Franklin Street Works newest exhibition, “The Work of Love, The Queer of Labor,” is curated by New York City based artist/curator Yevgeniy Fiks and curator/critic Olga Kopenkina. In “The Work of Love, The Queer of Labor,” queerness is discussed through the lens of class and vice versa. Exhibiting artists are: Angela Beallor, Hugo Gellert, Montague Glover, Noam Gonick, Hagra, William E. Jones, Erik Moskowitz+Amanda Trager, Jaanus Samma, and YES! Association / Föreningen JA!. The exhibition is on view from May 21 – August 27, 2017.
In “The Work of Love, The Queer of Labor,” individual artists and collectives contribute works that represent a desire for liberation through critically engaged connections between class, gender and sexuality. LGBTQI identities are explored from the class perspective in order to re-discover political potentialities in queerness’ countercultural paradigm. By exploring queerness through its relationship with class, curators Fiks and Kopenkina aim to interrogate the possibility of love in a class-based society. They attempt as well to envision a classless society akin to “affectionate community” built by LGBTQI people.
In today’s global economy the difference between work as a productive force in service of capitalism and labor as a condition of biological life is almost gone. Artists’ creative work, once avant-garde and independent, has become alienated and inseparable from market economy. Likewise, love and sexuality have become abstracted from the site of their enactment. They are no longer a product of biological body, but, instead, generated by techno-bodies impacted by multimedia technologies of global capitalist production.
Is it possible for queer activities, which are driven by “true desire,” not social norms, to restore love and produce new relationships between people? Could these relationships be based on equality of all forms of sexuality, love and labor? Artists who present their works in this exhibition extend this desire for love and personal relationships in a society built on equality and justice rather than exploitation and oppression to all people. The struggle for queer rights is everyone’s struggle!
ABOUT THE CURATORS
Yevgeniy Fiks was born in Moscow in 1972 and has been living and working in New York since 1994. He has developed many projects on the post-Soviet dialog in the West, among which are: “Lenin for Your Library?”; “Communist Party USA,” “Communist Guide to New York City,” and “Reading Lenin with Corporations.” He has curated and co-curated exhibitions in New York City, including: “Monument to Cold War Victory” at The Cooper Union (2014), “The Wayland Rudd Collection” at Winkleman Gallery (2014), and “Future Queer Perfect” at Station Independent Projects (2015).
Olga Kopenkina is a Belarus-born, New York-based independent curator and art critic. Her curatorial projects and exhibitions include: Feminism is Politics!, at Pratt Manhattan gallery, 2016; Future Queer Perfect (co-curated with Yevgeniy Fiks) at Station Independent Project, 2016; Lenin Icebreaker Revisited, Austrian Cultural Forum NY, 2014-2015;It’s not paranoia when they are really after you, film program at apex art, NY, 2007; Russia: Significant Other, Anna Akhmatova Museum, St. Petersburg, Russia, 2006; Post-Diasporas: Voyages and Missions at the First Moscow Biennale, Moscow, 2005. Kopenkina is a contributor to publications such as Art Journal, Moscow Art Magazine, Modern Painters, Afterimage, and others. She teaches at Department of Media, Culture and Communication, in Steinhardt School at New York University.
“Witchcraft: a corporeal practice” with past exhibiting artist iele paloumpis is a participatory workshop where we will explore movement, ritual and visualization as pathways toward re-patterning stagnant energy. The event takes place at Franklin Street Works on Saturday April 8 from 3:30 – 6:00 pm. This is a free, public event, and RSVPs help us plan- RSVP to firstname.lastname@example.org. Drop-ins welcome if space is available. This is one of several community programs developed for Franklin Street Works’ current exhibition “Love Action Art Lounge,” which is a group exhibition that features works that are generated from or encourage convivial social scenes, freedom of expression, and interpersonal connectivity.
Over the past few years, changes in dancer iele paloumpis’ health and body shifted the ways they approached dance and daily life. Without concrete answers from doctors or various bodyworkers, they began looking to witchcraft and earth-based rituals as somatic practices of integration, acceptance and healing. iele also has considered how all bodies – whether elderly, disabled, or otherwise “different” – can enter into dance.
“The iconic symbol of the witch has recently made a comeback among younger feminists who are part of the current “fourth wave” of feminism,” explains Franklin Street Works’ Creative Director, Terri C Smith, “The term ‘witch’ was born in the 15th century from the idea of a threatening woman. My understanding is that this coincided with the printing press and pamphlets that were used to spread the falsity that these empowered women would be downfall of men. Rather than seeing the witch as a negative or “evil” force, many of today’s feminists/womanists look to the witch as a metaphor for female power, the outsider, a person who stands on their own terms and/or an individual empowered to harness nature and spirit to manifest change in the world.”
For this workshop, participants will look to ritual, Tarot imagery, astrology and the lunar calendar, as well as their own unique and defiant bodies to generate restorative movement. Seasonal and astrological influences have a visceral effect on bodies, so participants will simply be tapping into what is already present. Come with an awareness of something you might like to shed, heal and/or embrace.
Workshop participant, Yonah Adelman, reflects her experience with the workshop, “iele’s facilitation of their Witchcraft – A Corporeal Practice workshop felt welcoming and affirming to my experience, identity and mental state. With their gentle and mindful guidance, I felt a sense of opening and release, which I experienced pretty viscerally in my body and through my movements…. The space they created felt transformative and I left feeling rejuvenated and hungry for more.”
This workshop is for anyone interested in connecting to their bodies. There will be time to improvise and make movement, and the workshop is tailored to make sure folks get whatever they want out of the event. paloumpis adds, “If dancing or improvising feels intimidating/not right in the moment, participants can engage in other equally valid ways (i.e.: through writing, drawing, or observing). Overall, the goal during this workshop is to tune into our bodies in whatever ways feel good to us as individuals.”
“Scribe Empathy: Tools for Compassionate Listening and Visual Transcription” with artist Virginia Lee Montgomery
UPDATE: We will be rescheduling this event due to illness.
Franklin Street Works is hosting the original event “Scribe Empathy: Tools for Compassionate Listening and Visual Transcription” with “Business Witch,” Virginia Lee Montgomery on Saturday, April 8th from 1:00 – 3:00 pm. The program was created by Montgomery exclusively for Franklin Street Works as part of the programming for its current exhibition “Love Action Art Lounge,” a group exhibition that features works that are generated from or encourage convivial social scenes, freedom of expression, and interpersonal connectivity. Drop-ins are welcome, but RSVP’s help organizers plan. RSVP to: email@example.com
For Scribe Empathy, interdisciplinary artist and professional Graphic Recorder Virginia Lee Montgomery will lead a two-hour workshop in active listening and drawing to visually map out each other’s stories. Learn how to create a one-page summary of your own personal story via simple infographics and how in return to deeply listen and create a visual summary of another’s journey.
The facilitation process of Graphic Recording cultivates understanding. When employed collaboratively, it enables radical empathy. Talk together, draw together, be together. Artist Virginia Lee Montgomery, “Business Witch”, will teach practical visual note-taking skills from her professional experiences working as a Graphic Recorder in the business and non-profit worlds.
What is Graphic Recording? Graphic Recording is the translation of conversations into images and text. Also referred to as reflective graphics, graphic listening, etc., it involves capturing people’s ideas and expressions—in words, images and color—as they are being spoken in the moment. It is a perfect tool for bridging the world of interior thought, visual thinking and outward communication for it helps to illuminate how we as people connect, contribute, learn and make meaning together.
ABOUT THE ARTIST
Virginia Lee Montgomery works in video, performance, sound, and sculpture. She channels affects of the emotive and economic uncanny to manage circulations of exchange. Montgomery received her MFA from Yale University School of Art in 2016 and her BFA from The University of Texas at Austin in 2008. Between her BFA and MFA she worked in corporate creative consulting as a Visual Knowledge Worker translating innovation cycles as a responsive form. Selected engagements include Material Deviance at Sculpture Center, NY (2017), SOS ONSHORE OFFSHORE at MEYOHAS, NY (2016), ONSITE OFFSITE PARASITE, Greene Gallery at Yale University, CT (2016), All Byte: Feminist Intersections in Video Art, Franklin Street Works, CT (2016), things you can’t unthink, Walter Phillips Gallery, CN (2016), and Ideation Accelerator, Wright Nuclear Laboratory, CT (2015). She has been awarded residencies at Coast Time, The Shandaken Project at Storm King and The Vermont Studio Center; she was the recipient of Yale University’s Susan H. Wedon Award and the Toby Devan Lewis Fellowship 2016 Nominee in Sculpture.
“You, I, and Other” is a participatory workshop designed by artist Julian Phillips where the artist uses news, his experiences and a decontextualized stage play script to imagine new approaches in discussing topics around race and othering. Phillips uses these texts as tools for catalyzing conversations about how the “other” is thought of and addressed in discussions and for collectively exploring the subject of race at a personal and social level with workshop participants. The workshop is on Saturday, April 1, from 3:00 – 5:00 pm, and will be followed by casual reception in the Franklin Street Works’ until 5:30 pm cafe where beer, wine, coffee drinks and more will be available for sale.
“After leading and having countless conversations about race through the years, I wanted to approach “talking” in a new way,” explains Phillips, “My solution to preventing a dialogue that can swiftly collapse, was to propose a conversation as an artwork. I aim to liberate our discourse and shift it to a place of more understanding and honesty.”
The workshop idea was sparked by a particular scene in a play Phillips read, and he began to imagine how the structure of a play could be used to bring about the same results of honest exchange in conversation. The artist’s script is designed to free participants from the personalization of the ideas of race by using someone else’s words. For the workshop, notecards provide simple prompts and participants finish the thoughts and turn them in anonymously. In the latest version of these conversational works, the artist is looking to open the conversation past the binary terms of black and white, making race an important component in this dialogue, but by no means the only one. The ultimate aim is to move the conversation closer to art and, in doing so, expand the possibilities of honest exchange.
Workshop participants will divide into groups, complete sentences proposed by Phillips, discuss perspective and language of their responses. Then everyone will gather as a larger group to determine how they want the scripts to be performed. Afterwards a discussion will take place on participants’ experience.
ABOUT JULIAN PHILLIPS
Julian Louis Phillips is a New York based artist and photographer. He primarily inquires about social issues through, photography, video, and performance. The themes of race, identity, poverty, and religion are throughout his work. Generally his questions seek to find the persisting nature of societal problems and its constructs.
Phillips graduated from Saint Joseph’s University, after studying Studio Art and Psychology. He is currently an MFA student in the Social Practice Queens program at Queens College. Phillips leads discussions and lectures on race and art throughout the northeast.
B-YOU/Build Your Own University is a workshop that explores how to start your own school and is led by organizers Bruce High Quality Foundation University, a free university started by the internationally exhibiting, anonymous artist collective Bruce High Quality Foundation in 2009. Faculty member, award-winning poetAna Božičević, and artists-in-residence from Bruce High Quality Foundation University,Nina Behrle and Jesse Chun, will lead a sharing session, workshop and primer on how to build your own university at Franklin Street Works on Saturday, March 25, from 4:00 – 6:00pm. The workshop will delve into questions around pedagogy and organizing a grass roots platform for learning. What can you teach and what do you want to know about art? How does one even design and implement administrative policies and a curriculum? This is a free public program. Drop-ins welcome, but RSVPs help us plan. RSVP: firstname.lastname@example.org.
This event is one of seven free, educational programs planned around our current exhibition “Love Action Art Lounge,” a group show featuring works that are generated from or encourage convivial social scenes, freedom of expression, and interpersonal connectivity. Two of the exhibiting collectives in the show, House of Ladosha and Go!PushPops, met in art school and began making work after getting to know each other socially. Similarly, the originators of Bruce High Quality Foundation University are a collective that was formed when they were in art school at Cooper Union. New York Times critic Roberta Smith wrote about their genesis in 2009, “The Bruces, as the members … are often called, guard their anonymity fiercely. But they are generally known to be a band of artists, all male, some of whom became friends while undergraduates at Cooper Union in the late ’90s, when Hans Haacke, one of the fathers of institutional critique, was still teaching there.”
This free, two-hour workshop will take place in Franklin Street Works’ upstairs gallery. The exhibition “Love Action Art Lounge” will also be on view, providing participants with opportunities for both hands-on and viewing experiences at the event.
ABOUT BRUCE HIGH QUALITY FOUNDATION UNIVERSITY
BHQFU is New York’s freest art school, a learning experiment where artists work together to manifest creative, productive, resistant, useless, and demanding interactions between art and the world. A 501(c)(3) nonprofit organization, BHQFU offers completely tuition-free courses on a variety of subjects during fall and spring semesters, hosts public programs and exhibitions year-round, and operates cost-free artist studio residency programs.
ABOUT THE PRESENTERS
Nina Behrle graduated from Mason Gross at Rutgers in 2014. Her 3D kinetic work bridges the worlds of sculpture, prop design, and comedy. She is a figurative sculptor, figuratively speaking. She’s also an MFU Artist in Residence at BHQFU, where she teaches Skill Yourself, a hybrid course comprised of skill-based workshops and an immersive, interdisciplinary, collaborative exhibition project.
Ana Božičević is the author of Joy of Missing Out (Birds, LLC, 2017), the Lambda Award winning Rise in the Fall (Birds, LLC, 2013) and other books of poetry, and the translator of It Was Easy to Set the Snow on Fire by Zvonko Karanović (Phoneme Media, 2017). Ana has read, taught and performed at Art Basel, Bowery Poetry Club, Harvard, Naropa University, San Francisco State University Poetry Center, the Sorbonne, Third Man Records, University of Arizona Poetry Center, and The Watermill Center. She is the studio manager at The Bruce High Quality Foundation and teaches poetry at BHQFU.
Jesse Chun is an interdisciplinary artist from Seoul, Hong Kong, New York and Toronto. Her practice engages with the elements of language, context, and cultural memory to investigate the conditions of belonging. Select venues of exhibitions and fellowships include the Bronx Museum of the Arts, Spencer Brownstone Gallery, Fridman Gallery, BRIC and Lehman College Art Gallery (NY), CICA Museum and Incheon International Women Artists Bienniale (Seoul), Lite-Haus Galerie (Berlin) and Space Debris Art (Istanbul). Her work has been reviewed in Artforum, the Wall Street Journal, the Korea Times, Hyperallergic, Vice, Asia Literary Review and Art21. She’s an MFU Artist in Residence at BHQFU, where she teaches ESL: Transcultural Poetics, a class examining the interplay of image and text, poetry, and multilingual narratives.
Franklin Street Works past exhibiting artist Damali Abrams (Danger Came Smiling, Summer/Fall 2016) will give an artist talk at UConn-Stamford. This is a free public event, so anyone can attend. It is co-sponsored by the UCONN-Stamford WGSS department and Franklin Street Works. March 6 from 4:30 – 6:00 pm at MPR (Room 108), UConn, Stamford.
Damali Abrams is an emerging artist who uses youtube videos to directly connect with viewers, in part, bypassing the gallery and museum system to reach a broader audience. Writer Dominique Hunter elaborates on Abrams’ practice, “She is a feminist, a self-professed “pop culture critic” and “glitter priestess”. Like so many other artists, Damali Abrams uses her own lived experiences, good and bad, as catalysts for her own bodies of work. And although using “self” as the source as well as the vehicle for communicating with the public is hardly new, her work is quite different because it continuously blurs lines that have traditionally been shrouded in obscurity. Performance art might seem like an alien concept to most Guyanese but for this New York-based Guyanese artist living in such a dynamic art hub, it is anything but.” (http://www.dominiquehunter.org/single-post/2016/01/03/Damali-Abrams-Power-and-performance-art)
Damali Abrams the Glitter Priestess is a project-based artist born and raised in NYC by Guyanese parents. She constructs spaces and experiences of fantasy and myth, using collage, video installation and performance, that explore Black Utopia through the lenses of Afrofuturism and Afro-Caribbean syncretic religions. She examines folklore and contemporary popular culture, placing them in dialogue with one another to create a site of liberation for the Black imagination, rejecting tragedy as the sole, dominant narrative of the Black experience.
Damali’s work includes video, performance, installation, and collage. She earned a BA at NYU, an MFA at Vermont College of Fine Arts, and recently completed the Whitney Museum of American Art Independent Study Program. She has been a fellow at A.I.R. Gallery as well as with apexart in Seoul, South Korea. She has been an artist-in-residence at Fresh Milk (Barbados), Groundation Grenada, JCAL, The Center for Book Arts, and LMCC on Governors Island.
In New York City, her work has been exhibited at The Museum of Contemporary African Diasporan Art (MoCADA), A.I.R. Gallery, JCAL, Rush Arts Gallery, The Point, The Schomburg Center for Research in Black Culture, BRIC Rotunda Gallery, and the 2013 bienal at El Museo del Barrio. She has presented her work or taught workshops at Soho House, BMCC (Borough of Manhattan Community College), SUNY Purchase, Barbados Community College, NYU Polytechnic School of Engineering, Hunter College School of Social Work, and Syracuse University’s 601 Tully.
New York City based artist collective Go!PushPops, in collaboration with musician and yogi UNDAKOVA, will give a youth hip-hop yoga chakra workshop titled “CHAKRAPOLIS” at Franklin Street Works. Go!PushPops are exhibiting artists in the not-for-profit contemporary art space’s current exhibition “Love Action Art Lounge,” and their workshop is part of the show’s free public programming. CHAKRAPOLIS is designed for youth ages 8 to 18 and parents are invited to join in, have brunch in the Franklin Street Works Café, and/or explore the exhibition during the workshop! CHAKRAPOLIS takes place Saturday, February 25, from 3:00 – 5:30pm. Limited spots available due to space and this program will be videotaped as part of the artists’ practice of using video documentation in their work. Please RSVP to Creative Director, Terri C Smith, at email@example.com to reserve your place and receive more details.
In this two and one-half hour workshop the artists will playfully explore chakras (spinning wheels of energy in the body) with the participants using movement, instruments, singing and simple yoga set to a healing soundtrack that correlates to each energetic center and its color — red (root), orange (sacral), yellow (solar plexus), green (heart), turquios (throat), purple (third eye) and gold (crown). The youth will be outfitted with colorful costumes representing the seven colors of the rainbow chakra system and create a collaborative kinetic sculpture embodying the rainbow of chakras and the celestial serpent of consciousness. The workshop will conclude with participants performing a parade through the neighborhood.
Falling close to the Chinese New Year, this “serpent of consciousness” (representative of enlightened knowledge or a faith in Oneness) also references the dragon ceremonies performed at the opening of Lunar New Year, the original calendar of the Goddess (Moon Time). The Chinese Dragon represents good luck, protection and fertility, tracing back to Asia’s dragon ladies (female shamans) and other living expressions of serpent worship and Goddess-consciousness — myths that were remade by patriarchal religions such as Confucianism and Buddhism and associated with demons and witchcraft in the Judeo-Christian world. “As a moving expression of the collective, our celestial serpent and dragon of consciousness is symbolic of the full spectrum of energy centers with balanced masculine and feminine elements,” explains PushPop, Katie Cercone, “Together our bodies in motion with the sound current serves as a microcosm of the greater cosmos and a powerful expression of an integrated, diverse, vibrant community.”
“Love Action Art Lounge” is a group exhibition that features works that are generated from or encourage convivial social scenes, freedom of expression, and interpersonal connectivity. Through installations inspired by underground music clubs, written scores that instruct audiences, performed celebratory rituals, and videos that simultaneously world-build and critique existing sociopolitical systems, “Love Action Art Lounge” becomes its own hang out space that reflects the people-positive, aspirational, and, at times transgressive, attributes of its artists and collectives.
Curated by Franklin Street Works’ Creative Director, Terri C Smith, the exhibition will be on view from January 28 – May 7, 2017. Exhibiting Artists: Chloë Bass, Katie Cercone, Go!PushPops, Elisa Garcia de la Huerta, Riley Hooker, House of Ladosha, Carmelle Safdie, Christopher Udemezue, and Laura Weyl. The exhibition will also include a commissioned event with Bruce High Quality Foundation University on March 25th as well as educational programming throughout the exhibition. “Love Action Art Lounge” is supported by a generous two-year grant from The Andy Warhol Foundation for the Visual Arts and with support from Connecticut Office of the Arts.
Social connections as the starting point for collectively creating art is at the core of House of Ladosha and Go!PushPops practices. For House of Ladosha camaraderie and interactions at art school, parties and clubs inspired them to make music and videos that foreground performance, social and/or media critique, queerness and play. The collective is also engaged in ideas around micro-realities, creating family or “sisterhooding,” and being your own hero. In a Brooklyn Rail interview, HLD member Neon Christina adds, “As the comfortable become a little agitated and the powers that be grip at what they can control – queer, black/ brown, and femme people especially will continue to take on the heaviest weight of this political landscape. More now than ever we have to become the armor of our own protection against the tyranny of hate, capitalism and the police state. Our own imagined superheroes.” “Love Action Art Lounge” will feature three videos created by House of Ladosha along with two works by individual members commissioned for the show — a takeaway poster by Riley Hooker and a photograph by Christopher Udemezue.
Go!PushPops is self described as, “a radical, transnational queer feminist art collective… [that] employs the female body … in tactical, ideological strategy.” Their practice includes, performances in the public sphere, art and movement workshops, parades and other participatory actions that encourage peace, sustainability, sex-positivity, gender fluidity, and love, while critiquing patriarchy, war, and systems of power. “Love Action Art Lounge” will include videos of the collective’s past performances, textiles used in performances, and photos of the collective taken by Laura Weyl. There will also be two videos on view made individually by Go!PushPops members Katie Cercone and Elisa Garcia de la Huerta. As part of the exhibition programming, Go! Push Pops has organized a hip hop yoga CHAKRA workshop for youth of Stamford in collaboration with UNDAKOVA, which will culminate in a live-action performance as a kinetic sculpture embodying the rainbow of chakras and the celestial serpent of consciousness.
Two projects in “Love Action Art Lounge” – one by Chloë Bass and one by Carmelle Safdie — encourage visitors to connect socially through real, fictitious, and/or hybrid situations that include prompts and immersive design. Carmelle Safdie’s “Nightlife Design” project navigates from architectural proposals to pop music, imagining idealized spaces for collective audio-visual engagement. This ongoing project was inspired by the artist’s reflection on her communal creative experience as a musician and a desire to establish a utopian space for such social expressivity. In her 2016 music video, “Discovery of The Shape,” she uses interior design — created as part of an artist residency at a New York City bar — as the stage for a fabricated party where her friends perform various roles in a nightclub scene. At Franklin Street Works, the video is installed amidst sculptural lounge furniture, and its original dance track activates a full-scale prototype for a light-up dance floor. Additional components include drawings that sequence through the patterning of dance floor lights and a new series of phosphorescent paintings that translate these sequences into a gridded system.
“Love Action Art Lounge” will also include a score-based, interactive installation by Chloë Bass, which includes a test kitchen installation that directly interfaces with the daily workings of Franklin Street Works’ café. The project is one of several Bass has created to connect people via performance scores and food. “The project,” says Bass, “is designed to question intimacy in one-on-one relationships. The kitchen will serve as a gathering and decompression space in contrast to the more ‘party’ aspects of the exhibition.” The project includes text prompts printed on café cups, napkins, and plastic cutlery that encourage interconnection, safe place making, and solidarity via phrases such as, “We make sense of things by being together,” and “We need each other more than ever.” For the exhibition, Café goers will pick up their printed cups in the gallery as part of making their order at the café.
While all of the exhibiting artists in “Love Action Art Lounge” approach the social from distinct and varied perspectives, they, arguably, share what Yates McKee, the author of Strike Art: Contemporary Art and the Post-Occupy Condition, describes, when writing about Occupy Wall Street, as “…a horizontal pedagogical space in which viewers themselves might be prompted to imagine and perhaps eventually enact their own sense of social transformation.” While this exhibition has a celebratory and social tone, it is not escapist in its intentions. In keeping with Chloë Bass’s statement, “When I make art, it’s not a balm or a distraction. It’s an invitation to come closer,” “Love Action Art Lounge” explores how ecstatic actions and supportive, accepting prompts can set the stage for personal expression and, through a caring social space, spark interest in learning about each other and expanding our common ground.
David Livingston Performance for “Vote Your Conscience” at the Ferguson Library followed by reception at Franklin Street Works
New Haven Artist David Livingston, in Collaboration with Franklin Street Works and the Ferguson Library, Creates a Political Speech that Incorporates Dozens of Comments from Library Patrons.
December 3, 2016: Performance: 3:00 – 4:00, Ferguson Library Auditorium; Artist Reception: 4:15 – 5:30 at Franklin Street Works
With “Vote Your Conscience” by New Haven artist David Livingston, Ferguson Library patrons have been invited to share their personal convictions and lived perspectives as part of his interactive installation. The prompt he provides is a fictitious political candidate’s commercial that is paired with a set of questions. The video and text are designed to spark conversation around themes such as patriotic imagery, race, gender, class and manipulative messaging in the American political system.
The installation opened on November 3rd and runs through November 30. During this exhibition’s run, folks voted in a divisive election that caused conversations about the state of this country to proliferate. Today many people living in the U.S. find themselves to be more introspective than ever about what it means to be an American. “Vote Your Conscience” will continue to provide a platform for library patrons and the general public to voice their thoughts on our political system through November 30th.
The answers and comments placed in the box at the Ferguson will be the inspiration for David Livingston’s political speech/performance on December 3rd from 3:00 – 4:00pm in the Ferguson Library auditorium. His imaginary political character will make a speech that is informed very directly by the community’s comments regarding their concerns, aspirations, perceptions and more. The speech will be followed with a cocktail reception from 4:15 – 5:30 at Franklin Street Works, which is walking distance from the Library at 41 Franklin St. in downtown Stamford. The performance and reception are free and open to the public.
This three-partner project is collaboration between The Ferguson Library, Franklin Street Works and artist David Livingston. It is part of The Ferguson Library’s contribution to The Aspen Institute’s national project “What Every American Should Know”. It is funded by a Regional Initiative Grant awarded to The Ferguson Library by the Cultural Alliance of Fairfield County in partnership with the Connecticut Office of the Arts.
ABOUT DAVID LIVINGSTON: David Livingston received his MFA from Pratt and is a New Haven artist who has exhibited nationally and is an adjunct professor at University of New Haven and Gateway Community College. Livingston works in sculpture and performance that include public happenings.
ABOUT THE FERGUSON LIBRARY: The Ferguson Library is Stamford’s public library system, consisting of the Main Library, DiMattia Building; the Harry Bennett Branch; the Weed Memorial & Hollander Branch; the South End Branch and a traveling Bookmobile. It provides free and equal access to information, ideas, books and technology to educate and enrich the Stamford community.
Activists Make a Tool Kit for Public Events with Artists Pedro Felipe Vintimilla and Julian Phillips
Join artists Pedro Felipe Vintimilla and Julian Phillips for an A.I.M. inspiration workshop designed by Vintimilla and documented with video and photography by Phillips on October 30 from 1:00 – 5:00pm at St. Andrew’s Episcopal Church (1231 Washington Blvd, Stamford, CT 06901). A.I.M. (Artistic Inspiration Methods) is a four-hour workshop that will bring together activists and artists in a series of experimental physical, writing and drawing exercises as a starting point for stimulating inspiration and creativity. To sign up email firstname.lastname@example.org.
While the event is open to the public, Franklin Street Works has invited activist organizations they’ve worked with in the LGBTQ and Immigrant Rights communities to join the artists and create a visual tool kit they can use in their public sphere activist work. Both artists are currently MFA students at Queens College Social Practice Queens Program, and the workshop is organized by Franklin Street Works as part of it’s November 12th fundraising event “Art Activism: Celebrating Socially Conscious Art.”
During the workshop, participants will reflect on their personal experience, their relationship with society, and their life of activism. Participants will be encouraged to bring a personal object that represents their past or childhood as a point of departure. Those in attendance will be introduced to elements and principles of artistic production in order to streamline ideas and visually channel their goals, concepts, and vision. The artists will create a creative environment that encourages finished products such as masks, posters, murals and more to be completed during the workshop.
In addition to living on as materials for public activist events, the objects and artworks produced, along with Phillips’ video artwork inspired by the event, will become part of the exhibition area at Franklin Street Works’ benefit party, which is themed around activism and will honor three activist artists Andrea Bowers, Chitra Ganesh and Mariam Ghani. This thematic exhibition at the benefit party site will bring the important work of local activist groups to a new audience, connecting art and activism in an organic, grass roots manner. After the party, the banners, signs, and murals will be returned to the activist groups who made them for future activities.
Project documentation will be in the form of photography, and video and audio recording. The purpose of this will be to capture the sense of the creative process the participants’ experience. Only participants who agree in writing to be part of the documentation will be included in Julian Phillips’ multimedia artwork.
A.I.M. Inspiration’s mission is to promote, through art, a society reflective of its reality and sensitive to its surroundings. In which individuals can find their own space and can recognize themselves as members of the collective. A.I.M. Inspiration is built in four fundamental concepts: sensibility, ingenuity, collaboration and experimentation. Participants are encouraged to allow themselves at each stage to step out of their comfort zone and experience these concepts in order to stimulate a flow of creative ideas. A.I.M. is an organization started by Pedro Felipe Vintimilla, who received bachelor degrees in communications and visual arts in Ecuador and the U.S., is a multidisciplinary artist based in New York City.
ABOUT JULIAN PHILLIPS
Julian Louis Phillips is a New York based artist and photographer. He primarily inquires about social issues through, photography, video, and performance. The themes of race, identity, poverty, and religion are throughout his work. Generally his questions seek to find the persisting nature of societal problems and its constructs. Julian graduated from Saint Joseph’s University, after studying Studio Art and Psychology. He leads discussions and lectures on race and art throughout the northeast.
Franklin Street Works is collaborating with The Ferguson Library– Stamford’s public library, The Aspen Institute and New Haven artist, David Livingston, on “Vote Your Conscience,” which is a site-specific, interactive artwork that is part of the Ferguson Library’s contribution to the Aspen Institute’s “What every American should know” initiative. For this artwork, Livingston will direct and produce a seemingly patriotic video with all the pomp of a political ad, but with only vague indicators of any real political messaging. A posted sign with questions for visitors will accompany the video. These components are designed to intimate a perspective of privilege and aim to encourage passerby and library users to write potentially dissenting thoughts from each person’s unique perspective, including concerns about our country’s challenges and areas where it may fall short.
The installation will be on view starting October 26 and the comments left by visitors will inform a political speech that Livingston will give at the library on Saturday, December 3 from 3:00 – 4:00pm, followed by cocktails and coffee at Franklin Street Works. On November 17, Livingston, involved library staff, and curator, Terri C Smith, will have a public meet-and-greet/think tank coffee at Franklin Street Works’ cafe at 10:00 am to discuss the audience answers gathered at the project’s halfway point.
“Vote Your Conscious” is, in part, an extension of David Livingston’s past public performances during his project “The Candidacy” where he ran for Alderman in New Haven and continues his exploration of the relationship between psychology and politics. David Livingston, who has exhibited nationally, works in sculpture and performance that include public happenings. He received his MFA from Pratt and is an adjunct professor at University of New Haven and Gateway Community College.
Artist Xaviera Simmons will discuss her work Monday, October 24 from 4:30 – 6:00 pm in room 108 at UConn-Stamford (just down the block from Franklin Street Works at the corner of Franklin St. and Broad St.). Xaviera Simmons is currently in Franklin Street Works exhibition “Danger Came Smiling: Feminist Art and Popular Music.” This event is sponsored by UConn-Stamford’s Women’s Gender and Sexuality Studies program and Franklin Street Works.
Xaviera Simmons completed a BFA in Photography from Bard College after spending two years of walking pilgrimage retracing the Atlantic Slave Trade. She participated in the studio program of the Whitney ISP while also completing a 2 year actor training conservatory with The Maggie Flanigan Studio. Xaviera has exhibited nationally and internationally where major exhibitions and performances include The Museum of Modern Art, MoMA PS1, Nouveau Museum National de Monaco, The Studio Museum in Harlem, The Contemporary Arts Museum Houston, The Public Art Fund, The Kitchen, and The Sculpture Center. Simmons is a recipient of numerous awards including The David Driskell Prize, The Jerome Foundation Travel Fellowship, an Art Matters Fellowship, and a SmARTPower Fellowship. Simmons was a 2012 AIR at The Studio Museum in Harlem.
Writer, actress, musician and performance artist, Ann Magnuson, will visit Franklin Street Works for a casual conversation about her boundary-pushing, three-decade career.
As part of Franklin Street Works’ programming for their current exhibition Danger Came Smiling: Feminist Art and Popular Music, curated by Maria Elena Buszek, we will host genre-bending, counter-culture legend Ann Magnuson for a casual conversation about her work.
Ann Magnuson is a writer/actress/singer/
The event is free to the public and takes place at Franklin Street Works on Saturday, October 15 from 4:00 – 6:30 pm. Magnuson will talk with Franklin Street Works Creative Director, Terri C. Smith, and those in attendance from 4:15 – 5:15 followed by social time where beer, wine, coffee and snacks will be available for sale at the Franklin Street Works Café. Those attending will enjoy post-talk tunes spun by WPKN DJ Douglas Hovey, who will design a special set inspired by Magnuson and her work. WPKN 89.5 listener supported community radio is the media sponsor for this event.
