Our Book to Come (this week, last year)
Six Mondays, Jan. 29, Feb. 12 & 26, March 5, 19 & 26, 7:30 p.m.
An interactive lecture series led by Richard Fletcher, Associate Professor in the Department of Classics at The Ohio State University, based on his blog Minus Plato, exploring the process of reforming the daily posts written last year into thematic chapters of an upcoming book. The first and last lectures will take place during installation and de-installation of Season Zero.
Wager of Word
Tuesday, Feb. 6, 6:30 p.m.
Writer and thinker Jennifer Teets conceives an evening on fictocritique, materialisms and tone, with Michael Van den Abeele (artist and co-founder of Établissement d’en face, Brussels), writer Dodie Bellamy, and Gean Moreno (Curator of Programs, ICA Miami).
Listening To: Pop Resistance
Thursday, Feb. 15, 6:30 p.m.
Robert Loss, Assistant Professor at Columbus College of Art & Design, leads a listening event on Afrofuturism and pop music since 2000, based on his new book Nothing Has Been Done Before (Bloomsbury). In talking about the music of Janelle Monáe, Loss writes “Monáe’s commitment to her cyborg persona not only shows how any performer struggles with the pressure to construct a simplified self, it also makes us ask more questions, questions that might lead to the expansion of what identity means in the first place.”
With special guest: Sharon Udoh of Counterfeit Madison.
Counterfeit Madison is the musical manifestation of Columbus, Ohio residents Sharon Udoh, Adam Hardy, and Seth Daily. Udoh is a versatile artist; her funky yet classical piano-playing and soul and gospel-tinged voice comfortably compliment Hardy’s grungy yet melodic style and Daily’s dynamic and driving rhythms. The great American songwriter John Darnielle of The Mountain Goats says the following of Counterfeit Madison, about their first album, Opened And Shut: “A follower sent me a link to this ridiculously talented songwriter. Try the third tune, “Don’t Cry Wolf,” first, then dig into the rest. Wow, wow. Expect to hear more from Counterfeit Madison, I’d guess.“
Counterfeit Madison recently released their second full-length, Opposable Thumbs, on Anyway Records to warm and exciting reviews in Columbus Alive, 614, Stereogum, MXDWN, and Afropunk in November 2017. The album includes wild and reckless moments resembling demonic deliverances, poignant songwriting, and even tender ballads, seemingly abandoning genre altogether. Their live presentation is no different—it truly is magnetic, raucous, and unforgettable.
Sharon performs next at Ace Of Cups on February 28, 2018, opening for Ezra Furman, and at the same venue on March 19, opening for Half Waif.
Beeler Gallery Visiting Artists & Scholars Lecture Series
Thursday, Feb. 8, 6:30 p.m.
Nancy Brooks Brody, Joy Episalla, and Carrie Yamaoka of the New York-based queer women collective fierce pussy (formed with Zoe Leonard in 1991) will speak ahead of the four members’ upcoming seasons at Beeler Gallery at Columbus College of Art & Design in fall 2018 and spring 2019, which will be devoted to the resonances amongst their individual practices and the way in which the abstraction in their works activates perceptual and political agencies. Moderated by Jill Casid, Professor of Visual Studies at the University of Wisconsin-Madison.
Formed in New York City in 1991 through their immersion in AIDS activism during a decade of increasing political mobilization around gay rights, fierce pussy brought lesbian identity and visibility directly into the streets. Low-tech and low budget, the collective responded to the urgency of those years, using readily available resources: old typewriters, found photographs, our own baby pictures, and the printing supplies and equip.m.ent accessible in their day jobs. Originally fierce pussy was composed of a fluid and often shifting cadre of members. Four of the original core members—Nancy Brooks Brody, Joy Episalla, Zoe Leonard, and Carrie—continue to work together.
fierce pussy projects included wheat pasting posters on the street, renaming New York City streets after prominent lesbian heroines, re-designing the restroom at the LGBT community center, printing and distributing stickers and t-shirts, a greeting card campaign, a video PSA and more recently, various installations and exhibitions in galleries and museums. fierce pussy had been included in group exhibitions at Greater New York, MoMA PS1, New York (2015), Harvard Carpenter Center for the Visual Arts (2009), and has had a solo project at Printed Matter, New York (2008). Forthcoming in June 2018, they will have a project for Queer Power, a facade installation at the Leslie Lohman Museum, New York. More info on fierce pussy can be found on: fiercepussy.org
Nancy Brooks Brody has recently been included in group exhibitions in “Trigger: Gender as a Tool and a Weapon,” New Museum, New York (2017-2018), Frac Haute-Normandie, France (2015), Bortolami Gallery, New York (2017), and Greater New York, MoMA PS1, New York (2015). Her first group exhibition was at Club 57, New York, curated by Keith Haring (1980). She has had solo exhibitions at Andrew Kreps Gallery, New York and Galerie Joseph Tang, Paris, curated by Jo-ey Tang.
