Participants in “Again…The Lumpen Headache” will be enlisted in the analysis and co-recreation of a set of meetings that marked the end of the art journal The Fox along with the New York section of the artist collective Art & Language in 1976, taking part in the conversations as one of the interlocutors and actively contributing towards the staging of a group reading.
Join the Operating System and CUE Art Foundation for a very special evening celebrating the release of The Book of Everyday Instruction by artist Chloë Bass. Hosted by OS Creative Director and Founder, Elæ Maga [Lynne DeSilva-Johnson], with performances/readings from the artist, Bill Dietz, and other special guests TBA!
A series of panel discussions in response to today's treacherous political landscape and environmental crises featuring artists, writers, and activists who discuss a changing mindset that connects social justice, artistic output and lived life.
Relevant Content is a free workshop for artists and curators that challenges participants’ understanding of the role of design in the development of artistic narrative. From individual to institutional levels of engagement, we will examine how design works in an art context by looking at individual artworks, website and catalogue production, and exhibition design.
A performative burial enacted by the Word is a performance by NO STONES with Mirene Arsanios and Maxwell Cosmo Cramer. Taking inspiration from the works on view in Original Language, this night of performances approaches language as a medium on the precipice of violence.
During this workshop, Monica Montgomery and Janelle Naomi Rouse will explore a variety of strategies to fuel our contentious feelings around arts administration, to cultivate empathy, advocate action, and speak out against pervasive narratives of injustice in the cultural institutions we work in and around.
CUE Curatorial Fellows Simon Wu and Mira Dayal have extended the open call to artists, curators, thinkers, and cultural producers to submit formulas for successful works of contemporary art. Selected formulas will be used to commission an exhibition of new work, entitled Formula 1, at CUE Art Foundation this spring. Submit your formula here by September 15th, 2018.
Join us for a performance by Ariel Jackson and Michael J. Love, presented in conjunction with the group exhibition Original Language. The artists will activate Jackson's sculptural installation, All I See is Blue, to translate Langston Hughes' 1935 poem "Let America Be America Again."
Join us on August 2 to celebrate the opening of the second annual Joan Mitchell Foundation Alumni Council Exhibition, hosted by CUE Art Foundation. Entitled TRANSPARENCY, this exhibition features work by 15 artists who are alumni of the Joan Mitchell Foundation’s Art Education Program. Alumni were challenged to consider the theme of "transparency," traversing the many meanings of the word, and contribute work within the theme that highlights their talents and pushes the bounds of their practices as young artists. The resulting exhibition ranges in content from interpersonal intimacy to sociopolitical tragedy.
August 2–17, 2018
CUE Art Foundation, 137 West 25th Street, NYC
Monday - Friday
Thursday, August 2
and Artist Talk:
Friday, August 17
Amari “Mars” Jones
About the Joan Mitchell Foundation
The Joan Mitchell Foundation celebrates the life of abstract artist Joan Mitchell by expanding awareness of her pioneering work and fulfilling her wish to support and provide opportunities for visual artists. Through grants, residencies, and related initiatives, the Foundation advances the work of today's artists and amplifies their essential contributions to communities around the world.
The Foundation's grant programs include the Painters & Sculptors Grants, Emerging Artist Grants, and Emergency Grants, all of which provide recipients with unrestricted funds. Its New Orleans-based Joan Mitchell Center hosts residencies for national and local artists, as well as public programs such as artist talks and open studio events that encourage dialogue and exchange with the local community. The Creating a Living Legacy (CALL) initiative provides free and essential resources to help artists of all ages organize, document, and manage their artworks and careers. Together, these programs, along with additional professional support services, actively engage with working artists as they develop and expand their practices. Learn more at joanmitchellfoundation.org.
About the JMF Alumni Council
The Joan Mitchell Foundation Alumni Council is a program for former Art Education Program (AEP) alumni artists between the ages of 18-25, who are seeking professional development and community involvement. The program brings together young adult alumni to provide fellow alumni participants and partnering organizations an engaging community experience, which is geared to develop, support, and encourage young aspiring artists to express their artistic voice. The program creates a leadership venue for the Foundation's AEP alumni and provides an opportunity for empowering young artists to develop a creative and supportive networking community.
This workshop, designed for educators and social practice artists, explores the concept of social imagination: the awareness of the relationship between personal experience and the wider society.
On the occasion of the new temporary public art installation Out of Thin Air by Sari Carel, commissioned by More Art in City Hall Park, we are proud to present Rethinking Illness: Art, Health, and The Environment, an interdisciplinary symposium on art, illness, and environmental activism.
How can artists protect their interests when doing business with collectors, galleries, and institutions? In this workshop, we’ll explore the nuts and bolts of legal contracts and practice strategies for successfully navigating the negotiation process.
