9.15.2014

Jenny Perlin (UPenn Faculty) at The New York FIlm Festival

Jenny Perlin screens new work at The New York Film Festival October 3, 2014 at 9:15pm.

OCTOBER 3 2014
New York Film Festival: Projections
World Premiere

The Measures
A film by Jacqueline Goss and Jenny Perlin
Film Society of Lincoln Center, New York
Friday, October 3, 9:15pm

"Highlights include new works from filmmakers familiar to NYFF and Views from the Avant-Garde audiences including Kevin Jerome Everson (Fe26, Sound That, and Sugarcoated Arsenic), Ben Rivers (Things), Ben Russell (Atlantis), Sylvia Schedelbauer (Sea of Vapors), and Deborah Stratman (Second Sighted). Jacqueline Goss returns to the festival with the world premiere of her collaboration with visual artist Jenny Perlin, The Measures, which explores the metric system’s origins via the journey of two 18th-century astronomers tasked with determining the true length of the meter. The film will be screened with a live voiceover performed by Goss and Perlin."
-a blurb from the website

To check out the full line-up for this film festival, go to:
http://www.filmlinc.com/nyff2014/blog/nyff-sets-63-film-and-videos-for-its-projections-lineup

Jenny Perlin (UPenn Faculty) at Anthology Film Archives in NYC

SHOW & TELL: GUSTAV DEUTSCH / JURI RECHINSKY / JENNY PERLIN

July 12 – September 16

Each of our quarterly calendars contains hundreds of films and videos all grouped into a number of series or categories. Along with preservation screenings, theatrical premieres, thematic series, and retrospectives, we’re equally dedicated to presenting work by individuals operating at the vanguard of non-commercial cinema. Each month we showcase at least one such program, focusing on moving-image artists who are emerging, at their peak, or long-established but still prolific. These programs are collected under the rubric SHOW & TELL, to emphasize the presence of the filmmakers at each and every program. This calendar brings visits from Gustav Deutsch, a key figure of Austrian avant-garde cinema who will be premiering his radically atypical SHIRLEY – VISIONS OF REALITY; Ukrainian documentary filmmaker, Juri Rechinsky; and NY-based artist and film- and videomaker Jenny Perlin, whose show coincides with an exhibition at Simon Preston Gallery. This series is made possible in part with public funds from the New York State Council on the Arts’ Electronic Media and Film Presentation Funds grant program, administered by The ARTS Council of the Southern Finger Lakes (www.NYSCA.org, www.eARTS.org).

Upcoming Screenings

Anthology Film Archives 32 Second Avenue New York, NY 10003

9.09.2014

Dan O'Neill (MFA '14) at JAMESTOWN ARTS CENTER in RI - opens Sept 13

SECOND HOME
Suzanne Volmer

JAMESTOWN ARTS CENTER

18 VALLEY STREET
JAMESTOWN, RHODE ISLAND
SEPTEMBER 13 THROUGH OCTOBER 17

ALICE O'NEILL, COLGATE SEARLE AND DAN O'NEILL GROW UP

As an attention grab for audiences visiting Jamestown Arts Center in late summer and early fall, a glowing neon glyph set in low relief will greet them just inside the door. Reminiscent of the emblem of a super- hero’s belt or a computer command key, this stylized cloverleaf by Colgate Metcalf Searle III invites entry into the unique three-person exhibition “Second Home.” The show includes neon/mixed-media sculptures by Searle, artworks by Alice O’Neill (her drawings, etchings and cyanotypes), and a projection installation by her muralist brother, Daniel O’Neill.


The three artists grew up together in Providence and received under- graduate degrees from the Rhode Island School of Design (RISD). If familial pedigree matters, then note that Alice and Daniel O’Neill’s father is a professor in RISD’s film department and Searle’s dad is a professor in its landscape architecture department. The Jamestown exhibition basically tells a coming-of-age story about three individual trajectories that are informed significantly by experiences beyond New England.


After RISD, Daniel O’Neill received his MFA from the University of Pennsylvania after living in Rome, Italy, where he absorbed a rich history of mural painting, triggering his re-mix of the genre. Among employment opportunities, Daniel worked as studio manager for artist Joseph Kosuth, recognized for his neon text installations.