Joy Episalla has had solo exhibitions and projects at Participant, Inc, New York (2015), International Center of Photography, New York (2016), Mercer Union, Toronto (2000), and her work has recently been included in group exhibition s Greater New York, MoMA PS1 (2015), Bronx Museum of the Arts (2016), Oakville Galleries, Toronto (2013), White Columns (2010), Harvard Carpenter Center for the Visual Arts (2009), and Wexner Center for the Arts (2005)..
Carrie Yamoaka is a 2017 recipient of Anonymous Was a Woman Award. Solo exhibitions include Lucien Terras (2015), Paul Kasmin Gallery (2014), and Debs & Co., NYC (1997, 2002, 2004). She has participated in group exhibitions in Greater New York, MoMA PS1, New York (2015), Wexner Center for the Arts (2005), MassMOCA (2002), Victoria & Albert Museum (1996), and currently Galerie Crèvecoeur, Marseilles (2018).
Nancy Brooks Brody, Joy Episalla, and Carrie Yamaoka participated in Dust: the Plates of the Present, curated by Sonel Breslav, Camera Club NY at Baxter Street, NYC (2015) and Galerie Praz-Delavallade, Paris (2017), as part of a project co-organized by Jo-ey Tang and Thomas Fougeirol.
Zoe Leonard’s forthcoming survey exhibitions will take place at The Whitney Museum of American Art, and Museum of Contemporary Art, Los Angeles, both in 2018. Group exhibitions include National Gallery of Art (2018), S.M.A.K, Ghent (2017), La Triennale di Milano (2017), Columbus Museum of Art (2016), The Met Breuer (2016), Punta Della Dogana, Venice (2015), the Whitney Biennial (2014), Musée d’Orsay, Paris (2013), Whitechapel Gallery (2012), and Villa Arson, Nice (2007).
Jill H. Casid is Professor of Visual Studies at the University of Wisconsin-Madison where she founded and served as the first director of the Center for Visual Cultures. A historian, theorist, and practicing artist, her contributions to the transdisciplinary field of visual studies include her monographs Sowing Empire: Landscape and Colonization (Minnesota, 2006) which received the College Art Association’s Millard Meiss award and Scenes of Projection: Recasting the Enlightenment Subject (Minnesota, 2015) and the edited collection Art History in the Wake of the Global Turn (Yale, 2014) co-edited with Aruna D’Souza. She is currently completing the two-book project Form at the Edges of Life.
Friday, Feb. 16, 6:30 p.m.
Beeler Gallery’s new Director of Exhibitions Jo-ey Tang will speak with his predecessors Dr. Natalie Marsh (Director and Chief Curator of the Gund Gallery, Kenyon College), Michael Goodson (Senior Curator, Wexner Center for the Arts) and James Voorhies (Dean of Fine Arts, California College of the Arts), as well as Assistant Director of Exhibitions and former Interim Director of Exhibitions Ian Ruffino about the unique role of galleries within an art school context, the evolution of Beeler Gallery, and what it means to “take over” a space from a predecessor. Moderated by Michael Mercil, artist and professor, Interim Chair, Department of Art, The Ohio State University. Postscript by Merijn van der Heijden, interim director of Ohio State University’s Urban Arts Space, to be published as part of a downloadable bulletin pdf on beelergallery.org.
Thursday, Feb. 22, 6:30 p.m.
Neil Goldberg, known for his video, photo, and performance work about embodiment, sensing, mortality, and the everyday, will speak at Beeler Gallery following a Feb. 21 performance at Idea Foundry, co-presented by Wexner Center for the Arts and CCAD Graduate Studies.
Goldberg has exhibited at venues including The Museum of Modern Art (permanent collection), The New Museum of Contemporary Art, The Museum of the City of New York, The Kitchen, The Hammer Museum, The Pacific Film Archive, NGBK Kunsthalle Berlin, and El Centro de Cultura Contemporània de Barcelona, among others. His work has been produced with fellowships from the John Simon Guggenheim Foundation, the New York State Council on the Arts, the Lower Manhattan Cultural Council, the Experimental Television Center, Harpo Foundation, CEC ArtsLink, Stillpoint Fund, Yaddo, and the MacDowell Colony. Goldberg teaches at the Yale School of Art and Parsons, was resident faculty at the Skowhegan School of Painting and Sculpture, and have served as a visiting artist at Cooper Union, The School of Visual Arts, New York University, the Rhode Island School of Design, the MIT Media Lab, and UCLA, among others.
