The Angry Heart: AIDS, Art, Activism
Nov
17
4:00 PM16:00

The Angry Heart: AIDS, Art, Activism

 Elia Alba,  Hands (Sacred Heart 1) , 2013. Silk screen on fabric, wire, fiberfil, acrylic and thread.

Elia Alba, Hands (Sacred Heart 1), 2013. Silk screen on fabric, wire, fiberfil, acrylic and thread.

Presented in partnership with GMHC.

The Angry Heart: AIDS, Art, Activism will convene a panel of artists, New York-based arts organizations, and the NYC Department of Health and Mental Hygiene to engage in a discussion exploring the inter generational relationship between art, activism, and the HIV/AIDS crisis in New York City.  Moderated by As Far as the Heart Can See artist, Ivan Monforte. Panelists include: Linda Earle (Board Member, Art Matters), Lucia Torian (Director, HIV Epidemiology Program, NYC Department of Health and Mental Hygiene), Esther McGowan (Executive Director, Visual AIDS), Gonzalo Casals (Executive Director, Leslie Lohman Museum), Travis Chamberlain (Managing Director, QUEER | ART), and Luna Ortiz (Artist; Senior Community Health Specialist, GMHC).

COMMUNITY PARTNER

Gay Men’s Health Crisis (GHMC) is the world’s first and leading provider of HIV/AIDS prevention, care and advocacy. Building on decades of dedication and expertise, we understand the reality of HIV/AIDS and empower a healthy life for all. GMHC fights to end the AIDS epidemic and uplift the lives of all affected. To learn more about GMHC or how you can donate, volunteer, tour the agency, or become a client, visit gmhc.org, contact GMHC by email, or call 212.367.1000. GMHC is located at 307 West 38th Street, New York, NY 10018.

This event takes place in conjunction with As Far as the Heart Can See (September 21 – November 17, 2018).


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The Non-Professional Development Workshop
Nov
10
3:00 PM15:00

The Non-Professional Development Workshop

Crop1mt-nder-nonprofessional-broadside.jpg

The Non-Professional Development Workshop
In partnership with the Artists Alliance Inc. (AAI)

This workshop brings together artists from EFA Project Space, Artists Alliance Inc., and other organizations for a conversation on the topic of the over-professionalization of the arts.

Professional development programs endeavor to give artists the practical tools to survive in the art world in this time of rising expectations, and education and living costs.  This training, with its emphasis on “how to emerge, how to network and build your name” is often focused on art as a means of production for the market, instead of art as a form of creative expression.  In its well-intentioned mentoring on strategic planning for the career track, it --purposefully or not-- sets expectations about what constitutes professional success, constraining the possibilities for making art and being an artist. The Anti-Professional Development Workshop seeks to provide alternative approaches, reflections and humor on the evolving realities of the creative person and extend the definition of what it means to be an artist in the 21st century. This event will be presented in collaboration with Artist Alliance Inc.

Founded in 1999, Artists Alliance Inc. (AAI) is an artist and curator-centered 501c3 non-profit organization committed to supporting emerging and underrepresented contemporary artists. Through innovative programming, experimentation and collaboration, AAI serves as a resource and forum to engage the community of the Lower East Side.

PARTICIPANTS

Bill Carroll is director of the Studio Program at EFA.

Mary Ting is a visual artist working in installation, drawing, sculpture, and community projects that examine cultural history, grief and nature.  Her varied work reflects on our stories - our devotions and desperations. Recent solo exhibitions in the NYC area include Lambent Foundation, Dean Project, metaphor contemporary art, and Kentler International Drawing Space and at the Wake Forest University, North Carolina.   International group shows include: Social Justice and the Right to be Human at the Athens School of Fine Art, Greece; 2011 Art Stays 9 ,Slovenia; 2009 International Women’s Biennale, Incheon, Korea; and the Sofia Paper Biennial, Bulgaria. A two-time recipient of the New York Foundation for the Arts fellowship,  2016 Joan Mitchell Center New Orleans Residency, 2016 Lower Manhattan Cultural Council  In Process Residency, 2010 Gottlieb Foundation individual grant, Lambent Fellowship,  Pollack Krasner Foundation among others.  Residencies include MacDowell Colony, Lower Eastside Printshop Special Editions, Dieu Donne Papermill Workspace, and others. Mary Ting currently teaches at CUNY John Jay College in the studio art department and the Sustainability and the Environmental Justice Program.  She is also  faculty at Transart Institute MFA Program, New York/Berlin.  Mary is an avid gardener certified master composter and citizen She is also a frequent lecturer, independent curator and writer.  The crazed ravaging of the earth, the displacement of vulnerable communities and pending extinctions is what keeps her up at night and also awakens her in the morning. She is currently researching and writing about Chinese Modern History, Trauma, and the Lust for Endangered Species Parts.  Mary has a bachelors degree from Parsons School of Design, NYC, a diploma from the Central Academy of Fine Arts, Beijing in Chinese folk art studies, and a masters degree from the Vermont School of Fine Art. 

Jodi Waynberg is Executive Director at Artists Alliance Inc.

Martha Wilson is a pioneering feminist artist and gallery director, who over the past four decades created innovative photographic and video works that explore her female subjectivity through role-playing, costume transformations, and “invasions” of other people’s personae. She began making these videos and photo/text works in the early 1970s while in Halifax in Nova Scotia, and further developed her performative and video-based practice after moving in 1974 to New York City, embarking on a long career that would see her gain attention across the U.S. for her provocative appearances and works. In 1976 she also founded and continues to direct Franklin Furnace, an artist-run space that champions the exploration, promotion and preservation of artists’ books, installation art, video, onliine and performance art, further challenging institutional norms, the roles artists play within society, and expectations about what constitutes acceptable art mediums.

This event takes place in conjunction with As Far as the Heart Can See (September 21 – November 17, 2018).

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Linda Mary Montano: AGING AS ART and Billy X Curmano: Performing for the Dead
Nov
3
6:30 PM18:30

Linda Mary Montano: AGING AS ART and Billy X Curmano: Performing for the Dead

 Image courtesy Linda Mary Montano

Image courtesy Linda Mary Montano

This event will bring together two of the movers and shakers of the performance art and art in everyday life fields in the U.S. for a participatory engagement with the audience dealing with the presenters’ experiences with aging and dying. Montano sees her body as a canvas, a sculpture that is chiseled by time as she grows older. Curmano has daringly orchestrated his own funeral in order to perform for the dead, and as an act of self- transformation: a rite of passage.

