WhiteBox presents In-between program series Let the Bidding Begin & Sonic Sea Tuesday, May 31 | 6 – 9pm Let the Bidding Begin Giovanna Olmos | Johan Wahlstrom | Li Guangming Three act performance inspired from the current art… Continue reading
WhiteBox Presents In association with The Balassi Institute- Hungarian Cultural Center 585,000 m2 History of the Jewish Quarter of Budapest A Mixed Media Exhibition April 7-21, 2016 Wednesday through Sunday 11am – 6pm Participating Artists Zsuzsi Flóhr, Zsófia Szemző, Márton Szirmai,… Continue reading
Winter Benefit Honoring Pussy Riot With the WhiteBox / Martin C. Liu Arts & Humanity Award Punk Prayer by Pussy Riot Wednesday December 16, 2015 @ 8pm Cocktail reception, dinner & art raffle… Continue reading
WhiteBox Project Room presents
Curated by Raul Zamudio
Photography by Romulo Sans
On view May 20th to June 10th
Opening Reception Wednesday May 20th | 7-9pm
WhiteBox Project Room is pleased to present the solo exhibition of Romulo Sans titled Romulo Sans: Between Heaven and Hell. Like the Catholic posthumous, impure state of the soul in a nether region between salvation and damnation, the exhibition explores the liminal space of other dichotomies including sacred/profane, religiosity/secularism, orthodoxy/heterodoxy, individual/collective, spirit/corporeality, and East/West.
Whereas in previous works Sans created narrative sagas that ran the gamut of gritty urban New York street culture to impeccably staged mise-en-scenes that converge haute couture with memento mori, Romulo Sans: Between Heaven and Hell is more topical by indirectly citing events within the context of social violence, Religious authoritarianism, political corruption, corporate greed, media collusion, and consumerism. Exemplifying this is a photograph of what appears to be a runway model casually smoking a cigarette with a blue recycling bag over her head filled with environmentally toxic products. Is this some avant-garde fashion accessory or a poignant eco-political work about the complacency of culture and the culture of complacency?
In another work, the word Caliphate is written in typography used in Coca-Cola advertisements. On the one hand, the work mines Western Islamophobia and its perception of terror groups wanting to become ubiquitous and inevitably corporatized. On the other hand, it also alludes to shadow economies and vulture capitalism evinced, for instance, in Western multinational corporations with subsidiaries who indirectly fund religious and political violence to create economic opportunities in their pathological desire for global power.
Proceeds will benefit Whitebox Project Room’s new programming
Whitebox Art Center
Francesco Jodice | Carolina Sandretto | Corinna von der Groeben
On view May 12 – June 14
Opening celebration May 17th | 4-8pm
Curated by Laura Cherubini
Link to press release
Whitebox Art Center Presents
A Project by Khaled Jarrar
On View July 24th – August 9th (extended)
Opening reception at Whitebox Art Center July 24th 5 – 7 pm
New York City – Whitebox Art Center presents a solo show by Palestinian artist Khaled Jarrar, produced and curated by Myriam Vanneschi.
The Israel Border Police denied artist Khaled Jarrar exit to travel to NYC for this project and his participation in the show Here and Elsewhere at the New Museum. He has since decided to create a new work for this show that deals with his status as well as the current situation in Gaza. This new media piece will be live updated as the situation develops.
Khaled Jarrar describes his experience attempting to leave Palestine on July 23rd, 2014: “Another massacre is taking place in Gaza, and Israel is trying to sell it as a war with Hamas using a deceptive media campaign, turning the oppressed into a villain. It is a fact that Israel is an occupying and apartheid country that controls our land, steals our water and natural resources, depriving us of our basic human rights for the past 66 years. The Israeli recurrent massacres will never end. Telling and sharing our stories and what is happening in Palestine is very essential. We are obliged to take the streets and strongly condemn the killing of the people of Gaza”.
NO EXIT is produced and curated by Myriam Vanneschi and co-produced by Igor Molochevski.
The programs of Whitebox Art Center are made possible in part by the New York City Department of Cultural Affairs.
