Hannah Sawtell: ACCUMULATOR
New Museum
Opening on
On View
New Museum
East Village / Lower East Side

Hours:
Wednesday 11:00 AM - 6:00 PM
Thursday 11:00 AM - 9:00 PM
Friday - Sunday 11:00 AM - 6:00 PM


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Hannah Sawtell, Terminal Vendor, from “Vendor,” 2012 (detail). Installation view: Bloomberg Space, London. Courtesy the artist and Vilma Gold, London



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In her work, Sawtell considers the relationship between the surfaces of images and objects, and the multiplicity of structures that underpin them. Through a variety of media—installation, video, print, radio broadcast, sound, and performance—Sawtell renders the fluidity of digital images with spatial, physical, and temporal qualities, and critically points to their function as decoy indicators for larger and dominating systems of production, access, surplus, and consumption. Additionally alluding to the repetitive nature of contemporary production, Sawtell evokes an aesthetic of industrial design through her installations and objects. Much of her influence comes from her previous work as a DJ and in running Detroit’s Plant E Label, and she often integrates noise, rhythm, and beat as part of her video works and performances.

In “Vendor” (2012), a recent work exhibited at Bloomberg SPACE (part of a two-site show also at the ICA, London), Sawtell created an installation from online images that she repeatedly encountered during her residency at Bloomberg News Agency in London. Cutting the images with live screen-based digital tools and using close-up textures, Sawtell created a space that unpacks and reveals the contemporary virtual and digital image. Frequently collaborating with local manufacturers to produce her works, another recent piece, Re-Petitioner (2013), included a set of bespoke speakers that transformed the large screen in front of them into an acoustic mirror. Exposed to an intense experience of noise, audiences also witnessed computer-generated images of the brutalist Norwegian Y-Block building in Oslo and a landscape of what she considers “pre-fossilized CGI objects” projected onto the large screen.

For the New Museum, Sawtell will create a new sculptural installation and sound work made specifically for the Lobby Gallery, and realize a subsequent edition of her “Broadsheets” publication series.

“Hannah Sawtell: ACCUMULATOR” is on view at the New Museum from April 23–June 22, 2014, and is curated by Helga Christoffersen, Assistant Curator.

Hannah Sawtell was born in London in 1971, where she also lives and works. Recent solo shows include Vilma Gold, London, Clocktower Gallery, New York, and two linked exhibitions at the ICA, London, and ICA at Bloomberg SPACE, London, for which she published Broadsheets 1-3, a publication distributed with Business Week magazine, and realized Sonic Lumps, a performance in collaboration with Factory Floor. Her work has been included in group exhibitions such as “SoundSpill,” Zabludowicz Collection, New York (2013), “With the Tip of a Hat,” the Artist’s Institute, New York (2012), “Novel,” a screening for Time Again hosted by the Sculpture Center, New York (2011), “Outrageous Fortune: artists remake the Tarot,” Hayward Touring/Focal Point Gallery, Southend (2011), and “The Great White Way Goes Black,” Vilma Gold, London (2011). She is included in “Assembly: A Survey of Recent Artists’ Film and Video in Britain 2008–2013” at Tate Britain and will have solo exhibitions at Bergen Kunsthall, Norway, and Focal Point Gallery, Southend-on-Sea, in 2014. In 2013, she was shortlisted for the Jarman Award.






Jeanine Oleson: Hear, Here
Jeanine Oleson
New Museum
Editor's Pick
Opening on
On View
New Museum
East Village / Lower East Side

Hours:
Wednesday 11:00 AM - 6:00 PM
Thursday 11:00 AM - 9:00 PM
Friday - Sunday 11:00 AM - 6:00 PM


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Jeanine Oleson, Untitled, 2014. Intaglio print, 12 × 7 ¼ in (30.5 × 18.5 cm). Printed by Marina Ancona, 10 Grand Press. Courtesy the artist



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Jeanine Oleson is an artist whose practice incorporates interdisciplinary uses of photography, performance, film/video, and installation work. Challenging political and social norms through works that bear a distinctive mix of pathos and wit, Oleson engages contemporary societal topics. These include the collective psyche of apocalyptic anxiety, the global ecological crisis, the persistence of spiritual rituals, and alternative methods of addressing the myriad inequities produced by homophobia, racism, and classism.

During her intensive residency at the New Museum, she will develop a group of interrelated new works, constituting an exhibition, public programs, workshops, a publication, and an experimental opera. An exploration of different kinds of voices—from the musical voice of opera to political acts of speech—Oleson’s project both investigates language and points beyond it. Looking for alternative models, “Hear, Here” asks questions such as: How can we attune ourselves to each other? Where is the agency in language? What does it really mean to listen? The foundation for these queries resides within art itself—particularly in relation to issues of audience and embodied engagement, in addition to objects and conditions that alter modes of expression—in order to respond to larger political and cultural problems faced on a global level.