MY MOTHER ARTIST TEACHER AND FRIEND documents Mildred Kelly Montano's art-life and ability to make art a tool of healing and self therapy.  She was my first art teacher and demonstrated how I could do the same, that is, turn my pain into beauty. During the video, we will all be invited to performatively interact with sound and use my mother's courage as inspiration and a way to create  good medicine for ourselves. Transformation is always available. 

Curmano says: “Artists often paint fantasies, I've tried to live mine and as such I was buried alive for three days in 1983. The trappings of a traditional Italian Wake, New Orleans style Jazz Funeral and International Postal Exhibition about death were primarily for the living. The strenuous preparations followed by a seven-day fast, burial and creative output in extreme and isolated conditions served as an initiation and perhaps doorway to new levels of artistic development for me, but in the end it was all quite simply a "Performance for the Dead."

PARTICIPANTS

Linda Mary Montano is a seminal figure in contemporary feminist performance art and her work since the mid 1960s has been critical in the development of video by, for, and about women. Attempting to dissolve the boundaries between art and life, Montano continues to actively explore her art/life through shared experience, role adoption, and intricate life altering ceremonies, some of which last for seven or more years. Her artwork is starkly autobiographical and often concerned with personal and spiritual transformation. Montano’s influence is wide ranging – she has been featured at museums including The New Museum in New York, MOCA San Francisco and the ICA in London.

Billy X. Curmano is an award winning artist/adventurer and former McKnight Foundation Interdisciplinary Art Fellow. He was trained as a painter and sculptor (If, of course, painters and sculptors can be trained). His more traditional objects have been exhibited both here and abroad since a first solo show at the University of Wisconsin Milwaukee in 1970. Notably, some of his paintings represented the USA in the “III Vienna Graphikbiennale” (Austria). His works have also found their way to the Museum of Modern Art in New York and other prestigious collections. Billy X. came to music through the back door using soundscapes in “live art” and is probably best known for edgy performances. His more eccentric pieces include a 3-day live burial, 2,000 plus mile Mississippi River Swim, 40-day Death Valley Desert Fast and a sojourn to the Arctic Circle on public transport. He’s won awards for performance and film as well as a solo CD. Billy X. has toured every way imaginable including 6,200 miles and 15 cities in 45 days on a Greyhound Bus and intrigued audiences from the Dalai Lama's World Festival of Sacred Music in Los Angeles to New York City's famed Franklin Furnace. He's been a "Pick of the Week" in the L.A. Weekly and on the City Pages "A List". Journalists have dubbed him the court jester of Southern Minnesota. He has been fortunate to study briefly with John Cage, Rachel Rosenthal, Babtundi Olatunji and Joseph Shabalala.

This event takes place in conjunction with As Far as the Heart Can See (September 21 – November 17, 2018).  Additional support provided by: Reimagine End of Life — a citywide event exploring big questions about life and death.

 Billy X. Curmano, Performance for the Dead

Billy X. Curmano, Performance for the Dead

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Screening: Beth Stephens’ and Annie Sprinkle’s Good Bye Gauley Mountain: An Eco-Sexual Love Story (2013)
Nov
1
6:30 PM18:30

Screening: Beth Stephens’ and Annie Sprinkle’s Good Bye Gauley Mountain: An Eco-Sexual Love Story (2013)

 Image courtesy of  Beth  Stephens and Annie Sprinkle

Image courtesy of Beth Stephens and Annie Sprinkle

The screening will be accompanied by organic popcorn and ice-cold limeade, and will be followed by an open discussion on current ecological as well as gender-related issues. The subject of this film is as relevant today as it was when it was made in 2013, as current U.S. presidential orders have been dismantling major laws respecting the Earth. 

Goodbye Gauley Mountain: An Ecosexual Love Story is an autobiographical documentary exploring the “pollen-amorous” love affair between artist-couple Beth Stephens and Annie Sprinkle, and the biodiverse Appalachian Mountains. This documentary follows Stephens and Sprinkle on a journey home to Beth’s native West Virginia, to talk to rural community members, environmental activists, family and friends in order to speak out against mountain top removal (MTR) mining practices, which are destroying the forests, towns, and people they love.

Link to preview: http://sexecology.org/projects/goodbye-gauley-mountain-an-ecosexual- coming-out-story/

Q&A Participants

Lillian Ball is an ecological artist/activist working on wetland issues with a multidisciplinary background in anthropology, ethnographic film, and sculpture. She exhibits and lectures internationally, receiving fellowships from the Guggenheim Foundation, NEA and NYFA. She is a Ramsar Culture Network member, an advisor for the NYSDEC Awards, and a longtime appointee of Southold Land Preservation Committee. Ball’s ongoing WATERWASH® project series combines long-term public art with native habitat restoration, storm water remediation, and conservation through educational outreach. The original prototype transformed a water access park and was funded by the Long Island Sound Futures Fund as a concept that can be adapted to coastal situations worldwide.  WATERWASH Bronx River, is an innovative collaborative green infrastructure solution to runoff pollution. Rocking the Boat job-skills apprentices planted 10,000 native plants. It cleans commercial parking runoff before entering the river, opened private property to pubic use, and was funded by the NYS Attorney General’s Office. http://www.lillianball.com/

Brooke Singer engages technoscience as an artist, educator, nonspecialist and collaborator. Her work lives “on” and “off” line in the form of websites, workshops, photographs, maps, installations, public art and performances that often involves participation in pursuit of social change. She is Associate Professor of New Media at Purchase College, State University of New York, a former fellow at Eyebeam Art + Technology Center (2010-11), co-founder of the art, technology and activist group Preemptive Media (2002-2008) and co-founder of La Casita Verde (2013-) a community garden and living lab in South Williamsburg, Brooklyn. She is in the collections of the Whitney Museum of American Art, Microsoft and Melva Bucksbaum and Raymond Learsy. http://www.brookesinger.net/

About the filmmakers

Annie Sprinkle was a New York City prostitute and porn star for twenty years, then morphed into an artist and sexologist.  She has passionately explored sexuality for over forty years, sharing her experiences through making her own unique brand of feminist sex films, writing books and articles, visual art making, creating theater performances, and teaching. Sprinkle has consistently championed sex workers’ rights and health care and was one of the pivotal players of the Sex Positive Movement of the 1980's. Sprinkle has been collaborating on art projects with her partner, an artist and UCSC professor, Elizabeth Stephens. They are movers and shakers in the new “ecosex movement,” committed to making environmentalism more sexy, fun and diverse.

