AFC is a lucky participant in Two Trees’ Cultural Space Subsidy Program. That means we’re one of the arts organizations that benefits from more than 50,000 square feet of prime DUMBO real estate rented below market-rate to nonprofits, professional artists, and other groups who otherwise couldn’t afford the neighborhood.
We really love being between Downtown Brooklyn and the Lower East Side, and we’re probably some of the few people in the city who can say we’re lucky to have an awesome landlord. If you’re an artist or arts organization looking for a studio, office, or gallery and think you would qualify, we encourage you to apply for the program and be our new neighbors!
Today, artist Lexie Mountain published this video to YouTube and announced it with the Facebook message “Finally finished editing the documentation to my 2014 performance ‘Fred Worden Cuts a Couch in Half with a Chainsaw.’ I find it so strange and difficult to watch, which is why it took me two years to even review the footage.” It was brought to my attention because [full disclosure] I have very brief cameo in the background of one scene. Lexie and I went to grad school together at the University of Maryland Baltimore County and the footage is from our MFA thesis exhibition opening.
I love this video on many levels—Lexie and I spent a lot of time in grad school talking about the phenomenology of documentation—but mostly it’s just so damn odd.
Good news for internet artists. Schlosspost, an online platform for Stuttgart’s Akademie Schloss Solitude, is planning to extend the public foundation’s international artist residency program. The extension will coincide with the launch of their own online residency program. Acting as a sort of “virtual” Akademie, Schlosspost will be awarding the residencies several times a year, offering artists a micro-grant and online promotion of their projects.
What is there to say about ass? Not a hell of a lot, but it’s still a worthy point of focus. Enter Naomi Elizabeth’s “The Topic is Ass”, a song that implores us to consider the ass in all its splendor. Ironically enough, we barely see any ass in her video, though we do see her, scantily clad, in what appears to be an Uber car, as well as in a 3D-rendered, seapunk-styled gallery.
Good news for artists. Interstate Projects has announced a studio program that will launch in April. The Bushwick gallery will be providing one artist a free 300-square foot studio space for the period of four months at its two-story building on 66 Knickerbocker. The open submission residency, which will be selected by a juried panel, will have three residency periods: April-July, August-November and December to March 2017.
After looking at the Minter show in Denver, I spent a bit of time watching a panel discussion on the show at The Contemporary Art Museum Houston between Director Bill Arning with Curator Elissa Auther, artist Marilyn Minter and cultural critic Linda Yablonsky this spring. I didn’t end up using any of it in the review, but there’s some great material here.
I’ve been a passive fan of Peter Shelley’s Telephone Operator (1983) for a while, but only today did I think to look up the video. All these years, I’d never paid close enough attention to realize the song is about an upset drunk male whose come ons haven’t seduced a telephone operator! As it happens, the video fetishizes digital technology using much of the same iconography as digital artists. Circuitry is everywhere and so are computers. Here, we see a circuit board shirt, circuit board line drawings, actual circuit boards, a computer, a room full of computers, a room full of telephones, dot matrix print outs, and Tron-like renderings of figures and the inside of telephone cables. All of this seems to suggest a rather creepy scenario in which Shelley becomes increasingly obsessed. Even 30 years ago, technology was a good way to violate other people’s privacy. And much like today, also a convenient way to get laid.