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easyfoodnetwork · 4 years

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Pick Your Poison

Fall activities like apple picking and leaf peeping are generally considered safe, but with record crowds and a COVID surge expected to collide this fall, locals are worried

In the initial months of the COVID-19 pandemic, the outpouring of New York City residents to surrounding rural areas offered a boon to Twin Star Orchards. The U-pick apple farm and maker of Brooklyn Cider House cider sits just outside the small village of New Paltz, New York, about 80 miles north of New York City and halfway to Albany.

Susan Yi, who founded the business along with her brother Peter, says a wave of transplants buying new homes in the Hudson Valley gave business a bump during the usual off-season of April and May. Newly remote workers with flexible schedules have driven more business on Fridays, too, and the farm has added live music, usually reserved for holidays, to bring people out on Saturdays. There was even a socially distanced Fourth of July pig roast on its sprawling outdoor pavilion.

But as fall approaches at Twin Star Orchards, Yi worries that the farm’s high season could bring as much trouble as much-needed income. “Fall is always very busy with late September [to] early October as the peak, with apple-picking and leaf-peeping drawing a lot of people to the area,” she says. “We are typically packed each weekend, so we are a little concerned about keeping the crowds spaced out during that time.”

As spring turned to summer, the Northeast began to get a grip on the COVID-19 pandemic. New York state made a miraculous about-face from the nation’s hotbed to a model for how to contain the pandemic with aggressive lockdowns and testing. It made nearby places like New Paltz safer too. However, the popularity of fall activities could undermine those trends by coaxing people out of their homes just as experts predict a second wave of cases.

With what we know about the spread of COVID-19, outdoor escapes like apple picking seem relatively safe, making these fall getaways especially attractive for cooped-up city dwellers and parents desperate to distract their kids. The brilliant reds and oranges of fall foliage — shining in the face of everything this year — can still be admired from the isolated safety of a family car. The smell of “world-famous” apple pies will still be wafting across New England, and the treats are just as easily devoured at six-foot-spaced outdoor tables. Country farms are the stuff of quarantine cottagecore dreams, where animals offer themselves for therapeutic cuddles and no one needs to shuffle off the sidewalk to maintain social distancing.

James Kirkikis / Shutterstock

The annual pumpkin festival in Keene, New Hampshire, with its signature tower, attracts thousands of visitors each year

But as tempting as this autumnal fantasy and its perceived safety may seem, the crowds it’s expected to draw to rural areas are inspiring mixed feelings among local business owners. After six months of financial hardship, including a delayed start to summer travel, some hope a fall boom will compensate for lost business. Others, fearing the potential for super-spreaders to hide among the pie stands and farm rows, worry that travelers could bring a second wave of infections to their doorsteps.

In May 2019, Greenleaf opened in Milford, New Hampshire, a small town famous for its pumpkin festival and leaf-peeping. The restaurant was only a few months old for its first festival in October last year. “Seeing all the people from the surrounding communities and traveling from afar to take part in this festival in such a small town was great to see,” says chef-owner Chris Viaud. “We were like, ‘Next year, we’re going to do this big. We’ll make sure we’re ingrained in the community and take a bigger part in this.’” Now the restaurant is in limbo as the town decides whether or not to cancel this year’s pumpkin festival.

Like nearly all other restaurants across America, Greenleaf is struggling with reduced traffic due to COVID-19. While it has received financial assistance from government programs, that can only take the restaurant so far, Viaud says, and he’s relying on business to pick up in the fall. Even if the pumpkin festival does get canceled, he still expects people will want to travel, and that puts him in a tricky position. “It’s a tough conversation. We have to think of ourselves and the wellness of our staff, but then the flip side of that is the wellness of the business,” he says.

Even in areas of the Northeast traditionally known more for summer and winter activities, fall has become an unexpected fulcrum of seasonal tourism. In Stowe, Vermont, for instance, summer hiking and winter skiing drive most tourist traffic, but summer travel was dampened by the coronavirus’s first wave, and Vermont’s popular ski mountains may shut down this winter. Local businesses need customers to show up in the next few months.

That might be tricky for Plate, a popular Main Street restaurant in Stowe that’s balancing its responsibility to locals against its dependence on tourists. “Early when we very first opened [for outdoor dining in May], we saw a lot of locals coming back to support us,” says chef-owner Aaron Martin. “Once people started traveling more, we noticed that it was mostly tourists, and our locals were feeling safer to stay away.” Martin says locals have returned tentatively, but they prefer the restaurant’s small, 10-seat patio to the indoor dining room — even at the 40 percent capacity it’s implemented to maintain social distancing. Some customers refuse to dine altogether if they can’t be seated outside. The chef chalks up their hesitance in part to the fact that out-of-state visitors tend not to follow Vermont’s 14-day mandatory quarantine for travelers. As temperatures drop, the restaurant will eventually have to pack up the outdoor seating, sacrificing the valuable added revenue along with it.

Viaud and Martin agree the potential for a second wave makes it difficult to make plans for the next few months. “Everyone’s listening to the media. In the fall, there is a scare of another spike. What does that mean for the businesses around?” Viaud wonders. Martin has no doubt about what would happen in Vermont. “We have a great governor who’s done a wonderful job. If we have a second wave, he’ll shut us all down again,” he says.

Boston Globe via Getty Images

Fresh cider donuts at Cider Hill Farm in Amesbury, Massachusetts

While some people might be stressing about the approaching autumn, apple trees and pumpkin vines are forging ahead at full speed. “The farm doesn’t know a pandemic from a regular year. The fruit’s going to grow either way,” says farm operations manager Jay Mofenson of Lookout Farm in South Natick, Massachusetts. “We have certain fixed expenses of equipment needs and labor needs that, regardless of the pandemic, have to continue.”

Lookout was founded in 1651, making it one of the nation’s oldest continually operating farms. Today the 180-acre orchard is home to 55,000 trees, drawing around 50,000 eager amateur apple pickers each year. While the farm does sell some apples to wholesale distributors, Mofenson says, “Agritourism is really our primary focus.”

Luckily for the farm, summer peach season is typically much slower than the fall, only attracting an average of 5,000 visitors in a normal year. Not only does this mean Lookout didn’t sacrifice much U-pick business during the initial wave of the pandemic, but it also gave Mofenson and his team a chance to reconfigure the entire operation ahead of the anticipated fall crowds. They re-envisioned the customer experience from the moment a guest gets out of their car to the moment they return to the parking lot. They nixed the trains that usually ferry people to the fruit trees, established a one-way path through the rows, and set up a reservation system with caps on the number of pickers per hour.

Across the country, in Camarillo, California, home of the Abundant Table, the leaves aren’t much of a draw, but the farm still offers a classic fall experience. Programming extends well beyond U-pick to include a produce shop, educational programs for kids and adults, open community farming initiatives, and other BIPOC-focused nonprofit efforts.

All of these programs were paused in the initial days of the pandemic, but Linda Quiquivix, institutional sales partnerships and CSA manager, says the team is planning their return in the coming months, with strict social-distancing measures in place. “The really cool thing about us is we’re a collective. We’re a democratic workplace,” she says. “We get to decide what conditions we work under. We always keep abreast of the [COVID-19] situation, so we don’t have any problems codifying plans according to new realities.”

Quiquivix explains that after the highly publicized breakdown of the food system early in the pandemic, community farming, U-pick, and the produce stand give people a chance to support local farming, which many customers are recognizing as increasingly important. The Abundant Table is also collaborating with the Rodale Institute, a nonprofit focused on organic farming, to set up a U-pick, no-till pumpkin patch. As kids shift to remote learning in the fall, Quiquivix is hoping the school district will allow a class of sixth graders to come help analyze the pumpkin patch once a week, not only to discuss maintaining soil carbon by avoiding tilling, but also the pre-colonial farming practices of the Chumash people on that land.

Lookout Farm

Lookout Farm in Massachusetts has transformed its outdoor dining area for social distancing.

Farther north, at R. Kelley Farms in Sacramento, owner Ron Kelley committed to his summer crops back in April, planting his seeds when rumors still indicated the pandemic would clear up soon. U-pick typically accounts for 60 percent of business for the 28-year-old farm, and the summer high season has been going well. Kelley has implemented social distancing and a reservation system, allowing him to host visitors from as far as 100 miles away to pick crowder, purple hull, and black-eye beans.

But that’s all changing in the fall, which doesn’t drive nearly as much business for him. The potential costs outweigh any potential gains for offering his usual winter greens for U-pick. “My business is the least of my concerns. I’m worried about my health,” he says. “I’m 72 years old and do not want to take any chances of getting ill from working outdoors in the fall and winter.”

While most restaurants and farms plan to do everything they can to stay in business, Kelley is more open about the potential of closing up shop. “I’m at the age that this may be the straw that breaks the camel’s back.” he says. “Once I finish this year, then I’ll take a hard look at it, decide whether I want to gamble again next year or what exactly I want to do.”