Beth Stephens is an interdisciplinary artist, activist and a professor at UC Santa Cruz. Her visual and performance work has explored themes of the body, queerness, and feminism for over 25 years.  She has exhibited and performed in many museums, galleries and theaters across the U.S. and Europe, such as the San Francisco Museum of Modern Art, the Vortex in Austin,  PS1 in New York City, the Museo Reina Sofía in Madrid, Spain and the Museum Kunstpalast in Dusseldorf, Germany. SexEcology is the current focus of Stephens’ research. Stephens and Annie Sprinkle coined the term and have been developing this new field of research over the course of their twelve-year collaboration. They shift the metaphor of Earth as mother to Earth as lover, to inspire others to engage in a more mutual relationship with nature and with each other.

This event takes place in conjunction with As Far as the Heart Can See (September 21 – November 17, 2018).

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In Honor Of …
Oct
20
1:00 PM13:00

In Honor Of …

 Image courtesy of Amelia Iaia

Image courtesy of Amelia Iaia

A performance series in the gallery hosted in conjunction with EFA Open Studios. Performers were nominated by artists featured in As Far as the Heart Can See, and include former mentees, current students, assistants, and younger artists whose work they admire: Nina Isabelle, Sindy Butz, Elena Bajo, Xinan (Helen) Ran, and Larissa Gilbert.

PARTICIPANTS

Elena Bajo is an artist, choreographer and cofounder of the LA collective D’CLUB dedicated to climate action. Her artistic practice occurs at the intersection of anarchist thought, social ecology and metaphysics, engaging ideas of nature, and the body as a political and social entity questioning its relationship to ecologies of capital. She works both individually and collectively, using an interdisciplinary approach, sculpture, performance, architecture, life sciences, text and video. In 2017 she was a recipient of the Audemars Piguet award, ArcoMadrid and the Botin Foundation International Visual Arts Grant award. She has exhibited widely in the U.S. and abroad. She divides her time between America and Europe. Bajo’s performance at EFA is supported by a grant from the Foundation for Contemporary Arts and in-kind support from Spain Arts and Culture.

Sindy Butz is a New York-based interdisciplinary visual artist, somatic movement educator, and Butoh dancer. Butz's research-based practice spans the disciplines of performance art, body art, multisensory installation, performance-based photography/video art, contemporary ceramics, and olfactoric projects. In her time-based work, she investigates belief systems, ideologies, sociopolitical transformation processes, identity, human biology, memory formation, and the collective unconscious. Butz recently concluded the Linda Mary Montano Art/Life Institute residency in Kingston and has been nominated for the Greenwich House Pottery Residency. She has exhibited nationally and internationally. She earned a B.F.A. in sculpture from AKI- ARTez Netherland, and an M.F.A. in Art in Context from the University of the Arts (UdK), Berlin Germany.

Larissa Gilbert is an artist and filmmaker based in Los Angeles, CA. They received their BFA from the Cooper Union in New York City. Larissa’s work investigates the presence of European myth, fairytale, and ritual in cinema and pop culture and how this affects community segregation, racial hierarchy, and gender binaries in the United States. Past and current research includes My Little Pony, Greek Mythology, Playboy, Barbie, Sorority Hazing, and Cults. Recently, they have exhibited and screened their work at the Nakanojo Biennial in Japan, Anthology Film Archives, and the historic Cooper Union Great Hall.

Nina Isabelle is a process-based artist working with language, perception, action and phenomena. As a way to reveal information lateral to everyday awareness, Isabelle builds systems designed to locate, decipher and authenticate instinct, choice, action and awareness. Her approach aims to tether the collective, personal, and regional narratives that drive the performance space machine toward trajectories of new perception, belief, and possibilities.

Born and raised in China, Xinan (Helen) Ran received her BFA from Pratt Institute in 2017 and is an incoming Hunter College MFA Painting candidate. Her multimedia exploration constructs fabricated memories via defamiliarized norms and textures. Xinan is a 2016 Ox-Bow fellow and an alumnae of Pearson College UWC (2013).

This event takes place in conjunction with As Far as the Heart Can See (September 21 – November 17, 2018).

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Ongoing: Ivan Monforte – "There But For the Grace of God Go I"
Sep
29
to Nov 17

Ongoing: Ivan Monforte – "There But For the Grace of God Go I"

 Image courtesy Ivan Monforte

Image courtesy Ivan Monforte

Saturdays: September 29, October 13, October 27, 12:00 PM - 6:00 PM
Saturday, November 17, 12:00 – 4:00 PM, followed by a panel discussion with GMHC and invited guests from 4:00 - 5:30 PM.

A social sculpture by Ivan Monforte, inviting the public to participate in free and confidential HIV testing administered by Gay Men’s Health Crisis.

RSVP on Facebook

ARTIST

New York-based artist Ivan Monforte was born in Merida, Yucatan, Mexico. He received a B.A. from the University of California, Los Angeles in 1996, and an M.F.A. from New York University in 2004. He attended the Skowhegan School of Painting and Sculpture in 2004.  He has shown at Bronx Museum of the Arts, Longwood Art Gallery, Queens Museum of Art, El Museo del Barrio, Artists Space as part of PERFORMA05, Elizabeth Foundation Gallery, Aljira, a Center for Contemporary Art, La MaMa Galleria, and Socrates Sculpture Park.  He is the recipient of a UCLA Art Council Award, a Lambent Fellowship in the Arts from the Tides Foundation, and an Art Matters grant for research in Samoa.  He has participated in residencies at Sidestreet Projects, Lower East Side Print Shop, and Center for Book Arts.

