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 Silver 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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Collaborative Projects and Art Economies

Colab

​Collaborative Projects and Art Economies
Monday, June 27th​, 2016​
6:30-8:30 PM
40 Rector Street, 15th Floor, Suite 1500, New York, NY 10006
*you must bring an ID to sign into the building*
(Because space is limited, we are unfortunately not able to welcome guests who did not RSVP)

​Panel with Stephen Zacks, Michael Mandiberg and artists Coleen Fitzgibbon, Joe Lewis, ​Ann Messner, Peter Fend, Tom Otterness, Lisa Kahane, Robin Winters and John Ahearn present to discuss Collaborative Projects and art economies.

In the late 1970s, artists and artist collectives made art and exhibitions in response to a growing awareness of art’s relation to communities, real estate, and economic development. The members of Collaborative Projects (Colab) created themed group shows, Fashion Moda gallery, the Times Square Show, the Real Estate Show, and the ABC No Rio activist art space, pioneering many of the modes and strategies deployed by socially-engaged artists today. Join us for a discussion with members, including Coleen Fitzgibbon, Joe Lewis, and others, moderated by Stephen Zacks.

The event is by RSVP only, as space is limited. To RSVP, send an email to media@artspracticum.org by Sunday, June 26th.

Colab is known for its progressively explicit and confrontational approach to art exhibitions. Between 1978 and 1981, the group reacted to the struggle for space in and around SoHo by moving its exhibitions to private studios and lofts, galleries in poorer neighborhoods, and temporary spaces donated by owners. Finally, on New Year’s Eve at the end of 1979, the artists illegally occupied an in rem city-owned storefront as a self-proclaimed insurrectionary act. Despite their greater access to cultural capital, many Colab artists saw themselves as naturally aligned with people of color and classes displaced by speculative real estate development.

This discussion is a public session of the New York Arts Practicum, presented as pre-exhibition programming for Michael Mandiberg’s FDIC Insured at the Time Equities, Inc. Art-in-Buildings Program Project Space. FDIC Insured will transform a disused office space, echoing Colab’s approach to challenge the political and social identities of urban spaces. The project is produced by Art-in-Buildings and Denny Gallery.

40 Rector Street, 15th Floor, Suite 1500, New York, NY 10006

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Colab Talk at Printed Matter

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