village and Lower East Side. Howl showcases the art\, activism\, history\, culture\, and counterculture at the heart of this community through the works of established\, emerging\, and underrepresented artists. From fine art and performances to Beat poetry and punk rock\, and activism and protest\, Howl reaches nearly 10\,000 annual visitors. All Howl programming is free and open to the public. \nTop Image: No More Black Targets: NOMOREBLACKTARGETS.COM \nBottom Image: Reclaim Pride Coalition \nImage Gallery: Photos by Lola Flash URL:https://www.howlarts.org/event/reclaiming-the-dream/ LOCATION:NY CATEGORIES:Happening Soon,Special Event ATTACH;FMTTYPE=image/jpeg:https://www.howlarts.org/wp-content/uploads/2020/06/notar_queerlib.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20200623 DTEND;VALUE=DATE:20200624 DTSTAMP:20260606T192241 CREATED:20200601T194120Z LAST-MODIFIED:20200627T142909Z UID:10000327-1592870400-1592956799@www.howlarts.org SUMMARY:Hero in Art—The Vanished Traces of Richard Hambleton by Istvan Kantor DESCRIPTION:Published on Hambleton’s Birthday by Howl! Arts and Autonomedia \n“I was alive when I died.…That’s the problem.” \n—Richard Hambleton \nCLICK HERE to purchase a book. \nIn honor of his birthday on June 23rd\, Howl Arts is pleased to announce the publication of Hero in Art—The Vanished Traces of Richard Hambleton. Hambleton is best remembered as the visionary artist who created guerilla public artworks\, notably his iconic Shadowman series of black painted silhouettes that mysteriously appeared on buildings throughout Manhattan in the early 80s. Though he never viewed himself as a “street” artist\, he is nonetheless seen as a progenitor of the movement. A contemporary of Keith Haring and Jean-Michel Basquiat\, he was one of the principal players of the new wave of visual artists that erupted in New York’s early 80s East Village and Lower East Side art scenes. Foreword by Anthony Haden Guest. Co-published by Howl Arts and Autonomedia. \n“I painted the town black\,” Mr. Hambleton told People magazine in 1984. “[The figures] could represent watchmen or danger or the shadows of a human body after a nuclear holocaust or even my own shadow.” \nIn this biographical novel\, author Istvan Kantor (AKA Monty Cantsin\, the founder of Neoism and long-time friend of Richard Hambleton)\, tells the story of the enigmatic artist who frustrated and inspired those around him. Through personal experiences and recollections by those who knew him. Subjects include Michael O’Connell\, Franc Palaia\, Howie Seligman\, Eileen Doster\, Hank O’Neil\, Oren Jacoby\, Clayton Patterson\, Julius Klein\, Linus Coraggio\, Tom Warren\, Blake Sandberg\, Hugo Ariz\, David Zack\, Pat Ivers\, Rick Librizzi\, Nemo Librizzi\, and Mike Malbon\, as well as romantic partners and other friends of Hambleton’s. \nFused into a dramatically flowing narrative\, Kantor reports on the art and times of Hambleton with honesty\, passion and audacity—from his arrival in New York determined to become the “next Duchamp”\, his rise to the heights of art world society\, and his tortured decline. \n‘Richard Hambleton’ by Curt Hoppe\nAbout Richard Hambleton \nBorn on June 23\, 1952 in Vancouver\, Canada\, Hambleton studied at the Vancouver School of Art before beginning his Image Mass Murder series in 1976. These works mimicked the look of chalk outlines used by police during crime scene investigations. Settling in New York in 1979\, Hambleton transitioned from street art to producing paintings in his studio. He went on to participate in both the 1984 and 1988 Venice Biennale. The artist died on October 29\, 2017 in New York. Today\, Hambleton’s works are held in the collections of the Brooklyn Museum\, the Andy Warhol Museum in Pittsburgh\, and The Museum of Modern Art in New York\, among others. \nAbout Istvan Kantor \nBorn in Budapest and has lived in many countries throughout the world. Istvan Kantor is a visual and media artist also known as Monty Cantsin. He founded Neoism in the late 1970’s in Montreal and moved to New York in the early 1980’s. He is a founding member of the Lower East Side street artist group the Rivington School. The writer has been arrested and jailed multiple times during his blood interventions in various museums. He was awarded The Governor General Award of Canada\, in 2004. \nPublished by Howl! Arts and Autonomedia.\nPaperback: 264 pages\, 4.5 x 7\nIllustrated\nISBN-13: 978-1570273667\nUS Price: $14.95\nFor more information or to purchase the book CLICK HERE URL:https://www.howlarts.org/event/hero-in-art-the-vanished-traces-of-richard-hambleton-by-istvan-kantor/ LOCATION:NY CATEGORIES:Book Signing,Happening Soon,Special Event ATTACH;FMTTYPE=image/jpeg:https://www.howlarts.org/wp-content/uploads/2020/03/Hambeltonbookcover.4hi.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20200603 DTEND;VALUE=DATE:20200607 DTSTAMP:20260606T192241 CREATED:20200602T183408Z LAST-MODIFIED:20200814T145421Z UID:10000329-1591142400-1591487999@www.howlarts.org SUMMARY:ALLEN GINSBERG BIRTHDAY FILM FESTIVAL DESCRIPTION:7PM \nOriginal Films and Highlights of Readings\, Performances\, and Music Celebrating Ginsberg’s Birthday \nEverything is holy! everybody’s holy! everywhere is holy! everyday is an eternity! Every[one’s] an angel! — Excerpt from the footnote to Howl by Allen Ginsberg \nEvery year on June 3rd\, Howl celebrates Allen Ginsberg’s birthday\, inspired by the late poet-philosopher—a lifelong spokesperson for peace\, social justice\, freedom of expression\, and love. An annual event since Howl! Happening’s founding in 2015\, Howl Arts presents a marathon event (June 3rd–6th) that honors Ginsberg and the poets\, musicians\, bookstores\, publishers\, and other significant individuals whose voice and energy transformed the U.S. forever. Tune in at 7:00 PM for 4-days of monumental poetry and performances on Howl TV.  \nBringing together many of the originators of the Beat movement with artists who follow in their lineage and contemporary cultural commentators\, the programming includes readings\, personal reminiscences\, music\, and testimony from contemporary writers who give voice to the tectonic shifts in the arts and politics resulting from this important period in American history—showcasing the many threads and lineages that continue through the art of today. \nAmong the highlights featured on Howl TV are readings by Michael McClure\, Anne Waldman\, Margaret Randall\, Steve Cannon\, Len Chandler\, David Henderson\, Ed Sanders\, Hettie Jones\, John Giorno\, Bob Holman\, and Helixx C. Armageddon\, among others. The group reading of Ginsberg’s epic poem Howl\, an annual event since the Howl Festival began way back in 2003\, is also included. \nAlso on view will be films that remember our namesake’s life and times\, as well as shorts and remarkable deathbed footage of Ginsberg shot by underground cinema icon Jonas Mekas: \nWednesday\, June 3rd | 7PM\nFried Shoes Cooked Diamonds\, 1979 / Directed by Costanzo Allione / Narrated by Allen Ginsberg \nAfter World War II\, a group of young writers\, outsiders\, and friends who were disillusioned by the pursuit of the American dream met in New York City. Associated through mutual friendships\, these cultural dissidents looked for new ways and means to express themselves. In this 55-minute video\, members of the Beat Generation—including Burroughs\, Anne Waldman\, Peter Orlovsky\, Amiri Baraka\, Diane di Prima\, and Timothy Leary—are reunited at Naropa University in Boulder\, Colorado\, during the late 1970s to share their works and influence a new generation of young American bohemians. \nPlus:\nVideo of Howl Gallery 2016 Party \n\nThursday\, June 4th | 7PM\nWest Coast Beat and Beyond\, 1984 / Directed by Christopher Felver \nFilmed on location in San Francisco’s North Beach neighborhood\, and at Naropa Institute in Boulder Colorado\, this film is a tribute to the ongoing vision of America’s renegade minds\, as well as a salute to the visionary power of Jack Kerouac. Rare appearances by Kerouac’s daughter\, writer Jan Kerouac\, poets Lawrence Ferlinghetti\, Gregory Corso\, Allen Ginsberg\, Jack Micheline\, Joanne Kyger\, Bob Kaufman\, and Philip Lamantia\, as well as novelist Ken Kesey illuminate the imagination and inspire a torrential indictment against American mediocrity. \nPlus:\nHistory of the Airplane / Directed by Christopher Felver\nVideo of Howl Gallery 2017 Party \n\nFriday\, June 5th | 7PM\nFerlinghetti: A Rebirth of Wonder\, 2013 / Directed by Christopher Felver \nIn this definitive documentary\, director Christopher Felver crafts an incisive\, sharply wrought portrait that reveals Ferlinghetti’s true role as catalyst for numerous literary careers and for the Beat movement itself. Felver’s one-on-one interviews with Ferlinghetti\, made over the course of a decade\, touch upon a rich mélange of characters and events that began to unfold in postwar America. \nPlus:\nHum Bom! / Directed by Christopher Felver\nVideo of Howl Gallery 2018 Party \n\nSaturday\, June 6th | 7PM\nNo More to Say and Nothing to Weep For: An Elegy for Allen Ginsberg\, 2006 / Directed by Colin Still \nWitness the last days of the Beat poet whose works would capture the very essence of the 1960s countercultural movement\, in an informative documentary featuring Allen Ginsberg’s final television interview as well as remarkable deathbed footage shot by underground cinema icon Jonas Mekas. Footage also delivers Ginsberg’s 1965 reading at Royal Albert Hall\, his chanting at the 1968 Democratic Convention\, and previously unreleased footage with Paul McCartney\, Dick Cavett\, William Buckley\, and a heartfelt memorial service in which Patti Smith delivers a poignant farewell. \nPlus:\nSonic Youth – Making the Nature Scene / Directed by Christopher Felver\nVideo of Howl Gallery 2019 Party \n\nNow more than ever\, we honor Allen and those who are not afraid to speak up and make their voices heard. \nLet the voices of dead poets\nRing louder in your ears\nThan the screechings mouthed\nIn mildewed editorials.\nListen to the music of centuries\,\nRising above the mushroom time.\n—Excerpt from Believe\, Believe by Bob Kaufman \nImage: Allen Ginsberg Howling by Beth Bagley \nWATCH ON OUR HOME PAGE URL:https://www.howlarts.org/event/allen-ginsberg-festival/ LOCATION:NY CATEGORIES:Special Event ATTACH;FMTTYPE=image/jpeg:https://www.howlarts.org/wp-content/uploads/2020/06/Allen-Ginsberg-howling-by-Beth-Bagey.