Press Contact: firstname.lastname@example.org
Links to Press:
Le Monde: Khaled Jarrar, artiste et militaire palestinien, n’ira pas à New York by Robin Braquet
Animal New York: Israel Denies Exit Palestinian Artist Bars Attending His New Museum Show by Marina Galperina
LIVE WEB STREAM PANEL DISCUSSION
Organized and moderated by Mohammad Salemy as part of the Fixing the Future Platform
Hosted Live at Whitebox Art Center | 329 Broome St New York, NY 10002
Panelists: Joseph Audeh, Ariella Azoulay, Judith Rodenbeck, Alex Shams, and Myriam Vanneschi
An uncanny timeliness opened an unexpected connection between global contemporary art and geopolitics this month when, following the escalation of Israel’s military operations in Gaza, a planned exhibition of works from and about the Arab world opened at New York’s New Museum of Contemporary Art. Not only is the exhibition the biggest of its kind but, in addition to works from Palestinian artists throughout the show, the fifth floor of the museum houses a separately curated presentation of art and archival materials about and from Palestine.
It’s merely a truism to respond to this happenstance with the well-known quote by Walter Benjamin, that “there is no document of civilization which is not at the same time a document of barbarism.” However, investigating the subtleties of Benjamin’s link between civilization and barbarism seems especially pertinent to these coincidental exposures of the politics of the Arab world in that the operating logics of both Israel’s Operation Protective Edge and New Museum’s Here and Elsewhere each in their own way contend with the form and content of the anticolonial resistance that has historically provided the Raison d’être for so much of Arab art, specifically contemporary art from Palestine.
In this conversation organized by Mohammad Salemy, Ariella Azoulay, Joseph Audeh, Judith Rodenbeck, Alex Shams, and Myriam Vanneschi will discuss what connections can be made between seemingly unrelated categories of military and museum as well as war and art.
The Middle East continues to be a primary site for the blood-drenched transformations of our planetary geopolitical system and is now also taking a leading role in the emergence of a global contemporary art. The discussion will consider whether the coincidental exposure of geopolitical violence in the Middle East and art from the region to audiences in the global north can help us understand the future of Palestine and the place of production and distribution of contemporary art in the future.
Joseph Audeh is an artist whose work combines science, culture and technology to explore the physical and political landscape of the Middle East. In 2013, Audeh developed Machine for Raising Water, an adaptation of a thousand-year-old irrigation device, with farmers in the Nile River Valley and water mechanics in Cairo at Townhouse Gallery. Audeh’s projects have appeared at New York University, Whitebox Art Center (New York), Virginia Commonwealth University Qatar (Doha), the Mediterranean Science, Policy, Research and Innovation Gateway (Cairo), and Makan Art Space (Amman). He currently works for Trevor Paglen and is a member of the New Museum’s art + technology incubator, NEW INC.
Ariella Azoulay (born 1962), teaches at the Department of Modern Culture and Media and the Department of Comparative Literature, Brown University
Her recent books include From Palestine to Israel: A Photographic Record of Destruction and State Formation, 1947-1950, (Pluto Press, 2011), Civil Imagination: The Political Ontology of Photography (Verso, 2012) and The Civil Contract of Photography (Zone Books, 2008). Azoulay is also the She is the curator of When The Body Politic Ceases To Be An Idea, Exhibition Room – Manifesta Journal Around Curatorial Practices No 16 (folded format in Hebrew, MOBY, 2013), Potential History (2012, Stuk / Artefact, Louven), Untaken Photographs (2010, Igor Zabel Award, The Moderna galerija, Lubliana; Zochrot, Tel Aviv), Architecture of Destruction (Zochrot, Tel Aviv), Everything Could Be Seen (Um El Fahem Gallery of Art).
Judith Rodenbeck is an art historian and critic based in New York and Los Angeles. A past editor of Art Journal, she is also author of Radical Prototypes: Allan Kaprow and the Invention of Happenings. Her essay on Akram Zaatari’s missives is forthcoming this fall.
