This week: San Francisco checks in with dance legend Anna Halprin!!!
Anna Halprin (b. 1920) is a pioneering dancer and choreographer of the post-modern dance movement. She founded the San Francisco Dancer’s Workshop in 1955 as a center for movement training, artistic experimentation, and public participatory events open to the local community. Halprin has created 150 full-length dance theater works and is the recipient of numerous awards including the 1997 Samuel H. Scripps Award for Lifetime Achievement in Modern Dance from the American Dance Festival. Her students include Meredith Monk, Trisha Brown, Yvonne Rainer, Simone Forti, Ruth Emmerson, Sally Gross, and many others.
Live Benefit Auction Event: March 9, 6-8:30 pm
Robert Rauschenberg Project Space
455 West 19th St, New York
Printed Matter, Inc, the New York-based non-profit organization committed to the dissemination and appreciation of publications made by artists, will host a Benefit Auction and Selling Exhibition at the Rauschenberg Foundation Project Space to help mitigate damage caused by Hurricane Sandy.
As a result of the storm, Printed Matter experienced six feet of flooding to its basement storage and lost upwards of 9,000 books, hundreds of artworks and equipment. Printed Matter’s Archive, which has been collected since the organization’s founding in 1976 and serves as an important record of its history and the field of artists books as a whole, was also severely damaged. Moreover, the damage sustained by Sandy has made it clear that Printed Matter needs to undertake an urgent capacity-building effort to establish a durable foundation for its mission and services into the future.
This is the first fundraising initiative of this scale to be undertaken by the organization in many years, and will feature more than 120 works generously donated from artists and supporters of Printed Matter.
The Sandy Relief Benefit for Printed Matter will be held at the Rauschenberg Project Space in Chelsea and will run from February 28 through March 9th. The Benefit has two components: a selling exhibition of rare historical publications and other donated works and an Auction of donated artworks.
A special preview and reception will be held February 28th, 6-8 pm, to mark the unveiling of all 120 works and to thank the participating artists and donors. The opening will feature a solo performance by cellistÂ Julia KentÂ (Antony and the Johnsons), followed by a shared DJ set fromÂ Lizzi BougatsosÂ (Gang Gang Dance) &Â Kyp MaloneÂ (TV on the Radio). The event is free and open to the public.
All works will then be available for viewing at the Rauschenberg Project Space March 1 â€“ March 9, gallery hours.
All Selling Exhibition works may be purchased during this period and Auction works will be available for bidding online. Bids can be made atÂ www.paddle8.com/auctions/printedmatter.
A live Benefit Auction Event will take place March 9, 6-8:30 pm with approximately 20 selected works to be auctioned in a live format. Bidding on these works will commence at 7pm sharp, while silent bids can be made on all other Auction works. Note, highest online bids will be transferred to the room. For absentee bidding of works, please contact Keith Gray (Printed Matter) at 212 925 0325 orÂ email@example.com. The evening will feature a performance byÂ Alex WatermanÂ on solo cello with electronics. Admission is $150 and tickets may be pre-purchasedÂ here. There will be only limited capacity.
Highlighted auction works include an oversize ektacolor photograph fromÂ Richard Prince, a woven canvas piece fromÂ Tauba Auerbach, an acrylic and newsprint work fromÂ Rirkrit Tiravanija, a large-scale Canopy painting fromÂ Fredrik VÃ¦rslev, a rare dye transfer print fromÂ Zoe Leonard, a light box byÂ Alfredo Jaar, a book painting byÂ Paul Chan, a carbon on paper work fromÂ Frances Stark, a seven-panel plexi-work with spraypainted newsprint fromÂ Kerstin BrÃ¤tsch, a C-print from Hans Haacke, a firefly drawing fromÂ Philippe Parreno, a mixed-media NASA wall-piece fromÂ Tom Sachs, a unique print fromÂ Rachel Harrison, a vintage xerox poem fromÂ Carl Andre, an encyclopedia set of hand-made books fromÂ Josh Smith, a photograph fromÂ Klara Liden, a table-top sculpture fromÂ Carol Bove,Â Ed Ruschaâ€™s Rooftops Portfolio, as well as original works on canvas and linen byÂ Cecily Brown,Â Cheyney Thompson,Â Dan Colen,Â Adam McEwen,Â RH Quaytman, and many others.