“It’s going to be a challenging year. I can’t say where we’re going to end up, financially speaking,” Mofenson says bluntly. But there’s always an upside to working through the crisis. “The farm is a very special place to us, to a lot of people. The benefit is tons of comments all the time from people about how grateful they are to have an opportunity to be outdoors, to see the kids smiling. It’s really been a silver lining to this whole situation.” He adds, “Hopefully everyone has a better 2021.”

from Eater - All https://ift.tt/351zsYv https://ift.tt/3jKUyhY

Fall activities like apple picking and leaf peeping are generally considered safe, but with record crowds and a COVID surge expected to collide this fall, locals are worried

James Kirkikis / Shutterstock

The annual pumpkin festival in Keene, New Hampshire, with its signature tower, attracts thousands of visitors each year

Boston Globe via Getty Images

Fresh cider donuts at Cider Hill Farm in Amesbury, Massachusetts

Lookout Farm

Lookout Farm in Massachusetts has transformed its outdoor dining area for social distancing.

from Eater - All https://ift.tt/351zsYv via Blogger https://ift.tt/3lL4V72

#Blogger #cooking #Eater #food #recipes

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if-you-fan-a-fire · 6 years

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“Fernow's fascination with techno is nothing new. Though he grew up as a metal head of sorts, he cites Richie Hawtin's FUSE album Dimension Intrusion as his all-time favourite, and he was a rave kid back in Wisconsin. He started to collect DJ mixtapes—his only exposure to recorded dance music at the time—and it was the makeshift nature of the Midwest rave scene that would come to influence the way he operated as a noise artist. "This tape by DJ Anonymous was so profound to me because it had two cassettes taped together, back-to-back," he explained. "One side had an S&M picture of a man tied up, and the other side had a picture of a woman. One was jungle and one was gabber. And coming from the death metal world, there was a connection between this idea of making demos [on tape]. And it really made an impression about what could be done if you don't have the means—just do it. If you can't find a case to hold two tapes, just tape two cases together." Death metal was also a key part of his connection to electronic music. In the '90s, many death metal bands started to work electronic passages into their albums, as eerie intros or interludes, which caught Fernow's ear. "It was such a departure from the 'band world,'" he said, "Where everybody does everything—they all play their own instruments. There's a kind of a literalism that comes with rock music. Techno was the most mysterious thing to me, coming from death metal. I didn't know anything about the machines, about the gear—I still don't. Even the idea of playing records that someone else made, records that were designed to be mixed with other records—it was such a departure." "I decided that there must be something more extreme than death metal," he continued. "We'd heard about industrial music, but the only thing you could really find at the time was dance industrial, like Swamp Terrorists. So there was this program called Scream Tracker 3, just a dot matrix program where you get sample banks and really rudimentary effects. We couldn't find anything that we thought industrial should sound like, so we were gonna try to make it. It was me and my buddy. His stuff became techno and mine became noise, but it started out as this slow kind of techno. The very first music I made was on that program. CD-Rs weren't domestic yet, so we were always trying to dub the tracks onto a tape deck, but it never sounded good. We eventually had the tracks transferred from a desktop computer to a CD-R machine, and it cost like $100 a disc." After progressing into noise music, Fernow moved from Madison to New York and started to amass releases on Hospital Productions. He opened a storefront for the label, which became a gathering point for seedier parts of New York City's underground electronics scene. Fernow began putting put out hundreds of records and established a confrontational and sometimes frightening live persona armed with nothing more than a microphone. A videoof one performance, at an in-store in Lowell, Massachusetts in 2001, stands out. Fernow writhes in front of a rudimentary stack of speakers, screeching into a microphone with his back to the audience. Another video shows a shirtless Fernow in New Paltz, New York doing a more spirited version of the same performance, wringing out unholy feedback from the speakers before violently plunging his microphone into one as if he were trying to destroy it. It was only after years of Prurient and countless other harsh noise aliases that Fernow reconnected with the dance music that excited him so much as a teenager. "Jim Siegel, the shop manager at the time, was bringing Sandwell District stuff in, and I was like, 'What the fuck is this? This is so good!' I didn't realize it was Karl [O'Connor, AKA Regis]. I knew British Murder Boys, but I didn't know Regis's solo stuff. Just seeing the records, the aesthetic, and the titles most importantly. This is what I'd been missing all that time. I cannot emphasize the importance of what all those guys did. That was the doorway back in for me." Fernow had already started to experiment with more straightforward electronic music on Bermuda Drain, released through the avant-garde metal label Hydra Head in 2011. The album had some of the clearest and most straightforward Prurient music yet, featuring discernible lyrics, melodies and plush synths—albeit delivered in angry screams with harsh distortion. It marked a sea change from shows like that in-store performance in Lowell. Around the same time, Fernow started a new project, Vatican Shadow, with a tape of lo-fi beats called Kneel Before Religious Icons, which was first released on Hospital Productions and later reissued by Type. Kneel Before Religious Icons featured a stark, smiling portrait of Nidal Hasan, better known as the Fort Hood Shooter, a US military psychiatrist who shot up an army base in Texas in 2009. The titles were borrowed from newspapers and headlines, adding a menacing political tinge to Fernow's music. The tracks sounded like acid-eaten techno and industrial, with harsh, repetitive beats puncturing the spooky atmospheres Fernow had been exploring in his recent music. Vatican Shadow wasn't necessarily meant to be anything more than a one-off experiment. Fernow had the idea for the project while reading a newspaper article about the Fort Hood shooting, and a squatter who was living in the basement of his shop aggressively quizzed Fernow about the facts around the story. "Pointing to the shooter, he proceeded to tell me that it was CIA, they were trying to make Obama look bad because he had planned to stimulate the economy and get out of the recession by legalizing marijuana," Fernow said. "It kept going in that direction and I started thinking about these beliefs and how so much conspiracy stuff is about an inability to believe, a need to try and feel empowered by having 'the real story.'" Fernow saw the early Vatican Shadow material as being more influenced by industrial music than techno. Its style came through an attempt to turn the lengthy compositions of Bermuda Drain into something more concise. He never thought about DJing or mixing records—he said he was listening to artists like Traversable Wormhole and Function "as music," at home, not for DJing purposes. He admits that most of the stuff he made early on sounded "like shit" on a big system. This was techno as creative exercise, not built for clubs. Vatican Shadow became a serious endeavour following an interview with Blackest Ever Black founder Kiran Sande, when Sande was still an editor at FACT Magazine. After the interview, Sande asked Fernow about Vatican Shadow, and if he could release anything on his new label. Fernow was a fan of Raime and Regis, who appeared on Blackest Ever Black's first releases, and he jumped at the idea. He was booked to play his first-ever Vatican Shadow show alongside British Murder Boys for a Blackest Ever Black showcase in London. But he never got on the plane, succumbing to an old fear of flying that ties into his deeper struggles with anxiety and OCD. "It took me a long time to realize that it's not necessarily about the result, but it's about the process," he said. "And I think that part of the deeper connection that I had to techno worked the same way—it was experiential, forcing you to be in the moment. There's kind of an irony to it in that. This unhealthy way of living, traveling and never sleeping and all this obvious stuff that every DJ is faced with. But when you actually get to the club, with all the elements in place you can transcend the root of the problem. I think that one of the big issues we're all facing is roots. There's this cliche—'what's the root of the problem?'—but real roots, like the roots of a tree, there's not just one. There's many." Techno culture forced Fernow to deal with his problems head on. His new obsession took him through a turbulent period that started with closing the Hospital shop. He moved to Los Angeles, a city he ended up hating for its remoteness. LA was the opposite of everything he had liked about Manhattan, where he could travel on foot and bump into people and have forced interactions, a necessary evil for an otherwise natural loner. (Fernow never liked Brooklyn. It made him feel claustrophobic when the steep hills would block out the horizon in the distance.)”

- Andrew Pryce, “Dominick Fernow: Myth of building bridges.” Resident Advisor, January 11, 2018.

#dominick fernow #vatican shadow #prurient #industrial music #techno #hospital productions #resident advisor #dance industrial #electronic music

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instantdeerlover · 4 years

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Pick Your Poison added to Google Docs

Pick Your Poison

Fall activities like apple picking and leaf peeping are generally considered safe, but with record crowds and a COVID surge expected to collide this fall, locals are worried

James Kirkikis / Shutterstock The annual pumpkin festival in Keene, New Hampshire, with its signature tower, attracts thousands of visitors each year

Boston Globe via Getty Images Fresh cider donuts at Cider Hill Farm in Amesbury, Massachusetts

Lookout Farm Lookout Farm in Massachusetts has transformed its outdoor dining area for social distancing.

via Eater - All https://www.eater.com/21396380/outdoor-fall-activities-during-covid-19-apple-picking-leaf-peeping

Created September 3, 2020 at 08:26PM /huong sen View Google Doc Nhà hàng Hương Sen chuyên buffet hải sản cao cấp✅ Tổ chức tiệc cưới✅ Hội nghị, hội thảo✅ Tiệc lưu động✅ Sự kiện mang tầm cỡ quốc gia 52 Phố Miếu Đầm, Mễ Trì, Nam Từ Liêm, Hà Nội http://huongsen.vn/ 0904988999 http://huongsen.vn/to-chuc-tiec-hoi-nghi/ https://drive.google.com/drive/folders/1xa6sRugRZk4MDSyctcqusGYBv1lXYkrF

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229greenkill · 5 years

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On Sunday, November 17 at 3 PM, “Words Carry Us” a very special afternoon of readings by talented local poets and essayists, will be presented at Green Kill, featuring Steve Clorfeine, Betty MacDonald, Linda Melick, Marilyn Reynolds and Mathew J. Sprieng. A contribution of 5 dollars is preferred which will be donated to the artists and Green Kill.

