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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Jairo Alfonso, 386, 2

Dear Abraham,

Gallery 8 New York opens in Harlem next Thursday with an inaugural exhibition 17 Cuban artists from FACTION Art Projects.

The exhibition, All That You Have Is Your Soul (Feb 2 – March 10) curated by Armando Marino and Meyken Barreto is a group show of 17 artists, all of whom are tied together by their responses to building identity within a foreign land. The exhibition uses the link of heritage between the artists to present artworks that celebrate difference in identity. Each artist in the show has some relationship to Cuba, some island-born emigres, some with careers developed in Cuba and others with more distant descendants. This starting point, a key point of identity for some, but not for others, offers a tangible bond in their linked roots, but the overriding premise is that as a group they mean to redefine themselves within their unique circumstance.

Artists exhibiting:

Alejandro Aguilera, Anthony Goicolea, Armando Mariño, Ariel Cabrera Montejo, Elsa Mora, Enrique De Molina, Ernesto Pujol, Geandy Pavon, Jairo Alfonso, Juan Carlos Quintana, Juan Miguel Pozo, Juana Valdes Maria Magdalena Campos Pons, Marc Dennis, Maritza Molina, Marta Maria Perez, Pavel Acosta, Quisqueya Henriquez

Throughout the show FACTION will seek to engage with local communities of the Harlem neighborhood. This will include a series of School Workshops, Curators’ Talks, a Neighborhood Welcoming Day, Artist Workshops, Panel Discussions and a Cuban Cultural Evening.
FACTION provides artists with promotion and opportunity to access collectors and a wider audience, with all the support of a gallery but without the constraints of the traditional model. FACTION is a new flexible collective, from the team behind the hugely successful Gallery 8 and Coates & Scarry in London, who in this, their foray into the US, are adapting a unique model for artists and gallerists to work together.

All the very best,

Anna

Thanks and congratulation on a significant program and exhibit.

Abraham Lubelski

Editor / Publisher

Press Release

Geandy Pavon, Wrinkled Wing, 201

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Abortion is our country’s Scarlet Letter, an impassioned “A” writ large on our conscience. We shame, blame and deny women their right to self-determination to live, love and when to have or not have children. Although this January is the 45th year anniversary of the Supreme Court Ruling legalizing abortion, there have been, as of last count, 401 rollbacks across the country making it very difficult, and in many cases impossible for women to elect this choice. What can we do about this?

We can march, write articles, sign petitions, hold direct actions We can invent related hashtags like #MeToo–what greater sexual harassment in there than defining what a woman can do with her body? And we can make art. But what might art about abortion look like? What might it accomplish? These are the questions Barbara Zucker explores in “Currents: Abortion” an ambitious exhibit she curated at the A.I.R. Gallery.

Barbara Zucker, artist, writer and activist, is a co-founder of A.I.R. Gallery, established in 1972 as the first not-for-profit, artist-directed and maintained gallery for women artists in the United States.

In my interview with her, Zucker said, “Abortion is talked and written about, but there’s not much art about it. It almost seems taboo. Several artists I approached to do an artwork said “’No’.”

This exhibit is a visual compendium and unfolding of the issues, stories, meanings, and history embedded in one word: Abortion. The 70 works selected from the over 160 submissions, are the artists’ response to a series of questions posed by Zucker.

In selecting the works, Zucker said that “I didn’t know what I was looking for but I knew I didn’t want the usual tropes of hangers, nor large amounts of blood. Nothing specific.” She want

ed works that were “thought provoking, reflecting different states of mind, speaking in different voices.”

Two of A.I.R.’s three galleries, entrance and back hall, are richly filled with works in a breathtaking range of mediums: paintings, drawings, prints, etchings, photographs, collage, sculpture, mixed-media constructions, and a monitor showing several videos. Zucker doesn’t seem to impose any apparent “ordering” of the work. All media, all viewpoints, views and experiences are exhibited together, demanding equal attention–a sisterhood of Me Too. The effect is that of “a visual conversation” representing all the varied experiences women have and have had regarding abortion This not a quiet exhibit. It fairly shouts at you—you hear the different visual voices, experiences, stories, cries and whispers of defiance, anger, pain, sadness, longing, shame, regret, outrage __”the full catastrophe”.