These Auction works can be previewed at:Â www.paddle8.com/auctions/printedmatter
In addition to auction works, a vitrine-based exhibition of rare books, artworks and ephemera are available for viewing and purchase. This material includes some truly remarkable items from the personal collection of Robert Rauschenberg, donated by theRobert Rauschenberg FoundationÂ in memory of the late Printed Matter Board Member, bookseller and publisher, John McWhinnie. Among the works available are books and artworks fromÂ Marcel Duchamp,Â Willem de Kooning,Â Alfred Steiglitz,Joseph Beuys,Â Brigid Berlin (Polk), as well as aÂ Claes OldenburgÂ sculpture, a rareÂ William BurroughsÂ manuscript, and the Anthology Film Archive Portfolio (1982). Additional artistsâ€™ books have been generously donated by theÂ Sol LeWitt Estate. Works include pristine copies of Autobiography (1980), Four Basic Kinds of Straight Lines (1969), Incomplete Open Cubes (1974), and others.Â Three Star BooksÂ have kindly donated a deluxe set of their Maurizio Cattelan book edition. These works can be viewed and purchased at the space. For inquiries about available works please contact Printed Matterâ€™s Associate Director Max Schumann at 212 925 0325 orÂ firstname.lastname@example.org.
Co-chairs Ethan Wagner & Thea Westreich Wagner and Phil Aarons & Shelley Fox Aarons have guided the event, and Thea Westreich Art Advisory Services has generously lent its expertise and assisted in the production of the auction.
In anticipation of the event Printed Matter Executive Director James Jenkin said:
â€œNot only are we hopeful that this event will help us to put Sandy firmly behind us, it is incredibly special for us. To have so many artists and friends associated with our organization over its 36 years come forward and support us in this effort has been truly humbling.â€œ
Auction includes work by:Â
Michele Abeles, Ricci Albenda, Carl Andre, Cory Arcangel, Assume Vivid Astro Focus, Tauba Auerbach, Trisha Baga, John Baldessari, Sebastian Black, Mark Borthwick, Carol Bove, Kerstin BrÃ¤tsch, Sascha Braunig, Olaf Breuning, Cecily Brown, Sophie Calle, Robin Cameron, Sean Joseph Patrick Carney, Nathan Carter, Paul Chan, Dan Colen, David Kennedy Cutler, Liz Deschenes, Mark Dion, Shannon Ebner, Edie Fake, Matias Faldbakken, Dan Graham, Robert Greene, Hans Haacke, Marc Handelman, Rachel Harrison, Jesse Hlebo, Carsten HÃ¶ller, David Horvitz, Marc Hundley, Alfredo Jaar, Chris Johanson, Terence Koh, Joseph Kosuth, Louise Lawler, Pierre Le Hors, Leigh Ledare, Zoe Leonard, Sam Lewitt, Klara Liden, Peter Liversidge, Charles Long, Mary Lum, Noah Lyon, McDermott & McGough, Adam McEwen, Ryan McNamara, Christian Marclay, Ari Marcopoulos, Gordon Matta-Clark, Wes Mills, Jonathan Monk, Rick Myers, Laurel Nakadate, Olaf Nicolai, Adam O’Reilly, Philippe Parreno, Jack Pierson, Richard Prince, RH Quaytman, Eileen Quinlan, Sara Greenberger Rafferty, Ed Ruscha, Tom Sachs, David Sandlin, Paul Mpagi Sepuya, Cindy Sherman, Josh Smith, Keith Smith, Buzz Spector, Frances Stark, Emily Sundblad, Andrew Sutherland, Peter Sutherland, Sarah Sze, Panayiotis Terzis, Cheyney Thompson, Rirkrit Tiravanija, Nicola Tyson, Penelope Umbrico, Fredrik VÃ¦rslev, Visitor, Danh Vo, Dan Walsh and Ofer Wolberger.
