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DTSTART;TZID=America/New_York:20210919T110000
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DTSTAMP:20260622T165306
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SUMMARY:Icons\, Iconoclasts\, and Outsiders
DESCRIPTION:September 19\, 2021 – March 6\, 2022\nInaugural Exhibition at Howl! Arts/Howl! Archive (HA/HA)\nGrand Opening: Sunday\, September 19 / 11 AM–6 PM \nHowl Arts is pleased to announce the inaugural exhibition at its new space\, Howl! Arts/Howl! Archive (HA/HA). Icons\, Iconoclasts\, and Outsiders presents works by artists\, writers\, musicians\, scenesters\, performers\, icons\, iconoclasts\, outsiders and other creators from the 1960s to the present whose life and work energized the underground and are now entering mainstream cultural discourse. HA/HA is located at 250 Bowery\, just down the block from Howl! Happening. The exhibition continues through December 23\, 2021 and is co-curated by Howl executive director Jane Friedman with Sean Mellyn and Maynard Monrow. \nIcons\, Iconoclasts\, and Outsiders unveils previously undocumented aspects of downtown life and culture—the atmosphere of a wildly diverse neighborhood that has influenced successive generations. A refined collection of works of art\, cultural history\, and ephemera\, the exhibition presents the early Ramones banner Gabba Gabba Hey (1977) and the paintings by artist and founding spirit of the gallery Arturo Vega; Candy Darling’s the worst years of my life: a five year diary\, from the collection of her longtime friend Jeremiah Newton; David Wojnarowicz’s Saint Sebastian (1981)\, a portrait of Brian Butterick from his personal collection; costumes\, props\, and videos from The Alien Comic Tom Murrin’s archive; an exquisite photographic portrait by George Dureau and explosive paintings by Richard Hambleton from the Arturo Vega estate; a signature portrait by Helen Oliver Adelson; graphite portraits by John Kelly of gifted individuals who were part of his life and creative circles; cultural chronicler and photographer Marcia Resnick’s color portrait of William Burroughs (1980); and Scooter LaForge paintings that explore contemporary social issues through humor\, lavish decoration\, and exaggerated cartoon-like figures. \nAlso from the collection are works of art and archival materials from the 60s to the present including Philly Abe; Richard Bernstein; Don Herron; Mark Morrisroe; Dustin Pittman; Jamie Reid; Walter Stedding; Patti Smith; Tabboo!; Gail Thacker; Toyo Tsuchiya; Guy Woodard; as well as Mudd Club doorman extraordinaire Richard Boch’s personal papers; and materials from the estate of Clark Render\, known for his collaboration with David Ilku in The Dueling Bankheads. \nIn the new screening room\, Howl draws from its video archive of work by Merrill Aldighieri as the first VJ and early documentarian of the legendary 80s nightclub Hurrah; the archives of Efrom Allen\, host of the early public-access television show Underground TV\, featuring a range of unconventional guests including Sid Vicious\, the Ramones\, Marilyn Chambers\, Blondie\, Steve Allen\, Buddy Rich\, Stiv Bators\, Brooke Shields\, and William Shatner; and selections from the vaults of Howl TV including live performances\, readings\, panel discussions\, and happenings with artists\, writers\, musicians\, and thought-leaders who have enlivened the gallery since its inception in 2015. \nHowl’s Permanent Collection comprises over 3\,000 objects\, including art\, rare digital and analog media\, performance-art ephemera\, and personal archives from the 1960s onward. The Collection documents the origins and growth of local cultural and social movements that have had far-reaching impact—offering a myriad of opportunities for new interpretations of the punk\, new-wave\, and no-wave movements; performance art; drag; street art; public-access television; nightlife; LGBTQ activism; the AIDS epidemic; and urban gentrification. \nImage: Richard Hambleton\, Untitled (Leaping Shadowman)\, ca 2000 \nVisitation Guidelines
URL:https://www.howlarts.org/event/icons-iconoclasts-and-outsiders/
LOCATION:HA/HA\, 250 Bowery\, 2nd Floor\, New York\, NY\, 10012\, United States
CATEGORIES:Exhibition,Gallery,HAHA,Happening Soon
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DTSTART;VALUE=DATE:20211023
DTEND;VALUE=DATE:20211206
DTSTAMP:20260622T165306
CREATED:20210920T160144Z