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20200507 DTEND;VALUE=DATE:20200508 DTSTAMP:20260606T192241 CREATED:20200505T160945Z LAST-MODIFIED:20200508T170246Z UID:10000325-1588809600-1588895999@www.howlarts.org SUMMARY:The Full Moon Show: John Pizza in DISTANCE DESCRIPTION:The Full Moon Show: A Tom Murrin/Alien Comic Invention\nStreaming on the Howl! Homepage\n \n\n“The year is … 2035? It’s Monday? Saturday? Thursday? I’ve been holed-up in an empty art gallery in the abandoned Chelsea Arts District NYC for perhaps eons… my stomach in knots\, at the end of my rope\, writing poetry. How’re you?” \n\nJoin John Pizza for another Full Moon performance/art film called\,DISTANCE. It’s a piece all about the at-home vibes we’ve all been experiencing. The fears\, the poetry\, the distance… How close is too close is too close is too close? \nJohn Pizza is a performer\, builder\, and drawer. He uses trash and thrift-store detritus scrounged in his Brooklyn neighborhood to tell stories and make his shows. He loves the macabre and the mushy sweet. His sculptures are performative\, and his performances involve sculptures—an object theatre of weird surprises \nAbout Tom Murrin and the Full Moon Show \nPerformance is anything done with purpose and style. —Tom Murrin \nHowl! Happening houses the Collection of Tom Murrin\, aka as the Alien Comic\, Godfather of Performance Art. Every full moon—without fail\, paid booking or not\, in all seasons and whatever the weather—he performed his Luna Macaroona Full Moon Show. When he had a club date that fell on the full moon\, he’d wrangle his friends to perform as guests—pushing the careers of such groundbreaking performers as David Cale\, David Sedaris\, Amy Sedaris\, Blue Man Group\, Ethyl Eichelberger\, Lisa Kron\, and many others. When he didn’t have a club date\, he performed on the street for passersby\, transforming the pedestrian atmosphere with his madness and magic. URL:https://www.howlarts.org/event/the-full-moon-show-john-pizza-in-distance/ LOCATION:NY CATEGORIES:Happening Soon ATTACH;FMTTYPE=image/jpeg:https://www.howlarts.org/wp-content/uploads/2020/05/Johnpizza_distance_fullmoon.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20200418 DTEND;VALUE=DATE:20200601 DTSTAMP:20260606T192241 CREATED:20191215T211503Z LAST-MODIFIED:20200319T195353Z UID:10000301-1587168000-1590969599@www.howlarts.org SUMMARY:POSTPONED IZHAR PATKIN: The Making of The Black Paintings DESCRIPTION:A Performative Archive \nProduced by Some Serious Business for Howl! Happening: An Arturo Vega Project \nOpening Reception: Saturday\, April 18\, 6–8 PM / Free \nTo Whites every Black holds a potential knife behind the back\, and to every Black the White is concealing a whip. We were born into this dialogue and to deny it is fatuous. Our responsibility is to overcome the sins and fears of our ancestors and drop the whip\, drop the knife. In Izhar Patkin’s parable of racial cannibalism we see that when a man with a .45 meets a man with a shotgun I guess the man with the pistol is a dead man.—Rene Ricard\, “The Radiant Child\,” Artforum\, 1981\nGenet’s play was written for a black cast\, partly in whiteface\, to perform for a white audience\, and Patkin’s stenciling carries this idea perfectly. His use of Olympia’s black maid\, as well as Olympia herself…extends Genet’s paradigm of political colonialism to encompass cultural colonialism\, inferring the status of blacks in white culture.\n—Gary Indiana\, Village Voice\, 1986\nGenet is my Michelangelo.—Izhar Patkin\nHowl! Happening and Some Serious Business are pleased to present Izhar Patkin: The Making of The Black Paintings. Izhar Patkin’s virtuosic The Black Paintings (1985–86)—a painterly adaption of a play by Jean Genet—is one of the most significant and inventive works to come out of the East Village in the 80s. An immersive room-size piece painted on black neoprene-rubber curtains\, it expands upon the conventions of painting itself and also upon narrative\, metaphor\, installation art\, and theatricality. The paintings\, measuring 22 x 28 x 14 feet\, were first exhibited at the Limbo Gallery in 1986. There\, literally inside the painting\, creators John Kelly\, Lydia Lunch\, and Charles Busch staged iconic\, cutting-edge performances. The Museum of Modern Art acquired The Black Paintings in 1988\, and they were shown at the Whitney Biennial in 1987 and last exhibited at the Stedelijk Museum in 1990. \n \nThe show is not about re-presenting The Black Paintings themselves\, but rather concentrates on the development of Patkin’s visual vocabulary culminating in the painting. The exhibition also includes two earlier related bodies of work: Norman: The Average American Male\, 1981 (Collection\, The Jewish Museum\, NY) and The Meta Bride\, 1982-83 (Collection\, Whitney Museum\, NY). The installation concept—A Performative Archive—will contextualize the art with interviews\, writings\, and ephemera that highlight the conception of The Black Paintings and its precedents\, and animate the ideas of two groundbreaking writers: New York Times architecture critic Herbert Muschamp and art critic Edit DeAk—treasured friends with whom the artist shared ideas and reflections during the making of these works. \nHaving immigrated from Israel in the late 70s\, these early works were Patkin’s way of sorting out the terms and mythologies of his new American homeland. They manifest and respond to issues vital to the artist at that time—the death of formalist painting and the birth of identity politics; the return of narrative; and the upsurge in performance\, installation\, and time-based art. The exhibition showcases the centrality of storytelling and metaphor to his work and is motivated by his emotional response to and keen observation of mainstream American culture. “Metaphors create identity. They are the DNA of language\, predictive of hereditary cultural diseases\,” he asserts. “We live in the age of correction\, but we need reinvention. As an artist\, just dealing with anecdotal politics in my work wasn’t an option. All that is normative must be examined at its roots\, including the constitution of paintings. English is a white Christian language. The deep doctrines in language itself are something I had to address\,” Patkin adds \nCurated by Susan Martin of Some Serious Business with Howl! Education Director Katherine Cheairs\, this timely exhibition is meant to underscore Patkin’s singular visual inventions\, which he employs to critically unpack the prejudices he sees as deeply rooted in the norms\, conventions\, and default settings of our collective metaphorical language. \n“Artists have always been in the forefront of social and cultural innovation. It’s through invention that the artist has agency in the world\,” says Martin. A catalog contextualizing the exhibition will include new essays by philosopher and cultural historian Kazembe Balagun\, curator and historian Chaédria LaBouvier\, cultural commentator Carlo McCormick\, and art historian Sarah Wilson of the Courtauld Institute of Art in London\, as well as writings from the 80s about these early works by Maurice Berger\, DeAk\, and Muschamp. A series of public programs include panel discussions\, a Genet seminar\, film screenings\, and other events with fellow\nartists\, writers\, and activists intended to contextualize the works and invite dialogue on the state of conversation in contemporary art\, and the ontologies of race\, identity\, and cultural programming.(For a list of public programs\, please see below.) \n. \nBODIES OF WORK  \n \nThe Black Paintings\, 1985–86 \n13 life-size portraits stenciled on black chrome-coat paper\, 93 x 42 inches. \nThe paintings in MoMA’s collection will be represented by life-size portraits of the cast of characters: Each collage is linked with a quote from the character in the play. Of the 13 principal characters in Genet’s book\, 10 of the collages were modeled on Patkin’s friends. The other three are Al Jolson in The Jazz Singer; The Meta Bride; and Laure\, the black maid in Manet’s painting Olympia. \nPatkin adapted Jean Genet’s The Blacks: A Clown Show as a narrative device for paintings that tap into a wide range of visual metaphors challenging the binaries of black and white. Patkin was drawn to the play because\, as he says: “When Genet asks: ‘First of all\, what’s his color?’ he questions and inverts these artificial dualities. I felt Genet was painting the play\, not just writing it. As a painter\, I don’t use black as the opposite of white. They are colors among colors. With Genet as my dramaturge\, The Black Paintings were my way to repudiate how these binaries are encountered in language and everyday life.” \nWritten for Belgian director Raymond Rouleau’s all-black theater company\, The Blacks was first performed at Le théâtre de Lutèce in Paris in 1959. The play comments on the supremacist ideologies that underpinned colonialism—its black characters trapped within negative perceptions of blackness while the whites are caricatures of imperial cruelty\, of “whiteness.” First performed in New York City at the St. Mark’s Playhouse in 1961\, The Blacks was the longest-running off-Broadway non-musical of the decade. Directed by Gene Frankel\, the cast featured James Earl Jones\, Louis Gossett Jr.