Ann Magnuson, who is based in Los Angeles, is an exhibiting artist in Franklin Street Works’ current group show “Danger Came Smiling,” which brings together work by contemporary artists who use popular music as a medium, subject, and reference point for feminist messages. As part of the show, Magnuson is exhibiting two of her videos from the 1980s, Made for TV (1984) and Vandemonium, which Cinemax aired as part of its alternative programming in 1987. This is a rare east coast appearance for Magnuson, who also will perform songs from her new album “Dream Girl” as part of “Dream Sequencing: An Evening with Ann Magnuson” at The Museum of Modern Art in New York City on Monday October 17, at 7:00 pm.
Prior to her visit Magnuson will call in on WPKN to discuss her new album and other music projects with WPKN DJ Valerie Richardson, Tuesday October 4, at 6:00 pm. Along with Terri C Smith, they will discuss the “Danger Came Smiling” exhibition and explore Ann Magnuson’s past music projects, which have included: the sardonic folk trio Bleaker Street Incident; her heavy metal band, Vulcan Death Grip; and the psycho-psychedelic band, Bongwater with whom she released five albums and gained an international cult following that remains rabid today. In addition to her September 2016 release of Dream Girl, Magnuson has released two previous solo albums, The Luv Show (Geffen 1995) and Pretty Songs & Ugly Stories (Asphodel 2007).
Special thanks to event media sponsor WPKN!
In “Danger Came Smiling,” art historian and published author, Maria Elena Buszek, brings together work by contemporary artists who use popular music as a medium, subject, and reference point for feminist messages. The show takes the title of an album by the unabashedly feminist punk band Ludus, led by artist Linder Sterling, whose career—emerging in the first wave of punk in the 1970s—is a pioneering example of the approaches at play in this exhibition. The show will be on view July 23, 2016 – Jan 1, 2017. Free public reception, July 23 from 6:00 – 8:00 pm with a VIP member preview from 5:00 – 6:00pm.
“By the late 1970s, visual artists like Robert Longo, Barbara Kruger, and Jean-Michel Basquiat joined bands, and musicians like DEVO, Talking Heads, and Ann Magnuson treated their music as performance art, blurring the lines between popular music and visual art in ways that have profoundly affected contemporary art ever since,” explains Buszek. Music and feminist activism are often associated with art student Kathleen Hanna’s work in starting the “Riot Grrrl” movement by way of her punk band Bikini Kill in the 1990s. This rich intersection of art, music, and activism will be explored more broadly in “Danger Came Smiling” through the work of artists who use punk, hip-hop, electronica, and jazz as part of their studio practice, and a reflection of their politics. The Franklin Street Works café will include an audio portion comprised of a “mixtape” relating to the items on display and eras under consideration in the exhibition.
Exhibiting artists: Damali Abrams, Alice Bag, DISBAND, Wynne Greenwood (A.K.A. Tracy + the Plastics), Eleanor King, Ann Magnuson, Shizu Saldamando, and Xaviera Simmons
ABOUT MARIA ELENA BUSZEK
Maria Elena Buszek, Ph.D., is a scholar, critic, curator, and Associate Professor of Art History at the University of Colorado Denver, where she teaches courses on modern and contemporary art. Her recent publications include the books Pin-Up Grrrls: Feminism, Sexuality, Popular Culture (Duke University Press Books, 2006) and Extra/Ordinary: Craft and Contemporary Art (Duke, 2011). She has also contributed writing to the numerous, international exhibition catalogues and scholarly journals: most recently, essays in Dorothy Iannone: Censorship and the Irrepressible Drive Toward Divinity, Mark Mothersbaugh: Myopia, and In Wonderland: The Surrealist Adventures of Women Artists in Mexico and the United States. Buszek has also been a regular contributor to the popular feminist magazine BUST since 1999. Her current book project, Art of Noise, explores the ties between contemporary activist art and popular music.
Franklin Street Works exhibiting artist Sunita Prasad will discuss past works that use parafictional, narrative, and research-based strategies to illuminate and challenge discourse on gender online, in public space, and in popular culture. This free, public talk with Q & A is Saturday, July 9 from 4:00 – 5:30 pm at Franklin Street Works.
Prasad, an award-winning artist based in New York City, will discuss her overall body of work, paying special attention to the concepts and processes around her videos that explore gendered experiences in contemporary Indian culture. The talk will contextualize her video “Recitations not from memory,” which is included in Franklin Street Works’ current group exhibition “All Byte: Feminist Intersections in Video Art,” on view through July 10.
“Recitations not from memory” features women’s stories about gendered experiences that were anonymously shared with Sunita Prasad. As part of the conceptual construct for the piece, the artist sought out women who she considered to be her “socio-economic counterparts,” finding them through social media. These stories were then read from a teleprompter by men who Prasad also enlisted via social media. The artist notes that she was interested in this topic as discussions around it become more common in India, “Recitations not from memory is the result of an experiment in listening to, reading, and speaking gendered experience in the Indian context, during a period of increased attention to gender discrimination within Indian public discourse.
This event is generously sponsored by Shelly Nichani.
ABOUT SUNITA PRASAD
Sunita Prasad is a New York City based artist and filmmaker. Her projects employ techniques of hybridization between documentary, fiction, and performance to address issues of gender, public space, and the history of social movements. Her work has been exhibited internationally at venues and institutions including the Palais de Tokyo in Paris, Homesession in Barcelona, Torino Performance Art in Turin, Momenta Art in New York City, and Vox Populi Gallery in Philadelphia. She has received awards from the Art Matters Foundation, the New York City Department of Cultural Affairs, and the Warner Bros. Production Fund. She has also participated in residencies at TAJ & SKE Projects in Bangalore, the Contemporary Artists Center in Troy NY, and the Lower Manhattan Cultural Council.
Mug Shots and Mimosas
Our back patio is dog friendly and we hope you will bring your canine buddies to this event. We’ll have a pooch photo booth and will capture you with your four-legged best friend.
Tischman Pets Photography will be taking photos of you and your pup in exchange for donations to the Stamford ACC (Animal Control Center), which helps dogs find homes.
There will be mimosa specials and we will have human treats for sale and complimentary dog treats on hand (how else will we get them to pose?). Dog not required.
Rain Date: July 2.
Texas-based artist collaborative Kegels for Hegel; Nutritionist Nicole Rose M.S., R.D.; and Naturopathic Doctor and Nurse Midwife Cindy Anderson will participate in a luncheon where attendees explore art, gender, philosophy, nutrition, and food. To reserve one of the 14 spots for the event, interested parties should RSVP email@example.com.
The event is exhibition programming for Franklin Street Works current show “All Byte: Feminist Intersections in Video Art,” which includes seven videos by Kegels for Hegel. Guests will enjoy casual presentations and a lunch by Chef Erin Emmett that focuses on nutrient rich foods from 12:30 – 1:30 pm with open discussion from 1:30 – 2:00 pm. There is an $18.00 admission, which includes lunch and a beverage. To reserve one of the 14 spots for the event, interested parties should RSVP firstname.lastname@example.org.
Kegels for Hegel is a Texas-based collaborative project where the artists make music videos that, in part, queer the work of (mostly white, straight, male) philosophers and theorists. The collaborative elaborates on their approach to making these videos, “Unlike our academic training, which consisted of specialized study over decades, Kegels for Hegel is based in the emancipatory potential of a lack of expertise. We make songs using simple computer programs, cellphone apps and loops of noise that we find or create.” This embrace of the amateur combines with a scholarly understanding of the philosophers they riff on to create videos that are comfortable with being simultaneously silly, sexual and wickedly intelligent.
For this event Kegels for Hegel will discuss how their practice parallels the processes of choosing, eating and digesting food, but in the realm of ideas, which are imbibed and transformed via cognitive digestion and elimination. “Rather than penetrating, we pull in philosophical texts and let parts of them become parts of us,” write the artists, “The encounter between the two changes both. Through the brain and the pelvic floor, we build up the necessary muscles to be able to hold onto something. Like the Kegel, we explore small enactments that can beget great changes.”
The artists’ philosophy informs the luncheon’s themes and inspired the café’s chef and “All Byte” co-curator, Terri C Smith, to also invite Nutritionist Nicole Rose M.S., R.D. and Naturopathic Doctor and Nurse Midwife Cindy Anderson to make brief presentations on the nutritional assets of the foods served and to explore some terminology around gender and health.
ABOUT CYNTHIA ANDERSON Dr. Cynthia Anderson known by her patients as Dr. Cindy is a licensed Naturopathic Physician who brings more than 25 years experience and skills working as a Nurse and Midwife to her practice. She has worked with adolescents in a school clinic setting and as a psychiatric nurse. Dr. Cindy specializes in natural ways to decrease anxiety and depression, fertility concerns, a healthy transition during menopause, healthy weight management, identifying and treating gluten sensitivity and helping women prevent and recover from breast cancer. She is certified in Wilson’s Temperature Syndrome and works with subclinical hypothyroidism. She enjoys teaching Gynecology and Obstetrics at the University of Bridgeport Naturopathic College. Recently she presented at the National Midwifery Convention on Natural options for menopause.
ABOUT NICOLE ROSE Nicole Rose M.S., R.D. is a registered dietitian nutritionist with a Masters Degree in Science/Clinical Nutrition from NYU in partnership with Mt. Sinai Hospital. Immediately following her graduate studies, Nicole’s focus was strictly clinical in nature during her time practicing at Montefiore Medical Center. It was only after several years of Nicole’s more conventional experience that her focus became more rooted in a holistic approach to wellness. Nicole’s most passionate belief, is that the foundation for health is based upon prevention of disease. It is her ultimate view that this can only be accomplished by eating Earth’s most wondrous gifts in conjunction with a productive lifestyle.
(MORE) ABOUT KEGELS FOR HEGEL Straddling philosophical smutcore and tongue in chic, Kegels for Hegel (K4H) is a conceptual art project that makes queerly ambivalent songs, music videos, and art objects that both revere and mess with the intellectual production of philosophers. K4H is a “band” fronted by two academics who have no musical training and use computer programs to make songs. But really K4H is an open collaboration of artists, academics, and other creative, clever, disreputable types who make things.
Franklin Street Works will co-present a screening of the documentary “Eva Hesse” at the Avon Theatre on Wednesday, June 1st. There will be a pre-screening cocktail reception from 6:00 – 7:00 pm at Franklin Street Works followed by a 7:30 screening and Q & A at the Avon Theatre. This documentary (written, produced, and directed by Marcie Begleiter) explores the remarkable life and achievements of Eva Hesse, an important visual artist of the 1960s. Q & A will include art historian Helen Cooper, who curated Eva Hesse: A Retrospective in 1992, which was singled out by the New York Times as one of the ten best exhibitions that year. Cocktail party is free and open to the public and the usual Avon box office prices apply for the screening. For tickets, visit: www.avontheatre.org
You can view the trailer HERE
As the wild ride of the 1960’s came to a close, Eva Hesse, a 34 year-old German-born American artist was cresting the wave of a swiftly rising career. One of the few women recognized as central to the New York art scene, she had over 20 group shows scheduled for 1970 in addition to being chosen for a cover article in ArtForum Magazine. Her work was finally receiving both the critical and commercial attention it deserved. When she died in May, 1970 from a brain tumor, the life of one of that decades’ most passionate and brilliant artists was tragically cut short. As Jonathon Keats wrote in Art and Antiques Magazine “Yet the end of her life proved to be only the beginning of her career. The couple of solo gallery shows she hustled in the 11 years following her graduation from the Yale School of Art have since been eclipsed by multiple posthumous retrospectives at major museums from the Guggenheim to the Hirshhorn to the Tate.” Her work is now held by many important museum collections including the Whitney, MoMA, the Hirschhorn, the Pompidou in Paris and London’s Tate Modern.
Artists such as Dan Graham, Richard Serra, Nancy Holt, Carl Andre, Robert and Sylvia Plimack Mangold, Eva’s husband Tom Doyle and her friend, writer Lucy Lippard speak candidly and with great passion about the 60’s, Eva’s work and her life. In addition, Sir Nicholas Serota, Director of the Tate Museums and Whitney curator Elisabeth Sussman have added their views on Hesse’s work and legacy. Hesse’s journals and correspondence provides much of the guiding narration.
Eva Hesse deepens the understanding of this extraordinary artist, not only in terms of her ground-breaking work, but also the life that provided the fertile soil for her achievements. With dozens of new interviews, high quality footage of Hesse’s artwork and a wealth of newly discovered archival imagery, the documentary not only traces Eva’s path but engages in a lively investigation into the creative community of 1960’s New York and Germany.
On Saturday, May 21, 6:30 – 8:30 pm, Franklin Street Works will host a Moby book signing and cocktail party in collaboration with Barrett Bookstore (Darien). Moby will speak briefly about and sign copies of his new book Porcelain: A Memoir. Tickets include book purchase and range from $37.92 – $53.74. Click HERE for more on the event and to purchase your ticket.
The world of art and the technology community will come together at the Stamford Innovation Center on Thursday May 5 at 6pm for the third annual Indie Gala: Charity Shindig. This year Franklin Street Works, the award winning, not-for-profit art space and café in downtown Stamford is the beneficiary of the fundraiser.
You can buy your tickets HERE
The Indie Gala has affordable tickets that allow young people to come together to have fun and raise money for a good cause. Early sponsors include Media Crossing, Indeed and Westfair Publications, publisher of the Fairfield County Business Journal.
Billed as a “Small Batch Charity Shindig,” the Indie Gala will feature:
• Music by WPKN DJ Michelle Spinei
• Margaritas by the folks at Cointreau
• Tasting table by Two Roads Brewery
• Taco Bar by Garibaldi Mexican Grill
• “The Indie Alley,” featuring gifts and goods from regional artisans
“As the major tenant of Stamford’s Old Town Hall, we love to invite the public to celebrate this remarkable building and raise money for local causes,” said Peter Propp, Chief Marketing Officer for Stamford Innovation Center. In 2014, the Innovation Center’s gala raised funds for two charities, the CT Veterans Legal Center and Future5. In 2015, Fairfield’s Operation Hope was the recipient.
“Franklin Street Works is delighted to be the beneficiary of this year’s Indie Gala,” said Bonnie Wattles, Executive Director. “We serve overlapping creative communities and are both working hard to help the Stamford region deliver on its promise of supporting the arts and welcoming new ideas and companies.”
More information can be found at: stamfordicenter.com/indie
Franklin Street Works, University of Connecticut-Stamford’s Women’s Gender and Sexuality Studies Program, and Sacred Heart University’s Masters of Film and Television Program have collaborated to co-curate “All Byte: Feminist Intersections in Video Art,” an exhibition of video works informed by intersectional feminist approaches. The exhibition will be on view at Franklin Street Works from April 9 – July 10, 2016. Opening reception is Saturday April 9th from 6:00 – 8:00 pm with a member VIP preview from 5:00 – 6:00pm.
Feminist conversations and scholarship around the inseparability of class, race, country of origin and other factors when contemplating gender are reflected in artworks that, among other things, encourage viewers to listen across difference and explore matrixes of power. Through a call for submissions, the curators also sought out emerging artists in order to explore “fourth wave” feminist approaches to video and film. “All Byte” features works made between 2013 and 2015 by nine artists or collectives: Michelle Marie Charles, INVASORIX, Kegels for Hegel, Sarah Lasley, Nicole Maloof, Virginia Lee Montgomery, Sunita Prasad, Legacy Russell, and Maryam Tafakory. This original exhibition is co-curated by the Program Director of Sacred Heart University’s Film and Television Masters school, Justin Liberman; Director of Women’s, Gender, and Sexuality Studies at the University of Connecticut-Stamford, Ingrid Semaan; and Franklin Street Works’ Creative Director, Terri C Smith.
The term “intersectionality” was coined by feminist legal scholar and critical race theorist Kimberlé Crenshaw in 1989. This analytic frame aimed to disrupt the approach of “single axis analysis,” which treated race and gender as mutually exclusive. Instead, intersectional work looks at how social factors and systems of power interlock and shape each other. The “All Byte” co-curators chose videos that exhibit an understanding of intersectionality and a sophisticated or fresh use of the medium. When taken as a whole, these works address gender in concert with many other factors, including: exploring the queer body through a transformative journey; queering of influential, usually white male, theorists through song; placing the alienated female body in surreal parallel to the predominantly white, male tech industry; addressing the contradictions between the lyrics and images in hip-hop videos that often portray women as sexual props; recounting academia’s gendered power structures through parody and art history; exploring inaccurate, race-based assumptions about citizenship and experience; unearthing colonial histories, preserved in the street signs of a small American neighborhood; gender based medical practices; and more. Through the intersectional feminist lens, these artists shed light on systems that reinforce dominance to the exclusion of others and create narratives of inclusion and understanding.
This exhibition was sponsored, in part, by Connecticut Department of Economic and Community Development Office of the Arts.
Franklin Street Works presents Robert Adanto’s documentary film “The F Word” at the Stamford Innovation Center. The movie explores radical “4th wave” feminist performance through interviews with a new generation of feminist artists who use their bodies as subject matter. This public event is at 7:00pm on Saturday, March 26, at the Stamford Innovation Center and includes a post screening Q & A featuring: director, Robert Adanto; scholar and curator Dr. Kathy Battista; and two of the film’s featured artists Leah Schrager and Katie Cercone of Go! Push Pops. There will be a public cocktail reception at Franklin Street Works prior to the screening from 5:30 – 6:30 where people can view the current, feminist themed, exhibition “Cut-Up: Contemporary Collage and Cut-Up Histories through a Feminist Lens” and meet the director in a casual setting. The two downtown venues are a 10-minute-walk or short drive from each other. The event is free with a suggested donation of $5.
Film Trailer can be viewed here: https://www.youtube.com/
Because the female body continues to be politicized and policed, and because these artists delve into the fecund territory of female sexuality, self-objectification, and the female form as a site of resistance, many remain marginalized by the mainstream art world. Brooklyn-based Leah Schrager, well known for her performance practice, Naked Therapy, states, “As soon as you introduce a bit of sexiness or sexuality into an artwork it suddenly becomes questionable. Just because something elicits arousal or shows elements of sexiness does absolutely not make it not art.”
While some 4th wave artists, like Ann Hirsch and Kate Durbin, choose to analyze representations of female identity through digital media, others, like the radical, queer, transnational feminist art collective, Go! Push Pops, explore sexuality and gender in pop culture in the digital age. As feminist lecturer Kristen Sollee explains, 4th wavers, unlike their predecessors, “are not afraid to be ‘girly’, (or) to be hyper-feminine, or to wear a mini-skirt, to self-objectify” in the service of challenging patriarchal oppression or sexist ideals.
Dr. Kathy Battista, Director of Contemporary Art at Sotheby’s Institute of Art, New York and author of Re-negotiating the Body: Feminist Artists in 1970s London (IB Tauris, 2012), is an on-screen expert, as are noted art critic and curator, Nancy Princenthal, and feminist lecturer, Kristen Sollee.
Featured Artists are: Narcissister, Ann Hirsch, Go! Push Pops, Leah Schrager, Kate Durbin, Rebecca Goyette, Rachel Mason, Rafia Santana, Damali Abrams, Faith Holland, Claudia Bitran, Michelle Charles, and Sadaf.
ABOUT ROBERT ADANTO
Robert Adanto, a classically trained actor, earned his M.F.A. in Acting from NYU’s Tisch School of the Arts and currently heads the Film & TV Production program at NSU’s University School. His films have been Official Selections at more than fifty international film festivals and have enjoyed screenings at The Smithsonian Institution’s Hirshhorn Museum and Sculpture Garden; The Museum of Fine Arts Boston; Los Angeles County Museum of Art (LACMA); The National Center for Contemporary Art in Moscow; The Royal Ontario Museum in Toronto; The Hammer Museum in Los Angeles; The Worcester Art Museum, MA; The Tel Aviv Museum of Art and others. He made his directorial debut with The Rising Tide (2008), a feature-length documentary exploring the explosive Chinese contemporary art scene. Pearls on the Ocean Floor (2010), his second feature, examines the lives and works of Iranian female artists living and working in and outside the Islamic Republic. Featuring interviews with art luminaries Shirin Neshat and Shadi Ghadirian, Pearls on the Ocean Floor received the Bronze Palm Award for Best Documentary at the 2011 edition of the Mexican International Film Festival and the Spirit of Independents Award at the 2012 Fort Lauderdale International Film Festival. Adanto’s 2014, City of Memory explores Hurricane Katrina’s impact on the lives of visual artists from New Orleans. His newest film, “The F Word,” focuses on “4th wave” feminist artists who, among other tactics, use their bodies as subject matter in their work. Among other screenings, The F Word was recently presented as part of the Guerrilla Girls Twin City Takeover at the Walker Art Center in Minneapolis, and at Dallas Contemporary, in association with Black Sheep Feminism: The Art of Sexual Politics, an exhibition curated by Alison Gingeras.
There will be an Art+Feminism Edit-A-Thon at Darien Library: Sat, March 5th, 1:00 to 4:00 p.m., followed by a tour of the Feminist-themed Exhibition, “Cut-Up: Contemporary Collage and Cut-Up Histories through a Feminist Lens,” and Reception from 4:30 – 7:00 pm at Franklin Street Works. You can REGISTER HERE for this free, public event:
Wikimedia Foundation found that less than 10% of its contributors identify as female. While the reasons for the gender gap are up for debate, the practical effect of this disparity is not. Content is skewed by the lack of female participation. This represents an alarming absence in an increasingly important repository of shared knowledge.
Join us for a half-day, edit-a-thon to contribute and expand upon Wikipedia articles relating to art and feminism. After the edit-a-thon, we will celebrate at Franklin Street Works contemporary art space and cafe with a 20-minute tour of the original exhibition “Cut-Up: Contemporary Collage and Cut-Up Histories through a Feminist Lens,” followed by a wine and cheese reception. Edit-a-thon will be from 1 to 4 p.m. and exhibition tour and reception will be from 4:30 to 7 p.m. Join the revolution!
Reference materials will be provided, but attendees are encouraged to familiarize themselves with a topic beforehand. We encourage participants to look at the exhibiting artists in Franklin Street Works’ current exhibition for entry/edit inspiration, they are listed in the exhibition description here:http://
For close to a century, the techniques of collage and literary cut-up have been used to discover new forms in the visual arts, poetry, and music by undoing and restructuring text, image, and sound. “Cut-Up: Contemporary Collage and Cut-Up Histories through a Feminist Lens,” curated by artist Katie Vida, explores a multigenerational lineage of women artists who have pushed the boundary of cut-up techniques across media, including sculpture, video, sound art, painting, performance, printed matter, poetry, and photography. The exhibition is on view at Franklin Street Works from January 16 – April 3, 2016. The public opening reception is Saturday, January 16 from 6:00 – 8:00 pm with a member VIP opening from 5:00 – 6:00 pm. “Cut-Up” is sponsored, in part, by the Connecticut Office of the Arts.
Featuring works from 1967 to the present, “Cut-Up” explores how collage and cut-up have informed the visual arts, literature, and experimental sound art. The exhibition also pays special attention to how the process of cutting apart and reordering language parallels an activist impulse to disrupt the status quo and develop new, alternative narratives. This skepticism and eschewing of “traditional” media is a strategy that was embraced by feminist artists in the late 1960s. At that time these artists embraced newer forms such as performance, film, text based works, and ephemeral sculpture, in part, to bypass patriarchal histories associated with established media such as monumental sculpture and painting.
Through a layering of imagery, text, materials and sound, the artists in “Cut-Up” create tension by disrupting narrative and reorienting the viewers’ expectations “The cut itself is the technology through which these artists address and manipulate language and image,” curator Katie Vida elaborates, “Through an additive and/or reductive process of developing fresh visual and linguistic spaces the artists in this exhibition show a commitment to breaking apart what is seemingly codified to engage in alternative visions.”
Exhibiting Artists: Ruth Anderson, Phyllis Baldino, Dodie Bellamy, Ofri Cnaani, Lourdes Correa-Carlo, Mayme Donsker, Heike-Karin Foell, Susan Howe, Jennie C. Jones, Alexis Knowlton, Carrie Moyer, Lorraine O’Grady, People Like Us, Sheila Pepe, Faith Ringgold, Mariah Robertson, Carolee Schneemann, Nancy Shaver, Meredyth Sparks, Cauleen Smith, Martine Syms, and Janice Tanaka.
Guest Curator: Katie Vida
Logo Design: Lauren Francescone
This exhibition was sponsored, in part, by Connecticut Department of Economic and Community Development Office of the Arts.
Four-on-the-floor: The Art of Five. A Party to Benefit Franklin Street Works. November 14, 5:00 – 8:00pm
“Four-on-the-floor: The Art of Five” is a benefit party celebrating Franklin Street Works’ fifth year as an award-winning, not-for-profit, contemporary art space. This event takes place at Rich Concourse at UConn Stamford on Saturday, November 14th from 5:00 – 8:00 pm and features a silent auction of art works and and unique art experiences, a celebration of internationally renowned artist Alison Knowles, drink, food, music, and more! This event is ticketed, with tiered prices ranging from $50.00 – $1,000. Tickets for the event are available at franklinstreetworksFIVE.eventbrite.com.
At “Four-on-the-floor,” Franklin Street Works will celebrate the career of Alison Knowles, founding member of the influential and historic 1960s Fluxus art movement. Longtime friends of the artist, Bibbe Hansen, Sean Carrillo, and Clarinda Mac Low will celebrate the honoree with short performances inspired by Knowles’ work.
The party will also include music from Guest DJ Taliesin Gilkes-Bower; a silent auction of art-related items, including works by major artists Tim Davis, Mark Dion, and Leslie Wayne; experiential items such as a special tour of Jack Shainman Gallery: The School (Kinderhook, NY) and a Hamptons art weekend; a catered dinner by the bite; an open bar of imported wines and craft beers; and a special multimedia display designed by Purchase College New Media students. Across the street from UConn, Stamford, Franklin Street Works’ galleries will be open for inquisitive guests who want to pop over and see the current exhibition “Initial Conditions: Artists Make Spaces.”
“Four-on-the-floor” will benefit Franklin Street Works’ innovative, museum-quality contemporary art exhibitions and educational programs which are free to the public. Since 2011, Franklin Street Works has curated 21 original shows, worked with more than 250 internationally exhibiting artists, and has organized 100 free public programs. Aiming to broaden community participation in the arts, Franklin Street Works offers programs that contribute to a larger arts dialogue and supports emerging and under-recognized artists. Franklin Street Works values artists’ labor and pays its exhibiting artists, presenters, performers, and writers. As Stamford’s professionally curated, contemporary art space, Franklin Street Works’ exhibitions have garnered accolades, including a two year grant from The Andy Warhol Foundation for the Arts and positive reviews in major art publications such as Artforum, Hyperallergic, and Art Papers.
The event is sponsored by: Seaboard Properties, Reckson, a Division of SL Green, and Moffly Media. In-Kind sponsors are: Half Full Brewery, High Ridge Printing, Little Pub, Nestlé Waters, and Stamford Wine and Liquor.
ABOUT THE HONOREE:
Engaging with chance, randomness, repetition, humor, shared experiences, and the poetry of food, Alison Knowles’ pioneering career as a downtown New York artist spans more than fifty years. She was a founding member of Fluxus, a group focused on dismantling the conventions of high art through event type of instructional performances called “Happenings.” Knowles has earned recognition for her work throughout her lifetime, including a Guggenheim Fellowship (1968); two National Endowment for the Arts grants (1981, 1985); an honorary degree from Pratt Institute (2015); invitations to perform at the Museum of Modern Art, New York, and the Tate Modern in London; and a special performance at President Barack Obama and First Lady Michelle Obama’s event An Evening of Poetry at the White House (2011).
GETTING THERE: Rich Concourse at UConn Stamford campus, located at 1 University Place, is less than one hour from New York City via Metro North and approximately one mile (a 15 minute walk) from the Stamford train station. Parking is available at UConn Stamford lot located on Washington Boulevard, directly across the street from the campus building on the second level of the garage. On street parking is available on Franklin Street (metered until 6 pm), and paid parking is available nearby in a lot on Franklin Street and in the Summer Street Garage (100
“Initial Conditions: Artists Make Spaces” is a group exhibition that features alternative spaces initiated by some of Franklin Street Works’ past exhibiting artists. As a not-for-profit whose mission and vision is largely informed by the alternative art space model, Franklin Street Works is celebrating the beginning of its fifth year by revisiting the “alternative” through artist projects that make new spaces. Works on view represent the activities of eight collectives or involved artists: Canaries, Ceramics Club (cc), Culture Push, La Casita Verde, Park McArthur and Constantina Zavitsanos, microRevolt, Regina Rex, and USELESS magazine. The show is on view from September 12, 2015 – January 3, 2016. Opening reception is Saturday, September 12 from 6:00 – 8:00 pm with a VIP members’ preview from 5:00 – 6:00. Exhibiting artist Sarah Dahnke will perform “The Dance for Solidarity” during the reception.
Often times the initial condition of these spaces are not art centric, but instead are born from pragmatic, social or utopic impulses such as finding language for shared experiences, supporting an individual’s physical needs, sharing resources, and creating new models for production or distribution. The creation of space here does not necessarily mean a fixed space either. Like Franklin Street Works, the alternative art space model often involves a dedicated building that serves as a foil to the dominant museum and commercial gallery offerings. Many of the groups in “Initial Conditions,” however, do not have a fixed location or are using locations that, to quote exhibiting artist Park McArthur, “are already textured with other concomitant activities like people’s homes and ceramic studios.” The alternative spaces in “Initial Conditions” also include: a gallery space that is democratically run by eleven artists; globally located artists united through their use of a digital knitting program; and nomadically occurring programs and exhibitions that address autoimmune and chronic conditions.
The installations on view are created by artists and collectives for “Initial Conditions” and include: machine-made knitted wall works; ceramic-based objects by artists who usually work in a different medium and are exploring their inner amateur; choreographed dances for prisoners in solitary confinement; a magazine on culture and politics; community-produced handmade signs from a community garden in Williamsburg, Brooklyn; an artist-run gallery whose projects serve, in part, as an extension of the group’s artistic practice; takeaway zines and newsletters; works around maintaining a sustainable, healthy body that resists being in service to capitalism; a library of books written by black female authors; a wearable sculpture that reflects how insects respond to emergencies; and texts and videos that examine and critique the model of monetary exchange and the power dynamics surrounding care.
Exhibiting artists include Olaronke Akinmowo, aricoco, Trisha Baga, Clifford Borress, Jessica Sue Burstein, Lea Cetera, Jesse Cohen, Sarah Dahnke,Lucky DeBellevue, Corey Escoto, Taraneh Fazeli, Marley Freeman, Rochelle Goldberg, Dave Hardy, Zoey Hart, EJ Hauser, Nancy Haynes, Rebecca Watson Horn, Christine Kelly, Kathryn Kerr, Carolyn Lazard, Pam Lins, Sara Magenheimer, Cat Mazza, Park McArthur, Keegan Monaghan, Nick Parker,Krista Peters, Lucy Raven, Sam Richardson, Halsey Rodman, Elisabeth Sherman, Bonnie Swencionis, Katya Tepper, Conrad Ventur, Victoria Vreeland,Adam Welch, Constantina Zavitsanos, and Marina Zurkow.
This exhibition is sponsored in part by Fairfield County’s Community Foundation, the Mertz-Gilmore Foundation, and the Connecticut Department of Economic and Community Development Office of the Arts.
Franklin Street Works is proud to present a panel discussion in conjunction with the current exhibition, “Acting on Dreams: The State of Immigrant Rights, Conditions, and Advocacy in the United States,” The exhibition, which is curated by Yaelle S. Amir, is on view through August 30. This free, public panel takes place at Franklin Street Works on Saturday, July 11th at 5:00pm.
In line with the work included in the exhibition, the panel discussion will present creative responses to immigrant rights and conditions in the United States. Panel discussion speakers include curator Yaelle S. Amir; exhibiting artists Camilo Godoy, Marisa Jahn, and Jenny Polak; and Coordinating Committee Member of Connecticut Students for a Dream, Danilo Machado. Facilitated by the exhibition’s curator, three of the artists – Camilo Godoy, Marisa Morán Jahn, and Jenny Polak – will discuss the motivations, process, and aims of their projects, and Danilo Machado will present his work with the organization Connecticut Students for a Dream. Using these projects as a platform, the discussion will also focus more generally on creative tactics in advocacy work, the nature of community collaboration, the complex nature of activist initiatives, and more.
This exhibition is sponsored, in part, by Fairfield County’s Community Foundation and the Mertz Gilmore Foundation.
ABOUT THE PANELISTS
Yaelle Amir (b. Haifa, Israel) is an independent curator and researcher. She currently holds the position of Curator at Newspace Center for Photography in Portland, OR. Amir’s writing and curatorial projects focus primarily on artists whose practices supplement the initiatives of existing social movements—rendering themes within those struggles in ways that both interrogate and promote these issues to a wider audience. She has curated exhibitions at Artists Space, CUE Art Foundation, Center for Book Arts, ISE Cultural Foundation, The Elizabeth Foundation for the Arts, Marginal Utility, and the Wallach Art Gallery at Columbia University, among others.