COMMUNITY PARTNER

Gay Men’s Health Crisis (GHMC) is the world’s first and leading provider of HIV/AIDS prevention, care and advocacy. Building on decades of dedication and expertise, we understand the reality of HIV/AIDS and empower a healthy life for all. GMHC fights to end the AIDS epidemic and uplift the lives of all affected. To learn more about GMHC or how you can donate, volunteer, tour the agency, or become a client, visit gmhc.org, contact GMHC by email, or call 212.367.1000. GMHC is located at 307 West 38th Street, New York, NY 10018.

This event takes place in conjunction with As Far as the Heart Can See (September 21 – November 17, 2018).

 

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As Far as the Heart Can See Opening Reception
Sep
21
6:00 PM18:00

As Far as the Heart Can See Opening Reception

  Image: Beth Stephens and Annie Sprinkle, Blue Wedding to the Sea, 2009.

Image: Beth Stephens and Annie Sprinkle, Blue Wedding to the Sea, 2009.

Please join us for the opening reception for As Far as the Heart Can See, curated by Nicolás Dumit Estévez Raful.

Friday, September 21, 2018
Curatorial Walkthrough: 5 pm – 6 pm
Opening Reception: 6 pm – 8 pm

Opening night performances by "Threat Level 3" (Billy X Curmano, John Pendergast and Steve Smith) and Praxis (Delia and Brainard Carey).

Artists: Nao Bustamante, Billy X. Curmano, Irina Danilova & Project 59, Beatrice Glow, Ivan Monforte, Linda Mary Montano, Praxis (Delia & Brainard Carey), Beth Stephens & Annie Sprinkle, and Martha Wilson & Franklin Furnace Archive

Curated by Nicolás Dumit Estévez Raful — whose elusive creative path embodies intimacy, healing, empathy, and radical generosity — As Far as the Heart Can See focuses on figures who parry institutional canons and over-professionalization to pursue art as a call to the heart. In the words of Linda Mary Montano, this is art that “gives one permission to…”

Highlighting longform and durational work, the exhibition also features performance documentation, ephemera, manifestos, interviews, and artist proposals culled from nearly 20 years of the Franklin Furnace Fund for Performance Art; a testament to the transient and intransigent lifework of cultural producers.

Artists fatigued by pressure to both make and “be” objects, take note: As Far as the Heart Can See assembles those who have shifted gear, broken away, found shelter in the wilderness, or ventured astray from art-historical validation in order to find truth. Many of those in As Far as the Heart Can See refer to what they do as a ‘vocation,’ suggesting bold acts and a readiness to trade normative success for something more. These artists construct new art worlds and disrupt disciplines such as ecology, healthcare, thanatology, gender studies, economics, anthropology, and social work.

 

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In Perpetuity: Tenants Meeting
Jul
13
6:13 PM18:13

In Perpetuity: Tenants Meeting

 Image: courtesy of Wong Kit Yi

Image: courtesy of Wong Kit Yi

In Perpetuity: Tenants Meeting
Friday, July 13, 2018
6:13 - 9:30 PM


Join us for a a public conversation-wanting-to-be-podcast hosted by Wong Kit Yi and Sarah Demeuse, followed by a closing reception for Seven Senses.

Wong's film "Uploading Consciousness to a Lotus Root" (2018) is the common ground for set of questions exploring the conundrum of "How long is forever?" Seeking answers from genetics, biotechnology, legal contracts, and people like you, Wong Kit Yi and Sarah Demeuse will weave their findings into a living dispersed organism, reminiscent of a magic mushroom.

We begin at 6:13 PM sharp. Please make sure your phones are charged and minds are expandable!

The evening continues with a closing reception for the SHIFT Residency Exhibition, Seven Senses, on view from June 15 - July 14, 2018.

Gallery Hours: Wednesday - Saturday, 12 - 6 PM

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Cut Tongue Heart Speak with Natalie Diaz and Tania Willard
May
3
6:00 PM18:00

Cut Tongue Heart Speak with Natalie Diaz and Tania Willard

 Tania Willard,  Only Available Light , from the series  Only Available Light , 2016. Archival film (Harlan I. Smith,  The Shuswap Indians of British Columbia , 1928), projector, selenite crystals and photons. Film 8:44. Original composition by Leela Gilday. Photo: Toni Hafkenscheid.

Tania Willard, Only Available Light, from the series Only Available Light, 2016. Archival film (Harlan I. Smith, The Shuswap Indians of British Columbia, 1928), projector, selenite crystals and photons. Film 8:44. Original composition by Leela Gilday. Photo: Toni Hafkenscheid.

Cut Tongue Heart Speak with Natalie Diaz and Tania Willard
In partnership with Endangered Language Alliance
Thursday, May 3, 2018
6 - 7:30 PM

Please RSVP to projectspace@efanyc.org.


Language revitalization and reclamation is central to the practices of a generation of Native Artists moving between urban and rural communities. Artist Tania Willard and poet Natalie Diaz will have a public discussion about the motivation and struggles behind learning to speak Secwepémcstin (Secwépemculecw/Interior Salish, British Columbia, Canada) and Mojave (Arizona, USA) respectively—learning the languages of their parents as a second language and as a subject that informs their different disciplines. The discussion will focus on the value of inherent meaning, and knowledge contained in distinct languages. Presented in partnership with Endangered Languages Alliance (Brooklyn), an organization providing opportunities for education and outreach around the preservation of the estimated 800 languages spoken in New York.

PARTICIPANTS

Tania Willard is from the Secwépemc Nation, Interior British Columbia. She works within the shifting ideas of contemporary and traditional as it relates to Indigenous cultural arts and production. Her curatorial projects include Beat Nation: Art Hip Hop and Aboriginal Culture, The Vancouver Art Gallery with Kathleen Ritter, Unceded Territories: Lawrence Paul Yuxweluptun at the Museum of Anthropology with Karen Duffek, Nanitch: Historical BC photography, and Landmarks2017/Repéres2017. Her art practice centres around BUSH gallery, a site of land-based experimental and conceptual Indigenous art futurity.

