Publisher NY Art Magazine: Abraham Lubelski

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NYC Art Fairs March 2018

The New York City Art Fairs for March is referred to as Armory Week.

See Art Fairs listed below.

The Armory Show
March 8 – 11, 2018

CLIO Art Fair
March 8 – 11, 2018

Spring Break Art Show
March 8 – 11, 2018

Affordable Art Fair
March 21 – 25, 2018

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Pat Lasch, HV: Four Pregnancies: Two Births, 2014, polymer acrylic paints, pearls, and glass beads, 46″h x 24″ w

CURRENTS an exhibition in which artists respond to the theme of ABORTION. In this turbulent moment in history, abortion remains a signifier of people’s ownership over their bodies, being as urgent a subject as any of the issues that now consume us.

The exhibition includes depictions of choice, loss, and anger; works of fecundity, disease, shame, and pain; images of helplessness and of power. There are pieces that reach into the past to demonstrate ways in which women used abortifacients, as well as work that is pro life and religious. All these propositions are united in the gallery to create a space in which we listen to each other.

Participating artists:
Adrienne Jenkins, Alexander Bernon, Amy Cannestra, Amy Finkbeiner, Anne Ferrer, Audrey Anastasi, Bernadette Despujols, Cali Kurlan, Catherine Hall & Meg Lipke, Charlotte Woolf, Christophe Lima, Coco Hall, Cristin Millet, Cynthia Winika, d’Anne de Simone, Dani Sigler, Danielle Siegelbaum, Deborah Wasserman, Devra Fox, Divine Williams, Dottie Attie, Elaine Angelopoulos, Elke Solomon, Ellen Jong, Eugenia Pigassiou, Gina Randazzo , Grace Burney, Greta Young, Heather Saunders & Cassandra, Heather Weathers, Ilona Granet, Indira Cesarine, Irene Gennaro, Jane Zweibel, Jessica Nissen, Julia Kim Smith , Julia Buck, Justine Walker, Karen Meersohn, Kathy Grove, Katrina Majkut, Lannie Hart, Leslie Fry, Leslie Tucker, Megan Pickering, Marie Tomanova, Martha Edelheit, Martha Fleming-Ives, Maureen Connor, Mira Schor, Nadine Faraj, Nancy Hellebrand, Nancy Lasar, Nina Meledandri, Parastoo Ahoon, Pat Lasch, Perri Nerri, Rachel Lindsay, Rachel Portesi, Robin Adsit, Robin Jordan, Robin Tewes, Rosemary Meza-DesPlas, Ruth Owens, Sabra Moore, Sooyeon Yun, Susan Carr, Valerie Hallier, Virginia Carey, Yael Ben-Zion.

Curated by Barbara Zucker.

Public Programs
January 6, 1pm : The Beginning Choice performance by Parastoo Ahoon
January 7, 2-5 pm : With Women Workshop: Reproductive Self Determination and Autonomous Women’s Health-Care , Maureen Connor and others.
January 12, 19, and 25, 2-6pm : Y our Story , readers will read from personal abortion stories submitted to the gallery
Confirmed readers: Joyce Kozloff, Elke Solomon, Gina Zucker, Nancy Cohen, Patricia Hernandez, Donna Kaz and Joanne Howard

 

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The exhibition takes place during a time when there has been a war of words between North Korean and U.S. leaders. With this exhibition, Cheon establishes the personality cult of UMMA (‘mommy’ in Korean), whose maternal love is deployed as the only acceptable solution for global peace and Korean unification. Whereas South Korea’s modernity was pushed forward by
a chima baram (skirt wind), UMMA’s matriarchal strength is offered as a catalyst for developing
North Korea. In this exhibition, Cheon (in the guise of her alter ego Kilm Il Soon, the ‘Umma of
Unification’) sends motherly love and education to her children in the Hermit Kingdom and the USA.
In addition, she debuts artworks resulting from a series of dissident dreams.

