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X-WR-CALDESC:Events for Howl! Arts
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DTSTART;VALUE=DATE:20180906
DTEND;VALUE=DATE:20181001
DTSTAMP:20260606T190934
CREATED:20180729T182833Z
LAST-MODIFIED:20181018T170842Z
UID:10000479-1536192000-1538351999@www.howlarts.org
SUMMARY:Chris Tanner: Here’s Looking at You
DESCRIPTION:Thursday\, September 6 – Sunday\, September 30\, 2018 \nOpening Reception: Thursday\, September 6\, 6–9 PM \nWe need Tanner’s work now. At this moment—now more than ever—we need to collectively embrace art as celebration; glamour as resistance; desire\, allure and romance as defiance. \n—Karen Finley \nTanner’s work is about looking. Deeply. In the eyes. Seeing inside to the core of deep vulnerability in each of us. It’s also about being ravaged by beauty. Even in this #MeToo moment\, it continues to be easy to dismiss the feminine in art\, the embellishments that dazzle\, and the extravagance that meets the eye within the wild beauty of Chris Tanner’s over-the-top work.  \nWhile this career survey is about paintings and drawings created over the last decade\, it comes out of a remarkable personal story that starts with his mother Sally Tanner—“a tough broad\,” Tanner says. As an assemblywoman in Southern California\, she helped write the Lemon Law and lived with her partner Patricia Hofstetter\, a municipal court judge. These two larger-than-life women shaped Tanner’s character\, informing his work.  \nThe exhibition includes four series of works—each with its own inspiration—that emphasize ornamental\, visually-luxuriant design. Intensely huge eyes; dreamlike metaphors glittery\, embroidered\, and bejeweled; and the value of visual pleasure\, pattern\, and decoration are apparent in his work. Freed from the constraints of the prevailing historical legacy of minimalism and conceptual art\, and indebted to liberation politics—particularly feminism and queer culture—his work is celebrated as “fierce and resplendent” by artist Robert Kushner in his essay for the show’s catalog. \nThree huge tactile paintings of peacocks are rendered in rhinestones\, crystals\, old German paste\, seed beads\, shelf paper\, glass\, tiger’s eye\, polyester glitter\, shells\, and acrylic paint. Kushner connects the visual metaphor of peacocks that intersects both their lives by describing Mughai emperor and aesthete Shah Jahan’s Peacock Throne. It took six years to complete\, cost more than the Taj Mahal\, and was described by 17th century contemporaries as “a peacock with elevated tail made of blue sapphires and other colored stones\, the body being of gold inlaid with precious stones\, and having a large ruby in front of the breast\, from whence hangs a pear-shaped pearl of 50 carats.” Hello\, Chris\, we all know you were there\, says Kushner. \nThe mythology of the peacock runs deep: James McNeill Whistler’s Peacock Room (1876)\, now installed in the Freer Gallery of Art…the belief in ancient Greece that the flesh of peafowl did not decay after death\, rendering it a symbol of immortality…the childhood memory of color TV and the significance of the ubiquitous NBC logo…“the peacocks [that] sometimes roamed wild in the San Gabriel Valley suburbs of your and my childhood\, their piercing screams loud enough to wake you out of slumber\,” as Kushner puts it. Tanner’s peacocks embody the mysterious strength of this bird and make it manifest in time and space. \nTanner uses glamour to blur the lines between high and low\, art and decoration\, object and idea. The emotion in Tanner’s paintings can be appreciated in four heavily embroidered\, beaded\, mirrored\, and bejeweled canvases the artist describes as “Mae West meets Mary Todd Lincoln.” For him\, these paintings are about positive and negative poles of power and vulnerability. The hair embellishment in one is a memory of his father’s shame at wearing a toupee; the blue in another is the camp fantasy of Maria Montez\, her jeweled hand in a pool of water; and pink saturates a painting made to evoke burlesque and gay life of the 1950s. Tanner is also a well-known and acclaimed performer and in the final painting of the series\, he pays homage to the woman he has “always wanted to play on stage—the big crazy fag hag” Mary Todd Lincoln.  \nIn a series of intimate\, mostly black and white nudes drawn from life\, Tanner explores a tension between the artist and his subjects’ vulnerability. Categorically explicit\, in these intimate drawings he reduces his imagery to line and feeling—discarding embellishment to honor the sitter’s unashamed sexuality.  \nAlso included in the exhibition are a series of drawings on wallpaper—mostly military\, and Hawaiian from the 40s—featuring huge eyelashes\, big red lips\, and accoutrements that read like kooky\, two-dimensional drag.  \nHis appropriation of everything shimmery reminds us about the surface thrill-shrill shallowness of empty promises and things bling. But we can dance. Wear perfume to cover the stink. His extreme embellishments and décor-defused accoutrements expose the blur of grotesque quick-change artists. He is really saying what matters is the love within\, rather than without. —Karen Finley \n 
