NEWSgrist - where spin is art

Artists Space/Printed Matter: The Three: artist - activist - feminist - podcast

via email:

Artists Space and Printed Matter are pleased to announce the podcast of The Three: artist – activist – feminist, a round-table discussion featuring AA Bronson and Ute Meta Bauer in conversation, moderated by Chrysanne Stathacos.

This Blue Room event was held at Artists Space on Saturday, May 3rd, 2008 at 5:30pm.

The Three: artist – activist – feminist brought together 30 invited guests from diverse backgrounds. The small size facilitated easy conversation, and refreshments were served. The round-table coincided with Printed Matter's exhibition Fierce Pussy and PS1's Wack! exhibition.

The 90-minute conversation reflected on feminist artist/activist actions of the late 1980s to mid 1990s and the effect these issues or actions have on us today.

To listen to the podcast please go to www.artistsspace.org/index.php/site/webcast_permalink/the_three_artist_activist_feminist

Included in the scope of the conversation were:

• Informationsdienst (Information Service) was a project by Ute Meta Bauer, Tine Geissler and Sandra Hastenteufel from 1992-94 touring to 15 different venues, including alternative spaces and museums. Silvia Kolbowski edited a presentation in October No 71, MIT Press, 1995;

• fierce pussy actions were carried out by Nancy Brooks Brady, Joy Episalla, Zoe Leonard, Carrie Yamaoka, and others in New York City from 1991 through 1994. The publication fierce pussy includes tear-out facismile posters from the period, suitable for wheat-pasting (Printed Matter, Inc., New York, 2008).

• The Abortion Project, a collaboration by Kathe Burkhart and Chrysanne
Stathacos, commemorated the Manifeste de 343, a bold demand for
women's reproductive rights published in 1971 in Le Nouvel Observateur, France. It was presented at Artists Space, Simon Watson Gallery, Real Art Ways, Hallwalls, and New Langton Arts between 1991 and 1993.

• Time Capsule: A Concise Encyclopedia by Women Artists, was edited by Robin Kahn with introductions by Kathy Acker and Avital Ronell, and contributions by more than 500 women artists from all over the world, including Kenya, the Czech Republic, Russia, and Cuba (SOS International and Creative Time, New York, 1995).

• PAD/D (Political Art Documentation/Distribution archive), an artists' collective conceived by Lucy Lippard in 1979, was active through 1988. Its archive was organized by Barbara Moore and Mimi Smith and donated to the MOMA Library.

Participants: Ute Meta Bauer / AA Bronson / Chrysanne Stathacos /
Judith Barry / Nancy Brooks Brady / Kathe Burkhart / Mia Enell / Joy Episalla / Catherine Facerias / Nancy Friedmemann / Maxine Henryson / Robin Kahn / Joan Jonas / Laura Kaplan / Silvia Kolbowski /
Mark Krayenhoff / Elisabeth Lebovici / Zoe Leonard / Amy Lipton /
Mark Looney / Barbara Moore / Miriam Schaer / Saher Shah /
Susan Silas / Mary Anne Staniszewski / Ginger Brooks Takahiashi / Rebecca Quaytman / Martha Wilson / Carrie Yamaoka / Octavio Zaya

Artists Space Staff: Mirelle Borra / Benjamin Weil / Meredith Johnson / Amy Owen / Hillary Wiedemann / Stephanie Howe

---

Artists Space
38 Greene St. 3rd Fl, NY NY 10013
------------------------------------------------------------------------
email: info@artistsspace.org
phone: 212-226-3970
web: http://www.artistsspace.org

Special Issue of Cultural Politics - Nuclear Stories: Cold War Literatures

As Arts Editor for the journal, I'm proud to present David Humphrey's "Ike and Me" in the special Cold War issue of Cultural Politics. Upcoming issues will include artist projects by Nancy Spero, Paul Chan and Sarah Trigg... please stay tuned. Free sample copies can be requested through the Berg website.

Best,
Joy
http://firstpulseprojects.net

+++

Cultural Politics is a welcome and innovative addition.  In an academic universe already well populated with journals, it is carving out its own unique place—broad and a bit quirky.  It likes to leap between the theoretical and the concrete, so that it is never boring and often filled with illuminating glimpses into the intellectual and cultural worlds.    Lawrence Grossberg, University of North Carolina, USA 

(Berg Publishers)

David Humphrey: Ike Paints From Life. Acrylic on canvas. 60 x 72 inches. 2006. Courtesy Sikkema Jenkins & Co., New York, NY

Via:http://culturalpolitics.org

The latest issue of Cultural Politics, Volume 4, Issue 3, November 2008, which is a Special Issue entitled: Nuclear Stories: Cold War Literatures, is now available.
Content can be accessed electronically through Ingenta.