For UMMA : MASS GAMES, Cheon has worked with underground networks to send hundreds of
USB drives containing performance lectures on contemporary art history into North Korea –
arguably the first such artistic ‘re-programming’ engagement with the nation to date. All ten lessons
will be on display at Ethan Cohen Gallery on Notel media players (devices commonly used in North
Korea for watching foreign video content, such as K-pop, drama, and Korean Wave Cinema). The
Art History Lessons by Professor Kim (2017) endeavor to be relatable for North Korean and
American audiences – borrowing from children’s TV show formats while showcasing today’s
contemporary artists and critical perspectives. Carrying the vital messages “The world loves you,
North Korea” and “Both art and lives matter,” lesson topics include Art & Life; Art & Food; Art,
Money & Power; Abstract Art & Dreams; Feminism, Are We Equal?; Art, Lives Matter & Social
Justice; Remix & Appropriation Art; Art & Technology; Art & Silence; and Art & Environment.
The Mass Games (Arirang) are the paramount North Korean spectacle, deployed for nationalistic
propaganda purposes and presented to the world. But are they any fun? In this exhibition, Umma

supervises her own games, convened by love for her children: The show includes group-
performance imagery in the form of Happy North Korean Children (2014) prints. Furthermore, an

installation entitled Happy Land Games (2017), incorporating oversized wooden versions of the
toys normally given away inside packets of South Korean Choco·Pie candy – depicting fairground
rides from a mythical park called Happy Land. The Choco·Pie is the most desired smuggled
confectionary in North Korea, a single pie trading (on the black market) for the equivalent of three
bowls of rice. Visitors to Ethan Cohen Gallery are invited to assemble and play with Umma’s Happy
Land. The themes of games, happiness, and imaginary society in these works are in dialogue with
North Korea’s international self-presentation – invoking the DPRK’s 2011 Global Index of
Happiness Research claim that it is ‘the second happiest nation in the world next to Big China.’

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This exhibition also showcases an insight into Socialist Realist painter Kim Il Soon’s cosmopolitan
subconscious. It is only in her dreams that she truly contemplates liberation. These dreams have
resulted in two painting series (entitled, respectively, Hot Pink Drip and Yves Klein Blue Dip),
which incorporate digital manipulation and abstract painterly gestures in conjunction with realist
propaganda styles. Titles and topics include: Umma, Unicorn, and Unification, as well as a series
of Professor Kim and Umma in her full virtuoso presentation rising above the clouds and fogs of the
Baekdusan Mountain, in Umma Rises: Towards Global Peace. Other works include portraits of
Umma in North Korea, Missiles Good Bye and Hello Brave New World.
In UMMA : MASS GAMES, the contradictions, fractures and paradoxes of the Korean imaginary
are on full display. With the Kim Il Soon artist-complex (a locus of various attributes:
scholar/educator, state-artist, dissident dreamer and mother/umma), Cheon explores overlapping
political and personal dramas of identification and acceptance. Simultaneously, she exorcizes
Fatherly sins through the cult of the great UMMA, her motherly love, and her serious play. No image
of this love is too grand. Nothing too small: Leading up to the opening of her exhibition during NYC
Asia Contemporary Art Week, Umma (dressed in traditional Korean garb and on her knees) will
perform the cleaning of gallery floors and offering kimchi. On Friday, October 13th (5PM), she will
be cleaning the floors of Ethan Cohen Gallery as a prequel performance to the UMMA exhibit.
The exhibition catalog will include a curatorial essay by Nadim Samman, who contributed
ideological engineering and ‘right-thinking,’ staging the provocation of the exhibition from the
heavens to the undergrounds of North Korea, where Umma rises and descends. Other writers
include fellow-traveler philosopher Laurence A. Rickels who has taken down the Official
Psychoanalytic History of Umma and Korea, by interpreting Kim Il Soon’s dreams, unlocking her
“andere Schauplatz” where she unleashes a desire for Unification.
“From Kim Il Soon to Professor Kim (whose scholastic pursuits are wide and unbound), our UMMA
demonstrates militant efficiency; outstanding and seasoned ability of leadership; a thoroughgoing and
indomitable spirit; the power of keen observation; clear analysis and extraordinary perspicacity with
regard to all things and phenomena. UMMA’s love for the people is allied with a serious faculty for
creative thinking, regarding every problem with an innovative eye. She shows courage and ambition
while advancing vigorously along the road. She holds fast to the banner with a firm grasp;
with strength, daring, energy and originality. Of course, it is my distinct honor to join with her program
– and to offer my dedicated enthusiasm for proper implementation.” (Curator Nadim Samman)
Mina Cheon (PhD, MFA) is a Korean-American global new media artist, scholar, and educator who
divides her time between Korea and the United States. Cheon has exhibited her political pop art
known as “Polipop” internationally and draws inspiration from global media and popular culture to
produce work that intersects politics and pop art in subversive and provocative ways. In particular,
Cheon has worked on North Korean awareness and global peace projects since 2004 and
appeared to the world as a North Korean artist KIM IL SOON since 2013. While she creates work
that range in medium from new media, video, installation, performance, and public projects to
traditional media of painting and sculptures, the content of the work is in historic alignment to
appropriation art and global activism art. She has exhibited her work and/or in the collection of the
Sungkok Art Museum, Seoul Olympic Museum, American University Museum, Smith College
Museum of Art, Baltimore Museum of Art, Maryland Art Place, Insa Art Space Korean Arts Council,
C.Grimaldis Gallery, Lance Fung Gallery, Trunk Gallery, and represented by Ethan Cohen Gallery.
She is also currently a Full-time Professor at the Maryland Institute College of Art (MICA).
http://www.minacheon.com

