Jonathan Silver: Infidel in the Studio Screening

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A BOOK ABOUT COLAB – NY Times Article by Randy Kennedy

See Randy Kennedy’s NY Times Article about the Colab book, printed by Printed Matter and edited by Max Schumann.

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Infidel in the Studio Screening at Anthology

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Filmmaker Coleen Fitzgibbon presents:
Jonathan Silver: Infidel In The Studio
a documentary on the figurative art of the sculptor Jonathan Silver
December 15, 2016
5pm
Anthology Film Archives
32 2nd AveNew York, NY
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Paradise: Underground Culture in NYC 1978-84

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Steven Harvey Fine Art Projects presents Paradise: underground culture in NYC 1978-84, a group exhibition about a pivotal moment in New York cultural history. The exhibition includes original photo-copied posters for bands, films and theater, paintings, drawings, photography and a group of films by independent filmmakers and documentaries about the Lower East Side from 1978-1984.

X Magazine Benefit Screening

The opening is on Wednesday, October 12th, from 7-9pm. The exhibition continues through November 14th. There will be a conversation between Steven Harvey and Tim Lawrence, the author of LIFE AND DEATH ON THE NEW YORK DANCE FLOOR, 1980-83, just published by Duke University Press, on Sunday October 16th, at 3PM, at the gallery.

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Jonathan Siler Infidel in the Studio Screenings

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Filmmaker Coleen Fitzgibbon presents:
Jonathan Silver: Infidel In The Studio
a documentary on the figurative art of the sculptor Jonathan Silver
Private film screening at Anthology Film Archives in the Maya Deren Theater
Monday, October 17th, 2016 2-3pm and 7:30-8:30
Friday October 21, 4:30-5:30pm
Anthology Film Archives
32 2nd Avenue
NY, NY 10003
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East Village Eye at HOWL!

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Still from LES by Coleen Fitzgibbon

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Still from LES by Coleen Fitzgibbon

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Still from LES by Coleen Fitzgibbon

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Coleen Fitzgibbon’s film LES, an ingenious conceit depicting Lower East Side residents as members of the John Dough Cargo Cult, evokes the cargo cultist in all of us: gamely attempting to influence events beyond our control and hoping for the best. A must-see, this Saturday at 3 pm at (where else?) Howl Happening, 6 East 1st Street, followed by three more essential new wave/no wave classics.
https://www.facebook.com/events/1219373618092894/

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HOWL Celebrates The East Village Eye

13903266_1635911966700006_844281915406682454_nFriday, September 16 – Sunday, October 9, 2016

L.E.S. by C. Fitzgibbon screening at 3pm September 24th

Howl! Happening: An Arturo Vega Project is pleased to shine a light on another important source of East Village social and cultural history: The East Village Eye. A monthly magazine published from 1979 through 1987, The East Village Eyefocused on popular and avant-garde culture, politics and other issues relevant to the East Village and environs. Self-styled as “a community in print,” the magazine is noted for its groundbreaking coverage of the emerging punk, new wave and hip hop music scenes of the time, as well as the influential art, literature, film and performance worlds of the era.

The East Village Eye Show will feature covers, centerfolds, interior pages, ephemera and photographic prints, as well as key artwork from the era. The show draws from the nearly 4,000 pages, 3,000 photographs, sets of original copies and attendant materials that constitute The East Village Eye Archive, dubbed “the King Tut’s tomb of downtown New York.”

Special Events are also planned. Check the Howl! Happening website for updates.
September 18: Panel Discussion
September 24: New/No Wave Films
September 25: Cinema of Transgression
October 6: Channeling the Dead: Readings of stories by deceased writers Kathy Acker, Cookie Mueller, Rene Ricard, David Wojnarowicz and (too many) others.

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Filmmakers’ Coop Paddle 8 Art Auction

13934758_10153655652856671_532697434638432559_nThis benefit art auction supports the New American Cinema Group/The Film-Makers’ Cooperative, the oldest, largest non-profit distributor of avant-garde cinema. Since its founding in 1961, the Coop has grown to distribute over 5,000 titles by its 1,000 members. The Coop is currently embarking on a project to digitize its expansive celluloid and paper collection in an effort to make avant-garde cinema available to new audiences.

The auction is LIVE from August 23rd to September 6th:
http://paddle8.com/auction/filmmakerscoop

Featuring the following artists:

Charlie Ahearn • John Ahearn • Peggy Ahwesh • Ulvis Alberts • The Andy Warhol Museum • Katherine Bauer • Sarah Bedford • Andrea Callard • Calmx • Donna Cameron • Mirjana Ciric • Jody Culkin • Lisa Dilillo • James Dowell • Sara Driver • Bradley Eros • Peter Fend • Coleen Fitzgibbon • James Franco • Su Friedrich • Bobby G • llona Granet • Ethan Greenbaum • Hal Hartley • Sharon Haskell • Jasmine Hirst • Kate Huh • Takahiko Iimura • Ken Jacobs • Jim Jarmusch • Antonia Kuo • Juanita Lanzo • Katy Martin • Jen Mazza • Jonas Mekas • Jocelyn Miller • Joseph Nechvatal • Dan Ochiva • Alice O’Malley • Tom Otterness • Cara Perlman • Walter Robinson • Barbara Rosenthal • Christy Rupp • Lynne Sachs • Zoë Sheehan Saldaña • Marja Samson • Carolee Schneemann • Rosalind Schneider • MM Serra • Russell Sheaffer • Shell Sheddy • Terise Slotkin • Georgie Smith & Amy Lowles • Mark Street • Molly Surno • Richard Sylvarnes • Laurie Thomas • Leslie Thorton • J. Kathleen White • Robin Winters