Camilo Godoy was born in Bogotá, Colombia and currently lives in New York. He received a BFA from Parsons The New School for Design in 2012 and a BA from Eugene Lang College The New School for Liberal Arts in 2013. From 2012-2013 he was the Public Engagement Coordinator at Immigrant Movement International, a long-term project initiated by artist Tania Bruguera in Queens, New York. He has been involved with migrant rights groups since 2010 and has focused his advocacy in opposing detention and deportation practices. Godoy was a 2012-2013 Queer Art Mentorship fellow; a 2014 EMERGENYC fellow at The Hemispheric Institute of Performance and Politics at NYU; a 2014-2015 Keyholder Resident at the Lower East Side Printshop; and is currently a 2015 Movement Research Artist-in-Residence. Godoy’s work has been presented at venues such as La Mama Galleria, New York; Queens Museum, New York; Donaufestival, Krems; and Mousonturm, Frankfurt, among others.
Danilo Machado (b. Medellín, Colombia) is currently an undergraduate at the University of Connecticut-Stamford, studying English and Women’s, Gender, and Sexuality Studies and serves as a member of the Coordinating Committee of Connecticut Students for a Dream, a statewide network of undocumented youth and allies. He is passionate about intersectional organizing and political education, particularly around queer and undocumented identities. He has conducted numerous trainings and workshops, as well as written reports and Op-Eds on the intersections of these very personal identities, including publications in The Advocate and The Hartford Courant. Besides social justice work, Danilo is passionate about poetry, design, and having one more cup of coffee.
Jenny Polak (b. ) is an artist whose work simulates ways for people to survive hostile authorities. Polak’s family history of hiding and migration fuels her preoccupation with negotiations in the dangerous spaces of transition. She records and invents citizen/non-citizen collaborations and accommodations, often using the languages of architecture and design to reposition emergencies as part of the everyday. Coming from a background in both art and architecture, Polak’s projects are often site/community responsive; these include site-specific projects at the Griffiths International Sculpture Garden, Rome, NY; Exit Art, NYC; The Rotunda Gallery, Brooklyn; and Soap Factory, Minneapolis, MN. Her work has been discussed in books and publications including The New York Times, The Newark Star-Ledger, The Guardian (UK), Brooklyn Rail, and Bad at Sports.
“Acting on Dreams: The state of immigrant rights, conditions, and advocacy in the U.S.” is an original group exhibition curated by Yaelle S. Amir for Franklin Street Works. It will be on view from June 13 – August 30, 2015. Opening reception is Saturday, June 13 from 6:00 – 8:00 pm. With a VIP members preview from 5:00 – 6:00 pm.
Franklin Street Works is partnering with Stamford’s Treetops Chamber Music Society on the new concert series “Listening Room: Music in Contemporary Space.” The concert will capitalize on the contemporary art and music expertise of these two accomplished not-for-profit organizations in order to bring fresh, world-class chamber music to Franklin Street Works.
The concert takes place Saturday, May 30th from 7:30-9:00pm at Franklin Street Works and will feature the critically acclaimed Lark Quartet with Yousif Sheronick on percussion. Seats in the intimate upstairs gallery are $25 each, and $10 tickets are available for the downstairs live-feed lounge. Purchase tickets HERE
All ticket holders are welcome at the post-performance discussion with TCMS artistic director Oskar Espina Ruiz and are invited to attend the reception in Franklin Street Works’ café.
The Lark Quartet is an accomplished string quartet that has performed at Carnegie Hall, Lincoln Center, and the Brooklyn Museum’s Sackler Center for Feminist Art. They have recorded more than one-dozen CDs and the Washington Post described their performance as one “of grace, proportion, and burnished brilliance.” The string quartet will be performing new works tailored to art and music audiences who enjoy innovation and experimentation. The program will include John Adams’ “John’s Book of Alleged Dances,” William Bolcom’s “Three Rags; Nico Muhly’s Big Time,” “Viaggio in Italia.”
About Lark Quartet: The Lark Quartet is known for its energy, passionate commitment and artistry since its inception in 1985. The Lark has performed in many of the world’s great cultural centers including Carnegie Hall, Lincoln Center, The Library of Congress, London’s Wigmore Hall, L’Opéra de la Bastille in Paris, and appeared at international festivals including Lockenhaus, the Schleswig-Holstein Festival, Mostly Mozart, Istanbul Festival, Wolftrap and the Beethoven Festival in Moscow. The Lark has a distinguished tradition of working closely with the country’s most celebrated composers and commissioning new works, many of which have become mainstays of the chamber music repertoire. With a discography comprising more than a dozen CDs, the Lark has recorded for the Decca/Argo, Arabesque, Bridge, ERI, Endeavor, Koch, Point and New World labels. Lark Quartet: Composing America, comprising works by Adams, Bolcom, Moravec and Copland, was released on Bridge Records in 2014 to international acclaim.
About Treetops Chamber Music Society: Treetops Chamber Music Society (TCMS) is the premier chamber music organization in South Eastern Connecticut. Its main concert series takes place at the former art studio of American abstract artist Louis Schanker. Since its founding in 2006, TCMS has presented a stellar roster of international artists, among them the American, Cassatt, Daedalus, Escher and Shanghai Quartets, the New York Woodwind Quintet, and artists from the MET Orchestra. Since 2008, TCMS has also helped nurture some of the most talented young chamber musicians in the country through its J.C. Arriaga Chamber Music Competition and has commissioned new chamber music works by celebrated and up-and-coming composers. TCMS showcases contemporary art, with rotating exhibitions held at each concert.
Ryann Slauson will perform “Only the Lonely” Wednesday, May 20th from 12:30 – 3:30 pm. The performance is programming for the current exhibition “It’s gonna take a lotta love,” curated by Terri C. Smith and Liza Statton. The performance will take place downstairs at Franklin Street Works during regular business hours, creating a unique lunchtime experience for cafe and gallery goers. This performance is free and open to the public.
“Only the Lonely,” a karaoke endurance piece, imagines Slauson as Neil Young singing a classic song by one of his most admired musicians, Roy Orbison. The piece engages with the effects of repetition and its transformative power over objects and experiences, as well as performed identities, attempts at perfection, and appropriations of collective culture. Each iteration of the karaoke performance will be recorded through the use of a VCR, lending an archaic and fuzzy aesthetic to the byproducts of the performance.
The use of music in and the lo fi quality of “Only the Lonely” aligned so closely with the exhibition “It’s gonna take a lotta love” curator Terri C Smith invited Slauson to perform it after the show was already on view. “It’s gonna take a lotta love” is a group exhibition where the artists avoid the detachment and slick seduction of the screen-based technologies that characterize our attention economy. These artists also share a type of tragic-comic vision of contemporary culture. Humor, joy, and melancholy, among others, mix easily in their work. Such emotional credibility creates a slippage between empathy and alienation. Exhibiting Artists: Jon Campbell (Melbourne, Australia), Andy Coolquitt (Austin/NYC), Jeremy Deller (London), Jessica Mein (NYC), A.L. Steiner + Robbinschilds (NYC), Whiting Tennis (Seattle), Stephen Vitiello (Richmond, VA), and Wayne White (LA).
Ryann Slauson received her BFA in Sculpture and Extended Media from the University of South Florida in 2010, and is currently completing her MFA in Studio Art and MA in Modern and Contemporary Art, Theory, and Criticism at Purchase College. She received the PUNCH Choice Award at the “2014 International Juried Exhibition” at PUNCH Gallery, Seattle, WA; and was included in ”Marking Time” at Adam Baumgold Gallery, NYC; “Seeing the Sky,” the 2014 Wassaic Summer Exhibition, Wassaic, NY; and “The Wanderers” at Trestle Projects, Brooklyn, NY.
Franklin Street Works is excited to present a collaborative storytelling event called “Show and Tell: Fandom” that is being organized with local storytelling organization, Ignite Stamford. The event is free and open to the public and takes place at Franklin Street Works Sunday, May 17th from 4-6pm. You do not have to participate to attend. Everyone is welcome! To sign up, email email@example.com or drop by Franklin Street Works.
The theme of this event will be fandom, inspired by the video “Our Hobby is Depeche Mode,” a Jeremy Deller (with Nick Abrahams) film currently on view in the group exhibition “It’s gonna take a lotta love.” The feature-length video documents fans of Depeche Mode from all over the world.
To sign up, email firstname.lastname@example.org or drop by Franklin Street Works. Deadline for signing up is 5:00pm on May 15th. Anyone can sign up for the event to tell a 2-3 minute story about a moment in their life when they were a big fan and showed it. Participants are also encouraged to “show” their fandom by bringing an item representative of their obsession, whether it’s a binder full of baseball cards or an autographed concert ticket stub.
“It’s gonna take a lotta love” is a group exhibition that explores ideas about inclusivity, authenticity, and commonality in an age of anxiety, isolated individualism, and virtually lived experience. It is on view through May 24 and includes Australian artist Jon Campbell’s outdoor public art project “Four Letter Words For Stamford,” which features affirmative words on flags and banners around town. The artists in this group show are: Jon Campbell (Melbourne, Australia), Andy Coolquitt (Austin/NYC), Jeremy Deller (London), Jessica Mein (NYC), A.L. Steiner + Robbinschilds (NYC), Whiting Tennis (Seattle), Stephen Vitiello (Richmond, VA), and Wayne White (LA).
Jeremy Deller is a Tate Prize winning conceptual artist based in London. Frequently working in collaboration with other artists, individuals, and collectives, Deller employs documentary video, installation, and staged situations to explore British culture—its contradictory nature in a post-industrial, capitalist society—and the role art plays in forming collective interactions and activist positions. “Our Hobby is Depeche Mode” maps the obsession that fans from all over the world have with the band, and the underlying political (and at times religious) symbolism that the band evokes in the lives of its followers.
On March 28, Franklin Street Works will host a lively talk by Australian artist, Jon Campbell, as part of the current exhibition “It’s gonna take a lotta love,” curated by Terri C. Smith and Liza Statton. For his Franklin Street Works talk, Campbell will discuss his art practice, including the formal strategies in the works he made for the Franklin Street Works’ exhibition. The talk will give insights into Campbell’s word paintings and flags, which are part of his public art installation in Stamford, CT. The event is free and open to the public and will take place at Franklin Street Works on Saturday, March 28th from 4:00-6:00pm, with the talk from 4:00 – 5:00pm followed by a Q & A and casual conversation with the artist in the café from 5:00-6:00pm.
Jon Campbell is a painter who lives and works in Melbourne, Australia. Marrying the design principles of modernist abstraction with Pop vernacular, he creates text-based paintings, banners, and flags that aestheticize common experiences. For his Franklin Street Works commission, Campbell has created an ambitious public art project, his first in the United States, in addition to his gallery contributions, a “four letter word” mural, and a set list painting based on a Melbourne band’s 1984 performance. Campbell’s flags and banners, including one at Stamford’s Government Center, will be mounted in public parks, schools and in front of downtown businesses, creating a visual dialogue with residents, visitors and passersby. These “four-letter word flags” brightly declare words like Hold, Home, Look, Play, and Yeah. Elevating everyday words into pictorial objects, Campbell’s flags ask viewers to consider which words are worthy of a public format usually saved for pageantry or branding and ask us to explore the potential of each word’s meaning.
Campbell adds, “Words are in everybody’s life but not necessarily as painted word. Once the word or phrase is isolated as a painting it suddenly resonates in a different way. So I think there is a lot of power in the word as an artwork. It also allows for a sense of humor and allows a lot of freedom in terms of design.”
“It’s gonna take a lotta love” is a group exhibition that explores ideas about inclusivity, authenticity, and commonality in an age of anxiety, isolated individualism, and virtually lived experience.
Artists include: Jon Campbell (Melbourne, Australia), Andy Coolquitt (Austin/NYC), Jeremy Deller (London), Jessica Mein (NYC), A.L. Steiner + Robbinschilds (NYC), Whiting Tennis (Seattle), Stephen Vitiello (Richmond, VA), and Wayne White (LA).
About the Artist: Jon Campbell lives and works in Melbourne, Australia. In 2013, Campbell was commissioned by the National Gallery of Victoria (NGV) to create new public works for the comprehensive group exhibition, Melbourne Now. In 2012, Campbell was awarded the Basil Sellers Art Prize for his multi-panel painting Dream team. Recent solo exhibitions include Spring 1883, Darren Knight Gallery, Sydney (2014); DUNNO, Kalimanrawlins, Melbourne (2012); Pure Bewdy, Darren Knight Gallery, Sydney (2011); and Stacks On, Melbourne Art Foundation Commission (2010). Campbell is an Associate Professor at the VCA at Melbourne University.
About our Sponsors: This exhibition is sponsored, in part, by The Bacon Family, First County Bank, The Levenson-Bailey-Lupinacci Family, PlowShare Group, Purdue Pharma, SL Green Realty Corp., and Video Data Bank. Jon Campbell’s participation has been assisted by The University of Melbourne, Victorian College of the Arts, and the Australia Council for the Arts.
Australian Artist, Jon Campbell, creates his first public art project in the United States for Stamford, Connecticut, as part of the group exhibition “It’s gonna take a lotta love,” which is on view through May 24, 2015. The public is invited to a celebratory ribbon-cutting ceremony for the project’s flags and banners! The ribbon cutting will take place at Franklin Street Works on Thursday, March 19 at 3:00pm and will be followed by a reception in the Franklin Street Works cafe and galleries from 4:00-5:30pm. Campbell’s flags will be on view through June 16, which is also Flag Day.
More than 50 flags and banners will be mounted at Stamford’s public parks, schools and in front of select office buildings, including the Government Center. Jon Campbell’s “four-letter word flags” brightly declare the words Hold, Home, Look, Play, and Yeah. Their presence in the public sphere creates a visual dialogue with residents and visitors going about their daily routines. Campbell’s works transform everyday words into pictorial objects, prompting viewers to understand the expansive nature of language and how context, scale, and color can change a word’s resonance. By inserting his word flags between country, state, or corporate flags in a city, Campbell prompts passersby to ask which words are worthy of a public format usually saved for pageantry or branding.
Franklin Street Works is also partnering with local public and private Stamford schools to develop educational programs that engage students, including a flag design competition for 7th-12th grade students. The competition will result in the printing and hanging of two winning flag designs in a public ceremony scheduled for late May.
“It’s gonna take a lotta love” is a group exhibition that explores ideas about inclusivity, authenticity, and commonality in an age of anxiety, isolated individualism, and virtually lived experience. Artists include: Jon Campbell (Melbourne, Australia), Andy Coolquitt (Austin/NYC), Jeremy Deller (London), Jessica Mein (NYC), A.L. Steiner + Robbinschilds (NYC), Whiting Tennis (Seattle), Stephen Vitiello (Richmond, VA), and Wayne White (LA).
About the Artist: Jon Campbell is a painter who lives and works in Melbourne, Australia. Marrying the design principles of modernist abstraction with Pop vernacular, Campbell creates text-based paintings, banners, and flags that aestheticize common experiences. In 2013, was Campbell was commissioned by the National Gallery of Victoria (NGV) to create new public works for the comprehensive group exhibition, Melbourne Now. In 2012, Campbell was awarded the Basil Sellers Art Prize for his multi-panel painting Dream team. Recent solo exhibitions include Spring 1883, Darren Knight Gallery, Sydney (2014); DUNNO, Kalimanrawlins, Melbourne (2012); Pure Bewdy, Darren Knight Gallery, Sydney (2011); and Stacks On, Melbourne Art Foundation Commission (2010). Campbell is an Associate Professor at the VCA at Melbourne University.
About our Sponsors: This exhibition is sponsored, in part, by The Bacon Family, First County Bank, The Levenson-Bailey-Lupinacci Family, PlowShare Group, Purdue Pharma, SL Green Realty Corp., and Video Data Bank. Jon Campbell’s participation has been assisted by The University of Melbourne, Victorian College of the Arts, and the Australia Council for the Arts.
“It’s gonna take a lotta love” is a group exhibition that explores ideas about inclusivity, authenticity, and commonality in an age of anxiety, isolated individualism, and virtually lived experience. The show is on view from March 7 – May 24, 2015, and is curated by Liza Statton and Terri C Smith.
The exhibiting artists avoid the detachment and slick seduction of the screen-based technologies that characterize our attention economy. Yet, rather than critiquing the sensationalist strategies embedded in the ever-expanding social media and advertising industries, they pursue modes of art-making that focus on the aesthetic and conceptual potential of society’s offcuts.
These artists also share a type of tragic-comic vision of contemporary culture. Humor, joy, and melancholy, among others, mix easily in their work. Yet, such emotional credibility creates a kind of slippage between empathy and alienation.
Some artists create this slippage by making and re-making objects using seemingly inconsequential materials. Wayne White paints witty and sometimes biting phrases on found thrift store lithographs of scenes such as pastoral landscapes or rustic barns. Andy Coolquitt resituates familiar materials such as vinyl records, lightbulbs, synthetic shag fabric, and books-on-tape into installations that are inspired by functions and spaces outside of the gallery. His works articulate a tension between the familiarity of our real lives and the exclusive domain of the white cube gallery. Whiting Tennis creates drawings, paintings and sculptures that pit Modernist art’s fascination with pure form against an intentionally personal mode of a hobbiest aesthetic that wrestles with ideas of concealment and containment.
Other artists such as Jon Campbell, Stephen Vitiello, and Jeremy Deller create subtle interventions using everyday language and music. Deller’s poster “Attention all DJs” takes on the form of a handwritten sign with tongue-in-cheek instructions for DJs. Jon Campbell’s “four letter word flags” brightly declare words like “Yeah,” “Home,” and “Want.” By inserting his word flags between country, state, or corporate flags in a city, Campbell prompts passerby’s to ask if the words we all use are worthy of a public format usually saved for pagentry or branding. Stephen Vitiello’s sound works in “It’s gonna take a lotta love” appropriate commercial music from well known singers. With “Dolly Ascending” Vitiello slows down Dolly Parton singing “Stairway to Heaven” to the point where it sounds like choral music. In A.L. Steiner + Robbinschild’s “C.L.U.E. Part I” video two women perform dance infused movements in backdrops of natural and built environments, connecting color, action, attitude, and environment in a straightforward way that includes the audience in their choreographed antics.
Two of the exhibiting artists, Andy Coolquitt and Jon Campbell, have been commissioned to make new works for “It’s gonna take a lotta love.” In the gallery, Coolquitt, whose assemblages reconsider the materials we unconsciously engage with, will be creating a new mixed media installation entitled oo oo. Australian artist Jon Campbell has been commissioned to make new works for the exhibition. His gallery contributions include a “four letter word” mural and a set list painting, which is based on a Melbourne band’s 1984 performance. Campbell extends his painting practice into the public sphere with an ambitious installation in Downtown Stamford, his first in the United States. Campbell, who is interested in representing “the overlooked and undervalued,” will design and exhibit flags and banners with the words: Hold, Home, Look, Play, Want, and Yeah. The works will be mounted on existing flagpoles in public parks, at office buildings, and on construction fences throughout Downtown.
Artists include: Jon Campbell (Melbourne), Andy Coolquitt (Austin/NYC), Jeremy Deller (London), Stephen Vitiello (Richmond, VA), Jessica Mein (NYC), A.L. Steiner + Robbinschilds (NYC), Whiting Tennis (Seattle), and Wayne White (LA).
This exhibition is sponsored in part by:
|Jon Campbell’s participation has been assisted by:|
Franklin Street Works presents a (rescheduled) artist walk through of “About Like So: The Influence of Painting,” on the exhibition’s closing weekend. Exhibiting artists Sophy Naess, Paul Theriault, and Siebren Versteeg will walk us through the exhibition and discuss their work, touching on painting’s influence on their studio practices. The event is free and open to the public and takes place from 4:00 – 6:00 pm.
“About Like So: The Influence of Painting” features works that use paint in unorthodox ways or bypass the medium all together to reveal how the “language of painting” can invade, obstruct and enhance other media. In her work, Sophy Naess uses glycerine as a performative medium to connect with the history of abstract expressionism. In Naess’ case the materials employed are ephemeral, a distinct move away from oil paints stable properties. Included in “About Like So” are works composed of body friendly glycerine, scents, and pigments. Critic Samara Davis of Artforum online reflects, “Embedded in Naess’s soaps are tiny things: Pieces of weeds and flowers float next to funny trash items and found treasures. The contents are carefully arranged, whether suspended in color blocks or scattered just beneath the soap’s surface, and each tablet depicts a different landscape of secret meanings and spells.”
Through digital investigations, Paul Theriault paints direcly onto scanner beds and then scans the composition, allowing for the occasional burst of light to peek through the paint. For the piece “Tabula Rasa,” currently on display at Franklin Street Works, Theriault plays with traditional notions of painting by displaying his digital scan on an LED Monitor which rests on an easel, complete with dried oil stains around its edges. By juxtaposing this layering of digital effect with the easel’s reference to traditional painting Theriault expands on both the process of production and the form of presentation within the medium.
Siebren Versteeg’s “algorithm paintings” share formal traits with abstract painting, but are actually prints on canvas. Each work is composed by an algorithm the artist programmed using code. For the works in “About Like So,” Versteeg enters his algorithm paintings into the computer and prompts a Google image search to find a matching, “concrete” image, which is hung just to the right. In the end, Versteeg’s two computer processes turn the usual dynamic between the representational and the abstract inside out. In 2008, critic James Yood describes Versteegs interests, writing, “The Internet’s ceaseless flow of information, the parallel universes that it births and destroys, the cacophony of perpetual interactivity it encourages, all create torrents of new, largely unregulated visual data. Siebren Versteeg designs programs and display strategies to tap into these streams, siphoning off bits here and there, rearticulating their systems of presentation, and ultimately jamming their promise of stability and ubiquity.” (ArtForum Magazine)
“About Like So: The Influence of Painting” is on view at Franklin Street Works through February 22, 2015. Exhibiting artists: Polly Apfelbaum, Paul Branca, Taylor Davis, Tim Davis, Marley Freeman, Ragnheiour Gestsdottir, Michael Graeve, Dave Hardy, Alex Hubbard, John Knuth, Sophy Naess, Tameka Norris, Peter Nowogrodzki/Max Kotelchuck, Seth Price, Paul Theriault, Brad Tucker, Siebren Versteeg, Augustus Thompson, Leslie Wayne, “in actu: music and painting” (K.R.H. Sonderborg, Wolfgang Hannen, Günter Christmann and Paul Lovens).
About the Artists: Sophy Naess is an artist based in New York. Her work has been shown in New York at Chapter, Essex Flowers, Lori Bookstein Gallery, Soloway, the Goethe Institut Library, the Lower Manhattan Cultural Council, Recess, The Bruce High Quality Foundation, Sue Scott Gallery, Printed Matter, and numerous project spaces. Naess received her MFA at Mason Gross School and her BFA from Cooper Union. Paul Theriault lives and works in New Haven Connecticut, close to his birthplace of Milford Connecticut in 1972. His practice lies primarily within the idiom of abstraction but produced through the medium of computers and digital technology. Theriault has been exploring the possibilities of new media within the context of artistic production for the past two decades. From 1992-2002, he lived in Chicago, Illinois, where he studied orchestral technique of the contra bass and worked primarily in digital video and sound based art. Theriault has exhibited work regularly in the United States as well as had his video work screened overseas. Siebren Versteeg holds a Masters of Fine Arts from University of Illinois at Chicago and a Bachelors of Fine Arts from the School of the Art Institute of Chicago. He was a participant of the Skowhegan School of Painting and Sculpture and has exhibited most recently at Dorsch Gallery (Miami), The Museum of Contemporary Art (Chicago), Offen Aug AEG (Nürnberg, Germany), Locust Projects (Miami), and Outpost (Ridgewood, NY). Solo exhibitions include: Rhona Hoffman (Chicago) and the Art Institute of Boston (Boston). His work is held in collections that include the Ulrich Museum of Art, the Marguilies Collection, the RISD Museum, the Albright-Knox Art Gallery, the Hirshhorn Museum, the Yale Art Gallery, and the Guggenheim Museum.
Franklin Street Works presents a panel discussion explores painting’s role in contemporary art practices, especially as it relates to Franklin Street Works’ current exhibition “About Like So: The Influence of Painting.” Panelists are exhibiting artist Marley Freeman, art critic Noah Dillon, and the exhibition’s curator, Terri C Smith. The event is free and open to the public and takes place from 7:00 – 8:30 pm.
The panel will share observations about how painting’s histories, forms, and materiality relate to the works in the exhibition. In preliminary email discussions preparing for the event, the panelists have touched on topics such as how other forms of art production influence painting and vice versa, painting’s role as a tool in conceptual art and performance, and how some of the works in “About Like So” highlight the action of a painting’s creation and its development as image.
“About Like So: The Influence of Painting” is on view at Franklin Street Works through February 22, 2015. It features works that use paint in unorthodox ways or bypass the medium all together to reveal how the “language of painting” can invade, obstruct and enhance other media. This exhibition asks, “In an era where painting no longer has the art historical primacy it once did, what can it contribute to the dominant art practices of today – art that is often not medium specific and is rooted in the theory-driven practices of conceptual art?”
Exhibiting artists include Polly Apfelbaum, Paul Branca, Taylor Davis, Tim Davis, Marley Freeman, Ragnheiour Gestsdottir, Michael Graeve, Dave Hardy, Alex Hubbard, John Knuth, Sophy Naess, Tameka Norris, Peter Nowogrodzki/Max Kotelchuck, Seth Price, Paul Theriault, Brad Tucker, Siebren Versteeg, Augustus Thompson, Leslie Wayne, “in actu: music and painting” (K.R.H. Sonderborg, Wolfgang Hannen, Günter Christmann and Paul Lovens).
About the Panelists: Noah Dillon is an artist and art critic who lives and works in New York. He has written for The Zephyr, the Brooklyn Rail, and artcritical. Dillon has also contributed to Art in America, Painting is Dead, and ArtSlant and is currently the associate editor at artcritical. Marley Freeman is a dedicated painter who has been showing in New York since 2011. She received an MFA in painting from Bard College, 2011, and a BFA from The School of the Art Institute of Chicago, 2008. Her work was recently shown in House Arrest at Franklin Street Works, CT; Reading Boyishly at THIS IS THE PLACE, NY; Significant Ordinaries, The University Art Museum, California State University, CA.Of her work Freeman writes, “Painting is a manner of palimpsest, a battering of layers towards clarity- ‘object-ness.’ Brush as arbiter of form. My goals are in process. They devolve into a spirit of play and love of work.” Drawing on a history with textiles, Freeman’s work is a marginal type of abstraction born of a desire and pursuit of a new image. Her artist project website is www.ff-ff-ff-ff-ff.net. It has five works which change regularly. Terri C Smith has curated more than 100 contemporary art exhibitions for museums and other not-for-profit arts organizations. Her work has received numerous awards, including two multi-year grants from The Andy Warhol Foundation for the Visual Arts. Smith’s exhibitions have been met with positive reviews and features in international art publications such asArt Papers, Artforum online, Bombblog, Afterimage, and This isTomorrow.
New York artist Leslie Wayne will speak about her work as part of “About Like So: The Influence of Painting” exhibition. The event includes a talk from 4:00 – 5:00, followed by a casual Q & A and a social gathering in the café from 5:00 – 6:00pm.
Leslie Wayne will speak about her current body of work, entitled Paint/Rags, which are on view in Franklin Street Works’ current exhibition, “About Like So: The Influence of Painting.” At first glance, these three-dimensional paintings appear to be painted fabrics hanging on a hook. In reality, they have no cloth or canvas behind them and are made entirely of paint. The perceptual double-take Wayne creates gives rise to questions about context, about the value of art and everyday objects, and the nature of painting. Wayne will speak about her process, about the symbiotic relationship between process and ideas, and about her personal history that lead to this work.
“About Like So: The Influence of Painting” is a group exhibition that explores how the histories, forms, materials and other qualities associated with painting inform conceptual art practices today. The exhibition, curated by Terri C Smith, aims, in part, to challenge expectations of painting, which are often attached to historic movements, decorative qualities or romantic notions of the artist in his or her studio. “About Like So” features works that use paint in unorthodox ways or bypass the medium all together to reveal how the “language of painting” can invade, obstruct and enhance other art forms. This exhibition asks, “In an era where painting no longer has the art historical primacy it once did, what can it contribute to the dominant art practices of today – art that is often not medium specific and is rooted in the theory-driven practices of conceptual art?”
“About Like So: The Influence of Painting” is on view at Franklin Street Works through February 22, 2015. Exhibiting artists include: Polly Apfelbaum, Paul Branca, Taylor Davis, Tim Davis, Marley Freeman, Ragnheiour Gestsdottir, Michael Graeve, Dave Hardy, Alex Hubbard, John Knuth, Sophy Naess, Tameka Norris, Peter Nowogrodzki/Max Kotelchuck, Seth Price, Paul Theriault, Brad Tucker, Siebren Versteeg, Augustus Thompson, Leslie Wayne, “in actu: music and painting” (K.R.H. Sonderborg, Wolfgang Hannen, Günter Christmann and Paul Lovens).
About Leslie Wayne: Leslie Wayne was born in Germany in 1953, and grew up in California. She currently lives and works in New York. Wayne studied painting at the University of California, Santa Barbara, from 1971 to 1973, and she received a BFA in sculpture at The Parsons School of Design. Wayne is the recent recipient of a Joan Mitchell Foundation Artists grant, and has received awards from the Pollock-Krasner Foundation, the Adolph and Esther Gottlieb Foundation, the Buhl Foundation, The New York State Council on the Arts, and the New York Foundation for the Arts. Her work is in the public collections of The Birmingham Museum of Art, Birmingham, AL, the Corcoran Gallery of Art, Washington DC, Fondation Cartier pour d’art Contemporain, Paris, France, La Collection Jumex, Mexico City, Mexico, the Miami Museum of Contemporary Art, Miami, FL, the Neuberger Museum of Art, Purchase, New York, and the Portland Museum of Art, Oregon, among others. Leslie Wayne is represented by Jack Shainman Gallery, New York.
“About Like So: The Influence of Painting” exhibiting artist Augustus Thompson will perform ambient styled electronic music at the Franklin Street Works upstairs gallery. For his live performance, Thompson will sequence sound loops that include elements from his piece currently on view in the gallery’s café. The event is free and open to the public.
In Augustus Thompson’s work, field recordings bleed into guitar work, creating sculptural sound. Thompson’s performances involve the primitive sequencing of pre-recorded loops, referred to by the artist as “bedroom music.” In these performances simple lyrics take on repetitive motifs, much like mantras, in ways that connect performer and audience. Often melancholic, Thompson’s music alludes to intimacy, privacy, and the open context of a free expansion of expression.
“About Like So: The Influence of Painting” is on view at Franklin Street Works through February 22, 2015. The exhibition features works that use paint in unorthodox ways or bypass the medium all together to reveal how the “language of painting” can invade, obstruct and enhance other media.
Exhibiting artists include: Polly Apfelbaum, Paul Branca, Taylor Davis, Tim Davis, Marley Freeman, Ragnheiour Gestsdottir, Michael Graeve, Dave Hardy, Alex Hubbard, John Knuth, Sophy Naess, Tameka Norris, Peter Nowogrodzki/Max Kotelchuck, Seth Price, Paul Theriault, Brad Tucker, Siebren Versteeg, Augustus Thompson, Leslie Wayne, “in actu: music and painting” (K.R.H. Sonderborg, Wolfgang Hannen, Günter Christmann and Paul Lovens).
About the Artist:
Augustus Thompson lives and works in Los Angeles and New York. His work, which includes painting, print, installation, sound design and sculpture, has been exhibited most recently at the Museum Dhondt-Dhaenens, Deurle, Belgium (2014); White Cube, London (2014); Fondazione Museo Pino Pascali, Polignano, Italy (2014); Night Gallery, Los Angeles (2014); Still House Group, New York (2014); Steve Turner Contemporary, Los Angeles (2013) and in several San Francisco galleries where he began his career.
The documentary “ART AND CRAFT,” which is about prolific art forger Mark Landis and is on the Oscar Short List, will screen at Stamford’s Avon Theatre, January 14 at 7:30 pm. Before the screening Franklin Street Works will host a free public cocktail reception with the directors at our space from 6:30 until 7:20. After the 7:30 screening at the Avon, there will be a Post-film Q&A with filmmakers Jennifer Grausman & Sam Cullman. The Franklin Street Works pre-screening reception is free, and movie ticket prices at the avon are as follows: Avon Carte Blanche Members: FREE, (Franklin Street Works and Avon) Members: $6, Students & Seniors: $8, Nonmembers: $11.
Tickets can be purchased online at www.avontheatre.org, at the Avon business office (203-661-0321), the box office (203-967-3660, x2), or at the door. The Avon is located walking distance from Franklin Street Works at 272 Bedford Street, Stamford, CT.
Mark Landis has been called one of the most prolific art forgers in US history. His impressive body of work spans thirty years, covering a wide range of painting styles and periods that includes 15th Century Icons, Picasso, and even Walt Disney. And while the copies could fetch impressive sums on the open market, Landis isn’t in it for money. Posing as a philanthropic donor, a grieving executor of a family member’s will, and most recently as a Jesuit priest, Landis has given away hundreds of works over the years to a staggering list of institutions across the United States. But after duping Matthew Leininger, a tenacious registrar who ultimately discovers the decades-long ruse and sets out to expose his philanthropic escapades to the art world, Landis must confront his own legacy and a chorus of museum professionals clamoring for him to stop.
ART AND CRAFT starts out as a cat-and-mouse art caper, rooted in questions of authorship and authenticity—but what emerges is an intimate story of obsession and the universal need for community, appreciation, and purpose.