Alice was the one to contact Jamestown Arts Center last year regarding the development of this artist-curated exhibit. The idea came to her while she finished removing items from the O’Neill family house in Jamestown. She includes drawings and etchings, which reference things she gathered. Alice is interested in ideas of attachment, and so such things as her mother’s earrings are included as subject matter, blown-up beyond life-size.


Alice received her master’s degree from the University of Wisconsin in 2012 and has a Master in Printmaking from the University of Brighton in the United Kingdom. She was awarded a graduate assistantship at Wisconsin’s Tandem Press, a facility that produces professional artist editions by Sean Scully, Suzanne Caporael and others. Mentored at Tandem, she worked with their largest printing press. She has also made oversize cyanotypes that are included in the “Second Home” exhibition.


LIGHT IT UP


Searle combines a designer’s sensibility, technician’s skill and an artist’s vision to create his artwork. He had fabrication experience in design and architectural roles in New York City before deciding to pursue neon at the University of Wisconsin. He expects to receive his Masters degree in 2015 from that institution. When asked, “Why Wisconsin?,” Searle explains that there are only a few schools in the United States where a person can learn neon fabrication; the University of Wisconsin is on that list. He points out that neon and beer culture have actually evolved simultaneously in the Wisconsin economy, as neon signs are the advertising choice in many bars. The vernacular for the neon color “Brilliant Blue” straight off the production line is “Pabst Blue” among enthusiasts — illus- trating the connection neon has with the promotion of brew.


Searle had a rabidly successful couple of days at a recent Scope Art Fair in Miami, bending coat hangers into funky portable wire sculptures on the spot and selling them like hotcakes to collectors. He brings to Jamestown an extension of this way of thinking that is clever, sometimes funny and only achievable with an underlying understanding of mathematical determinates. Colgate’s meticulous control of possibilities is several steps above DIY culture in its refined use of materials; however, his mixed-media approach still utilizes easy finds of stock items from big-box hardware stores that he coaxes into effectiveness by drawing constantly upon his design training. His artworks evoke a minimalist sculptural intensity.


Alice O’Neill contributes subtle pencil drawings, evocative cyanotypes and etchings shown in the main gallery with Searle’s work. The artists have a sense of clean authority in common, and both have an interest in the craft of execution and quite differently explore connection of mood and emotion.


Daniel O’Neill chose the small gallery just before the central larger space to show his work. He figured, as it is windowless, that the low light would enhance projection possibilities and allow engagement with the architecture. Daniel’s narrative construct involves reinter- preting effects associated with painting through double-projector interplay. He mingles layers of video formatted, computer-modified imagery about observed time and place made with direct composite, lift and place techniques, and animated drawn passages. These get juiced-up by the addition of a layer of ink-jet-printed wallpaper made from the source material of his watercolors.

9.08.2014

Laura Bernstein and Saori Moriizumi at ActiveSpace in Brooklyn - OPENS 9/12

Supermacho
Laura Bernstein, Gita Blak, Leah Dixon, Saori Muriizumi, Hector Madera, Raul de Nieves, Fernan Pintado, Jonathan Torres, Amy Ruhl, Julie Tuyet Curtiss and Sebastian Vallejo.

Curated by Cristina Tufiño

Opening, 10/12/14 6:00-8:00 PM
Active Space Brooklyn
566 Johnson
Brooklyn, NY

SUPERMACHO features spatial installations, performance remnants and painterly abstractions from a group of artists working as surrogates in a range of subjectitivies and gendered hysterias.  SUPERMACHO also explores the fluid boundaries between seriousness and an exuberant spirit present in the artists work.

Leah Dixon’s work addresses labor, war, and political correctness via highly physical processes— that often result in refined, yet deconstructed sculptures. Much of her work is formed metaphorical hand-built staging area.  Throughout the duration of the art’s construction, Dixon performs as a furious, one-woman making machine, questioning her relationship to power dynamics and propaganda as an American woman.  Her work calls to mind hand-made playground or athletic equipment, with a dubiousness that becomes increasingly apparent upon inspection.  Once the construction/deconstruction phase has created a sufficient structure, Dixon steps away— leaving an immediate vacancy to be filled by a viewer’s presence.  Like many laborers, Dixon’s right arm is much larger than her left.  Dixon believes imbalance is symbolic.  Imbalance provokes response.  Synchronicity over symmetry.  ALWAYS.