URL:https://www.howlarts.org/event/chris-tanner-heres-looking-at-you/
LOCATION:NY
CATEGORIES:Exhibition,Gallery
ATTACH;FMTTYPE=image/jpeg:https://www.howlarts.org/wp-content/uploads/2018/07/Gates-of-Paradise-5x8-Beads-Jewels-Mixed-Media-on-Canvas-2018.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20180920
DTEND;VALUE=DATE:20181015
DTSTAMP:20260606T190934
CREATED:20180801T215554Z
LAST-MODIFIED:20200116T215226Z
UID:10000212-1537401600-1539561599@www.howlarts.org
SUMMARY:THRU OCT. 14thKINK HAÜS
DESCRIPTION:https://www.howlarts.org/wp-content/uploads/2018/08/Kink-Haus-2.mp4\nKINK HAÜS \n  \n \nKINK HAÜS by Gunnar Montana in association with Howl! Arts. Gunnar Montana creates KINK HAÜS\, a brutal underground nightclub predicting the wild powerful and sometimes hilarious sexual journey inside us all. Fantasy\, fetish\, heartbreak and carnal desire will all be in fashion– leave your inhibitions at home. \nGunnar Montana is a Philadelphia-based choreographer and performance artist whose work has appeared in festivals covering the region\, including Philadelphia Fringe Arts festival and ThinkFest\, as well as several venues across the city. Infusing movement\, visuals arts and multimedia\, Gunnar’s work refuses to be defined. \nhttps://www.howlarts.org/wp-content/uploads/2018/08/Kink-Haus-2.mp4\nWarning: Mature Content\nRunning Time: 60 Minutes \nTickets available here
URL:https://www.howlarts.org/event/kink-haus/
LOCATION:NY
ATTACH;FMTTYPE=image/jpeg:https://www.howlarts.org/wp-content/uploads/2018/08/Screen-Shot-2018-08-01-at-5.47.47-PM.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20180930T180000
DTEND;TZID=America/New_York:20180930T200000
DTSTAMP:20260606T190934
CREATED:20180909T215532Z
LAST-MODIFIED:20180909T215848Z
UID:10000222-1538330400-1538337600@www.howlarts.org
SUMMARY:An Evening With Original Cockette Rumi Missabu
DESCRIPTION:Howl! Happening is excited to present a colorful\, compelling performance and screening featuring special guests Chris Tanner\, Agosto Machado\, Hayley Nystrom\, Diego Gomez\, Jarvis Earnshaw and Vic Sin\, with shorts by Joe E. Jeffreys\, David Riley and Kimba Anderson. \nJoin us for a deep dive into the heyday of San Francisco hippie culture and a celebration of a cultural explosion that began in the late 60’s. \nThe Cockettes were an avant garde psychedelic hippie theater group founded by Hibiscus (George Edgerly Harris II) in the fall of 1969. The troupe\, of which Rumi was a core member was formed out of a group of hippie artists\, men and women\, who were living in Kaliflower\, one of the many communes in the Haight-Ashbury neighborhood of San Francisco\, CA. The Cockettes pioneered an eclectic style of dress and costume never seen before\, drawing inspiration from various sources such as silent film\, Hollywood of the 1930s and 1940s\, Broadway musicals and Surrealist aesthetics. \n 
URL:https://www.howlarts.org/event/an-evening-with-original-cockette-rumi-missabu/
LOCATION:NY
ATTACH;FMTTYPE=image/jpeg:https://www.howlarts.org/wp-content/uploads/2018/09/2.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20181005
DTEND;VALUE=DATE:20181008
DTSTAMP:20260606T190934
CREATED:20180906T174006Z
LAST-MODIFIED:20181018T171050Z
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SUMMARY:A McPhoto Family: Photography from the Village Voice
DESCRIPTION:A Group Exhibition \nARTIST’S RECEPTION: Sunday\, October 7 / 4 PM / Free \nHowl! Happening is pleased to present a special three-day exhibition spotlighting the contributions of the legendary Village Voice photographer and picture editor Fred McDarrah. Over the years he hired\, trained\, worked with\, and learned from more than 75 photographers that went out on assignment for the Voice. With the recent demise of the Voice\, the exhibition becomes not only a tribute to McDarrah\, but an historic record of the paper’s place in the cultural life of New York. This show reflects some of these photographers’ best work\, not only for the Voice but throughout their careers. \nFeaturing work by more than 40 photographers including: \nHilton Als\, Amy Arbus\, Marc Asnin\, Bill Bernstein\, Carrie Boretz\, Martha Cooper\, Lenore Davis\, Michel Delsol\, Pamela Duffy\, Janie Eisenberg\, Deborah Feingold\, Susan Ferguson\, Andy Freeberg\, Lori Grinker\, Carol Halebian\, James Hamilton\, Meg Handler\, CM Hardt\, Caroline Howard\, Steve Kagan\, Jennifer Kotter\, Pete Kuhns\, Kristine Larsen\, David Lee\, Laura Levine\, Darren Lew\, Andrew Lichtenstein\, Catherine McGann\, Tom McGovern\, Greg Miller\, Danuta Otfinowski\, Sandra-Lee Phipps\, Sylvia Plachy\, Nick Malter\, Adam Mastoon\, Keri Pickett\, Linda Rosier\, Allen Reuben\, Stephen Douglas Rubin\, Richard Sandler\, Nevin Shalit\, Coreen Simpson\, Doug