\, Cicely Tyson\, Godfrey Cambridge\, and Maya Angelou. \nAmong the ironies of The Blacks is the fact that this protest against the white world was itself written by a white man. Genet’s ability to identify with victims of prejudice owed much to his own identity as an orphan\, a homosexual\, a thief\, and a convict. Genet’s grievances are contained within a highly disciplined art form and channeled through humor and constant inversion. In the play\, as in The Black Paintings\, the audience is inherently a key “actor.” \nThis play\, written\, I repeat\, by a white man\, is intended for a white audience\, but if\, which is unlikely\, it is ever performed before a black audience\, then a white person\, male or female\, should be invited every evening. The organizer of the show should welcome him formally\, dress him in ceremonial costume and lead him to his seat\, preferably in the first row of the orchestra. The actors will play for him. A spotlight should be focused upon this symbolic white throughout the performance. But what if no white person accepted? Then let white masks be distributed to the black spectators as they enter the theater. And if the blacks refuse the masks\, then let a dummy be used. \n—Genet’s prelude to The Blacks \nFor Genet\, writes Neal Oxenhandler\, “blackness is the hallmark of all those who suffer exclusion\, deprivation\, degradation; all those who are oppressed\, minorities of all kinds\, men of all castes and classes; homosexuals and thieves as well as black and Jews; women; and those whose role in society is to realize themselves as outsiders…”[1] \nIn a review of The Black Paintings\, the poet Hezy Leskly commented on the connection between the work and the audience: “When you walk into The Black Paintings\, you are A Community.” Herbert Muschamp had a similar experience stating\, “I thought the power of the show lay not in the cease-fire of the battle between black and white\, but in the collapse of the dualism between self and environment [other].” \n \nThe Meta Bride\, 1983 \nTulle-veil painting\, 9 x 8 feet\, and video of Meta Bride performance / Exhibition Copy\nCollection\, The Whitney Museum of American Art\, New York \nPatkin’s first veil painting ever exhibited\, The Meta Bride was the centerpiece of an exhibition at the Holly Solomon Gallery in 1983 that mixed performance and paintings. Patkin’s meta[phorical] bride was inspired by a discarded photo he found on a New York City sidewalk of an African American bride in her white wedding veil. The exhibition closed with an Easter Sunday “marriage” oratorio featuring David McDermott as the groom and contortionist Ula as the bride. Accompanied by an orchestra and wearing a black rubber tuxedo by Sally Beers\, McDermott sang a Gershwin-like\, soulless rendition of Grandmaster Flash’s “The Message”. The performance culminated with McDermott singing “I Do”\, written for the occasion by Kristian Hoffman\, while on the piano Ula evoked the athletics of breakdancing—twisting herself into a cubist-like sculpture attired in a white leather and Calais-lace wedding gown by Diane Pernet. \n“Neither ridicule from a sophisticated campy stance\, nor political propagation of a corrupted social norm\, it is a genre play\,” says Edit DeAk writing in Vogue Italia\, September 1983. “Izhar throws himself a wedding-party spectacle\, mixing thematic elements about marriage in a pancultural synthesis of the marriage ceremony. Producing this spectacle brings his two- and three-dimensional work into the fourth dimension of theatricality. He is making a spectacle in the tradition of painter’s theater.” \n \nNorman: The Average American Male\, 1981 \nSix paper collages and a pinball machine\nChrome-coat paper\, photo prints\, enamel spray paint\nCollection\, The Jewish Museum\, New York \nMeant to represent the average American male and female\, “Normman” and his female counterpart “Norma” were created by gynecologist Robert Latou Dickinson and sculptor Abram Belskie. They were first reproduced in Harry L. Shapiro’s article “A Portrait of the American People\,” Natural History magazine\, June 1945. \nMaurice Berger writes in the catalog essay Race and Representation: The Production of the Normal\, Hunter College\, 1987: \nA model of “normal” perfection\, his name is\, appropriately\, Normman. And along with his perfect sister Norma\, he stands as a testament to the “character” of the American nationality…Patkin’s Norman shatters the complacency of Normman’s perfect world. Posed in a range of passive positions—standing\, sitting on a chair\, sitting on the floor\, crouching\, kneeling\, sleeping—Norman is now vulnerable: he is robbed of his pedestal\, his fig leaf\, and the artifice and purity that had signified his social removal…To respect what is recognized as normal is to belong to that comfortable majority which lives at society’s center. To live outside this center is to exist at risk. \nA PERFORMATIVE ARCHIVE \nThe ‘Performative Archive’ narrates and connects the dots of both the material and the subliminal making of The Black Paintings and its precedents. Delineated by exposed aluminum studs creating open wall-less rooms\, the installation uses scaffolding as a device and metaphor to present the archival material in a state of becoming. As the viewer journeys from one “chapter” to another\, they experience the development and “becoming” of The Black Paintings through preparatory drawings\, photographs\, catalogs\, books\, recordings\, and other ephemera. \nPUBLIC PROGRAMS AND EVENTS\nFriday\, April 24\, 2020 \nThe writers for the catalog join Patkin for a revealing discussion of the works in the show\, their relevance now\, and the cultural context of 80s New York. \nSunday\, May 3\, 2020\nGenet Seminar: Genet and the Black Radical Tradition \nAn intimate seminar facilitated by Kazembe Balagun explores the impact of Jean Genet on the Black Radical tradition—a philosophical\, social\, and political movement concerned with capitalism\, anti-colonialism\, and the Black freedom struggle in the United States and around the world. \nWednesday\, May 6\, 2020  \nFree Vega Arts Workshop led by Patkin \nThursday\, May 21\, 2020\nFilm Screening of Black Skin\, White Mask by Isaac Julien \nDirected by Isaac Julien\, the film is a critically acclaimed docudrama and experimental film exploring the life and work of physician and psychoanalyst Frantz Fanon. \n\n[1] Neal Oxenhandler\, Contemporary Literature\, University of Wisconsin Press\nVol. 16\, No. 4 (Autumn\, 1975) URL:https://www.howlarts.org/event/izhar-patkin-the-making-of-the-black-paintings/ LOCATION:NY CATEGORIES:Gallery,Happening Soon ATTACH;FMTTYPE=image/jpeg:https://www.howlarts.org/wp-content/uploads/2019/12/Black-Paintings-Playbill.jpeg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20200403T190000 DTEND;TZID=America/New_York:20200403T210000 DTSTAMP:20260606T192241 CREATED:20200227T204524Z LAST-MODIFIED:20200318T203508Z UID:10000528-1585940400-1585947600@www.howlarts.org SUMMARY:POSTPONED SPUNKT ART NOW Magazine Launch and Performances DESCRIPTION:Howl! Happening: An Arturo Vega Project hosts an evening of performances celebrating the launch of SPUNKT ART NOW. Highlighting the affiliations between contemporary art and the legacy of the punk movement\, SPUNKT ART NOW  is a boldly formatted hybrid of newspaper\, art book\, collectable object\, and two-dimensional exhibition space. It features the work of 24 artists and writers\, including our namesake and inspiration Arturo Vega\, as well as Scooter LaForge and Brett De Palma\, all of whom have had major exhibitions at Howl. \nPerformances by contributors in SPUNKT ART NOW include: \nOli Sorenson Video Pistoletto: A piece inspired by the works of Arte Povera artist Michelangelo Pistoletto\, who aimed to realign art with the preoccupations of everyday life. Sorenson revisited Pistoletto’s mirror-breaking performance by replacing his mirrors with video screens. \nSébastien Pesot Selfeed: A neologism combining the words “selfie” and “feedback\,” Selfeed is the ironic staging of a selfie amplified by streaming live audio and video feedback on the artist’s self-representation. In this performance Pesot meets Narcissus in FaceTime. This series of actions plays with the “society of spectacle” and our egos to mirror our digital psychogeography. \nB.L.U.S.H. The Litany of Curfews: A multidisciplinary female collective from Canada. Their performances are profane and politically charged rituals in which hybrid characters evolve to challenge our understanding of gender. By embodying a primitive state\, the collective explores an identity constructed without regard for institutions and conventions\, with an openness to the unexpected and the unlikely. \nBringing together contributions by American and international authors and artists\, the content includes essays\, manifestos\, and other literary offerings\, as well as photography\, painting\, and performance documentation. SPUNKT ART NOW surveys current artist practices that further the understanding of the relationship between activism and cultural programming. \nSPUNKT is a neologism created by the meeting of the English words spunk and punk\, and the German word punkt. SPUNK: Showing spirit\, courage\, determination\, audacity\, and grit + PUNK: Counterculture movement\, DIY aesthetics\, and attitude + PUNKT: Point\, punctuation\, meeting point. Point in time. Making a point. URL:https://www.howlarts.org/event/spunkt-art-now-magazine-launch-and-performances/ LOCATION:NY CATEGORIES:Happening Soon,Special Event ATTACH;FMTTYPE=image/gif:https://www.howlarts.org/wp-content/uploads/2020/02/Spunkt-Berlin-Faces-18.gif END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20200309 DTEND;VALUE=DATE:20200310 DTSTAMP:20260606T192241 CREATED:20200301T230103Z LAST-MODIFIED:20200308T002415Z UID:10000585-1583712000-1583798399@www.howlarts.org SUMMARY:FULL MOON SHOW at SPRING/BREAK ART SHOW 2020 DESCRIPTION:John Pizza / Cubbies\n4PM and 6PM\n625 MADISON AVENUE\nBooth 1001-1002 / 10th floor\n  \nMeet Cubby\, an unassuming piece of furniture about the size of your torso. Wrapped tightly and full of hidden doors and panels\, on this full moon\, Cubby is allowing us the rare opportunity to peel away the layers to examine and touch what’s inside of all of us. \nJoin performer John Pizza for Cubbies—a special object-theatre performance for the full moon at Spring/Break Art Show 2020. Using weird poems and surprising props\, we’ll reach into our chest\, pull out our drawers\, and explore the tiny corners of each and every cubby. \nJohn Pizza is a performer\, builder\, and drawer. He uses trash and thrift-store detritus scrounged in his Brooklyn neighborhood to tell stories and make his shows. He loves the macabre and the mushy sweet. His sculptures are performative\, and his performances involve sculptures—an object theatre of weird surprises. \nClick for TICKETS TO SPRING/BREAK  URL:https://www.howlarts.org/event/full-moon-show-at-spring-break/ LOCATION:NY CATEGORIES:Happening Soon,Performance ATTACH;FMTTYPE=image/jpeg:https://www.howlarts.org/wp-content/uploads/2020/03/Screenshot_20200223-190234.