In English | Not Rated | 89 minutes
Sam Cullman • Director/ Producer/ Cinematographer – Sam Cullman is a cinematographer, producer and director of documentaries. He partnered with director Marshall Curry to co-direct, shoot and produce IF A TREE FALLS (2011) which won the U.S. Documentary Editing Award at the 2011 Sundance Film Festival and later received an Academy Award® nomination for Best Documentary Feature. More recently, Cullman produced and shot the Peabody and Sundance Grand Jury prize-winning THE HOUSE I LIVE IN (2012), directed by Eugene Jarecki. His latest film, ART AND CRAFT (2014), which Cullman shot, produced and directed with Jennifer Grausman premiered at the 2014 Tribeca Film Festival and was picked up by Oscilloscope Laboratories for theatrical distribution. In addition to his camerawork on his own films, Cullman’s cinematography has also appeared in dozens of other documentaries including WATCHERS OF THE SKY (2014), REAGAN (2011), and KING CORN (2006). A graduate of Brown University (1999) with Honors in Visual Art and a second major in Urban Studies, Cullman currently lives and works in Brooklyn, New York.
Jennifer Grausman • Director/ Producer – Jennifer Grausman recently completed directing and producing the feature documentary ART AND CRAFT, which premiered at the 2014 Tribeca Film Festival and was picked up by Oscilloscope Laboratories for theatrical distribution. She also directed and produced the Emmy-nominated feature documentary, PRESSURE COOKER (2008). The film garnered awards from festivals across the country including a Special Jury Commendation at the 2008 Los Angeles Film Festival. Grausman also co-produced Eric Mendelsohn’s feature, 3 BACKYARDS (2009), which won Best Director at the 2010 Sundance Film Festival. Previously, she produced six short films, including Suzi Yoonessi’s DEAR LEMON LIMA (2007), and Joan Stein’s SOLIDARITY (2005). In addition to making films, Grausman was Co-Director of The Screenwriters Colony in Nantucket, MA from 2010 to 2012. A graduate of the MFA film program at Columbia University, Grausman was honored with the 2005 Best Producer Award. Prior to graduate school, she was the Manager of Exhibition and Film Funding at The Museum of Modern Art.Z She earned her BFA in Art History at Duke University.
ABOUT THE AVON: The Avon Theatre is a member-supported, non-profit cultural hub, dedicated to presenting film in its highest form, and thriving because of the support of our patrons and community. In addition to an exciting slate of new releases, The Avon brings you one-of-a-kind special events and monthly programs. We are proud to provide a forum for in-person, community dialogue with directors, actors and other luminaries in a vibrant “Main Street America” setting.
SPECTRUM and Franklin Street Works Present: a panel on gender identity with artists Kerry Downey, Leon Finley, Juliana Huxtable, and iele paloumpis
For the Fall 2014 semester, UConn Stamford’s LGBTQ/ALLY Group SPECTRUM has been engaging the campus community in a series of diverse conversations about gender. To continue this dialogue, SPECTRUM, in collaboration with Franklin Street Works, will be presenting a panel discussion that includes four trans*/non-binary identitfied artists Kerry Downey, Leon Finley, Juliana Huxtable, and iele paloumpis on Thursday, December, 4th from 6:00-8:00pm at the UConn Stamford Campus Art Gallery. In addition to the panel, a daylong pop-up gallery of digital works by the participating artists will be on view at UConn Stamford Campus Art Gallery from 1-5pm for those interested in learning more. Two thirty-minute tours will be given at 2pm and 4pm by the organizers of the event before the panel discussion begins at 6:00pm. The installation and event are free and open to the public. The UConn, Stamford, art gallery located at 1 University Place. Stamford, CT 06901.
This conversation comes at a time when SPECTRUM and the LGBTQ community at UConn Stamford have worked to successfully allocate two gender-neutral bathrooms on campus, ensuring that trans* and gender nonconforming students, faculty, and staff feel safe and protected. Many don’t realize that bathrooms are highly gendered spaces, and, as such, places of gender policing. The panel conversation will encourage students think complexly about the ways in which artists use their work as a platform to explore and raise questions surrounding gender identity.
About the Artists:
Kerry Downey (born 1979, Florida) is an interdisciplinary artist and teacher based in New York City. Her work is driven by questions of queerness, support, collaboration and the relationship between private emotion and political consciousness. She holds a BA from Bard College and an MFA from Hunter College. She has recently shown at Taylor Macklin (Zurich), Franklin Street Works (Stamford, CT), CCS at Bard College, Columbia University (NY), Invisible Dog (Brooklyn), A.I.R Gallery (Brooklyn), The Bronx River Arts Center, Spectacle Theater (Brooklyn), and NURTUREart (Brooklyn).
Downey’s work received a Critic’s Pick in Artforum, and has appeared The Brooklyn Rail, the New Yorker, and the New York Times. This past June, Downey curated Failing to Levitate at The EFA Project Space with Natasha Marie Llorens. She was a Queer/Art/Mentorship Fellow in 2012-13 and is a current participant in the Drawing Center’s Open Sessions. Downey teaches at the Museum of Modern Art and Hunter College Art Department in New York City.
Leon Finley is an artist living and working in New York City. His work crosses over performance, sculpture and drawing and comes out of one fundamental presupposition: Our bodies are the only way we have of understanding ourselves, and everything that is not ourselves: it is through our body that we perceive and produce, it is what everything comes out of and where everything goes into. His work is concerned with interdependency: The relationships between all kinds of bodies (human, object, architecture, sound, etc.) and the way that things become themselves in relation to other things.
Leon Finley studied art at Cooper Union and received his MFA in Sculpture from Yale University in 2012. In 2012 he was the recipient of the Blair Dickinson Memorial Prize and the Dan David Prize Scholarship. He was the 2012-13 Fountainhead Teaching Fellow in the Sculpture and Extended Media Department at Virginia Commonwealth University and currently teaches sculpture at Cooper Union. His collaborative performance work has been presented at various venues around New York City including Movement Research, Center for Performance Research and most recently, the Whitney Museum of American Art as a part of Kevin Beasley’s Public Programing in Sonic Masses.
Juliana Huxtable is a writer, artist, and DJ based in New York City. She is a member of House of Ladosha, a queer artist collective based in Brooklyn, and creator and resident DJ of SHOCK VALUE. She creates and speaks from the positions of cyborg, priestess, witch, and trans girl simultaneously.
She is originally from Bryan–College Station, Texas, and graduated from Bard College. Her writing has appeared and been referenced in Artforum, Mousse, Maker magazine, and Garmento.
She has read and performed at envoy enterprises, New York, NY; Brooklyn Academy of Music, Brooklyn, NY; Franklin Street Works, Stamford, CT; and Artists Space, New York, NY. Her work will be included in the 2015 New Museum Triennial.
iele paloumpis is a disabled, trans*/queer dance artist, teacher, and intuitive healer. As a life-long dancer, iele feels that engaging in a movement practice can be deeply restorative. Their healing work is rooted in kinesthetic awareness, Tarot, herbal medicine, and some astrological know-how, with a strong commitment to social justice.
Their choreographic work has been presented in New York through Movement Research, New York Live Arts, the Flea, Brooklyn Arts Exchange, and Dixon Place, in Pennsylvania at the Painted Bride Art Center, FLUXspace, Studio 34, The Community Education Center, Vox Populi, and the Philadelphia GLBT Arts Festival, in Maryland at the Lof/t, and in Connecticut at Franklin Street Works. iele has had the pleasure of dancing for niv Acosta, devynn emory, Jen McGinn, Emily Wexler and Nina Winthrop, among others. They have served on numerous panels and facilitated discussions centered on issues of identity, perception and performance. In 2010, iele was a co-recipient of The Leeway Foundation’s Art and Social Change Grant. They felt fortunate to be a 2012-13 Studio Series Resident Artist at New York Live Arts, as well as work under the mentorship of Trajal Harrell through the Queer Art Mentorship Program. In 2013, they were a Fall Space Grantee at Brooklyn Arts Exchange, and in 2014 they were in residence at Franklin Street Works with collaborators Joanna Groom and Jen McGinn. At the center of iele’s practice are ideas exploring body politics and artist self-empowerment. For more information visitwww.ielepaloumpis.com.
About SPECTRUM: SPECTRUM is Uconn-Stamford’s student-led LGBTQ (Lesbian, Gay, Bisexual, Trans*, Queer/Questioning) and Ally group. SPECTRUM works to create and promote safe spaces and to engage the campus in conversations about gender and sexuality.
Getting To UConn Art Gallery: The campus is on Broad Street between Washington Boulevard and Franklin Street; officially “1 University Place, Stamford, CT 06901.” The Gallery is located on the ground level of the building, just past the library. When using GPS to get to UConn’s parking garage, the best address to use is 1194 Washington Blvd, Stamford, CT.
During the regular academic year the Gallery is open from 8:30 a.m. to 7:00 p.m. Monday through Thursday, Friday until 5 pm, and Saturday from 9 a.m. to until noon. Hours are subject to change during semester breaks, recesses and the summer. Please call the Welcome Center with any questions at (203) 251-8400. Admission is free.
“About Like So: The Influence of Painting” is a group exhibition that explores how the histories, forms, materials and other qualities associated with painting inform conceptual art practices today. The show is on view at Franklin Street Works from November 22, 2014, through February 22, 2015.
The exhibition, curated by Terri C Smith, aims, in part, to challenge expectations of painting, which are often attached to historic movements, decorative qualities or romantic notions of the artist in his or her studio. “About Like So” features works that use paint in unorthodox ways or bypass the medium all together to reveal how the “language of painting” can invade, obstruct and enhance other art forms. This exhibition asks, “In an era where painting no longer has the art historical primacy it once did, what can it contribute to the dominant art practices of today – art that is often not medium specific and is rooted in the theory-driven practices of conceptual art?”
The works include sculptures, videos, photographs, sound installations, and digital prints. Loose and disjointed narratives involving the histories and materiality of painting are found in several videos: Ragnheiour Gestsdottir’s video “As If We Existed,” portrays the fictitious
melodrama of a figurative painter working in Venice; Tameka Norris’s “Purple Painting” incorporates makeup and food in a provocative video that, with few words, touches on issues surrounding race, gender and the pressures of an art historical canon; in Alex Hubbard’s video “Hit Wave II,” a magician gives instructions for tricks, but the sounds and activities surrounding him allude to action painting with Hubbard in the background wearing a paint suit and creating gestural marks with spray paint.
Sculptures by Brad Tucker, Dave Hardy, and Taylor Davis also show painting’s influence. In one of Tucker’s box sculptures, “Potholder,” he incorporates a homemade-style woven potholder that mimics mid-century, shaped abstract painting while crossed bars in the box’s back reference hanging devices (hooks, wires, D-rings) usually hidden by the museum wall. In his sculptures, Dave Hardy uses pigment, cement-infused foam, glass, metal and other materials, combining them so it seems as though abstract wall works have sprung into three dimensions in the form of sophisticatedly constructed sculptures that intentionally appear unwieldy or precarious. Taylor Davis’s “TBOX No. 1” sculpture is a small double-stacked construction of birch plywood that sits directly on the floor and appears to have blue painters tape marking it with lines and arrows. In reality, the “tape” is painted on, creating an optical illusion that conjures trompe l’oeil painting.
Several works speak to painting through audio components. An installation by Australian artist Michael Graeve considers abstract painting via painted blocks of color and tonal audio overlays. Thinking about his sound work as an audio parallel to the painterly practice of translating information from the world onto a surface in the studio, Augustus Thompson’s installation combines sounds from the studio, outside noises and constructed harmonies into what the artist considers a “sound painting.” The collaborative sound and painting performance by K.R.H. Sonderborg, Wolfgang Hannen, Günter Christmann and Paul Lovens “in actu music & painting,” created in 1993 and produced by Institute for Music and Acoustics of the Center for Art and Media, ZKM Karlsruhe, Germany, is the earliest work in the exhibition. It melds action painting with performed experimental music, providing a foundation for thinking about the many ways painting combines with other media in “About Like So.”
A handful of artists in the exhibition reference particular art historical figures or classic painting genres. In Paul Branca’s “Untitled, for Rodchenko,” he combines monochrome paintings in the style of Alexander Rodchenko with tote bags and tags. Sophy Naess’s gestural soap pieces began with a prompt to respond to abstract expressionist Hans Hoffman’s work. Composed of body friendly materials, scents, and pigments, these pieces address the fraught painting subject known as the bather. In their version of TV painter Bob Ross’s show “The Joy of Painting,” Peter Nowogrodzki and Max Kotelchuck’ YouTube video follows Ross’s instructions to make a landscape painting using a computer program rather than paint and brush. Polly Apfelbaum’s abstract fabric sculpture, “Split Station Stop,” hangs from the ceiling and was inspired by her stay in Rome with its abundance of Catholic-themed artworks, specifically the Stations of the Cross. In Tim Davis’s “Permanent Collection” series he takes photographs of classic paintings ranging from still lifes to religious, using the light of the camera’s flash to obscure bits of the composition and/or bring surface qualities, such as brush strokes and crackling, of the physical object to light.
Computer generated works by Seth Price, Paul Theriault, and Siebren Versteeg incorporate canned digital effects, flat bed scanners, and Google image search respectively. With Seth Price’s “Digital Video Effects: Spills,” the artist layers digitally imposed black “spills” that ebb and flow over artist Joan Jonas’s video featuring a conversation on the commercialization of art between art dealer Joseph Helman and conceptual artists Robert Smithson and Richard Serra. Paul Theriault paints directly onto scanner beds and then scans the composition, allowing for the occasional burst of scanner light to peak through the “painting.” Siebren Versteeg enters his algorithm paintings (abstract paintings produced using code) into the computer and prompts a Google image search to find a “concrete” image, which is hung just to the right. Rather than taking a realistic image and abstracting it, the computer conjures representational images based on an abstract composition, turning the usual dynamic between the representational and the abstract upside down.
Paintings are also included in the exhibition, but the artists use strategies that challenge our expectations of painting’s forms or the artist’s role as author. In Leslie Wayne’s “Paint/Rag” series, the artist plays with perception and a linguistic idea that’s embedded in the title (paint – slash – rag) by removing the layered paint off of one support and draping it over another, making it appear as if it were hung on a hook like a piece of fabric or an ordinary rag. John Knuth’s abstract paintings resemble the splattered layers of a Jackson Pollock painting, but are the result of Knuth relinquishing authorship to a business of flies that excrete the paint he feeds them onto paper. Obscuring elements of a book with paint to reconfigure artist books, Marley Freeman inserts abstraction that, much like an analogue companion for Price’s video, obscures and highlights texts and images in these artist books, in part, as a commentary on painting’s decorative associations and the influence of modernism on the medium.
Exhibiting artists: Polly Apfelbaum, Paul Branca, Taylor Davis, Tim Davis, Marley
Freeman, Ragnheiour Gestsdottir, Michael Graeve, Dave Hardy, Alex Hubbard, John Knuth, Sophy Naess, Tameka Norris, Peter Nowogrodzki/Max Kotelchuck, Seth Price, Paul Theriault, Brad Tucker, Siebren Versteeg, Augustus Thompson, Leslie Wayne, and “in actu: music & painting” (K.R.H. Sonderborg, Wolfgang Hannen, Günter Christmann and Paul Lovens).
For the closing weekend of “It Narratives: The Movement of Objects as Information” Franklin Street Works will host a curator led tour of the show with Brian Droitcour and Zanna Gilbert as well as a festive inauguration of the space’s new mailbox, which was created by artist Lukas Geronimas. The event is free and open to the public and takes place at Franklin Street Works Saturday, November 8th from 4:00 – 7:00pm
Curator and critic Brian Droitcour and curator and researcher Zanna Gilbert will share their thinking behind the show It Narratives: How Objects Move as Information, which considers how the Internet and traditional post intersect in contemporary art. They will also discuss works on view during a casual walkthrough of the galleries. After the tour, the curators, Franklin Street Works staff and the exhibiting artists on hand will inaugurate Franklin Street Works’ new mailbox. A work of art commissioned for this exhibition, “The Custom Postbox” is a functioning, glowing mailbox made by Brooklyn sculptor Lukas Geronimas. Artist David Horvitz will also be on site to inform visitors about his “It Narratives” project “Mail Art Call @ Franklin Street Works,” which is an open mail art call that received 580 responses from across the globe.
The artists in It Narratives find forms for everyday experiences of distance and time by reflecting on the way objects move through information networks. It Narratives is on view through November 9th at Franklin Street Works. Artists include: Greg Allen, Tyler
Coburn, Tim Devin, Yevgeniy Fiks, Lukas Geronimas, Frank Heath, David Horvitz, Jean Keller, Alexandra Lerman, Kristin Lucas, Cat Mazza, Kristina Lee Podesva and Alan McConchie, Paul Soulellis, Emily Spivack, The Thread, Ehren Tool, Print All Over Me, Forms of Melancholy, Lance Wakeling, Roberto Winter.
Brian Droitcour is a writer, translator, curator, critic, and a PhD candidate in comparative literature at New York University. Previous exhibition projects include “BFFA3AE – DTR” at 47 Canal in New York and “Big Reality” at 319 Scholes in Brooklyn. He has contributed reviews and essays to Artforum, Art in America, and Rhizome, among other publications. He has been yelping since January 2012 and his account was awarded Elite status last year. His web site fifteenstars.com, a collection of found Yelp reviews with commissioned illustrations and an accompanying essay, was featured as part of the New Museum’s First Look series of online exhibitions in October 2013. Among other projects, Brian is currently editing Klaus_ebooks, a series of artists’ ebooks published by Klaus von Nichtssagend Gallery.
Zanna Gilbert is a postdoctoral fellow at The Museum of Modern Art (MoMA) in New York and she holds a PhD from the University of Essex and Tate Research in the UK. Her research focuses on artists’ networks and the transnational circulation of art through the mail. She curated the exhibitions “Felipe Ehrenberg: Works from the Tate Archive” (2009), “Intimate Bureaucracies: Art and the Mail” (2011), “Contested Games: Mexico 68’s Design Revolution” (2012), “Daniel Santiago: Brazil is my Abyss” (MAMAM, Recife, 2012; MAC-Niteroi, Rio, 2014) and “Edgardo Antonio Vigo: The Unmaker of Objects” (MoMA, 2014). She has taught postgraduate courses at the University of Essex, UK and the National Autonomous University of Mexico (UNAM).
Lukas Geronimas was born in Toronto, Ontario. He received a Bachelor of Commerce from the University of British Columbia, and an MFA from the Milton Avery School at Bard College. His art is about manufacturing openings. It is also about value, in that an artwork should be created to live within the studio, the exhibition, and the collection; with each context comes a separate evaluation, and Lukas thinks an artwork is most meaningful when it is responsible for them all. Lukas currently lives and works in Brooklyn, New York.
David Horvitz was born in California in 1982 and lives in Brooklyn, NY. Recent solo exhibitions include: concurrent shows at Jan Mot, Brussels, and Dawid Radziszewski Gallery, Warsaw; Peter Amby, Copenhagen; Statements, Art Basel; Kunsthal Charlottenborg, Copenhagen; and Chert, Berlin. His work has been shown at EVA International 2014, Glasgow International 2014, LIAF 2013, MoMA, The Kitchen, and the New Museum. In New York, he has realized projects with Recess, Clocktower Gallery, post at MoMA, Printed Matter, Rhizome, and Triple Canopy.
Exhibiting artist Frank Heath will give a talk in conjuction with the current exhibition “It Narratives: The Movement of Objects as Information.” The event is free and open to the public and will take place at Franklin Street Works Thursday, October 23rd from 7:00 – 8:30pm.
This event will begin with a screening of a short video work by artist Frank Heath, titled “Asymptomatic Carrier” (2013). The video focuses on a defunct quarantine hospital on North Brother Island, the frequently overlooked next-door neighbor of Randall’s Island. “Asymptomatic Carrier” was featured earlier this year as part of the program “A Tale of Two Islands” by High Line Art, in New York, NY.
This video reflects some of the themes of Heath’s Bcc works, in which sculpture components are mailed to defunct locales on New York’s lesser-known islands. Sculptures and photographs from Heath’s Bcc series are on view as part of Franklin Street Works’ current group exhibition “It Narratives: The Movement of Objects as Information.” Heath will be in conversation with one of the show’s curators, Zanna Gilbert, to discuss these works within the wider context of his practice.
“It Narratives” Curator, Zanna Gilbert, Talks About Mail Art and Exhibiting Artist, Lance Wakeling, Screens Video
On Saturday, October 18, there is a talk by independent curator Zanna Gilbert and a video screening by artist Lance Wakeling in conjuction with the current exhibition It Narratives: The Movement of Objects as Information. The event is free and open to the public. The talk will be presented from 4:00 – 5:00 pm, followed by a refreshment intermission, and the screening from 6:00 -7:00 pm. Audiences are welcome to join for all or part, depending on their schedules and interests.
Zanna Gilbert will be discussing the history of mail art in relation to the themes of the current exhibition It Narratives: The Movement of Objects as Information (co-curated by Gilbert & Brian Droitcour). It Narratives explores the intersection between modern digital communications media and the traditional postal system.
Video artist Lance Wakeling, whose video A Tour of the AC-1 Transatlantic Submarine Cable is currently on view as part of It Narratives, will present excerpts from his trilogy of essay videos about the physicality of the network. Since 2011, Wakeling has been producing a series of video essays that explores the physical and social landscapes of the Internet.
It Narratives is on view through November 9th at Franklin Street Works. Participating artists include: Greg Allen, Tyler Coburn, Tim Devin, Yevgeniy Fiks, Lukas Geronimas, Frank Heath, David Horvitz, Jean Keller, Alexandra Lerman, Kristin Lucas, Cat Mazza, Kristina Lee Podesva and Alan McConchie, Paul Soulellis, Emily Spivack, The Thread, Ehren Tool, Print All Over Me, Forms of Melancholy, Lance Wakeling, Roberto Winter.
About the Curator: Zanna Gilbert is a postdoctoral fellow at The Museum of Modern Art (MoMA) in New York and she holds a PhD from the University of Essex and Tate Research in the UK. Her research focuses on artists’ networks and the transnational circulation of art through the mail. She curated the exhibitions Felipe Ehrenberg: Works from the Tate Archive (2009), Intimate Bureaucracies: Art and the Mail (2011), Contested Games: Mexico 68’s Design Revolution (2012), and Edgardo Antonio Vigo: The Unmaker of Objects (MoMA, 2014).
About the Artist: Lance Wakeling (1980) lives and works in Brooklyn, NY. His recent films include “Views of a Former Verizon Building,” “Subida al cielo,” “A Tour of the AC-1 Transatlantic Submarine Cable,” and “Field Visits for Chelsea Manning,” which premiers late winter 2014. His artworks and videos have been shown at Ullens Center for Contemporary Art, Beijing; Supplement Gallery, London; NiMK, Amsterdam; The Woodmill, London; Import Projects, Berlin; Capricious Gallery, Brooklyn; and Future Gallery, Berlin.
On Thursday, October 9 from 6:00 – 7:30 pm MakerBot will give a 3D printing demonstration and talk followed by a Q&A session. This demo will include a MakerBot company overview, a 3D printer demonstration, more on their retail stores, and information on how their printers work, with an overview of each printer. They will also share some customer use cases and great MakerBot stories. The event is free and open to the public.
The demonstration and talk are programming for the current Franklin Street Works exhibition It Narratives: The Movement of Objects as Information, which features, among other things, print on demand items, including several 3D prints. MakerBot is the official 3D printing sponsor of the show.
It Narratives explores the intersection between modern digital communications media and the traditional postal system. The artists in It Narratives find forms for everyday experiences of distance and time by reflecting on the way objects move through information networks. The exhibition is curated by New York-based guest curators Brian Droitcour and Zanna Gilbert. It is on view through November 9th at Franklin Street Works.
Exhibiting artists include: Greg Allen, Tyler Coburn, Tim Devin, Yevgeniy Fiks, Lukas Geronimas, Frank Heath, David Horvitz, Jean Keller, Alexandra Lerman, Kristin Lucas, Cat Mazza, Kristina Lee Podesva and Alan McConchie, Paul Soulellis, Emily Spivack, The Thread, Ehren Tool, Print All Over Me, Forms of Melancholy, Lance Wakeling, Roberto Winter.
MakerBot, a subsidiary of Stratasys Ltd., is leading the next industrial revolution by setting the standards in reliable and affordable desktop 3D printing. Founded in 2009, MakerBot sells desktop 3D printers to innovative and industry-leading customers worldwide, including engineers, architects, designers, educators and consumers. To learn more about MakerBot, visit www.makerbot.com.
Franklin Street Works presents It Narratives: The Movement of Objects as Information, an exhibition featuring artists’ projects that engage the postal system and its intersections with digital communications media. The artists in It Narratives find forms for everyday experiences of distance and time by reflecting on the way objects move through information networks. The exhibition is curated by New York-based guest curators Brian Droitcour and Zanna Gilbert and is on view from September 6 – November 9, 2014.
With areas of expertise in mail art (Gilbert) and Internet art (Droitcour), the curators take into consideration how Internet technology and digital forms of commerce have changed the way artists use the postal system. Mail art emerged in the late 1960s as a collective, networked medium allowing artists to circulate and exchange works and ideas in a sphere uncontrolled by curators, institutions, the art market, or state censorship. Today, mail is employed less frequently as an artistic medium, in keeping with an overall shift in how information is experienced and exchanged. News and greetings from friends and family have migrated from the postal system to the faster networks of email and social media, yet “snail mail” has not become obsolete. Sending objects over great distances is part of online commerce. Print-on-demand services that allow users to design their own T-shirts, books, or mugs with a few clicks of a mouse connect Internet browsing and data input to receiving objects by mail and handling them in everyday life.
It Narratives: The Movement of Objects as Information takes its title from a prose genre popular in the late 18th century, the “it-narrative.” These were accounts of objects circulating in the structures of emergent industrialized capitalist markets written in the first-person from the perspective of the objects. It Narratives the exhibition updates this concept for the 21st century by presenting artists’ projects that track the movement of objects online and by mail, taking measure of the physical and emotional experiences of time and distance inherent to these networks.
Participants include: Greg Allen, Tyler Coburn, Tim Devin, Yevgeniy Fiks, Lukas Geronimas, Frank Heath, David Horvitz, Jean Keller, Alexandra Lerman, Kristin Lucas, Cat Mazza, Kristina Lee Podesva and Alan McConchie, Paul Soulellis, Emily Spivack, The Thread, Ehren Tool, Print All Over Me, Forms of Melancholy, Lance Wakeling, Roberto Winter.
ABOUT THE CURATORS:
Brian Droitcour is a writer, translator, curator, critic, and a PhD candidate in comparative literature at New York University. Previous exhibition projects include “BFFA3AE – DTR” at 47 Canal in New York and “Big Reality” at 319 Scholes in Brooklyn. He has contributed reviews and essays to Artforum, Art in America, and Rhizome, among other publications. He has been yelping since January 2012 and his account was awarded Elite status last year. His web site fifteenstars.com, a collection of found Yelp reviews with commissioned illustrations and an accompanying essay, was featured as part of the New Museum’s First Look series of online exhibitions in October 2013. Among other projects, Brian is currently editing Klaus_ebooks, a series of artists’ ebooks published by Klaus von Nichtssagend Gallery.
Zanna Gilbert is a postdoctoral fellow at The Museum of Modern Art (MoMA) in New York and she holds a PhD from the University of Essex and Tate Research in the UK. Her research focuses on artists’ networks and the transnational circulation of art through the mail. She curated the exhibitions Felipe Ehrenberg: Works from the Tate Archive (2009), Intimate Bureaucracies: Art and the Mail (2011), Contested Games: Mexico 68’s Design Revolution (2012), Daniel Santiago: Brazil is my Abyss (MAMAM, Recife, 2012; MAC-Niteroi, Rio, 2014) and Edgardo Antonio Vigo: The Unmaker of Objects (MoMA, 2014). She has taught postgraduate courses at the University of Essex, UK and the National Autonomous University of Mexico (UNAM).
ABOUT OUR SPONSORS
This exhibition is sponsored, in part, by the Andy Warhol Foundation for the Visual Arts.
Thank you to our in-kind sponsor, MakerBot Store, Greenwich, CT. MakerBot is leading the Next Industrial Revolution by setting the standard in reliable and affordable desktop 3D printing, scanning, and entertainment. MakerBot Store, Greenwich, CT is located at 200 Greenwich Avenue, Greenwich CT, 06830.
Friday, August 15 at 6:30 pm Jen McGinn, iele paloumpis and Joanna Groom perform again in Franklin Street Works’ upstairs gallery.
The piece, not unordered and not resembling was created by McGinn and paloumpis, who are Brooklyn-based choreographers. Originally performed on Saturday, June 28, at Franklin Street Works, the 40-minute piece provides a landscape for movement, revealing individual and collective experiences. This free, public performance is part of Franklin Street Works’ current exhibition, “Showing the Work” curated by Sarah Fritchey, and is sponsored, in part, by the Andy Warhol Foundation for the Visual Arts. The evening will end with a post-performance discussion with the artists.
McGinn and paloumpis’ movement practice includes choreography and improvisation as a way to explore experiences in the present moment. For their second performance of not unordered in not resembling, they are interested in investigating how the work and their dancing will change depending on audience, time, and the present experience. iele paloumpis explains, “through performance we learn a little bit more about what the work is doing each time we show it.” Jen McGinn and iele paloumpis are also fascinated by the prospect of deepinging their performance via audience feedback during the post-performance Q & A.
Using recorded and live sound, and a taped map created specifically for Franklin Street Works’ first floor gallery, the dance piece creates a nonlinear structure in which all ideas have the possibility of connecting to all other ideas. The taped floor pattern used by the performers is unique to the architecture of Franklin Street Works, making the choreography at this venue unlike any past or future performances. The site specificity of the work means it is the last chance to see this exact work live.
not unordered in not resembling will be performed for a second and final time by Jen McGinn, iele paloumpis and Joanna Groom in Franklin Street Works’ upstairs gallery on Friday, August 15th at 6:30 pm.
ABOUT THE ARTISTS:
Jen McGinn received her B.A. and M.F.A in Dance from Hollins University in partnership with the ADF. Her work and teaching practices have been shaped through residencies at Dickinson College, Hollins University, Booker High School Visual and Performing Arts Center, ADF, Brooklyn Arts Exchange, West Coast Civic Ballet, Dance Theater Workshop, nEW Festival, and the University of Maryland, among others. She currently co-directs the Summer Institute in Dance at the University of the Arts in addition to being a visiting lecturer, is a Dance Specialist for ”Life Lines” Community Arts Project, is the Studio Manager at the Center for Performance Research and is a Movement Research AIR. Her interests include Cecchetti ballet, magical thinking, and logic problems. www.jenmcginndance.com
iele paloumpis is a trans*/queer dance artist, choreographer, and teacher navigating invisible disabilities and class disparities in NYC. At the center of their practice are ideas exploring body politics and artistic self-empowerment.
Franklin Street Works will host a curator tour of “Showing the Work” on Thursday, July 17 from 6:30 – 8:00 pm with Sarah Fritchey. The tour will give visitors a rare opportunity to explore the art in Franklin Street Works galleries with the show’s creator in a casual setting. Fritchey will discuss the impulse for the show, the exhibition’s themes, and the challenges and successes of performance in a gallery setting. Join us for this free, public event to learn more about experimental dance and choreography in contemporary art. This event is made possible, in part, through a two-year grant from the Andy Warhol Foundation for the Visuals Arts.
Over the eight months preceding the exhibition, Fritchey met with the artists to discuss their practices and their various distances to the visual arts world. While many of the artists arrived with academic training in dance, music and writing, none had come from a studio practice or visual arts background. Fritchey will discuss the greatest challenge of this show — asking a choreographer or language maker to create something — to make an object or environment that would remain on display in an art space. These insights will explain the audio elements of the show, as well as the interactive components. A group “hand dance” inspired by the influential dancer, Yvonne Rainer, will take place at end of the tour.
“Showing the Work” is an exhibition that explores experimental dance in the gallery setting and challenges our expectations of the gallery experience. The show brings together eight New York City based dancers whose work explores the meeting place between the artist, the performance and the audience and demonstrates how time-specific events might be meaningfully exhibited in the gallery over a multi-week period. Showing the work asks: How can live, transitory qualities of a dance be represented during the exhibition? How does the gallery facilitate a critical analysis of artist-audience interaction that a theatre does not? Five of the artists performed one-night-only performances at Franklin Street Works during the first four weeks of the twelve-week run that activated their installations in the galleries.
Exhibiting artists include Jen McGinn and iele paloumpis, Robert Morris, Claudia La Rocco, Carolee Schneeman, Mårten Spångberg, Tatyana Tenenbaum, and Gillian Walsh. Showing the Work is on view through August 31, 2014.
ABOUT THE CURATOR:
Sarah Fritchey is an active freelance curator who explores the tension between choreography and improvisation as it relates to site and the act of meeting. She is the Visual Arts Coordinator at Artspace New Haven and a contributing writer to ArtForum’s Critcs’ Picks, The New Haven Advocate, and Art New England. She contributed as a research assistant to the 2013 Venice Biennial, the 50th Anniversary show at the ICA Philadelphia, Liam Gillick: 199A-199B at The Hessel Museum of Art, and Dangerous Beauty at The Chelsea Museum of Art.
