Stan Douglas: November 7

Stan Douglas
Wednesday, November 7
6:30pm
The New School,
Tishman Auditorium
66 West 12th Street

Stan Douglas creates lush photographic series and technically sophisticated film and video installations that are the foundation for nuanced political criticisms and cultural investigations. Over the course of his 25-year career, this Canadian artist has addressed such timely issues as information overload, cultural difference and the impact of technology on perception. He also has used a computer program to recombine visuals, music and dialogue in complex arrangements, resulting in lengthy and intricate narratives. Among his most ambitious and acclaimed projects are Klatsassin (2006), a "Western" that tells a murder mystery from multiple viewpoints and includes aspects of Akira Kurosawa's Rashomon (1950); Inconsolable Memories (2005), a dual 16mm projection loosely based on Thomàs Gutiérrez Alea's 1968 film Memorias del Subdesarrollo (Memories of Underdevelopment) about the dilemmas of a bourgeois intellectual in Havana during the Cuban Missile Crisis of 1962; and his latest project, Vidéo (2006), a video based on Samuel Beckett's Film and Orson Welles' The Trial.

http://www.publicartfund.org/pafweb/talks/talks_current.htm

$5 General Admission, $3 for seniors, FREE to students with valid ID
To purchase tickets call (212) 980-3942 or visit http://www.publicartfund.org/pafweb/talks/talks_indexFall07.htm

On Kara Walker: November 1

Spotlight: On Kara Walker
Thursday, November 1, 2007
Whitney Museum of American Art, 945 Madison Avenue at 75th St

This special day of gallery tours, talks, and roundtable conversations brings expert eyes to an exhibition's artists, objects, and concerns.

1pm
"The Legacy of Dred Scott"
Amy Dru Stanley

Kara Walker's narratives mine and manipulate imagery of nineteenth-century plantation life in the American south. Tracing the historical shifts that accompanied the end of slavery to place Walker's work in context, American legal historian Amy Dru Stanley (From Bondage to Contract: Wage Labor, Marriage, and the Market in the Age of Slave Emancipation) considers individual liberties, African-American rights, and the definition of personhood in the wake of the 14th Amendment.

2pm
"Strategies of Representation"
Greg Tate

Art critic Greg Tate tours the Kara Walker exhibition to explore the multifaceted ways Walker subverts and invents visual tales of antebellum life.

3pm
"Art and the Colonial Mind"
Darcy Grimaldo Grigsby

Of the deep vein of racial stereotypes that her work taps, Kara Walker has said, "Blackness [is] a very loaded subject, a very loaded thing to be--all about forbidden passions and desires, and all about a history that's still living, very present." Art historian Darcy Grimaldo Grigsby takes a global view of art produced in a colonial frame of mind and addresses the relationship between latent racism and artistic content.

7pm
"The Shadows of Kara Walker's Art"
Darby English, Gwendolyn Dubois Shaw, and Simon Schama

Fellow artist Barbara Kruger has described the unflinching character of Walker's work by stating, "She revels in cruelty and laughter...Her silhouettes throw themselves against the wall and don't blink." Art historians Gwendolyn DuBois Shaw (Seeing the Unspeakable: The Art of Kara Walker, 2004), Darby English (Kara Walker: Narratives of a Negress, 2003) and Simon Schama (Rough Crossings: Britain, the Slaves and the American Revolution, 2006) consider Walker's formal and aesthetic choices with an eye toward the legacy of American modernism and the specters of slavery that haunt her images.


Daytime events are free with Museum admission; however, advance registration is required to secure a seat. Tickets may be reserved by clicking on http://www.whitney.org/www/programs/eventInfo.jsp

Admission to evening roundtable: $8; senior citizens and students with valid ID $6. Tickets may be purchased by clicking: http://www.whitney.org/www/programs/eventInfo.jsp or by visiting the Museum Admissions Desk.

All programs are free for members. For Member reservations, please contact memberinfo@whitney.org. Inquiries: Email public_programs@whitney.org or call (212) 570-7715.

http://www.whitney.org/www/programs/eventcalendar.jsp?cat=1

BOMBLive/ Krystof Wodiczko: October 29

BOMBLive! Presents: "In the Open: Art in Public Spaces"

Monday, October 29
7pm
Sculpture Center, 44-19 Purves St, Long Island City





Krzysztof Wodiczko interviewed by Giuliana Bruno
Join BOMB Magazine for the first in a series of staged interviews between architects, urban theoreticians, and artists working in the public realm.

Known for his projections of images onto architecture and public monuments, Krzysztof Wodiczko highlights the disparity between the history and the object itself. Wodiczko's work creates a space to highlight socially significant issues while simultaneously illuminating contradictions of spatial politics and the surrounding architecture.

Wodiczko is Director of the Center for Art, Culture, and Technology at MIT. Giuliana Bruno is an author, cultural theorist, and professor of Visual and Environmental Studies at Harvard.

http://www.sculpture-center.org/pe_ca_oct.html

Matthew Coolidge on the Hudson River School: October 29

October 29, 2007
Dia Art Foundation
548 West 22nd Street
6:30pm

Admission $6/$3 for members, students, and seniors.