About Steve Clorfeine

Steve Clorfeine leads workshops in physical theater improvisation, meditation and writing. He is one of the founding arts faculty at Naropa University in Colorado. His five poetry collections were published by Station Hill and Codhill Press. Steve has presented his work at libraries, schools, and conferences throughout NYS. He performed for many years with Barbara Dilley, Meredith Monk and Ping Chong and continues to perform his own work. For information about his writing and performances visit

http://www.steveclorfeine.com

About Betty McDonald

Actor-sculptor-writer Betty MacDonald has performed with Community Playback Theater for over 30 years. She contributed to the writing and performed in TMI Project’s “What To Expect When You’re Not Expecting,” and has presented her work at many TMI events, as well as Woodstock Book Fest, and 650 Writers Read at the Cell Theatre in New York City, and Best of Writers Read at Vassar College. Her work appears in several anthologies.

bettymoonmacdonald.com

About Linda Melick

Linda Melick has been writing poetry and prose for most of her life. She was a teacher in a maximum-security prison for twenty years and is a New Paltz resident. Her work has appeared in Suicide Imprint, Open Press 2018, Wallkill Valley Writers Anthology, A Slant of Light, Contemporary Women Writers of the Hudson Valley, and in Obsession Literary Journal. Her poetry collection Not for Sissies will be available at the reading.

Marily Reynolds

Marilyn Reynolds has a BA, French &Fine Art, Indiana University; University of Paris, France; MFA, Brooklyn College. The MacDowell Colony, resident; Bard College; P.S.1/Institute of Contemporary Art (MoMA); Indianapolis Museum of Art; State Museum of NY; etc. Published poet. Recipient of 12 grants and awards including 2 Pollock-Krasner; 4 NYFA; and one NY State Council on the Arts. Director of Education at Caramoor Center for Music and the Arts; former Director of Museum Ed., Bard College;Instructor, MoMA Ed. Dept.; Lincoln Center Summer Institute.

marilynreynoldsartist.com

About Matthew J. Sprieng

Matthew J. Spireng of Lomontville is a widely published, award-winning poet. More than 1,000 of his poems have appeared in magazines and anthologies across the United States. His books are What Focus Is and Out of Body, winner of the Bluestem Poetry Award. His chapbooks are: Clear Cut; Young Farmer; Encounters; Inspiration Point, winner of the Bright Hill Press Poetry Chapbook Competition; and Just This. His individual poems have won six national awards including The MacGuffin’s 23rd Annual Poet Hunt Contest in 2018 and the 2015 Common Ground Review poetry contest. He is an eight-time Pushcart Prize nominee.

About Green Kill

Green Kill is a multi-use performance space dedicated to a diverse and growing creative community. Green Kill’s mission is to create artistic opportunities through peer to peer organization of talented and dedicated visual, performing and literary artists.Find out how you can support green kill here: https://greenkill.org/2019/07/12/please-support-green-kill/

Green Kill is a handicapped accessible exhibition performance Space located at 229 Greenkill Avenue, Kingston, New York, 12401, [email protected], open Tuesday to Saturday from 3 pm to 9 pm, closed on national holidays. The phone number is 1(347)689-2323. For the event schedule please visit http://greenkill.org/events. Exhibition viewing hours are Tuesday-Saturday, 3-5 PM or you may make a special appointment by contacting [email protected] or phoning 347-689-2323.

Words Carry Us, November 17 On Sunday, November 17 at 3 PM, "Words Carry Us" a very special afternoon of readings by talented local poets and essayists, will be presented at Green Kill, featuring Steve Clorfeine,

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newpaltzmusiccollective · 3 months

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Be there or be square you sexy sexy dogs <3

#new paltz music collective #suny new paltz #new paltz #npmc #build a band

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tinymixtapes · 5 years

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Swedish avant garde composer Catherine Christer Hennix announces Selections from 100 Models of Hegikan Roku, her second archival release

Catherine Christer Hennix, the Swedish composer of avant-garde and Just Intonation music, has shared an excerpt from the second release of her archival recordings through Empty Editions / Blank Forms Editions. Selections from 100 Models of Hegikan Roku is two compositions recorded live from the very first (and only) public concert by The Deonte Miracle, an ensemble led by Hennix in 1976. Following 2018’s Selected Early Keyboard Works, Selections from 100… feels like a supremely synchronized machine’s lungs, forceful and exquisite in overtones. The ensemble is made up of Hennix on amplified Renaissance oboe, electronics, and sine wave generators, Peter Hennix on amplified Renaissance oboe, and Hans Isgren on amplified sarangi. Listen below to a small slice of “Waves of the Blue Sea,” the calmer, leaner of the two massive compositions. A polymath composer and research, Hennix is a professor of Mathematics and Computer Science at SUNY New Paltz and “a visiting Professor of Logic at MIT’s Artificial Intelligence Laboratory”. Recordings of Hennix’s bold work have largely been unavailable until recent years; Blank Forms Publishing is also planning a release Poësy Matters and Other Matters, two books of Hennix’s writing. Her latest collection of recorded work comes out on all platforms on July 19. You can pre-order an 2xLP of Selections from 100 Models of Hegikan Roku from Blank Forms here. http://j.mp/2lxI3gC

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grandgrandgalop · 6 years

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Winter Walk Literary Reading at Walnut Hill Fine Art Saturday, December 1, 2018 at 5pm With readings by: Rebecca Wolff Hallie Goodman Cat Tyc Adam Tedesco Karen Schoemer Jane Liddle Hosted by Jasmine Dreame Wagner About the readers: Rebecca Wolff is the author of four books of poems (most recently One Morning-- from Wave Books) and one novel. She is the editor of Fence and Fence Books. She was born and raised in Chelsea, New York and has lived in Hudson almost as long as she lived there. Hallie Goodman is a writer living in Hudson, New York where she co-founded Volume Reading and Music Series. She is a MacDowell Colony, NYFA MARK and InStar Lodge fellow. Her work has appeared in Glamour Magazine, Condé Nast Traveler, Redbook Magazine, and many others. A recent essay, published by Hunger Mountain, was nominated for a Pushcart Prize. Hallie holds a GED and an MFA. Cat Tyc is a writer and artist. Her video work has screened locally and internationally at spaces that include the Microscope Gallery, Anthology Film Archives, CUNY Graduate Center, Brooklyn Museum, Kassel Fest and the PDX International Festival. Her most recent writings have been published in Weekday, The Sink Review, 6x6 and The Fanzine. She is an occasional contributing writer for BOMB and Topical Cream. She teaches multimedia composition and media analysis within the CUNY system and Rutgers New Brunswick and works as the Program Coordinator for The Home School based in Hudson, NY. Poet and video artist Adam Tedesco is a founding editor of REALITY BEACH, a journal of new poetics. His video work has been shown at MoMA PS1, among other venues. His recent poetry, essays and interviews have appeared in Laurel Review, Prelude, Powderkeg, Fanzine, Fence, Tarpaulin Sky, and elsewhere. He is the author of several chapbooks, most recently ABLAZA (2017), the forthcoming Misrule (Ursus Americanus, 2019) and the forthcoming poetry collection Mary Oliver (Lithic Press, 2018). Karen Schoemer's poems have appeared in La Presa, the Pine Hills Review, Up the River and lex*i*con. She performs and records with several bands, include Sky Furrows, Jaded Azurites and Venture Lift. Her music criticism has been widely published and anthologized; she is the author of Great Pretenders: My Strange Love Affair with '50s Pop Music. An MFA student at the Writer's Foundry in Brooklyn, NY, she lives in Hudson and manages Book Space at Time and Space Limited in Hudson. Jane Liddle is a friend to birds and lives in New Paltz, New York. Her stories have been published in various journals and featured in the Best Small Fictions anthology. Her short-story collection Murder was published by 421 Atlanta in March 2016. Jasmine Dreame Wagner is the author of On a Clear Day (Ahsahta Press), a collection of lyric essays and poems deemed “a capacious book of traveller’s observations, cultural criticism, and quarter-life-crisis notes” by Stephanie Burt at The New Yorker and “a radical cultural anthropology of the wild time we’re living in” by Iris Cushing at Hyperallergic. She works for Basilica Hudson. Sarah Butler : Ephemera is now on view in the gallery... enjoy the readings and the art.