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Nadim Samman is a curator and art historian whose PhD research focused on underground Soviet
conceptualism. In 2017, he was Co-Curator of the 1st Antarctic Biennale (the first artistic festival in
the world’s southernmost continent). In 2016, he was Curator of the 5th Moscow International
Biennale for Young Art. In 2015, he curated the Cycle Art & Music Festival in Reykjavik, Iceland, and
in 2012, he Co-curated 4th Marrakech Biennale. Samman is currently engaged as a Curator of the
Aurora public art festival in Dallas (2018). He has published in newspapers, magazines, and journals
worldwide, and in 2016 was named among the ‘20 Most Influential Young Curators in Europe’ by
Artsy. http://nadimsamman.com
The Ethan Cohen Gallery was founded in 1987 as Art Waves/Ethan Cohen in SoHo, New York
City. A groundbreaker in the field of contemporary Chinese art, it was the first gallery to present the
Chinese Avant Garde of the 80s to the United States. It introduced the works of now celebrated
artists, such as Ai Weiwei, Xu Bing, Gu Wenda, Wang Keping and Qiu Zhijie. Ethan Cohen today
represents a diverse global mix of art, including contemporary American, African, Iranian, Chinese,
Korean, Japanese, Russian, Pakistani and Thai, with a continuing focus on emerging as well as
established artists, and has two locations, gallery in Chelsea and The Kube in Beacon, New York.
https://www.ecfa.com

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A major Bill Viola retrospective opening today (30 June) at the Museo Guggenheim Bilbao marks the US video artist’s “special connection” to the museum, says its director Juan Ignacio Vidarte. He describes the show, which runs until 9 November, as a highlight of the year-long programme of exhibitions and events honouring the 20th anniversary of the Frank Gehry-designed museum in the northern Spanish city.

Viola’s installation The Messenger (1996), originally commissioned for Durham Cathedral in England, was screened at the Guggenheim Bilbao in 1997, the year it opened. The museum’s 2004 exhibition of the artist’s works catalysed its long-term engagement with film and video art, Vidarte says. A black box gallery dedicated to the medium opened there in 2014.

The museum had harboured a wish to produce a larger-scale project with Viola for years, Vidarte says, but the time was right for the 20th anniversary. The result spans four decades of work and the evolution of video as an artistic medium, ranging from grainy 1970s single-channel films, such as The Reflecting Pool (1977-79), to recent multi-screen installations.

