June 6th, 7:30 PM
SPECIAL SCREENING – ARCHIVAL 16MM PRINTS!
Susan Brockman (1937-2001) was a filmmaker and photographer active in NYC and East Hampton from the 1960s-90s. As a member of the collective Women/Artist/Filmmakers, she made several short films on themes of beauty, desire, and close observation. Sometimes inspired by literary, performance, or fine arts sources, Brockman’s films conjure deep emotions through her exquisite photography and skillful editing. In the three films selected for this screening – DEPOT (1975), HOTHOUSE FLOWER (1978), and LEE’S FERRY (1983, with Sally Gross) – Brockman explores interior environments of both physical and mental realms.
DEPOT is a wry homage to dancer Ruth St. Denis and ideals of beauty. The film features the artist striking classical poses in a dramatically lit room. Gauzy curtains and billowing smoke, accompanied by the sounds of a train that punctuate the mostly still, black-and-white image, suggest a timeless anticipation of arrival and departure. LEE’S FERRY also features a female figure slowly moving within a constructed environment. Set to baroque organ music by Keith Jarrett and filmed against brightly painted slides by Joan Kurahara, Brockman’s record of dancer Sally Gross gently merges body, image, and sound. Also without dialogue, but with gestures toward narrative, HOTHOUSE FLOWER depicts women at work: making images, writing, or presenting their bodies in contrast with visualizations of their subconscious. In Brockman’s vision, imagination and dreaming are integral parts of the women’s creative process.
Filmed by photographer Peter Moore in 1964, STOCKHAUSEN’S ORIGINALE: DOUBLETAKES documents a performance composed and scripted by Karlheinz Stockhausen, directed by Allan Kaprow, and starring Nam June Paik. Moore filmed two performances held at Judson Hall during Charlotte Moorman’s 2nd Annual New York Avant Garde Festival but left the footage unedited for 30 years. Having recently edited works by Danny Seymour and Robert Frank, Brockman offered to complete the film. When Barbara Moore decided to produce the film in 1994, following her husband’s death, Brockman was brought on as editor.
This screening is curated by Chelsea Spengemann, co-founder of Soft Network and Director of the Stan VanDerBeek Archive. Brockman’s work has been included in recent projects by Soft Network that consider artists past and present working in collaboration, specifically with film, photography, performance, and dance. Spengemann is currently organizing Brockman’s collection of film and photography.
The screening will be introduced by Richard Brockman, Susan Brockman’s brother; Mirra Bank, filmmaker, close friend, and sister-in-law of Brockman; and curator Chelsea Spengemann.
Susan Brockman DEPOT (1975, 11.5 min, 16mm)
Susan Brockman HOTHOUSE FLOWER (1978, 13 min, 16mm)
Susan Brockman & Sally Gross LEE’S FERRY (1983, 7.5 min, 16mm)
Peter Moore STOCKHAUSEN’S ORIGINALE: DOUBLETAKES (1964/94, 30 min, 16mm)
Total running time: ca. 70 min.
May 16th – Future Variations*
Workshop/Performance by Jasmine Hearn, Miriam Parker, Kamau Amu Patton, Jamila Raegan, Sara VanDerBeek, Alisha B Wormsley and Stan VanDerBeek Archive
*Please note this event is by invitation only due to limited capacity.
Rosemary Mayer’s Portae
installation in the exhibition Future Variations
Saturday, April 30th, 2–7pm and Saturday, May 7th, 12–6pm
(Portae will continue to be on view by appointment until May 13th.)
Rosemary Mayer, Portae, 1974, Wood, aluminum, fiberglass, oil paint, 105 x 204 x 69 in. Installed in Mayer’s Tribeca studio.
As part of the exhibition “Future Variations” at Showroom, the Estate of Rosemary Mayer will install one of Mayer’s lesser-known sculptures, Portae, from 1974. This is the first installation of the work since it was originally exhibited soon after it was made.
Portae is part of a series of sculptures constructed with wood that Mayer made following her well-known fabric sculptures of 1972-73. They focus on the element of structure in her work and reveal her deepening connection to art and architecture of the Mannerist and Baroque periods. The ladder-like structure, which was designed to be moveable and installed in various configurations, was inspired by the Deposition from the Cross (1521) by Rosso Fiorentino and also the Isenheim Altarpiece (1512-1516) by Mattias Grunewald. The work also highlights her ongoing interest in fabric and its properties. Through the openings in the wooden structure Mayer threaded aluminum screening and fiberglass, materials that she chose because they were light and transparent but also more structural than fabric, to create the impression that they were floating and weightless.