#Winter Walk #Hudson Hall #Rebecca Wolff #Hallie Goodman #Cat Tyc #Adam Tedesco #Karen Schoemer #Jane Liddle #Walnut Hill Gallery

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musiccosmosru · 6 years

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I can not say it better than New York’s Blank Forms so let me indulge in sharing their wonderfully comprehensive notes:

Selected Early Keyboard Works is the first in a series of planned archival records of the unheard music of Swedish composer, philosopher, poet, mathematician, and visual artist Catherine Christer Hennix, co-released by Blank Forms Editions and Empty Editions. It comes hot on the heels of Traversée Du Fantasme at the Stedelijk in Amsterdam, Hennix’s first solo museum exhibition in over 40 years, and will coincide with both Blank Forms’ publication of Poësy Matters and Other Matters, a two-volume collection of her writing, and the closing of Thresholds of Perception, a retrospective archival show of Hennix’s visual work at The Empty Gallery in Hong Kong. The record also marks the first time Hennix’s own music has been given a full-length vinyl issue.

In 1976 Catherine Christer Hennix’s just intonation live-electronic ensemble The Deontic Miracle performed Hennix’s original compositions, alongside works by La Monte Young, Terry Riley, and Terry Jennings, as part of Brouwer’s Lattice at the Moderna Museet in Stockholm. Culled from rehearsal tapes recorded during the 10-day Dream Music Festival, Selected Early Keyboard Works features three pieces of minimal music, performed by Hennix on tunable electric keyboards. “Mode nouvelle des modalités,” for well-tuned just intonation Fender Rhodes and sine wave drone, is a consummate expression of Hennix’s formative years, a probing meditation giving the mercurial quality of early electronic music an instrumental life replete with the dexterity of Cecil Taylor and shades of Paul Bley’s synthesized reveries. “Equal Temperament Fender Mix,” performed on the same Rhodes but in twelve-tone equal temperament tuning, employs a tape delay system not unlike that used famously by Terry Riley, here towards more sombre, hallucinatory means. Hennix is joined by Hans Isgren for the collection’s centerpiece, “The Well-Tuned Marimba,” for well-tuned Yamaha, sheng, sine wave, and live electronics. Using the same approach and just intonation keyboard featured on Hennix’s The Electric Harpsichord, but with marimba in place of harpsichord stops, the piece is an undulating marvel of lysergic drone, equally deserving of its companion’s status as “THE obscure masterpiece of the days of the early American minimalism”. Now accessible for the first time, these recordings only begin to fill gaps of silence from a figure whose work has until recently remained flickering at the margins of some of the most enduring cultural developments of the 20th century.

Catherine Christer Hennix (b. 1948) started her creative career playing drums with her older brother Peter growing up in Sweden where she saw jazz luminaries such as John Coltrane, Eric Dolphy, Dexter Gordon, Archie Shepp, and Cecil Taylor perform at the Golden Circle. Directly after high school, Hennix went to work at Stockholm’s pioneering Elektronmusikstudion (EMS), where she helped develop early synthesizer and tape music. After traveling to New York In 1968, she met Fluxus artists Dick Higgins and Alison Knowles and developed fruitful collaborative relationships with many composers in the burgeoning American avant-garde, including, most significantly, Henry Flynt and La Monte Young. Young introduced Hennix to Hindustani raga master Pandit Pran Nath, and she would later study intensively under him. While Hennix continued to make music performing alongside Arthur Russell, Marc Johnson, Henry Flynt, and Arthur Rhames, she also served as a professor of Mathematics and Computer Science at SUNY New Paltz and as a visiting Professor of Logic (at Marvin Minsky’s invitation) at MIT’s Artificial Intelligence Laboratory. In recent years Hennix has led the just-intonation ensemble the Chora(s)san Time-Court Mirage. She currently resides in Berlin, Germany, where she is active as a composer and writer. A two-volume collection of her writing is forthcoming from Blank Forms.

Not much to add except for a few of these !!! And some of these ~~~ And a desire to lay myself out to this music in total weightless suspension.

Selected Early Keyboard Works will be released as a double LP on September 7.

More about: Catherine Christer Hennix

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easyfoodnetwork · 4 years

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Fall activities like apple picking and leaf peeping are generally considered safe, but with record crowds and a COVID surge expected to collide this fall, locals are worried In the initial months of the COVID-19 pandemic, the outpouring of New York City residents to surrounding rural areas offered a boon to Twin Star Orchards. The U-pick apple farm and maker of Brooklyn Cider House cider sits just outside the small village of New Paltz, New York, about 80 miles north of New York City and halfway to Albany. Susan Yi, who founded the business along with her brother Peter, says a wave of transplants buying new homes in the Hudson Valley gave business a bump during the usual off-season of April and May. Newly remote workers with flexible schedules have driven more business on Fridays, too, and the farm has added live music, usually reserved for holidays, to bring people out on Saturdays. There was even a socially distanced Fourth of July pig roast on its sprawling outdoor pavilion. But as fall approaches at Twin Star Orchards, Yi worries that the farm’s high season could bring as much trouble as much-needed income. “Fall is always very busy with late September [to] early October as the peak, with apple-picking and leaf-peeping drawing a lot of people to the area,” she says. “We are typically packed each weekend, so we are a little concerned about keeping the crowds spaced out during that time.” As spring turned to summer, the Northeast began to get a grip on the COVID-19 pandemic. New York state made a miraculous about-face from the nation’s hotbed to a model for how to contain the pandemic with aggressive lockdowns and testing. It made nearby places like New Paltz safer too. However, the popularity of fall activities could undermine those trends by coaxing people out of their homes just as experts predict a second wave of cases. With what we know about the spread of COVID-19, outdoor escapes like apple picking seem relatively safe, making these fall getaways especially attractive for cooped-up city dwellers and parents desperate to distract their kids. The brilliant reds and oranges of fall foliage — shining in the face of everything this year — can still be admired from the isolated safety of a family car. The smell of “world-famous” apple pies will still be wafting across New England, and the treats are just as easily devoured at six-foot-spaced outdoor tables. Country farms are the stuff of quarantine cottagecore dreams, where animals offer themselves for therapeutic cuddles and no one needs to shuffle off the sidewalk to maintain social distancing. James Kirkikis / Shutterstock The annual pumpkin festival in Keene, New Hampshire, with its signature tower, attracts thousands of visitors each year But as tempting as this autumnal fantasy and its perceived safety may seem, the crowds it’s expected to draw to rural areas are inspiring mixed feelings among local business owners. After six months of financial hardship, including a delayed start to summer travel, some hope a fall boom will compensate for lost business. Others, fearing the potential for super-spreaders to hide among the pie stands and farm rows, worry that travelers could bring a second wave of infections to their doorsteps. In May 2019, Greenleaf opened in Milford, New Hampshire, a small town famous for its pumpkin festival and leaf-peeping. The restaurant was only a few months old for its first festival in October last year. “Seeing all the people from the surrounding communities and traveling from afar to take part in this festival in such a small town was great to see,” says chef-owner Chris Viaud. “We were like, ‘Next year, we’re going to do this big. We’ll make sure we’re ingrained in the community and take a bigger part in this.’” Now the restaurant is in limbo as the town decides whether or not to cancel this year’s pumpkin festival. Like nearly all other restaurants across America, Greenleaf is struggling with reduced traffic due to COVID-19. While it has received financial assistance from government programs, that can only take the restaurant so far, Viaud says, and he’s relying on business to pick up in the fall. Even if the pumpkin festival does get canceled, he still expects people will want to travel, and that puts him in a tricky position. “It’s a tough conversation. We have to think of ourselves and the wellness of our staff, but then the flip side of that is the wellness of the business,” he says. Even in areas of the Northeast traditionally known more for summer and winter activities, fall has become an unexpected fulcrum of seasonal tourism. In Stowe, Vermont, for instance, summer hiking and winter skiing drive most tourist traffic, but summer travel was dampened by the coronavirus’s first wave, and Vermont’s popular ski mountains may shut down this winter. Local businesses need customers to show up in the next few months. That might be tricky for Plate, a popular Main Street restaurant in Stowe that’s balancing its responsibility to locals against its dependence on tourists. “Early when we very first opened [for outdoor dining in May], we saw a lot of locals coming back to support us,” says chef-owner Aaron Martin. “Once people started traveling more, we noticed that it was mostly tourists, and our locals were feeling safer to stay away.” Martin says locals have returned tentatively, but they prefer the restaurant’s small, 10-seat patio to the indoor dining room — even at the 40 percent capacity it’s implemented to maintain social distancing. Some customers refuse to dine altogether if they can’t be seated outside. The chef chalks up their hesitance in part to the fact that out-of-state visitors tend not to follow Vermont’s 14-day mandatory quarantine for travelers. As temperatures drop, the restaurant will eventually have to pack up the outdoor seating, sacrificing the valuable added revenue along with it. Viaud and Martin agree the potential for a second wave makes it difficult to make plans for the next few months. “Everyone’s listening to the media. In the fall, there is a scare of another spike. What does that mean for the businesses around?” Viaud wonders. Martin has no doubt about what would happen in Vermont. “We have a great governor who’s done a wonderful job. If we have a second wave, he’ll shut us all down again,” he says. Boston Globe via Getty Images Fresh cider donuts at Cider Hill Farm in Amesbury, Massachusetts While some people might be stressing about the approaching autumn, apple trees and pumpkin vines are forging ahead at full speed. “The farm doesn’t know a pandemic from a regular year. The fruit’s going to grow either way,” says farm operations manager Jay Mofenson of Lookout Farm in South Natick, Massachusetts. “We have certain fixed expenses of equipment needs and labor needs that, regardless of the pandemic, have to continue.” Lookout was founded in 1651, making it one of the nation’s oldest continually operating farms. Today the 180-acre orchard is home to 55,000 trees, drawing around 50,000 eager amateur apple pickers each year. While the farm does sell some apples to wholesale distributors, Mofenson says, “Agritourism is really our primary focus.” Luckily for the farm, summer peach season is typically much slower than the fall, only attracting an average of 5,000 visitors in a normal year. Not only does this mean Lookout didn’t sacrifice much U-pick business during the initial wave of the pandemic, but it also gave Mofenson and his team a chance to reconfigure the entire operation ahead of the anticipated fall crowds. They re-envisioned the customer experience from the moment a guest gets out of their car to the moment they return to the parking lot. They nixed the trains that usually ferry people to the fruit trees, established a one-way path through the rows, and set up a reservation system with caps on the number of pickers per hour. Across the country, in Camarillo, California, home of the Abundant Table, the leaves aren’t much of a draw, but the farm still offers a classic fall experience. Programming extends well beyond U-pick to include a produce shop, educational programs for kids and adults, open community farming initiatives, and other BIPOC-focused nonprofit efforts. All of these programs were paused in the initial days of the pandemic, but Linda Quiquivix, institutional sales partnerships and CSA manager, says the team is planning their return in the coming months, with strict social-distancing measures in place. “The really cool thing about us is we’re a collective. We’re a democratic workplace,” she says. “We get to decide what conditions we work under. We always keep abreast of the [COVID-19] situation, so we don’t have any problems codifying plans according to new realities.” Quiquivix explains that after the highly publicized breakdown of the food system early in the pandemic, community farming, U-pick, and the produce stand give people a chance to support local farming, which many customers are recognizing as increasingly important. The Abundant Table is also collaborating with the Rodale Institute, a nonprofit focused on organic farming, to set up a U-pick, no-till pumpkin patch. As kids shift to remote learning in the fall, Quiquivix is hoping the school district will allow a class of sixth graders to come help analyze the pumpkin patch once a week, not only to discuss maintaining soil carbon by avoiding tilling, but also the pre-colonial farming practices of the Chumash people on that land. Lookout Farm Lookout Farm in Massachusetts has transformed its outdoor dining area for social distancing. Farther north, at R. Kelley Farms in Sacramento, owner Ron Kelley committed to his summer crops back in April, planting his seeds when rumors still indicated the pandemic would clear up soon. U-pick typically accounts for 60 percent of business for the 28-year-old farm, and the summer high season has been going well. Kelley has implemented social distancing and a reservation system, allowing him to host visitors from as far as 100 miles away to pick crowder, purple hull, and black-eye beans. But that’s all changing in the fall, which doesn’t drive nearly as much business for him. The potential costs outweigh any potential gains for offering his usual winter greens for U-pick. “My business is the least of my concerns. I’m worried about my health,” he says. “I’m 72 years old and do not want to take any chances of getting ill from working outdoors in the fall and winter.” While most restaurants and farms plan to do everything they can to stay in business, Kelley is more open about the potential of closing up shop. “I’m at the age that this may be the straw that breaks the camel’s back.” he says. “Once I finish this year, then I’ll take a hard look at it, decide whether I want to gamble again next year or what exactly I want to do.” “It’s going to be a challenging year. I can’t say where we’re going to end up, financially speaking,” Mofenson says bluntly. But there’s always an upside to working through the crisis. “The farm is a very special place to us, to a lot of people. The benefit is tons of comments all the time from people about how grateful they are to have an opportunity to be outdoors, to see the kids smiling. It’s really been a silver lining to this whole situation.” He adds, “Hopefully everyone has a better 2021.” from Eater - All https://ift.tt/351zsYv