Matthew Coolidge lives and works in Los Angeles, where he is the Founder and Director of the Center for Land Use Interpretation (CLUI). His two recent books are Back to the Bay: An Examination of the Shoreline of the San Francisco Bay Region (2001) and Overlook: Exploring the Internal Fringes of America with the Center for Land Use Interpretation (2006).

http://www.diacenter.org/prg/lectures/artists/index.html

Curator Slam: October 26

Viewing Program Curator Slam
Friday, October 26,
6:30 PM
Drawing Center
35 Wooster Street

Celebrate the launch of the Drawing Center's online Viewing Program Artist Registry at the Viewing Program Curator Slam as guest curators, collectors, gallerists, and critics vie to create themed exhibitions in real-time using the new registry website.

Admission is free

http://www.drawingcenter.org/events_public_01.cfm

Phoebe Washburn: October 24

Wednesday, October 24
6:30pm
The New School
John Tishman Auditorium / 66 West 12th Street


"Things that get rigged up, propped up, balanced or weighted down to keep the whole process running smoothly," says sculptor Phoebe Washburn, "are often ingenious, funny, desperate, stupid or a little of all of those things." Sometimes mistaken as a renewable resources advocate for her enthusiasm for refuse, Washburn makes monumentally scaled, architectonically precocious installations out of vast amounts of materials she scavenges from the neighborhoods around her apartment and studio, as well as other locations in which her sculptures appear. Materials have included cardboard boxes from Staples, Bonita Bananas, FedEx, Frito Lay, Evian and Clorox—as well as scrap wood, sawdust (which the artist refers to as "beaches"), thumbtacks, pencils, scaffolding, bags of cement, pencil boxes, phone books, duct tape, masking tape, zillions of drywall screws and "mis-tints" rejected from Janovic. Starting with a premeditated finished product in mind but allowing the particular characteristics of her materials to inform the final result, Washburn makes work that has also been compared to such varied phenomena as a pixilated landscape, a glacier, a shantytown, a deranged demolition site, a tsunami, a whirlpool, a tornado, a 24th-century Saõ Paulo, a big-rock candy mountain on stilts and even San Francisco as seen if one approaches the city from the south. Forcing her audience to crouch, bend and otherwise adapt to sculptures to partake of various perspectives, Washburn's sculptures evidence the energy and process dedicated not just to manufacturing and discarding mass amounts of resources but repurposing them into elaborate, playful works of art.

$5 General Admission/ $3 for seniors/ FREE to all students with valid ID

http://www.publicartfund.org/pafweb/talks/talks_current.htm

Teddy Cruz: October 24

Wednesday, October 24, 7pm
Whitney Museum of American Art, 945 Madison Avenue at 75th Street

Exploring the bicultural territory of border zones and the habitable possibilities between two countries, California-based architect Teddy Cruz has been building public housing on the border straddling southern California and Tijuana, Mexico, for years. His practice is rooted in a commitment to the architectural promise of local materials and the creative potential inherent in hybrid global communities.

Architecture Dialogues
Exploring innovative practices across contemporary art and architecture, this season's series of talks looks ahead to our exhibition of R. Buckminster Fuller and turns to networked communities, links between the local and the global, and architectural ecosystems.

http://www.whitney.org/www/programs/eventcalendar.jsp?cat=1

Scott Lyall Presents: Where Could a Sculptor Be?: October 24

Wednesday, October 24
7pm
Sculpture Center, 44-19 Purves St, Long Island City

Scott Lyall Presents: Where Could a Sculptor Be?
Accompanying a silent screening of the feature film Sunday Bloody Sunday by John Schlesinger, 1971; (from a screenplay by Penelope Gilliatt), the talk will include comments on SerraÕs Hand Catching Lead, 1969, Laura Mulvey and Peter WollenÕs Riddles of the Sphinx, 1977, and the function of kissing in HitchcockÕs Vertigo, 1958.

http://www.sculpture-center.org/pe_ca_oct.html

Graffiti Panel: October 20

Graffiti Panel
Con Artists: Criminalization, Censorship, and the Marketplace
Saturday, October 20, 6:30 PM - 8:30 PM
Drawing Center, 35 Wooster Street
Admission is free

Artists Case 2 and Kez 5 will discuss their recent exhibition of drawings at the Groninger Museum, The Netherlands, and their thoughts on the criminalization and censorship of graffiti with art critic and curator Antonio Zaya and moderator Hugo Martinez, Director of Martinez Gallery.


ttp://www.drawingcenter.org/events_public_01.cfm

Roni Horn: October 19

Friday, October 19
6:30 p.m.



Museum of Modern Art
The Celeste Bartos Theater
Cullman Education Building

Roni Horn produces sculpture, photography, drawings, essays, and books. She engages the senses of the viewer, while also investigating issues of identity and difference and the relationship between humans and nature. By using different mediums and setting her work in specific environments, Horn explores the dichotomy between the moment of visual perception and the power of memory. Horn received a BFA from the Rhode Island School of Design and an MFA from Yale University.