In this context, during the run of the show, Oleson is developing a video installation for the Museum’s Fifth Floor gallery that investigates conditions of spectatorship. The set and objects for an experimental opera (to be staged in the New Museum’s Theater, June 13–14) will be present during the run of the exhibition, forming an impromptu stage set or catalyst for a series of informal programs in the gallery space leading up to the final performance. Accompanying the exhibition is an archival and research-based presentation by Oleson in the Resource Center that takes up questions around various registers of Voice.

Centering on a paradoxical landscape—a mountain that is also a cave—the exhibition and its constantly shifting elements (including musical instruments, staging tools, and performance artifacts) produce a reactive space that focuses on the politics of vocalizing perspectives and the necessity of participation in lived experience. All the while, the affective role of voice in Oleson’s work mobilizes a mix of humor, rancor, and joy in addressing an avalanche of pressing issues in contemporary life.

“Jeanine Oleson: Hear, Here” is on view at the New Museum from April 23 to July 6, 2014, and is curated by Johanna Burton, Keith Haring Director and Curator of Education and Public Engagement.

Jeanine Oleson was born in Astoria, OR, in 1974. She attended the School of the Art Institute of Chicago, Rutgers University, and Skowhegan School of Painting and Sculpture. Oleson has exhibited and performed at venues including: Exit Art, NY; Beta Local, San Juan, Puerto Rico; X-Initiative, NY; Grand Arts, Kansas City, MO; Socrates Sculpture Park, NY; Diverseworks, Houston, TX; L.A.C.E., Los Angeles; Monya Rowe Gallery, NY; Samson Projects, Boston, MA; Gallery 400, University of Illinois at Chicago, IL; John Connelly Presents, NY; Bates College Museum of Art, ME; H&R Block Artspace, Kansas City Museum of Art, MO; Participant, Inc., NY; MoMA P.S.1, NY; Santa Fe Art Institute, NM; Pumphouse Gallery, London; White Columns, NY; and Art in General, NY. Oleson has received a Franklin Furnace Fellowship and a Jerome Foundation Travel and Study Grant in 2009; a Brooklyn Arts Council Community Arts Regrant (2008 and 2009); and a Professional Development Fellowship, College Art Association (1999–2000); and was in residence at Smack Mellon Studio Program, NY. She also published two books about performance projects in 2012, “What?” and “The Greater New York Smudge Cleanse.” Oleson is an Assistant Professor of Photography in the Department of Art, Media, and Technology at Parsons the New School for Design. She lives in Brooklyn, NY.






BICYCLING WITH MOLIÈRE
Film Forum
Opening on
On View
Film Forum
Greenwich Village / West Village


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Wednesday, April 23 - Tuesday, May 6

BICYCLING WITH MOLIÈRE

1:00PM 3:15 5:30 7:40 9:50

WRITTEN AND DIRECTED BY PHILIPPE LE GUAY
BICYCLING WITH MOLIÈRE

A warm, funny, literate comedy in which two French actors portray two French actors, friends at odds with one another in every possible way, except their love of Molière’s The Misanthrope. Lambert Wilson (OF GODS AND MEN) plays Gauthier, tall, handsome, and the beneficiary of a leading role in a ridiculous soap opera as a beloved cosmetic surgeon who “saves lives.” Fabrice Luchini (who previously worked with Le Guay in WOMEN ON THE 6TH FLOOR) as Serge has met with much less success, becoming a middle-aged curmudgeon who has renounced the stage to live on the glorious île de Ré, off France’s Atlantic coast. Gauthier arrives on Serge’s turf to try to convince his pal (Luchini, in real life, a Molière expert) to return to Paris to play opposite him in a new production. When not arguing or rehearsing scenes while biking, they consider their options as personified by a local porn actress and an attractive Italian divorcée, as well as the lure of island real estate.

FRANCE • 2013 • 104 MINS. • IN FRENCH WITH ENGLISH SUBTITLES • STRAND RELEASING






Jimmy at High Noon: A Series of Five Daily Readings
New York Live Arts
Reading on
New York Live Arts
Chelsea

Additional Readings:
Thursday April 24, 2014 1:30 PM
Friday April 25, 2014 1:30 PM
Saturday April 26, 2014 1:30 PM
Sunday April 27, 2014 1:30 PM


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James Baldwin, Portrait. Istanbul, 1964. © Sedat Pakay



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As part of The Year of James Baldwin festival, this noon-time series features poets, actors, musicians, essayists and scholars reading from a range of James Baldwin’s classics, as well as discussing his impact on their lives and thinking.