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caveartfair · 6 years

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The 20 Most Influential Artists of 2017

It’s a daunting task to name the individuals who most profoundly shaped and inspired the global art world in 2017. Decades ago, creative scenes were relatively tiny and cliquish, but the ongoing explosion of interest in contemporary art has meant more of everything: more artists; more galleries and museums; more biennials, art fairs, and unconventional projects; more excitement and energy. Still, there remain artists whose vision and influence find them towering above the crowd. Here, Artsy’s editors offer up our take on the 20 who continue to have a pervasive, undeniable impact on artistic production and culture at large.

B. 1962, Paris. Lives and works in Paris and New York

The single most ambitious work of contemporary art created in 2017 wasn’t in Venice’s Giardini but in a disused ice rink behind a Burger King in the German city of Münster. Enabled by the rink’s coming demolition, Huyghe (pronounced hweeg) was given carte blanche for After ALife Ahead: He excavated its floor and installed panels into the roof that opened and closed according to a musical score. The composition was based on the triangular patterns present on the shell of a venomous sea snail, placed in a tank on a central island of concrete left in the carved-out rink’s center. Human cancer cells multiplied in an incubator on the far side of the rink, while an augmented-reality app let viewers witness pyramid-like representations of those cells be spawned, most of which eventually fly out the rink’s roof openings. (For a deeper look at the mechanics of this complex piece, read Artsy’s coverage here.)

Huyghe, who this year won the Nasher Prize, has been a revered figure of the conceptual art movement known as Relational Aesthetics since the ’90s, though popular recognition of the 55-year-old artist has sometimes lagged behind that of peers like Philippe Parreno. After ALife Ahead marked the culmination of several experiments and preparatory works over recent years. And it continued the unique brand of environmental installation in which viewers themselves become actors within the work (each exhale of CO2 caused the cancer cells to multiply more quickly) that he used to acclaim at Documenta 13 in 2012. There, Huyghe’s contribution involved a surreal, living sculpture garden (complete with a pink-legged dog) hewn out of a compost heap in Kassel’s Karlsaue Park. Huyghe’s installations strike a canny balance between his viewers’ simultaneous participation in and subjection to the system that he creates—a system that, once set off, is also outside of his control. The results, with their infinitely intertwined elements and cascading effects, create environments that mirror the complexity of our own, a fact that has earned Huyghe his status as one of the most important artists of his generation.

B. 1939, Philadelphia. Lives and works in New Paltz, New York

Schneemann is a touchstone for the feminist art movement in America during the 1960s and ’70s. But it took over half a century for the Body Art and performance pioneer to get the recognition she’s long been due. This year she netted the prestigious Golden Lion lifetime achievement award at the Venice Biennale, and in October, MoMA PS1 opened “Carolee Schneemann: Kinetic Painting,” the first comprehensive survey of the artist’s 60-year-long career.

The exhibition features over 300 works, beginning with her rarely seen bright and brushy semi-abstract paintings from the 1950s and ephemera from her Fluxus-inspired collaborations from the 1960s—including her famed Meat Joy (1964), a pivotal work that features men and women rolling around in raw meat and fish to a rock soundtrack. More recent installations from the early 2000s showcase Schneemann’s ability to easily shift from painting and performance to digital media, as seen in More Wrong Things (2001), which intermingles footage of major public disasters with archival footage from the artist’s own archive. It loops across 14 screens suspended from the ceiling, with a mess of wires and chords charting a chaotic, networked relationship.

Along with peers like Judy Chicago, Mary Beth Edelson, and Rachel Rosenthal, Schneemann was part of a second wave of feminist cultural discourse that challenged taboos about the female body and sexuality while subverting the long-held (white) male gaze. Her more recent work continues this legacy of speaking out against oppressive and outmoded social norms. Consider Precarious (2009), which relies on a rotating mirror system to implicate the viewer into a cage-like setting, surrounded by video projections of prisoners, animals in captivity, and Schneemann dancing. And as the charming 78-year-old made clear during a recent conversation with uberfan Ragnar Kjartansson at the New Museum, she’s continuing to innovate and explore new avenues of artmaking—including collaborating with her cat.

B. 1961, Los Angeles. Lives and works in Los Angeles

With every passing year, Bradford’s art grows larger, his themes more ambitious. For “Tomorrow is Another Day” at the 2017 Venice Biennale, he transformed the American Pavilion into a decaying wasteland, host to a giant, festering, abscess-like form. Visitors to the pavilion (which the artist, speaking with the New York Times, noted loosely resembles a smaller-scale White House or a Jeffersonian plantation) found Spoiled Foot, a thickly textured, malignant red-and-black outgrowth composed of layers of paper, canvas, and varnish with the familiar skin-like pockmarks that so often feature in his paintings. It nearly consumed the front gallery space. Elsewhere, palimpsests of peeling paint and paper reinforced the sense of moral bankruptcy emanating from Bradford’s metaphorical representation of the United States.