Kent “Wood” Evans, who has performed internationally at venues such as the Acadamie Beaux Arts in Paris and the Nuvorican Poets Café in Greenwich Village, will be at Franklin Street Works for a free impromptu performance while he is visiting his hometown of Stamford, Connecticut. The event is this Saturday, July 12 from 4:00 – 6:00 pm. It will feature Evans sharing songs from his new album from 4:00 – 5:00 pm followed by a short Q &A and a reception with the writer and musicians in the Franklin Street Works café.
Evans performed at Franklin Street Works in 2012, reading from his critically acclaimed book “A Crash Course on the Anatomy of Robots.” For this event he will present a sneak peak of his video for “Too Many Nights @Nuyorican,” which is seven minutes in length and will debut at the Guanajuato International Film Festival July 31st. The author, musician and filmmaker will also perform several tracks from his new album with Dust Industry, which is his self-described “Mexican spoken word, stoner rock project” that features Evans on guitar/lyrics, Michael Severens on cello, and Drew Trudeau on bass.
More on Kent Evans:
Half Cantonese and half UK, Kent Evans was born in New York City in 1975 and grew up between New York, Connecticut, and Rhode Island.
He graduated in psychology and dramatic literature from New York University, and began traveling extensively throughout the U.S., Canada, Mexico, Europe, Asia, and the Caribbean. He is currently based in Guanajuato, Mexico.
Saturday, June 28
7:00 pm: iele paloumpis, Jen McGinn and Joanna Groom perform not unordered and not resembling
not unordered and not resembling is an episodic journey through memory, disorientation, and altered states of consciousness. Mapping through tape and sound provides a landscape for movement to reveal individual and collective experiences. Through live performance Jen McGinn, iele paloumpis, and Joanna Groom create a nonlinear structure in which all ideas have the possibility of connecting to all other ideas.
As part of the exhibition “Showing the Work,” curated by Sarah Fritchey, Franklin Street Works is presenting two free, public performances on Friday, June 27, featuring by Tatyana Tenenbaum and Claudia Rocco.
“Showing the Work,” an exhibition curated by Sarah Fritchey, will be on view at Franklin Street Works June 7 through August 31. For related performances see our June calendar.
At a moment when major art museums regularly program experimental dance on their premises, “Showing the Work” evaluates the stakes of this exchange. The exhibition brings together eight artists whose work explores the meeting place between the artist, the performance and the audience and demonstrates how time-specific events might be meaningfully exhibited in the gallery over a multi-week period. Six of the artists will perform a one-night-only performance during the show’s run, which will culminate in a roundtable discussion on the final day.
“Showing the Work” asks: How can the live, transitory qualities of a dance be represented during this exhibition? How does the “white cube” facilitate a critical analysis of artist-audience interaction that traditional “black box” theaters do not? How can the works on display resonate qualities of the performing body? How might choreography be understood as a visual manifestation that is alive with the possibility for change, truth, intimacy, and exchange?
The exhibition features artists working inside and out of the dance fieldwho design individual systems of choreography to generate new work. Many of these works will be on view to the public for the first time and aim to introduce the audience to terminology from the dance field, as well as to show the physical and mental work of dance. The exhibition also rethinks a performance as one of an infinite set of outcomes, a living form that much like the body is in a constant state of change.
Likewise, the work on display will act more like a live body than video documentation and include: a floor-to-wall-to-ceiling pattern that is the map for a duet, a video that simultaneously presents four versions of the same dance performed in different spaces over the course of a year, artist notebooks that contain scores for emoting sound and recognizable language, a gaming device that proposes consumerism as a form of choreography, text/object combinations that prompt viewers to become collaborators in a recorded performance, and a lecture that critically interprets an early dance work anew.
Exhibiting artists include:Jen McGinn and iele paloumpis, Robert Morris, Claudia La Rocco, Carolee Schneeman, Mårten Spångberg, Tatyana Tenenbaum, and Gillian Walsh.
Franklin Street Works is hosting a free, public closing party for “The Sunken Living Room” exhibition on Saturday, May 24 from 6:00 – 9:00 pm. The party will include a bar tending themed performance by exhibiting artist Danna Vajda at 7:00 pm.
Enjoy bar snacks, free wine, music while viewing this original, group exhibition that features artists exploring the recession through video, text, printmaking, sculpture, and photography. For more on the exhibition click HERE. To read the Stamford Advocate article on the show click HERE.
Danna Vajda’s performance is titled “thewateringhole” and takes the premise of the post-work drink, the beer, the glass of wine, the cocktail, the shot that creates a possible momentary breakage between a day’s work and oneself outside of work. The performance entails the mixing and serving of a series of classic drinks and cocktails while using a set of institutional letterhead paintings as recipe cue cards. The recipes contents bring together classic ingredients such as aromatic bitters or a cube of sugar, with exhaustion, muddled contradictions, always shaken, stirred and strained. Much like an instructional video, recipes are read aloud, the drinks mixed, served and then on to the next drink. Each recipe functions as an encrypted resignation letter signaling an impasse in the relation between individual and institutional identity.
Tour of “The Sunken Living Room” with the curator and four exhibiting artists, Thursday, April 24 at 7pm
On Thursday, April 24 at 7:00 pm there is a guided tour of the current group exhibition, The Sunken Living Room. Those in attendance will walk through the show with the show’s curator, Terri C Smith, and four exhibiting artists: Michael Bell-Smith, Jonah Emerson-Bell, Danna Vajda and Constantina Zavitsanos. While touring the three galleries, artists will discuss their works, including how videos and installations reflect themes in the exhibition and fit in with their overall practice. The evening will end with an open discussion and reception in the café. Please join us for this free event that is open to the public – a unique opportunity to explore the current show with emerging figures in contemporary art!
ABOUT THE PARTICIPATING ARTISTS:
Michael Bell-Smith in an artist based in Brooklyn, NY. His work has been exhibited and screened in museums and galleries internationally, including MoMA PS1, NY; Museum of The Moving Image, NY; SFMOMA, San Francisco; The 2008 Liverpool Biennial, UK; The 5th Seoul International Media Biennale; Museo Nacional Centro de Arte Reina Sofía, ES; The New Museum, NY; Hirshhorn Museum, DC; Musee d’Art Moderne de la Ville de Paris; MoMA, NY; and Tate Liverpool, UK. His work has been featured in Art Forum, Art in America and the New York Times. He is an Assistant Professor of New Media at Purchase College.
Jonah Emerson-Bell is a sculptor who lives and works in Brooklyn NY. By using a variety of materials including found objects, bronze and neon, his work deals with themes ranging from history to humor, from economy to witchcraft. He was part of the Shadow Shop exhibition at the San Francisco Museum of Modern Art and his work was featured on the cover of the summer 2010 issue of Bookforum. He was involved in the Music Box project in New Orleans in 2011.
Danna Vajda is an artist and writer based in Brooklyn, New York. Recent exhibitions include both institutional spaces and provisional, less institutional spaces.
Constantina Zavitsanos is an artist whose practice engages the sculptural surfaces and temporalities of performance, text, projection and sound. She works with concepts of intimacy, consent, and contraction–especially as related to debt and dependency. Zavitsanos attended the Whitney Museum Independent Study Program, and has shared work at Slought Foundation in Philadelphia, with Cage at MoMA PS1, and at the Hessel Museum at Bard College.
The Sunken Living Room is an exhibition of contemporary art that investigates the most recent economic recession. The show’s title simultaneously reflects the interior design phenomenon of the lightly stepped down or “sunken” living room, popular during the 1970s recession, and the crash of the housing market in 2008. Using sculpture, video, texts, drawings, prints, and photos, artists working today tackle recession-related topics that include: labor, debt, the collapse of the housing market, post-industrial cityscapes, unemployment, and banking practices. The exhibition is curated by Terri C Smith and is on view March 22 – May 25, 2014.
Through a mix of documentation, observation, allegory, and autobiography, the twenty-four artists in this show lend unique perspectives to recent fiscal crises. Some take an individualized approach, overlaying their work with personal experiences and narratives as with Kirby Mages’ video Where’s the Proof? where she combines information on bank bailouts with diaristic voiceovers, or with Danna Vajda’s Tearsforfears installation where the artist uses her own crumpled receipts as source imagery to explore money spent that leaves no physical trace but the transaction’s record itself.
Others in The Sunken Living Room capture current events by resituating elements from cities into the gallery, such as Anya Sirota + Akoaki’s Piranesian Bling series of sculptures that are modeled after disused elements at Detroit’s abandoned Packard plant; and Beate Geissler and Oliver Sann’s photo series, the real estate, which features images of foreclosed apartments in Chicago, Illinois. Documentary style works also are included in this exhibition. Ana Pečar & Oliver Ressler’s video In the Red follows the group “Strike Debt,” an offshoot of Occupy Wall Street that organizes events and protests relating to debt, and Kevin Jerome Everson follows two Cleveland men who repurpose alloys throughout the city to earn income in his film Fe26.
The exhibition is also imbedded with references to the 1970s, another recession era. Disco is front and center with Kerry Downey’s video Nursing Disco; workers rights and union slogans appear in Andrea Bower’s Workers Rights Posters; and seventies cinema informs the title of Olga Koumoundouros’ essay “The Getaway,” which is also the title of a 1972 film with Steve McQueen and Ali MacGraw. In the Franklin Street Works café, music from the mid and late-1970s, takeaways by Koumoudouros, and Jonah Emerson-Bell’s sculpture “This dude knows where you live” (which incorporates a Bootsy Collins album from 1978) touch on that decade’s popular culture landscape.
Thinking about artworks made during the 1970s recession, the site specificity of the city of Stamford, and in keeping with the exhibition’s themes of exchange and value, five artists were asked to recreate pieces from the UBS bank collection that date from the seventies. UBS has a corporate location in Stamford, Connecticut, and houses the largest stock exchange floor in the world — roughly the size of two American football fields. Each artist was paid a small honorarium to make an artwork by a blue chip artist that conjures art-as-investment, but in actuality has no monetary worth. This special project within the exhibition highlights economic themes surrounding art, including the subjective nature of an artwork’s value and the commissioning of artworks in exchange for payment.
By combining artworks from today with popular and high culture items from the past, The Sunken Living Room connects shared cultural experiences with contemporary projects to explore the utopic desires and deflating exasperation of post WWII recession economies. Exhibiting Artsits: Anya Sirota + Akoaki, Michael Bell-Smith, Andrea Bowers, Ingrid Burrington, Nancy Davenport, Kerry Downey, Jonah Emerson-Bell, Kevin Jerome Everson, Beate Geissler and Oliver Sann, Olga Koumoundouros, Urich Lau, Mads Lynnerup, Kirby Mages, Rainger Pinney, Oliver Ressler and Ana Pečar, Sal Randolph, Danna Vajda, and Constantina Zavitsanos, with special projects by Alberta Cifolelli, Roxanne Faber Savage, Peter Gramlich, Liz Squillace.
Franklin Street Works is pleased to present the new documentary film Fair Tomatoes: A Story About Justice, Dignity, and Sustainability on Thursday, March 13 at 7:00 pm, followed by a Q & A with its directors, Ernie Zahn and Ron Williams. The 25-minute film focuses on the plight of farmworkers in Immokalee, Florida, and their organized efforts to correct abuses and wage issues that persist today. This free, public screening with the film’s directors invites the community to join in conversation about fair-food practices and workers’ rights. It’s an informative and inspiring event for everyone, including food lovers, consumer advocates, chefs, and civil liberties activists! Franklin Street Works will feature a tomato-inspired snack and each audience member will receive one complimentary beer or wine.
Immokalee, Florida, is the tomato capital of America, but it is also home to abuse, stagnant wages, mistreatment, and unjust labor conditions. In the last decade, the workers have organized the Coalition of Immokalee Workers. The group hopes to raise awareness about corporate social responsibility, community organizing, and sustainable food, while also ending modern-day slavery and other labor abuses. The film explores their efforts in Southwest Florida, but also addresses what restaurants, chefs, and consumers can do to support sustainable food practices.
Produced by All Kicker, the Greenwich-based arts and activism blog, in association with Taranta, a Boston North-end restaurant dedicated to socially responsible food practices, the film is currently on tour to increase the visibility of this issue and to continue to make the workers’ experience part of the conversation on sustainability.
This program precedes a related exhibition, “The Sunken Living Room,” which opens March 22 and focuses on labor, debt, banking and other issues surrounding the recession as seen through the work of fifteen contemporary artists.
ABOUT ERNIE ZAHN: Ernie Zahn is the current Executive Director of NPeaches. He began his media filmmaking career in high school with his first short film which went on to be screened in film festivals domestically and internationally. His skills in media merged with his activism shortly after college when he was hired by Mozilla Foundation to be a part of the organizing team for the Open Video Conference, an annual event focusing on issues such as digital rights, human rights and egalitarianism through online video. Ernie has since gone on to found a social justice non-profit that focuses in media, NPeaches – seving as the parent company to All Kicker.
ABOUT RON WILLIAMS: Ron Williams is a producer at NPeaches. Applying his skills in kendo, fencing, and other martial arts, Ron entered the film industry as a fight choreographer. He later moved in front of the camera as the host of the web series Ronaldo Tours, a food and travel series focuses on Italian culture in America. Ron has since moved into various roles in filmmaking through NPeaches as one of the organization’s founding members.
Franklin Street Works will host an exhibition closing party for “Neuromast”. Co-curator Taliesin Gilkes-Bower and several exhibiting artists will be here to say goodbye to this group exhibition on Saturday, March 8 from 7:00 – 10:00 pm. With special extended hours, the party for Neuromast: Certain Uncertainty and Contemporary Art is a great opportunity to share Stamford’s contemporary art gem with friends and family. Come dance, snack, drink and check out this intriguing, original exhibition before it closes!
Taliesin Gilkes-Bower is a DJ and producer who has worked across the Western Hemisphere. He has DJ’d at such hot spots as the Wythe Hotel in Williamsburg, Brooklyn, and has worked on music projects internationally. He will be joined by Sean Oloane (DJ OS), a Florida transplant whose been making some of the North Easts most essential stoner metal with his band Cool World. Both are fascinated by regional dance genres, autonomous musical ecologies, and post-ethnographic field recordings. They will be exploring their deep collections of analog and digital audio recordings.
Neuromast: Certain Uncertainty and Contemporary Art is an exhibition that explores “emergence,” the theory that says unforeseeable results happen when a system reaches a certain level of complexity. The show’s title is inspired by a very specific emergent phenomenon, “neuromast,” which is the sensory organ that allows fish to effectively behave in unison against the threat of predators. Neuromast features sculpture, videos, text-based works, photographs and more by contemporary artists, writers and theorists interested in theories of emergence. Exhibiting artists are: Kari Altmann, Christian Bök and Micah Lexier, Ingrid Burrington, Kaye Cain-Nielsen, Mircea Cantor, hint.fm, David Horvitz, Brian House and Jason Rabie, Juliana Huxtable, Thilde Jensen, Carolyn Lazard, M. M. Mantua, Preemptive Media, Robert Spahr, Elizabeth Stephens and Annie Sprinkle’s Sexecology collaboration, and The Waterwhisper Ilse. The exhibition is curated by Taliesin Gilkes-Bower and Terri C Smith and is on view through March 9, 2014.
On Saturday, March 1 from 5:30 – 7:30, please join us for a performative reading by Juliana Huxtable, one of the exhibiting artists in “Neuromast: Certain Uncertainty and Contemporary Art“.
Juliana Huxtable and a number of her NYC contemporaries will be reading and performing a diverse body of work that highlight new voices in New York’s growing underground. Themes of the body, technology and identity will be explored. Juliana Huxtable is a writer, artist and DJ based in New York City. She creates and speaks from the positions of cyborg, priestess, witch, and trans girl. Her writing has appeared or been referenced in ArtForum, Mousse, and Maker Magazine. She has read and performed at New York City venues such as Envoy Enterprises, Brooklyn Academy of Music and Artists Space. For more on Juliana Huxtable, check out this INTERVIEW.
Become Your Unlimited Self is a workshop and talk that takes place on Thursday, February 7 from 7:00 – 9:00pm at Franklin Street Works. This event is in synch with Franklin Street Works’ tradition of highlighting emerging thinkers and doers in the region as part of our ongoing programming. Since graduating college, Diane Pauley, who goes by the “PostGrad Coach,” has watched her peers struggle to find jobs and then settle in positions that, according to Pauley “knocked the passion right out of them”. This prompted her to start PostGradolescence, a coaching platform to teach millennials how to overcome their limited resources, make their art profitable and feel confident enough to be their own boss. The event is both a talk, and a workshop.
About Diane Pauley: Diane Pauley is the PostGrad Coach who learned how to harness her art and do it for a living. She is now helping other millennials do the same – build up their art and be their own boss – at Postgradolescence.com. Pauley works with creative millennials and teaches them how to make their art profitable. By adding the right business components to their message, Diane’s clients have been able to build up service-based businesses.
Eat For Equity Stamford is kicking off 2014 with a fun and exciting event benefitting Franklin Street Works! The dinner is Saturday, February 22 from 7:00 – 10:00 pm. The Exhibition “Neuromast: Certain Uncertainty and Contemporary Art” is on view during the event and features videos, sculptures, and photographs by artists working in New York City; Toronto, Canada; Paris, France; Providence, Rhode Island; and Carbondale, Illinois. The exhibition explores the theme of “emergence,” which posits that one cannot predict results of a system once it reaches a certain type and level of complexity.
Eat for Equity cooks will integrate some of the exhibition themes into their menu, which features breakfast for dinner! Come join us in enjoying good food, good people, good art, and good times! All are welcome to join with a suggested donation of $15-20 or give what you can! RSVP not required but helpful in estimating food. To RSVP, click HERE.
Please join us Thursday, February 20 from 6:30 – 8:00 pm for Ingrid Burrington’s Talk on her project, “The Center for Missed Connections”.
With Valentine’s Day, after seeing stores stock up with flowers, hearts and chocolate boxes, we are reminded that love is in the air. Feeling like we are missing out on this sort of love connection is at the core of Ingrid Burrington’s Center for Missed Connections project, which maps and studies loneliness and romantic longing in cities through the missed connections section of Craigslist. Join Franklin Street Works on Thursday, February 20 from 6:30 – 8:00 pm for “Connecting Over Missed Connections,” a conversation with New York-based artist, Ingrid Burrington. This free, public event also includes one complimentary Valentine’s Day cocktail for each guest!
The Center For Missed Connections project started with Burrington’s simple question, “What is the loneliest place in New York City?” As she started to do research, the missed connections sections of Craigslist seemed to be the perfect place to start. This section, exclusive to Craigslist, is a common zone of loneliness in print that is also a free-for-all dialogue of venting, longing, and spamming. Burrington explains, “Analysis of Craigslist Missed Connections postings and communities offers a glimpse into the loneliness and sexual tension that serve as the linchpin of any thriving metropolitan environment.” Read more about this project HERE.
Ingrid Burrington’s Taxonomy of Missed Connections, part of Center for Missed Connections, is a mapping of missed connections in New York City, and is currently on view in Franklin Street Works’ Neuromast: Certain Uncertainty and Contemporary Art show. The exhibition, curated by Taliesen Gilkes-Bower and Terri C Smith, is on view through March 9. The show explores “emergence,” the theory that says unforeseeable results happen when a system reaches a certain level of complexity. Exhibiting artists are: Kari Altmann, Christian Bök and Micah Lexier, Ingrid Burrington, Kaye Cain-Nielsen, Mircea Cantor, hint.fm, David Horvitz, Brian House and Jason Rabie, Juliana Huxtable, Thilde Jensen, Carolyn Lazard, M. M. Mantua, Preemptive Media, Robert Spahr, Elizabeth Stephens and Annie Sprinkle’s Sexecology collaboration, and The Waterwhisper Ilse.
ABOUT INGRID BURRINGTON: Ingrid Burrington is an artist and writer living on a small island off the coast of America. There is more information about her at lifewinning.com
ARCHIVE LINKS: Gallery Handout / Juliana Huxtable Reading / Installation Photographs / Stamford Advocate article on Ingrid Burrington’s “Center for Missed Connections” / “Kaye Cain-Nielsen and Carolyn Lazard, “Health is Happiness,” 2013, PDF of ZINE
Franklin Street Works presents Neuromast: Certain Uncertainty and Contemporary Art. The group exhibition explores “emergence,” the theory that says unforeseeable results happen when a system reaches a certain level of complexity. The show’s title is inspired by a very specific emergent phenomenon, “neuromast,” which is the sensory organ that allows fish to effectively behave in unison against the threat of predators. Neuromast features sculpture, videos, text-based works, photographs and more by contemporary artists, writers and theorists interested in theories of emergence. Exhibiting artists are: Kari Altmann, Christian Bök and Micah Lexier, Ingrid Burrington, Kaye Cain-Nielsen, Mircea Cantor, hint.fm, David Horvitz, Brian House and Jason Rabie, Juliana Huxtable, Thilde Jensen, Carolyn Lazard, M. M. Mantua, Preemptive Media, Robert Spahr, Elizabeth Stephens and Annie Sprinkle’s Sexecology collaboration, and The Waterwhispers Ilse.
The exhibition is curated by Taliesin Gilkes-Bower and Terri C Smith and is on view from December 12, 2013 through February 23, 2014. It will open with a free, public reception on Thursday December 12 from 5:00 – 8:00 pm. The exhibition is sponsored, in part, by the Andy Warhol Foundation for the Visual Arts.
Emergence often includes situations where a series of small actions can yield unexpected or unintentional outcomes. Sociologist R. Keith Sawyer adds in a 2001 paper on emergence and sociology, “Canonical examples of emergence include traffic jams, the colonies of social insects, and bird flocks. For example the V shape of the bird flock does not result from one bird being selected as a leader. Instead, each bird’s behavior is based on its position relative to nearby birds. The V shape is not planned or centrally determined; it emerges out of simple pair-interaction rules.”
With Neuromast: Certain Uncertainty and Contemporary Art, several shared themes arose among the thirty-one works, including: how culture and gender contribute to constructing identity; the dynamic between an individual’s health and the medical industry, commerce, or the natural environment; and the collection and distribution of digital information as it relates to business, personal security, and persona.
A primary inspiration of the show was a series of photographs by Thilde Jensen called The Canaries, which served as an inspiration for the exhibition. Her photographs document the lives of individuals living with heightened levels of sensitivity to the toxic chemicals and powerful electromagnetic radiation found in modern, built environments. Preemptive Media’s Air project also explores emergence and the environment through the collective work of Beatriz da Costa, Jamie Schulte and Brooke Singer. Their portable air quality measurement kits demand reflection on the proliferation of smart phones and pocket computers that do little beyond promise increased entertainment and productivity. Mircea Cantor’s video Deeparture juxtaposes predator and prey by placing a wolf and a deer in a typical white cube gallery space. The artist calls into question traditional narratives of danger and the inevitability of death while he simultaneously hijacks the gallery by excluding art objects and audience. With Elizabeth Stephens and Annie Sprinkle’s Sexecology project, the artists approach nature very differently, creating performative weddings that link the concept of a couple’s love to our love of the planet via inclusive, largely unscripted community events.
Neuromast also approaches personal identity as a microcosm of larger complex systems. Juliana Huxtable’s portrait series Seven Archetypes explores her process of gender transitioning through cultural expectations of performance. M. M. Mantua’s sculptures ask viewers direct questions that hint at the unequal distribution of privacy between viewer and artist while creating cognitive engagement through language. Brian House and Jason Rabie’s Facebook Portraits present identity through algorithm and data, attempting to humanize the ways in which social networks identify and classify their users. Kari Altman’s site-specific iteration of her Smart Mobility/Invisible Protection series calls into question abstract ideals of security as they relate to identity in finance and branding.
Moving out in scale to broader social phenomena, lngrid Burrington’s Center for Missed Connections identifies configurations of socially and sexually disconnected people in New York City through the missed connections section of Craigslist. David Horvitz also tried to change collectively authored online information through his zine documenting the artist’s attempted removal of himself from the group-edited encyclopedia site Wikipedia. Another text-based work that involves collaboration and an unpredictable outcome is Two Equal Texts by Christian Bök and Micah Lexier. The large vinyl wall work is an elaborate anagram that consists of two texts placed on either side of a freestanding wall. One side features Lexier’s descriptive text, which outlines the terms of the collaboration; the other side hosts Christian Bök’s elegantly resolved anagram of Lexier’s original text. Kaye Cain-Nielsen’s installation Miranda further explores the social consequences of shared responsibility in relationship to her own experience as a potential paid egg donor to an infertile couple.
Using contemporary art as its starting point, the artists in Neuromast investigate complex systems within social, environmental, and personal fields. The exhibition shows ways in which collective small-scale actions can prevail against seemingly insurmountable odds. Writer and activist Adrienne Marie Brown adds, “Rather than laying out big strategic plans for our work, many of us have been coming together in community, in authentic relationships, and seeing what emerges from our conversations, visions and needs. We can define emergent strategy as intentional, strong because it is decentralized, adaptive, interdependent, and creating more possibilities.” The artists in Neuromast: Certain Uncertainty and Contemporary Art join in an interdisciplinary conversation on emergence via the adaptive and generate approach Brown sites, giving us insights into the often invisible, yet shared, complex systems that pervade our everyday lives.
In celebration of our two-year anniversary, Franklin Street Works is hosting its first fundraiser party on Saturday, November 23 from 5:00 – 8:00 pm! Buy tickets HERE!
The fundraiser will highlight the collaborations in contemporary art, urban planning, publishing, new media and other fields that have made the space a leading cultural destination in the region. The accompanying exhibition (Nov. 2 – Dec. 1) will be a pop-up shop featuring portable multiples made by artists who exhibited here in our first two years.
Items will include zines, videos, calendars, glasses, buttons, artists books and more! They will be available at sale prices from $3.00 and up, giving everyone a chance to take something home. Works will only be for sale at the November 23 party. Participating Artists: Michael Asbill, Trisha Baga, Francis Cape, Holly Danger, Choi Dachal and Jennyfer Haddad, Christopher DeLaurenti, Simon Draper, Matt Ducklo, Stuart Elster, Lindsey Eskind, Kent Evans, Bethany Fancher, Flint Public Art Project, Flower Tour, T Foley, Marley Freeman, Ben Goddard, Ilana Halperin, Veronica Hryn, Jared Haug, Rachel Higgins, Ann Hirsch, Dana Hoey, David Horvitz, Tehching Hsieh, Hudson Valley Seed Library, Jessica Jackson Hutchins, Renee Kahn, Tara Kelton, Karsten Krejcarek and Seth Kelly, Emily Larned, Mads Lynnerup, NPeaches, Jeff Ostergren, Andrea Reynosa, Emily Roz and Carmelle Safdie, Joshua Seidner, Trevor Shimzu, Brooke Singer and Ricardo Miranda, Gordon Skinner, Stephen Sollins, Rbt. Sps., Second Front, Brent Stewart, Penelope Umbrico, Siebren Versteeg, Linda Weintraub, Grant Worth, Helen Zajowski, Dzmitry Zhykh.
We would like to thanks our lead sponsor, Seaboard Properties and our in-kind sponsors to date: Half Full Brewery and cafe oo la la.
General admission: $35.00
Show your general admission ticket at Franklin Street Works at any time for a discounted membership. Tickets will also be available at the door the night of the event.
Missed the party? ArtShop! is now online HERE with items from $5 – $150.
ArtShop! The Show is an exhibition on view from November 2 – December 1. During this time we will turn the galleries into a shop featuring new and existing multiples by artists we’ve worked with in our first two years. This show will form the backdrop, and provide an added funding stream, for our first fundraiser, which will take place on Saturday, November 23 from 5:00 – 8:00 pm.
Items will include zines, videos, calendars, glasses, buttons, artists books and more! They will be available at sale prices from $3.00 and up, giving everyone a chance to take something home. Works will only be for sale at the November 23 party. Participating Artists: Michael Asbill, Trisha Baga, Francis Cape, Holly Danger, Christopher DeLaurenti, Simon Draper, Matt Ducklo, Stuart Elster, Lindsey Eskind, Kent Evans, Bethany Fancher, Flint Public Art Project, Flower Tour, T Foley, Marley Freeman, Ben Goddard, Ilana Halperin, Veronica Hryn, Jared Haug, Rachel Higgins, Ann Hirsch, Dana Hoey, David Horvitz, Tehching Hsieh, Hudson Valley Seed Library,
Jessica Jackson Hutchins, Renee Kahn, Tara Kelton, Karsten Krejcarek and Seth Kelly, Emily Larned, Mads Lynnerup, NPeaches, Jeff Ostergren, Andrea Reynosa, Emily Roz and Carmelle Safdie, Joshua Seidner, Trevor Shimzu, Brooke Singer and Ricardo Miranda, Gordon Skinner, Stephen Sollins, Rbt. Sps., Second Front, Brent Stewart, Penelope Umbrico, Siebren Versteeg, Linda Weintraub, Grant Worth, Helen Zajowski, Dzmitry Zhykh.
From October 6 – 20, 2013, Franklin Street Works presents documentation of our programs and exhibitions in the form of zines, gallery handouts, slideshows and videos from the last two years.
This two-week show celebrates our accomplishments and highlights the 160 artists, curators and cultural producers with whom we have collaborated since opening on September 22, 2011. This overview is a perfect opportunity to introduce friends and family to Franklin Street Works! As you stroll through the galleries, you stroll through time, starting with the inaugural exhibition, Fernando, and ending with Kool-Aid Wino. The exhibition also includes reception photos, audio works by local poets, and a lecture on food and art.
Kool-Aid Wino exhibiting artist, Rotem Linial, will curate the second screening of Franklin Street Works outdoor film series on Thursday, September 12th. That evening will feature the 1997 Czech film, Buttoners, directed by Petr Zelenka.
Franklin Street Works is pleased to announce a series of three outdoor film screenings on its back patio during the month of September! As summer comes to a close and days become shorter, what could be better than cozying up outside and enjoying free outdoor films right in downtown Stamford? Thursday night screenings will take place on September 5th, 12th, and 19th from 7:00 – 9:00 pm. The film choices are inspired by Franklin Street Works’ current exhibition, Kool-Aid Wino, which foregrounds mistakes and missteps in contemporary art. A film expert will curate each screening for these casual, social events, which also promise to bring various perspectives and create new connections to the exhibition. These free, public events will include special cocktails inspired by each film and snacks such as popcorn and hotdogs for an all-American movie experience.
Kool-Aid Wino is an exhibition that explores the foregrounding of mistakes and missteps in contemporary art practices and features works by Anne Carson, Choi Dachal, Frank Heath, Owen Land, Rotem Linial, James Merrill, Alice Miceli, Jenny Perlin, and Aki Sasamoto, as well as an ikat silk suzani textile made in the early twenties. By highlighting or even celebrating errors, the art in this show redeem flaws, accentuate their value, and open up myriad new possibilities.
A reception for the exhibition “Collective Action Archive” will take place at Purchase College’s Passage Gallery gallery on Wednesday, September 11, from 4:00 – 6:00 pm, followed by a symposium at the Neuberger Museum of Art Study (also on Purchase campus) of Purchase College from 6:00 – 8:00 pm. Both events are free and open to the public. The symposium will include author, artist, and activist Gregory Sholette; along with Lise Soskolne from Working Artists and the Greater Economy (W.A.G.E.); and Brian House of the Knifeandfork collective.
The New Media program at Purchase College, SUNY and Franklin Street Works, a contemporary art space in Stamford, CT, organized this group exhibition, which is on view at Purchase College’s The Passage Gallery, beginning September 6. Curated and coordinated by Purchase College faculty and students along with the Franklin Street Works team, the exhibition kicks off the 2013 season at the school’s student gallery. The show features ephemera, documentation, and publications that include photos, videos, zines, and books from more than 30 artist collectives from across the U.S., including Chicago, New York, Pittsburgh, Winston-Salem, and San Francisco. “Collective Action Archive” will be on view from September 6 – 29, 2013.
Franklin Street Works presents a guided tour of the current group exhibition, Kool-Aid Wino, with its curator, Claire Barliant, Saturday, September 7. The event begins at 5:30 and we will extend our hours through 7:00 pm for the tour and casual discussion over a thematic, complimentary cocktail.
A Brooklyn-based writer and curator, Barliant has written about art in publications such as Artforum, Art in America, and the New Yorker. This walkthrough will give visitors a rare opportunity to explore the art in Franklin Street Works’ three galleries with the show’s curator in a casual, conversational setting. Barliant will share her thinking on the exhibition’s theme and its artists. Join us for this free, public event and hear more about the role of trial and error in contemporary art. This event program is made possible, in part, through a two-year grant from the Andy Warhol Foundation for the Visual Arts.
Kool-Aid Wino is an exhibition that explores the foregrounding of mistakes and missteps in contemporary art practices and features works by Anne Carson, Choi Dachal, Frank Heath, Owen Land, Rotem Linial, James Merrill, Alice Miceli, Jenny Perlin, and Aki Sasamoto, as well as an ikat silk suzani textile made in the early twenties. By highlighting or even celebrating errors, the art works in this show redeem flaws, accentuate their value, and open up myriad new possibilities. Barliant explains, “Cumulatively the works reminds us that uniqueness relies on flaws and our imaginative negotiation in, around, and through them.” The title of the show comes from a chapter in the book Trout Fishing in America by Richard Brautigan, who deliberately fudged words while writing in order to invent new ways of saying things. Kool-Aid Wino is on view through September 29, 2013.
