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DTSTART;VALUE=DATE:20180228
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SUMMARY:John Kelly Sideways into the Shadows
DESCRIPTION:An Exhibition in Conjunction with Kelly’s Performance Time No Line at La MaMa\nOpening Reception: February 28\, 6–8 PM\nHowl! Happening is pleased to present a rare look into the heart and art of a consummate creator: John Kelly’s Sideways into the Shadows. Resonating and in conversation with Kelly’s major new performance work Time No Line at La MaMa (February 22–March 11\, 2018)\, Sideways into the Shadows is a journey through Kelly’s creative life that exposes both the unfolding of his artistic process and the generational rupture and emotional cost of the AIDS pandemic. \nThe exhibition consists of intimate and revealing journal entries\, rendered by hand on various sized panels\, and a memorial wall of lovingly-drawn portraits of friends and loved ones Kelly lost to AIDS. “Beginning in 1982\, my friends and colleagues were dying\,” says Kelly. “AIDS has framed my story to an unavoidable degree. Their absence remains part of my work.” \nThe 70 hand-rendered transcriptions of dated journal entries are drawings on paper\, mounted on panels installed as a horizontal timeline. Alternating raw and honest\, funny\, provocative\, and deeply felt\, the drawings illuminate his artistic trajectory and reveal the intertwined worlds of clubs\, drag\, gender\, sex\, and Kelly’s own creative and personal process of navigating incomprehensible loss. Filled with ideas\, sketches\, poems\, and plans for performances\, the pages—going back to 1976—are also full of humor\, gossip\, observation\, and cultural commentary as he witnessed the world around him transform. \nThe memorial wall of portraits is comprised of 40 graphite drawings on paper mounted on panels—renderings of gifted individuals that were part of Kelly’s life and creative circles—including such cultural luminaries as Sam Wagstaff\, Hugh Steers\, Peter Hujar\, Cookie Mueller\, Charles Ludlam\, and Ethyl Eichelberger\, as well as other individuals whose legacies have received less attention. The impulse behind these portraits stems from Kelly’s habit (as a survivor of the AIDS epidemic) of pondering a scenario where his generation had not been lost to the epidemic\, a world in which they would be flourishing and in their prime. As a balm to this tantalizing but painful fantasy\, Kelly pays tribute to the men\, women\, and trans folk who held crucial and supportive roles in his life and work as it unfolded over the past 36 years. \nTogether with the performances at La MaMa\, this exhibition displays one artist’s personal journey—his choices\, doubts\, creative processes\, and triumphs—making art that consciously tells stories\, witnesses\, and demonstrates a unique activism and commitment in the face of absolute catastrophe. \nAs Kelly explains\, “From this vantage point\, it was a challenging time. It’s still hard to get my head around it. This exhibition and Time No Line are my way to process the entire range of how my personal experiences and the arc of my artistic career intertwined into a coherent whole during a time that was both exhilarating and tragic.” \nLeaving behind his early focus as a dancer\, Kelly attended the Parsons School of Design in the 70s\, eventually immersing himself in the thriving Downtown and East Village scene\, including his debut at the Anvil in 1979 and subsequent creative development in clubs such as Club 57\, the Pyramid\, 8BC\, and Danceteria. He has had an extensive career as a performance and visual artist\, musician\, and poet. His visual art has been exhibited at Alexander Gray Associates\, New York; The Arts Center at Governors Island\, New York; Institute of Contemporary Art\, Philadelphia; The Kitchen\, New York; MACRO Museo d’Arte Contemporanea di Roma\, Rome; MIT List Visual Arts Center\, Cambridge\, MA; the Museum of Modern Art\, New York; and the New Museum\, New York\, among other venues. \nThe Museum of Modern Art acquired two filmed versions of Kelly’s early performance works\, created in collaboration with filmmaker Anthony Chase\, in 2017. \nResidencies include The American Academy in Rome\, The Radcliffe Institute for Advanced Study at Harvard\, Bard College\, Lower Manhattan Cultural Council\, MacDowell Colony\, MASS MoCA\, Park Avenue Armory\, Yaddo\, Civitella Ranieri\, the Bogliasco Foundation\, and the Sundance Institute Theatre Lab. \nABOUT JOHN KELLY