Just months later, he unveiled Pickett’s Charge, a vast, site-specific work in the American capital, at D.C’s Hirshhorn Museum. A 360-degree mural, or “cyclorama,” the piece reimagines the 1883 Gettysburg Cyclorama, by French artist Paul Dominique Philippoteaux, which placed visitors at the Battle of Gettysburg during the American Civil War. Recreating the panorama in abstract form—using digital printouts of the original painting, blown up and reconfigured—Bradford updated the immersive mural in a contemporary vocabulary, capturing the weight of this history and asserting its continued relevance.

Next September, the artist will be taking his Venice Biennale presentation to the Baltimore Museum of Art and combining it with a monumental new “waterfall” work—his series of paintings-turned-sculptures composed of cascading ribbons of painted and dyed fabric suspended from beams. It is set to be his most impressive iteration to date, and will continue his ongoing preoccupation, in the wake of Hurricane Katrina, with themes of water and flooding; this particular “waterfall” will extend dramatically from the museum’s second-floor galleries down into the lobby, like a biblical torrent.

B. 1978, Paris. Lives and works in New York

There are never enough hours in a day, or so goes the tired adage of the perpetually busy. Henrot must agree. In addition to her inclusion in nearly a dozen group shows across the globe this year—including “The Message: New Media Works” at the Hirshhorn Museum in Washington, D.C., and the National Gallery of Victoria’s triennial in Melbourne, Australia—the 39-year-old French-born, New York–based artist netted her first major solo exhibition in her hometown of Paris this fall, a sprawling exhibition at the Palais de Tokyo that takes as its theme the days of the week. “Days are Dogs” divides up the 64,500-square-foot space into seven sections to question the arbitrary structure of how we mark time and ritualize our lives, as perhaps best exemplified in Saturday, a stark 20-minute film that immerses viewers in the Sabbath celebrations of the Seventh-day Adventists, who observe the Sabbath on Saturdays rather than Sundays, like most other Christian sects.

Henrot’s career has been gaining steam since she won the Silver Lion award at the 2013 Venice Biennale for the video Grosse Fatigue, a visually snappy meditation blending scientific facts and creation stories through items in the Smithsonian Institution’s archives; a subsequent companion installation, The Pale Fox, which debuted at London’s Chisenhale Gallery in 2014, explored our collective obsession with objects.

“Days are Dogs”seems almost like a mini retrospective for the artist, who has gained a reputation for poignant, essayistic multimedia works that interrogate the stories we tell ourselves, whether through ancient myths or everyday objects. Henrot shines through as an artist truly unafraid to blur media and categories of making, whether she’s placing abstract sculptures in a rural field, creating a series of comically bulbous “telephones,” or experimenting with drawings and paintings that explore everything from the lives of animals to the dregs of her email inbox.

B. 1957, Beijing. Lives and works in Berlin

Ai has swiftly become the art world’s conscience when it comes to the plight of displaced peoples around the world. (The artist himself spent his childhood in exile from his native Beijing, as a result of pressure put on his father, a poet.) He has fervently dedicated himself to raising awareness of the global refugee crisis. Last year saw the occasional misstep—a self-portrait in the pose of a drowned Syrian infant refugee, reenacting a viral news image, raised a bit of ire—but that was followed by four concurrent gallery shows across New York City, all adeptly addressing the sheer scale of the global refugee crisis.

In 2017, the artist unveiled his largest work to date at Prague’s National Gallery: Law of the Journey, a 70-meter inflatable boat sculpture filled with 258 sculptural figures intended to call out the “shameful” politicking in Europe and abroad that ignores the plight of millions seeking shelter on other shores. He also made his first foray into film with Human Flow, which debuted at the Venice Film Festival in September: a visually stunning and emotionally wrenching documentary that follows the migrant passage of millions across the globe, with Ai’s camera turned on Berlin, Calais, Gaza, Turkey, Bangladesh, Jordan, and the U.S.-Mexico border, among other locations. (The film snagged an Oscar nominee for Best Documentary.) Ai then brought this issue home in New York with a 300-piece exhibition, “Good Fences Make Good Neighbors,” on view through February 11, 2018. The city-wide public art project includes banners of refugees strung above the Lower East Side’s Essex Street Market; portraits of New York immigrants installed on bus shelters in Harlem, Brooklyn, and the Bronx; and, most notably, a much-Instagrammed large steel cage sculpture constructed under Washington Square Park’s iconic arch.

B. 1954, Zanzibar, Tanzania. Lives and works in Preston, United Kingdom

Himid made history this year when she took home the 2017 Turner Prize, Britain’s most prestigious art award. The artist is not only the first woman of color to win, but at 63 she is also the oldest awardee thanks to the Tate’s announcement earlier this year that artists of any age can be considered. Himid is known for her darkly witty yet challenging works that explore black identity and creativity, the legacy of colonialism and racism, and institutional biases against women and people of color.

Take, for instance, her range of traditionally fashioned British crockery works festooned with scenes of slavery, or her well known “Negative Positives” series begun in 2007—for which she paints decorative patterns over large swaths of pages from newspaper The Guardian that feature black subjects, underscoring the often unconscious stereotyping lurking in the accompanying text. (She pursued a similar approach with the New York Times for a recent show at New York’s FLAG Art Foundation.)

Though prolific, Himid’s work has been under the radar for decades. But she took the U.K. by storm in 2017, with exhibitions at Nottingham Contemporary, Spike Island in Bristol, and Modern Art Oxford, as well as a site-specific commission for this year’s Folkestone Triennial: a human-scale jelly mould installed on the seaside town’s beach that plays on the connection between the rise of sugarcane plantations and the popularity of jiggly British tea-time treats.

B. 1968, Remscheid, Germany. Lives and works in Berlin and London

While Tillmans’s visionary artistic practice has been progressing since the 1980s—including figurative and abstract images, made using both analog and digital technology—the past two years have seen the artist reaching a new level in terms of critical and popular recognition. The once-prevalent ghettoization of photography apart from the mainstream art world has thankfully continued to break down, thanks in no small part to creatives like Tillmans. (And part of what makes his images exciting in the white cube context derives from his signature installation philosophy—which experiments wildly with scale, and can happily pair a professionally framed photo next to one that hangs loosely from clips).

Tillmans was the first non-Brit to win the prestigious Turner Prize in 2000, and this year was the subject of further English accolades when Tate Modern mounted its major survey exploring work made since 2003 (a period ripe with digital and abstract experiments, as well as a focus on political issues, like the invasion of Iraq). However, it was a major retrospective at Switzerland’s Fondation Beyeler, concurrent with Art Basel in Basel, that had his name on everybody’s lips. The exhibition’s 200-odd works spanned the artist’s career from 1986 to 2017, ranging in scope from still lifes and candid portraits to non-representational texture-and-light studies, Xerox-manipulated images, photographs made without a camera at all, and a brand new audiovisual installation. The masterful exhibition suggested that Tillmans is still capable of transforming his practice with ease, not to mention the field of photography in general.

B. 1983, Enugu, Nigeria. Lives and works in Los Angeles

Through her collage-based paintings depicting intimate, personal scenes, Nigerian-born, L.A.-based artist Akunyili Crosby is pulling focus onto a larger trend, what’s become known as “Afropolitanism”: the shifting multicultural identity of African citizens and members of the African diaspora as they move to more urban centers across the globe. The artist’s career has risen rapidly over the past few years, culminating this year with a highly coveted MacArthur “Genius” grant.

Her works—mingling acrylic, textiles, Nigerian magazine cut-outs, photographic image transfers, and other media—are currently on view in New Orleans’s Prospect.4 triennial, and are the subject of two concurrent exhibitions this fall at the Baltimore Museum of Art and the Tang Museum at Skidmore College in Saratoga Springs. Akunyili Crosby creates densely patterned scenes that explore moments of personal reckoning that span generations, from her grandmother’s isolated upbringing in a village to the artist’s own Western, urban life. Akunyili Crosby’s latest works, as seen in Baltimore, take a decidedly heavier turn, however, exploring the implications of casual racism faced by the artist as an immigrant in America.

B. 1983, Paris. Lives and works in Paris and New York

In September, a 70-foot-tall baby was spotted crawling across the arid borderland between Mexico and California. The brainchild of 34-year-old French photographer and street artist JR, Kikito—as the gargantuan black-and-white toddler is affectionately named—peeps curiously from the Mexican side of a fence erected at Tecate, roughly 45 miles southeast of San Diego. JR is known for his deeply humanist, architecturally scaled outdoor works that often appear in areas of socioeconomic disparity or cultural contention. These include Women are Heroes (2008), which featured the eyes of local women smattered across the sides of buildings in Rio de Janeiro’s oldest favela, and Wrinkles of the City, a collaboration with José Parlá for the 2012 Havana Biennial that included depictions of elderly Cubans who lived through their country’s revolution in the 1950s. His habit of surreptitiously muralizing public walls has prompted some to call him the French Banksy.