Raul de Nieves is a playfully obsessive multimedia artist combining excessive-identity in his performance and installation to build a unique hand-made material and (dis)functional language. de Nieves's decadent multimedia performances include large-scale figurative sculpture, ornamental hand-made garments, narrative painting, and live music to engage his audience in his personal mythology- a joyous mythology that mirrors a childish tantrum or the cosmic interplay of manifestation and dissolution.  de Nieves asserts an excessive form of identity combining violent rebellion and reverent craftsmanship.

Gita Blak explores the ways in which class and gender divisions in society can be articulated by means of music, the  artist collaborates with local activists, independent journalists, and artists in order to compose protest songs disclosing the minority positions in the society In her performance using the form of childplay and children's song, girls aged 10-12 perform in public space, breaking the common stereotypes according to which children are unable to grasp what goes on in their surrounding and girls should conform to the traditionally female (pre) occupations, linked to the private, never to the public sphere.

Hector Madera drawings, sculptures and installations are involved with the “more personal, a combination of abstract and figurative, bold and colorful forms that reflect a period of time where ecstasy and confusion were the highlights of any given day.  Excess was a main ingredient in everything I was doing.  My drawings are mainly done digitally, this is because I was too tired or too depressed to go to a piece of paper and try to make something special something grand.  Instead I started to download apps for drawing in my ipad… My intention is to invite the public to become part of the artwork by stepping in and activate the piece by just taking some pictures.” 

Laura Bernstein “Unusual Feet” asks “What does it mean to believe in an idea removed from action? Does the experience of seeing something out of place or in a context unbeknownst to its origins inspire mythology? For this exhibition an installation based on an on going investigation of mythology, anthropology and parachutes conjure the “the Umbrella-Foot tribe (Sciapodes) because in the hotter weather they lie on their backs on the ground and protect themselves with the shadow of their feet...

Amy Ruhl’s video sculpture Pinky Violence is a sculptural installation made from the remnants of a year-long artistic engagement with literary fairy-tales. The final video, My Mother She Killed Me, My Father He Ate Me projected on the interior. The title refers to a Japanese cinematic genre of adult film, also called “eroduction.”  From the title, a softer kind of violence, an infantile and/or feminine violence.. Not red. Pink. In her adaptations, fake blood consists of a children’s washable tempera paint that when fresh and wet yield a Dario-Argento-red, but dry a girly-girl pink.

Saori Moriizumi makes sculptures through a process of intuitively combining materials that find a median in seemingly contradicting qualities, such as, painting and sculpture, sweetness and violence, nature and artifice, structure and destruction, sincerity and irony, cheerfulness and hopelessness.
Jonathan Torres Some Kind of Creatures is an extension of his paintings; based on creatures that appear as a hybrid of bird or feline, others human with an evil smile but with a cherubic and beatific look. Tactility and repulsion appear in the work as equally pleasurable and disturbing. His sculptures he describes as  “as satire, a cruel smile or a negative joy; beauty in the ugly makes the beautiful more realistic and true.”

Julie Tuyet Curtiss collages stem from a recycling process. They originate from “orphans” or “dead-ends” works on paper.  “Man Kinds” is a collage series that questions gender roles, styles and the notion of identity. These portraits blend female and male attributes -particularly beards and haircuts - playing with patterns, erasing or multiplying facial elements. The shuffling of these mere attributes brings characters into existence.  The simplicity of the concept allows inexhaustible variations.

Fernando Pintado explores identity and theatricality where the harlequin acts as a surrogate self-portrait with phrases in English and Spanish are printed on cotton bed sheets, giving them a sense of confusion in the midst of comfort. The scale is of particular importance, in this case giving the work a sense of theatricality while connecting

Sebastian Vallejo's paintings are inspired by the expansive and improvisational quality that exists in nature; and by the light and colors of the Caribbean, where organic and inorganic forms collide and transpose visually, where order and chaos, affirmation and negation become ever-present.

