What is the Future of the Alternative?: Oct 15

What is Alternative? / What is the Future of the Alternative?

Friday, October 15 , 7–9pm

Exit Art, 475 10th Ave

Moderator: Robert Storr, Dean of Yale School of Art and former Curator in Painting and Sculpture at the Museum of Modern Art, NY (1990 – 2002)

Participants: Papo Colo, Artistic Director / Co-Founder, Exit Art; Martha Wilson, Founder / Director, Franklin Furnace; Peter Cramer and Jack Waters, Former Directors of ABC No Rio, Founders / Director of Le Petit Versailles

This opening conversation amongst founders / directors of early and emerging alternative art spaces looks at the various definitions of an “alternative” space. Is alternative an accurate and appropriate word to describe its activities? What alternatives do these spaces provide, and for whom are they intended?

http://exitart.org/exhibition_programs/current_programs/althistories.html

Lynne Tillman: Words Are Images, Too: Oct 14

Lynne Tillman: Words Are Images, Too

Thursday, October 14, 7 pm

SVA Theatre, 333 West 23 Street

Free and open to the public

Lynne Tillman will talk about her fiction, especially those works that address art and visual culture using stories and characters. In writing alongside art, Tillman engages a perpetual problem: How to discuss, describe, and comment upon one medium through another. Tillman has crossed and recrossed the lines between fiction and criticism often, especially in This Is Not It: Stories by Lynne Tillman (D.A.P., 2002). She is the author of the novels Haunted Houses (Serpent's Tail, 1987); Motion Sickness (Serpent's Tail, 1991); Cast in Doubt (Serpent's Tail, 1992); No Lease on Life (Mariner Books, 1998); and the story collections Absence Makes the Heart (Serpent's Tail, 1990) and The Madame Realism Complex (Semiotext(e), 1992). Her non-fiction books include The Velvet Years: Warhol's Factory 1965 - 1967 (Thunder's Mouth Press, 1995); The Broad Picture (Serpent’s Tail, 1997); and Bookstore: The Life and Times of Jeannette Watson and Books & Co (Houghton Mifflin Harcourt, 1999). She writes regularly on art, books, and culture and contributes frequently to artists' books and museum catalogues.

http://www.schoolofvisualarts.edu/events/index.jsp?sid0=70&page_id=181&content_id=3499

Jason Fox: Oct 14

Thursday, October 14, 5:30pm

NYU Steinhardt

Einstein Auditorium at 34 Stuyvesant Street

http://steinhardt.nyu.edu/art/visiting_artists

Judi Werthein: Oct 13

AMT Visiting Artist Lecture Series: Judi Werthein

October 13, 2010 6:15 p.m.

Kellen Auditorium, Johnson Design Center, 66 Fifth Avenue

Free; no tickets or reservations required; seating is first-come first-served

Judi Werthein was born in Buenos Aires, Argentina. She received an MA in Architecture and Urbanism from the Universidad de Buenos Aires. She lives and works in Brooklyn, New York. Werthein is an artist who works across a range of media. She addresses strategies of domination. Conflating the dominant form with that which it subordinates, her work destabilizes the authority that is often taken as a given. Interpreting identities as flexible, plastic, and untranslatable, Werthein conveys the experience of the outsider through the language of mass culture, reconceiving western conventions from an unfamiliar perspective. Her work has been shown at the Tate Modern, De Appel, The Aldrich Museum of Contemporary Art and The Bronx Museum for the Arts. Manifesta 7, InSite_05, and the 7th Bienal de La Habana.

http://www.newschool.edu/eventDetail.aspx?id=55919

Art and the State in East Germany, 1967–90: Oct 13

"The state's restrictions were not complete! There were holes ...":

Art and the Statein East Germany, 1967–1990

Wednesday, October 13, 6:30 pm

Silver Center, NYU, Room 300 (enter at 32 Waverly Place)

Examining artists’ relationships with the state in East Germany between 1967 and 1990, Emily Pugh, Postdoctoral Research Associate, Center for Study in the Visual Arts, National Gallery of Art, will explore artists’ practices in the East German regime, considering what was allowed or disallowed and why. She will also discuss relationships between underground art movements and the resistance groups who spearheaded the “peaceful revolution” of 1989–90.

http://www.nyu.edu/greyart/programs/programs.html