How can arts administrators document how we work to allow for effective planning and visioning a future of expanded capacities for our roles, our programs, and ourselves?
What curatorial thinking goes on behind-the-scenes when visual arts practitioners plan exhibitions, special projects, and festivals? What aspects of personal identity come into play that frame a curator's point of view? What innovative approaches have they taken to expand the parameters of art-viewing through their projects, and how have they responded to today's social and political climate?
In conjunction with Peter William's exhibition, With So Little To Be Sure Of, CUE hosts a conversation with artist Peter Williams, curator Larry Ossei-Mensah, and contributors to the catalogue Angela N. Carroll and Ebony L. Haynes.
POSTPONED: Due to unexpected personal circumstances, the Access/Points organizers have agreed to postpone the Artist Talk with Carmen Papalia scheduled for February 14th.
The event will be rescheduled for a later date; please stay tuned for a revised schedule.
POSTPONED: Due to unexpected personal circumstances, the Access/Points organizers have agreed to postpone the Let's Keep in Touch Presentation and Open Access Workshop scheduled for February 14th.
The event will be rescheduled for a later date; please stay tuned for a revised schedule.
Join Robert Davis and Heather Hubbs, director of New Art Dealers Association (NADA), for a gallery tour and discussion about Davis's exhibition, 1976, curated by Rashid Johnson.
Join us for a public convening and discussion at CUE. The roundtable will bring together artists and representatives from various art and social service organizations to share approaches to building institutions that serve disabled audiences and artists who are often excluded from mainstream art resources.
Access/Points: Approaches to Disability Arts
Part 1: Let's Keep in Touch Youth Workshop
Sunday, November 12th, 2017, 12:30-3:30pm
Venue: Queens Museum
Let’s Keep in Touch (LKiT) is a multifaceted collaborative project which investigates tactility in the context of art via community dialogue, embodied learning, and the development of new critical practices and methodologies. Produced by Carmen Papalia and Whitney Mashburn in 2016, the project aims to set a precedent for tactile engagement and haptic criticism to become viable practices within contemporary art.
Offering a perspective that is traditionally underrepresented in art scholarship, youth participants are at the center of knowledge production in this iteration of LKiT. This November, artist Carmen Papalia and curator Whitney Mashburn will lead a series of workshops with students at various schools in New York City. Together with the youth, they will explore the topics of social accessibility and haptic criticism in relation to a collection of student-chosen belongings that hold significance to those involved. Considering non-visual and embodied approaches to learning, the group will assess the collection for tactile taxonomy and vocabulary while employing the critical methodology that Georgina Kleege, Lecturer in English at the University of California at Berkeley and author of “Blind Rage: Letters to Helen Keller” (2006) and “Sight Unseen” (1999) - describes in her writings on tactility and museology.
The insights from this collaboration will culminate in a public presentation curated by Mashburn at the CUE Foundation in February 2018; in which objects used in the workshops will be on display alongside process documentation and youth-authored interpretation.
Carmen Papalia makes participatory, socially engaged projects on the topic of access as it relates to public space, the art institution and visual culture. In early 2015, Papalia served as Artist-in-Residence at the Victoria & Albert Museum in London, UK and at the Model Contemporary Art Centre, Sligo, Ireland, where he assumed the role of Access Coordinator, making site specific interventions in response to the long history of disabling practices at each institution.
Whitney Mashburn is a Boston-based curator, currently collaborating on a project with Vancouver-based social practice artist, Carmen Papalia. She holds an M.A. in Critical and Curatorial Studies from the University of Louisville’s Hite Art Institute, an M.A. in Disability Studies and Counselor Education, and a B.A. in History of Art and Studio Art from Vanderbilt University. She has interned at Boston's Museum of Fine Arts as a curatorial research assistant, is a nationally certified rehabilitation counselor (CRC), and has worked both in disability services offices and as a researcher and editor in art history in Vanderbilt’s Special Collections and Archives and in their History of Art department. Her current research investigates tactile aesthetics, accessibility, and the role of conversation in social practice and institutional critique.
Access/Points: Approaches to Disability Arts is a series of conversations, workshops, and artist projects that explores ability as the crux of radical inclusion and access in the arts and beyond. The series investigates the ways that artists, cultural producers, and institutions are redefining disability and accessibility in contemporary art by destabilizing our notions of neutral public spaces and arts organizations, and moving towards inclusive body politics and social infrastructures.
Organized by CUE's 2017 Public Programming Fellow, Jeff Kasper, in partnership with Social Practice Queens at Queens College CUNY.
Supported by the Queens Museum and Social Practice Queens at Queens College CUNY.