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DTSTART;VALUE=DATE:20180228
DTEND;VALUE=DATE:20180326
DTSTAMP:20260607T043645
CREATED:20180118T230458Z
LAST-MODIFIED:20180316T161025Z
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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
ATTACH;FMTTYPE=image/jpeg:https://www.howlarts.org/wp-content/uploads/2018/01/JK1569.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20180307
DTEND;VALUE=DATE:20180313
DTSTAMP:20260607T043645
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
ATTACH;FMTTYPE=image/jpeg:https://www.howlarts.org/wp-content/uploads/2018/03/Picture1-2.jpg
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DTSTART;TZID=America/New_York:20180314T190000
DTEND;TZID=America/New_York:20180314T210000
DTSTAMP:20260607T043645
CREATED:20180301T182829Z
LAST-MODIFIED:20180301T182829Z
UID:10000442-1521054000-1521061200@www.howlarts.org
SUMMARY:Robert Heide 25 Plays
DESCRIPTION:A Staged Reading and Book Signing\n25 Plays from Fast Books capture his singular\, existentialist ‘60s disposition. The plays often dramatize the (sometimes irreconcilable) struggle between individuality and the unbreakable continuity of time and existence. —Ben Shields\, The Brooklyn Rail\, 2017 \nHowl! Happening is pleased to present an evening celebrating the work of Robert Heide. The event features Heide’s American Hamburger\, directed by Ralph Lewis of Peculiar Works Project\, and a presentation by the author. Heide is a seminal playwright in the Off-Off-Broadway coffee-house theatre movement. His plays have been produced in New York’s Greenwich Village at the famed Caffe Cino\, and in the East Village by Ellen Stewart at La MaMa\, and Crystal Field and George Bartenieff at Theater for the New City. Irene Fornés and Julie Bovasso’s New York Theater Strategy at Westbeth and Lynne Meadow’s Manhattan Theatre Club have also presented his plays\, as well as many other venues. \nHis early studies began in the theatre department at Northwestern University. In New York\, he studied for two years with Stella Adler\, who then sent him to apprentice with John Houseman at the American Shakespeare Festival Theater in Stratford\, CT; he studied as well with Uta Hagen and with director Harold Clurman. \nHis mentor and close friend Edward Albee invited him to become a member of the Albee-Barr-Wilder Playwrights Unit. In the 1960s\, he acted in Andy Warhol’s films Camp and Batman Dracula\, both with Jack Smith. Warhol filmed Heide’s Caffe Cino play The Bed as a split-screen movie which premiered at Jonas Mekas’ Filmmakers’ Cinematheque. As a member of the Playwrights/Directors Unit at the Actors Studio\, he attended sessions conducted by Estelle Parsons\, Ellyn Burstyn\, and Horton Foote. \nClick here for to the complete Brooklyn Rail article “Entering the Lightbulb with Robert Heide”\,which traces his artistic trajectory. \nAbout Robert Heide
URL:https://www.howlarts.org/event/robert-heide-25-plays/
LOCATION:NY
ATTACH;FMTTYPE=image/png:https://www.howlarts.org/wp-content/uploads/2018/03/Picture1.png
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DTSTART;TZID=America/New_York:20180315T190000
DTEND;TZID=America/New_York:20180315T210000
DTSTAMP:20260607T043645
CREATED:20180302T190453Z
LAST-MODIFIED:20180302T213056Z
UID:10000444-1521140400-1521147600@www.howlarts.org
SUMMARY:Duncan Hannah Twentieth-Century Boy: Notebooks of the Seventies
DESCRIPTION:Publication Party \n …the author’s enthusiasm for la vie bohème and general disdain for the square world at times reads like a cross between a glam-rock Kerouac and a stoned Holden Caulfield (in the best possible way). —Kirkus Reviews \nHowl! Happening is pleased to present an evening with Duncan Hannah and friends to celebrate the publication of Twentieth-Century Boy: Notebooks of the Seventies (Knopf\, 3/13/18)\, by celebrated painter Duncan Hannah. The book is a rollicking and vividly immediate account of his life in 1970s New York—a lost (and increasingly mystical) world of freedom\, squalor\, and artistic achievement. \nHannah arrived in New York City from Minneapolis in the early 1970s as an art student hungry for experience\, game for almost anything\, and with a prodigious taste for drugs\, girls\, alcohol\, movies\, rock and roll\, books\, parties\, and everything else the city had to offer.  