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X-WR-CALDESC:Events for Howl! Arts
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DTSTART;VALUE=DATE:20191017
DTEND;VALUE=DATE:20191118
DTSTAMP:20260605T170714
CREATED:20190717T212003Z
LAST-MODIFIED:20191208T190256Z
UID:10000284-1571270400-1574035199@www.howlarts.org
SUMMARY:Tessa Hughes-Freeland: Passed and Present
DESCRIPTION:Opening Reception: Thursday\, October 17 / 6 PM / Free \nHowl! Happening: An Arturo Vega Project is pleased to present Passed and Present\, an exhibition and installation by Tessa Hughes-Freeland comprising a variety of cinematic elements. Known for her contributions to the Cinema of Transgression movement\, the exhibition includes single-channel and multiple projections\, an interactive kaleidoscope\, sculptural fans\, and a series of special screenings including the premiere of her recently completed Lost Movie/The Bug. \nConfrontational\, transgressive\, provocative\, and poetic\, Hughes-Freeland approaches filmmaking from a multiplicity of styles. Her work includes underground films\, classic narrative\, expanded cinematic performances\, experimental “automatic” films assembled entirely from found footage\, and delicate fans made from film of all gauges.  \nIn live-action films\, as well as collaged films from found footage\, Hughes-Freeland taps into the sophisticated emotional filters we erect to deal with uncomfortable feelings. Images crash into one another in disorienting ways. Drawing upon the mind-altering potential of spontaneous transformation and the power of myth\, her films are essentially “psychedelic”—conjuring ineffable experiences beyond the commonplace. \n“My films are ritualistic and atavistic—inspired by dreams\, visions\, and imagination. Sometimes the nucleus of an idea for a film starts with an object. The original idea for Hireath came from the top of the Christmas cake\, which my mother made every year\,” the artist says. \nHiraeth\, a Welsh concept expressing a deep longing for home\, is based on memory and loss. Drawing loosely on paganism and the mythology of female archetypes as seers\, the film evokes an arc of Hughes-Freeland’s experience as a woman over time.  \nOther Wise\, a large multiple projection\, extends the sentiment of loss present in Hiraeth. Working directly with wide-ranging sources—film made from Letraset\, handmade slides\, and original ethereal imagery—the work includes a poetic secret message to the departed based on imagery from a dream. The naturally transmutable iconography and romantic framework of the piece create a visual poem expressing the metaphysical poles of connection and otherness\, and the beauty of transformation. The projection screen is formally linked to the film fans by its concertina-like shape.  \nIn turn\, the kaleidoscope uses Other Wise to create further fragmentation within a circular form. A primitive cinematic device devoid of technology\, it is fashioned from a camera tripod and case. Interactive and fun\, this piece invites the viewer to see the world and the exhibition in a magical state.  \n“Found footage is the basis of much of my films. Similarly\, a found object can inspire an entire film. I see these as signifiers or emotional triggers that become a part of my own symbolic language. The fans consist of found film in all gauges—home movies; Hollywood studio films; pornographic films; or random footage found in thrift stores\, yard sales\, or just lying on the street\,” Hughes-Freeland explains.  \nAs part of the public programs in conjunction with the show\, Howl! will screen a selection of Hughes-Freeland’s films including Baby Doll (1981)\, a docu-portrait of go-go dancers\, and Nymphomania (1994)\, a brutal and a comedic critique of the dialectic of male/female sexuality.  \n  \nABOUT TESSA HUGHES-FREELAND \nTessa Hughes-Freeland has been making films since the 1980s and is considered a member of the Cinema of Transgression movement. Her films have been screened internationally in museums\, galleries\, and seedy bars\, including MoMA\, MOCA\, Whitney Museum of American Art\, New Museum\, and KW Institute for Contemporary Art. Currently\, five of her films are featured in an exhibition touring museums throughout Asia\, including Seoul\, South Korea. She has been a juror for numerous festivals and programmed extensively\, most recently for the Club 57: Film\, Performance\, and Art in the East Village\, 1978-1983 exhibition at MoMA\, and for Punk Lust: Raw Provocation 1971-85 at the Museum of Sex.  Hughes-Freeland was president of the board of directors of the New York-based Film–Makers‘ Cooperative for several years. \nImage: Mirror Mirror: Daylight Cinema\, 2017\, Tessa Hughes-Freeland.
URL:https://www.howlarts.org/event/tessa-hughes-freeland-passed-and-present/
LOCATION:NY
CATEGORIES:Exhibition,Gallery
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DTSTART;VALUE=DATE:20191122
DTEND;VALUE=DATE:20191223
DTSTAMP:20260605T170714
CREATED:20190920T151720Z
LAST-MODIFIED:20191221T173948Z
UID:10000288-1574380800-1577059199@www.howlarts.org
SUMMARY:Antony Zito: My Father Was a Satyr
DESCRIPTION:Opening Reception: Friday\, November 22 6–8 PM \nZito is one of my very favorite New York artists\, partly because he thinks of himself as an artisan and partly because he’s a fine and inventive painter. —Jim Jarmusch \nHowl! Happening is pleased to present Antony Zito’s My Father Was a Satyr. Fascinated by the detritus of everyday life left on the curbs of his East Village neighborhood\, Zito collects discarded objects to use as the basis for his paintings. Through the artist’s hand\, these artifacts’ stories—steeped in narratives all their own—merge with portraits of Zito’s peers\, adhering the inherent emotional energy of the intuitively rendered portraits to layers of the city’s history. \nIn the lineage of modern artists who worked across mediums and used unconventional materials and found objects\, with My Father Was a Satyr\, Zito creates his biggest installation to date—a towering construction layered with portraits\, metal sculpture\, and scavenged eye candy\, to form a whimsical ziggurat. \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. \n \n“New York is a city of faces\,” says Zito\, “and I am obsessed with them. Whether it’s the local bodega owner\, the billboard model\, the lost soul on the corner\, or the people I most enjoy spending time with\, I dive into faces\, searching for their narrative\, for some message or meaning. I gather these faces in my imagination\, mixing them with memories and experiences I’ve absorbed in the course of my life in New York.” \nAntony Zito is a portrait painter and collector of objects\, who moved to the Lower East Side from New England in 1992. Zito has spent more than 20 years on New York’s Lower East Side\, where he ran a gallery and portrait studio on Ludlow Street through 2006. His portraits of the local characters illustrate a sweeping line through the 90s and 2000s in the East Village rock and art scenes. The New York Post has called his paintings “sensual\,” and his renderings of people on recycled materials prompted The Village Voice to refer to him as “a master of the found object.” \nHis work has been exhibited and collected in the U.S.\, UK\, Italy\, France\, Spain\, Belgium\, Mexico\, and Japan. Several of Zito’s portraits and other artworks appear in the Jim Jarmusch films Coffee and Cigarettes and Broken Flowers. Zito recently completed a two-story mural in the East Village\, and is currently working on a documentary film about the Mars Bar\, illuminating his corner of the East Village and Lower East Side in the 90s and early aughts. \n 
URL:https://www.howlarts.org/event/antony-zito-my-father-was-a-satyr/
LOCATION:NY
CATEGORIES:Exhibition,Gallery
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