Alex Shams is an editor at Ma’an News Agency, the largest independent news agency in Palestine. He is also an editor-in-chief of Ajam Media Collective, a blog focused on society and culture in Iran and Central Asia. A native of Los Angeles, he received his master’s in Middle Eastern studies with a focus on gender in modern Iran from Harvard University in 2013. His work focuses on gender, urbanism, and Islamic political thought in the region. He has previously lived in Lebanon, and currently resides in Bethlehem.
Myriam Vanneschi is an independent curator and writer from the Netherlands. Her interests include Social Practice art, New Media art, feminism and art in a global context. She is a contributor to ArtBerlin and Hyperallergic. Very recently, she curated NO EXIT by Khaled Jarrar at Whitebox Art Center.
Mohammad Salemy is an independent Vancouver-based critic and curator from Iran. He has curated exhibitions at the Koerner Gallery and AMS Gallery at the University of British Columbia, as well as the Satellite Gallery and Dadabase. He co-curated Faces exhibition at the Morris and Helen Belkin Art Gallery. In 2014, Salemy organized the Incredible Machines conference in Vancouver. Salemy holds a masters degree in Critical and Curatorial Studies from the University of British Columbia.
Link to Fixing the Future http://fixingthefuture.info
Live Web Stream panel discussion organized and moderated by Mohammad Salemy as part of the Fixing the Future Platform Tuesday August 5, 2014, 6PM EST Hosted Live at Whitebox Art Center | 329 Broome St New York, NY 10002 Panelists:… Continue reading
Presented by Zurich Meets New York: A Festival of Swiss Ingenuity in partnership with with Dada 100 Zurich 2016, Cabaret Voltaire in Zurich, and Whitebox Art Center Dada on Tour On view May 18th through 22nd 2014 Opening celebration Sunday May… Continue reading
Whitebox Art Center and Asian American Arts Centre present
China: June 4, 1989
The 25th Anniversary Exhibition in Commemoration of Tiananmen Square
Special Screening of “Portraits of Loss and the Quest for Justice” July 1st & 10th | 6-6:30pm
Closing Reception Tuesday, June 10th | 5-7pm
Exhibition on view June 1st – 10th 2014
Vito Acconci | Luis Cruz Azaceta | Betty Beaumont
Luis Camnitzer | Mel Chin | Agnes Denes | Lotus Do
John Duff Leon Golub | Billy Harlem | Edgar Heap of Birds
Ava Hsueh | Kunio Izuka | Ik Joong Kang | Donald Lipski
Liliana Porter | Rumiko Tsuda | Daniel Georges | Dolly Unithan
Martin Wong | Sofia Zezmer | Zhang Hongtu
Image credit : “China Doll Flag” by Vito Acconi; nylon flag, mannequin, rope; 60in x 36in
Whitebox Art Center presents
Now You See
New Chinese Video Art from the Collection of Dr. Michael I. Jacobs
Opening reception Wednesday May 28th | 6-8pm
Exhibition on view May 25th – June 19th 2014
Shiyuan Liu | Li Ming | Cheng Ran | Chen Xiaoyuan | Hu Xiaoyuan
Wang Xin | Kan Xuan | Sun Xun | Liang Yue | Jiang Zhi
Link to press release
This exhibition made possible by Paul and Moya Coulson.
Additional funding provided by Robin Kellner Sicher and John Sicher
Lawrence Graev and Anthony Orphanos.
Image courtesy of the artist Cheng Ran
ArtPalestine International and Whitebox Art Center present
Readings and Performance Thursday April 10th | 6:30-9pm
6:30 pm Samia Halaby signs her books.
7pm Samia Halaby reads Samia Halaby, Five Decades of Painting and Innovation by Maymanah Farhat published by Booth Clibborn Editions. She also reads select excerpts from Art of Palestine, A detailed study of Palestinian art during the second half of the twentieth century
7:45pm Special guest performance artist Elias Wakeem: video screening Borderline Drag Show and drag show lip-sync to Fairouz’s Can You See How Big the Sea Is?
