Kevvy Metal presents: Summer Screen
Kevvy Metal presents: Summer Screen brings contemporary film and video art to the Boston University Art Gallery. Featured Artists: May 31 -- Bobby Abate June 14 -- Jodie Mack June 28 -- Nake Grossman July 12 -- Sabrina Ratte & Yoshi Sodeoka July 26 -- Rose Kallal All screenings begin at 8 pm and are open to public with a suggested donation of $3.
March 25 at 3pm: New England Phonographers Union Concert
On Sunday, 25 March, at 3:00 p.m., the New England Phonographers Union will perform some of their newest recordings. The concert will feature material that was gathered over the past several months in conjunction with the Massachusetts Water Resource Authority (MWRA). These recordings began extensively at Deer Island last spring and have continued in an ongoing, developing way at various pump stations' "headworks," as they are called, at Deer Island as well as at Nut Island in Quincy. The New England Phonographers Union have three more headworks to visit in order to complete this Waste Water Treatment and Headworks cycle in collaboration with the MWRA. This concert offers a preview of some of their newest sounds that will continue to grow this Spring. Performing on Sunday will be Rick Breault, Mike Bullock, Benjamin Cleaves, Ernst Karel, and Jed Speare. Admission is free. About The New England Phonographers Union is a fluid congregation of sound artists and location recordists who work with untreated and unprocessed recordings of the rich and varied sounds around them. Through the exploration and documentation of spaces and events, the Union captures auditory phenomena otherwise lost, and in performance reimagines and recontextualizes the particularity of individual places. Within a focused listening environment the members present their recordings both individually and as collaborative improvisations. The project is loosely modeled after the Seattle Phonographers Union, which was founded in 2002 and has spawned... More
BUAG Annex: Wastepaper Theatre Archive: collage party/poetry project: March 27, 4-6 pm
The public is invited to a hands-on collage party and poetry project on Tuesday, March 27, from 4-6 p.m. This event is part of "Wastepaper Theatre Archive," a month-long laboratory examining visual as well as literary aspects of the collaborative late-1970s creative practices of Wastepaper Theatre and its under-recognized contribution to the history of performance art in New England.
Opening Reception: Wastepaper Theatre Archive: March 20, 4-6 p.m.
The public is invited to an opening reception for the Wastepaper Theatre Archive in the BUAG Annex on March 20, from 4 to 6 p.m. “Wastepaper Theatre Archive” seeks to evoke the contextual elements of the original Wastepaper Theatre group. At the same time, it explores the broad challenges encountered in preserving and physically displaying something as ephemeral as performance art. By taking a throwaway name and acting outside traditional theater venues, the original Wastepaper performers urged viewers to think of their performances as casual, unpolished, and provocative. Visitors are invited to act not only as spectators but also to engage as performers and thinkers – to literally act out the material, or to sit quietly and immerse themselves in art and ideas sparked by the Wastepaper Theatre’s activities.
BUAG Annex: Wastepaper Theatre Archive: March 20-30
The BUAG Annex is pleased to host the Wastepaper Theatre archive from March 13 to 30 Wastepaper Theatre came into being on April 25, 1973 as the project of Providence, Rhode Island-based poets and playwrights James Schevill, Edwin Honig, Keith Waldrop, and Rosmarie Waldrop. An entirely nomadic, anarchic exploration of intersecting poetry and theater, the group drew visually on the collage sensibility of the DADA and Surrealist art movements, and thematically on the sociopolitical climate of post-Vietnam and Watergate-era U.S. This month-long laboratory will examine visual as well as literary aspects of this collaborative late 1970s creative practice and its under-recognized contribution to the history of performance art in New England. Boston-based curator and critic Randi Hopkins will work collaboratively with poets, artists, students, and the broader community to create an archive, oral history, and visual representation of Wastepaper Theatre poets, their projects, and the context in which they worked. Audio-taped interviews, archival photographs, original collages, photocopied scripts, and domestic elements reference the original “living room” setting of the 1970s-era performances, offering contemporary audiences immersion in the Wastepaper Theatre’s ideals. Visitors are invited to act not only as spectators but also to engage as performers and thinkers – to literally act out the material, or to sit quietly and immerse themselves in art and ideas sparked by the Wastepaper Theatre’s activities. http://wastepapertheatre.tumblr.com/
March 13-30 — Wastepaper Theatre Archive Resources
Wastepaper Theatre came into being on April 25, 1973, created by Providence, Rhode Island-based poets and playwrights James Schevill, Edwin Honig, Keith Waldrop and Rosmarie Waldrop as an entirely nomadic, anarchic vehicle to explore new possibilities for the intersection of poetry and the theater. This month-long laboratory will examine visual as well as literary aspects of this collaborative late 1970s creative practice and its under-recognized contribution to the history of performance art in New England. in the space, Boston-based curator and critic Randi Hopkins will work collaboratively with poets, artists, students and the community at large to create and archive, oral history, and visual representation of the Wastepaper Theatre poets, their projects and the context in which they worked.