Zucker believes this show is an opportunity for us to listen to artists who have chosen to give voice to their “emotions and perceptions about this subject. You will find depictions of choice, loss, and anger; of fecundity, of disease. There are images of helplessness and images of power. There is work that reaches into the past to demonstrate ways in which women used abortifacients. There is work that is pro-life as well as work that is religious.”

She observes that those who are pro-choice are as passionate as those who are not. “I believe all of us are pro-life: it is the definition of the term that is not the same. Herein lies the dilemma. How do we ever bridge this divide?”

Though much has been written about abortion, there has

not been much visual art. Through this exhibit, Zucker hopes to get people to see the visual and have it be as important as the words. Art, she believes, is a powerful bridge that can engender a kind of “visual dialogue.”

Barbara Zucker’s introduction to the exhibit profoundly states that “Art is visual listening.” She continues with “We use all of our senses to listen and to understand. In this turbulent moment in history, the ability to listen to one another has become a matter of urgency.” “Currents: Abortion” reflects these complexities and is larger than pro and con, yes and no. It goes to the heart of who we are and how we want to be as individuals and as a nation. This exhibit shows us how the personal is political.

Indira Cesarine ACT NOW

Yael Ben-Zion: Photograph Detail 2017 Cemetry at Trinity Church “In Loving Memory of All The Victims of Abortion”

Rosa Naparstek      January 22, 2018

 ____________________________________________________

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

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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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Posted by Abraham Lubelski

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The exhibition brings together some of the Whitney’s most powerful works by Mark Bradford, Paul Chan, Larry Clark, General Idea, Felix Gonzalez-Torres, Guerilla Girls, On Kawara, Edward Kienholz, Glenn Ligon, Julie Mehrutu, Toyo Miyatake, Senga Nengudi, Gordon Parks, Ad Reinhardt, Martha Rosler, and others.

Many of the artists have sought changes, such as ending the war in Vietnam or combating the AIDS crisis. Others have engaged with protest more indirectly, with the long term in mind, hoping to create new ways of imagining society and citizenship.

The exhibition offers a series of historical case studies focused on particular moments and themes—from questions of representation to the fight for civil rights—that remain relevant today. At the root of the exhibition is the belief that artists play a profound role in transforming their time and shaping the future.

For more information, visit the Whitney’s website.

 

Annette Lemieux (b. 1957), Black Mass, 1991. Latex, acrylic, and oil on canvas, 95 13/16 × 105 × 1 13/16 in. (243.4 × 266.7 × 4.6 cm). Whitney Museum of American Art, New York; promised gift of Emily Fisher Landau P.2010.173. © Annette Lemieux

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The Guggenheim Museum’s exhibition, Art and China after 1989, presents work by 71 key artists and groups who have been active in China and around the globe.

Starting in 1989 and spanning through the Beijing Olympics of 2008, the exhibition covers the culture of artistic experimentation during a time characterized by the onset of globalization and the rise of a newly powerful China on the world stage. The exhibition’s subtitle, Theater of the World, comes from an installation by the Xiamen-born, Paris-based artist Huang Yong Ping: a cage-like structure with live reptiles and insects caught in the cycle of life, an apt spectacle of globalization’s symbiosis and raw contest.

Art and China after 1989 is organized into six chronological, thematic sections throughout the rotunda and two other floors of the museum. Despite the diversity of the exhibition, the artists have tried to go beyond China’s political disagreements and simple East-West dogmas. Their creativity expands ever-widening view of contemporary art and inspire new thinking at a moment when the questions they have faced—of identity, equality, ideology, and control—have pressing relevance.

Read more on the Guggenheim’s website.

Photo: David Heald

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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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