ABOUT CLAIRE BARLIANT:
Claire Barliant has lived in New York City for the past fifteen years, except for seven months when she lived in Houston around 2004-05. Her various jobs during that time have included stamping words on rubber bands (when she worked for an artist who sold soaps, perfumes, and rubber bands with words stamped on them in upscale shops like Barney’s and Moss), fact-checking for the Village Voice, packing up props for a Wes Anderson film, and numerous editorial gigs at art magazines. Today she writes, edits, teaches, and curates.
The New Media program at Purchase College, SUNY and Franklin Street Works, a contemporary art space in Stamford, CT, will present a group exhibition, “Collective Action Archive,” at Purchase College’s The Passage Gallery, beginning September 6. Curated and coordinated by Purchase College faculty and students along with the Franklin Street Works team, the exhibition kicks off the 2013 season at the school’s student gallery. The show features ephemera, documentation, and publications that include photos, videos, zines, and books from more than 30 artist collectives from across the U.S., including Chicago, New York, Pittsburgh, Winston-Salem, and San Francisco.
“Collective Action Archive” will be on view from September 6 – 29, 2013. A reception will take place in the gallery on Wednesday, September 11, from 4:00 – 6:00 pm, followed by a symposium at the Neuberger Museum of Art Study (also on Purchase campus) of Purchase College from 6:00 – 8:00 pm. Both events are free and open to the public. The symposium will include author, artist, and activist Gregory Sholette; along with a member of Working Artists and the Greater Economy (W.A.G.E.); and one of the founding members of the Knifeandfork collective.
The Collective Action archive began in 2012 with Franklin Street Works’ call for materials, which was sent to more than 90 socially engaged artist collectives for the exhibition “Working Alternatives: Breaking Bread, Art Broadcasting and Collective Action” (October 27, 2012 – January 13, 2013). The Collective Action theme was inspired by Gregory Sholette’s writing on the Political Art Documentation/Distribution (PAD/D) archive in his book Dark Matter: Art and Politics in the Age of Enterprise Culture). PAD/D materials— now housed in the MoMA QNS library collection —include a variety of printed items and photographs from socially and politically active collectives working in the 1980s. For the “Working Alternatives” exhibition, the curators considered what a call for materials (similar to art historian Lucy Lippard’s PAD/D call in 1979) would yield. What could these new materials, gathered together, tell us about the strategies and organizational structures of politically active artist collectives more than 30 years later?
For the Purchase College redux, every collective in the archive will be on display simultaneously, with the majority of the items in the Collective Action Archive being featured. In addition to the greater breadth, the exhibition includes new items sent to Franklin Street Works in the last four months. Interpretive labels and a comprehensive gallery handout will augment the materials, contextualizing the work of these socially active artists who tackle topics ranging from fair artist compensation, to environmental responsibility and reproductive rights.
Collectives included in this exhibition are: ABC No Rio, Artists Against Apartheid, Big Tent, Conflict Kitchen, Critical Making, fierce pussy, Floating Lab Collective, Futurefarmers, Guerrilla Girls, Guffey Hollow, Howling Mob Society, Illegal Art, Just Seeds, Kitchen Sink, Knifeandfork, Lucky Pierre, M12 Collective, Meme Rider Media Team, National Bitter Melon Council, Okay Mountain Collective, Paper Tiger TV, Philly Stake, Preemptive Media, Publication Studio, Regional Relationships, Second Front, Students of the African Diaspora, subRosa, Temporary Services, The Pinky Show, W.A.G.E., and Work Progress Collective.
The “Collective Action Archive” exhibition team includes: Purchase College interns Stephen Barakat, Gina Mischianti, Bonnie Moncada, and Diogo Sales; Franklin Street Works staff members Sandrine Milet and Terri C Smith; and Brooke Singer, Associate Professor of New Media in the School of Film & Media Studies at Purchase College.
ABOUT THE SYMPOSIUM PANELISTS
Gregory Sholette: Gregory Sholette is a New York-based artist, writer and founding member of Political Art Documentation/Distribution (1980-1988) and REPOhistory (1989-2000). His most recent exhibition is Collectibles: Models, Action Figures, Objects (8/28-9/4) at Station Independent Projects, NYC, NY, and Imaginary Archive: Graz, Austria (9/21-11/2, 2013). The first chapter of his serial sci-fi graphic novel Double City appears in the Summer issue of Frieze, 201, and his recent books include Dark Matter: Art and Politics in an Age of Enterprise Culture (Pluto Press, 2010) and the co-authored book It’s The Political Economy, Stupid with Oliver Ressler, (Pluto 2013). Sholette is a frequent lecturer and seminar leader in the US and abroad, he teaches at Queens College CUNY where he recently co-founded the Social Practice Queens master’s concentration.
W.A.G.E.: Founded in 2008, Working Artists and the Greater Economy (W.A.G.E.) is a New York-based activist group whose advocacy is currently focused on regulating the payment of artist fees by non-profit art institutions and establishing a sustainable model for best practices between cultural producers and the institutions that contract their labor. Over the past 5 years they have delivered speeches, made videos, held open meetings, teach-ins, coffee klatches and workshops, wage-raging in panel discussions and symposia at museums, galleries, conferences, festivals, schools, summits, and art fairs. In 2010 they launched the W.A.G.E. Survey, which gathered data from visual and performing artists about their experiences with the payment practices of New York City non-profit arts organizations.
Knifeandfork: Brian House is a co-founder of Knifeandfork with Sue Huang. He is a media artist whose work traverses alternative geographies, experimental music, and a critical data practice. By constructing embodied, participatory systems, he seeks to negotiate between algorithms and the rhythms of everyday life. His work has been shown by MoMA (NYC), MOCA (LA), LACE, Ars Electronica, Eyebeam, Rhizome, Conflux Festival, ISEA, and Issue Project Room, among others, and has been featured in publications including WIRED, TIME, The New York Times, SPIN, Metropolis, and on Univision Sports. He is currently a doctoral student at Brown University in the Music and the Modern Culture and Media departments and teaches in the Digital + Media program at RISD.
Franklin Street Works will present Buster Keaton’s critically acclaimed classic The General (1926), at 7:00 pm on September 5th. It was chosen by Erin Shea, a Stamford, Connecticut, resident and the curator of Darien Library’s film series, “Friday Night Features.” Ripe with foregrounded mistakes, the film will provide silent movie slapstick through brilliant physical humor. It’s no small feat to make a pie-in-the-face funny, but the physical humor replete in classic silent films still holds up today. In one of the most famous chase scenes in film history, pretty much everything goes wrong and it is a delight watching Keaton try to make up for it.
The movie is part of a series of three outdoor film screenings on Franklin Street Works’ back patio during the month of September! As summer comes to a close and days become shorter, what could be better than cozying up outside and enjoying free outdoor films right in downtown Stamford? Thursday night screenings will take place on September 5th, 12th, and 19th from 7:00 – 9:00 pm. The film choices are inspired by Franklin Street Works’ current exhibition, Kool-Aid Wino, which foregrounds mistakes and missteps in contemporary art. A film expert will curate each screening for these casual, social events, which also promise to bring various perspectives and create new connections to the exhibition. These free, public events will include special cocktails inspired by each film and snacks such as popcorn and hotdogs for an all-American movie experience.
Kool-Aid Wino is an exhibition that explores the foregrounding of mistakes and missteps in contemporary art practices and features works by Anne Carson, Choi Dachal, Frank Heath, Owen Land, Rotem Linial, James Merrill, Alice Miceli, Jenny Perlin, and Aki Sasamoto, as well as an ikat silk suzani textile made in the early twenties. By highlighting or even celebrating errors, the art in this show redeem flaws, accentuate their value, and open up myriad new possibilities
Franklin Street Works will screen Aki Sasamoto’s performance, It’s hard to relate to you, (indoor version), followed by a Q & A with the artist via Skype ,Thursday, August 29 from 6:00 – 8:00 pm. Following the 20 minute screening, we will Skype with Sasamoto and open it up to an informal discussion where the artist will discuss how her performance was part of the process in creating the sculpture for Kool-Aid Wino. This free, public event promises to shed light on performance as a tool for making objects and its larger role in museums and galleries.
When entering Franklin Street Works, viewers are greeted with a top-heavy sculpture Aki Sasamoto created during the opening reception. Domestic furnishings combined and augmented with a mix of text, tape, and concrete are at once precarious and intimidating, elegant and chaotic. For the opening reception of Kool-Aid Wino, Aki Sasamoto’s performance involved doing a “slow dance” with a large desk, accompanied by Bobby Hebb’s song “Sunny.” The artist also spoke about the “disease” of artists and the relationship between strategic and charismatic personalities, using Martha Stewart as an example of the latter. Sasamoto’s magic marker text on wood and etched words in concrete imbed the installation with cryptic messages from artist to viewer, hinting at the ideas and impulses behind its creation.
Kool-Aid Wino is an exhibition that explores the foregrounding of mistakes and missteps in contemporary art practices and features works by Anne Carson, Choi Dachal, Frank Heath, Owen Land, Rotem Linial, James Merrill, Alice Miceli, Jenny Perlin, and Aki Sasamoto, as well as an ikat silk suzani textile made in the early twenties. By highlighting or even celebrating errors, the art in this show redeem flaws, accentuate their value, and open up myriad new possibilities. Barliant explains, “Cumulatively the works reminds us that uniqueness relies on flaws and our imaginative negotiation in, around, and through them.” The title of the show comes from a chapter in the book Trout Fishing in America by Richard Brautigan, who deliberately fudges words while writing in order to invent new ways of saying things. Kool-Aid Wino is on view through September 22, 2013.
ABOUT AKI SASAMOTO:
Aki Sasamoto is a New York-based, Japanese artist, who works in performance, sculpture, dance, and whatever more medium that takes to get her ideas across. Her works have been shown both in performing art and visual art venues in New York and abroad. Besides her own works, she has collaborated with artists in visual arts, music, and dance, and she plays multiple roles of dancer, sculptor, or director. Sasamoto co-founded Culture Push, a non-profit arts organization, in which diverse professionals meet through artist-led projects and cross-disciplinary symposia.
Sasamoto’s performance/installation works revolve around everyday gestures on nothing and everything. Her installations are careful arrangements of sculpturally altered found objects, and the decisive gestures in her improvisational performances create feedback, responding to sound, objects, and moving bodies. The constructed stories seem personal at first, yet oddly open to variant degrees of access, relation, and reflection. (http://www.akisasamoto.com)
Can’t make it to the screening? You can view the video of her performance HERE.
Franklin Street Works is proud to present Kool-Aid Wino, a group exhibition curated by Brooklyn-based writer and critic Claire Barliant. The exhibition explores the foregrounding of mistakes and missteps in contemporary art practices and features works by Anne Carson, Choi Dachal, Frank Heath, Owen Land, Rotem Linial, James Merrill, Alice Miceli, Jenny Perlin, Aki Sasamoto, as well as an ikat-dyed silk suzani from the Middle East made in the early twenties. It is on view at Franklin Street Works from July 20 – September 22 with a free, public reception on July 20 from 5:00 – 8:00 pm.
The show starts with the widely accepted premise that artistic process relies on trial and error. You try something, you mess up, you move on. But what if you stay with that mistake, or that troubling passage, and make it the focus? What if you let it be awkward, an irritant, wiggle it like a loose tooth or pick at it like a scab that never quite heals? What if, instead of being one (quickly deleted) step toward success or resolution, the error becomes the climax and the denouement—an end point in itself, or even a goal? Hence the title Kool-Aid Wino, which comes from Trout Fishing in America by poet and author Richard Brautigan, who deliberately fudged words while writing in order to invent new ways of saying things.
The artists in Kool-Aid Wino poke and prod at systems—be they technological, linguistic, musical, or administrative—until they find or create a chink or flaw that sheds light on the whole. Jenny Perlin’s three-channel video projection, Sight Reading, presents three different pianists on each screen, each struggling to play a composition they are seeing for the first time. Choi Dachal’s photographs feature dress shirts that have been pressed, cleaned, and folded. Yet on close inspection they prove to be two different shirts with slightly varying patterns that have been buttoned together and folded to look like a single shirt. Owen Land, Rotem Linial, and Alice Miceli take a reflexive approach to film and photography, revealing and reveling in glitches and mechanical failures. Frank Heath and Aki Sasamoto disassemble objects to point out ruptures in systems such as urbanism and history that, while abstract, are often deemed airtight and error-proof.
Errors, as Freud demonstrated in his writings on parapraxis (slips of the tongue), often tip others off to our secret aversions or buried desires, which we strenuously try to conceal. By highlighting or even celebrating errors, the art works in Kool-Aid Wino redeem flaws, accentuate their value, and open up myriad new possibilities. The last line of the pseudonymous chapter in Brautigan’s book reads: “He created his own Kool-Aid reality and was able to illuminate himself by it.” In a sense, each of the artists in this show creates his or her own Kool-Aid reality. Cumulatively the works remind us that uniqueness relies on flaws and our imaginative negotiation in, around, and through them. It is also worth noting that Trout Fishing in America famously ends with the word “mayonaise,” a typo that may not have been intentional, but made it into the final draft.
About the curator: Claire Barliant has lived in New York City for the past fifteen years, except for seven months when she lived in Houston in 2004-05. Her various jobs during that time have included stamping words on rubber bands (when she worked for an artist who sold soaps, perfumes, and rubber bands with words stamped on them in upscale shops like Barney’s and Moss), fact-checking for the Village Voice, packing up props for a Wes Anderson film, and numerous editorial gigs at art magazines. Today she writes, edits, teaches, and curates.
As We Perform It is a two-week, group exhibition at Franklin Street Works that brings together emerging and mid-career artists who use performance, painting, video, photography, and social practice to expand on the rich, ever-evolving role of contemporary art as a tool for exploring self-representation. This exhibition is the first by emerging curator and Franklin Street Works’ staff member Sandrine Milet. It is on view from June 22 – July 7, 2013, with a free, public reception on Saturday, June 22, from 5:00 – 8:00 pm. Exhibiting artists include Lisa Fagan, Christina Sukhgian Houle, Kristin Lucas, Erica Magrey, Peter Bonde Becker Nelson, Dani Padgett, Bastienne Schmidt, Devan Shimoyama, and Thuan Vu.
For many decades, especially during the “identity politics” era of the 1980s and 1990s, artists have investigated the self in relation to society, oftentimes reclaiming their identity or critiquing related politics and stereotypes. Yet how are current approaches of expressing identity affected by new modes of communication? “Today, there are so many platforms to express and communicate ourselves,” explains Sandrine Milet, “that it becomes a constant search and desire to define ourselves to others. This need and the accompanying confusion many of my peers talk about peaked my interest in how artists deal with these issues.”
These themes in As We Perform It are expressed in a variety of ways. Artists such as Peter Bonde Becker Nelson, Bastienne Schmidt and Devan Shimoyama create narratives that blend autobiography with the imagined, while also investigating the self’s ability to change and transform. Lisa Fagan, Christina Sukhgian Houle, Erica Magrey and Dani Padgett focus on the body and mind in relation to our physical and social environments, oftentimes foregrounding performance. Paying close attention to the political environment of the 21st century and its impact on identity, Kristin Lucas and Thuan Vu draw connections between their personal identities and the larger construct of the hyper-mediated world, bringing an understanding of the new and existing shared platforms.
As We Perform It features works made by artists who spent their formative years in the 21st century’s hyper-connected world where physical and digital lives collide. Focusing on the “multi-place-ness and multi-space-ness” of our society, as described by exhibiting artist Erica Magrey, the show, among other things, asks how the prevalence of expressing identity through immediate visual cues has affected contemporary art practices. Many of the works in As We Perform It map out experiences or narratives through performative self-representations in an attempt to answer the “where and how am I” inquiry, propagated by our sharing-obsessed society.
“Excess” performance by Brooke Singer and Ricardo Miranda will take place
Saturday, June 15 from 3-6pm in Stamford Downtown. The performance will be followed by a Picnic from 6-8pm at Franklin Street Works.
Artists Ricardo Miranda and Brooke Singer will conduct a survey of restaurants in downtown Stamford to learn more about the food waste landscape. This information will be mapped and will be displayed along with their composting bicycle in a downtown storefront window. During Stamford’s art walk on June 15, the artist team will cycle around downtown Stamford on the bicycle, collecting waste from businesses, redistributing edible portions at a free public picnic at Franklin Street Works, and composting the remainder. For more on the Excess project visit http://www.excessnyc.org. This programming will be happening during Stamford’s first art walk!
Are you a book lover and enjoy making your own unique publications? Then join Franklin Street Works and artist Emily Larned for a free, public bookbinding workshop on Thursday, June 13th from 5:30 – 7:00 pm where you will learn simple, non-adhesive book structures that are easily made without special materials or tools. These basic handmade books can be made as editions or unique works of art. This event is part of Strange Invitation programming and inspired by Franklin Street Works’ Reanimation Library branch, which features a physical collection of books that have fallen out of routine circulation.
“Marshall McLuhan said that when a technology becomes obsolete, it becomes an art form,” Larned says. “And that’s what we’re seeing with the book as it becomes supplanted by digital storage and search technologies.” So what else are books good for? Franklin Street Works’ Reanimation Library branch addresses some of these issues by making explicit what isn’t being digitized. In what is meant to inspire the production of new creative work, you will find books with a variety of illustration styles and printing techniques that have disappeared in most digital content due to the fact that photographs are now cheaper and quicker to make than illustrations.
Although the handmade book no longer serves its responsibility of recording the knowledge of humanity, it retains other qualities is has always had: a book is portable and requires no batteries or power, and a photocopied edition can be made inexpensively and distributed in public space anonymously. A book is finished in a moment in time, and is a great vehicle for aesthetic exploration, sharing of ideas, storytelling, and good old self-expression. “And maybe there’s also something to the fact that there will never be an untold number of other people accessing it at the same time,” Larned says. “It is limited and finite and physically inhabits the world – just like us.”
ABOUT EMILY LARNED:
Emily Larned has been self-publishing for 20 years, when she made her first zine Muffin Bones as a teenager in 1993. Since then, her artist publications have been collected by major institutions around the world including the V&A, the Tate Modern, The Smithsonian Institution, The J. Paul Getty Museum, and the Brooklyn Museum. She was a director of Brooklyn Artists Alliance for nearly a decade and co-established its education department. She also has taught basic bookbinding at every level from after-school programs through graduate workshops, including at Pacific Northwest College of Art (PNCA), University of Pennsylvania MFA program, and the Independent Publishing Resource Center (IPRC). Current work includes: Impractical Labor, an international member-organization-as-art-project for like-minded makers; Pleasure Beach Lives, a public park reclamation project in Bridgeport; and Land of Steady Habits, a zine/book series documenting progressive living in Connecticut. She’s currently Chair of Graphic design at SASD, University of Bridgeport.
Thursday, May 30 from 6:30 – 8:00 pm, Franklin Street Works will host An Incomplete Portrait of the Reanimation Library. This free, public event features Reanimation Library founder, Andrew Beccone, performing a set of short readings made up entirely of excerpts from the library’s holdings. The readings are paired with projected images from Reanimation Library’s image archive. Sequenced, unmediated fragments of found text and an accompanying stream of decontextualized images will provide a personalized, fractured, and incomplete portrait of the wide-ranging attitudes, ideologies, and visual systems contained within the collection. The event is in the casual, intimate environment of Franklin Street Works’ upstairs gallery.
Beccone’s performance is one of eight exhibition programs Franklin Street Works organized for the art space’s current group exhibition Strange Invitation, which includes a Reanimation Library branch featuring dozens of locally sourced books and artworks by Brooklyn based artist Pradeep Dalal. The performance takes place in the Reanimation Library FSW branch and lends a first- hand, experiential perspective on the library’s role as a generative source for making new artworks from the collection.
According to Beccone, these performances provide a platform to focus on texts found in the library’s collection, explaining, “I started doing readings from texts found in the library because I’ve become increasingly interested in and engaged with the language in the collection. A lot of the information in the library is very dry, and unlikely to have ever been read aloud. Most of it was not intended to be, but I have started unearthing small fragments – from a sentence to a few paragraphs – that strike me as particularly unusual. The Incomplete Portrait is a kind of way to let the library speak for itself.”
For more on Reanimation Library http://www.reanimationlibrary.org/
Join Franklin Street Works at the Stamford Innovation Center on Thursday, May 23, from 6:00 – 7:30 pm for “Art in the New City,” a talk by Brooklyn-based journalist, reporter and founder of the Flint Public Art Project, Stephen Zacks. Currently, Zacks is writing A Beautiful Ruin: The Generation that Transformed New York: 1967 – 1986. He will share his insights informed by a unique combination of historical research and hands-on experience to indicate how practices of public art and design can be put at the service of contemporary city-making. With Connecticut’s recent emphasis on ideas of “placemaking,” this is a highly anticipated conversation that will contribute to the regional dialogue about how contemporary art can invigorate towns and cities.
The talk will take place at the Stamford Innovation Center, located at the Old Town Hall, which is a new entrepreneurial hub in Stamford striving to create community-driven space and encouraging the free exchange of ideas and resources for start-up businesses. The perfect backdrop for Stephen Zacks’ talk on innovative urban art practices, the Stamford Innovation Center will join Franklin Street Works in hosting this free, public event.
As the Director of the Flint Public Art Project (FPAF), Stephen Zacks was one of three collaborators invited to participate in Franklin Street Works’ current exhibition, Strange Invitation (April 6 – June 16). This original Franklin Street Works show examines some of the relationships between art and activism that are happening around the country today. Zacks invited the emerging Flint artist collective Flower Tour to collaborate with him for the exhibition. Flower Tour blends fashion, performance, video and installation to bring color and excitement into public spaces. Their project is an extension of the FPAF’s mission, which, according to Zacks “draws on multiple artistic disciplines in an effort to transform the city’s image and identity, activate disused sites, connect places, and amplify the local culture.”
ABOUT STEPHEN ZACKS:
Flint Public Art Project founder and executive director Stephen Zacks is an internationally recognized architecture and urbanism reporter, theorist, and
1cultural producer based in Greenpoint, Brooklyn and a native of Flint, Michigan. He received an M.A. in Liberal Studies from the New School for Social Research, served as an editor of Metropolis, and has received awards from the NY State Council on the Arts, Newtown Creek Fund, Graham Foundation, ArtPlace, MacDowell Colony, and the Warhol Foundation. Co-founder of the Bring to Light– Nuit Blanche New York festival, he is currently writing A Beautiful Ruin: The Generation that Transformed New York, 1967-1986, a nonfiction narrative about the role of contemporary artists in reinvigorating New York neighborhoods during the mid-70s fiscal crisis (Princeton Architectural Press, 2014).
ABOUT THE STAMFORD INNOVATION CENTER:
Featuring coworking, dedicated offices, conference facilities and a comprehensive slate of startup-centric classes and events, the Stamford Innovation Center, which opened in November 2012, is the ideal place for young enterprises to grow and interact with peers, mentors, investors, industry experts and service providers. For information on how to join our community, please visit www.stamfordicenter.com.
Connecticut meet up 10:30 a.m. at Franklin Street Works and walk to train station or join us at Stamford Train Station for 11:03 train (third car from end). New York meet up between 12:30 and 1:00 pm at Clocktower Gallery.
SIGN UP TODAY by emailing Sandrine@franklinstreetworks.org!
There are 55 Honey Locust trees growing in New York City’s Zuccotti Park, the central locale of the 2011 Occupy Walls Street protests. Artist David Horvitz collected the seeds from those trees in 2012 and is now germinating them at New York’s Clocktower Gallery. On Saturday, May 4, after his Clocktower artist residency ends, Horvitz will lead 55 people in carrying the seedlings (one plant per person). The group (consisting of CT and NY participants) will take a Metro North train to Franklin Street Works, which is 40 minutes outside of NYC in Stamford, Connecticut. The plants will continue to germinate at Franklin Street Works through June 16.
For this collaborative performance, Franklin Street Works and David Horvitz are enlisting participants to help carry the trees from Clocktower Gallery to Connecticut, stopping off at nearby Zuccotti Park in route. Horvitz sees one person carrying one plant as a poetic component, adding, “I really like the image of someone going across the Atlantic in the 17th, 18th, 19th century, in a boat, carrying a small apple branch, or rose cutting, ready to plant it in America.”
In germinating the Honey Locust trees, David Horvitz also considers the temporality of trees explaining, “The slowness of their pace is not subject to the world of the instantaneous and the immediate that we live in.” These trees can live up to 150 years and will continue to germinate at Franklin Street Works during the Strange Invitation exhibition. In June, Horvitz and Franklin Street Works will find permanent homes for the trees, ideally at public institutions such as museums, libraries, and college campuses.
We still need participants! So Franklin Street Works hopes that you can join us in taking part in this collaborative performance and to bear witness to the relocation of these Honey Locust trees. Connecticut participants will meet up at Franklin Street Works at 10:30 am, while those living in NYC will meet up at 12:30 am at the Clocktower Gallery. To sign up and be a part of the performance please email your RSVP to Sandrine@franklinstreetworks.org. For information on FSW support and options in purchasing Metro North tickets, please email email@example.com.
ABOUT DAVID HORVITZ: David Horvitz is an artist from California who is currently based in Brooklyn. He works in a variety of media, including photography, video, web-based work, publications, and watercolor.
Please join Franklin Street Works for the launch of its “Across Disciplines” program on Thursday, April 25 from 6 – 7:30 pm. The Across Discipline events feature regional artists talking about their work alongside someone from a different discipline, — to create a dialogue that explores the visual arts from multiple viewpoints. For this program, local artist, Phyllis Sinrich, will be talking about her series of photographs titled “Mannequins: A Parallel Universe,” exploring the art world’s recent obsession with fashion, and how mannequins play a powerful role as fashion’s avatars. She will be paired with Professor Ingrid Semaan, Director of Women’s Studies at UConn, Stamford, who will talk about Sinrich’s series from the perspective of female identity in concert with advertising, fashion, and consumption. This free, public,event provides additional opportunities for regional artists and thinkers to share their work with the public, while paying close attention to the fluid relationships between the visual arts, the humanities, and popular culture.
Phyllis Sinrich’s portfolio of mannequins includes more than twenty images from her travels in countries such as Hungary, France, Italy, Turkey, Croatia and the United States. According to the artist, the facial expressions, postures and individuality of the mannequins is what has kept her intrigued and transfixed, explaining “it’s fascinating to note both the similarities and differences that are manifested through each society’s mannequin ‘population’”. “Mannequins: A Parallel Universe” is part of Phyllis Sinrich’s solo exhibition, The Thrill of Discovery, at The Gallery at Bistro Latino in Old Greenwich, CT, on view through April 30.
ABOUT PHYLLIS SINRICH: In 2001 Phyllis Sinrich turned a passion for photography — which had been a hobby since childhood — into her “third life.” Her work is exhibited regularly in juried shows in the area, most notably the annual Faber Birren National Color Award Show at the Stamford Art Association, where she has won several sponsored awards over the years. In 2003 one of her abstract images was a First Place winner in the Atlanta Journal-Constitution Annual National Photo Competition. Her work has also been shown at other venues such as the Katonah Museum of Art in Katonah, NY; Silvermine Guild Arts Center in New Canaan, CT; the Edward Hopper House Art Center in Nyack, NY; the Fairfield Museum and History Center, the Quick Center of the Arts, and the General Electric World Headquarters, all in Fairfield, CT.
ABOUT INGRID SEMAAN: Ingrid Semaan is a committed feminist activist who has worked on campaigns against violence against women and for reproductive rights, workers’ rights, and peace and justice in the Middle East. Ingrid received her Ph.D. in Sociology in 2006 from the University of Massachusetts-Amherst. She teaches in Sociology and Women’s, Gender, and Sexuality Studies, and she is the Director of Women’s, Gender, and Sexuality at the University of Connecticut-Stamford. Her research interests include gendered violence, the battered women’s movement, and health disparities.
ART What Thou EAT: Innovation in Food / Art / Ecosystems, a lecture by Linda Weintraub
ART What Thou EAT: Innovation in Food / Art / Ecosystems is a talk presented by Linda Weintraub at UConn, Stamford.
This lecture explores the dynamic issues at work today in art, food and social practice, addressing questions such as : Why does art change over time? Why is innovation a measure of great art? Linda Weintraub is an artist, curator, educator, homesteader, and the author of TO LIFE! Eco Art in Pursuit of a Sustainable Planet (2012), the first eco-art textbook for college art and environmental studies students. Weintraub shared her knowledge on the topic with 40 UConn, Connecticut, art history students.
On Saturday, April 13 from 3:00 – 5:00 pm, the Stamford Art Association’s Richard Tedeschi and Carolyn Lyngholm will lead a collaging workshop using the the books at Franklin Street Works branch of the Reanimation Library.
The workshop is, in part, preparation for an exhibition of Reanimation Library inspired works at the Ferguson Library, on view from May 30 – September 19, 2013. Click HERE for exhibition submission requirements.
The newest contemporary art exhibition at Franklin Street Works is structured via a string of invitations. Three participants were invited by the art space with the understanding that they, in turn, would ask a collaborator to join them – a framework that encourages improvisation, experimentation and exchange.
Titled Strange Invitation (also the title to a Beck song), this show brings together three, collaborative teams that will design engaging installations, programming, and interactive hubs encouraging direct audience involvement. Strange Invitation, consequently, also invites the audience to participate in a manner that extends beyond that of a passive viewer. The exhibition asks questions such as: “What happens when you invite an artist who defines him/herself as both social activist and organizer to do a project at a gallery space?” “How do projects evolve and surprise if you then ask those participants to invite a collaborator?” “What is revealed and what is obscured through collaboration itself?” “How can this exhibition yield knowledge about social practice and audience engagement that will inform Franklin Street Works’ activities moving forward?” Strange Invitation is on view at Franklin Street Works from April 6 – June 16, 2013. The show will open with a free, public reception, Saturday, April 6 from 5:00 – 8:00 pm. This exhibition is made possible, in part, through the support of a two-year grant from the Andy Warhol Foundation for the Visual Arts.
With Strange Invitation, Franklin Street Works continues to blur the boundaries between participation and creation through collaborative projects. Each component reflects a mix of art and activism, addressing themes informed by the participants’ in-depth work with local communities. Those who were invited by Franklin Street Works to participate are: Andrew Beccone, founder of the Reanimation Library in Brooklyn, NY; artist, activist, community organizer, and founding director of Smack Mellon, Andrea Reynosa, Narrowsburg, NY; and, based in Brooklyn, New York, Stephen Zacks, an urban writer/critic and artistic director of the Flint Public Art Project. Each one of these collaborators has invited artists, curators, and/or civic activists to join them. For the Franklin Street Works branch of the Reanimation Library, Beccone asked Pradeep Dalal to make new works using books from the Library’s main branch. Andrea Reynosa is organizing the Franklin Street Works Heritage Garden and Farmstand and invited ecoartpsace curator Amy Lipton to create a gallery exhibition that expands on themes surrounding the natural environment and sustainability in the show’s “Digging Deeper” component. Highlighting artists he’s worked closely with in Flint, Michigan, Zacks invited the artist collective “Flower Tour” to create installations and projections that highlight the group’s past performances.
Through its structure and range of participants, Strange Invitation brings multiple and variously informed viewpoints to the exhibition — all steeped in an understanding of how contemporary art can interface with grass roots, community-oriented projects. In addition to their knowledge of contemporary art, Franklin Street Works’ collaborators inform the show via their knowledge of urban planning, library science, and environmental activism, making this exhibition one that connects contemporary art with themes surrounding the natural, urban, and organizational environments in our daily lives.
1. Franklin Street Works invited Reanimation Library founder Andrew Beccone to participate in Strange Invitation.
2. Andrew Beccone asked artist Pradeep Dalal to make works for Franklin Street Works’ branch of the Reanimation Library.
Franklin Street Works will host the ninth Reanimation Library off site branch, which extends the reach of its Brooklyn-based main branch into new communities. The Reanimation Library is a small Independent Presence Library, meaning a non-circulating collection that exists in the physical world. It is open to the public and is meant to inspire the production of new creative work. Reanimation Library features a collection of books that have fallen out of routine circulation and are acquired for their unique visual content. Outdated and discarded, they have been culled from thrift stores, stoop sales, and throw-away piles to be given new life as a resource for artists, writers, cultural archeologists, and other interested parties. “I consider the library itself to be an ongoing collaborative artwork that is activated by people who engage with and use it,” Andrew Beccone explains. Since 2006, the library has been situated in Proteus Gowanus, an interdisciplinary gallery and reading room in Brooklyn, NY.
Since 2009, Andrew Beccone has created branch libraries that are temporary site-specific manifestations of the Reanimation Library. This allows the library to exist outside of its Brooklyn home, giving the possibility of others to engage with its content. Each branch library contains a collection of books that has been gathered from sources in its local community. A free scanner and photocopier will be provided to allow visitors to use the books as resource material for their own creative projects.
For Franklin Street Works’ branch, the library will feature approximately 40 books found in Connecticut as well as Reanimation Library inspired artworks by New York based artist Pradeep Dalal. An artist and writer, Dalal’s work was recently included in exhibitions at Higher Pictures in New York, the Herter Art Gallery in Amherst and at Aljira Center for Contemporary Art in Newark. He has also exhibited at New York venues, including the New York Public Library, Orchard, and ps122 Gallery. Dalal’s reviews and interviews have been published in ARTWURL, Teaching Photo, Village Voice, and EGO Magazine. He is a recipient of the Tierney Fellowship, and has an MFA from ICP/Bard College and an MArch from MIT. Dalal works at the Creative Capital | Warhol Foundation Arts Writers Grant Program, and is on the faculty at the International Center of Photography in New York.