Eileen Neff (Former UPenn Grad Faculty) at Bruce Silverstein Gallery in NYC


9.03.2014

Gonzalo Reyes Rodriguez (MFA '16) at Hyde Park Art Center in Chicago - Opens Sept 13th

Photo: Gonzalo Reyes Rodriguez

Hyde Park Art Center is proud to present the third annual exhibition of work from participants in our flagship artist professional development residency, The Center Program. Curated by Tricia van Eck, the group exhibition Front & Center unveils artwork by the 2014 class of artists in this program that is dedicated to building critical dialogue for professional artists seeking to advance their work. The exhibition features new artworks in various media by 25 artists from emerging to midcareer levels.
Over the course of six months, a supportive peer network, guest artists, gallerists, critics, and professionals push Center Program artists to answer tough questions, evolve their art, and ultimately produce strong, new work to show. The group exhibition Front & Center unveils features new artworks in various media by twenty-six artists from emerging to midcareer levels. Show runs from September 14, 2014 – January 4, 2015.

Featuring work by Kevin Blake, Steve Juras, Christian Ortiz,  Gonzalo Reyes Rodriguez, Sheri Rush,  Caitlin Ryan, Carla Fisher Schwartz, Casey Smallwood, Rodrigo Lara Zendejas, and others




HYDE PARK ART CENTER
5020 S. Cornell Avenue Chicago, IL 60615
Phone: 773-324-5520


8.30.2014

E & Chukwumaa aka SCRAAATCH (Both MFA'16) performing at The Saint Tomorrow! Sunday, Aug 31

This Sunday!
A Sunday Afternoon of Sound Art / Verge Sonics / Love Beats / Live Sound Process by: Rucyl http://rucyl.com/ Suzi Analoguehttp://suzianalogue.com/ Scraaatch http://scraaatch.tumblr.com/facebook event page:https://www.facebook.com/events/728632020516620/728632023849953/
Saint Lazarus Bar
102 W Girard Ave, Philadelphia, PA 19123

8.26.2014

Jenny Perlin films in NYC and Arizona this fall - Check them out!


OPENING SEPT 2:
Scottsdale Museum of Contemporary Art
Scottsdale Arizona
Prologue: Covert Operations
Sept 2-Sept 22, 2014

This great show features The Perlin Papers (by me) and
The Last Soviet by Kerry Tribe.


OPENING SEPT 7
Simon Preston Gallery
Opening September 7 2014 6-8pm
Sept 7-October 5 2014
Simon Preston Gallery
301 Broome Street, NYC

The show will include a new film about sinkholes and many works on paper. If you are in NY please come by and see the show!


SEPT 15 and 16
Anthology Film Archives
September 15 and 16 2014

Three full evening programs of films screening in separate shows at Anthology on Sept 15 and 16.  Here's the link--


Last but not least--for now--

I am thrilled to announce the world premiere at the New York Film Festival of the collaborative film The Measures. Jacqueline Goss and I have created a film essay and we will be delivering the voice-over live at the premiere!

Please join us at The New York Film Festival October 3, 2014 at 9:15pm!

OCTOBER 3 2014
New York Film Festival: Projections
World Premiere!
The Measures
A film by Jacqueline Goss and Jenny Perlin
Film Society of Lincoln Center, New York
Friday, October 3, 9:15pm




Matt Neff (MFA Alum) in group show in Philly! Opening on Sept 11

Roth

August 25 - October 8, 2014
Opening Reception: Thursday  September 11,  5 – 7:30 PM


 
Brock Enright
Alison Knowles
Kate Levant
Chris Martin
Justin Matherly
Win McCarthy
Jim McWilliams
Matt Neff
Karyn Olivier
Holt Quentel
Terry Riley
Dieter Roth
Michael E. Smith
Michael Williams
Erwin Wurm


 
The Rosenwald-Wolf Gallery of the University of the Arts is pleased to present Roth, in homage to the first Dieter Roth exhibition in the United States fifty years ago at Philadelphia College of Art (now the University of the Arts). The polymathic artist Dieter Roth (1930 – 1998) was a master of many genres and was one of the most influential models in late Twentieth Century art. During Roth’s stay in Philadelphia working with the master printer Eugene Feldman and especially Jim McWilliams, Roth completed thousands of printed, photographic and hand drawn pages which later became the basis of Roth’s book Snow. At the same time his debauched antics made him the bête noire of several American cities and campuses.