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20200304 DTEND;VALUE=DATE:20200310 DTSTAMP:20260606T192241 CREATED:20200223T215722Z LAST-MODIFIED:20200311T151354Z UID:10000548-1583280000-1583798399@www.howlarts.org SUMMARY:SPRING/BREAK 2020: Scooter LaForge: Please Don’t Feed the Animals DESCRIPTION:Scooter LaForge: Please Don’t Feed the Animals\nCurated by Joshua Nierodzinski\nBooth #1002 \nPlease Don’t Feed the Animals by Scooter LaForge is an invitation to a beastly banquet that confronts the link between humanity’s cruel hunger for animals and our global climate crisis. \nIn his latest installation\, LaForge continues to shock and seduce with his signature anthropomorphic motifs in service of a direct warning about gluttony and destruction. The centerpiece is a table with 10 plates\, each representing an animal glazed in quick gestures that resemble the aftermath of a meal. Alluding to the memorial intent of Judy Chicago’s The Dinner Party\, each place setting honors famous animal activists or calls out offending corporations. Unlike Chicago\, many of the platters and teacups on LaForge’s table are smashed and bloody. With the hand-painted tablecloth singed by fire\, the entire scene conjures a pop-horror hybrid of the Mad Hatter’s tea party and The Texas Chainsaw Massacre\, where each plate becomes a tombstone for millions of animals. \nLaForge invites us to gorge on his uncompromising vision of where excess and greed are leading all of us. While it’s not a pretty picture\, there is hope for a better future if we curb our ravenous appetites. \nThis installation is made entirely with upcycled materials and found objects. \nAbout Scooter LaForge \nScooter LaForge was born in Las Cruces\, New Mexico\, and moved to New York City in 2001 for a Cooper Union residency. Living in the East Village for the past 18 years\, his unique style mines the rich catalog of art history\, infusing classical themes with a colorful sensibility. Bridging the gap between pop art and contemporary painting\, LaForge’s work redefines the medium for today. LaForge works in various media\, including painting\, sculpture\, and drawing\, employing unorthodox techniques and striking iconic images. In 2015\, the artist was awarded a Pollock-Krasner Foundation grant. He is a frequent collaborator with his friend Patricia Field. Scooter’s recent exhibitions include Creation of the Animals at Empirical Nonsense; Homo Eruptus\, his second solo show at Howl! Happening; and Elsewhere Paintings at Nancy Littlejohn Fine Arts\, Houston\, TX. \nAbout Joshua Nierodzinski \nJoshua Nierodzinski is an artist\, curator\, and organizer. His paintings focus on rituals of eating\, the historical symbolism of food\, and the psychosocial dynamics of dining. As a co-founder of HEKLER\, an artist-run platform focused on hospitality and conflict\, he collaborates with artists\, activists\, writers\, and curators to produce welcoming educational experiences that create a living archive and solidarity network. Joshua is the assistant director of Howl! Happening: An Arturo Vega Project. \nSpring/Break Art Fair\nAddress: 625 Madison Avenue\, New York\, NY 10022\nHours: March 4–9\, 11am–8pm\n  URL:https://www.howlarts.org/event/spring-break-2020-scooter-laforge-please-dont-feed-the-animals/ LOCATION:NY CATEGORIES:Exhibition,Gallery ATTACH;FMTTYPE=image/jpeg:https://www.howlarts.org/wp-content/uploads/2020/02/scooter_final.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20200304 DTEND;VALUE=DATE:20200310 DTSTAMP:20260606T192241 CREATED:20200223T215719Z LAST-MODIFIED:20200318T203651Z UID:10000526-1583280000-1583798399@www.howlarts.org SUMMARY:SPRING/BREAK 2020: Ori Carino and Lee Quiñones: Unfolding DESCRIPTION:Ori Carino and Lee Quiñones Unfolding \nCurated by Carlo McCormick\nBooth #1001\n  \nHowl! Happening is pleased to present Unfolding\, an intergenerational collaboration by Ori Carino and Lee Quiñones. From the diversity of styles cultivated on the Lower East Side comes an installation curated by cultural commentator Carlo McCormick. \nDrawing power from a legacy of innovation\, public engagement\, multiculturalism\, and self-expression\, Ori Carino and Lee Quiñones connect through a complex system spanning decades to produce a multilayered installation. Using an innovative technique developed by Carino\, the artists paint on multiple layers of silk to create up six imprints that resemble the valleys and ridges of fingerprints or the engraved portraits on money. The installation will feature a freestanding set of painted “veils” by both Carino and Quinones. The translucency of the painted silk allows the viewer to see the separate layers as one shimmering piece\, at once three-dimensional and temporal. \nGrowing up in the Lower East Side where Lee Quiñones was king of graffiti\, Ori Carino aspired to be like his hero as he honed his skills as a muralist. Through their mutual friend Carlo McCormick\, Carino approached Quiñones to collaborate on this one-of-a-kind installation. \nAbout Ori Carino \nOri Carino was born in 1982\, and grew up in a loft and functioning art gallery on Houston Street. A lifelong artist\, Carino was raised among pivotal figures of the 80s post-dada art movement in the Lower East Side\, who staged exhibitions and performances in his loft. As a young boy Carino painted with Keith Haring. In high school\, he airbrushed garments and spray-painted neighborhood walls\, completing his first independent public mural at age 14. In 1985\, he participated in performance photos by Toyo Tsuchiya and was included in the Rivington School exhibition at No Se No\, which also featured Ai Wei Wei and Kazuko Miyamoto.  His Mars Bar mural series continued for nine years\, until the building was demolished in 2010. \nCarino’s work is included in several important collections in Europe\, Asia\, and the U.S.\, including the Pao and Venet collections.  His recent show\, Voided\, at Howl! Happening presented his solo works and those from his long-standing collaboration with Benjamin Armas. Carino continues to create work full time at his Brooklyn art studio\, and directs the archive and estate of the iconoclastic Lower East Side artist Toyo Tsuchiya. \nAbout Lee Quiñones \nLee Quiñones was born in Ponce\, Puerto Rico\, in 1960\, and raised in New York City’s Lower East Side. One of the originators of street art\, Quiñones started painting on city streets and subway cars in the 1970s. Over the next decade\, he would paint over 100 whole subway cars throughout the MTA system\, to then shift to a studio-based practice. Lee was instrumental in moving street art above the ground when he created the first handball-court mural in 1978. He has presented numerous solo shows and exhibited internationally; his first exhibition was at Galleria La Medusa\, Rome\, in 1979. \nIn 1980\, Lee had his first New York show at White Columns\, ushering in an important era as spray paint made the transition from moving objects to stationary canvas works. His work has been featured in seminal exhibitions like the Times Square Show (1980)\, Graffiti Art Success for America at Fashion Moda (1980)\, New York/New Wave at PS1 (1981)\, and Documenta #7 in Kassel\, Germany (1983) . In the past decade\, his drawings and paintings were in East Village USA at the New Museum of Contemporary Art (2005)\, The (S) Files at El Museo del Barrio (2010)\, and Looking at Music 3.0 at MoMA (2011). Quiñones’ solo shows include MoMA PS1\, Contemporary Art Center (CAC) in Cincinnati\, Fun Gallery\, Barbara Gladstone\, Galerie Rudolf Zwirner\, Lisson Gallery\, Barbara Farber\, and Nicole Klagsbrun\, among others. \nIn 1983\, Quiñones starred in Charlie Ahearn’s influential film Wild Style\, which served as a blueprint for the emerging hip-hop and street-art movements. Lee also appears in Blondie’s Rapture video and in the film Downtown 81. His work is seen in Tony Silver and Henry Chalfant’s 1983 documentary Style Wars and Manfred Kirchheimer’s Stations of the Elevated. Quiñones’ paintings are in the permanent collections of the Whitney Museum of American Art\, MoMA\, Brooklyn Museum\, Museum of the City of New York\, Groninger Museum (Groningen\, Netherlands)\, and Museum Boijmans Van Beuningen (Rotterdam\, Netherlands). The artist lives and works in Brooklyn\, New York. \nAbout Carlo McCormick \nCarlo McCormick is an American culture critic and curator living in New York City. He is the author of numerous books\, monographs\, and catalogs on contemporary art and artists. \n  \nSpring/Break Art Fair\nAddress: 625 Madison Avenue\, New York\, NY 10022\nHours: March 4–9\, 11am–8pm URL:https://www.howlarts.org/event/spring-break-2020-ori-carino-and-lee-quinones-unfolding/ LOCATION:NY CATEGORIES:Exhibition,Gallery ATTACH;FMTTYPE=image/jpeg:https://www.howlarts.org/wp-content/uploads/2020/02/Ori-Lee-Cover_Josh-Edit_2_webcopy.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20200229 DTEND;VALUE=DATE:20200413 DTSTAMP:20260606T192241 CREATED:20191211T212816Z LAST-MODIFIED:20220214T182135Z UID:10000297-1582934400-1586735999@www.howlarts.org SUMMARY:Helen Oliver: The Road DESCRIPTION:Helen Oliver…embodies those values of individuality grounded in an uncompromising intelligence. —Penny Arcade \nPraise for Helen Oliver’s The Road: \nTOP 10 NEW YORK GALLERY EXHIBITIONS CAUGHT IN THE COVID-19 SHUTDOWN\, By David Ebony\, Snap Editions \nHowl! Happening: An Arturo Vega Project is pleased to present The Road\, paintings by Helen Oliver. Known for her large-scale portraits and landscapes in oil\, and for her stage and set designs for her brother\, Edgar Oliver\, Adelson delves below the surface of her subjects to uncover inner mysteries and tensions. “Places\, people\, spirits—things real and imagined—that I find along the road\,” she says. \nAdelson’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. New paintings of mountains\, piazzas\, wood nymphs\, sirens\, and architecture the artist encounters on her daily excursions from her house in the Italian countryside embody a vision and a life lived consummately on her own terms. \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 E.T.C. \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. \nImage: Helen Oliver\, “The Wood Nymph”\, 2019. URL:https://www.howlarts.org/event/helen-oliver-adelson-the-road/ LOCATION:NY CATEGORIES:Exhibition,Gallery ATTACH;FMTTYPE=image/jpeg:https://www.howlarts.org/wp-content/uploads/2019/12/INC.20.0069.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20200223T190000 DTEND;TZID=America/New_York:20200223T210000 DTSTAMP:20260606T192241 CREATED:20200219T224259Z LAST-MODIFIED:20200219T224259Z UID:10000541-1582484400-1582491600@www.howlarts.org SUMMARY:Gang of Four by Merrill Aldighieri DESCRIPTION:Howl! Happening is pleased to present the film Gang of Four by Merrill Aldighieri In honor of the passing of Andy Gill (Jan 1\, 1956 – Feb 1\, 2020) – a founding member and guitarist of the iconic band Gang of Four.