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FMC Art Auction Preview

FMC ART AUCTION PREVIEW

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Quotes From The Press

“SILVER’S SCULPTURE IS STEEPED IN CLASSICAL AND RELIGIOUS MYTH. IT IS ASSEMBLED, HOWEVER, WITH A KEEN SENSE OF MODERNIST HISTORY, IN PARTICULAR, OF THE FORMAL AND PSYCHOLOGICAL IMPLICATIONS OF CUBISM AND SURREALISM. IN SILVER’S WORK, MYTH IS NOT QUIET AND CONTROLLABLE, BUT SOMETHING THAT GROWS AND EVOLVES ON ITS OWN AND OBLIGES MERE MORTALS TO FLAIL AWAY IN ‘ITS WAKE.”

-Michael Brenson, 1984, The New York Times

“Silver began to explore frontality, he was aware that since the Middle Ages, as mobility was becoming essential to the ethos of Western life, frontality had become essentially taboo. Strict frontality – that is to say frontality in which the sides of a head are symmetrical and the face is perpendicular to the ground – denies movement.

A BYZANTINE OR EGYPTIAN HEAD HOLDS MOVEMENT IN THE FACE AND EYES, WHICH HAS THE EFFECT OF FREEZING THE VIEWER IN PLACE. WHILE A NATURALISTIC HEAD CREATED A SENSE THAT TIME UNFOLDS AND THAT THE ABILITY TO MOVE THROUGH TIME AND SPACE FREELY IS THE VIEWER’S RIGHT, FRONTALITY STOPS TIME. THE AURA OF TIMELESSNESS IS ESSENTIAL TO THE RELIGIOUS POWER MANY FRONTAL IMAGES HAVE. BUT SILVER KNEW THERE WAS MORE TO FRONTALITY THAN THIS.

He was fascinated by meditations on Hellenistic and Jewish culture, and from Thorleif Boman’s “Hebrew Thought Compared with Greek,” he absorbed the idea that for Jews, the static is always active and dynamic. When he studied the frontal head, he saw that it was inherently ambiguous: if you outline a circle (the general shape of a head) and then draw a straight line down its center, you will see that the sides flip back and forth.

IN HIS ATTEMPT TO EXPLORE MORE DEEPLY THE REASONS FOR THE INTENSE RESPONSES TO FRONTALITY OVER THE CENTURIES, HE STUDIED THE RORSCHARCH TEST, WHOSE SYMMETRICALITY AROUND A CENTRAL VERTICAL LINE IS ESSENTIAL TO ITS ABILITY TO SET THE UNCONSCIOUS IN MOTION. SILVER CAME TO BELIEVE THAT EXPLORING FRONTALITY COULD LEAD HIM INTO REPRESSED AREAS WHERE WELL-SPRINGS OF ANXIETY, SEXUALITY, INSIGHT AND CREATIVITY LIE.
FAR FROM DENYING MOVEMENT, FRONTALITY COULD INSPIRE IMAGES THAT DID JUSTICE TO THE EXPERIENCE OF CONTEMPORARY MOVEMENT BY TAPPING EMOTIONAL AND PSYCHOLOGICAL ENERGIES SO RAW AND CHAOTIC THAT THEY SEEMED UNCONTROLLABLE.”

-Michael Brenson, Jonathan Silver: Heads, Sculpture Center Catalogue

“I met Jonathan in 1967 and was drawn to him immediately. He had this zest, this quickness, this force of personality, that let you know right away he was an original. He had a truly independent mind. What he said you were not going to hear anyplace else. I heard him say plenty of things that were outrageous, but in all the years I knew him I never heard him say anything tired, and I don’t think he was capable of saying anything banal….I cannot help but thinking of Meyer Schapiro, who was his teacher and advisor at Columbia, with whom the pattern may have been set of keeping company with leftwing intellectuals whom he profoundly respected but with whom he also profoundly disagreed. Particularly in the years immediately after I met him, Jonathan carried on endless discussions with Schapiro inside his head. He had the deepest respect for him but he did not like the way he felt politics informed Schapiro’s aesthetic judgements and he had bitter reservations about the mainstream tendency to define artististic quality according to politically progressive standards.

FOR A LONG TIME, JONATHAN BELIEVED THAT BECAUSE OF ITS FRONTALITY, IN OTHER WORDS BECAUSE OF ITS SINGLE, OR PRIMARY, OR AUTHORITATIVE POINT OF VIEW, HIS SCULPTURE WOULD BE EXPERIENCED BY SCHAPIRO AND OTHERS AS INTRINSICALLY UNDEMOCRATIC AND THEREFORE DISMISSED. HIS ATTEMPT DURING THE LAST 10 YEARS TO MAKE HIS SCULPTURE FULLY THREE-DIMENSIONAL AND ALIVE FROM MULTIPLE POINTS OF VIEW WITHOUT LOSING ITS COMMANDING PRESENCE — WAS HEROIC AND MORE COMPLEX EMOTIONALLY AND INTELLECTUALLY THAN I CAN UNDERSTAND NOW.

-Michael Brenson, 1992, Eulogy for Jonathan Silver

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