8pm Alison Weir reads Against Our Better Judgment: The Hidden History of How the U.S. was Used to Create Israel
Samia Halaby: Five Decades of Painting and Innovation offers an unprecedented look at one of the world’s leading abstract painters. Spanning over five decades of the Palestinian artist’s illustrious career, from her early student days in the 1960s to her most recent series in 2013, the book contains nearly 450 colour reproductions, presenting her expansive oeuvre through paintings, prints, and drawings. These images are accompanied by an in-depth essay by art historian Maymanah Farhat in addition to the personal reflections of the artist on her theories of abstraction and the many inspirations and approaches that were involved in creating some of her most recognized works.
Samia A. Halaby is a Palestinian artist and scholar who lives and works in New York. Born in Jerusalem in 1936 during the British Mandate, today she is recognized as one of the Arab world’s leading contemporary painters. Halaby has also been active in American academia, teaching art at the university level for seventeen years, a decade of which was spent as an associate professor at the renowned Yale School of Art (1972–82) as the first woman ever to hold the position of associate professor. In addition to participating in leftist political organizing for various causes, she has long been an advocate of pro-Palestinian struggles.
Elias Wakeem also known as Madam Tayoush is an emerging queer arab Palestinian artist living and working in New York City. Through performance she examines the reaction of the audience to her personal story of the place she grew up in with its geographical, historical and political situations. Madam Tayoush created over the past few years a series of monthly radical queer drag ball parties in Jerusalem called “Jerusalem is Burning”.
Alison Weir’s new book Against Our Better Judgment: The Hidden History of How the U.S. was Used to Create Israel. Alison Weir is a journalist, author and president of the “Council for the National Interest” as well as executive director of “If Americans Knew” a nonprofit organization dedicated to providing Americans with information on topics of importance that are misreported or under-reported in the American media.
See more about her book at Amazon
Center for Palestine Studies, Alwan for the Arts, ArtPalestine International and Whitebox Art Center present
How Green Was My Valley – Artist talk
Due to technical difficulties, the talk has been moved from Alwan For The Arts to Whitebox Art Center
Friday April 4th | 7:30pm
Joseph Audeh, Samira Badran & Mary Tuma | Moderated by Dr. Raouf J. Halaby
Free and open to the public - Doors open at 6:30pm
(b. 1989, Sarasota, Florida)
Joseph Audeh currently lives and works in New York. His work engages architecture, environmental change, and technology. His various projects imagine solutions to meet future energy needs by combining old forms of environmental knowledge with breakthroughs in emerging technology. Audeh was selected as a Berkeley Design Fellow (2011), a finalist for the Frieze Writer’s Prize (2012), and a traveling artist for the River Has Two Banks at Makan Art Space, Amman (2012). He recently completed an artist residency at Townhouse Gallery, Cairo (2013).
(b. 1954, Libya)
Samira Badran was born to Palestinian parents in Tripoli, Libya and currently lives and works in Barcelona. Her father, Islamic artist Jamal Badran influenced her practice, which uses a wide range of mediums including painting, collage, photography, and installation. She has exhibited at the Sharjah Biennial, Al Hoash—the Palestinian Art Court in Jerusalem, The UNESCO Palace in Paris, The Modern Art Gallery in Baghdad, the Jordanian National Gallery of Fine Arts in Amman, the Washington Museum of Women in the Arts, Musèe du Luxembourg, Paris, Centro Internazionale Multimedia, Italy, Gemeetemuseum den Haag, Foreign Ministry of Berlin, Al-Ma’mal Foundation, Jerusalem and Espai Agora, Barcelona.
(b. 1961, Oakland)
Mary Tuma was born in California in 1961 to a native Californian mother of Irish descent and a Palestinian father. She currently lives and works in Charlotte, North Carolina. She began sewing and crocheting with her mother at an early age. Her love of these processes led her to begin her formal study of art as an apprentice at Beautiful Arts Hall in Kerdassa, Egypt, where she learned to weave tapestries. Tuma’s work has been shown, nationally and internationally, in such venues as the Crocker Art Museum, The Maruki Gallery in Hiroshima, The Southeastern Center for Contemporary Art, Al-Kahf Gallery in Bethlehem, The Cheongju International Craft Biennial, the Station Museum in Houston and Contemporary Projects in Kuwait City. Her work has appeared in Contemporary Practices, Art in America, Dar Al-Hayat, The New York Times, The Christian Science Monitor, Counterpunch, NYArts, Mother Jones,The San Francisco Chronicle and The Jordan Star, among others.