Natalie Diaz was born and raised in the Fort Mojave Indian Village in Needles, California, on the banks of the Colorado River. She is Mojave and an enrolled member of the Gila River Indian Tribe. Her first poetry collection, When My Brother Was an Aztec, was published by Copper Canyon Press in 2012. She is a Lannan Literary Fellow and a Native Arts Council Foundation Artist Fellow. She was awarded a Bread Loaf Fellowship, the Holmes National Poetry Prize, a Hodder Fellowship, and a PEN/Civitella Ranieri Foundation Residency, as well as being awarded a US Artists Ford Fellowship. Diaz teaches at the Arizona State University Creative Writing MFA program. She splits her time between the east coast and Mohave Valley, Arizona, where she works to revitalize the Mojave language.

COMMUNITY PARTNER

The Endangered Language Alliance (ELA)
is an independent non-profit based in New York City and the only organization in the world focused on the immense linguistic diversity of urban areas. Many of the New York area’s estimated 800 languages are highly endangered; for many, New York is a major center. ELA documents and describes underdescribed and endangered languages, educating a larger public and collaborating with communities.

This event takes place in conjunction with #callresponse (March 23 - May 5, 2018).

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Apr
28
4:00 PM16:00

Feet on The Ground Performance

Feet on the Ground.gif

Saturday, April 28, 2018
4 - 6 PM

Please RSVP to projectspace@efanyc.org.

Feet on the Ground is a participatory group performance and art collaboration that asks, 'how do we decolonize ourselves?' Featuring a custom-made toolbox containing items designed by artists Esther Neff, IV Castellanos, and Maria Hupfield, the artists invite the audience to participate in empowering the collaborative and considerate by making new items for the toolbox using materials provided onsite. Conducted as an ongoing series of performances, each one informing the next, this project brings together survival strategies of politically-minded performance artists.

The artists will introduce new items, and collaborate in the space with visitors and invited guests during regular gallery hours, leading up to this two-hour performance. For EFA's iteration of #callresponse, the artists have created a custom bookshelf and triangular bench-style pedestal. Unlike the military term “boots on the ground” the title Feet on The Ground is one where direct community interaction and liberation of the undressed foot takes priority over combat. Previous iterations of this project were performed in New York at MAWA Gallery, Bullet Space, and Emily Carr University of Arts and Design (Vancouver, Canada).

PARTICIPANTS

Maria Hupfield
is martin clan, Anishinaabe and a member of Wasauksing First Nation, Ontario, based in Brooklyn NY. Her solo traveling exhibition The One Who Keeps on Giving premiered at The Power Plant in 2017 and was featured in Art in America. She is the first Indigenous Artist Resident at ISCP 2018, has performed and exhibited at Site Santa Fe Biennale 2016 and is a recipient of the Joan Mitchell Foundation Painters and Sculptures Award. She is a member of Social Health Performance Club and co-owns Native Art Department International with artist Jason Lujan.

IV Castellanos is a trans Bolivian-American sculptor and abstract performance artist based in Brooklyn, NY. They were a 2017 AIR Chez Bushwick resident with collaborator Amanda Hunt and Gibney Work Up 2017. IV is Founder of the IV Soldiers Gallery 2014, Founder of the Feminist Art Group 2015 in collaboration with Esther Neff and is a regular performing member of the Social Health Performance Club.

Esther Neff is an artist, organizer, and independent theorist whose work deals with forms-of-life, mentalities, social gathering, and ways-of-seeing (theories and beliefs). She is the founder of Panoply Performance Laboratory (PPL), a lab site in Brooklyn, a performance-making collective, and thinktank. Neff’s performance work (solo and as/with PPL) has been performed at Momenta Art, The Kitchen, The New Museum, Dixon Place, Bronx Museum, 14 Wall Street (NYC) as part of festivals in Chicago, Berlin, Copenhagen, and elsewhere across the USA and around the world. She is also the instigator of Brooklyn International Performance Art Foundation (BIPAF), PERFORMANCY FORUM, and is currently co-opening a life-art lab in St, Louis called MARSH (Materializing and Activating Radical Social Habitus) with her mother.

This event takes place in conjunction with #callresponse (March 23 - May 5, 2018).

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Honoring Our Sisters Roundtable
Mar
28
6:00 PM18:00

Honoring Our Sisters Roundtable

 Photo: Toni Hafkenscheid.

Photo: Toni Hafkenscheid.

Honoring Our Sisters Roundtable
Presented in partnership with AMERINDA
Wednesday, March 28, 2018
6 - 8:30 PM


Please RSVP to projectspace@efanyc.org.

Honoring Our Sisters Roundtable is led by Indigenous women in conversation with guest respondents working at the intersection of art, advocacy and radical solidarity building with Indigenous peoples. Work from the exhibit will serve as a point of departure for conversation on ethical collaboration, recentering institutional power, and critical accountability to Indigenous Nations leading the movement for resurgence, decolonization, and reclamation of their homelands in North America. Participants include: Audra Simpson, Professor Anthropology Columbia University, Crystal Migwans, PhD Native Art History, Columbia University, Tarah Hogue, Senior Curatorial Fellow, Indigenous Art, Vancouver Art Gallery, with guest respondants Rocio Aranda-Alvarado, Senior Curator El Museo del Barrio, Jaskiran Dhillon, Assistant Professor of Global Studies and Anthropology, The New School, Carin Kuoni, Director/Chief Curator, Vera List Center for Arts and Politics, The New School, and Melissa Iakowi:he'ne' Oakes, Social Advocate and Organizer, American Indian Community House,. Moderator: Maria Hupfield, Artist.

PARTICIPANTS

Audra Simpson is Professor of Anthropology at Columbia University. She is the author of Mohawk Interruptus: Political Life Across the Borders of Settler States (Duke University Press, 2014), winner of the Native American and Indigenous Studies Association’s Best First Book in Native American and Indigenous Studies Prize, the Laura Romero Prize from the American Studies Association as well as the Sharon Stephens Prize from the American Ethnological Society (2015). She is co-editor of Theorizing Native Studies (Duke University Press, 2014). She has articles in Theory & Event, Cultural Anthropology, American Quarterly, Junctures, Law and Contemporary Problems and Wicazo Sa Review. In 2010 she won Columbia University’s School for General Studies “Excellence in Teaching Award.” She is a Kahnawake Mohawk.