The Spectacular of Vernacular
Walker Art Center, Minneapolis
128 pp, $19.99
neapolis, Minnesota. With 26 contemporary artists and more than 40 artworks included, Vernacular was sure to be fabulous. Sadly enough, I didnâ€™t get the chance to see this show, which is why this little catalogue is such a gem. To be honest, I picked it up because of snazzy cover, a detail of Lari Pittmanâ€™s A Decorated Chronology of Insistence and Resignation #30. Exhibition catalogues are best when they do more than simply document what has already occurred, when they instead take on their own identity and become a book. The Spectacular of Vernacular achieves this, mostly through the three contextualizing essays.
The introductory essay by Darsie Alexander, chiefÂ curator at The Walker, divides the concept of vernacular into three broad categories (Iâ€™m paraphrasing here): Location, Ritualistic,Â Amateur. She then uses these parameters to specifically discuss many of the works included in the show. Her definition of vernacular runs from regional signage to faux-naÃ¯ve thrift store art. Ultimately, I needed this essay to understand the connective tissue that linked these sometimes disparate pieces. For example the seemingly unrelated Beauty, by Jack Pierson andÂ Marina Abramovicâ€™s video Balkan Erotic Epic: Exterior Part 1 (B). After readingÂ Alexander’s essay, I came to see the relationship–using that which already exists (or at least seems to) to create something new. Something in theÂ family of found art, if you can call Abramovicâ€™s use of ancient religious ritual â€œfound.â€ I wonder what the viewer who didnâ€™t read the essay thought about the selections.
The concluding two essays were interesting but not necessary to understanding the exhibit. “The Vernacular,” excerpted from the 1984 book Discovering the Vernacular Landscape, by John Brinckerhoff Jackson discusses architecture, particularly of small town America. The book concluded with Andy Sturdevantâ€™s delightful essay “You Are Not Nowhere!: Visualizing the Heartland Vernacular.” In it, Sturdevant discusses the perception of the Midwest as â€œnowhere.â€ Funny and true.
Nestled between these essays are the images of the art itself. There are probably as many pages of text as there are of art. Each of the 26 artists is represented along with their statement. I was pleased to find William E Jones included in this exhibition. His 2009 piece, Killed, is a presentation of photographs commissioned by the Farm Security Administration (FSA). It was the policy of director Roy Stryker to punch a hole through the negative when a work was removed, or killed, from the collection. Jones presents these photographs complete with black void looming somewhere in the image. What is so interesting about these photos is that there is no explanation of why the image was killed, leaving the viewer to wonder just what about the photograph was unacceptable.
The other new work that caught my eye was Lorna Simpsonâ€™s Interior #1 and LA â€™57â€”NY â€™09. In these works both contain snapshots, home beauty photos really, of a young Los Angeles woman in the 50s. Alongside, Simpson has taken photos of herself in period clothes and in the same postures. Looking at the photos compelled me to wonder which was real, which was â€œauthentic.â€ I spent quite a while scouring the images trying to identify what made some look old while others were surprisingly contemporary.
Besides, the found photography element of the works by Jones and Simpson, what also connects them is that both artists manage to get the viewer, or reader in this case, to engage with a photograph in a different from what was intended by the original photographer. In a new context, the pictures are given new life. These works, and by extension, this catalog, drove me to the internet to read more about many of the pieces included in the exhibition. To me this makes the catalogue a success in its own right.
The Spectacular of Vernacular continues on to Huston, Texas, July 23-September 18, 2011; Mont Clair, New Jersey, October 8- January 1, 2012; Chapel Hill, North Carolina, January 14-March 18, 2012.