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DTSTART;VALUE=DATE:20170323
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SUMMARY:Empire: An Arturo Vega Retrospective
DESCRIPTION:Opening Reception: March 23\, 2017 / 6 PM \nI want my paintings to look like what’s going on outside my window…\n—Robert Rauschenberg \n My ideas come from the streets. —Arturo Vega \nHowl! Happening is delighted to announce Empire: An Arturo Vega Retrospective—originally curated by Jade Dellinger for the Bob Rauschenberg Gallery of Florida SouthWestern State College—opening in New York with a public reception on March 23\, 2017 at 6 PM. This ambitious survey runs through April 20 and will include guest lectures\, performances and a panel discussion exploring Arturo Vega’s broader impact on popular culture while contextualizing his work as a visual artist. \nHowl! Happening was established to honor Vega\, his life and work\, and his support for East Village artists\, and we are particularly proud to be the second stop for the late Mexican-born artist’s U.S. museum retrospective. The exhibition features photography\, collage and a number of iconic canvases from the artist’s Supermarket and Silver Dollar series (begun in the 70s); his Flags and so-called “word paintings” from Insults; and other series produced during the 80s\, 90s and aughts. Of special note is his last major work\, Life isn’t tragic\, love is just being ignored\, a mural commissioned in 2013 that hung on the corner of Prince and Elizabeth streets. \nIt is particularly fitting that the Empire retrospective should be initiated by the Bob Rauschenberg Gallery\, as Dellinger notes their inspirational parallels. For although the two artists may never have met\, he says in his catalog introduction\, “Vega and Rauschenberg understood that art had the power to permeate borders and bring revolutionary change. They were born and raised on opposite sides of the Tex-Mex divide\, but were citizens of the world with global ambition to engage in a dialogue about the sociopolitical\, humanitarian and monetary impact of nations.” \nEscaping the repressive violence of an authoritarian regime under Mexico’s “perfect dictatorship” in the late 60s\, Arturo Vega made his way to New York City to study English\, philosophy\, and photography at the New School for Social Research in the early 70s. Having discovered Elvis as a child and later co-directing a touring production of The Who’s Tommy at the National University in Mexico City\, Vega understood the revolutionary and transformative power of music\, theatre/performance and art. \nWhile working on his first painting series of supermarket signs\, he befriended members of the Ramones\, a rock and roll band that would soon play their first show (and would decades later be inducted into the Rock and Roll Hall of Fame). Designing the Ramones’ ubiquitous logo based on the Great Seal of the United States\, painting backdrops for their stage\, and creating a lighting scheme loosely adapted from Albert Speer’s Lichtdom to enhance their effect\, Vega created visual imagery that defined the transgressive aesthetic of punk rock by co-opting and questioning symbols of power. \nIn numerous group shows since the 70s\, Vega’s work has more recently been the subject of one-person exhibitions at CB’s 313 Gallery\, New York City (1992); Raleigh Studios\, Miami Beach (curated by Sandra Schulman\, 1994); Galería OMR\, Mexico City (2011); Klerkx Art Agency\, Amsterdam (2012); La Estación Arte Contemporáneo\, Chihuahua\, Mexico (2013); Museo Casa Redonda de Chihuahua\, Mexico (2012); and Howl! Happening\, New York City (2015 and 2016). \nAs Vega once said: “Art connects to the eternal—demanding fast changes and a reckless appetite for truth\, justice and a better way of life.” Empire: An Arturo Vega Retrospective\, which premiered at the Bob Rauschenberg Gallery\, draws parallels and explores interests shared by Arturo Vega\, our gallery namesake. For Rauschenberg\, “(Art was) a means to function thoroughly and passionately in a world that has a lot more to it than paint.” \nConcurrent with the exhibition\, curators\, critics\, and dear friends deepen understanding of his life and work\, including a penetrating look at the cultural and political climate in Mexico that nurtured the visual and conceptual framework played out in the studio paintings featured in Empire and his work with the Ramones. \nArturo Vega’s Art and Life with the Ramones\nA presentation by Sandra Schulman and Monte A. Melnick \nMarch 24th / 7pm / Free \nArturo Vega  Above and Beyond\nPanel Discussion with Special Guests Jade Dellinger\, Carlo McCormick\, Anthony Haden-Guest and Adam Lehrer\nMarch 26 / 4 PM / Free \nDan Cameron Mexico City\, Circa 1970\nSlideshow and Lecture \nSunday\, March 26\, 2017 / 7 PM / Free  \nPaul Tschinkel\nAlan Vega: An Artist’s Story\nApril 14 / 7pm / Free \nEmpire Closing Party and The Last Interview by Amon Focus\nApril 20 / 7pm / Free \n  \n 
URL:https://www.howlarts.org/event/empire-an-arturo-vega-retrospective/
LOCATION:Howl! Happening\, 6 East 1st Street\, New York City\, NY\, 10003\, United States
CATEGORIES:Exhibition,Gallery
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DTSTART;TZID=America/New_York:20170406T190000
DTEND;TZID=America/New_York:20170406T210000
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SUMMARY:Local Knowledge Magazine Issue #5
DESCRIPTION:Publication Party and Reading\n\nPlease join us in celebrating the release of the fifth issue of Local Knowledge\, a literary and art journal. Contributors include: Vyt Bakaitis\, Ted Barron\, Max Blagg\, Dario Brik\, Mike DeCapite\, Maggie Dubris\, Alan Kaufman\, Jody Morlock\, Rick Mullin\, Kate Register\, David James Smith\, Anton Yakovlev\, Susan Yung\, and Donald Zirilli \nAbout Local Knowledge \nLocal Knowledge\, a journal of art and literature published three times a year\, is a magazine that brings together poets\, prose writers (fiction and non-fiction) and artists to foster conversation\, exploration of the creative flow\, real dialogue and experience. As its name implies\, Local Knowledge offers an alternative to the disconnect in the homogenized creative writing scene. Instead\, the magazine proposes all knowledge is local and spreads out from the life and language of people who lead their lives not simply as artists\, but as individuals struggling with the process of daily experience. Sanjay Agnihotri is the editor and publisher of the magazine; Tom Haynes is art editor and Harry Lewis\, Editorial Advisor.