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SUMMARY:Andrew Castrucci: 36 Years at Bullet Space
DESCRIPTION:Opening Reception: October 23\, 6 — 9 PM \nAndrew Castrucci is an artist who has contended with this magical\, mysterious and often menacing space called Manhattan for over four decades… Castrucci is a portrait painter of the city we all love\, who captures its primal essence not as a matter of realistic representation\, but as a psychological study of the great ambivalence at the heart of this experience of living here. —Carlo McCormick \nHowl! Happening is pleased to announce an exhibition that pays tribute to Bullet Space and Andrew Castrucci—framed around the artist’s 36-year tenure leading the unique community space\, and two mammoth artists’ books he produced with a myriad of collaborators: Your House is Mine (1988–1992) and Fracktured Lives (2010–2020). Threaded throughout are other artifacts including his paintings on steel as well as silk screens from the two books; newspapers; and ephemera produced between 1985 to the present. The exhibition is curated by Carlo McCormick and Alexandra Rojas and will be accompanied by a catalog with essays by McCormick and Tom McGlynn. \n \n“When painting on scraps of metal\, Castrucci evokes a temporal uncertainty that debilitates the monumentality at hand\,” says McCormick. “It is heavy metal played with the volume off\, hardcore slowed down to a waltz.” \nOn view will be the full range of Castrucci’s work—his signature paintings on metal\, like the rude algae of time; paintings that channel his lifelong love for fishing; and other works that emphasize art-making beyond decoration. Rooted in community\, the show also presents Castrucci’s collaborations with John Fekner—including the large stenciled works We the People and NY is OK—and pieces created with NOC 167\, Tracy 168\, Nadia Coen\, Lee Quiñones\, Alexandra Rojas\, and Renzo Castrucci. “Art sometimes becomes a necessity\,” says Castrucci\, “and art as life is a necessary form of resistance.”   \nYour House is Mine by Castrucci and Nadia Coen is an oversized artists’ book with 33 signed silk-screen prints. A collection of images and texts defining and expressing the broad and essential issue of housing on the Lower East Side\, the work as a whole creates a statement about the force of “art as a means of resistance.” The book is critical of the status quo. Provoking or inciting the public\, it offers objective statements or alternative solutions to authoritative city planning. \nAn amazing array of groundbreaking artists worked with Castrucci to make silk screens for the book\, including David Wojnarowicz\, Martin Wong\, Lady Pink\, and Lee Quiñones. From each silk screen\, 150 prints were made to be wheat-pasted on city walls\, and 150 were printed on 50-pound Mohawk vellum for Your House is Mine\, which was designed by Castrucci\, his brother Paul\, and Coen. The book also presents contributions from figures like Miguel Algarín\, Chris Burden\, Martha Cooper\, Daze\, John Farris\, Allen Ginsberg\, David Hammons\, Hettie Jones\, Cookie Mueller\, Public Enemy\, Adam Purple\, Bimbo Rivas\, and Andrés Serrano.  \nFracktured Lives is a massive 25-pound book\, bound in sheet metal\, which comprehensively takes on the subject of fracking. The project was created to protest and ultimately ban this polluting practice that forcibly extracts natural gas.  \nThe book features 50 screen-prints by a diverse and intergenerational selection of artists—a veritable exhibition in codex form. Produced between 2010–2020\, 177 artists\, writers\, and “fracktivists” contributed\, notably including Joseph Beuys\, Andrew Castrucci\, Sue Coe\, John Fekner\, Yoko Ono\, Alexandra Rojas\, David Sandlin\, and Walter Sipser. \nDeploying a range of aesthetics between high and lowbrow art forms\, the posters and the ideas behind them were collectively brainstormed and came to fruition at the School of Visual Arts in New York City\, where Castrucci and his students started the Dirty Graphics collective.  \n\nAbout Bullet Space \nLocated at East Third Street in Loisaida\, Bullet Space is an act of resistance\, a community-access center for images\, words\, and sounds of the neighborhood. Founded in the winter of 1985\, it was part of the squatter movement and reconstructed with or without the formal sanction of the city—invisible officialdom. The ground floor of the building is open—like a bulletin. “Bullet” first originated from the name-brand of heroin sold on the block—which was known as the “bullet block”—encompassing the accepted American ethic of violence. “Bullet Americana” is art form as weaponry. \nAbout Andrew Castrucci  \nAndrew Castrucci was born in 1961 and raised in the proximity of West Hoboken and Cliffside Park\, spanning New Jersey’s industrial expanses of the lower Hudson River.  \nFrom 1984–86\, he ran the A&P Gallery with his brother Paul. In 1986\, Castrucci co-founded Bullet Space\, an urban artist collaborative. Creating a print shop there\, he was instrumental in producing over 10\,000 silk screen posters by a wide range of artists\, writers\, and thinkers. Castrucci curates shows and publishes artist’s books\, most recently the Bulletin newspaper edition #10\, and Shoot the Pump\, co-curated with Lee Quiñones and Alexandra Rojas. \nCastrucci co-published the Your House is Mine 1988–92 book and poster project\, which has been hailed as one of the most important artist’s book editions of the 20th century by Marvin Taylor\, head of the Fales Library collection of New York University. He also published Fracktured Lives\, a 10-year project dealing with hydro fracking in upstate New York and its global impact. \nFor 20 years (1986–2006)\, he ran artist workshops through Healing Arts Initiative (HAI) at Wards Island\, the Fort Washington Men’s Shelter\, a Rockland County juvenile detention center\, and a correctional facility in the Bronx where he discovered the now well-known artist Melvin Way. \nCastrucci has been working on a film\, The River Speaks: Urban Angling in the East River\, where life becomes art. His other films include Struck by the Hand (2000)\, The Resistance of Memory (2005)\, America Berserk (2008)\, and Ninety Degrees North (2018). \nIn 1997\, in collaboration with his students at the School of Visual Arts Printshop\, he started the collective Dirty Graphics\, which continues to this day\, having printed thousands of silk screen posters. \nCastrucci’s work is included in the collections of the Museum of Modern Art\, Whitney Museum\, and Metropolitan Museum of Art in New York; State Museum of Berlin; Stedelijk Museum in the Netherlands; and the Library of Congress Rare Books and Special Collections Division in Washington\, D.C.; among others.
URL:https://www.howlarts.org/event/andrew-castrucci-36-years-at-bullet-space/
LOCATION:Howl! Happening\, 6 East 1st Street\, New York City\, NY\, 10003\, United States
CATEGORIES:Exhibition,Gallery,Happening Soon
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SUMMARY:Littérature: Readings by Mike DeCapite\, Luc Sante\, and Adele Bertei
DESCRIPTION:Howl Arts is pleased to present an afternoon of interlocking and deeply personal readings that pay homage to people\, places\, and times that remain touchstones of genius and inspiration. All three authors transmit the experience and feelings of “being there now” with rare urgency and intimacy. Memoir\, autobiography\, and novel\, Bertei\, Sante\, and DeCapite tell stories of becoming\, creating\, and loving—bolstered by the wisdom of lived experience. Howl! Happening\, 6 East First Street\, New York.  \n \nAdele Bertei  \nPeter and the Wolves  \nIn her vibrant and brave memoir\, Bertei recounts her friendship and musical collaboration with Peter Laughner (Pere Ubu)\, Cleveland’s answer to all things underground and punk in the 1970s. The pair’s musical collaborative work appears in the Peter Laughner 5-LP box set (also out now on Smog Veil Records). For the Los Angeles Review of Books\, music journalist and cultural critic Greil Marcus posits\, “For the first time Bertei felt unformed\, innocent\, clear-seeing\, and unjudged: as if she had a life to make.”  \nAppearing tonight with Bertei\, author and friend Luc Sante says\, “Peter Laughner was a secret inventor of punk rock\, a dazzling songwriter and guitarist who should by all rights have become a star. But he died suddenly\, in the crucial year 1977\, and instead became a ghost\, haunting the corridors of rock and roll. Adele Bertei’s tender evocation restores him to flickering life\, and her account of the complex education he gave her is inspiring and sobering at once.” \nThurston Moore and Byron Coley of Bull Tongue describe the book in visceral terms\, calling it “…a long gestating\, touching and tear-swallowing memoir of [Bertei’s] time as Peter’s roommate\, speed-snorting buddy and young kid dyke discovering EVERYTHING…” \n \nLuc Sante  \nMaybe the People Would Be the Times  \nA tour-de-force essay