This installation of Portae at Showroom highlights some of recent work and ongoing research of the Estate of Rosemary Mayer. Alongside the sculpture, the estate will also present ephemera that provide insight into the process—from the material research to replace lost materials to studying drawings, writings and photographs to understand Mayer’s intent. Aligning with the mission of Showroom and its adjacent studio, this installation gives visibility to the work of the artist’s estate through the collective realization of a historical piece, while also creating an opportunity to reconsider the artist’s legacy and archive. This process of reconstruction, reinterpretation and reenactment of historical material that is a part of working with Mayer’s estate also complements the work of other participating artists in Future Variations such as Kamau Amu Patton, Sara VanDerBeek and Alisha B. Wormsley, who are re-imagining past works of their own and of others.
Showroom, 678 Broadway, 5th Floor, NY NY 10012
March 26, 2022 – May 20, 2022
Kamau Amu Patton
Alisha B. Wormsley
Alisha B. Wormsley and Li Harris
Scheduled Saturdays and Related Programming
April 9th – Saturday Showroom, Open 12-6
April 30th – Rosemary Mayer, Portae, Open 2-7
May 7th – Saturday Showroom, Open 12-6
May 16th – Future Variations – Workshop/Performance by Sara VanDerBeek, Jasmine Hearn, Miriam Parker, Kamau Amu Patton, Alisha B. Wormsley and Stan VanDerBeek Archive among others
June 6th – Susan Brockman Screening, Anthology Film Archives
Also open by appointment, M-F, 11-4
Soft Network ∞ Kite
Broadway, NYC, December 1, 2021
End of the Season
S&S Corner Shop, Springs, NY,
November 1 – November 29, 2021
Artist List: Ketuta Alexi-Meskhishvili, Jason Evans, Adriana Farmiga, Mónica Félix, Suzanne Kite, Alison Knowles, Jason Nocito, Rune Olsen, Julie Pochron, Mariah Robertson, Rosalind Schneider, Tamar Siegfried Rosa Halpern, Johannes VanDerBeek, Yelena Yemchuk
End of The Season is the second installation by Soft Network with S&S Corner Shop. Work by fourteen artists includes paintings, photography, prints, sculpture and mixed-media collage. The exhibition is titled after a 2020 film by Jason Evans depicting mushroom pickers in Oregon looking for the fall’s last matsutakes. Evans’ contribution to the show is a photograph from this project which shows an anthropomorphic pile of mushrooms revealed by a central aperture, the object a recollection of experience and form inspired by the temporary housing constructed by the foragers.
Other artworks in the exhibition such as large-scale paintings with tangled depths of pigment and image by Tamar Siegfried Rosa Halpern, an erotic drawing of a river by Rosalind Schneider, a collage of a female figure romantically entangled with a bird by Yelena Yemchuk, a photograph hung outside the gallery by Mónica Félix of women wading in water that she captured from the first moving picture with sound made in Puerto Rico, and a vibrant splash of verdant photographic chemistry collected in a unique color print by Mariah Robertson also evoke the temporal layers of change in seasonal transitions through their references to movement.
Adriana Farmiga’s intimate geographical “state” paintings and watercolors depict tender arrangements of objects collected from her travel, study and studio. Suzanne Kite’s holographic ink screen-print of her weaving of the night sky uses a mechanical process to reiterate her original hand rendering as a manifestation of memory. Rune Olsen’s delicate works combine quotidian objects such as a cutting board with fantastical adornments, presenting a tangible memory of place arising from an unexpected surface. A print by Alison Knowles functions similarly. She describes the piece as, “The image in the edition Being With Paper (1/21/21) is an enlargement of the underside of a paper work made from my shoe in the mid 1990’s. At that time I was using linen paper pulp with lentils to make a 3D object from my own shoes. Today, this work is my evidence of being with paper.”
Ketuta Alexi-Meskhishvili’s Polaroids of peonies made during quarantine and Johannes VanDerBeek’s uplifting painted steel and plaster sculpture offer very different tributes to the tradition of memento mori. Jason Nocito’s image of the last puddle he photographed before leaving Los Angeles to return to his home in New York City transposes a fleeting microcosm of wet, abstract depth into one of his carefully crafted pictures of dirty puddles he’s been making since 2011. In a similar play with scale, the clouds in Julie Pochron’s Polaroids of the Mexico coastline are at once expansive as the sky yet able to be held close.
End of the Season is a tribute to the push of a cooler fall wind, the early setting of the sun and a softening of light that reveals soaked and saturated purples, greys, greens, yellows and blues of a nature that is collectively imagined – fleeting, volatile and loved. As birds migrate and stones settle in for the season in the dampness in which fungi thrive, do we look to the earth or each other for comfort? If our attention shifts along the ground, water and sky, might we be better prepared to stay in place, reflect and respond, and make space for the flowers to return again?
