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EXIT HISTORY:
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 '70s to the present and related drawings
and collages. For four decades these two artists have shared a deep involvement
in each other's moral convictions and ideology, which range from
existential to political parti pris. 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 is a commitment to an art practice
as activists and a process of art making that is deeply rooted
in the personal. Both artists have been influential in the contemporary
art discourse through their writings and public statements as well
as through their art.
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.
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, the seventh
annual series that 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.
Conspiracies is critically recognized as the film series with outrageousness
of spirit and sharp discernment in presenting a curated summary
of the year's most exciting experimental films.
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
Video Program: Man Trouble, was a series on the subject of men
in contemporary film and video work. Programmed by Jason Simon,
the schedule was divided in 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.
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 work in black and white images that searingly explore
the human body, sexuality, death, and the environment in which
we live. 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. All of the
images emerge from the deep blackness of his backgrounds, giving
the works a sculptural presence. 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 exude an eroticism and murky violence that
relentlessly pulls the viewer into his unsettling, unspoken narrative.
Dark moments from an intimate liaison confront the audience as
if we have been caught peeping through a keyhole in our neighbor's
door. 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. Obscure presented
a selection taken between 1980 and 1994.
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
Performance: 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.
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