Thanks to the help of Tecate-area residents, Kikito went up in a matter of days after President Trump’s decision to repeal Deferred Action for Childhood Arrivals (DACA), which offers legal protection to some who entered the U.S. illegally as minors, often with their parents. It’s hard to disassociate the image of a giant child behind an imperious metal barricade from the contentious presidential mandate. But the work also effectively makes light of Trump’s campaign promise and Executive Order to build an expansive, high-security border wall, making the existing stretch of wall at Tecate seem flimsy indeed: surmountable by a baby.

2017 also saw JR install a 150-square-meter mural at the Palais de Tokyo, take over the Renzo Piano pavilion at Château La Coste, and notch a show at the Paris location of Perrotin. He also debuted Faces/Places, a documentary created with legendary 89-year-old Belgian filmmakerAgnès Varda. It documents their interactions with the rural France people whom the unlikely duo meet while traveling around the country creating portraits of those they encounter. The understated and poignant film—in which Varda likens JR to a young Jean Luc-Godard—won the L’Œil d’Or award when it premiered at May’s Cannes Film Festival, and it was met with critical acclaim when it was released in October (and later landed on the shortlist of Oscar nominations for Best Documentary).

B. 1945, Newark, New Jersey. Lives and works in New York and Los Angeles

The “Pictures Generation” member has been a pioneering influence for decades—her work cropped up in the influential 1973 Whitney Biennial, and she had a solo at MoMA PS1 in 1980—but it continues to resound in an age of political division and sloganeering. Kruger has remained faithful to her own best format: appropriated imagery mixed with brash, in-your-face, Futura text. But this instantly recognizable style is as impactful as ever, translated by the artist into an endless variety of contexts, including on billboards (a format the artist has worked in since the ’80s). Prefer your Kruger in wearable form? There was a wicked t-shirt available at “Anger Management,” a pop-up store organized by Marilyn Minter and hosted by the Brooklyn Museum between September and November. The artist’s fashion-ready messaging was as acerbic as ever: “Admit nothing. Blame everyone. Be bitter.”

In 2017, Kruger closed out a retrospective at the National Gallery of Art in Washington, D.C. and, at Sprüth Magers in Berlin, presented FOREVER, an installation for which she plastered a borrowed Virginia Woolf text across the walls and floor to dizzying effect. In New York, for the 17th Performa biennial, Kruger went all out, commandeering a school bus, a skatepark, a MetroCard design, and a billboard for components of an interconnected project that jabbed at the streetwear brand Supreme (whose logo cops Kruger’s signature typographical treatment). The centerpiece of her participation was Untitled (The Drop), billed as the artist’s first foray into performance, in which the only performers were store clerks, offering Kruger-branded schwag (skate decks, hats, hoodies) to a consumer audience. Not everyone was sold on the affair, but it certainly got people talking outside the normally hermetic confines of the art world. Like a number of feminist artists who came of age in the 1970s, Kruger’s work has gained wider acclaim this year, becoming a calling card for progressive politics at a time when those values are under attack.

B. 1955, Newark, New Jersey. Lives and works in Chicago

The prevailing memory of the 2017 Whitney Biennial will likely be the outrage over Dana Schutz’s painting of Emmett Till, but it would be a shame if that overshadowed Pope.L’s strange, complicated, and typically irreverent 2017 work, Claim (Whitney Version). A large, pink-colored cube, the installation was festooned with pieces of bologna, as well as small photographic portraits of what the artist claimed were Jewish people. (“Fortified wine” was also used as a material.) The enigmatic work proves especially complex amidst the current resurgence of identity politics, and in June, it netted the artist the coveted Bucksbaum Award.

Since the 1970s, Pope.L has developed a layered practice that combines performance, video, painting, and sculpture. Some of his most iconic works were acts of endurance in which the artist donned various costumes and crawled for great lengths; at 62, he’s still making the same sort of sacrifices, and still taking risks. For Documenta 14, he unveiled Whispering Campaign (2016–17), a sound piece sited in both Kassel and Athens for which performers whispered lines from a script into mini headsets that were then broadcast via speakers placed in offbeat locales around the cities. Also in 2017, at the Detroit alternative exhibition space What Pipeline, the artist launched a simple but loaded project: He took lead-damaged water from Flint, Michigan, bottled it, and sold the results as a kind of unhealthy readymade. “Flint Water” turned the gallery into a sort of factory or store, with 100% of the proceeds going to a charity (a signed bottle of Flint’s chemical tap can still be yours for $250).

B. 1929, Matsumoto, Japan. Lives and works in Tokyo

Kusama’s career spans seven decades, but 2017 might have been her biggest year yet. The prolific 88-year-old Japanese artist’s immersive installations bridge Pop Art and Minimalism, putting her on the map by the middle of the 20th century—and helping make her one of the highest-grossing female artists at auction today. Meanwhile, Instagram has provided a new platform for a younger generation of fans to engage with Kusama’s glittering, mirrored installations, giant polka-dotted pumpkins, and energetic abstract paintings. (For even younger art lovers, 2017 also saw the publication of a children’s book about Kusama’s life.)

The artist kicked off this past year with an attendance record-shattering solo exhibition at Washington, D.C.’s Hirshhorn Museum and Sculpture Garden that will continue to travel North America through 2019, while another major retrospective, “Life is the Heart of a Rainbow,” originated at the National Gallery of Singapore in June, and travelled to Australia’s Queensland Art Gallery in November. In October, a five-story museum entirely dedicated to the artist’s career opened in Tokyo. Kusama is closing this monumental year out by storming New York with a solo show at Judd Foundation’s SoHo space and two concurrent exhibitions spanning both of David Zwirner’s Manhattan galleries. Blockbuster-worthy lines have greeted her fan-favorite “Infinity Mirror Rooms” at Zwirner’s West 19th Street location, while its East 69th Street outpost showcases 10 new paintings that harken back to Kusama’s “Infinity Net” canvases from the late 1950s and early 1960s—bringing an illustrious career full circle.

B. 1977, London. Lives and works in London

2017 was a year of transcendence, artistic and otherwise, for British artist Mirza. Known for his kinetic, sculptural assemblages that exude sound and light, the artist kicked off the year with his first solo show in Canada at Vancouver’s Contemporary Art Gallery, titled “Entheogens,” debuting a series of new works emulating the psychedelic sensations of plants like peyote and magic mushrooms. He then realized a hefty commission from the Zabludowicz Collection, commemorating the 10th anniversary of its London space, a show which quickly became the talk of Frieze Week. The resulting four works respond to or otherwise intervene in visitors’ experience of the building and the artworks within it; one of them, a sensory deprivation chamber, aims to create an altered state of consciousness for participants.

Mirza also started working on a large-scale outdoor sculpture inspired by megalithic structures like Stonehenge for Ballroom Marfa, to be unveiled in the winter of 2018. The institution’s most ambitious commission since Elmgreen & Dragset’s now-iconic Prada Marfa from 2005, stone circle will be situated in the remote high desert grasslands of West Texas. There, eight black marble boulders integrated with LEDs and speakers will emit electronic sound and light. A ninth “mother” stone (festooned with solar panels that help power the piece) creates a sound and light score activated each month by the full moon, making stone circle a suitably mystical experience for the new millennium.

B. 1978, Giessen, Germany. Lives and works in Frankfurt

At this year’s Venice Biennale, Frankfurt-based Imhof’s minimalist, goth-inflected performance Faust drew the longest lines—and ultimately netted the German Pavilion the illustrious Golden Lion Award for Best National Participation. (If you missed it in Venice, you can relive the experience with our own 360 video.) The 39-year-old artist considers her choreography-based practice to be rooted in drawing and painting, but she’s become better known over the past decade for her gruellingly long and sometimes uncomfortably voyeuristic performance works.

Faust was no exception. Lasting roughly five hours, performers clad in black athleisure and denim casualwear performed a choreographed sequence of dancing, climbing, and crawling over—and under—raised glass floors and partitions, occasionally interjecting some sort of communication ranging from banging on a wall, yelling, or just mindlessly checking their phones. At the prompting of a rhythmic beat, however, the performers would march in formation, like militarized normcore fashion models. Imhoff managed to make fashionableness into something foreboding, no less so because the performance was staged in a Nazi-era building surrounded by fences and guarded by Dobermans. Faust was touted as a masterpiece of modern-day angst, ceaselessly investigating the power structures both past and present that dictate our lives and enslave us with their promises of freedom and self-expression.

While certainly not as high-profile as the Golden Lion, Imhof also scored the 2017 Absolut Art Prize, which comes with a nearly $120,000 budget to stage a new performance, this one to be set in the harsh desert of Death Valley, California.

B. 1965, Bristol, United Kingdom. Lives and works in London

“Undoubtedly one of the worst exhibitions of contemporary art staged in the past decade,” wrote Andrew Russeth of ARTnews, reflecting on “Treasures from the Wreck of the Unbelievable,” Hirst’s two-part blow-out at both locations of the Pinault Collection in Venice that opened in April. That level of critical vitriol directed at the 52-year-old artist is representative of the consensus among members of the art press and the vast majority of those in the inner circles of the art world. But, more so than any artist, Hirst has purposefully cultivated a different and much larger audience, hoards of whom lined up outside the Palazzo Grassi and Punta della Dogana to see his entirely for-sale show.