Crystal Migwans is an Anishinaabekwe of Wikwemikong Unceded First Nation, and the place she calls home is the Mahzenahzing (Painted) River. A multimedia artist by training, Crystal's path turned to research and community arts during her time as Curatorial Assistant at the Ojibwe Cultural Foundation in M'Chigeeng, Canada. She is currently in the Art History PhD program at Columbia University in New York, where she look for echoes of an Anishinaabe artistic legacy in the archives of the colonial metropolis.

Tarah Hogue is a curator and writer of Métis and Dutch Canadian ancestry. She is the inaugural Senior Curatorial Fellow, Indigenous Art at the Vancouver Art Gallery and was the 2016 Audain Aboriginal Curatorial Fellow at the Art Gallery of Greater Victoria. Hogue was curator in residence with grunt gallery between 2014-2017, and has curated exhibitions at the Morris and Helen Belkin Art Gallery, Or Gallery, and SFU Gallery.

Rocío Aranda-Alvarado was born in Santiago de Chile. She is the Senior Curator at El Museo del Barrio in New York City, where she is working La Bienal 2018 El Museo’s biennial of emerging artists and A Brief History of (Some) Things, an exhibition exploring the persistence of Mesoamerican and Indigenous Caribbean imagery in contemporary art. She organized Presente! The Young Lords in New York, and Antonio Lopez: Future Funk Fashion, both nominated among the best exhibitions for 2015 and 2016 by numerous publications. Aranda-Alvarado teachers Contemporary U.S. Latinx Art, Modern and Contemporary Latin American art at The City College of New York. Publications include catalogue essays for the Museum of Modern Art, the Center for Advanced Study in the Visual Arts (National Gallery of Art, Washington DC), and El Museo del Barrio, Nka: Journal of Contemporary African Art, Art Nexus, Review, the journal of the Americas Society, NYFA Quarterly, BOMB and American Art.

Jaskiran Dhillon is a first generation academic and organizer who grew up on Treaty Six Cree/Métis Territory in Saskatchewan, and an Assistant Professor of Global Studies/ Anthropology, The New School New York. Her first book Prairie Rising: Indigenous Youth, Decolonization, and the Politics of Intervention (2017), provides a critical account of settler state violence in the lives of Indigenous Youth.

Carin Kuoni (M.A. University of Zurich; B.A. Sorbonne) is director/chief curator of the Vera List Center for Art and Politics at The New School and teaches at The New School. A founding member of the artists' collective REPOhistory, Kuoni has curated and co-curated numerous transdisciplinary exhibitions on issues such as contemporary Native American identity and colonial, 19th-century portraiture; democratic, participatory processes; artistic and social networks; new notions of transient and temporary spaces; or agency. Kuoni is the recipient of a 2014 Andy Warhol Foundation Curatorial Fellowship, directed SITAC XII: Arte, justamente in Mexico City in 2015, and is a Travel Companion for the 57th Carnegie International in 2018.

Melissa Iakowi:he'ne' Oakes is a Mohawk woman, Snipe Clan. She resides in Akwesasne Mohawk Territory, where she was born and raised, and New York City. She has trained in northern and southern tribal art, fashion, business, politics, leadership and studied in Montréal, NYC, Shanghai, Beijing, and Hong Kong. At an early age, she experienced Canadian Army tanks in her backyard, blockades on her street, and no school due to military occupation on her reservation territory for months at a time. Activism is a central part of Iakowi:he'ne' life experience from the Oka Crisis, to Idle No More, the Two Row Wampum Renewal Campaign, and NoDAPL to the Mohawk Warrior Society. 

Maria Hupfield is martin clan, Anishinaabe and a member of Wasauksing First Nation, Ontario, based in Brooklyn NY. Her solo traveling exhibition The One Who Keeps on Giving premiered at The Power Plant in 2017 and was featured in Art in America. She is the first Indigenous Artist Resident at ISCP 2018, has performed and exhibited at Site Santa Fe Biennale 2016 and is a recipient of the Joan Mitchell Foundation Painters and Sculptures Award. She is a member of Social Health Performance Club and co-owns Native Art Department International with artist Jason Lujan.

COMMUNITY PARTNER

Established in 1987, American Indian Artists Inc. (AMERINDA) is a community-based multi-arts organization that works to empower Native Americans and foster intercultural understanding of Native culture. Located in New York, AMERINDA is the only Native American multi-arts organization of its kind in the U.S., and has been widely recognized for its artistic and cultural integrity.  In addition to curated exhibitions of contemporary art, AMERINDA’s new non-fiction volume, No Reservation: New York Contemporary Native American Art Movement, distributed by D.A.P., reveals a previously hidden history of contemporary Native American art in New York City. The publication marks the first time that a diverse group of Native visual and performing artists, filmmakers and writers has been defined and given a name.  The encounter of Native practices and influences with mainstream art in New York City, created a community in which relationship between art and indigenous sensibility was recognized and nurtured. The Movement is the only such movement of its kin outside of Santa Fe, NM and and important part of American history.

This event takes place in conjunction with #callresponse (March 23 - May 5, 2018).

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Ursula Johnson, Ke’tapekiaq Ma’qimikew: The Land Sings with Jennifer Kreisberg and Laura Ortman
Mar
25
1:00 PM13:00

Ursula Johnson, Ke’tapekiaq Ma’qimikew: The Land Sings with Jennifer Kreisberg and Laura Ortman

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Sunday, March 25, 2018
1 - 3 PM
The High Line - 14th Street Passage
(Between W. 13 & W. 14)
Rain location: EFA Project Space

Please RSVP to projectspace@efanyc.org.


Ursula Johnson invites Tuscarora singer Jennifer Kreisberg and Brooklyn-based violinist Laura Ortman to collaborate and create a song from and for the land. Ke’tapekiaq Ma’qimikew: The Land Sings is a series of ongoing performances or “visitations” inspired by Indigenous song lines—singing the land—as a navigational and relational practice. For this iteration Johnson and Ortman will use duration performance, song, violin and drum to enact their relations and responsibility to the land and waters of Lenapehoking / New York. Sited on The High Line, an elevated greenway built on a repurposed rail line, the New York visitation highlights the way humans have impacted the landscape, displacing the voices of Indigenous peoples.