March 5-8 — Dirk Adams
Dirk Adams creates work in sound, installation, and performance art that explores language, memory, social dynamics, and cultural phenomena through various strategies. In his live work, different modes of performance --including physical actions, explorations of social roles,a casual interactions and theatrical personae-- are frequently intertwined, as is the relationship of artist-performer to audience-participant. He has created a series of headphone-based audio works for public spaces that intertwine elements of audio tour, instructional performance, storytelling, and, for works involving multiple participants, choreography.
March 2 – The 28th Annual Boston University Graduate Student Symposium on the History of Art & Architecture
Seeing Multiple: The 28th Annual Boston University Graduate Student Symposium on the History of Art & Architecture March 2-3, 2012 A symposium exploring the role of multiples, copies, repetition, and related concepts in artistic production Both events are free and open to the public. KEYNOTE: Friday, March 2, 5:30pm Dr. Howard Singerman, Associate Professor of Contemporary Art and Theory, University of Virginia Location: Boston University Art Gallery, 855 Commonwealth Avenue, Boston, MA 02215 Professor Singerman will present an adapted selection from his newly-released book Art History, After Sherrie Levine (University of California Press, November 2011). Currently Associate Professor of Contemporary Art and Theory at the University of Virginia, he holds a PhD from the University of Rochester and is the current reviews editor of CAA's Art Journal. In addition, Dr. Singerman holds an MFA in sculpture and is the author of Artist Subjects: Making Artists in the American University (1999). SYMPOSIUM: Saturday, March 3rd, 10am - 3pm Location: Riley Seminar Room, Museum of Fine Arts, Boston, 2012 Featured Graduate Presentations: Rainbow Porthé, University of Chicago, PhD candidate, "The King's Many Bodies: The Tomb of René d'Anjou" Carrie Anderson, Boston University, PhD candidate, “From Painting to Tapestry: Reproducing Dutch Brazil in the Collections of Frederik I and Louis XIV" Shannon Connelly, Rutgers University, PhD candidate, “’Hilde Four Times’: Multiple Vision in Karl Hubbuch’s Viermal Hilde (1929)” Marie Gasper-Hulvat, Byrn Mawr College, PhD candidate, “Copying One’s Former Self: Malevich’s Late Career Reproductions of His Own Early Work” Frances Jacobus-Parker, Princeton University, PhD candidate, "The Lithologies of Vija Celmins" Zach Rottman, University of Rochester, PhD student, “Partial Photography: Barbara... More
February 21-March 4 — Trading Post with John Gonzalez
Boston-based artist John Gonzalez will transform the BUAG Annex into a trading post where visitors are invited to bring items of personal value to exchange for the artist's objects of personal value, which will be on display in the Annex. Visitors will be allowed to bring their own items and will be asked to explain their value to the artist who will listen to their story and decide which of his items is of equal importance to their item. Based on this information, Gonzalez will offer an item and if both parties agree, a transaction will take place and their item will replace Gonzalez' item in the Annex. The new item will be available for trade and Gonzalez will draft a certificate for this new item. The artist will also provide a website with an online gallery, which will show all items available at the Trading Annex. Visitors may browse the online gallery, but all transactions will be made with the artist in person at the Trading Annex. Visit butradingpost.wordpress.com to view items available for trade.
February 15, 6-7 pm — Exclusive Screening of “Archiving the Ephemeral: The Present Tense 2005-Now”
Founders of The Present Tense, Philip Fryer and Sandrine Schaefer will show footage from their archive and talk about curating live art events in Boston over the past 7 years. This screening will be held in conjunction with their evolving piece created for the BUAG Annex titled, "False Summit."