\n\n\nAldighieri recorded more than 200 hours of live music performances during a year at Hurrah (1980-1981). Gang of Four is a never before seen rough cut of their full concert\, live at Hurrah on January 1\, 1980\, featuring an encore with British-American rock band\, The Mekons. Running Time 70 min.\n\nClick HERE for a preview URL:https://www.howlarts.org/event/gang-of-four-by-merrill-aldighieri/ LOCATION:NY CATEGORIES:Happening Soon,Special Event ATTACH;FMTTYPE=image/jpeg:https://www.howlarts.org/wp-content/uploads/2020/02/Gang-of-Four-Announcement23-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20200213T190000 DTEND;TZID=America/New_York:20200213T210000 DTSTAMP:20260606T192241 CREATED:20200118T162210Z LAST-MODIFIED:20200428T160644Z UID:10000546-1581620400-1581627600@www.howlarts.org SUMMARY:Jane Dickson in Times Square DESCRIPTION:Book Signing and Discussion\nJane Dickson’s world is one that comes to life when the rest of us are fast asleep—a nighttime mix of tawdry carnival booths and tattoo parlors\, darkened highways and casino gamblers.—Katie White\, Artnet\, September 2019 \nCoinciding with Dickson’s exhibition Hot\, Hot\, Hot: Paintings of Times Square Peep Shows\, Howl is pleased to host a book signing\, slide show\, and discussion with editor Johan Kugelberg for her critically acclaimed book\, Jane Dickson in Times Square\, published by Anthology Editions. \nDickson is a deep-rooted and central voice in New York City’s complex creative history. In the late 1970s and early 80s\, she was part of the movement joining the legacies of downtown art\, punk rock\, and hip hop through her involvement with the Colab art collective\, the Fashion Moda gallery\, and legendary exhibitions including the Real Estate Show and Times Square Show. In the midst of this groundbreaking work\, Dickson lived\, worked\, and raised two children in an apartment on 43rd Street and 8th Avenue\, at a time when the neighborhood was at its most infamous\, crime-ridden\, and spectacularly seedy. Through it all\, Jane photographed\, drew\, and painted extraordinary scenes of life in Times Square. \nThese works\, many of which are reproduced in the book for the first time\, include candid documentary snapshots\, roughly vibrant charcoal sketches\, and paintings created on surfaces ranging from sandpaper to Brillo pads. Featuring a foreword by Chris Kraus\, Jane Dickson in Times Square is a time machine back to a New York City that was truly wild: lawless\, manic\, sometimes squalid\, sometimes magnificent. URL:https://www.howlarts.org/event/jane-dickson-in-times-square/ LOCATION:NY CATEGORIES:Happening Soon ATTACH;FMTTYPE=image/jpeg:https://www.howlarts.org/wp-content/uploads/2020/01/janedicksontimessq_2-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20200211T140000 DTEND;TZID=America/New_York:20200211T160000 DTSTAMP:20260606T192241 CREATED:20200129T140020Z LAST-MODIFIED:20200129T173521Z UID:10000540-1581429600-1581436800@www.howlarts.org SUMMARY:The Actors Fund Affordable Housing Seminar DESCRIPTION:Did you know that New York City is planning to build or preserve 300\,000 units of affordable housing by 2026? This two-hour seminar for performing-arts and entertainment professionals provides an overview of government-subsidized housing in New York City\, which is available for both low- and middle-income households. Complex information is broken down into simple\, straightforward steps. While the applicant pool for these affordable units is highly competitive\, this seminar will help you avoid common mistakes and get organized and prepared to apply. The following questions will be addressed: \nHow do you find and apply for affordable housing? \nWhat are the eligibility requirements? (Income\, household size\, credit\, housing history\, etc.) \nHow does a housing lottery work? \nCan you get on a waiting list? \nHow do you document your income if it fluctuates year to year? \nHow can you best prepare yourself for an interview? \nWhat are your options if you are denied? URL:https://www.howlarts.org/event/the-actors-fund-affordable-housing-workshop/ LOCATION:NY CATEGORIES:Happening Soon ATTACH;FMTTYPE=image/jpeg:https://www.howlarts.org/wp-content/uploads/2020/01/Affordable-Housing-Seminar_-February-.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20200209T190000 DTEND;TZID=America/New_York:20200209T210000 DTSTAMP:20260606T192241 CREATED:20200206T193313Z LAST-MODIFIED:20200209T211132Z UID:10000525-1581274800-1581282000@www.howlarts.org SUMMARY:Full Moon "Late" Show! DESCRIPTION:John Pizza: How does it Feel to Die Via Jellyfish\nHapi Phace: La Fête du Cœur Blessé\n  \nCelebrating the birth month of the Godfather of Performance Art\, Alien Comic Tom Murrin\, this special edition of the Full Moon Show brings together friends of Luna Macaroona: Hapi Phace\, and rising star John Pizza. TAKE NOTE: It’s a double-header “Late Show” starting at 7 p.m. in the gallery. It’s the Snow Moon; dress accordingly. \nHapi Phace and his Karload of Klowns—Jorge Clar\, Gail Thacker\, and Joan Marie Moossy—present La Fête du Cœur Blessé\, a full moon ritual about the recuperative\, regenerative\, and remarkable metaphorical powers of the heart…dedicated with love and gratitude to Tom Murrin\, Full Moon Show founder. \nJohn Pizza brings his inimitable style and humor to How Does It Feel to Die via Jellyfish. As sure as we are born\, we die\, and that’s fascinating. But what does it feel like to pass away…to climb a blue volcanic mountain into the depths of the rejuvenating ocean? John Pizza presents his full moon show while we visualize stories told by the ghosts of bodies once living…stories so freshly dead they linger upon human-shaped lips like flickering sardines caught among the sticky tendrils of a jellyfish. \nHapi Phace is a non-specific-media artist whose 40-year career as a performance personality and prop maker is rooted at The Pyramid Club in New York City—where he honed and became known for his extemporaneous spoken-word emcee style. He currently resides in Massachusetts\, where he works as a gardener. He is the founder of the Karload of Klowns performance/happening troupe of intermedia artists who come together to participate in live-art during his forays to New York City. \nJohn Pizza is a performer\, builder\, and drawer. He uses trash and thrift-store detritus scrounged in his Brooklyn neighborhood to tell stories and make his shows. He loves the macabre and the mushy sweet. His sculptures are performative\, and his performances involve sculptures—an object theatre of weird surprises. \nAbout Tom Murrin and the Full Moon Show \nThe late Tom Murrin\, aka the Alien Comic\, is known as the Godfather of Performance Art. His full moon shows delivered a new genre of performance with his irreverent and hilarious performance tactics which included props and costumes invented with street objects. Tom performed the Full Moon Show in honor of his moon goddess\, Luna Macaroona. His magical and absurdly wild variety shows would always include his  friends —pushing the careers of such groundbreaking artists as David Cale\, David Sedaris\, Amy Sedaris\, Blue Man Group\, Ethyl Eichelberger\, Lisa Kron\, and many others. Howl! Happening’s monthly series continues that tradition\, with performances in the gallery and surprise pop-up performances on the street. URL:https://www.howlarts.org/event/full-moon-late-show/ LOCATION:NY CATEGORIES:Happening Soon,Special Event ATTACH;FMTTYPE=image/jpeg:https://www.howlarts.org/wp-content/uploads/2020/02/HAPIPIZZA-Full-Moon_FB.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20200129T190000 DTEND;TZID=America/New_York:20200129T210000 DTSTAMP:20260606T192242 CREATED:20191222T222718Z LAST-MODIFIED:20220125T171742Z UID:10000543-1580324400-1580331600@www.howlarts.org SUMMARY:Ideas of Watching: Life Drawing with Jane Dickson DESCRIPTION:Vega Arts Workshop Series \nWORKSHOP REGISTRATION IS NOW CLOSED \nIdeas of Watching: Life Drawing with Jane Dickson kicks off our 2020 season of the Vega Arts Workshop series. Dickson is an acclaimed visual artist who has been chronicling Times Square for more than 30 years in a variety of mediums and on a variety of unconventional surfaces—including vinyl\, sandpaper\, and Astroturf. Known for her drawings of New York City street life\, Dickson describes her process as “drawing things to understand them.” Using newsprint and charcoal\, this workshop invites participants to produce life drawings of each other through an interactive experience. Observation\, ways of seeing\, vulnerability\, and performance are themes explored in Dickson’s workshop. \nNo previous experience in drawing is required. No\, seriously. All skill levels are welcome. The workshop is free and all materials are provided. Seating is limited. Register at the link to reserve your spot! Spaces fill up quickly. \nJoin us for opening night of Jane Dickson’s exhibition Hot\, Hot\, Hot on Thursday\, January 9th 6–8 p.m. at Howl! Happening: An Arturo Vega Project. URL:https://www.howlarts.org/event/ideas-of-watching-life-drawing-with-jane-dickson/ LOCATION:NY CATEGORIES:Education,Happening Soon,Vega Arts Workshops Series ATTACH;FMTTYPE=image/jpeg:https://www.howlarts.org/wp-content/uploads/2019/12/JDickson_1992_BlackBeauty_Workshop-Edit.