PARTICIPANTS

Ursula Johnson is the winner of the 2017 Sobey Art Award. She is an interdisciplinary artist and an enrolled member of the Eskasoni First Nation Mi’kmaq Community on Cape Breton Island based out of Dartmouth NS. Active in Mi’kmaw language revitalization and descendent from a long line of esteemed basketmakers, her nationally touring solo show Mi'kwite'tmn (Do You Remember) considers the consumption of traditional knowledge within colonial institutions. Johnson was awarded The Hnatyshyn Foundation Reveal Indigenous Art Award 2017.

Jennifer Kriesberg (Tuscarora, North Carolina) comes from four generations of Seven Singing Sisters through the maternal line. Kreisberg opened the Women’s March in Washington DC. She is an accomplished singer, composer, producer, teacher, activist and member of the critically acclaimed Native women's trio Ulali. Frequently called upon to guest lecture and conduct vocal workshops throughout the United States and Canada, Kreisberg has worked in film and television and toured extensively internationally. Performance venues include Carnegie Hall, The John F. Kennedy Center for the Performing Arts, The Smithsonian Institution, National Museum of the American Indian, The Olympics, and elsewhere. 

An inquisitive and exquisite violinist, Laura Ortman is versed in Apache violin, piano, electric guitar, keyboards, and pedal steel guitar, often sings through a megaphone, and is a producer of capacious field recordings. She has performed at The Whitney Museum of American Art and The Museum of Modern Art in New York, the Musée d’Art Contemporain de Montréal, and the Centre Pompidou, Paris, among countless venues in the US, Canada, and Europe. Ortman founded the Coast Orchestra in 2008, an all-Native American orchestral ensemble performing a live soundtrack to Edward Curtis’s film In the Land of the Head Hunters (1914), the first silent feature film to star an all-Native American cast. She is the recipient of the Jerome Foundation Fellowship 2017, Art Matters 2016, Native Arts and Cultural Foundation Fellowship 2016, Museum of Contemporary Native Arts Social Engagement Resident 2015 and the 2014/15 Rauschenberg Residency.

This event takes place in conjunction with #callresponse (March 23 - May 5, 2018).

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#callresponse Walkthrough and Opening Reception with Nishnaabekweg Negamond
Mar
23
6:00 PM18:00

#callresponse Walkthrough and Opening Reception with Nishnaabekweg Negamond

 Laakkuluk Williamson-Bathory,  Timiga nunalu, sikulu  (My body, the land and the ice), 2016. Photo: Jamie Griffiths.

Laakkuluk Williamson-Bathory, Timiga nunalu, sikulu (My body, the land and the ice), 2016. Photo: Jamie Griffiths.

Friday, March 23, 6 - 8 PM
6:00 - 8:30 PM: Opening Reception
6:00 - 6:30 PM: Curatorial Walkthrough

Please RSVP to projectspace@efanyc.org.


Join visiting artists and co-organizers of #callresponse promptly at 6:00 PM for a walkthrough of the exhibition, followed by the opening reception. Nishnaabekweg Negamond is an Anishinaabe women’s handdrumming group that meets regularly in Brooklyn NY.

PARTICIPANTS

Tarah Hogue is a curator and writer of Métis and Dutch Canadian ancestry. She is the inaugural Senior Curatorial Fellow, Indigenous Art at the Vancouver Art Gallery and was the 2016 Audain Aboriginal Curatorial Fellow at the Art Gallery of Greater Victoria. Hogue was curator in residence with grunt gallery between 2014-2017, and has curated exhibitions at the Morris and Helen Belkin Art Gallery, Or Gallery, and SFU Gallery.

Maria Hupfield is martin clan, Anishinaabe and a member of Wasauksing First Nation, Ontario, based in Brooklyn NY. Her solo traveling exhibition The One Who Keeps on Giving premiered at The Power Plant in 2017 and was featured in Art in America. She is the first Indigenous Artist Resident at ISCP 2018, has performed and exhibited at Site Santa Fe Biennale 2016 and is a recipient of the Joan Mitchell Foundation Painters and Sculptures Award. She is a member of Social Health Performance Club and co-owns Native Art Department International with artist Jason Lujan.

Tania Willard is from the Secwe̓pemc Nation, Interior British Columbia. She works within the shifting ideas of contemporary and traditional as it relates to Indigenous cultural arts and production. Her curatorial projects include Beat Nation: Art Hip Hop and Aboriginal Culture, The Vancouver Art Gallery with Kathleen Ritter, Unceded Territories: Lawrence Paul Yuxweluptun at the Museum of Anthropology with Karen Duffek, Nanitch: Historical BC photography, and Landmarks2017/Repéres2017. Her art practice centres around BUSH gallery, a site of land-based experimental and conceptual Indigenous art futurity.

Nishnaabekwewag Negamonid is a three-member Anishinaabe women’s hand drumming group based in Brooklyn, NY. They are committed to language and cultural revitalization, using song to disrupt colonial spaces and speak to prior, persisting Indigenous presences. The group was born as part of an Anti-Columbus Day action in the American Museum of Natural History in 2016 and 2017.

This event takes place in conjunction with #callresponse (March 23 - May 5, 2018).

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Closing reception with performance by Rebirth Garments
Mar
9
6:00 PM18:00

Closing reception with performance by Rebirth Garments

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Friday March 9th, 6 pm - 9 pm
Free and open to the public.

Join us for a closing event and prompt for the future with a performance by Rebirth Garments.

ACCESSIBILITY

EFA Project Space is on the 2nd floor of 323 West 39th Street. The building has an ADA wheelchair accessible elevator that provides access to the gallery from the ground floor. There are all-gender single stall bathrooms and an ADA approved bathroom on the 3rd floor. Children are welcome.

Admission to the building does not require an ID, but you will be asked to sign-in. The closest MTA subway station is the Port Authority A, C, E stop which is ADA wheelchair accessible.

Texts and programs are in English. Large format texts can be provided with advance request.

This event is hosted in conjunction with Omega Workshop (January 26 - March 10, 2018). 