Moderator – Raouf J. Halaby
(b. 1945, Jerusalem)
Raouf J. Halaby is a native of Jerusalem, Palestine. In 1959 he moved from Upper Bakaa to Beirut, Lebanon and graduated with honors from the National Protestant Secondary School in 1964. He was awarded a Bachelor and Master’s degrees from Ouachita Baptist University, and his Ed.D. in the College Teaching of English from Texas A&M University in 1973. He studied Art History in Rome, Italy. Since 1973, he has been teaching at his alma mater and is in his 41st year as a Professor of English and Art. Halaby has served on national, regional and local boards, as a consultant for University of Minnesota’s Immigration History Research center. He is a widely-published author, a regular contributor to CounterPunch, a photographer, and an award-winning sculptor, whose works have been exhibited nationally. He is a peace activist dedicated to the cause of Palestine and her dispossessed people.
Thank you to the co-sponsors of the Artist Talk
Center for Palestine Studies, Alwan for the Arts, ArtPalestine International
ArtPalestine International and Whitebox Art Center present
How Green Was My Valley
On view April 3rd – 27th 2014
Opening celebration Thursday April 3rd | 6-8 pm
Readings and Performance Thursday April 10th | 5-7:30pm
Mohamed Abusal | Tarek Al Ghoussein | Mohammed Al Hawajri | Joseph Audeh
Samira Badran | Taysir Batniji | Rana Bishara | Haitham Ennasr | Tanya Habjouqa
Wafa Hourani | Jeffar Khaldi | Mohammed Musallam | Larissa Sansour
Amer Shomali | Mary Tuma
Video Art from the Present to the Past into the Future
On view February 23rd to March 28th 2014
Link to exhibition and press release
Oreet Ashery | Dara Birnbaum | Alina and Jeff Bliumis | Robert Boyd
Hans Breder | Tania Candiani | Stefano Cagol | Gordon Cheung | Jaime Davidovich
Braco Dimitrijevic | Adolfo Doring | Dieter Froese | Gary Hill | Ferrán Martín
Mary Mattingly | Jonas Mekas | Yucef Merhi | Igor Molochevski | Iván Navarro
Damian Ontiveros | Dennis Oppenheim | Jean-Gabriel Périot | Larissa Sansour
Arleen Schloss | Carolee Schneemann | Kiki Seror | Michael Snow | S&P Stanikas
Javier Téllez | The Blue Noses | Wojtek Ulrich | Roi Vaara | Helena von Karkkainen
Ai Weiwei | Sislej Xhafa
TIME:CODE is an exhibition of video art selected from Whitebox Art Center’s archive. The title and curatorial framework metaphorically weave technical nomenclature for video and film synchronization and the experimental film directed by Mike Figgis. The former is addressed in the historical arc of the exhibition consisting of important works by early video pioneers, including Michael Snow, Jonas Mekas, Carolee Schneemann, Gary Hill, Dieter Froese, Dara Birnbaum, Dennis Oppenheim and Jaime Davidovich, shown alongside a succeeding generation of video artists including Ai Weiwei, Gordon Cheung, Sislej Xhafa and others who have engaged the medium as innovatively as their predecessors.
WHITE BOX presents in collaboration with KAFLAB
Beyond the Cloth :
“The Kafiye Project”
An exhibition curated by Hala A. Malak
Sept. 6 – Sept. 29, 2013
Opening reception Sept. 8th | 6 – 8pm
White Box Projects (lower level)
The Kafiye Project Event Dates
Sept. 6: VIP Opening + Meet the Artists+ Cake book launch 5.30-8pm
Sept. 29: Closing and Pop up store + Performances 3-7pm
Kaflab Social Media