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20200125T190000 DTEND;TZID=America/New_York:20200125T210000 DTSTAMP:20260606T192242 CREATED:20200119T171051Z LAST-MODIFIED:20200428T172753Z UID:10000542-1579978800-1579986000@www.howlarts.org SUMMARY:Voyeurs\, Exhibitionists\, Criminals\, and Misanthropes DESCRIPTION:Writers Remember Times Square\nNoah Prince\, Peter Nolan Smith\, and Claudia Summers\nConfetti lingers in lonely gutters and the crevasses of the sidewalks. It spins upward through spiraling gusts of wind eventually landing again. Aside from your best intentions\, nothing escapes the gravity of the neighborhood. —Noah Prince \nTimes Square as a center of gritty life is long gone\, but among this group of writers\, it’s not forgotten. Join us for an evening of provocative readings by Noah Prince\, Peter Nolan Smith\, and Claudia Summers. The Disneyfication of the area is complete\, and for many what remains is a memory of a time in the life of New York City prior to commercialization\, gentrification\, and the gutting of neighborhoods and the colorful characters who inhabited them. Just as Jane Dickson’s paintings describe her experiences of living in Times Square—once a mecca for voyeurs\, exhibitionists\, criminals\, and misanthropes—these writers describe a bygone era of this infamous locale. \nJane Dickson’s exhibition\, HOT\, HOT\, HOT: Paintings of Times Square Peep Shows\, continues through February 23. \nPARTICIPATING READERS \nClaudia Summers is a writer living in New York\, a recent MFA graduate of City College. She was the vocalist on the dance club hit “The Dominatrix Sleeps Tonight”. She is currently working on a collection of linked short stories set in the 80s downtown art and music scene of New York. She can be followed on Facebook\, and her Instagram username is @_claudia_summers_. \nNoah Prince moved to Hell’s Kitchen in early ’86 and lived so many events he could never un…live… Times Square was his coming of age. He accidentally began a career in the New York film industry. The idea of writing was nowhere in his path. In 2011 he worked on a television show set in the theatre district. It brought back his memories of the 80s. The thoughts quickly formed a book\, Failures at Summer Camp\, as well as several short stories from the time. He lives in Brooklyn. \nPeter Nolan Smith moved from his native New England to New York in 1976. The city was ablaze like the Goths had just burned Rome\, but the East Village was a refuge for young malcontents. A doorman at illegal nightclubs in the late 70s\, Smith moved to Paris to pursue writing detective poetry. Nothing came of it other than a few short stories and a failed screenplay. Back in New York he compiled more stories and published in various literary magazines before heading out to Asia for a decade-long excursion throughout the Far East. In recent years he resumed writing novels and collections of short stories without bothering to have them published other than on his website mangozeen.com\, living by his old motto: “No commercial value. No sellout.” The author now lives between Fort Greene and Thailand and is currently writing a novel about teenage devil worship in the 1960s. URL:https://www.howlarts.org/event/voyeurs-exhibitionists-criminals-and-misanthropes-writers-remember-times-square/ LOCATION:NY CATEGORIES:Events ATTACH;FMTTYPE=image/jpeg:https://www.howlarts.org/wp-content/uploads/2020/01/JDickson_2019_Dreams2_oilstickonlinen_48x30_CF.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20200123T190000 DTEND;TZID=America/New_York:20200123T210000 DTSTAMP:20260606T192242 CREATED:20200115T181816Z LAST-MODIFIED:20200115T221252Z UID:10000535-1579806000-1579813200@www.howlarts.org SUMMARY:Anne Waldman Mundo Aparte /Offworld DESCRIPTION:Book Launch\n  \nPoet Anne Waldman needs no introduction. We consider her part of the Howl family and are more than pleased to help celebrate the launch of her new book\, Mundo Aparte/Offworld\, a bilingual Spanish/English collection of poems\, co-published by Pinsapo and Sonámbulos Ediciones. \nThe evening begins with the screening of Crepuscular\, a cinema-poem collaboration by No Land and Waldman\, envisioned for Anne’s poem of the same name which appears in her book Trickster Feminism. Narrated by Waldman\, the film invokes archetypes of trickster poets whose sleight of hand can turn night to day—characters who ripple time with their instruments and mutability practices\, states of precipice\, and more. Crepuscular features sound by Joanna Mattrey and Ambrose Bye. The film premiered at Saint Mark’s Poetry Project in 2018. \nWaldman is joined for a music-text hybrid reading of the poems with multi-instrumentalists and master improvisers Devin Brahja Waldman\, Janice Lowe\, and James Brandon Lewis. Poet\, translator\, and scholar Mónica de la Torre will read the poems in Spanish. \nOffworld / Mundo Aparte is translated by Mariano Antolín Rato\, edited by Öykü Tekten\, with an introduction by Ammiel Alcalay. In his introduction\, Alcalay says: “As the inheritor of so many rich examples and approaches to form and the worlds form enacts—from Pound\, Williams\, Reznikoff\, and Olson\, to Gertrude Stein\, H.D.\, Robert Duncan\, Diane di Prima\, Amiri Baraka\, and so many others\, Waldman’s work\, no matter its length\, retains a scope commensurate to its intent\, the intent being to record\, to leave a record\, to declare the intensity of a life\, and propose going out on a very far limb\, so that others might come along\, even part of the way.” \nAbout Anne Waldman \nAnne Waldman is a poet\, performer\, professor\, editor\, literary arts curator\, and cultural activist. She is the author of numerous collections of poetry\, including the feminist epic The Iovis Trilogy: Colors in the Mechanism of Concealment (Coffee House 2011)\, winner of the 2012 PEN Center USA Award for Poetry. She co-founded the Naropa University’s Jack Kerouac School of Disembodied Poetics Summer Writing Program with Allen Ginsberg and Diane di Prima\, which she continues to curate in the summers\, with an upcoming session titled “Sanctuary & Apocalypse” (for more information email SWP@naropa.edu). She has two forthcoming records: Sciamachy\, produced by Fast Speaking Music and the Levy-Gorvy Gallery\, and Poetry by Anne Waldman\, produced by Devin Brahja Waldman with Guro Moe\, Laurie Anderson\, Deb Googe\, William Parker and Ambrose Bye\, cover art by Pat Steir. URL:https://www.howlarts.org/event/anne-waldman-mundo-aparte-offworld/ LOCATION:NY CATEGORIES:Special Event ATTACH;FMTTYPE=image/jpeg:https://www.howlarts.org/wp-content/uploads/2020/01/offworld_crop-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20200118T190000 DTEND;TZID=America/New_York:20200118T210000 DTSTAMP:20260606T192242 CREATED:20200112T223114Z LAST-MODIFIED:20200428T160753Z UID:10000545-1579374000-1579381200@www.howlarts.org SUMMARY:Jane Dickson and Scott Dougan Discuss The Deuce and Times Square DESCRIPTION:7 PM / Free \nJoin Jane Dickson and Scott Dougan\, production designer of the HBO series The Deuce\, for a conversation about what it means to capture the essence of a particularly infamous time and place in the city—and why we find these visions of New York’s gritty and not-so-distant past so alluring today. \nAlthough virtually undetectable today\, Times Square in the 1970s and 80s was the center of the New York sex industry\, synonymous with prostitution and pornography. The hit HBO series The Deuce\, starring James Franco and Maggie Gyllenhaal\, has resurrected the neighborhood’s dark corners and bright lights as it recounts the pioneering moments of the city’s burgeoning sex business. Looking back\, artist Jane Dickson was there. Beginning in 1978\, Dickson lived\, worked\, and raised a family on 43rd Street and Eighth Avenue\, documenting her chosen “neighborhood” and its denizens in her drawings\, paintings\, and photography. \nJane Dickson’s exhibition Hot Hot Hot: Paintings of Times Square Peep Shows continues at Howl! Happening through February 23. \nJane Dickson is a painter and photographer who documented Times Square from 1978 onward. Today\, Dickson’s work is represented in more than 30 museum collections including the Whitney Museum of American Art and the Metropolitan Museum of Art. Her newest book\, Jane Dickson in Times Square\, was published in October 2018 by Anthology Editions. \nScott Dougan is currently production designer for HBO’s The Deuce. He began his career as a theatrical set designer\, and most recently served as art director for films including Collateral Beauty (2016)\, Allegiant (2016)\, and Bridge of Spies (2015)\, as well as production designer for American Animals (2018) and Monsters and Men (2018). \nAbout The Deuce: \nCreated by George Pelecanos and David Simon (The Wire\, Treme) and starring James Franco and Maggie Gyllenhaal\, The Deuce is a semi-fictional drama series that recounts the launch of the sex-trade industry in the heart of New York City’s Times Square. Now in its second season\, the series traces the shifting porn business from organized crime-backed parlors to a legitimate\, culturally accepted enterprise. \n  URL:https://www.howlarts.org/event/jane-dickson-and-scott-dougan-discuss-the-deuce-and-times-square/ LOCATION:NY CATEGORIES:Events,Special Event ATTACH;FMTTYPE=image/jpeg:https://www.howlarts.org/wp-content/uploads/2020/01/JDickson_Photo_BHScan_TimesSquare_PeeplandBurleskXXXStreetSigns-copy-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20200111T190000 DTEND;TZID=America/New_York:20200111T210000 DTSTAMP:20260606T192242 CREATED:20191222T221113Z LAST-MODIFIED:20200428T160830Z UID:10000524-1578769200-1578776400@www.howlarts.org SUMMARY:Charlie Ahearn: Times Square Videos DESCRIPTION:Looking through Ahearn’s window\, we enter a subjective view of the street preachers\, lunatic ranters\, sidewalk performers\, drug addicts\, hookers\, thieves\, police\, homeless\, pedestrians…it’s enough to entertain even the most jaded B-movie fan… —Carlo McCormick\, Paper magazine\, June 1991 \nHowl is pleased to host an evening of Times Square videos by Charlie Ahearn reflecting life there with his wife\, painter Jane Dickson\, and their two children\, Joe and Eve. Doin’ Time In Times Square (1991) is a home movie capturing the capital of sleaze in all its glory\, shot from the windows overlooking 8th Ave and 43rd Street. Show World\, the Adonis Theatre\, and Paradise Alley offer backdrops to another drug deal gone bad. Home movies of Christmas\, New Year’s\, and his son Joe’s birthday mark the passage of time. Jane in Peep Land (1993) is Ahearn’s art documentary about Dickson’s lurid paintings that reflect her feelings and the contradictions she experienced witnessing the neon-lit life on the streets. \nAhearn will also premiere a newly finished video\, Times Square Motor Hotel (1986-1992) (2020)\, unearthing fresh images from the video archive that mix personal moments and street observations capturing life in the Deuce and Times Square. \nIn a prophetic statement\, Ahearn told New York magazine in June ’91\, “I wanted to let people see what I saw. In 10 years\, the world that I’m showing in this tape will be gone.” \nAhearn has been involved in hip hop since the late 70s with his Super-8 kung-fu movie The Deadly Art of Survival. With Fred Brathwaite\, he produced and directed the seminal hip-hop film Wild Style\, released worldwide in 1983. Ahearn directed short films such as 5 Grand Masters\, Dirt Style\, and Dancing Industry. His feature-length documentary Jamel Shabazz Street Photographer was released through Oscilloscope Films. Ahearn had a one-person art-exhibition\, Scratch Ecstasy\, at P.P.O.W. and showed silk-screen paintings in the graffiti- and street-art shows Beyond the Streets\, held in L.A. in 2018 and New York in 2019. The artist resides in New York. \n  URL:https://www.howlarts.org/event/charlie-ahearn-times-square-videos/ LOCATION:NY CATEGORIES:Events,Special Event ATTACH;FMTTYPE=image/jpeg:https://www.howlarts.org/wp-content/uploads/2019/12/Adonis.