Soft Network ∞ Arts Center at Duck Creek
Soft Network presents
WOMEN / ARTIST / FILMMAKERS
Saturday September 25th, 7pm
The Arts Center at Duck Creek
127 Squaw Road, Springs, New York 11937
Women Artist Filmmakers was established in 1974 to discover, support and celebrate women artists who make films. This screening commemorates their series for the 1975 exhibition “Woman Artists Here and Now” which opened August 23, 1975 at Ashawagh Hall in Springs. Organized by Rosalind Schneider, founder of Women Artist Filmmakers and Martha Edelheit, one of the original members, with Soft Network.
Selfportrait (Maria Lassnig, Austria/USA, 1971, 5 min) Courtesy Six Pack Films
Lil Picard, Art Is a Party (Silvianna Goldsmith, USA, 1975, 13 min) Courtesy Filmmakers Coop
Sno-White (Crimson) (Martha Edelheit, USA, 1973, 7 min) Courtesy the Artist and Filmmakers Coop
Plumb Line (Carolee Schneemann), USA, 1968-71, 14 min) Courtesy EAI and the Carolee Schneemann Foundation
Depot (Susan Brockman, USA, 1975, 10 min) Courtesy the Estate of Susan Brockman
Circles II (Doris Chase, USA, 1972, 14 min) Courtesy Filmmakers Coop
Wings of Thought (Olga Spiegel, USA, 1976, 9 min) Courtesy the Artist
Parallax (Rosalind Schneider, USA, 1973, 21 min) Courtesy the Artist and Filmmakers Coop
What I Did on My Vacation
A Multi-Venue Program Organized by Soft Network
Halsey McKay, East Hampton, May 28 – July 26, 2021
S&S Corner Shop, The Art Building, Springs, July 24- September 26, 2021
Broadway, 373 Broadway, Tribeca, NYC, August 5 – August 27, 2021
Metrograph.com, July 13 – August 23, 2021, Organized with Jason Evans
Arts Center at Duck Creek, August 22, 2021, Organized with Martha Edelheit and Rosalind Schneider
Taking its title from both the extraordinary Carolee Schneemann performance that was first staged at Ashawagh Hall in East Hampton on August 29, 1975 as part of Joyce Kozloff and Joan Semmel’s radical feminist exhibition entitled Women Artists Here and Now and a series of happenings organized by Allan Kaprow in 1967 throughout the Hamptons for CBS’s historic news program Eye on New York, Soft Network’s summer project gathers artwork, ephemera and a moving-image program from a group of intergenerational artists in a sprawling, visual poem on mediation and re-mediation.
Exhibitions and screenings span S&S Corner Shop, Springs; Broadway, Tribeca; Halsey McKay, East Hampton; Metrograph Cinema online; and the Arts Center at Duck Creek, Springs. Organized as a searching scroll of performance and correspondence, the project considers the fractured boundary between private and public as an endless conveyance of self, sometimes to no one and sometimes to many. Artists depicting other artists or their own personages, correspondence reflective of one’s community and performance residuals convey the crucial role of communication and the record left after. Artworks chosen represent an expansive view of performance for the camera and look at the complicated, yet integral role archival actions take in preserving the artistic interchange of fleeting, corporeal based work as well as artist networks.
A six-part film and video program co-programmed by Soft Network and Jason Evans for Metrograph online called Artists on Camera: 1967-2021 runs through August 23rd and concludes with a live screening at the Arts Center of Duck Creek in Springs on August 22nd. Programmed by Rosalind Schneider and Martha Edelheit of Women/Artist/Filmmakers, Inc. a female experimental film collective founded in the 1970s, the final series includes several titles from the 1975 art and performance week Women Artists Here and Now.