Vann\, Harvey Wang and CT Wemple. \n\nThe nation’s first alternative newsweekly\, the Village Voice was the paper of record for post-war counterculture. Published from 1955 until August 31\, 2018\, it covered the nascent women’s rights\, gay rights\, and civil rights marches; anti-Vietnam War protests; the first Earth Day; experimental theater; lefty and splinter political rallies and demonstrations; and a generation of hugely influential—mainly downtown—writers\, artists\, musicians\, dancers\, actors\, and thinkers who were largely ignored or misunderstood by contemporary mass media. \nThe paper spawned a slew of great writers\, but as McDarrah often said—loudly—to Voice editors and art directors\, “people pick up the paper mainly to look at the photos.” HIS photos. For decades he was the only staff photographer and the paper’s first picture editor. \nWhile a prolific photographer himself of the cultural\, social\, and political scene\, over time McDarrah surrounded himself with a platoon of talent\, many of whom started as interns. Informally called the McPhoto Intern Program\, it was revolutionary for its time. Not only did he guarantee at least one published photo per week per intern: he paid them the going rate for the image—unheard of at the time. He hired and paid women at the same rate as men and was an equal opportunity employer drawing new talent from minority communities. \nBut McDarrah was always most proud of the younger generation of photographers he cultivated. He’d surely say the success of his beloved Voice photo colleagues—and this exhibition—was one of his grandest achievements. \nFred made us better photographers\, toughened us for the rigors and competition of editorial and photojournalism\, and provided us with opportunities no other publication did. — Tom McGovern from his essay\, “Where’s the Picture?” \nAbout Fred W. McDarrah (1926-2007) \nBorn in Brooklyn\, McDarrah bought his first camera at the 1939 New York World’s Fair. After leaving Boys High School\, he served as a U.S. Army paratrooper in Occupied Japan at the end of World War II\, camera usually in hand. He earned a journalism degree from New York University on the GI Bill. \nHe then began to photograph the artists\, writers\, musicians\, and bohemian types who frequented the bars\, galleries\, and cafés in Greenwich Village not because he was assigned to\, but because he wanted to document what he called\, “The most colorful community of interesting people\, fascinating places\, and dynamic ideas.” \nMcDarrah’s work is now represented in public and private collections the world over and hangs on museum and gallery walls. He took now-iconic photos of cultural giants like Allen Ginsberg\, Andy Warhol\, Bob Dylan\, and Robert F. Kennedy\, and covered events like the Stonewall rebellion\, Woodstock\, and 1963 March on Washington (where Martin Luther King gave his “I Have a Dream” speech). \n  \nPhoto captions: \nPortrait of American poet Allen Ginsberg (1926-1997) outside of Judson Memorial Church\, Thompson St. at Washington Square South\, March 29\, 1964. Photo © Estate of Fred W. McDarrah. All Rights Reserved. \n 
URL:https://www.howlarts.org/event/a-mcphoto-family-photography-from-the-village-voice/
LOCATION:NY
CATEGORIES:Exhibition,Gallery
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20181006
DTEND;VALUE=DATE:20181015
DTSTAMP:20260606T190934
CREATED:20180928T214347Z
LAST-MODIFIED:20200116T215136Z
UID:10000476-1538784000-1539561599@www.howlarts.org
SUMMARY:THRU OCT 14THKINK HAÜS
DESCRIPTION:Due to popular demand LaMama Experimental Theatre Company and Howl! Arts\, Inc. extend KINK HAÜS through to October 11th\, 12th\, 13th and 14th!\nTickets available here from Monday Oct 1st at 2pm  \nhttps://www.howlarts.org/wp-content/uploads/2018/08/KINK-HAÜS-Dance-Cut.mp4\n\nKINK HAÜS\nCreated by Gunnar Montana\nPresented by LaMama in association with Howl! Arts\, Inc.\n \nGunnar Montana creates KINK HAÜS\, a brutal underground nightclub predicting the wild powerful and sometimes hilarious sexual journey inside us all. Fantasy\, fetish\, heartbreak and carnal desire will all be in fashion– leave your inhibitions at home. \nGunnar Montana is a Philadelphia-based choreographer and performance artist whose work has appeared in festivals covering the region\, including Philadelphia Fringe Arts festival and ThinkFest\, as well as several venues across the city. Infusing movement\, visuals arts and multimedia\, Gunnar’s work refuses to be defined. \nhttps://www.howlarts.org/wp-content/uploads/2018/08/Kink-Haus-2.mp4\nWarning: Mature Content\nRunning Time: 60 Minutes \nTickets on sale thru Oct. 14th
URL:https://www.howlarts.org/event/extended-through-oct-14th-kink-haus/
LOCATION:LaMama\, The Downstairs\, 66 East 4th Street\, New York\, 10003\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.howlarts.org/wp-content/uploads/2018/09/Screen-Shot-2018-08-01-at-5.47.47-PM-1024x544.jpg
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