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20200110 DTEND;VALUE=DATE:20200111 DTSTAMP:20260606T192242 CREATED:20200104T204212Z LAST-MODIFIED:20200308T002916Z UID:10000544-1578614400-1578700799@www.howlarts.org SUMMARY:John Pizza in My Shell DESCRIPTION:Friday\, January 10\, 2020 / 4 PM / Free \nThe Full Moon Show: A Tom Murrin/Alien Comic Invention \nAll silver and shiny and metallic\, the full moon reflecting on my armor last night was a scrutinizing eye. I prefer to be seen as mirror of your expectations\, a special version of me magnified and reversed\, crisp\, confident and…well-shelled. I suspect you understand. You showed up to the party\, elegantly dressed\, all shelled up\, laughing loudly. We bumped shells all night like little croquet balls. It was colorful! It was fine! How’s your aunt by the way? How was that trip to\, um\, Panama was it? —John Pizza \nHowl! Happening welcomes the New Year with the latest edition of the signature Full Moon Show\, a manic\, mysterious blend of mayhem and madness in the spirit of Tom Murrin\, aka the Alien Comic. Please join artist and performer John Pizza for this latest iteration titled My Shell\, which is all about the shining armored shells we sport when clanking our way through everyday life. As always\, there’s gonna be a little dancing\, a little singing\, and a surprising gathering of absurd objects. \nJohn Pizza is a performer\, builder\, and artist. He uses trash and thrift-store detritus scrounged in his Brooklyn neighborhood to tell stories and make shows. He loves the macabre and the mushy sweet. His sculptures are performative\, and his performances involve sculptures—an object theatre of weird surprises. \nAbout Tom Murrin and the Full Moon Show \nPerformance is anything done with purpose and style. —Tom Murrin \nHowl! Happening houses the Collection of Tom Murrin\, aka as the Alien Comic\, Godfather of Performance Art. Every full moon—without fail\, paid booking or not\, in all seasons and whatever the weather—he performed his Luna Macaroona Full Moon Show. When he had a club date that fell on the full moon\, he’d wrangle his friends to perform as guests—pushing the careers of such groundbreaking performers as David Cale\, David Sedaris\, Amy Sedaris\, Blue Man Group\, Ethyl Eichelberger\, Lisa Kron\, and many others. When he didn’t have a club date\, he performed on the street for passersby\, transforming the pedestrian atmosphere with his madness and magic. \nThe Full Moon Show is made possible in part with public funds from Creative Engagement/Creative Learning\, supported by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature\, and administered by Lower Manhattan Cultural Council. LMCC.net URL:https://www.howlarts.org/event/john-pizza-in-my-shell/ LOCATION:NY CATEGORIES:Events,Special Event ATTACH;FMTTYPE=image/jpeg:https://www.howlarts.org/wp-content/uploads/2020/01/john-pizza-howl-pic.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20200109 DTEND;VALUE=DATE:20200224 DTSTAMP:20260606T192242 CREATED:20191211T212934Z LAST-MODIFIED:20201004T165652Z UID:10000299-1578528000-1582502399@www.howlarts.org SUMMARY:Jane Dickson: HOT\, HOT\, HOT DESCRIPTION:Opening Reception: Thursday\, January 9th / 6-8 PM \nHowl! Happening: An Arturo Vega Project is pleased to present Jane Dickson’s Hot\, Hot\, Hot\, a series of rarely seen and moody paintings of Times Square peep shows from the 1980s. Dickson’s history and legacy are rooted in Times Square. She worked and lived there from 1978 to 2008 documenting her daily lived experiences and observations as a young woman. In photos\, drawings\, and paintings that utilize unconventional industrial and domestic materials as surfaces—including carpet\, sandpaper\, and black plastic bags—she captured a time and place that was notoriously lawless\, squalid\, and vibrantly alive. \n \nIn her essay for the exhibition catalog\, art historian Deborah Frizzell places Dickson as a critical witness and commentator on the effects of mass media on “perception and desire”: \nRooted in the street as a site for public intervention\, as a place to seek out alternative stories and ways of being\, Dickson works with the existing repertory of cultural imagery and reveals the slippage or difference prompted in the interplay of power and illusion in contemporary America\, particularly from a feminist perspective that has been ignored and erased from view. Rather than a smoothly polished verisimilitude or a crafted collage of fragments\, Dickson’s rough-cut method often disorients\, jars our senses\, and doubles the vertigo induced by obliquely angled perspectives or alternatively\, flattened peepholes and cubicles. \nWhile the specifics of live peep shows flaunting the broad spectrum of unenhanced bodies accepted in a pre-cosmetic-surgery era are now exotic\, and the live peeps are a historic artifact of the pre-internet universe\, the underlying dynamics of power and vulnerability and the stark divide between who works and who pays remain as relevant as ever. \nThe exhibition follows the success of the Anthology Press monograph Jane Dickson in Times Square\, published in 2019; the exhibition All That Is Solid Melts into Air at James Fuentes Gallery; and the Whitney Museum’s purchase of Dobbs Hats\, one of her key early Times Square paintings. To further contextualize her work\, the exhibition includes a fully illustrated catalog with essays by Sara Rosen\, Deborah Frizzell\, Carlo McCormick\, and David Kiehl. \n \nA part of the politically charged 80s scene of artists working at the intersection of street art\, hip hop\, film\, and installation—like David Wojnarowicz\, Keith Haring\, Jenny Holzer\, and her filmmaker husband Charlie Ahearn—Dickson was a member of the influential artist collectives Colab (Collaborative Projects) and Fashion Moda in the South Bronx. She was one of the organizers of the now legendary Times Square Show\, for which she created the poster with Charlie Ahearn and a and digital animation that ran hourly on the Spectacolor sign at 1 Times Square\, the first computerized lightboard in New York. This groundbreaking digital installation led Dickson to initiate the Messages to the Public series in 1981 with the Public Art Fund\, presenting a series of animated artworks on the billboards of Times Square and bringing first public attention to her friends Keith Haring\, Jenny Holzer\, David Hammons\, and Crash among others. \nIn 1980 Dickson created City Maze\, an installation designed for school children at Fashion Moda\, the art space in the South Bronx founded by Stefan Eins\, which became a platform for the burgeoning hip-hop and graffiti movements. https://youtu.be/OmN4f2_Lmvc \nBeyond Times Square\, Dickson’s focus has encompassed other facets of the contemporary architecture of distraction: demolition derbies\, carnivals\, casinos\, strip malls\, and highways\, utilizing industrial materials such as AstroTurf\, sandpaper\, vinyl\, and felt\, for both their tactile qualities and their associations. \nIn 2008 Dickson created a beloved series of 68 life-size mosaic figures of New Year’s Eve revelers installed in the Times Square subway station. Dickson’s work has been widely exhibited nationally and internationally\, and is included in the collections of more than 30 museums including The Whitney Museum of American Art\, The Metropolitan Museum of Art and The Museum of Modern Art. In 2016\, The National Portrait Gallery–Smithsonian Institution acquired her portrait of Fab 5 Freddy from 1983\, where it is currently on display. In 2018\, the Whitney acquired Dobb’s Hats (1981)\, a historically essential example of the female gaze in New York City—the city at night and the sex trade. \nImages(top to bottom) \nJane Dickson\, “Live Girls 2” 2001\, Oil stick on Emory Cloth\, 18 x 18 in. \nJane Dickson\, “Chippendales”\, 1993\, Oil and rol-a-tex on canvas\, 69 x 123 in \nJane Dickson\, “Peep Couple”\, 1994\, Oil stick on emory cloth on wood\, 8 x 8 in URL:https://www.howlarts.org/event/jane-dickson-hot-hot-hot/ LOCATION:NY CATEGORIES:Exhibition,Gallery ATTACH;FMTTYPE=image/jpeg:https://www.howlarts.org/wp-content/uploads/2019/12/JDickson_2001_LiveGirls02_oilstickonemerycloth_18x18_CF.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20191223 DTEND;VALUE=DATE:20200109 DTSTAMP:20260606T192242 CREATED:20191219T205501Z LAST-MODIFIED:20191219T225633Z UID:10000536-1577059200-1578527999@www.howlarts.org SUMMARY:Closed for the Holidays DESCRIPTION:Howl! Happening will be closed for the Holidays. \nJoin us for the Opening Reception for Jane Dickson’s HOT\, HOT\, HOT   \nJanuary 9\, 2020\, from 6 PM – 8 PM. \n  \n  URL:https://www.howlarts.org/event/closed-for-the-holidays/ LOCATION:NY CATEGORIES:Special Event ATTACH;FMTTYPE=image/jpeg:https://www.howlarts.org/wp-content/uploads/2019/12/862.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20191221T180000 DTEND;TZID=America/New_York:20191221T200000 DTSTAMP:20260606T192242 CREATED:20191219T223926Z LAST-MODIFIED:20191219T223926Z UID:10000547-1576951200-1576958400@www.howlarts.org SUMMARY:Happy HOWLadays! DESCRIPTION:Celebrate a great year at Howl! Happening and the closing of Antony Zito’s My Father was a Satyr with art\, music\, and refreshments. \nRing in the Holiday Season with the team at Howl! Listen to the Poetry Jukebox’s new Punk Holiday playlist and enjoy a festive atmosphere in the gallery! URL:https://www.howlarts.org/event/happy-howladays/ LOCATION:NY CATEGORIES:Special Event ATTACH;FMTTYPE=image/jpeg:https://www.howlarts.org/wp-content/uploads/2019/12/ginsbergxmas.