Location: New York Live Arts Studios

RSVP

Apr 23
Featuring Meena Alexander, Suzan-Lori Parks, Darryl Pinckney, Wrenn Schmidt

Apr 24
Featuring Laurie Anderson, Kathleen Chalfant, Eisa Davis, André DeShields, Jesse L. Martin, Tonya Pinkins, Billy Porter II, Toshi Reagon

Apr 25
Featuring Paula Vogel, Lawrence Weschler, Patricia J. Williams

Apr 26
Featuring Nikky Finney, Marcus Gardley, John Guare, Ed Palvic

Apr 27
Rich Blint, Che Gossett, Vijay Iyer, Robert Krulwich, Aisha Karefa-Smart

Presented in partnership with Columbia University School of the Arts, this noon-time series features poets, actors, musicians, essayists, and scholars reading from a range of James Baldwin’s classics, as well as discussing his impact on their lives and thinking. Speakers include poet Nikky Finney; writer Darryl Pinckney; actors Jesse L. Martin and André De Shields; musician Vijay Iyer; and playwrights Suzan-Lori Parks and Marcus Gardley, among others to be announced at a later date. “Jimmy at High Noon” will be overseen by director, Patricia McGregor, with dramaturgy by Columbia Faculty and Baldwin scholar, Rich Blint.

Presented by the School of the Arts Office of Community Outreach and Education, in partnership with Harlem Stage and New York Live Arts.

FREE and open to all.






Belle de Jou
MoMA
Screening on
MoMA
Midtown

Additional Screenings:
Thursday April 24, 2014 1:30 PM
Friday April 25, 2014 1:30 PM


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Belle de Jour. 1967. France. Directed by Luis Bunuel



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Belle de Jour
1967. France. Directed by Luis Buñuel. Screenplay by Buñuel, Jean-Claude Carriere. With Catherine Deneuve, Jean Sorrel, Michel Piccoli, Genevieve Page, Francisco Rabal, Pierre Clementi. In what is perhaps the best of Buñuel’s late masterpieces, Deneuve plays a prostitute whose “career” is unknown to her husband. Her performance enriches the vision of a director who spent his career shocking bourgeois sensibilities. Appropriately, it was not released in America until nearly 30 years later—during the Clinton administration. In French; English subtitles. 100 min.

In the Film exhibition An Auteurist History of Film






Before 5: Marjorie Eliot
New York Public Library
Performance on
New York Public Library
Harlem


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FREE - Registration required: www.schomburgcenter.eventbrite.com

Enjoy an afternoon of jazz with Marjorie Eliot, the woman behind the legendary Harlem parlor concerts. The performance will be followed by a conversation with Eliot.

Before 5 is a Schomburg series that features premiere afternoon events for our daytime audience.

"Back in the days of the Harlem Renaissance, a cottage industry of private jazz salons took hold in the living rooms of far uptown Manhattan. These days, one local woman, Marjorie Eliot, keeps the tradition alive in her apartment just off 160th Street, where every Sunday she runs one of New York’s last parlor jazz salons." To find out more about Marjorie Eliot's Parlor Jazz, read more here.






Robert Ashley and Alex Waterman: The Trial of Anne Opie Wehrer and Unknown Accomplices for Crimes Against Humanity
2014 Biennial Performances
Whitney Museum of American Art
Editor's Pick
Performance on
Whitney Museum of American Art
Upper East Side

Additional Performances:
Thursday April 24, 2014 2:00 PM - 2:00 PM
Saturday April 26, 2014 2:00 PM - 2:00 PM
Sunday April 27, 2014 2:00 PM - 2:00 PM


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Flyer for The Trial of Anne Opie Wehrer and Unknown Accomplices for Crimes Against Humanity in Michigan, WI, February 1969. Courtesy of Robert Ashley/Mimi Johnson



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Part of Robert Ashley and Alex Waterman’s contribution to the Biennial, The Trial of Anne Opie Wehrer and Unknown Accomplices for Crimes Against Humanity is a “speaking opera” from 1968, in which the main speaker (Anne Opie Wehrer in the original) is asked to publicly answer one hundred questions about her life (by an interrogator offstage). A series of improvised interruptions, diversions, and cross-examinations by two pairs of men and women creates a cacophonous score, with sounds of evasions, sarcastic questions and answers, laughter, and a huge, complex “story” about life as they all have lived it.

At the Biennial Anne will be replaced by four contemporary art-world personalities: artist Amy Sillman (also exhibiting in the Biennial), poet and cultural critic Wayne Koestenbaum, artist, actress, and forensic therapist Mary Farley, and visual artist Barbara Bloom. The new version of the piece will realize Anne Opie Wehrer’s dream of being at The Whitney, almost 40 years to the day after she wrote a letter to Marcia Tucker in 1974, “Proposed for the Whitney—in its museum form as a living sculpture.”

April 23–24, 26–27
2pm–4:30pm

$20 general admission; $16 senior citizens and students. Tickets are required, and quantities are limited. See all ticketing information.