URL:https://www.howlarts.org/event/john-kelly-sideways-into-the-shadows/
LOCATION:NY
CATEGORIES:Exhibition,Gallery
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DTSTART;VALUE=DATE:20180307
DTEND;VALUE=DATE:20180313
DTSTAMP:20180306T165747Z
CREATED:20180302T215027Z
LAST-MODIFIED:20180306T165747Z
UID:10000441-1520380800-1520899199@www.howlarts.org
SUMMARY:Fame is a Disease: An Exhibition of Arturo Vega's Work
DESCRIPTION:New Work by Brett De Palma and Scooter LaForge Especially Commissioned for the Show\nFEDERAL COURT OFFICERS STRIKE AGAINST 149 “HIPPIE” DRUG ADDICTS OF BOTH SEXES 53 Deposited at Court; Those Freed Were Encouraged to Take the Path of Righteousness— Headline from El National\, February 13\, 1971 \nThe headline above from the Mexico City newspaper chronicles an infamous moment of violence against artists\, intellectuals\, and homosexuals by the authoritarian regime under Mexico’s “perfect dictatorship.” A stranger who came to town to escape this repression\, Mexican-born artist Arturo Vega (October 13\, 1947–June 8\, 2013) made his way to New York City to study English\, philosophy\, and photography at the New School for Social Research in the early 70s. \nWhile working on his first painting series in New York\, he met and befriended members of the Ramones\, who would soon play their first gig and become leaders of the punk movement. Widely known for his work with the band (he was referred to as the “fifth Ramone”)\, he would go on to design their ubiquitous logo\, based on the Great Seal of the United States\, that has virtually defined the transgressive punk rock aesthetic and become one of the most enduring symbols of that era. \nAnd while the popularity and commercialism of the Ramone’s logo has overshadowed Vega’s origins as an artist in the social and political struggles of the late 60s and early 70s\, Vega was always a prolific painter and printmaker who drew inspiration from widely disparate sources—creating artworks that co-opted and questioned symbols of power. Exploring his broader impact and contextualizing his work as a visual artist\, Fame Is a Disease features paintings from Vega’s series Insults and Empire\, as well as other iconic work reflecting his sense of humor\, acutely attuned ear for language\, and outsider’s eye on American social history\, propaganda\, consumerism\, and popular culture. \nIn numerous group shows since the 70s\, Vega’s work has recently been the subject of one-person exhibitions at CBGBs 313 Gallery\, New York City (1992); Raleigh Studios\, Miami Beach (curated by Sandra Schulman in 1994); Galería OMR\, México\, D.F. (2011); Casa Redonda\, Chihuahua (2012); and at Howl! Happening: An Arturo Vega Project\, beginning in 2015 and continuing into the present. He was the subject of a major retrospective at the Bob Rauschenberg Gallery in Florida in 2016. \nHowl! Happening also houses The Arturo Vega Archive. Exploring this hidden artistic treasure trove\, Fame Is a Disease also features newly commissioned work by Howl! Happening artists Brett De Palma and Scooter LaForge\, riffing on the themes and message of Vega’s work in their own inimitable style. \n\nArt is everywhere but there is never enough Art. Art has stopped being a chronologically correct string of schools and isms and is being born all the time\, everywhere; Art connects to the eternal demanding fast changes and a reckless appetite for truth\, justice and a better way of life. —Arturo Vega \nSpring Break Art Show\nMarch 7–12\, 2018 / Preview Day: March 6th\n4 Times Square\, NYC (Chashama) / Entrance at 144 West 43rd Street\nDaily Hours: 11am – 6pm
URL:https://www.howlarts.org/event/fame-is-a-disease-an-exhibition-of-arturo-vegas-work/
LOCATION:NY
CATEGORIES:Exhibition,Gallery
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