Hirst’s Venetian outing, as well as its critical reception, generated some welcome and uneasy questions: What sort of audiences matter in 2017? When is appropriation cultural theft? Is it even possible to discuss the line between art and commerce with a straight face anymore? “Treasures from the Wreck of the Unbelievable” was crazily dramatic, uneven, at times knowingly stupid, blatantly spectacular—and also undeniably entertaining. Trying to unpack it in the context of the so-called serious art world would be a bit like comparing the later works of Shakespeare with Season 16 of Law & Order: SVU.

The show presented a postmodern jumble of references, styles, and materials. One of its hallmark works was Demon with Bowl (Exhibition Enlargement) (2014), a several-story-tall painted resin sculpture of a headless man with an action-hero physique; a time-lapse video of its piece-by-piece completion suggests that it required a level of effort on par with a small Hollywood film. Elsewhere, much tinier faux-artifacts were presented in vitrines, aping the style of a natural history museum. The whole conceit was bound together by a fiction of Hirstian proportions—the sculptures supposedly being the reclaimed booty following a shipwreck. Whether you loved it or hated it, the outing affirmed that the brash, take-no-prisoners artistic ego is alive and well.

B. 1976, Buenos Aires. Lives and works in New York

The Argentine-born, Israeli-raised, New York-based artist says her goal is “to make work that’s as accessible as possible, while being intelligent.” Rottenberg, primarily a video artist and sculptor, squeezes thorny subjects (labor, globalization) through her distorted, technicolor lens. The resulting films and their whimsical, immersive environments are undeniably odd, cerebral, and fun, as evidenced by a standout installation at the 2017 Skulptur Projekte Münster. The centerpiece there was a film, Cosmic Generator, shot on both sides of the United States/Mexico border, as well as in China. As is her style, Rottenberg combined quasi-documentary footage with dreamlike sequences—like a scene in which tiny men, dressed as tacos, burrow through underground tunnels before arriving to be eaten at a Chinese-Mexican restaurant.

In December, Rottenberg opened an exhibition at the freshly reopened Bass Museum of Art in Miami, bringing her eccentric vision to the broad audience in town for Art Basel in Miami Beach. There, a new version of Cosmic Generator was joined by sculptural installations (incorporating emergency food supplies, ceiling fans, and inflatable palm trees) and a second video, NoNoseKnows, which debuted at the 2015 Venice Biennale. It imagines the globalized economy as a fleshy machine, powered by raw muscle (and mussels), absurd actions, and more than a few bodily secretions. Rottenberg cannily mixes footage of actual labor (women scooping and sorting pearls out of shellfish) with surreal moments (a drab bureaucratic office where a woman sneezes out plates of pasta).

Much like Pipilotti Rist or Ragnar Kjartansson, Rottenberg has earned popular acclaim while resolutely following her own passions and curiosity, which often involves engaging with communities other than her own. In an art world that might scoffingly consider “accessible” a dirty word, she continues to prove that brainy and big-hearted aren’t mutually exclusive.

B. 1974, Camp Springs, Maryland. Lives and works in Berlin

Over the last decade, American artist (and 2017 MacArthur “Genius” grantee) Paglen has been probing the technology behind governmental surveillance and data collection, and how it alters the world around us both psychologically and physically. Paglen uses his unique skill set and background—he trained in both photography and geography, and had an itinerant childhood on military bases across the U.S. and Germany—to document obscure military installations, satellite launches, and hidden National Security Agency locations. He’s also evinced a curiosity for how technology can be put to less nefarious aims: an exhibition at New York’s Metro Pictures this past fall, “A Study of Invisible Images,” explored his research into computer vision and artificial intelligence’s applications for artmaking.

Things are only looking up for Paglen in 2018, which promises to be literally astronomic for the 43-year-old Berlin-based artist’s career. Paglen is turning his sights skyward as he works on completing the world’s first space sculpture, with support from the Nevada Museum of Art. Set to launch in the spring of 2018, the mirrored inflatable, dubbed Orbital Reflector, will be visible in the night sky for roughly eight weeks before it disintegrates. Although he’s already traveled to extremes for his work (including to the depths of the ocean, where he captured images of internet cables buried on the seafloor) the artist’s low-orbiting satellite is a feat unprecedented in contemporary art. Soon thereafter, Paglen will be the subject of the Smithsonian American Art Museum’s exhibition “Sites Unseen,” the first major survey of this pioneering artist’s work in the U.S., opening in June.

B. 1970, Euclid, Ohio. Lives and works in Los Angeles

Long a touchstone for and key figure in the Los Angeles art community, Owens got an overdue East Coast spotlight with a major survey at the Whitney Museum of American Art that opened this fall. There are plenty of artists who continue to expand the field of contemporary painting, but few do it with such verve, playfulness, and rigor. The Whitney’s entire eighth floor, for instance, is given over to a multi-part sculpture in which Owens enlarges and remixes drawings and a short story appropriated from her own son, who is in middle school.

Another installation pairs artist-designed wallpaper with an interactive component: Text a question to a dedicated number, and pre-recorded audio answers play in the gallery space. (I asked “What is art?” A rather blasé voice answered, “I don’t know, but his gallery moved away from there.”) Owens was previously lauded in the (somewhat controversial) 2014 Museum of Modern Art survey “The Forever Now,” and her turn at the Whitney—which follows inclusion in two of the institution’s biennials—should cement her future as a kind of godmother for younger talents.

Meanwhile, back home in L.A., she continues to oversee 356 Mission, the art space that she co-founded with Wendy Yao and Gavin Brown in 2012. It’s been a point of contention this year, as protestors in the Boyle Heights neighborhood have turned their ire on it (as well as other venues) for being the advance guard of gentrification. But, despite the pushback, the artist-supportive venue has undeniably become a centerpiece of the city’s art scene, holding exhibitions with the likes of Seth Price, Maggie Lee, Wu Tsang, and many others.

B. 1937, Bradford, United Kingdom. Lives and works in Los Angeles

In his 80th year, the venerated British artist is still pushing the boundaries of painting, most recently unveiling a series of vividly colored compositions of interior and outdoor settings with wild fun-house perspectives and peculiarly shaped canvases. (He’s also recently made much-publicized forays into digital painting using apps on his iPad). Best known for his depictions of crystalline swimming pools (and the attendant Californian lifestyle), Hockney has for some six decades experimented with media and subject matter of all kinds—including landscapes, still lifes, and nuanced and life-affirming portraits of friends, often painted in pairs. That tonal range has been on view in his retrospective this year, beginning at the Tate Britain in February—where it broke attendance records—before going on to the Centre Pompidou this summer and the Metropolitan Museum of Art, where it is on view through February.

The exhibition confirms Hockney’s position as one of our greatest living artists and one whose influence on painting cannot be underestimated. Drawn to Los Angeles’s intense light, abundant vegetation, and unabashed pleasure-seeking, the artist has long excelled as a colorist, incorporating garish Fauvist hues into his work and mastering the technicalities of his materials. Hockney has explored how paint can be manipulated to create different textures and degrees of luminosity—as well as exploring a catalogue of perspectival and compositional effects, from a near-Cubist flatness and angularity to a greater depth of perspective and receding space. He is also celebrated for having expressed queerness in his work long before the Culture Wars, painting supple male nudes in the shower or swimming in sun-soaked L.A. bliss.

B. 1954, Glen Ridge, New Jersey. Lives and works in New York

The self-portrait pioneer had her share of shows in 2017, including a multi-decade survey at Mnuchin Gallery in New York and her retrospective, “Imitation of Life,” which moved from the Broad in Los Angeles to the Wexner Center for the Arts in Columbus, Ohio. Throughout her career, Sherman has kept pace with changing trends. And it was her canny transition to Instagram that unexpectedly caught the art world’s attention this year, as she began using simple apps like Facetune to unnerving effect. Another favored tool, Perfect365, is a go-to for social-media users who want to add digital makeup effects to their selfies. (“It’s like having a glam squad in your pocket!”, the app’s marketing claims.) While the original intent of these programs was to help users cheat a sort of artificial beauty, Sherman exploits them to different ends—as a meditation on self-presentation and how we show ourselves to the world.

Sherman isn’t alone among an older generation of artists who are hooked on the image sharing app (count photographic icon Stephen Shore among them), but her account is unique in how it extends her practice into a more casual space. “I feel pretty,” she comments, annotating a way-close-up selfie in which her shocked eyes pop in surprise over a comically distended mouth. In other posts, she seems to inhabit the role of a high-society alien—her skin jaundiced or purple—as she indulges in various luxuries and then pays the price (in one case ending up, horrifically shriveled, in a hospital bed).

For W’s annual art issue in December, Sherman contributed an Instagram-style selfie for the cover. “They’re just fun, like a little distraction,” she said regarding her social media postings. Still, the buzz that sprung up around this “little distraction” in 2017 is a testament to Sherman’s ongoing influence and relevance. She remains a star that nearly any young artist—especially those engaged with identity, beauty, and the self-portrait—must reckon with.

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