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DTSTART;VALUE=DATE:20200109
DTEND;VALUE=DATE:20200224
DTSTAMP:20260606T014511
CREATED:20191211T212934Z
LAST-MODIFIED:20201004T165652Z
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SUMMARY:Jane Dickson: HOT\, HOT\, HOT
DESCRIPTION:Opening Reception: Thursday\, January 9th / 6-8 PM \nHowl! Happening: An Arturo Vega Project is pleased to present Jane Dickson’s Hot\, Hot\, Hot\, a series of rarely seen and moody paintings of Times Square peep shows from the 1980s. Dickson’s history and legacy are rooted in Times Square. She worked and lived there from 1978 to 2008 documenting her daily lived experiences and observations as a young woman. In photos\, drawings\, and paintings that utilize unconventional industrial and domestic materials as surfaces—including carpet\, sandpaper\, and black plastic bags—she captured a time and place that was notoriously lawless\, squalid\, and vibrantly alive. \n \nIn her essay for the exhibition catalog\, art historian Deborah Frizzell places Dickson as a critical witness and commentator on the effects of mass media on “perception and desire”: \nRooted in the street as a site for public intervention\, as a place to seek out alternative stories and ways of being\, Dickson works with the existing repertory of cultural imagery and reveals the slippage or difference prompted in the interplay of power and illusion in contemporary America\, particularly from a feminist perspective that has been ignored and erased from view. Rather than a smoothly polished verisimilitude or a crafted collage of fragments\, Dickson’s rough-cut method often disorients\, jars our senses\, and doubles the vertigo induced by obliquely angled perspectives or alternatively\, flattened peepholes and cubicles. \nWhile the specifics of live peep shows flaunting the broad spectrum of unenhanced bodies accepted in a pre-cosmetic-surgery era are now exotic\, and the live peeps are a historic artifact of the pre-internet universe\, the underlying dynamics of power and vulnerability and the stark divide between who works and who pays remain as relevant as ever. \nThe exhibition follows the success of the Anthology Press monograph Jane Dickson in Times Square\, published in 2019; the exhibition All That Is Solid Melts into Air at James Fuentes Gallery; and the Whitney Museum’s purchase of Dobbs Hats\, one of her key early Times Square paintings. To further contextualize her work\, the exhibition includes a fully illustrated catalog with essays by Sara Rosen\, Deborah Frizzell\, Carlo McCormick\, and David Kiehl. \n \nA part of the politically charged 80s scene of artists working at the intersection of street art\, hip hop\, film\, and installation—like David Wojnarowicz\, Keith Haring\, Jenny Holzer\, and her filmmaker husband Charlie Ahearn—Dickson was a member of the influential artist collectives Colab (Collaborative Projects) and Fashion Moda in the South Bronx. She was one of the organizers of the now legendary Times Square Show\, for which she created the poster with Charlie Ahearn and a and digital animation that ran hourly on the Spectacolor sign at 1 Times Square\, the first computerized lightboard in New York. This groundbreaking digital installation led Dickson to initiate the Messages to the Public series in 1981 with the Public Art Fund\, presenting a series of animated artworks on the billboards of Times Square and bringing first public attention to her friends Keith Haring\, Jenny Holzer\, David Hammons\, and Crash among others. \nIn 1980 Dickson created City Maze\, an installation designed for school children at Fashion Moda\, the art space in the South Bronx founded by Stefan Eins\, which became a platform for the burgeoning hip-hop and graffiti movements. https://youtu.be/OmN4f2_Lmvc \nBeyond Times Square\, Dickson’s focus has encompassed other facets of the contemporary architecture of distraction: demolition derbies\, carnivals\, casinos\, strip malls\, and highways\, utilizing industrial materials such as AstroTurf\, sandpaper\, vinyl\, and felt\, for both their tactile qualities and their associations. \nIn 2008 Dickson created a beloved series of 68 life-size mosaic figures of New Year’s Eve revelers installed in the Times Square subway station. Dickson’s work has been widely exhibited nationally and internationally\, and is included in the collections of more than 30 museums including The Whitney Museum of American Art\, The Metropolitan Museum of Art and The Museum of Modern Art. In 2016\, The National Portrait Gallery–Smithsonian Institution acquired her portrait of Fab 5 Freddy from 1983\, where it is currently on display. In 2018\, the Whitney acquired Dobb’s Hats (1981)\, a historically essential example of the female gaze in New York City—the city at night and the sex trade. \nImages(top to bottom) \nJane Dickson\, “Live Girls 2” 2001\, Oil stick on Emory Cloth\, 18 x 18 in. \nJane Dickson\, “Chippendales”\, 1993\, Oil and rol-a-tex on canvas\, 69 x 123 in \nJane Dickson\, “Peep Couple”\, 1994\, Oil stick on emory cloth on wood\, 8 x 8 in
URL:https://www.howlarts.org/event/jane-dickson-hot-hot-hot/
LOCATION:NY
CATEGORIES:Exhibition,Gallery
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200123T190000
DTEND;TZID=America/New_York:20200123T210000
DTSTAMP:20260606T014511
CREATED:20200115T181816Z
LAST-MODIFIED:20200115T221252Z
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SUMMARY:Anne Waldman Mundo Aparte /Offworld