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20191221T160000 DTEND;TZID=America/New_York:20191221T180000 DTSTAMP:20260606T192242 CREATED:20191218T204123Z LAST-MODIFIED:20200428T160912Z UID:10000303-1576944000-1576951200@www.howlarts.org SUMMARY:Antony Zito: Catalog Launch and Artist Talk DESCRIPTION:Catalog Launch and Panel Discussion \nHowl! Happening presents a lively discussion with writers\, artists\, and luminaries Penny Arcade\, Anthony Haden-Guest\, Clayton Patterson\, and Marguerite Van Cook about Zito’s work and the themes present in his exhibition My Father was a Satyr. \n“Art worlds were often rooted in a distinctive milieu\, and artworks generated in Montmartre pre-World War I\, say\, or London’s Chelsea post-World War II\, are more likely to clue you in to the time and place of their making than the art produced nowadays\, which has become a global industry. Antony Zito’s art does just that—though the Where and the When are the Lower East Side\, not yet gentrified into the East Village. True\, that was the LES of not so long ago\, but being pulled back into what was until recently richly alive can trigger emotions at least as intense as more history-sheathed art. As here.” – Antony Haden Guest \nMade up of large-scale welded metal sculpture flanked by sprawling\, multi-panel figurative paintings\, all of the materials are scavenged from street corners\, dump sites\, and scrap yards\, continuing his career-long tradition of painting portraits on found objects. The sculptures are built with an array of rusted and painted elements\, deftly combined to animate the form and feeling of a living entity—just as his portraits combine collage and paint with found materials\, turning recycled ingredients into renderings of living\, breathing people. \nThe catalog for My Father was a Satyr includes essays by Oriah Abera\, Penny Arcade\, Anthony Haden-Guest\, Jim Jarmusch and will be on sale at the event. \nPenny Arcade Aka Susana Ventura is an internationally respected performance artist\, writer\, poet and experimental theatre-maker known for her magnetic stage presence\, her take no prisoners wit and her content-rich plays and one-liners. She is the author of ten scripted performance plays and hundreds of performance art pieces. \nMarguerite Van Cook is an English artist\, writer\, musician/singer\, and filmmaker. She was born in England and now resides in New York City in the Lower East Side/East Village. \nAnthony Haden-Guest is a British-American writer\, reporter\, cartoonist\, art critic\, poet\, and socialite who lives in New York City and London. He is a frequent contributor to major magazines and has had several books published \nClayton Patterson is a Canadian-born artist\, photographer\, videographer and folk historian. Since moving to New York City in 1979\, his work has focused almost exclusively on documenting the art\, life and times of the Lower East Side in Manhattan \nAntony Zito’s My Father was a Satyr will be on view until December 22nd. URL:https://www.howlarts.org/event/antony-zito-artist-talk/ LOCATION:NY CATEGORIES:Events,Special Event ATTACH;FMTTYPE=image/jpeg:https://www.howlarts.org/wp-content/uploads/2019/09/Satyr-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20191217T160000 DTEND;TZID=America/New_York:20191217T180000 DTSTAMP:20260606T192242 CREATED:20160706T170758Z LAST-MODIFIED:20190125T213727Z UID:10000066-1576598400-1576605600@www.howlarts.org SUMMARY:Insurance Doctor Is In DESCRIPTION:The Insurance Doctor Is In! \nQuestions about a health insurance bill? \nDon’t understand your insurance and can’t get a straight answer? \nNeed some advice on how to negotiate medical debt? \nOur insurance expert will answer your questions during a one-on-one consultation. Vincent Musolino\, Health Benefits Specialist at the Artists Health Insurance Resource Center\, is an unbiased Navigator with the NY State of Health Marketplace and has over 12 years of medical billing and insurance experience. \nConsultations are about 20 minutes and by appointment only. \nPlease RSVP to vmusolino@actorsfund.org with Subject: Insurance Doctor Is In \nAlso\, bring any documents in question (bills\, explanations of benefits\, your insurance policy)! \n  URL:https://www.howlarts.org/event/actors-fund-insurance-drop-in-workshop-3-2016-12-19-2017-07-05-2017-12-11-2018-12-18-2019-01-15/2019-12-17/ LOCATION:Howl! Happening\, 6 East 1st Street\, New York City\, NY\, 10003\, United States CATEGORIES:Workshop ATTACH;FMTTYPE=image/jpeg:https://www.howlarts.org/wp-content/uploads/2016/02/12604881_1563039503987253_7380893755487607748_o-14.jpg GEO:40.7248189;-73.991658 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Howl! Happening 6 East 1st Street New York City NY 10003 United States;X-APPLE-RADIUS=500;X-TITLE=6 East 1st Street:geo:-73.991658,40.7248189 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20191217T140000 DTEND;TZID=America/New_York:20191217T160000 DTSTAMP:20260606T192242 CREATED:20160706T170122Z LAST-MODIFIED:20200118T174033Z UID:10000049-1576591200-1576598400@www.howlarts.org SUMMARY:Actors Fund Affordable Housing Workshop DESCRIPTION:Did you know that New York City is planning to build or preserve 300\,000 units of affordable housing by 2026? This two-hour seminar for performing-arts and entertainment professionals provides an overview of government-subsidized housing in New York City\, which is available for both low- and middle-income households. Complex information is broken down into simple\, straightforward steps. While the applicant pool for these affordable units is highly competitive\, this seminar will help you avoid common mistakes and get organized and prepared to apply. The following questions will be addressed: \nHow do you find and apply for affordable housing? \nWhat are the eligibility requirements? (Income\, household size\, credit\, housing history\, etc.) \nHow does a housing lottery work? \nCan you get on a waiting list? \nHow do you document your income if it fluctuates year to year? \nHow can you best prepare yourself for an interview? \nWhat are your options if you are denied? \n  URL:https://www.howlarts.org/event/2565-2016-12-20-2017-06-06-2017-12-12-2018-02-20/2019-12-17/ LOCATION:Howl! Happening\, 6 East 1st Street\, New York City\, NY\, 10003\, United States CATEGORIES:Workshop ATTACH;FMTTYPE=image/jpeg:https://www.howlarts.org/wp-content/uploads/2016/02/12604881_1563039503987253_7380893755487607748_o-14.jpg GEO:40.7248189;-73.991658 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Howl! Happening 6 East 1st Street New York City NY 10003 United States;X-APPLE-RADIUS=500;X-TITLE=6 East 1st Street:geo:-73.991658,40.7248189 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20191213T190000 DTEND;TZID=America/New_York:20191213T210000 DTSTAMP:20260606T192242 CREATED:20191130T193859Z LAST-MODIFIED:20210929T195623Z UID:10000294-1576263600-1576270800@www.howlarts.org SUMMARY:HOWLABALOO! Holiday Party And Reception For LiVE MAG! #16 DESCRIPTION:Featuring poetry\, performance\, and projections\, Howl! is pleased to host Live Mag!’s publication party and celebration. The launch of issue 16 also honors Bob Hershon—the editor and publisher of Hanging Loose for a half-century—with a lifetime achievement award. Editor’s Jeffrey Cyphers and Ilka Scobie present readings by Bob Hershon\, Lewis Warsh\, Helixx Armageddon\, and Susan Lewis\, a performance by Jorge Clar. Scooter LaForge and Luigi Cazzanigi team up to create magical projections and an atmosphere of celebratory fun. \nEqual parts Art and Poetry\, Live Mag! has featured work by more than 500 contemporary poets and artists and continues its tradition as a downtowner’s diary—on the stage at live events\, and on the web\, and on the page. \nContributors to Issue 16 include Helixx Armageddon\, Rudy Burckhardt\, Peggy Cyphers\, Steve Dalachinsky\, Anders Goldfarb\, Julio Gonzalez\, Tyree Guyton\, Robert Hershon\, Kim Keever\, Basil King\, Julia Knobloch\, KK Kozik\, Scooter La Forge\, Susan Lewis\, Frank Mann\, Melissa Meyer\, Robert C. Morgan\, Yuko Otomo\, Sky Pape\, Wanda Phipps\, Judy Rifka\, Carol Saft\, Ann Shostrom Hunt Slonem\, Mark Statman\, George Wallace\, Barry Wallenstein\, Lewis Warsh and more. \nAbout Live MAG! URL:https://www.howlarts.org/event/howlabaloo-holiday-party-and-reception-for-live-mag-16/ LOCATION:NY ATTACH;FMTTYPE=image/jpeg:https://www.howlarts.org/wp-content/uploads/2019/11/Live-17-cover-2-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20191212T190000 DTEND;TZID=America/New_York:20191212T210000 DTSTAMP:20260606T192242 CREATED:20191107T211028Z LAST-MODIFIED:20210904T022901Z UID:10000292-1576177200-1576184400@www.howlarts.org SUMMARY:Roberta Bayley: She Just Takes Pictures DESCRIPTION:A film by Beth Lasch \nHowl! is pleased to present the world premiere of Beth Lasch’s Roberta Bayley: She Just Takes Pictures. \nThe documentary showcases Bayley’s punk-era photography from 1975 to 1986. Among the artists Bayley has photographed are Iggy Pop\, the Ramones\, Debbie Harry and Blondie\, Richard Hell\, Elvis Costello\, the Sex Pistols\, Johnny Thunders and the Heartbreakers\, Ian Dury\, Brian Eno\, Nick Lowe\, The Damned\, The Clash\, the Dead Boys\, X-Ray Spex\, Squeeze\, and a reunited New York Dolls. \nThe film includes candid interviews with the photographer and a peek into her longtime St. Marks Place apartment. Included are all of Roberta’s iconic photos—behind-the-scenes images\, classic live shots\, and intimate portraits\, plus many others rarely seen. The 33-minute film was created for Lasch’s television show F#TV and will be followed by a Q&A with Bayley and the director. \nArriving in New York in the spring of 1974\, Bayley soon began working the door at CBGBs—New York’s legendary punk club—photographing the musicians who played there. She soon went to work for Punk Magazine and is one of the main photographers to visually chronicle the early punk-rock scene. \nBayley’s photographs are featured in countless books and magazines on punk. She has exhibited in New York\, Los Angeles\, Buenos Aires\, Berlin\, Sydney\, Paris\, Austin\, Portland\, Amsterdam\, Tokyo\, Hong Kong\, London\, Mexico City\, and Pittsburgh. She co-wrote Patti Smith: An Unauthorized Biography (Simon & Schuster\, 1999) and published Blondie: Unseen 1976-1980 (Plexus\, 2006)\, her take on the seminal new-wave band. She appeared on-screen as a hooker in the gritty independent feature film Downtown 81 which starred Jean-Michel Basquiat and chronicled New York’s downtown 80s art scene. \nImage: Richard Hell by Roberta Bayley URL:https://www.howlarts.org/event/roberta-bayley-she-just-takes-pictures-by-beth-lasch/ LOCATION:NY CATEGORIES:Special Event ATTACH;FMTTYPE=image/jpeg:https://www.howlarts.org/wp-content/uploads/2019/11/Richard_Hell-Roberta_Bayleyv2-1.jpeg END:VEVENT END:VCALENDAR