SPECIAL ISSUE: NUCLEAR STORIES: COLD WAR LITERATURES
VOLUME 04 ISSUE 03  NOVEMBER 2008
GUEST EDITOR
TIM ARMSTRONG
Volume 4, Number 3,  November, 2008

CONTENTS

Introduction: Hot and Cold Rocks
TIM ARMSTRONG

Among the Blind
RYAN BISHOP and JOHN PHILLIPS

"All Propagated with the Best Intentions": Greene, The U.S. and Indochina 1951-55
ANDREW GIBSON

Hot Rocks and the Uranium Girl: Nabokov's Lolita
ADAM PIETTE

FIELD REPORT
Ike and Me
DAVID HUMPHREY [see images, artist info]

"Do Not Leave Your Homes":
Containment Culture and Its Fallout in Judith Merril's Shadow on the Hearth
DANIEL CORDLE

"Back! Back! Back! Central Mind Machine Pentagon...": Allen Ginsburg and the Vietnam War
ALEX HOUEN

"Are the Russians Involved, Sir?": The British Dimension of Doctor Strangelove
STEVEN MORRISON

+++

See past contents and artist projects at http://culturalpolitics.org

Find out more about Cultural Politics, an international journal published by Berg (Oxford, UK).

Found Art (Soho): Unmonumental 95

Found Art (Soho): Unmonumental 95, originally uploaded by Joy Garnett (archive).

Found Art (Soho): Unmonumental 94

Found Art (Soho): Unmonumental 94, originally uploaded by Joy Garnett (archive).

BILL JONES & SUZY LAKE: "Suzy Lake as Patty Hearst"

Bill Jones: "If You Knew Suzy (part 2)"
1976-2008
Color and black and white photographs, 24 x 30 inches.


opening Friday November 21st:

BILL JONES + SUZY LAKE  "Suzy Lake as Patty Hearst"

November 21 - December 20, 2008

Paul Petro Contemporary Art
980 Queen St West
Toronto, ON   M6J 1H1
gallery hours:  wed-sat 11-5pm
http://www.paulpetro.com

Paul Petro Contemporary Art is pleased to present works from the 1970s by Bill Jones and Suzy Lake.  This concise two-person exhibition follows Lake's participation in WACK!, an exhibition of feminist art from 1968-78 currently on view at the Vancouver Art Gallery, and Lake and Jones' participation in the re-opening this week of the Art Gallery of Ontario.  Both Lake and Jones have major works from the 1970s included in the newly re-opened contemporary spaces.

Here is an informative text by Bill Jones on the occasion of this exhibition:

Notes on three works from the 1970s
In 1976 I was living in Vancouver and had seen an ad in FILE Magazine in which
Suzy Lake is pictured standing against a massive column wearing a slinky floor-length
dress (a version of the image in the current exhibition). The ad copy challenges
New York artist, writer and entrepreneur Willoughby Sharp to a kind of "art mogul"
contest. Shortly thereafter, I received a studio visit from Bill Ewing, then the director of
Galerie Optica in Montreal. He showed me examples of photo-conceptual work he was
interested in and which defined his gallery's direction, including stills from Suzy's
"A Natural Way to Draw." Later that year, I went to Montreal for my solo show at Optica
and met Suzy for the first time at my opening. Patty Hearst, the American Newspaper
heiress, had been all over the news. The radical group, the Symbionese Liberation Army,
had kidnapped her; Hearst had shown up in a bank security camera photo carrying a
machine gun during a robbery.  I asked Suzy on the spot if she would play Patty Hearst
in a photo-piece I had in mind. Suzy showed up the next day wearing a red beret and
raincoat and carrying a realistic-looking gun right out of the news photos.

The completed work was shown later that year (1976) at the Pender Street Gallery in

Vancouver, a newly configured Parallel Gallery formed by Willard Holmes (former

curator of the VAG) Ian Wallace, myself and a number of other artists. The exhibition,

titled A Different Kind of Romance, included the work with Suzy, one featuring

Tom Sherman (then on the board of the artist-run centre A Space in Toronto), and

a number of collaborative works with the Vancouver-based media artist Ardele Lister.

Two years later, a second series of collaborative works with Ardele were shown at

the Canadian Cultural Center in Paris. This marked the end of our photo-collaborative

works. While in Paris for the show, I photographed a new solo work with a slightly

more rarified visual narrative style titled "Les Crimes de l'Amour," after a cheap copy

of the De Sade novel found at a book stall. The complete eight-part work from which

the triptych in the current exhibition is taken features Ardele as a "passerby" looking

into a knife store window and again at her own reflection in a Parisian jewelry shop.

These images, shot with a hand held 4x5" Speed Graphic, were not only the first of

a new form of poetic visual narrative, but began my use of a motif borrowed from

Atget's Parisian shop window photographs at the turn of the century. The entire work

(but for the triptych in the current exhibition) was subsequently purchased by the Art

Bank and exhibited  (the triptych featuring Ardele included) at PS1 in New York in the

1978 exhibition, The Altered Photograph. This is only the second time the "missing

triptych" has been shown.

The third work in the current exhibition Suzy Lake as Patty Hearst is a follow-up

series of diptychs titled "The Human Condition" (1979). It extends the use of black

and white and colour photography as meter in the visual poetic form, the panoramic

window motif and the juxtaposition of opacity and transparency (screen grate and

window) begun with "If You Knew Suzy" and continuing throughout my work of the

70s and 80s.

-- Bill Jones, 2008