Miguel Gutierrez: Age & Beauty Part 1: Mid-Career Artist/Suicide Note or &:-/
2014 Biennial Performances
Whitney Museum of American Art
Performance on
Whitney Museum of American Art
Upper East Side

Additional Performances:
Thursday April 24, 2014 2:30 PM
Thursday April 24, 2014 4:30 PM
Friday April 25, 2014 3:30 PM
Friday April 25, 2014 5:30 PM
Friday April 25, 2014 7:30 PM
Saturday April 26, 2014 12:30 PM
Saturday April 26, 2014 2:30 PM
Saturday April 26, 2014 4:30 PM
Sunday April 27, 2014 12:30 PM
Sunday April 27, 2014 2:30 PM
Sunday April 27, 2014 4:30 PM
Wednesday April 30, 2014 2:30 PM
Wednesday April 30, 2014 4:30 PM
Thursday May 01, 2014 2:30 PM
Thursday May 01, 2014 4:30 PM
Friday May 02, 2014 3:30 PM
Friday May 02, 2014 4:30 PM
Friday May 02, 2014 7:30 PM
Saturday May 03, 2014 12:30 PM
Saturday May 03, 2014 2:30 PM
Saturday May 03, 2014 4:30 PM
Sunday May 04, 2014 12:30 PM
Sunday May 04, 2014 2:30 PM
Sunday May 04, 2014 4:30 PM


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Miguel Gutierrez, Age & Beauty Part 1: Mid-Career Artist / Suicide Note or &:-/, 2014. Pictured: Miguel Gutierrez and Mickey Mahar, Collection of the artist. Photograph by Eric McNatt



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Age & Beauty Part 1: Mid-Career Artist/Suicide Note or &:-/ is a duet Miguel Gutierrez performs with young dancer Mickey Mahar. The piece deals with mid-career anxiety, futurity and tropes about the aging gay choreographer, and is the first of a three part series of queer pieces addressing longevity, sustainability, aesthetic signature and burnout.

April 23
4:30 pm

April 24
2:30 and 4:30 pm

April 25
3:30, 5:30, and 7:30 pm

April 26–27
12:30, 2:30, and 4:30 pm

April 30–May 1
2:30 and 4:30 pm

May 2
3:30, 5:30, and 7:30 pm

May 3–4
12:30, 2:30, and 4:30 pm

$20 general admission; $16 senior citizens and students; free for members. Tickets are required, and quantities are limited. See all ticketing information.






EL BLOG: Youth Council Blog Launch
El Museo del Barrio
Talk on
El Museo del Barrio
Harlem


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Oye, have you heard? El Museo’s Youth Council is launching a blog, featuring a young and fresh take on the NYC arts scene! Stop by and interact with the new exhibition, MUSEUM STARTER Kit: Open With Care with FREE gallery tours and art-making activities where you’ll create your own museum. The young women from Comunilife’s Life is Precious program will present an interactive performance piece inspired by artist and El Museo founder Raphael Montañez Ortiz.

FREE






Casting Modernity: Bronze in the XXth Century
Arp, Bourgeois, Brancusi, Calder, Chadwick, de Kooning, Ernst, Giacometti, Johns, Koons, Laurens, Lichtenstein, Marini, Matisse, Miro, Moore, Nauman, Noguchi, Picasso, Richier, Rodin, Smith, and Twomb
Mnuchin Gallery
Opening on
On View
Mnuchin Gallery
Upper East Side

Hours:
Tuesday - Saturday 10:00 AM - 5:30 PM


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Pablo Picasso Head of a Woman (Fernande), 1909 Bronze 16 1/4 x 9 3/4 x 10 1/2 inches (41.3 x 24.8 x 26.7 cm) The Leonard A. Lauder Cubist Trust, New York Image © The Metropolitan Museum of Art © 2014 Estate of Pablo Picasso / Artists Rights Society (ARS), New York



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Mnuchin Gallery, together with Dr. David Ekserdjian, is proud to present Casting Modernity: Bronze in the XXth Century. This exhibition will present a survey of more than 30 masterworks in bronze by the leading artists of the twentieth century including: Arp, Bourgeois, Brancusi, Calder, Chadwick, de Kooning, Ernst, Giacometti, Johns, Koons, Laurens, Lichtenstein, Marini, Matisse, Miro, Moore, Nauman, Noguchi, Picasso, Richier, Rodin, Smith, and Twombly.

Following the Royal Academy’s Bronze exhibition in the UK in 2012, Robert Mnuchin and gallery partner Sukanya Rajaratnam invited Dr. David Ekserdjian to co-curate a new presentation concentrating on the connections between artists of the 20th century through their use of bronze material. Mnuchin Gallery's exhibition includes loans from Glenstone, the Hirshhorn Museum and Sculpture Garden, the Nasher Sculpture Center and the Noguchi Museum, as well as numerous private collections.