URL:https://www.howlarts.org/event/local-knowledge-magazine-issue-5-publication-party-and-reading/
LOCATION:Howl! Happening\, 6 East 1st Street\, New York City\, NY\, 10003\, United States
CATEGORIES:Book Signing
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SUMMARY:Arleen Schloss FORGET ABOUT THAT  SWEET FUCK BABY
DESCRIPTION:Film/Video Screening\, Panel Discussion\, T-shirt Benefit\nThis event is cash only \nSome Serious Business and Howl! Happening are pleased to present a tribute to the work of Arleen Schloss\, an influential figure in the downtown New York art\, video\, performance art and music scenes. FORGET ABOUT THAT SWEET FUCK BABY is an evening of film screenings and discussion with director/producer Roberta Friedman\, educator and independent filmmaker Stuart Ginsberg\, Whitney Museum curator Christiane Paul\, and archivist Sur Rodney (Sur). \nSchloss gained attention in the 70s as a critically acclaimed performance artist and has gone on to create groundbreaking work in a variety of mediums including film\, video\, sound poetry\, new music\, composing\, books\, and mail art. She co-founded A’s—an interdisciplinary loft space that was a hub for music\, exhibitions\, performance art\, films and videos. A hotbed of experimentation\, A’s featured works from Eric Bogosian\, Glenn Branca\, Jean-Michel Basquiat\, John Zorn\, Elliott Sharp\, Richard Hambleton\, Liquid Liquid\, Carolee Schneemann\, The Coachmen\, Kim Gordon\, Phoebe Legere\, Mania D\, Thurston Moore\, Shirin Neshat\, Lee Ranaldo\, Sur Rodney (Sur)\, Alan Vega and Ai Weiwei. \nShifting from one genre to another\, she has created a finely interwoven body of work. Always on the cutting edge\, Schloss fused new forms of creative expression and technology into her film\, video\, cyber art and performance work. \nSchloss’s performances possess a spirit described by Linda Burnham as “a contagious sense of wonder.” These presentations\, which could involve Schloss’s cyclical recitation of the alphabet\, live painting\, closed-circuit video\, and music all at once\, combine the anti-art whimsy of Fluxus\, scientific exploration\, Cageian indeterminacy\, and a site-specific empathy that makes every act unique.\n—New Museum\, Schloss film screening\, in conjunction with Come Closer: Art Around the Bowery\, 1969–1989 \nIn her honor\, SSB will reproduce a limited number of FORGET ABOUT THAT SWEET FUCK t-shirts from How She Sees It by Her (1981) as seen in Toyo Tsuchiya’s photo of Arleen. Tees for men and women will be available at the gallery\, or bring your own shirt and we’ll silkscreen it for you then and there for $25 a pop. All proceeds the evening of the event go to benefit Arleen. The evening is co-curated by Stuart Ginsberg\, and SSB directors Susan Martin and Quintan Ana Wikswo. \nFilm/Video Screening\nHow She Sees It by Her\, 1981 (18 minutes)\nThe title of this film is derived from the story HOW SHE SEES IT BY HER\, a 58-page written journal of personal observations scanning life and survival in New York City in the early 80s. Originating as a piece of sound poetry and later a public performance\, Arleen mixed her voice and personal observations with footage from the time period. \nGlenn Branca Symphony #4 (Physics)\, 1984 (11 minutes)\nA docu-collage in sound and music capturing the godfather of classical noise throughout a multi-city European tour in 1983. Featuring Thurston Moore and Lee Ranaldo of Sonic Youth\, Barbara Ess\, Arleen Schloss\, Margaret De Wys\, Stephan Wischerth\, Amanda Linn\, and others\, Branca explains his harmonics over vintage shots of his high-energy conducting style. \n Performance on the subway to combat crime in New York City\, 1979 (12 minutes)\nIn response to the spike in subway violence in 1979\, Arleen Schloss executed a performance art workshop/social experiment to combat crime. Beginning at the Grand Street subway stop in New York\, Schloss and her collaborators sang\, danced\, and performed along the F train to make the subway safe\, encountering baffled commuters\, unsympathetic police\, and bemused spectators. \nSun Daze Away\, 1989 (9 minutes)\nUsing one of the first 8mm video cameras produced\, Schloss shoots a musical and collage-filled travelogue throughout America’s Southwest. Intercutting interviews from local townspeople\, landscapes and news footage\, Sun Daze Away has an experimental quality with bursts of color and sound. \nAbout the Panelists\nStuart Ginsberg\, Moderator\nRoberta Friedman\nChristiane Paul\nSur Rodney (Sur) \nAbout Arleen Schloss\nNew Museum interview\nNew Museum Super 8 and Hi8 Film screenings \nAbout Some Serious Business \nImage: Toyo Tsuchiya\, from No Se No series.
URL:https://www.howlarts.org/event/arleen-schloss-forget-about-that-sweet-fuck-baby/
LOCATION:Howl! Happening\, 6 East 1st Street\, New York City\, NY\, 10003\, United States
CATEGORIES:Special Event
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