DESCRIPTION:Book Launch\n  \nPoet Anne Waldman needs no introduction. We consider her part of the Howl family and are more than pleased to help celebrate the launch of her new book\, Mundo Aparte/Offworld\, a bilingual Spanish/English collection of poems\, co-published by Pinsapo and Sonámbulos Ediciones. \nThe evening begins with the screening of Crepuscular\, a cinema-poem collaboration by No Land and Waldman\, envisioned for Anne’s poem of the same name which appears in her book Trickster Feminism. Narrated by Waldman\, the film invokes archetypes of trickster poets whose sleight of hand can turn night to day—characters who ripple time with their instruments and mutability practices\, states of precipice\, and more. Crepuscular features sound by Joanna Mattrey and Ambrose Bye. The film premiered at Saint Mark’s Poetry Project in 2018. \nWaldman is joined for a music-text hybrid reading of the poems with multi-instrumentalists and master improvisers Devin Brahja Waldman\, Janice Lowe\, and James Brandon Lewis. Poet\, translator\, and scholar Mónica de la Torre will read the poems in Spanish. \nOffworld / Mundo Aparte is translated by Mariano Antolín Rato\, edited by Öykü Tekten\, with an introduction by Ammiel Alcalay. In his introduction\, Alcalay says: “As the inheritor of so many rich examples and approaches to form and the worlds form enacts—from Pound\, Williams\, Reznikoff\, and Olson\, to Gertrude Stein\, H.D.\, Robert Duncan\, Diane di Prima\, Amiri Baraka\, and so many others\, Waldman’s work\, no matter its length\, retains a scope commensurate to its intent\, the intent being to record\, to leave a record\, to declare the intensity of a life\, and propose going out on a very far limb\, so that others might come along\, even part of the way.” \nAbout Anne Waldman \nAnne Waldman is a poet\, performer\, professor\, editor\, literary arts curator\, and cultural activist. She is the author of numerous collections of poetry\, including the feminist epic The Iovis Trilogy: Colors in the Mechanism of Concealment (Coffee House 2011)\, winner of the 2012 PEN Center USA Award for Poetry. She co-founded the Naropa University’s Jack Kerouac School of Disembodied Poetics Summer Writing Program with Allen Ginsberg and Diane di Prima\, which she continues to curate in the summers\, with an upcoming session titled “Sanctuary & Apocalypse” (for more information email SWP@naropa.edu). She has two forthcoming records: Sciamachy\, produced by Fast Speaking Music and the Levy-Gorvy Gallery\, and Poetry by Anne Waldman\, produced by Devin Brahja Waldman with Guro Moe\, Laurie Anderson\, Deb Googe\, William Parker and Ambrose Bye\, cover art by Pat Steir.
URL:https://www.howlarts.org/event/anne-waldman-mundo-aparte-offworld/
LOCATION:NY
CATEGORIES:Special Event
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DTSTART;TZID=America/New_York:20200125T190000
DTEND;TZID=America/New_York:20200125T210000
DTSTAMP:20260606T014511
CREATED:20200119T171051Z
LAST-MODIFIED:20200428T172753Z
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SUMMARY:Voyeurs\, Exhibitionists\, Criminals\, and Misanthropes
DESCRIPTION:Writers Remember Times Square\nNoah Prince\, Peter Nolan Smith\, and Claudia Summers\nConfetti lingers in lonely gutters and the crevasses of the sidewalks. It spins upward through spiraling gusts of wind eventually landing again. Aside from your best intentions\, nothing escapes the gravity of the neighborhood. —Noah Prince \nTimes Square as a center of gritty life is long gone\, but among this group of writers\, it’s not forgotten. Join us for an evening of provocative readings by Noah Prince\, Peter Nolan Smith\, and Claudia Summers. The Disneyfication of the area is complete\, and for many what remains is a memory of a time in the life of New York City prior to commercialization\, gentrification\, and the gutting of neighborhoods and the colorful characters who inhabited them. Just as Jane Dickson’s paintings describe her experiences of living in Times Square—once a mecca for voyeurs\, exhibitionists\, criminals\, and misanthropes—these writers describe a bygone era of this infamous locale. \nJane Dickson’s exhibition\, HOT\, HOT\, HOT: Paintings of Times Square Peep Shows\, continues through February 23. \nPARTICIPATING READERS \nClaudia Summers is a writer living in New York\, a recent MFA graduate of City College. She was the vocalist on the dance club hit “The Dominatrix Sleeps Tonight”. She is currently working on a collection of linked short stories set in the 80s downtown art and music scene of New York. She can be followed on Facebook\, and her Instagram username is @_claudia_summers_. \nNoah Prince moved to Hell’s Kitchen in early ’86 and lived so many events he could never un…live… Times Square was his coming of age. He accidentally began a career in the New York film industry. The idea of writing was nowhere in his path. In 2011 he worked on a television show set in the theatre district. It brought back his memories of the 80s. The thoughts quickly formed a book\, Failures at Summer Camp\, as well as several short stories from the time. He lives in Brooklyn. \nPeter Nolan Smith moved from his native New England to New York in 1976. The city was ablaze like the Goths had just burned Rome\, but the East Village was a refuge for young malcontents. A doorman at illegal nightclubs in the late 70s\, Smith moved to Paris to pursue writing detective poetry. Nothing came of it other than a few short stories and a failed screenplay. Back in New York he compiled more stories and published in various literary magazines before heading out to Asia for a decade-long excursion throughout the Far East. In recent years he resumed writing novels and collections of short stories without bothering to have them published other than on his website mangozeen.com\, living by his old motto: “No commercial value. No sellout.” The author now lives between Fort Greene and Thailand and is currently writing a novel about teenage devil worship in the 1960s.
URL:https://www.howlarts.org/event/voyeurs-exhibitionists-criminals-and-misanthropes-writers-remember-times-square/
LOCATION:NY
CATEGORIES:Events
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