1994

EXISTENTIAL / POLITICAL: Rudolf Baranik and May Stevens

1/29/1994 – 2/26/1994

Curator(s): Papo Colo and Jeanette Ingberman

Exhibition: Existential/Political was an exhibition of key works by Rudolf Baranik and May Stevens. This presentation concentrated on paintings from the 1970s to the present and related drawings and collages. For four decades, these two artists shared a deep involvement in each other’s moral convictions and ideology, which ranged from existential to political. While their works developed from expressionist roots, they worked in different visual languages. Baranik used an abstract idiom of mood; Stevens, a more concrete iconography. Common to both of them was a commitment to an art practice as activists and a process of art making that was deeply rooted in the personal. Both artists were influential in the contemporary art discourse through their writings and public statements as well as through their art.

Event: Argument, Panel Discussion

Publication: Contained writings by Rudolf Baranik, writings and poetry by May Stevens, and “Not Coming to Terms,” a written dialogue between the artists.

ALL THE LOVES WE LOST

2/11/1994

Curator(s): Michael James O’Brien

Artists: Antony, Blacklips Performance Cult, Max Blagg, Jon Kelly, Chi Chi Valenti, Emily XYZ

Event: A Valentine’s Day performance party.

THE GARDEN OF SCULPTURAL DELIGHTS

3/12/1994 – 5/27/1994

Curator(s): Papo Colo and Jeanette Ingberman

Artists: Petah Coyne, Karen Dolmanisth, Ming Fay, Gillian Jagger, Brad Kahlhamer, Roxy Paine, Judy Pfaff, Michael Shaughnessy, Rachel Stevens

Exhibition: The Garden of Sculptural Delights was a collective environmental installation of nine artists’ work that was inspired by the 500-year-old painting by Hieronymus Bosch, “The Garden of Earthly Delights.” The Garden of Sculptural Delights transformed the entire gallery into a contemporary version of a surreal and fantastic urban garden. The voluptuous, medieval imagery was updated and reconstituted into a symbolic landscape made up of different materials of contemporary culture.

MAN TROUBLE

4/22/1994 – 4/24/1994

Curator(s): Jason Simon

Artists: Paul McCarthy, Mike Kelley, Zig Gron, Frank Grow, Bob Harris, Shelly Silver, Curt McDowell, Tony Pemberton, Peggy Ahwesh, Keith Sanborn, Jeffrey Skoller. Beth B, Mike Smith, Doug Skinner, Frederick Neumann, Don Moss, Chris Burden, Jean Genet, Kenneth Anger

Event: Man Trouble was a film series on the subject of men in contemporary film and video works. The schedule was divided into five parts: Fathers and Sons, Man/Machine, I Like to Watch, Men in Stir, and The Quickest Way to a Man’s Heart. It included new work by Beth B., Mike Smith and Doug Skinner, a live performance by Frederick Neumann of Mabou Mines in a dramatic monologue by Don Moss, and classic works by Chris Burden, Jean Genet and Kenneth Anger.

CONSPIRACIES 1994: Experimental Film Weekend

6/3/1994 – 6/5/1994

Curator(s): Mark McElhatten

Artists: Caspar Stracke, Jean Painleve, Phil Solomon, Henry Hills, Sally Silvers, Peggy Ahwesh, Erik Saks, Abigail Child, Scott Stark, Jeffrey Skoller, Stan Brakhage, Nina Fonoroff, Erin Sax, Bradley Eros, Jeanne Liotta, Mark LaPore, Jennifer Reeves, Julia Murray, Matthius Muller, Pelle Lowe, Saul Levine, Elyse Hurwitz, Eve Heller, Luther Price, Tom Zummer, Joe Gibbons, Fred Worden, Lana Lin, Thad Povey, John Brattin, Luther Price, Colin Barton, Keith Sanborn, Donna Cameron, Tom Chomont, George Kuchar, Lewis Klahr, Leslie Thorton, Craig Baldwin, Lee Ranaldo, Leah Singer, Janie Geiser

Exhibition: Exit Art presented Conspiracies 1994, which featured new experimental films by New York-based independent filmmakers. The program included over forty-five films and video, with fourteen premieres and a selection of live performances.