1. Franklin Street Works invited Andrea Reynosa — artist, activist, and founding director of the alternative art space Smack Mellon to participate.
2. Andrea Reynosa invited ecoartspace curator Amy Lipton, who is collaborating with seven artists on an indoor/outdoor exhibition for Strange Invitation.
Digging Deeper focuses on sustainable agriculture, entrepreneurship, and artists who create projects informed by our relationships to natural environments. The exhibition and programming involve several components: An outdoor artist studio and greenhouse created by Simon Draper as part of his Habitat for Artists (HFA) project where artists Draper and Michael Asbill, in partnership with the Hudson Valley Seed Library, will germinate seeds and build a small food garden; The Franklin Street Works Heritage Garden and Farmstand conceived and coordinated by Andrea Reynosa, which is a civic ecology investigation into local youth, regional watershed/foodshed awareness, heirloom crop production and entrepreneurship; and a gallery exhibition curated by ecoartspace curator Amy Lipton, featuring works by Habitat for Artists, Joan Bankemper, Andrea Reynosa, Jenna Spevack, Elaine Tin Nyo, and Linda Weintraub.
With the Digging Deeper exhibition, inventive projects around agriculture from greenhouses to urban furniture gardens to canning and color-coding vegetables to making cheese from goat’s milk will populate Franklin Street Works’ downstairs gallery and back yard. Some of the projects address farming as both activism and art form. Artists in this exhibition are known for bringing community-specific issues into their work.
A key component to the exhibition will be Andrea Reynosa’s project Franklin Street Heritage Garden and Farmstand in the Stamford community. Andrea Reynosa is an artist-farmer who actively aims to rally citizens to spark an interest in food production and to offer ways to get people involved. Reynosa’s project Franklin Street Heritage Garden and Farmstand, takes inspiration and instruction from her Big Eddy Farmstand project in Narrowsburg, New York, 2012. The Franklin Street Heritage Garden and Farmstand will focus on mapping the food-shed of the Stamford region as a curatorial tool for garden and farm stand development with an overlay of youth workforce development, heritage food investigation and production, creation of a marketing identity and sales strategy.
Flint Public Art Project and Flower Tour
1. Franklin Street Works invited Stephen Zacks, executive director of the Flint Public Art Project and a reporter, theorist, and cultural producer based in Brooklyn, New York.
2. Stephen Zacks invited the artist collective Flower Tour to create sculptures and installations for Strange Invitation.
Flint Public Art Project (FPAP) has invited Flint-based artist collective Flower Tour to exhibit their work in Stamford, Connecticut as a part of Franklin Street Works’ upcoming Strange Invitation show. Flower Tour is a collective of young artists using public appearances and handmade objects to create excitement in the city. They design colorful paper hats, ceramic rings, and structural dresses, installing them in underused spaces, and donning them as instant fashion boutiques, creating immersive environments animated by their presence. Members of Flower Tour arrive wearing brightly colored flowers as hats, which they exchange and photograph with people they meet, and install custom displays to sell inexpensive multiples and specialty designs in the form of Bloom: The Traveling Shoppe.
For Franklin Street Works’ Strange Invitation, Flint Public Art Project and Flower Tour collaborate in an ongoing series of programs including crepe-paper flower installations in a gallery and storefront, video projections, interviews with the artists, meetings and workshops with community members, public appearances by Flower Tour, and a presentation by FPAP Executive Director Stephen Zacks. As a series of critical, entertaining, and economic activities, the collaboration will exchange and publicize information, connect networks, and share resources between Stamford, Flint, and New York.
Strange Invitation’s generous in-kind donors are Stamford based Green UP and Hotel 0 Degrees as well as the Hudson Valley Seed Library:
Strange Invitation visitors gets a discount! If you plan on visiting the show from out of town, Hotel 0 Degrees is offering a 15% discount if guests use the promo code “FACE” when reserving their room online or on the phone.
Do you enjoy the outdoors and building things? Then join Franklin Street Works on Saturday, March 16 for a shed building event from 2:00 – 5:00 pm! The build will take place in Franklin Street Work’ back patio and outdoor space and will invite those in attendance to help artist Simon Draper install one of his signature 6 x 6 Studios, which he calls Habitat For Artists. The artist studio is part of the Digging Deeper installation, which is one of three components in Franklin Street Works’ upcoming exhibition, titled Strange Invitation (April 4 – June 16). The structure will be transformed by artists and evolve throughout the run of the exhibition. For this event, Stamford’s Lorca Café will be providing delicious snacks for all of the builders, while composer and musician Evan James will be providing a playlist! Please join us at any point during the event for some outdoor fun and a unique opportunity to engage with artists and the community. Stick around after for a rewarding party from 5:00 – 6:00 pm that includes a sampling of beers from Half Full Brewery!
“Habitat for Artists” is a collective project that uses the idea of artists’ studios as a catalyst for mutual engagement between artists and communities. The “habitats” are small, temporary, 6’ by 6’ studios installed at a variety of locations. The studios are made from predominantly recycled or reclaimed material and are reused for each new iteration of the project.
The Digging Deeper component of Strange Invitation will focus on artists who work in relationship to sustainability and agriculture through three components: Draper’s habitat; a group exhibition curated by Amy Lipton; and a farm stand and garden conceived and organized by artist/activist Andrea Reynosa. The Franklin Street Works Heritage Garden and Farmstand is a civic ecology investigation into local youth, regional watershed/foodshed awareness, heirloom crop production and entrepreneurship.
Franklin Street Works’ habitat will initially act as an artist studio and a greenhouse for the propagation of seedlings that will be transplanted to a small raised bed garden. Once the seedlings have been planted, it will be the site of mini artist residencies where artists activate the space periodically. Simon Draper will also be partnering with Stamford’s Fairgate Farms, the Hudson Valley Seed Library and other regional artists and community groups as the space evolves, exploring themes such as gardening, farming, and urban sustainability.
Join Franklin Street Works on Thursday, March 14 from 5:30 – 7:00 pm for a casual tour of the contemporary art space’s current exhibition, Your Content Will Return Shortly. Those in attendance will walk through the show with three of its exhibiting artists, Jeff Ostergren (New Haven, CT), Catherine Ross (Brooklyn, NY) and Siebren Versteeg (Brooklyn, NY). While walking through the three galleries, artists will discuss their works, including how videos and installations reflect themes in the exhibition and relate to their larger practice.
The evening will end with an open discussion and reception in the café. Please join us for this free event that is open to the public – a unique opportunity to explore the current show with some of its artists that are emerging figures in contemporary art today! This event program is made possible in part through the support of the Community Arts Partnership Program awarded to Franklin Street Works by the City of Stamford and a two-year grant from the Andy Warhol Foundation for the Visual Arts.
Your Content Will Return Shortly, curated by Franklin Street Works’ Creative Director, Terri C Smith, explores television as both medium and subject. Rather than taking a comprehensive view of television as inspiration in contemporary art, the exhibition explores works that highlight televised elements tangential to the main narrative arc. The artists take their cues from the physical and functional qualities of television and a variety of elements associated with broadcasting. They touch on phenomena that include: advertising; laugh tracks; the affects of VHS, DVD and remote control devices on viewing habits; public service announcements; and nuances observations of the relationship between spectacle and cable news. Exhibiting artists are: Christopher DeLaurenti, Eric Gottesman, Jonathan Horowitz, Sophy Naess, Jeff Ostergren, Lucy Raven, Martha Rosler, Catherine Ross, Emily Roz, Carmelle Safdie, and Siebren Versteeg. Your Content Will Return Shortly is on view at Franklin Street Works through March 24.
Franklin Street Works and The Ferguson Library are happy to announce a conversation with Reanimation Library founder, Andrew Beccone, on Saturday, March 2, from 3:00 – 4:15 at the Ferguson Library auditorium in Stamford, CT. There will be a reception at Franklin Street Works from 4:15 – 5:30 pm, after the talk! Reanimation Library is one of three collaborators involved in Franklin Street Works’ upcoming exhibition, Strange Invitation (April 4 – June 2013.) For the talk, Andrew Beccone will discuss the mission of his independent library and explain the temporary Franklin Street Works’ branch that he is creating for Strange Invitation. The branch library created for the exhibition will be open for public use, encouraging daily audience participation and hosting related programs. During the show’s run Franklin Street Works will also present collaborative workshops and projects in association with the Stamford Art Association and the Loft Artists Association.
Reanimation Library is a small Independent Presence Library, meaning a non-circulating collection that exists in the physical world. It is open to the public and is meant to inspire the production of new creative work. Reanimation Library features a collection of books that have fallen out of routine circulation and are acquired for their unique visual content. Outdated and discarded, they have been culled from thrift stores, stoop sales, and throw-away piles to be given new life as a resource for artists, writers, cultural archeologists, and other interested parties. “I consider the library itself to be an ongoing collaborative artwork that is activated by people who engage with and use it,” Andrew Beccone explains. Since 2006, the library has been situated in Proteus Gowanus, an interdisciplinary gallery and reading room in Brooklyn, NY.
Since 2009, Andrew Beccone has created branch libraries that are temporary site-specific manifestations of the Reanimation Library. This allows the library to exist outside of its Brooklyn home, giving the possibility of others to engage with its content. Each branch library contains a collection of books that has been gathered from sources in its local community. For Franklin Street Works’ branch, the library will contain books from the Fairfield County area as well as Reanimation Library inspired artworks by New York based artist Pradeep Dalal. A free scanner and photocopier will be provided to allow visitors to use the books as resource material for their own creative projects. For more information on the Reanimation Library, visit: http://www.reanimationlibrary.org/
Virtually since television’s invention, artists have used its form, content, and media to create artworks whose intentions range from homage to critique. Your Content Will Return Shortly is a group exhibition that explores how contemporary artists harness the in-between moments of our television experiences. By taking their cues from the physical and functional qualities of television and a variety of elements associated with broadcasting, they touch on phenomena that include: advertising; laugh tracks; the affects of VHS, DVD and remote control devices on viewing habits; public service announcements; and nuanced observations of the relationship between spectacle and cable news. The exhibition is on view from January 24 – March 24, 2013, at Franklin Street Works with a free public reception on Thursday, January 24, from 5:00 to 8:00 pm. Exhibiting artists include: Christopher DeLaurenti, Eric Gottesman, Jonathan Horowitz, Sophy Naess, Jeff Ostergren, Lucy Raven, Martha Rosler, Catherine Ross, Emily Roz, Carmelle Safdie, and Siebren Versteeg.
With Your Content Will Return Shortly, television is explored as both medium and subject. “Early exhibitions such as TV as a Creative Medium organized by gallerist Howard Wise in 1969 posited that video could be art, and that televisions would become as important to contemporary exhibitions as paint, canvas and other traditional materials,” says the exhibition’s curator Terri C Smith, “This show was inspired by a desire to connect my own research on historic video exhibitions and readings in media theory — including texts by David Joselit and Marshall McLuhan — with observations of our own contemporary relationships with ‘television,’ which for many is streamed at will via a laptop, bypassing the TV set altogether.”
Rather than taking a comprehensive view of television as inspiration in contemporary art, Your Content Will Return Shortly, as the title implies, explores contemporary works that highlight televised elements tangential to the main narrative arc — our “stories”. This exhibition brings to light the physical, stylistic, and economic elements that surround the narrative arcs of situation comedies, melodramas, news features, etc. Exhibiting artists Jeff Ostergren and Martha
1Rosler focus on advertising in their works. With Global Taste, Rosler creates a three-channel work that brilliantly appropriates food advertisements from the 1980s. In Jeff Ostergren’s two-channel video Stimulus, pharmaceutical ads are deconstructed shifting focus to specific components such as health warnings. Ostergren asserts that the commercials are in fact the true content of our television experience, writing, “Advertisements are vehicles of capital. Despite our understanding of them as the filler surrounding our programming content (news, sporting events, sitcoms), in reality, commercials ARE the content – the programming they surround are sublimated by the lurking capital that funds them, that relates to the content, that is geared towards a target audience, a focus- group-determined viewer.”
Artists Jonathan Horowitz, Sopy Naess, Catherine Ross, Emily Roz, and Carmelle Safdie pull from specific and seemingly unimportant elements from televised narratives, reminding us of the devices such as laugh tracks, physical comedy, and repeated plot motifs that are interwoven throughout. In Roz’s work Death by Mel the artist takes Polaroid photographs of the TV set to capture scenes where actors are killed by Mel Gibson, “Archiving images from films into sub-groups strips them of their original meaning within a narrative and places them into reliable and familiar categories,” writes Roz, “An image of a president immediately brings to mind an entire genre without specifying any one film. Grouping many similar images reminds us of what we come to expect from certain genres and how those devices signal the moviegoer to understand and accept certain pretexts without question.” Similarly, Catherine Ross, who often uses old sitcoms as her material, feels that “Isolating the movements of humans and/or objects, ! create new sequences that reveal an inseparable relationship between motion and sound ! movement reveals an inherent awkwardness, a humor that echoes our vulnerabilities.”
Christopher DeLaurenti, Lucy Raven and Siebren Versteeg pay close attention to the physical and operative aspects of television. With Prop, Versteeg seems to “prop” a plasma screen on the wall with a long stick. The video on the monitor features someone spelling words in the sand with a stick. The first impression of the television is that it’s a sculptural element, followed by its role in conveying a moving image – with this Versteeg actively reverses the viewer’s usual dynamic with the television set. In Remote DeLaurenti’s 2002 performance employs a television remote control and TV set to create an audio work, flipping channels in order to make random sound patterns. Listening to the piece eleven years later, the antiquated sounds of an older technology are surprisingly audible. Mining the history, geography, and mix of commerce and community in cable access, Lucy Raven invents a public service announcement that elucidates the journey from taping to broadcast, including shared land use and other economies. In her work 4:3, a scrolling text reads in part, “The exchange is asymmetrical: images and sound travel from the production studio to the home and into the TV via copper cable wire, and money from the couch potato travels to the cable company via US mail. You can check if your payment went through by turning on your television.”
As Raven’s text implies, Your Content Will Return Shortly looks beyond the screen and asks questions about the cultural circuitry surrounding television as well as its relationship to daily life and contemporary art. Using videos, photographs, Internet, and sculptural elements, the artists in Your Content Will Return Shortly provide insights into the structures and languages of television, reminding viewers that their relationships with the commerce, programming, and operational structures of TV are multifaceted and extend far beyond the living room
Join us for a multiverse performance lead on site by Bibbe Hansen and including a virtual performance by the international artist collective Second Front Saturday, December 15, 2:30 – 4:30pm
Please join Franklin Street Works on Saturday, December 15 from 2:30 – 4:30pm for an afternoon performance by the international virtual performance art collective, Second Front. The event will begin with an intro with Second Front member Bibbe Hansen, followed by a live, streaming performance by Second Front from 3:00-4:00pm, and ending with a casual Q and A session. The group is one of the contributing collectives featured as part of the “collective action” theme in Franklin Street Works’ current exhibition, Working Alternatives: Breaking Bread, Art Broadcasting and Collective Action. Second Front is the first performance art group in the online virtual world of Second Life, where participants create avatars who interact in real time across virtual/actual realities.
Founded in 2006, Second Front is a seven-member troupe that includes Patrick Lichty (US), Scott Kildall (US), Liz Solo (Canada), Bibbe Hansen (US), Yael Gilks (UK), Gaz (Italy), and Doug Jarvis (Australia). The group has performed extensively in galleries and museums all over the world. The artists perform remotely while their performance is screened in a venue where one or more members may be physically present. Their performances have been streamed live in New York, Los Angeles, Moscow, Brussels, Berlin, Vancouver and many other cities. They have been written about in publications including ArtForum, Art in America, Realtime Arts (Australia), Exibart (Italy) and Digital Art, Second Edition (by Christiane Paul).
For Franklin Street Works’ free, public event, Second Front member, Bibbe Hansen will be on site. Bibbe Hansen is a performance artist, actress and musician. She is the daughter of Fluxus artist Al Hansen, and the mother of pop musician, Beck. A longtime participant in avant-garde contemporary art communities, Hansen participated in her father’s “Happenings,” and Fluxus performances. She was Pop artist Andy Warhol’s youngest “Superstar,” starring with Edie Sedgwick in Warhol’s film “Prison.”
This is a unique opportunity to see a live performance by this international group of artists in Stamford, Connecticut. We hope you will join us at Franklin Street Works for this edifying and entertaining look at what happens when art-historically informed performance art utilizes today’s technologies via the vision of these accomplished artists!
Join us for a conversation about food, broadcasting, and socially engaged action in contemporary art!
Do you want to know more about our current exhibition, Working Alternatives: Breaking Bread, Art Broadcasting, and Collective Action? We invite you to meander through the galleries with the Franklin Street Works team this Thursday, November 29, from 6-7 pm. The event is free and open to the public.
We welcome your company and conversation so please feel free to drop by early to enjoy a beer and peruse art books in the cafe or give the exhibition’s videos and artist collective archive some extra viewing time before the tour begins.
Franklin Street Works Creative Director, Terri C Smith, and Gallery Manager, Sandrine Milet, will lead a casual tour of and conversation about the exhibition, which was co-curated by Mackenzie Schneider, Jess Wilcox, and Terri C Smith.
Most of the artists in the show have exhibited internationally, including historic figures — such as a pioneer in creating public access art programming and a founding member of the 1960s art movement of Fluxus — and emerging artists who use food, video, and action to shift our thinking about everything from performance art to women’s health issues, to food as a medium in exploring memorial and democracy.
Artists: Paul Branca, Jaime Davidovich, ESP TV, Group Material,Ann Hirsch, Alison Knowles, Tom Marioni, Anna Ostoya, Legacy Russell, Chris Sollars and Jerome Waag. Artist collectives involved will constantly evolve and grow, they include: Conflict Kitchen, Fierce Pussy, Howling Mob Society, JustSeeds, M12 Studios, Paper Tiger, Philly Stake, The Pinky Show, Second Front, SubRosa, Temporary Services, and W.A.G.E.
Franklin Street Works is excited to announce that E.S.P. TV, (http://www.esptvnyc.com/) an analog-based broadcast group in New York City, is taping their latest episode at our space Saturday, November 10, from 3-7 pm. The free, public event will include experimental sound, video, and performance artists from New York and Connecticut. The episode will be filmed in front of a live, studio audience and is slated to air on cable access stations in Fairfield County and/or Manhattan. Please join us for this unique opportunity to be part of the E.S.P.TV audience this Saturday night! The café will be open until 5:00pm during filming, but audience members are welcome to hang out until the performance has ended. Following the event, stay tuned for air times, which will be posted on Franklin Street Works’ website and social media!
Performing artists include: Lea Bertucci; Brooklyn-based band The Dreebs; artist/comedian Heather Guertin; Patrick Higgins (Z’s), with videos by LOGAN OWLBEEMOTH and more, including a handful of collaboratively inclined artists and musicians from the region.
Formed in 2011, E.S.P. TV opened a space in Williamsburg during the summer of 2012. That space serves as a locale for the production of their show and regular screenings, events, and performances. Tapings of E.S.P. TV are in front of an audience with live green-screening, signal manipulation and analog video mixing. The entire night is recorded to VHS and edited into half hour episodes for airing on cable TV in New York City. Many are filmed in a variety of locations ranging from living rooms in Brooklyn, to alternatives spaces around the world. E.S.P. TV episodes are broadcasted Tuesdays at 10pm on MNN4, TW Channel 67, NYC and www.mnn.org.
The E.S.P. TV shoot is one of several events and off-site artworks created as part of Franklin Street Works’ current exhibition, Working Alternatives: Breaking Bread, Art Broadcasting and Collective Action. The E.S.P. TV taping is part of curator Mackenzie Schneider’s “Art Broadcasting” segment. In “Art Broadcasting,” Schneider examines artists using media such as radio, television, and newspapers as alternative venues for presenting work. E.S.P. TV is a contemporary example how artists use broadcasting as a way to share art with the larger public.
Franklin Street Works presents the original exhibition Working Alternatives: Breaking Bread, Art Broadcasting, and Collective Action, on view from October 27, 2012 – January 13, 2013. The exhibition looks at three threads of alternative art space histories and examines how engaged, inclusive strategies are still being used to break down perceived barriers between contemporary art and its audiences. The themes covered in Working Alternatives are conviviality and food, artists who use media (newspapers, television, and radio) as platforms for artworks, and artist collectives in the US, explored through an open archive gathered specifically for this exhibition.
Originally Working Alternatives was designed to be the backdrop for our first annual fundraiser, but Franklin Street Works is postponing that event until the spring so the indoor/outdoor extravaganza will coincide with warmer weather and have less proximity to long-standing regional art events. If you saved the date for our fundraiser, however, don’t despair and keep Saturday, October 27, on your calendars – there is still a party! Working Alternatives will open October 27 with a free, public reception from 5:00 -8:00 pm. The evening will include a lively performance of San Francisco artist Tom Marioni’s “Beer Drinking Sonata (for 13 Players)” where thirteen people will create music by blowing into beer bottles based on Marioni’s score.
For Working Alternatives, curators Mackenzie Schneider, Terri C Smith, and Jess Wilcox explore three threads of alternative art platforms and production: conviviality and food as components in alternative art space programming and mission (Wilcox); artists using media such as radio, television, and newspapers as alternative venues for presenting work (Schneider); and artist collectives presented in a living archive with weekly changing exhibitions using archive materials (Smith). In addition to historical examples, the exhibition also includes original artworks by contemporary artists that reflect and expand on the showʼs themes. Working Alternatives’ artists include: Paul Branca, Jaime Davidovich, ESP TV, Group Material, Ann Hirsch, Alison Knowles, Tom Marioni, Anna Ostoya, Legacy Russell, Chris Sollars and Jerome Waag. Artist collectives involved will constantly evolve and grow, they include: Basekamp, Conflict Kitchen, Fierce Pussy, Howling Mob Society, JustSeeds, M12 Studios, Paper Tiger, Philly Stake, The Pinky Show, Second Front, SubRosa, Temporary Services, and W.A.G.E.
Franklin Street Works is also excited to collaborate on several off-site artworks, including the live radio broadcast of an Ann Hirsch performance on WPKN, Bridgeport, and collages by Anna Ostoya in the Stamford Advocate via four, monthly ads during the show’s run.
More on Working Alternatives’ thematic sections
In the upstairs gallery next to Franklin Street Works’ café, curator Jess Wilcox presents creative and alternative projects that involve gathering and communing with food and beverages. This “Breaking Bread” theme imagines the kitchen table as an alternative space, presenting contemporary participatory, culinary art projects in juxtaposition with several 1970’s food art projects. According to Wilcox, “This thread of the show traces conviviality as a key characteristic that emerged from and continues to be central to alternative art practices. These artists use food’s dual nature as something that both equalizes and distinguishes as means to explore ideas of collaboration, collectivity, individuality, and community. Food unites us as humans in need of sustenance, but also divides and marks us culturally and politically.” Paul Branca, Tom Marioni, Legacy Russell, Chris Sollars and Jerome Waag take on these ideas through works that incorporate food and drink with performance, sculpture, and interactive installations. There are also several collaborative food-related events in the works. Check out Franklin Street Works’ website in November and December for updates.
The “Art Broadcasting” segment of the exhibition is curated by Mackenzie Schneider and takes a look at artists that have used media as a way to distribute their work. Local newspapers, radio, and cable access have served as alternative spaces in and of themselves, allowing for the exhibition of work that offers alternative perspectives from the regularly scheduled programming. Beginning with a brief history from the 1970’s to today and then leading to works commissioned by emerging artists, the exhibition will explore media as an unexpected venue for art. Historic examples in the exhibition include videos by Chris Burden, cable access broadcasts produced by Jaime Davidovich, and New York Times newspaper inserts by Group Material.
The contemporary segment of “Art Broadcasting” will include three artworks placed into the Fairfield County region via newspaper, radio, and television. Brooklyn performance artist Ann Hirsch explores the contemporary portrayal of women in the media by inserting herself into popular culture through reality TV shows, Twitter and YouTube. For this exhibition Hirsch will perform on public radio for the first time thanks to Bridgeport, Connecticut’s, independent radio station, WPKN. For the television component, a video shoot featuring ESP TV will take place at Franklin Street Works. Slated for November 10, ESP TV will tape an installment of their nomadic showcase of contemporary and experimental art presenting music, performance, and video art in front of a live audience. Bringing print media into the mix, works by Anna Ostoya will be carried in the Stamford Advocate. Ostoya will create a monthly collage in the newspaper using elements from the newspaper itself, simultaneously responding to and inserting herself into the local context.
For the “collective action” component of Working Alternatives Franklin Street Works’ team put out a call for materials from artist collectives working today as an informal exploration of that landscape. There are relatively recent examples of exhibitions and projects that overlap in some ways with this archive/alternative space concept, consequently, curator and FSW Creative Director, Terri C Smith, sees this project as one addition to a layered, ongoing investigation – as one exploratory moment that reflects the pulse of creative collective action today. Materials will be presented in an open archive that visitors can explore as part of an immersive installation that includes changing, weekly exhibitions drawn from the archive’s materials. This section of the exhibition was inspired, in part, by Gregory Sholette’s book Dark Matter and PAD/D (Political Art Documentation/Distribution). PAD/D was an activist art group whose stated purpose was, “To provide artists with an organized relationship to society, to demonstrate the political effectiveness of image making, and to provide a framework within which progressive artists can discuss and develop alternatives to the mainstream art system.” The installation will, consequently, also include reproductions of documents from the PAD/D archive as an informative, historical backdrop for the contemporary materials collected by Franklin Street Works.
Franklin Street Works programming includes on and off site collaborative projects. We were excited to be asked to collaborate with ArtSpace New Haven on a project as part of the City Wide Open Studios alternative space on October 20 and 21!
On view October 20 and 21 at the New Haven Register Building at 40 Sargent Dr., New Haven, Connecticut, Another Crystal Land is a group exhibition curated by Terri C Smith. The show simultaneously explores the crystal’s structural characteristics/behaviors and its history within contemporary art. A starting point for the exhibition is the work of conceptual artist Robert Smithson, who was inspired by crystals, especially salt crystals, leading to his ambitious earth art work, The Spiral Jetty, 1970.
For the exhibition Another Crystal Land artists bring contemporary attitudes, technologies, and approaches to the mix of science/ science fiction references, shamanistic voices, and conceptual art making that Smithson explored in his work, making the crystal their own. Artists include: Debra Baxter & Margot Quan Knight, Ben Goddard, Chris McIntyre, Lucy Raven, Rob Smith, and Robert Smithson. A reading room of Robert Smithson books as well as poster-sized reproductions of critic/writer Ann Reynolds’ “Crystal Land” text from her book Robert Smithson: Learning from New Jersey and Elsewhere will further contextualize this two-day exhibition, which is organically arranged throughout the industrial newspaper production site. This is a collaborative project between ArtSpace, New Haven, and Franklin Street Works, Stamford, Connecticut.
Join Franklin Street Works on Thursday, October 4 from 6:00 – 6:45 pm for a guided tour of VHS The Exhibition, with Franklin Street Works’ Creative Director, Terri C Smith, and Gallery Manager, Sandrine Milet.
The tour is followed by vodka cocktails in the cafe courtesy of MINSK Vodka! With mild aromas of nut toast and honeycomb you might want to taste it solo first, but we will also have — celebrating the horror movie sub-theme of VHS The Exhibition — Bloody Mary mix and a couple of other mixer options, so everyone can enjoy a refreshing beverage as we talk about the videos and discuss our memories analog.
This conversational walk through will answer questions related to the exhibition and gives audiences the opportunity to discuss the show’s theme, it’s pop culture and contemporary art relevance, and how it fits within Franklin Street Works’ mission. Join us for a free public event and bring a friend to explore the current show with some of the folks closest to it!
VHS The exhibition, curated by video specialist and writer Rebecca Cleman, is Franklin Street Works’ second guest curated show. The exhibition explores VHS as a tool and inspiration for artistic experimentation with a heavy dose of ephemerafrom the 80s analog culture, such as B horror movie posters and Max Headroom collectibles. Taking advantage of Franklin Street Works’ split-level architecture, Cleman juxtaposes observations from everyday domestic histories and art historical analysis of VHS consumption and artistic creation. Artists in the exhibition include Robert Beck, Sadie Benning, Dustin Guy Defa, James Fotopoulos and Trevor Shimizu. VHS The Exhibition is on view at Franklin Street Works through October 14.
Thanks to Minsk Vodka for sponsoring this event through their in-kind donation!
Franklin Street Works is proud to present an evening of music and readings with Kent Evans, author and multi-platform artist. This free public event is Thursday, September 20, from 5:30 – 7:00 pm and features Kent Evan’s forthcoming novel A Crash Course on the Anatomy of Robots, which releases on September 17, 2012 (Pangea Books).
Franklin Street Works is excited to be one of the first venues to host Evans after the release of his highly praised novel in this unique event that includes the author reading and related live music performances. Kent Evans will play guitar, Laura Wilson will be on violin, and Andrew Trudeau will join in with multiple instruments. While at the event audiences can also enjoy Franklin Street Work’s current group show, “VHS The Exhibition”! Curated by Rebecca Cleman, the exhibition explores VHS as a tool and inspiration for artistic experimentation, with a heavy dose of ephemera from the ‘80s analogue culture.
Kent Evan’s A Crash Course on the Anatomy of Robots is a gripping action-adventure novel inspired by personal events in the author’s life. Evan’s explains, “The books is sort of a love song to being an artist, travel, the death of my parents, and disastrous relationships.” The main character, Damien Wood, is a young man whose lived his life as a mere robot, hurling himself with abandon from place to place and from one hollow commitment to another. It is only after a series of tragedies that Damien’s full spectrum of emotions start to emerge, which sends him to Asia on a dark odyssey of self-revelation. The book has been widely praised, including Inés Ferrero Cándenas observation, “Crash Course travels on the wings of poetry, autobiography, relationships and humor to cross-examine modern reality and cultural rebellion.” Kent Evans also collaborated with musicians for an original soundtrack accompanying the book, available now on iTunes.
About Kent Evans:
Half Cantonese and half UK, Kent Evans was born in New York City in 1975 and grew up between New York, Connecticut and Rhode Island. After graduating from New York University, he began traveling extensively throughout North America, Europe, Asia and the Caribbean. He is the author of Malas Ondas: Lime, Sand Sex and Salsa in the land of conquistadors, a semi-autobiographical novel about self-destruction throughout Latin America and finding love. A fixture on the spoken word and experimental art scene in the 90’s, the artist has performed at such venues as Madison Square Garden Theatre and Académie Beaux Arts in Paris. His creative non-fiction and opinion pieces have appeared in numerous national pop-culture and literary zines and publications.
VHS The Exhibition: September 6 – October 14, 2012
Free, public reception, Thursday, September 13 from 5:00 – 8:00 pm. Gallery Walk Through, Thursday October 6, 6:00 – 6:45 followed by cocktails in the cafe.
(Recommended Reading for this show: Stamford Advocate article by Scott Gargan; VHS The Exhibition Catalog, also available on site; and Rebecca Cleman’s article “Ghosts in the Machine” on VHS and the horror film genre. Click HERE to see installation photographs)
The black VHS tape, a brick-like relic of the pre-digital age, is a dark talisman of analog video culture. Now a mysterious and outmoded technology that necessitates a physical ritual of loading the tape into the jaws of a temperamental VCR, the widespread marketing of a home video system of video cameras, recording decks, and cassette tapes in the 1980s represented a sea change in how individuals engaged with television.
VHS The Exhibition, which is the brainchild of guest curator Rebecca Cleman, will explore the use of this format for artistic experimentation. The exhibition will include works by Robert Beck, Sadie Benning, Dustin Guy Defa, James Fotopoulos, and Trevor Shimizu. Artworks will be accompanied by ephemera from ‘80s-era home video culture, such as the glitchy computer-generated, anti-corporate corporate spokesman Max Headroom, to give a broad perspective on the cultural shifts created by this technological phenomenon in entertainment, life, and art.
Artists have used video for personal ends since the release of the first consumer-grade video cameras in the 1960s. This equipment gave them a way to intervene and critique the hegemony of television, often by focusing on themes and subjects that were excluded from mainstream broadcasts. For many of these artists, it was important to characterize these interventions as alternative modes of professional production that could subvert the matrix of corporate television. A later use of amateur home video equipment could also be described as anti-television and countercultural – but the innately low quality of VHS, related to its mass-market appeal, further illustrates how artists self-reflexively work with antiquated technology to provoke art mythologies of value, authenticity, and permanence.
More than being formalist explorations of VHS’s inherent qualities, the works in this exhibition engage the psychological associations of the medium, especially those that reflect the fragility of institutions, whether of self, family or society. The ability to watch TV shows on one’s own schedule or to forego the broadcasters altogether to watch self-procured or self-produced content made the experience of television more private and interactive. Cleman adds, “As an alternative to sanctioned broadcasts, home video enabled the broad distribution of unwholesome entertainment, marking the VHS tape as a carrier of ungovernable, possibly even corrosive content. The ominous VHS tape of dubious origin, referenced in dark-themed films like Hideo Nakata’s Ringu, David Lynch’s Lost Highway, or the forthcoming horror film V/H/S, evokes an unconscious confusion of sex, violence, and death.” Drawing connections such as these, Cleman positions VHS The Exhibition as an exploration of the cultural impact of home video on both a public and personal front. The exhibition will be on view from September 6 through October 14, 2012. A free, public reception is scheduled during the show’s second week, Thursday, September 13 from 5:00 – 8:00 pm.