Tickets ($10; members $8; students, seniors, and staff of other museums $5) can be purchased at the lobby information desk, the Film desk, the Cullman Building lobby, or online at www.ticketweb.com.

http://www.moma.org/calendar/events.php?id=5697&ref=calendar

Carter Ratcliff: October 9

"The Point of Art"
Tuesday, October 9th
7pm
The School of Visual Arts
209 East 23rd Street
3rd Floor Amphitheater





Award-winning author and Art in America contributing editor, Carter Ratcliff, considers art as a means for preserving and improving civil society. He asks, does art today sustain our various ideas of ourselves as individuals and as participants in history?

This event if free and open to the public. Doors generally open at 6:30pm and seating is first come first served. If you'd like further information, please contact Melissa Ragsly 212.592.2408.

Seeing and Being Seen: October 17

Seeing and Being Seen:
A Panel Discussion
Wednesday, October 17
7:00 p.m.

Free Admission
The New School, Tishman Auditorium
66 West 12th Street
New York, New York
(212) 229-5353




This panel highlights artists who collaborate with teens to explore adolescent identity, how young photographers approach their own representation, and the ways in which these dovetail and differ. Panelists include Dawoud Bey, who will reference work from his recent book Class Pictures (Aperture, October 2007), photographer Wendy Ewald, who develops work from images young people make of themselves, and teens involved in the Expanding the Walls program at the Studio Museum in Harlem, who will provide insight into the use of photography to address their own identity, culture, and environment. The panel will be moderated by Phyllis Thompson, a former editor at Aperture Foundation and a scholar specializing in representations of the family and intimacy who now teaches at Harvard. Other artists will join in the discussion.

http://www.aperture.org/store/events-month.aspx?Month=10

Ron Gilad: October 12

Museum of Modern Art
The Celeste Bartos Theater
Cullman Education Building
6:30 p.m.

Ron Gilad co-founded Designfenzider in 2001. Selected by Forbes as one of 2007's ten tastemakers in industrial design, Gilad creates hybrid objects that straddle the line between abstraction and function. His work—from candlesticks made with wine glasses to chandeliers constructed from task lamps—is simultaneously elegant and witty. Gilad attended the Industrial Design Department at Bezalel Academy of Art and Design in Jerusalem. Tickets ($10; members $8; students, seniors, and staff of other museums $5) can be purchased at the lobby information desk, the Film desk, the Cullman Building lobby, or online at www.ticketweb.com.

http://www.moma.org/calendar/events.php?id=5695&ref=calendar

Helen Mirra on Imi Knoebel: October 8

Dia Art Foundation
548 West 22nd Street
6:30pm

Admission $6/$3 for members, students, and seniors.

Currently based in Boston, Helen Mirra was born in 1970 in Rochester, NY. Her solo exhibitions include presentations at Meyer Riegger Galerie, Karlsruhe (2007); Daad Galerie, Berlin (2006); Donald Young Gallery, Chicago (2005); Dallas Museum of Art (2004); University of California, Berkeley Art Museum (2003); and the Renaissance Society, Chicago (2001).

Imi Knoebel’s Raum 19 (1968) is on view at Dia:Beacon.

http://www.diabeacon.org/prg/lectures/artists/index.html

Shirin Neshat: October 10

Columbia University
Graduate School of Architecture, Planning and Preservation.
Wood Auditorium in Avery Hall

6:30- 8:30pm

(Columbia sometimes limits attendance at its events to those with university id, so schlep up there at your own risk)

http://www.arch.columbia.edu/gsap/1/12/5/

Michael Joo: October 3

October 3, 2007
6:30pm at The New School
Tishman Auditorium
66 West 12th Street

Michael Joo's provocative sculptures and videos explore how science, religion, history and media inform the ways we interpret our surroundings. More interested in how we perceive than what we are looking at, Joo tests the limits of viewers' beliefs and plays on preconceived notions with artworks like Yellow, Yellower, Yellowest (1991), a sculpture consisting of three beakers filled with yellow liquid, accompanied by labels mischievously identifying their contents as the urine, respectively, of Genghis Khan, Benedict Arnold and the artist himself. Deeply interested in the cyclical nature of energy, Joo has also presented Salt Transfer Cycle (1993-95), a video in three segments. In one, the artist swims through a vast mound of MSG, the stereotypical flavor enhancer in Asian cuisine; another finds Joo walking, crawling and running on the Bonneville Salt Flats in Utah, a stark bit of mineral-rich terrain in the country the artist was born and raised. In the third, Joo sits on a mountainside in his parents' native South Korea with his body encrusted in salt, allowing an elk to lick him. With great awareness of the connection between the physiological and the psychological, Joo has also presented perhaps his most widely known sculpture, Visible (1999-2000). A transparent plastic Buddha with visible human innards, it perhaps reminds viewers not only of essential hidden organs but also their cloaked potential as enlightened beings. Joo is presently at work on a project in Alaska, where he recently walked 400 miles along the route of the Trans-Alaska Pipeline, and placed a taxidermied caribou in the wild, recording its interaction with nature. He now plans to enlist native craftsmen and artists to create artworks fashioned from whale skeletons.

http://www.publicartfund.org/pafweb/talks/talks_current.htm