collection of fifty-one brief essays written over nearly three decades…capturing scenes and sentiments from 1970s and 1980s New York City: record shops\, concerts\, subway snoozes\, dance clubs\, block parties\, tabloids\, most-wanted lists\, drug trips\, underground economies\, drink tickets\, apartment dramas\, visual cultures\, unsent letters…Sante meditates on what it’s been like to see and feel the world change—to come of age through music\, photography\, literature\, and film\, and to be growing older and wiser still. —Jonathan Leal\, The Rumpus \nIn his second collection (after Kill All Your Darlings: Pieces 1990–2005)\, Luc Sante pays homage to Patti Smith\, Rene Ricard\, and Georges Simenon; traces the history of tabloids; surveys the landscape that gave birth to the Beastie Boys; explores the back alleys of vernacular photography; and sounds a threnody for the forgotten dead of New York City. \nThe glue holding the collection together is autobiography. Every item carries deep personal significance\, and most of the essays are rooted in lived experience\, in particular Sante’s youth on the Lower East Side of New York in the fertile 1970s and 1980s. He traces his deep engagement with music\, his experience of the city\, his progression as an artist and observer\, and his love life and ambitions. Maybe the People Would Be the Times is organized as a series of sequences in which one piece leads into the next. Memoir flows into essay\, fiction into critical writing\, humor into poetry—the pieces answering and echoing one another\, examining subjects from multiple vantages. The collection shows Sante at his most lyrical\, impassioned\, and imaginative\, a writer for whom every assignment brings the challenge of inventing a new form. The book has been nominated for the 2021 PEN/Diamonstein-Spielvogel Award for the Art of the Essay.  \nLuc Sante’s most recent collection is Maybe the People Would Be the Times. His other books include Low Life\, The Factory of Facts\, Kill All Your Darlings\, and The Other Paris. He has lectured on four continents and contributed to many publications\, from ephemeral zines to ornamental coffee-table anvils. (@luxante on Instagram) \n \nMike DeCapite  \nJacket Weather  \nJacket Weather is a tender love story that blossoms like a rose in the concrete of a city always on the verge. DeCapite’s effortless prose stirs echoes of certain New York School poets\, of ‘cold rosy dawn\,’ night streets illuminated by great bars and the music streaming out of them—the endless possibilities of a place where\, despite persistent evidence to the contrary\, ‘love is the heart of everything.’ —Max Blagg\, author of Slow Dazzle and Loud Money\n \nDeCapite reads from his highly praised first novel\, Jacket Weather\, published by Soft Skull Press. \nNick Hornby meets Patti Smith\, Mean Streets meets A Visit from the Goon Squad in this quintessential New York City story about two people who knew each other in the downtown music scene in the 1980s\, meet again in the present day\, and fall in love. \nJacket Weather is about awakening to love—dizzying\, all-consuming\, worldview-shaking love—when it’s least expected. It’s also about remaining alert to today’s pleasures—exploring the city\, observing the seasons\, listening to the guys at the gym—while time is slipping away. Told in fragments of narrative\, reveries\, recipes\, bits of conversation\, and snatches of weather\, the book collapses a decade in Mike and June’s life and shifts the reader to a glowing nostalgia for the present. \nPoetic and compulsively readable\, Jacket Weather invents a new genre—call it lyrical realism. Mike DeCapite casts a cool but affectionate eye on New York in the 2010s\, as it lives on despite having become a replica of itself. Like Virginie Despentes’s Vernon Subutex\, Jacket Weather traces the lives of those who’ve stayed on after the party. It’s a love story improbably set at the beginning of late middle age\, and it’s also a story of cities\, survival\, adaptation\, desire\, and a celebration of the small pleasures we invent and discover to offset unavoidable loss.  \n—Chris Kraus\, author of After Kathy Acker and Summer of Hate
URL:https://www.howlarts.org/event/adele-bertei-mike-decapite-luc-sante-litterature-readings-and-celebration/
LOCATION:Howl! Happening\, 6 East 1st Street\, New York City\, NY\, 10003\, United States
CATEGORIES:Book Signing,Happening Soon
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