ABOUT THE CURATOR:
Rebecca Cleman is the Director of Distribution of Electronic Arts Intermix (EAI), NY. She has programmed screenings for the New York Underground Film Festival, Light Industry, Anthology Film Archives and the Migrating Forms Festival among other venues. In 2010 she co-curated the media content for Amnesia at Andrea Rosen Gallery. She has most recently organized two programs within the VHS series at the Museum of Art and Design, NY, and published an essay on the subject of horror movies and home video for the Moving Image Source. Cleman lives and works in NYC.
Franklin Street Works is proud to present the talented, and sometimes mischievous, visual artists Seth Kelly and Karsten Krejcarek in a lecture/performance hybrid that is likely to be provocative, informative, and entertaining. Seth Kelly who curated Franklin Street Works’ most recent group exhibition, These Transitional Spaces, will revisit the space during a time that Franklin Street Works is in transition between shows. For the presentation Kelly will present sound works with long-time collaborator and friend Karsten Krejcarek. The two artists are joining us in person (Kelly) and remotely (Krejcarek) to share sound recordings and performative repartee. This free, public event takes place at Franklin Street Works on August 30, from 6:00 to 7:30 pm.
Kelly and Krejcarek will present and introduce several audio recordings in this public talk. Both artists have independently incorporated audio and field recordings into their practices and research over the last several years. They will share assorted examples with one another while discussing their content and the medium of sound at large. Kelly’s work explores time/space displacement through a collection of recordings that diverge from deep space murmurs to antiquated baseball commentary. Krejcarek has recently returned from Bolivia where he chronicled two-and-a-half months of unusual occurrences in over fifty field recordings for a project titled “El Otro,” which the artist describes on the project’s website as “audio recordings habitually sent from the peculiar country of Bolivia”. It was played on a loop at the Franklin Street Works café during These Transitional Spaces, accompanying sandwich and salad enjoyment with the sounds of everything from an amateur band playing AC/DC covers to bird calls to melodic funeral music.
About the Artists:
Seth Kelly: Working in sculpture, drawing, and performance, Seth Kelly has exhibited widely since receiving his BFA from the School of Visual Arts in 1995. Venues have included New York galleries PPOW and Marianne Boesky as well as the Greater New York exhibition at P.S.1 in Long Island City. His work has been covered in Art in America, the New York Times and the Brooklyn Rail. Recently, Kelly began curating as well, organizing “The Audio Show” at Friedrich Petzel Gallery in 2009.
Karsten Krejcarek: New York-based artist Karsten Krejcarek is a sculptor, photographer, and video maker. Karsten’s work is concentrated on esoteric narrative, mystical symbolism and natural landscape. In the recent past, Karsten participated in ceremonial, unworldly and magic plant rituals with a shamanistic healer in the jungles of the Upper Amazon. It was during this time in the forest that he expanded upon ideas of multiplicity, telepathy, and symbiotic relationships between nature and the unconscious—concepts that have largely influenced his practice and informed the narrative structure of his recent work. Karsten received a MFA from Columbia University in 2000, is an adjunct faculty member of New York University, and has regularly exhibited his work over the last twelve years.
Franklin Street Works presents an evening with PoemAlley, a local poet organization based in Stamford, Connecticut, on Thursday, August 23, from 5:00 – 7:00 pm. Please join us for this free, public event that includes poetry readings inspired by Franklin Street Work’s current exhibition, These Transitional Spaces! A zine of exhibition-related poems will also be featured in the art space and café and will be free to visitors. Similar to Franklin Street Works, PoemAlley is a non-profit organization that encourages openness, innovation, and discussion, meeting every Tuesday at Curley’s Diner in Stamford for poetry readings, debates, and food.
To make this project possible, PoemAlley members were invited to see the exhibition, These Transitional Spaces, and to write poems inspired by the exhibition or a single work. Many of the poems were written in the Franklin Street Works café! These Transitional Spaces, curated by artist Seth Kelly, runs from June 30 – August 26, 2012, at Franklin Street Works. A thematic, group exhibition, These Transitional Spaces evokes the impossibility of time and space being captured, prompting audiences to imagine alternate realities and histories. The lyrical breadth of and the somewhat self-reflexive curatorial approach to the exhibition makes a group show with a cloak of tears, a rainbow painter, and a floating pear a perfect fit for a poetry project. This is Franklin Street Works’ first literary event, but is in keeping with the organization’s mission of providing innovative art, cross-disciplinary programming, and “takeaway” literature (such as zines and artists books) as a way to engage the community. This is also Franklin Street Works and PoemAlley’s first collaboration and creates a unique opportunity for the two groups to expand their roles as hubs for creative exchange and dialogue in Stamford. “Contributing PoemAlley members are particularly enthusiastic about taking part in this ekphrastic program,” said PA Advisory Committee member Rolf Maurer, “The intimacy of Franklin Street Works’ multi-media space inspires interpretive probing on the part of casual visitors and artists of all types.”
Founded in 1998 by Ann Yarmal and Catherine Ednie as a non-profit creative venture of the Unitarian Universalist Society in Stamford, PoemAlley continues to provide a weekly opportunity for poets, confessional/anecdotal writers, spoken word, and hip hop artists to share and discuss one another’s work –all within the warm and enduring walls of Stamford’s own Curley’s Diner.
Over the years, PoemAlley’s growth has included prominent guest speakers, themed poetry events throughout the Stamford/Greenwich area, and a series of original anthologies (for more: http://poemalley.blogspot.com). The group is open to anyone living in Fairfield County and the surrounding area. PoemAlley meets Tuesday nights at 7:30 pm at Curley’s on 62 Park Place (behind Target).
These Transitional Spaces is a group exhibition organized around contemporary art objects whose representational imagery crystallizes the temporal. The exhibition is curated by artist Seth Kelly for the not-for-profit art space, Franklin Street Works in Stamford, Connecticut. The art in These Transitional Spaces was chosen for its ability to simultaneously represent the time of its making and suggest the impossibility of a specific time and space being fully captured. These qualities allow for the works to serve as visual thresholds within the gallery, prompting viewers to imagine alternative spaces and histories. Artists include Matthew Buckingham, Matt Ducklo, Ilana Halperin, Dana Hoey, Adam Putnam, Karsten Krejcarek, John Miller, Matthew Ronay, and Aura Rosenberg. The exhibition is on view June 30 – August 26, 2012. The free, public reception is Saturday, June 30, 5:00 – 8:00 pm.
Can representational visual systems evoke presence and absence of space transforming it in the same ways that abstract works using light, color, and shape do? These Transitional Spaces proposes spatial transformations that expand beyond an abstract game of the senses. Everyday scenes, objects, and shared histories act like a distorted mirror that transitions viewers from actual time/space to imagined eras, interiors, and worlds via videos, sculptures, and photographs. These works alter our sensory and psychological relationships to physical environments, including those of exhibition spaces themselves.
With Matthew Buckingham’s The Six Grandfathers, Paha Sapa, in the Year 502,002 C.E. the grand symbolism of a nation’s leaders, fathers in stone, is transported into the future through photo manipulation, sparking viewer imaginations and challenging them to cognitively contextualize an unforeseeable future. Ilana Halperin, on the other hand, evokes the past via new, cast objects made of the mineral composition found in cave formations such as stalactites. In both, the past and present are shifted through suggestions of other times and places.
The real and imagined take a more whimsical, sometimes satirical, turn with the inclusion of Dana Hoey’s Rainbow Painter – the photo features a romanticized, lounging artist and his muses; a floating plastic pear that is John Miller’s sculpture Pear Ubu; and the plastered smiles and stiff styling of Matt Ducklo’s WTVY Dothan, 2011, from The Newscasters series. These works suggest other spaces through the inclusion of set-like elements. With Ducklo’s photograph, characters that usually enter our homes from the virtual dimension of television in the form of light and sound are frozen, waiting for their cue. In Hoey’s photo, a “rainbow painter” and two young women recline by a tree, framed by a rainbow painted onto a concrete wall. The painting within the photograph is made in a style that straddles trompe l’eoil and street art. Its artifice is obvious and a bit out of place, creating a tension in the photograph between the urban and pastoral, between the earthly and the heavenly. With Pear Ubu, the humble plastic pear escapes the fruit bowl and gravity itself, simultaneously becoming a mental prompt and a theatrical prop in the gallery.
These Transitional Spaces also expresses its spatiotemporal concerns through the visceral. With Adam Putnam’s live video feed of an architectural model, the breathing “bones” of a building’s interior anthropomorphizes domestic space, creating a “living” room from a static object using a “live” video feed. The location becomes the subject, sexualized, yet devoid of human bodies — a place of projected space and fantasy existing silently on its own. In The Astrological Ways, Sagittarius, by Aura Rosenberg, inverted silhouettes of paint on canvas float within the field as the canvas floats on the wall. Like a pear hovering in the gallery or a rainbow painted on cement, these white bodies drifting in black space are plucked from any typical living situation and are then aligned thematically with a heavenly pseudo-science through the artwork’s title. Also grounded in black and relating to the figure, Matthew Ronay’s Cloak of Tears is a collage painting on black canvas that references ceremonial dress, transforming the wearer into a sign of cosmic totemism. Finally, a disembodied voice hovers over the art space’s threshold, a location symbolizing transition between architecture and the world, in Karsten Krejcarek’s Nueva Era de Santo Daime. In this sound piece, a voice calls to the woods from a fictional time in the future. With Nueva Era de Santo Daime, time, space, and body coalesce in a fictitious, time-bending narrative that aids in transitioning the visitor from exterior to interior as they enter the gallery.
The venue of Franklin Street Works is an exhibition space with a history of physical alterations. A nineteenth-century house with elements of the interior organized by the Bauhaus line via recent renovations, this location offers a unique setting in which to highlight the shared nature of these artists’ concerns surrounding the spatiotemporal. The art space’s transitions, whether historical through use and renovation or from room to room as visitors travel the building itself, create a metaphorically rich environment in which to examine art’s aptitude for transitioning our space via imaginative conjecture, subject, and compositional structures.
Franklin Street Works and the Avon Theatre are happy to be collaborating on an event for the first time. Please Join Us! for a night with emerging filmmaker Bridget Stokes to screen her movie, Herman and Shelly, Wednesday, June 27. Reception 6:00 – 7:00 pm at Franklin Street Works. Screening is at 7:30 in the Avon Theatre. We are walking distance from each other so enjoy a summer stroll in downtown stamford between events! This event is sponsored by the Loft Artists Association and Reckson.
The Avon Theatre and the not-for-profit contemporary art space Franklin Street Works celebrate the first feature from local filmmaker, Bridget Stokes, titled Herman & Shelly with a screening on June 27th at 7:30 p.m. It is preceded by a reception at Franklin Street Works from 6:00 to 7:00 p.m., which features a signature cocktail by Rodizio Grill and Thomas Hooker beer. As creative platforms for art and film, Franklin Street Works and The Avon are committed to original programming for creative professionals. Sharing kindred missions, these alternative spaces are embarking on an initial partnership for what will hopefully be the first of many joint-efforts moving forward. In addition to the reception at the art space, there will be a post-film Q&A with the filmmakers. Ticket prices include the reception and are as follows: Carte Blanche: FREE, Members: $6, Students & Seniors: $8, Nonmembers: $11. For advance tickets, please call the Avon business office at 203-661-0321 or the box office at 203-967-3660. For our more spontaneous film enthusiasts, tickets will also be available at the door the night of the screening. This event is sponsored by the Loft Artists Association and Reckson.
ABOUT THE FILM: In this offbeat, quirky romantic comedy, high school chums Herman and Shelly navigate the odd transition from much-hyped youthful art prodigies to overlooked adult artists. Ambitions are pitted against lifelong bonds, with the zany mess of the art world acting as an ever-changing backdrop. A fresh take on coming of age, the murky space between lovers and friends, and the personal sacrifices endured for one’s art.
ABOUT THE AVON: The Avon Theatre is a member-supported, non-profit cultural hub, dedicated to presenting film in its highest form, and thriving because of the support of our patrons and community. In addition to an exciting slate of new releases that are hard to find anywhere else, The Avon brings you phenomenal special events and monthly programs. We are proud to provide a forum for in-person, community dialogue with directors, actors and other luminaries in a vibrant “Main Street America” setting.
ABOUT FRANKLIN STREET WORKS: Franklin Street Works is a new, not-for-profit contemporary art space, café, and social gathering place in Stamford, Connecticut. Located in renovated row houses on Franklin Street, the two-story space includes three galleries and a café. Franklin Street Works is located at 41 Franklin Street in downtown Stamford, Connecticut, near the UCONN campus. On street parking is available on Franklin Street and paid parking is available nearby in a lot on Franklin Street and in the Summer Street Garage (100 Summer Street), behind Target. For more information call 203-595-5211 or visit www.franklinstreetworks.org
ABOUT OUR SPONSORS: Loft Artists Association provides artists with a supportive environment, opportunities to exhibit their work, and networking opportunities and to reach out to the community at large with education and artistic expression. Reckson, a division of SL Green Realty Corp. is Westchester and Fairfield counties’ largest Owner of class A office space, comprising 30 properties over 4 million square feet of commercial space. Avon Theatre Film Center, 272 Bedford St, Stamford, CT 06901, Box Office: (203) 967-3660, Business Office: (203) 661-0321, Website: www.avontheatre.org,Twitter: @avontheatre, Facebook: www.facebook.com/avontheatre
Franklin Street Works presents: An Evening with Dekit Magazine. For the event, Dekit’s creators discuss how their nascent online magazine is a platform for emerging cultural producers and a catalyst for dialogue with both a local and global reach. Similar to Franklin Street Works, Dekit is decidedly interdisciplinary, featuring the visual arts, fashion, music, and more via shared themes such as “What does it mean to be human?” and the materiality of identity. A small but growing independent online publication based in Stamford, Connecticut, Dekit has featured street artists, photographers, painters, videographers, and musicians. Dekit’s experiments in artistic discourse encourages unique ways of approaching creative enterprises.
On June 21 from 5:30 – 7:00 p.m. Dekit magazine founder Stephanie Harris and the magazine’s Creative Director Nina Irizarry will share their story, leading a casual conversation about DIY-spirited publishing and the emerging artists they have collaborated with since the magazine’s inception. Additionally, Dekit will screen a video project that highlights some of the magazine’s featured artists, especially for this event.
According to Dekit’s creators, “The inception of the Internet and the innovation of technology have resulted in a shattering of geographic boundaries. Having a digital world at our fingertips has impacted the way in which we communicate, the types of dialogues we engage in or create, and the ways we influence one another,” adding, “This age of cutting edge innovations has also created a golden age of flux.”
Franklin Street Works and Dekit Magazine collaborated to produce this informative event that highlights the magazine’s mission, its challenges and its goals for the future. This event is part of Franklin Street Works’ commitment to providing an alternative space for contemporary art while providing a discursive platform for other independent ventures in art and culture. The event is free and open to the public.
Franklin Street Works presents an evening with two Internet entrepreneurs living in Fairfield County whose reach extends far beyond the geographic boundaries of Connecticut. Young and dedicated, they have each developed a website that reflects their interests in the Internet’s ability to organize and share data on a single subject. For EveryTornado.net, Sam Sagnella spent several years conceiving and building a website database project whose goal is to provide a broader insight into United States tornadoes by supplementing statistical data with first-hand event video gathered from those who were there. He will give a multi-media presentation, highlighting his efforts. For the second half of the talk, website designer and programmer Jeff Schram of Schram Industries discusses his experiment in gathering data from Twitter with PoopStats.com. His site investigates the phenomenon of people tweeting with the hashtag #pooping. This identifier indicates that the author is pooping while tweeting. Schram programmed a site whose home page is in constant flux as the number of #pooping tweeters changes with the ebb and flow of this one thread of Twitter activity. With PoopStats, the quirky and curious can see how many people in the world are tweeting while pooping at any particular time!
Franklin Street Works named this exciting program S#!T/Storm: The Art of Data to reflect the themes, humor, and freshness of these digital thinkers and their projects! Through projected images, informal lecture, and performance, we will learn more about the thinking, logistics, and interfaces of these nascent websites. This free, public event takes place from 5:30 – 7:00 p.m. at Franklin Street Works on Wednesday, June 13.
EveryTornado.net is a unique tornado database project that includes riveting videos, allowing for site visitors to learn about the details of specific tornado events and also to “witness” them. Since launching in August of 2011, EveryTornado.net has chronicled nearly 1000 tornadoes, and archived event videos for more than half of them. In the present-day social media world, the sharing of experiences has become a way for people to learn from what others have gone through without ever meeting them. EveryTornado.net captures people’s recorded tornado encounters, and organizes them in a way that produces a dramatic perspective into what experiencing a tornado can be like. Featured videos come from every type of scenario: from storm chasers using their professional High-Definition video cameras, to commuters caught in traffic on the highway using smartphones, to people in their backyards with family camcorders. Tornadoes have impacted every state in the country. Connecticut has been hit 79 times since 1950, with 12 occurring in the last six years alone. The Nutmeg State’s 79 modern tornadoes have caused in excess of 300 million dollars in property damage and killed at least three people.
A more humorous approach to collecting data, PoopStats.com is the brainchild of web designer Jeff Schram, who splits his time between Stamford and New York City. With PoopStats.com, Schram created a homepage that monitors how many people are using #pooping while tweeting at any given time. According to Schram, “At any given moment, there are roughly 300-500 people #pooping on Twitter. Seriously, we can’t make this shit up,” adding “PoopStats.com was created as a fun experiment to investigate this phenomenon of Twitter users adding #pooping to their tweets and the motivations behind people wanting to let you know the most private moments of their lives.” In his presentation, PoopStats creator Jeff Schram talks about the inspiration and creation of the website, what he’s learned so far, and what he hopes to discover venturing down this bold path.
ABOUT THE PRESENTERS:
Sam Sagnella, a 25-year old Westport, Connecticut, native with a lifelong passion for weather, founded EveryTornado.net. By his sophomore year at Staples High School he was enrolled in an “authentic science research” class, which allowed students to choose a project that interested them and invest school hours in researching it. Sam’s project “Severe Weather Preparedness of Fairfield County, Connecticut Towns” involved interviews with emergency management personnel from around the county, and its success led to an eventual presentation of his findings on live television through ABC affiliate WTNH-TV in 2003. After graduating from Staples in 2004, Sam moved to Oklahoma to continue to pursue a career in the field of meteorology, and began chasing storms there in 2005. It was during these next few years — during which he witnessed more than a dozen tornadoes — that the idea for EveryTornado.net was born.
Jeff Schram has been working in the web industry, based in NYC, for the last 7 years. Though he started off as an independent freelancer, he’s recently enjoyed working alongside such companies as The Cutting Room, Modus Associates and Crush + Lovely. He combines his love of art, music and creativity with an in-depth knowledge of the inner-workings of the web and is the owner of Schram Industries, a web design firm.
This event is sponsored, in part, by Lamburt Corporation Insurance, Stratford, Connecticut, www.lamburt.com
Demaray provokes complex questions concerning memory, knowledge, and the collaborative cognitive process that exists between artist and viewer [while] making a body of work that has consistently confounded expectations by creating connections between diverse and often contradictory bodies of knowledge.
–Richard Klein, Exhibitions Director, Aldrich Museum
Enjoy a fun-filled workshop upholstering your favorite rock with internationally exhibited artist Elizabeth Demaray! Join the New York artist and Rutgers Associate Professor for an evening of unusual upholstering practices. Demaray’s artwork Whatever’s Left is currently on view at Franklin Street Works as part of the group exhibition House Arrest. The couch sculpture of found sidewalk rubble and fabric was made especially for the exhibition, which explores the domestic in artworks, including shifting relationships to cultural and social norms.
Demaray will be leading us in a free, hands-on-workshop of pattern making and upholstery techniques on May 24 at 6:00 pm. Please RSVP to firstname.lastname@example.org or 203-253-0404. For this event bring your favorite rock. Upholstery fabric will be available, but attendees are welcome to bring their own. After all, you might want your rock to match the couch! Light snacks will be provided. Beer, wine, coffee and sodas are available at the café whose sales support the art space and its programming.
Elizabeth Demaray is a recipient of the New York Foundation for the Arts Fellowship in Sculpture and the National Studio Award at the New York Museum of Modern Art/P.S.1 Contemporary Art Center. Demaray knits sweaters for plants, fabricates alternative homes for hermit crabs, and creates listening stations for birds that play human music. These and other upholstery-related projects may be seen on the artist’s web site at http://www.elizabethdemaray.com/
At the conclusion of this workshop, attendees are invited to submit their upholstered artwork for an online gallery that will be posted on Franklin Street Works’ website!
House Arrest is a group exhibition where artists intentionally challenge assumptions about the comforts of home. Works feature everything from Corin Hewitt’s disquieting still life photographs to Elizabeth Demaray’s upholstered rubble couch to Martha Rosler’s
politically charged collages. The result is a crosscurrent of alternative meanings and meanderings that flip the domestic on its head, exploring the complex relationships between daily life and everyday objects. The exhibition is on view April 5 – June 10, 2012. A free public reception will be held April 5 from 5:00 – 8:00 pm.
House Arrest is curated by Terri C Smith whose approach to the installation will significantly alter the physical qualities of the space’s three galleries, creating living rooms of artworks that are informed by the history of Franklin Street Works’ Victorian row house buildings — originally working class homes –as well as the makeshift domestic situations at recent political protest sites such as Occupy Wall Street’s Zuccotti Park.
Participating artists are: Hector Arce-Espasas, Francis Cape, Alex Da Corte, Elizabeth Demaray, Stuart Elster, Marley Freeman, Jared Haug, Nate Heiges, Sean Hemmerle, Corin Hewitt, Rachel Higgins, David Horvitz, Jessica Jackson Hutchins, Justine Kurland, ROLU, Martha Rosler, Heather Rowe, Penelope Umbrico, Se Young, and Helen Zajkowski.
House Arrest also features a curated shop and zine by Talisein and original publications curated by David Horvitz in collaboration with several independent publishers: andreview, Dominica, Fillip, and Triple Canopy. The exhibition features a PDF catalog that includes an interview on curating with ordinary objects between Taliesin and Bodhi Landa, an exhibition essay by Terri C Smith and Lisa A Porter’s essay on Zuccotti Park from a material culture perspective.
Thursday, March 29, 5:30 – 7:30
Franklin Street Works proudly presents a night with the writers, producers and directors of a local, up-and-coming network for new online comedy programs. NPeaches creates original and often humorous shows such as the satirical “Ronaldo Tours,” where an Italian-American character explores cities — from New Haven to Toronto — giving his humorous, fish-out-of-water take on local cultural phenomena. Based in the Stamford area, NPeaches aims to contribute to social and political change through the lens of comedy. We invite you to screen “Ronaldo Tour” episodes and chat with the producers, directors, and other collaborators on this, often mischievous and always provocative, creative enterprise. This free, public event is March 29, 5:30 – 7:30 at Franklin Street Works. The evening will begin with a short talk, which will be followed by a casual, social reception with cast, crew, and creatives.
Thursday, March 22 from 6:00 – 8:00 pm
Videographer Bob Albert of Take Notice Productions and visual artist Gordon Skinner discuss the making of their short, collaborative documentary at Franklin Street Works, March 22 from 6:00 – 8:00 pm. For filmmaker Bob Albert, the project serves as an artist statement about Skinner’s paintings, creating a cinematic platform for the visual artist to describe his influences and overall perspective. You are invited to join them for a screening of the eight-minute video followed by a lively discussion about the triumphs, pitfalls, and lessons learned during this project!
Thursday, March 15 from 6:00 – 8:00 pm
Franklin Street Works presents The Imagined City: A Multimedia Work-in-Progress by Renee Kahn, Thursday, March 15, 6:00 – 8:00 pm. Join us for a one-night event where the artist will share her new project and invite audience input! Also included is a related animated film by Cici Artist and, following Kahn’s presentation, a screening of Lionel Rogosin’s award-winning film “On the Bowery.” This event is free and open to the public.
Thursday, March 8 from 6:00 – 7:30 pm
Franklin Street Works presents a free, seated Wine Tasting with Grapes of Norwalk’s Jim Winston from 6:00 – 7:30 pm. Jim will begin with a sparkler, then walk us through two whites and six to seven reds, sharing a mixed bag of styles, textures and levels of complexity. He will conclude with a dessert wine. While the event is casual, this tasting has a specific start time so participants should arrive at 6:00pm. Please RSVP to terri@franklinstreetworks (Limit 26 people).
Franklin Street Works presents a series of video exhibitions titled Heavy Rotation. The exhibition will be on view from February 24 – March 16, 2012.
Reception: March 1, 5:00 – 7:00 p.m.
Through multiple, short-lived, thematic shows, Heavy Rotation aims to provide an adrenaline rush of shifting contexts, fresh curatorial perspectives, and highly varied technologies. The show’s fluid structure also asks us to imagine an exhibition as a series of changing visual events, rather than a static installation.
In Heavy Rotation‘s roster, one grouping includes artists who harness specific elements from nature (including rocks, water, snow, and a snail) as imagery while simultaneously foregrounding a handful of unique approaches to “process” in the act of art making. Love and interpersonal relationships inform another show, which explores romantic communications, desires, and miscommunications via a variety of platforms and situations, including Chat Roulette, Craigslist singles ads, and public display of affection. A third installation maps psychological and sociological landscapes that engage the viewer in privately-informed, off-kilter narratives situated in culturally specific, mentally imaginative, and geographically peripheral environments. Finally, New York-based curator Anthony Thornton rounds out the schedule with a selection of videos that explore the public inevitability of private performance within our increasingly connected world.
Participating artists: Bobby Chirila, Petra Cortright, Tim Davis, Keith Edmier, Lindsey Eskind, Don Evans, Jesse Fleming, T. Foley, Alexa Gerrity, Matteo Giordano, Ilana Halperin, Seth Kelly, Noriko Koshida, Karsten Krejcarek, Camille Laurelli, David O’Reilly, Ariana Page Russel, John Pilson, Cheryl Pope, Joshua Seidner, Rbt. Sps., Brent Stewart, and Grant Worth.
Installment Dates and Artists:
Naturally / February 24 – 29 / Keith Edmier, Jesse Fleming, Ilana Halperin, Seth Kelly, Cheryl Pope and Brent Stewart. Click HERE for more on Naturally‘s theme and artist bios.
Let’s Talk About Love / March 1 – 4 / Lindsey Eskind, T. Foley, Noriko Koshida, David O’Reilly, John Pilson, Joshua Seidner.
Peripheral Landscapes / March 8 – 10 / Tim Davis, Don Evans, Alexa Gerrity, Karsten Krejcarek / Rbt. Sps., Grant Worth
INTO-ME-cy curated by Anthony Thornton / March 11 – 16 / Bobby Chirila, Petra Cortright, Matteo Giordano, Camille Laurelli, Ariana Page Russell
Time is wine’s friend and foe. Wine needs time to evolve from a fermented grape juice into nectar capable of soliciting a range of sensory responses. When neglected, wine can be ruined; and when crafted with a watchful eye to the clock, it can transcend the processes involved in its making. Wine and time have maintained a very complex relationship during the past eight thousand years, and this relationship continues to develop. Join host and wine enthusiast Anatoli Levine (creator of the popular Talk-a-Vino blog) for an informal glimpse into the complex relationship between wine and time! Gain insights into the delicate art of making and tasting wine while sampling some stellar varietals Thursday, January 19, from 5:30 – 7:00 p.m. in the cozy ambience of Franklin Street Works’ café. This event is designed to complement our current exhibition, Slipstreams: Contemporary Artistic Practice and the Shaping of Time, which will be on view before and during the tasting.
To assist us with planning, Franklin Street Works invites interested parties to RSVP for this event at terri@franklinstreetworks.
Thursday, January 5, 2012 from 6:00 – 7:00 p.m.
The Works Weeknights series brings local, regional, and national talent to the café and art space on Thursday evenings. On January 5, the band Sea Rhapsody, whose members attend the University of Connecticut in Stamford, will do a semi-acoustic set on site from 6:00 – 7:00 p.m. Please join us and enjoy the music, the café, and our current exhibition, Slipstreams: Contemporary Artistic Practice and the Shaping of Time!
Thursday, December 8, from 5:00 – 6:00 p.m.
Join a guided tour of our new exhibition Slipstreams: Contemporary Artistic Practice and the Shaping of Time, which will be given by the exhibition’s curators Terri C Smith and Joseph Whitt. Artists in the exhibition include, Pierre Bismuth, Tehching Hsieh, Tara Kelton, Anna Lundh, Samuel Rousseau, Stephen Sollins, Conrad Ventur, and Andy Warhol. We hope you can join us to hear more about the works, ask questions, and discuss the show’s themes in a casual environment.
The event is free and open to the public.
About the Curators
Terri C. Smith is the Creative Director of Franklin Street Works. With approximately fifteen years of curatorial experience, she has created exhibitions and related programming for museums and other not-for-profit art institutions, including award-winning contemporary art programs for Cheekwood Museum of Art, Nashville, Tennessee. After more than ten years at the Museum, she returned to school, earning an MA from Bard College’s Center for Curatorial Studies in 2008. Smith has curated exhibitions for venues in Connecticut, Florida, New York, Oregon, and Tennessee. Other projects have included commissioned catalog essays and journalistic projects for print and radio. http://terricsmith.blogspot.com/
Joseph Whitt is the Assistant Curator at Franklin Street Works and a frequent guest curator at several art venues in New York City. As former Assistant Curator at Vanderbilt University’s Fine Arts Gallery in Nashville, he was responsible for solo exhibitions by Harmony Korine and Jules de Balincourt, as well as a group exhibition pairing the Polaroids of Andy Warhol with the works of emerging artists Grant Worth and David Horvitz. His most recent curatorial project, Magic For Beginners, at P.P.O.W. Gallery (NYC), was a critic’s pick in Time Out New York and garnered a prominent review in The New York Times.
SLIPSTREAMS: OPENING WEEKEND PROGRAMMING
Friday, December 2, noon – 5:00 and Saturday, December 3, noon – 3:00 p.m. Interactive project with Anna Lundh.
Visitors are invited to think about how they visualize time via Swedish artist Anna Lundh’s survey. The activities are part of her ongoing project The Year is a Python that swallowed
an Elephant (2009-present),which also includes an installation and performance.
Saturday, December 3, 4:00 – 5:00 p.m. Anna Lundh performance.
This subtly humorous performance is based on Lundh’s findings from The Year is a Python that swallowed an Elephant
Slipstreams: Contemporary Artistic Practice and the Shaping of Time, December 1, 2011 – January 21, 2012
Slipstreams: Contemporary Artistic Practice and the Shaping of Time
The perception, measurement, and manipulation of time in our everyday lives is a performance, both personal and shared. We agree on the indications of clocks and calendars, yet often disagree on the length of collective experiences, such as prayer or a television program. Language also influences how we “feel” a moment’s passage. Phrases such as “running out of time,” “wasting time,” and “on time,” cause us to feel hurried or relaxed, even responsible or irresponsible. Rituals, both societal and self-made, do the same. READ MORE
After a 5:00 pm casual tour of the exhibition Fernando (last day November 13!), Holly Danger and Jeff Schram present “THE MOON,” a VJ/Music “alternative space” in the downstairs gallery at Franklin Street Works.
The Moon is a new audio visual performance project created by musician Jeff Schram and VJ Holly Danger. The atmosphere will be filled with acoustic music, heightened by electronic elements, vocals & digital manipulation. Synchronized visual projections and camera effects will be mixed live by local video artist Holly Danger. Together they will transform the space into a colorful dreamworld of visionary motion, art & sound.
We are intentionally keeping our first City Saturday a bit of a mystery, but we can tell you it’s on October 22 from 12:00 – 6:00 pm and the artists from our inaugural exhibition “Fernando” will be there. It is a casual setting that will include fun “street” style foods at the café – think about your favorite food cart in New York or New Haven! There will also be a performance by Fernando artist Trisha Baga, which will involve anyone in attendance who wants to join, a skyscraper, and some of the tropes associated with weddings. The performance will be documented and the videos and still images will, most likely, inform a new artwork by Baga. READ MORE
A brief tour of the exhibition, Fernando, will be followed by a casual Q & A session/discussion in the café with the show’s curator, Terri C Smith. Fernando features original commissioned works by emerging artists Trisha Baga, Lukas Geronimas, and Mads Lynnerup. The exhibition — its inspirations, artists, and installation – will be the starting point for a free-form discussion that could lead virtually anywhere!
Thursday, September 22, 2011 5:00 – 8:00PM
As early as June, Fernando’s artists and curator were getting to know Stamford as Stamford was getting to know them. This mutual introduction between a new alternative art space and the city it inhabits was the impetus for the exhibition. Fernando was also structured in a way that allowed the artists’ perspectives to be reflected in Franklin Street Works’ formation and early growth. Both the art space’s location and its role as an alternative venue for contemporary art are at play here. READ MORE