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The paintings, each composed of a central figure (often disfigured, deformed, or viewed askance) and presented against an obscured and chaotic backdrop, are an extension of the small-scale, serial pencil-and-paper portraiture that Vega produced nightly for over three decades. As paintings, they represent, too, a full-circle return for Vega who began his career as a painting student of Ad Reinhardt and Kurt Seligmann, then moved away from canvas towards sculpture and drawing and music, coming back to the medium, at the very end of his life, after working back through drawing and sculpture again.

The exhibition also features three of Vega’s iconic light-based sculptures, alongside the figure-based paintings. “They all look different but they’re all basically me and facets of my personality,” he once said of his obsessive focus on depicting distorted male figures.  “I’ve always drawn old men, even when I was a young kid. I used to go out to the Bowery and draw these old guys. Always done while I’m blitzed. Never touch them straight. I write like that, too. Some things come out of me that would never come out of me straight. Never. The sculptures I would never do any other way but straight. That’s dangerous shit, man.”

Born in Brooklyn in 1938, Vega is known first as one-half of the groundbreaking electro-punk duo Suicide, which initiated the merger of adversarial rock and anti-establishment performance that became punk, even as it left the movement behind. But music was always Vega’s second act. At Brooklyn College, he became involved with the activist collective Art Worker’s Coalition, which lobbied aggressively for museum reform and even barricaded MoMA, and with the Project of Living Artists, an anarcho-residency-performance space which emerged from it. He moved from painting to sculptures assembled from light fixtures and discarded electronic detritus, works which critic Simon Reynolds described  “trash-culture shrines from a post-cataclysmic America of the near-future” and Jeffrey Deitch has called “the toughest and most radical art I had ever seen.” Vega staged several legendary shows at OK Harris Gallery, and later inaugurated Barbara Gladstone’s first downtown space in 1983. Through the 1980s and 1990s, Vega continued to make new work, but declined to exhibit it until 2002.

When Alan Vega’s death was announced by Henry Rollins in the summer of 2016, it seemed as if all of New York was in mourning. Outpourings of love were spray-painted on brick walls, record store sandwich boards cried out for an era lost, and music lovers and downtown doyennes recounted stories of a time that once was.

Photo credit: Ari Marcopoulos

ALAN VEGA ALTERNATE VENUE EVENTS:

“Dream Baby Dream”
July 18 – July 29, 2017
Deitch
18 Wooster Street, New York, NY 10013
Album: IT
July 14, 2017
Listening events to be announced
Faderlabel.com

Screening: GoNightclubbing Presents the New York City premiere of:
Suicide Live! 1980/2002
+
In His Own Words/Alan Vega 2002
July 15, 2017
Q&A with filmmakers Pat Ivers and Emily Armstrong, plus Martin Rev
Anthologyfilmarchives.org

Performance: Martin Rev
July 21, 2017
roughtradenyc.com/calendar

Invisible-exports

89 eldridge street | new york ny i 10002 i 212 226 5447

Courtesy of Invisible-exports

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Museum staff prepares for exhibition at the South Tower gallery in New York, NY on Thursday, May 18, 2017. Photo by Jin Lee, 9/11 Memorial

About the Exhibit

“Cover Stories: Remembering the Twin Towers on The New Yorker” is an exhibition of 33 covers from the weekly news and culture magazine spanning more than four decades of the evolving New York City skyline. The exhibition takes visitors through the magazine’s depictions of the city’s experience as the Twin Towers were constructed and stood as icons of the city, their sudden absence when they were destroyed, the widely felt grief and anxieties in the aftermath of the 9/11 attacks, their commemoration in the years that followed, and the rebuilding of the World Trade Center site now home to The New Yorker and the 9/11 Memorial & Museum. The exhibition will run through May 2018 in the museum’s South Tower Gallery.

Location
9/11 Memorial Museum
180 Greenwich St, New York, NY 10007

Dates and Times
Currently open through May 2018 during normal Museum hours

Price
Cost of Museum admission ($0-24)

Website
https://www.911memorial.org/coverstories

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