In 1969, Bronx-born Ida Applebroog was living in southern California with her husband and four children. Busy as a mother and an artist, she took refuge in the one place that guaranteed solitude: the bathtub, a “little sanctuary” where she would soak for two to three hours every evening. Over the course of several weeks that year Applebroog also brought sketchpads to the bathroom and drew her own naked body – specifically her crotch – from reflections in a mirror. The result of this ritual was more than 160 vagina drawings rendered in India ink and pencil. Some were highly detailed, others were fancifully exaggerated, and still others were abstractions comprising a single elegantly curved line. Each drawing chronicles an intimate act of self-exploration by a woman and artist. These drawings, unseen by anyone other than their maker, returned with Applebroog to New York City in 1974 and were packed in a basement and forgotten until studio assistants discovered them in early 2009. Together these images comprise a remarkable archive that, forty years on, serves as a key component in an entirely new body of work called Monalisa.www.artbook.com
Organized by Howie Chen and Jason Kakoyiannis in conjunction with Columbia University's Center on Organizational Innovation
This is the first event in a series of programs, Juicing the Equilibrium, organized by New York based curator Howie Chen (Dispatch, NY) and artist/attorney Jason Kakoyiannis to assess how sociological and cultural economic approaches to art world debates can augment artistic critique.
Olav Velthuis is Assistant Professor at the Department of Sociology and Anthropology of the University of Amsterdam. He is the author of Imaginary Economics (NAi Publishers, 2005) and Talking Prices. Symbolic Meanings of Prices on the Market for Contemporary Art (Princeton University Press, 2005), which received the Viviana Zelizer Distinghuished Book Award of the American Sociological Association for the best book in economic sociology (2006). Before, he worked for several years as a Staff Reporter Globalization for the Dutch daily de Volkskrant. His journalistic writings have appeared in among others Artforum and the Financial Times.
COI is one of eight centers at Columbia's Institute for Social and Economic Research and Policy (ISERP). The Institute's core mission is to catalyze and produce pioneering social science research and to shape public policy by integrating knowledge and methods across the social science disciplines. COI promotes research on organizational innovation as well as new forms of collaboration, communication, and coordination made possible with the advent of interactive technologies.
Juicing the Equilibrium is a series of programs organized by New York based curator Howie Chen (Dispatch, NY) and artist/attorney Jason Kakoyiannis to assess how sociological and cultural economic approaches can help art producers generate new critical demands and leverage within the space of cultural production. How can the robust analytical tools and models of the social sciences—whether they be data driven, behavioral, network, or quantitative—be utilized to mend the deteriorating ability of critical practice to narrate its own complex reality? www.jequ.org
"The Davis film that had the greatest effect on me...was Dust on The Bible (1989), a documentary about street-corner preachers in Belfast. Dust on The Bible resonates with Davis' earlier encounter with evangelical Christianity in America's ‘Bible Belt' as seen in his film Route 66 (1985). Given such a soft target it would have been easy for Davis to simply draw the viewers' attention to the parallels between the redneck mentality of America's Deep South and attitudes of religious fundamentalists in Northern Ireland. He doesn't eschew this point so much as render it ambient. The result is a bleak and tender portrait of the place, a journey through the cultural and economic void that was Northern Ireland at the time."—Duncan Campbell
Part of an ongoing film series curated by Thomas Beard and Ed Halter for Artists Space
"French society, and especially Parisian, is gluttonous," Claude Lévi-Strauss has famously said, "Every five years or so, it needs to stuff something new in its mouth." The same goes for the contemporary artworld: It is about new things to satisfy age-old desires. Is gluttony in art consumption contagious?
The panel seeks to answer provocative questions on the pleasures and sins associated with art and food, as well as on the artworld's gluttonous appetite for novelty.
Dirty Mirrors, a four-piece country band with Jon Kessler, John Miller, Aura Rosenberg and Dan Walworth, will perform at Hard Hat/Dispatch, on the fourth floor of INDEPENDENT