TC_PARTY (staysafe)
Please join Topical Cream Thursday, October 19th for the closing event for our inaugural auction.
Topical Cream is a platform for women, femmes, and gender-nonconforming individuals in contemporary art. Since 2013, the New York-based not-for-profit has supported a community of artists, writers, designers, and technologists through digital publishing and public programming initiatives. With an advertising-free model, fundraisers like this one are vital to the digital platform’s continued growth.

Life Support Party
Thursday, October 19
9-12
China Chalet
47 Broadway, New York, NY 10006
Supporter Tickets $15
Tickets will be available at the door.
VIP Entry with gift bag, drink $50

Saturday September 23rd, the new Black-owned Bed Stuy gallery HOUSING, founded by Eileen Isagon Skyers and KJ Freeman, opened its doors with a group show titled Untitled Passage, on view until October 23 and featuring works by Khari Johnson-Ricks, Brandon Drew Holmes, Ginssiyo Apara, Kali Flowers, and Pastiche Lumumba.

Eileen

Eileen Isagon Skyers

IMG_2334

KJ Freeman

IMG_2284

Guests at the opening of Untitled Passage

Dedicated to supporting artists of color, last month, Skyers told ArtNews that “the gallery aims to de-gentrify the space,” previously occupied by American Medium gallery. With Untitled Passage, Skyers and Freeman have put together a show astute to layered narratives of displacement that feels poised to bring in a new audience. When they were installing, Freeman told me Lumumba’s painting, which reads “Drake is the light skinned nigga Kanye said he wouldn’t let come back in style” (in the font of Drake’s 2015 mixtape), was visible from the street. A guy walking by busted up laughing.

IMG_2343

Ginssiyo Apara and Negashi Armada

IMG_2382

RAFiA Santana with work by Brandon Drew Holmes

HOUSING has plans for solo shows by Keijaun Thomas, RAFiA Santana, and American Artist, in the coming months, as well as a group show with Parker Bright, Hamishi Farah, Sean-Kierre Lyons, and Bri Willians to open at the end of October.

IMG_2298

“A brief meditation for the periphery, the inbetweens and the others” by Khari Johnson-Ricks (2017)

IMG_2303

Khari Johnson-Ricks with his own work

IMG_2351

Andrew Ross

IMG_2386

Kurush Bandali and Bevon St. Louis-Brewster

IMG_2286

Sculpture by Pastiche Lumumba

IMG_2295

Ebony Noziere

IMG_2388

Painted shopping bag by Ginssiyo Apara

IMG_2366

Shireen Alia Ahmed

IMG_2310

 

Friday, August 25 is the culminating event of the Montez at Mathew 2017 Summer Program titled “The Only Thing That’s New is Us.” Following the exhibition, all work will be translated into an artist book to be released in 2018 in conjunction with next year’s summer program. Whitney Claflin will be presenting new sections of her infamous game Impulse. Montez is the London-based publisher of SALT among other books and magazines. For a full list of participants click here.

Whitney_ClaflinTopicalCream

Whitney_Claflin_Impulse1

“The Only Thing That’s New is Us”
Whitney Claflin for Montez at Matthew
August 25 7-9pm
Matthew Gallery
47 Canal Street
New York, New York 10002

Open now until September 16, “Prick up your Ears” is a multi-media enterprise exploring the “ontology of fake” through self-examination of the artists’ own role in the culture industry. Curated by Taylor Trabulus, the exhibition is not so much an inter-communicative presentation of artists working in different mediums as much as it is a pronouncement of their individualities, pasted over the art world’s marriage to the economy and identity. As a deliberate act of incohesion, “Prick up your Ears” appropriately introduces LA to many New York-based artists, and establishes their works as unique in relation to one another, but sharing in the common understanding of the culture-capital pipeline.
PRICK_UP_YOUR_EARS

Janvia_Ellis

Karma_International
KayalGutherie

SerSerpa

KARMA INTERNATIONAL
“Prick Up Your Ears”
Curated by Taylor Trabulus
4619 W Washington Blvd.
Los Angeles, CA 90016

Juliana_Huxtable

Artist and mistress of ceremonies Juliana Huxtable is back this weekend for another installment of Shock Value! The badly needed summer party is sure to be a community function like no other. With all the strange news out there best to take a break and come hang with the dolls. We need each other more than ever. Come party with the girls, but do come correct. No H8 or front door desperation. They do it for us, so keep it QT. See you there!

20841886_1258938604233729_6690155940874735943_n

Shock Value
Friday, August 18th
1272 Broadway,
Brooklyn, NY 11221

PurityControl_ErinGrant

Next Tuesday, August 15th, filmmaker Erin Grant will present scenes from her short film The Heart Must Become a Burial Ground. The film is an experimental narrative about the (im)possibility of self-help. It focuses on Echo, a celebrity country-pop singer-songwriter and recent divorcée. Taking the form of an exclusive TV interview, Echo discusses her latest album and comes clean about the highly publicized breakup. During the interview, she experiences a series of hallucinatory dream sequences that explore her emotional reckoning, fetishization of nature, and the psychological function / failure of faith.
Excerpts from the film will be screened, followed by performances by: MHYSA, Lily Saint James, Nar, and Nehemiah. Artist Alicia Novella Vasquez will be creating a unique installation for the event.