OBSCURE: Touhami Ennadre and Paul Rosin

6/4/1994 – 7/15/1994

Curator(s): Papo Colo and Jeanette Ingberman

Exhibition: Obscure presented the first comprehensive exhibition in New York of works by Touhami Ennadre, a French/Moroccan photographer, and Paul Rosin, an American photographer based in Chicago. Both photographers worked in black and white images that searingly explored the human body, sexuality, death, and the environment in which we lived. Touhami Ennadre traveled extensively in Europe, Thailand, Nepal, India and Morocco, among other countries and documented his vision with large-scale black and white photographs that were manipulated over time in the developing process in the darkroom. Obscure, his first major exhibition in New York, presented a selection from his various series taken between 1978 and 1993.

Paul Rosin’s black and white portraits, still lifes and pre-arranged situations exuded an eroticism and murky violence that relentlessly pulls the viewer into his unsettling, unspoken narrative. The subtly hand-tinted, slightly pockmarked and scratched emulsion, coarse, dull grain and dodged blacks reveals the hand of the photographer who manipulates the timeless images to suggest ancient and abused hallucinogenic realities.

THE MOUTH INSIDE THE EYE

6/16/1994 – 6/17/1994

Curator(s): Edwin Torres

Artists: Miguel Algarin, Gina Bonati, Tod Colby, Jeff McMahon, Ofelia Rodriguez Goldstein, Paul Stewart, Barbara Barg, Samantha Coerbell, Colliding Phonetics (Edwin Torres/words, Ladislav Czerneck/saxophone, Sean Meehan/drum set), Janice Earlbaum, John Giorno, Paul Skiff

Event: The Mouth Inside the Eye consisted of two evenings of poetry, dance, performance, and music. Conceived of as a program mixing poetry and gesture, The Mouth Inside the Eye breathed life into the written word. Along with poets reading new works, there were spoken word works experimenting with gestures of body and voice. This event was an audio/oral journey focusing on sound and language, gravitating towards music.

LET THE ARTIST LIVE!

9/17/1994 – 10/22/1994

Curator(s): Papo Colo and Jeanette Ingberman

Artists: Skip Arnold (California), Rachel Feinstein (New York), Regina Frank (Germany), Paula Hayes (New York), Kate Howard (New York), Charles LaBelle (California), Rudy Royval (Texas), Mio Shirai (Japan), Javier Tellez (Venezuela), Michael Yue Tong (New York), Iké Udé (New York), Liz Young (California)

Exhibition: Let the Artist Live! was an experimental exhibition in which fifteen American and international artists were invited to live and work at Exit Art. Let the Artist Live! challenged the concept of an art exhibition and explored ideas of public and private, the collective and the solitary, interrogating ideas of habitat, architecture, design, performance and community. The exhibition provided a public view of the artist’s private life. Let the Artist Live! had its roots in early 20th century cultural movements that investigated the role of art in everyday life. In particular, this exhibition was influenced by performance ideas from Futurism, Dadaism, and Fluxus as well as contemporary performance art. Each artist was given an area in the gallery to create their own living and working environment. All the artists were free to come and go, work, and interact with the public. The artists could collaborate with other artists in residence or work independently. Invited guests, writers, critics, performers, and others participated in special events during the exhibition.

…IT’S HOW YOU PLAY THE GAME

11/5/1994 – 1/28/1995

Curator(s): Thelma Golden, Jeanette Ingberman, Papo Colo, Nancy Spector, and Robert Storr

Artists: Terry Adkins, Janine Antoni, Ida Applebroog, Mary Carlson, Maureen Connor, Mary Delmonico, Cirilio Rayos Domine, Suzan Etkin, Nan Goldin, Felix Gonzalez-Torrez, Gregory Green, Mark Greenwold, Beth Haggart, Oliver Herring, Jim Hodges, Roni Horn, Kate Howard, Brad Kahlhammer, Y.Z. Kami, Dennis Kardon, Kit Keith, Whitfield Lovell, Mary Ellen Mark, Alfredo Martinez, Faith Ringgold, Laura Sansone, Teresa Serano, Cindy Sherman, Kiki Smith Charles Spurrier, Peter Soriano, Tony Stanzione, Georgina Starr, Jack Whitten, Martin Wong

Exhibition: … It’s How You Play The Game was a collaborative, conceptual project that investigated the curatorial process and revealed how curators’ choices are reflective of their aesthetic and critical values. The show was conceived of as a game in which the participants, five curators of contemporary art, each took turns selecting and installing works of art chosen in response to the other curators’ selections. … It’s How You Play The Game stimulated dialogues among curators, artists, and the public on issues such as: the role of the institution, the philosophy of collections, the criteria determining curatorial choices, the artists’ position within this process, and exhibition installation and its influence on our understanding of a work of art.