Roth’s early work could be almost minimal, dealing with a few lines of text, geometric and die cut, comprising many volumes of books (both unique and published in editions), sculptural or environmental. He often layered his imagery and his materials, some of which were organic and open to abject putrefaction. Comic and sexual imagery, hand-drawn or consisting of multiple versions of throw-away printings were all part of his practice. Towards the end, he documented his studio life on video, which was shown in real time on banks of monitors.

In recognition of Roth’s local sojourn, we have (in addition to Roth) included the following sympathetic artists: Brock Enright, Alison Knowles, Kate Levant, Chris Martin, Justin Matherly, Win McCarthy, Jim McWilliams, Matt Neff, Karyn Olivier, Holt Quentel, Terry Riley, Michael E. Smith, Michael Williams, and Ervin Wurm.

Roth’s works are in the collections of numerous institutions including the Museum of Modern Art, New York; Centre Pompidou, Paris and Musee des Beaux de Nantes, France; Hamberger Kunsthalle, Hamberg, Kunstmuseum Stuttgart, Museum fur angewandte Kunst, Frankfurt; Ludwig Museum Cologne, Germany; Kunsthaus Zurich; Kunstmuseum Bern, Switzerland; Museu d’Art Contemporani de Barcelona, Spain; Tate Gallery, London among others.


This exhibition is free and open to the public.  

Laura Bernstein (MFA '14) at Vox Populi - Opens Sept 5th



Between a rock and a hard place. offers a sculptural conversation between three female artists: Laura Bernstein (Philadelphia/NYC), Lydia Hardwick (London), and Rachel Rotenberg (Baltimore). Their works operate as the remnants from an otherworldly archaeological dig, marked with the indelible imprint and purposeful grace of their three makers. These are objects for projecting our human tensions and fantasies upon, yet remain concealed within their obtuse configurations. Fragments from an alternate world or fictional alphabets, the sculptural forms are paradoxically familiar yet radically alien. At their core, these are non-functional yet social objects: acknowledging or denying the body, embodying complex human relationships, and birthed through intuition and memory.
Within this exhibition lies the paper mâché world of Laura Bernstein, with its monumental and elegiac carousel made for a social hive mind of activity and the remains of her disbanded army. Lydia Hardwick’s ceramic works are at once trail blazes beckoning us forward into the new places they demarcate, while their colorful layers contain the cartography of a distant land. Rachel Rotenberg’s physical wooden forms are a novel kind of spatial calligraphy – their worn surfaces a palimpsest of the psychologically charged stories they carry.
The continuingly unfolding logic of this installation allows these works to point to and defy the limits of vernacular language and structural representation, as a means of expressing a playful and poetic kind of discourse. Amidst their rough and labored fabrication there is a deliberate and delicate precision of form which aids them in defying time– at once remnants but also maps, scores, and tools for a future unfolding beneath us.
Laura R. Bernstein is multimedia artist who creates movement apparatuses that reorient the body and challenge notions of public and private, utility and absurdity. In 2014 she received her interdisciplinary MFA from the University of Pennsylvania with a certificate in Time-Based & Interactive Media. In 2010, she graduated from RISD with a BFA and Senior Excellence Award in Sculpture. Bernstein was an apprentice at the Fabric Workshop and Museum in Philadelphia (2013), a Vermont Studio Center (2013) and Toby Devan Lewis (2014) Fellow. Her work has been showed in Philadelphia, NY and Austria and is part of the permanent collection of the National Dance Institute in New York.
Lydia Hardwick is an artist working in clay who takes a collage based approach to the medium: splicing, layering, and placing. She currently lives in London after receiving her Masters degree in ceramics and glass from the Royal College of Art in London. In 2014, Hardwick was awarded a residency and exhibition at An Tobar, on the Isle of Mull in Scotland and a month-long residency in Neumünster, Germany at the Künstlerhaus Stadttöpferei. This is her first exhibition in the United States.
Rachel Rotenberg is an artist working in wood, her sculptures present amalgams of relationships, drawn from aspects of her biography and everyday experience. Born in Toronto and currently based in Baltimore, MD, she completed her undergraduate studies at York University in Tortonto and has taken post-graduate courses at the School of Visual Arts in New York and the Banff Centre in Banff, Canada. Rotenberg was a 2012 Pollock-Krasner Grant recipient. Her work has been exhibited in venues including the Delaware Art Museum and the Baltimore Museum of Art.