“The Heart Must Become a Burial Ground”
Screening Party
Secret Project Robot
1186 Broadway
Brooklyn, NY 11221
Tuesday, August 15, 2017
8pm doors

For the third consecutive year, under the auspices of their performance collective Buoy, New York-based Viva Soudan and Bailey Nolan brought together artists from across the country for a week-long residency in rural Connecticut, which culminated in an immersive performance in the forest.

Buoy1 copy

Witchy narratives were central to this year’s performance titled I Am Your Itch which abstractly grappled with the anxieties of the current political moment as well as the historical traumas of womanhood.

Buoy2 copy

Complicity was a theme. The performers role-played scenes of abuse directly asking the audience, “Why aren’t you doing anything?”

Buoy3 copy

The residency’s participants applied in pairs, submitting a duo manifesto and a video of them moving together.

Buoy5 copy

While there were choreographed sequences of the two-dozen-plus performers moving together in unison, the piece was founded in the relationships and movement vocabularies these duos developed.

Buoy4

A spirit of fierce resilience and manic frenzy pervaded the work, exemplified above by Jillian Goodwin’s gaze. During a talkback following the performance, Soudan explained a goal of the work was to “reactivate the energy to riot.”

© Leandro Justen

Anna Holmes and Eileen Myles at Lower East Side Girls Club.

Thursday June 14, Creative Time and the New York Public Library brought together poet and writer Eileen Myles, writer and Jezebel.com founder Anna Holmes, and artist and musician JD Samson for an evening themed around the idea of constructing a 21st-century feminism.

© Leandro Justen

JD Samson center, in a shirt made of rocks.

Following a conversation between Myles and Holmes that spanned the commodification of identity, literal boys clubs, and menopause, Samson performed with January Hunt and Laura Dune as well as members of the Lower Eastside Girls Club and Xhoir.

© Leandro Justen

January Hunt plays a synthesizer.

Here are some excerpts from Myles and Holmes’s dialogue:

EM: Is keeping a diary feminist? Growing up, part of what you were grappling with was not being silent. As a young female, I was constantly being invited to be silent.

AH: None of my peers would identify as “feminist.” This was ’92 or ’93. It was made toxic. Now there’s women with the T-shirts and it’s a whole marketing thing.

EM: It starts to be your career. You are always being reminded that you are female. You are always being asked to weigh in about being female. It constantly displaces you from the narrative you are trying to make.

AH: It’s the same for writers for color. I wanted to start a digital property that would only be populated by writers of color but they wouldn’t write about race at all.

© Leandro Justen

The audience at the second event in the In Situ series, a collaboration between Creative Time and the New York Public Library. Images courtsey of Leandro Justen.

EM: When I’m alone, am I a feminist? When I’m alone, am I a female?

AH: What did you want to be when you grew up?

EM: An astronaut. What about you?

AH: A dancer. I was very extroverted as a child but then at about 10 or 11, something happened that I think happens to a lot of people. I fell into myself.

EM: You are going through this transition and it’s unmarked, undiscussed, unritualized. You are being told to hide, just like menopause. My mid-40s started to get weird and operatic. I was so productive, I must have written three books. I was nuts. It’s psychedelic. A lot of women I knew started drinking and drugging again. Five women I knew killed themselves that decade.

AH: [on the political moment] Right now, norms are being broken, lines are being crossed, but there’s not an outcry. It’s not a lack of interest. It’s a feeling of impotence.

The live action avatar of performance artist Becca Kauffman is the host of the monthly variety series, Jennifer Vanilla: Live at the Bar in Ridgewood. Together, the powered-by-Jennifer production entertains JV enthusiasts, curious first-timers, and neighborhood regulars as an audience to its improvisational score.

Past “Live at the Bar” guests have included Nancy Feast, Sam Regal, Sam Lisabeth, Allison Brainard, Sitcom, and Angelina Dreem.The fourth installment takes place this Tuesday and features the talents of Alaina Stamatis, Annie Bielski, and Poncili Creación. jv_liveatbar_II_happysad

Jennifer Vanilla: Live at the Bar
Tuesday, June 6
8-10pm
The Windjammer
552 Grandview Ave, Ridgewood, NY

Marie_Karlberg_Artist

“This past March, Reena Spauling presented Marie Karlberg’s “1 Hour of Limited Movement” at Market Art Fair in Stockholm, Sweden. For this performance, Karlberg stands isolated in a perspex box. The artist is clad in a black turtleneck and tights (a proper mix of casual dress and performance wear) and irreverently blows smoke toward an audience of art professionals as disembodied voices read texts over a loud speaker. Critiquing power structures within the art market, the texts (from unnamed gallerists) invite the artist to participate in various upcoming exhibitions but, always with budgetary or some other restriction. In several of the emails, gallerists remind the artist “what an opportunity” they are offering, even though there is no budget left to cover basic costs. Karlberg, states “I use performance to critic expectations of young artists’ marketability and the careers that consolidate out of that, in a personal way.”

Marie_Karlberg_Perforance2

Marie Karlberg, “1 Hour of Limited Movement,” 2017, perspex, cigarette, champagne and glasses, eye shadow, body of the artist.

Marie_Karlberg_Performance

Marie_Karlberg