Throughout the decade he kept lively\, shockingly well-written journals chronicling his experiences\, which now jump off the page with a brilliant and expressive immediacy.  A louche\, sometimes lurid\, and incredibly entertaining report\, his notebooks are full of outrageously bad behavior\, naked ambition\, gender-bending celebrities\, fantastically good music and evaporating barriers of taste and decorum.  Hannah crosses paths with Patti Smith\, David Bowie\, Lou Reed\, Iggy Pop\, Andy Warhol\, and dozens of other night clubbers of lesser fame.  But at the book’s center is a young man in the mix and on the make\, determined to forge an identity for himself as an artist while being at risk from his own heedless appetites. \nTold with a painter’s eye for detail and a raconteur’s gift for storytelling\, Twentieth-Century Boy: Notebooks of the Seventies is a time capsule from a scary\, seedy\, but irresistible time and place. \nPRAISE for TWENTIETH-CENTURY BOY \n“Duncan Hannah’s Twentieth Century Boy is an unfiltered portrait of the artist as a young horndog\, blessed or cursed with Bowie-like androgyny\, and half the time ‘hopped up on Pernod and amphetamines.’ Amazingly—in these diaries from an extended adolescence—the prose is hopped up\, too\, and as disorienting as the intense downtown streets of New York City in the 70s they so accurately sketch. That these pages were written by a raw boy painter and not an eminence grise master of the art of memoir is key to their magic and mystery. A Pillow Book from a decade when no one ever slept.”\n— Brad Gooch\, author of Smash Cut and Flannery \n“Artist Duncan Hannah came to New York at 17\, ambitious\, angelic\, straight and–according to his hugely entertaining diary–priapic.  Despite being stoned or hungover more often than not\, he found time to grow as an artist and record his adventures in absorbing detail\, including memorable encounters with Salvador Dalí\, Andy Warhol\, David Hockney and Ned Rorem.”\n—John Berendt\, author of Midnight in the Garden of Good and Evil \n“In early ‘70s downtown NYC\, Duncan Hannah was one of the wild boys\, precocious and impossibly gorgeous…These diaries\, hidden away for ages\, are like the Dead Sea Scrolls of a mythological Lower Manhattan underground\, where the New York Dolls glitter-rock brigade made way for the CBGB revolution of Patti Smith and Television. With gobs of Warholian gossip and passionate listings of all the most radical records\, books and films of the day\, Twentieth Century Boy immerses the reader in a history of beauty from the Nouvelle vague to meetings with David Hockney. As the writing progresses from rat-a-tat teen beat to more adult considerations\, we glean Duncan’s romance and eventual providence: to be cool is not the point\, being an artist in love with the universe is.”\n—Thurston Moore\, co-founder of Sonic Youth \n“A dandy\, a flaneur\, a rock ‘n’ roll wastrel wandering Candide-like through the dangerous undercurrents of the 1970s: if Duncan Hannah didn’t exist\, you’d have to invent him” \n—Jon Savage\, author of England’s Dreaming and 1966 \n“When you come to New York City a wide-eyed artist only to discover you’re the cutest and most talented tyke in town\, you meet lots of people—David Bowie\, Andy Warhol and Lou Reed to name just a few—and interesting capers ensue. In Twentieth-Century Boy these adventures are recounted in prose that is eloquent and funny\, written by a teen wise beyond his years. Duncan Hannah’s journals bring back the adolescence that most of us wish we had.”\n— Gillian McCain\, co-author of Please Kill Me
URL:https://www.howlarts.org/event/duncan-hannah-twentieth-century-boy-notebooks-of-the-seventies/
LOCATION:NY
CATEGORIES:Book Signing
ATTACH;FMTTYPE=image/jpeg:https://www.howlarts.org/wp-content/uploads/2018/03/twentieth-century-boy-hi-res.jpeg
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