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The History, Anatomy and Construction of a Pocket with Michaela Hansen
Mar
3
12:00 PM12:00

The History, Anatomy and Construction of a Pocket with Michaela Hansen

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Saturday, March 3rd, 12 pm - 3 pm
This is a ticketed event. Register here.

In this beginner-level sewing class, designer and historian Michaela Hansen will introduce participants to the hidden (feminist) history of the pocket. The workshop will culminate with the opportunity to add a pocket to an existing pocket-less garment of your choice. Bring your own sewing machine.

This event is hosted in conjunction with Omega Workshop (January 26 - March 10, 2018). 

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Worker Co-operative Principles and Pricing Structures with friends of light
Feb
17
12:00 PM12:00

Worker Co-operative Principles and Pricing Structures with friends of light

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Satuday, February 17th, 12 - 4 pm
Free event. Register here.

Worker cooperative ‘friends of light’ invites you to join them in thinking through the valuation of skilled labor involved in the production of fashion and textiles. In this 4-hour workshop, ‘friends of light’ will present their business and pricing structure, developed during a transformative 6-month course at the Green Worker Cooperative Academy in Bronx, NY in an effort to integrate their values, activities, and economic needs. Through reflection and discussion, participants will work to establish a realistic price point for their products or services by evaluating the cost structure of their current practice or business in relation to their values and economic needs. All are welcome, with a special invitation to artists, designers, and makers engaged in the production of fashion or textiles.

This event is hosted in conjunction with Omega Workshop (January 26 - March 10, 2018). 

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Unpick the Fashion System / Collage a Collection with Ruby Hoette
Feb
16
10:00 AM10:00

Unpick the Fashion System / Collage a Collection with Ruby Hoette

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Saturday, February 16th, 10 am - 4 pm
Free event. Register here.

During this workshop you will dissect a garment to reveal the possibilities hidden in its materials and construction. Using the resulting garment elements we will collectively collage a new fashion collection. Bring your own garment.

This event is hosted in conjunction with Omega Workshop (January 26 - March 10, 2018). 

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Make-your-own-JUMPSUIT with the Rational Dress Society
Feb
10
10:00 AM10:00

Make-your-own-JUMPSUIT with the Rational Dress Society

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Saturday, February 10th - Sunday, February 11th, 10 am – 4 pm
This is a ticketed event. Register here.


In this two-day workshop, learn to sew your own ungendered multiuse monogarment with the Rational Dress Society! After the workshop, we will throw away all of our clothes. Participants should bring their own sewing machine, 3 - 4 yards of nonstretch fabric, matching thread, and scissors.

This event is hosted in conjunction with Omega Workshop (January 26 - March 10, 2018).

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Fashion and Democracy
Feb
8
6:00 PM18:00

Fashion and Democracy

Gallery 400-Chances Dances - PLATFORMS -WERQ - Embodying Queer Spirit-4906-WEB.jpg

Thursday, February 8th, 6 - 9 pm
Free event. Register here.


Join the Rational Dress Society, Political Science professor Joshua I. Miller, designer and theorist Otto von Busch, designer and garment activist Frau Fiber and Sky Cubacub of Rebirth Garments to discuss the relationship between fashion and social hierarchy. We propose counter-fashion as a democratic alternative to the current fashion system.

This event is hosted in conjunction with Omega Workshop (January 26 - March 10, 2018).

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Copyright, Trademark and Sumptuary Law Panel Discussion
Feb
7
6:00 PM18:00

Copyright, Trademark and Sumptuary Law Panel Discussion

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Wednesday, February 7th, 6 - 8 pm
Free event. RSVP to projectspace@efanyc.org.

Join designer Abigail Glaum-Lathbury, artist Elaine Byrne, representatives Amanda Levendowski and Evelina Yarmit of the Technology Law & Policy Clinic at NYU, and Professor of Law Barton Beebe to discuss the relationship between the history of sumptuary law (laws that attempted to restrict dress in order to maintain social control) and the similar function of contemporary copyright protections.

This event is hosted in conjunction with Omega Workshop (January 26 - March 10, 2018).

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Kamiko / Japanese Paper Clothes with Daphne Mohajer va Pesaran
Feb
3
12:00 PM12:00

Kamiko / Japanese Paper Clothes with Daphne Mohajer va Pesaran

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Saturday, February 3rd, 12 – 3 PM
This event is free. Register here.

Practice the Japanese art of kamiko (clothes made from handmade washi paper), clothes made from handmade paper, with Tokyo-based designer and researcher Daphne Mohajer Va Pesaran. In this workshop we will learn how paper can be made into a textile using traditional Japanese methods.  

This event is hosted in conjunction with Omega Workshop (January 26 - March 10, 2018). 

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Psychoanalysis with Jamieson Webster
Jan
5
6:30 PM18:30

Psychoanalysis with Jamieson Webster

 Image:  Progeny!  installation view of Julian Hoeber, "Pink Tube," 2016 (courtesy of Blum & Poe), and Ditta Baron Hoeber, "8 Minutes 52 Seconds (from the series Proximity)," 2013. Photography: Sebastian Bach. 

Image: Progeny! installation view of Julian Hoeber, "Pink Tube," 2016 (courtesy of Blum & Poe), and Ditta Baron Hoeber, "8 Minutes 52 Seconds (from the series Proximity)," 2013. Photography: Sebastian Bach. 

Informed by therapeutic approaches, EFA Project Space's current exhibition, Progeny!, pairs a group of contemporary artists with their artist-parents to explore relationships of influence, genetics, and interdependence within artistic families. As the exhibition draws to a close, the curators have decided to bring in a professional. Psychoanalyst Jamieson Webster will walk through the exhibition and discuss the works on view with curators David Levine, Michelle Levy, and some of the participating artists.

This event is free and open to the public.

BIO

Jamieson Webster is a psychoanalyst  in New York. She has written for Artforum, Apology, Cabinet, The Guardian, Playboy, Spike, and The New York Times. Author of The Life and Death of Psychoanalysis (Karnac, 2011) and Stay! Illusion, with Simon Critchley (Pantheon, 2013), she is currently working on The Cambridge Introduction to Jacques Lacan, with Marcus Coelen, and a new book, Conversion Disorder (Columbia, 2018).

This event takes place in conjunction with Progeny!, on view through January 6, 2018. 

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