Thursday, March 1, 6:30 p.m.
Artist Les Levine (founder of art tabloid Culture Hero, on view in the galleries) will speak with Sarah Robayo Sheridan (Curator at the Art Museum at the University of Toronto) about his work that spans five decades. In 2017, the exhibition Les Levine: Transmedia, dedicated to his work in the 1960s and 1970s, curated by Sheridan, took place at Oakville Galleries, Canada. Known for his heterogeneous output, including vacuum-formed acrylic pod in the 1960s, videos in the 1970s, and billboards in the 1980s and 1990s, Levine has long incorporated documentation, interviews and encounters with other artists in his video works, actively engaging in the mythic realities of artists roles in society.
Two Les Levine’s films that examine the role of the artists, will be on rotation the weekend of March 3 and 4.
I Am An Artist, 15 min, 1975
A camera follows the artist along New York’s Bowery while the artist explains how he does not want to get involved in problems of society. From time to time a Bowery derelict attempts to involve the artist, but the artist resists involvement.
Analyze Lovers: The Story of Vincent, 41 min, 1990
The critic and curator John Perreault plays Vincent van Gogh, interspersed with interviews with curator Jan Hoet, former MoMA PS1 director Alanna Heiss, and painter Malcolm Morley, among others, instigating the confluence and positions embedded in the artistic, social and economic lives of artists. In “I Am An Artist”, the artist walks on the Bowery in New York, in a kind of refusal and provocation aiming at the border between artists and the world at large.
Saturday, March 3, 3:30 p.m.
Dushko Petrovich, artist and co-founder of arts journal Paper Monument, will speak about his art publishing projects and present The Daily Gentrifier East and West Coast Editions, and will lead a discussion of the local situation as a first step in producing a Columbus edition of Flyover Flyer, which will be released at Beeler Gallery later this Spring, along with Philadelphia, Nashville, Detroit, and Chicago editions. The double-sided broadsheet edition of The Daily Gentrifier, that explores the “crafty, organic, and hyper-local” ethical and aesthetic positions of gentrification of the American coasts, was previously launched at the New York Art Book Fair and LA Art Book Fair. Petrovich is Program Director, New Arts Journalism, School of the Art Institute of Chicago.
Tuesday, March 6, 11 a.m. – 12 p.m.
A lecture by Emily Spivack, artist, writer, and editor whose work draws from contemporary culture, clothing, history, and our relationship to everyday objects. She is the author of Worn in New York (2017), a contemporary cultural history of New York told through clothing, which is a follow-up to her New York Times bestseller Worn Stories (2014) and wornstories.com (2010), collections of stories about clothing and memory. Spivack created Threaded, the Smithsonian’s only blog about the history of clothing. She made howtodresslike.com, an online archive of nearly 1,000 step-by-step instructions culled from wikiHow. For more info: https://www.ccad.edu/events/visiting-artist-emily-spivack
Friday, March 23, 6:30 p.m.
A talk by New York-based artist Sable Elyse Smith, whose practice calls attention to confining structures in society and the often invisible ways in which they shape our minds or direct our bodies, focusing on quotidian violence in the institution of language and the carceral system.
Smith’s solo exhibition “Ordinary Violence”, took place in Queens Museum, New York, in 2017. She was recently included in “Trigger: Gender as a Tool and a Weapon”, New Museum, New York. She has performed at the Museum of Modern Art, the New Museum, Eyebeam, and Yerba Buena Center for the Arts, San Francisco, CA. Her work has also been screened at Birkbeck Cinema in collaboration with the Serpentine Galleries, London, Artist Television Access, San Francisco, and MoMA Ps1, New York. Her writing has been published in Radical Teacher, Selfish, Studio Magazine and with Recess Art’s Critical Writing Fellowship. Smith has received grants & fellowships from Creative Capital, the Queens Museum, Skowhegan School of Painting and Sculpture, the Franklin Furnace Fund, and Art Matters. She is currently part-time faculty at Parsons The New School for Design and a visiting Faculty at Virginia Commonwealth University in the Sculpture and Extended Media department.
Two videos by Sable Elyse Smith will be screen on rotation in Beeler Gallery, the weekend of March 24 & March 25:
How We Tell Stories To Children, 5 min 10 sec, 2015
Untitled, 4 min 55 sec, 2012