Soft Network ∞ Halsey McKay
Halsey McKay: Up To and Including Her Limits
May 28 – July 26, 2021
S&S Corner Shop, The Art Building, Springs, July 24- September 26, 2021
Li Harris & Alisha B. Wormsley
Kamau Amu Patton
Sara Greenberger Rafferty
Gwen Smith The Black Woman Project
Stan VanDerBeek with Elaine Summers
Broadway, NYC, 373 Broadway, Tribeca, NYC, August 5 – August 27, 2021
Andrea Fraser & Jeff Preiss
Kite & Alisha B. Wormsley
Ryan Muller & B. Wurtz
Alisha B. Wormsley
Soft Network ∞ Metrograph
Soft Network presents Artists on Camera, 1967-2020 for Metrograph online
Metrograph.com, July 13 – August 23rd,
Programmed with Jason Evans
Program 1 – In the Studio
Anne Truitt, Working (Jem Cohen, USA, 2009, 13 min)
Enigmatic Whisper (Rosa Barba, USA, 2017, 8 min)
What Means Something (Ben Rivers, UK, 2015, 66 min)
You She Smile Goodbye Remember (Gillian Garcia, USA, 2020, 13 min)
Howardena Pindell (Hermine Freed, USA, 1972, 16 min)
Program 2 – Portraits
The Ancestors Came (Cecile Emeke, USA, 2017, 6 min)
I’ll Remember You as You Were, Not as What You’ll Become
(Sky Hopinka, USA, 2016, 12 min)
Ishmael in the Garden: A Portrait of Ishmael Houston-Jones (Adam Pendleton, USA, 2018, 24 min)
with it which it as it if it is to be, Part II (Eve Fowler, USA, 2019, 31 min)
Jane Brakhage (Barbara Hammer, USA, 1975, 9 min)
Sexual Healing (Shigeko Kubota, USA, 1998, 4 min)
Program 3 – In Dialogue
One Day Pina Asked… (Chantal Akerman, France/Belgium, 1989, 57 min)
Hemlock Forest (Moyra Davey, USA, 2016, 41 min)
Program 4 – Together
Vivian’s Garden (Rosalind Nashashibi, UK, 2017, 30 min)
Dream City (Ulysses Jenkins, USA, 1983, 5 min)
Listen To This (Tom Rubnitz & David Wojnarowicz, USA, 1992, 16 min)
Hello from Bertha (Mark Morrisroe, USA, 1983, 17 min)
Endless Possibilities: Jack Waters and Peter Cramer (MM Serra, USA, 2021, 16 min)
Children of NAN: Search for the Mother (Alisha B. Wormsley, USA, 2018, 39 min)
Program 5 – Streets & Meadows
Meadows Green (DeeDee Halleck & George Griffin, USA, 1975, 23 min)
Festival of Mask (Don Amis, USA, 1982, 25 min)
Songdelay (Joan Jonas, USA, 1973, 19 min)
Murals of Aztlán: The Street Painters of East Los Angeles (James Tartan, USA, 1981, 23 min)
The Town I Live In (Guadalupe Rosales & Matt Wolf, USA, 2017, 10 min)
Shopping Bag Spirits And Freeway Fetishes: Reflections On Ritual Space
(Barbara McCullough, 1981)
Program 6 – Woman/Artist/Filmmakers, Curated by Martha Edelheit and Rosalind Schneider
Selfportrait (Maria Lassnig, Austria/USA, 1971, 5 min)
Lil Picard, Art Is a Party (Silvianna Goldsmith, USA, 1975, 13 min)
Sno-White (Crimson) (Martha Edelheit, USA, 1973, 7 min)
Plumb Line (Carolee Schneemann, USA, 1968-71, 14 min)
Depot (Susan Brockman, USA, 1975, 10 min)
Circles II (Doris Chase, USA, 1972, 14 min)
Wings of Thought (Olga Spiegel, USA, 1976, 9 min)
Parallax (Rosalind Schneider, USA, 1973, 21 min)
Soft Network, Rachel Comey, Soho, June 10, 2021
The transformative work of feminist artists operating in Soho and the East End and the various methods of processing through image, form and text as realized by these and the larger group of participating artists frames this sprawling, visual poem on mediation and remediation.
For the Rachel Comey Soho location, opening on June 10th, photographs, jewelry, books, prints, videos and sculpture will be featured within Comey’s most recent collection. Artists include: Ketuta Alexi-Meskhishvili, Mónica Félix, Lilah Friedland, Tamar Siegfried Rosa Halpern, Anya Kielar, Miranda Lichtenstein, Judy Noe, Julie Pochron, Gwen Smith, Anita Steckel, Sara VanDerBeek and Yelena Yemchuk. Ephemera and Posters by Joyce Kozloff and Joan Semmel as well the estate of Anita Steckel will also be presented. New Soft Network Editions with Gwen Smith Black Woman Project, Joyce Kozloff and Joan Semmel as well as others will be launched at the event.
Two short films will be screened at the event: Martha Edelheit’s 1977 film, Hats, Bottles, and Bones: A Portrait of Sari Dienes (22 minutes) and Carolee Schneemann’s 1995 film Interior Scroll – The Cave 1975-1995 (7:31 min.)
Following the film there will be a brief discussion. Participants include Rachel Churner, Director, Carolee Schneemann Foundation; Martha Edelheit, Artist; Lilah Friedland, Artist; and Barbara Pollitt, Curator, Sari Dienes Foundation.
Artworks and Publications by:
Soft Network ∞ Altman Siegel
About Soft Network
Soft Network is a cooperative platform established by Chelsea Spengemann and Sara VanDerBeek for connective arts programming. We work between past and present to explore ways in which the archive and archival interactions can become integral modes of exchange, collaboration, creativity and commerce.
Soft Network’s mission is to support and promote the work of artist estates-in-residence while offering a platform, strategic planning and services for estates and foundations in the early stages of their development. Operated by Chelsea Spengemann, Sara VanDerBeek, Max Warsh and Marie Warsh — a consortium of curators, art historians and artists with over ten years experience managing artist’s estates — this initiative will foster a community for those engaged in artist legacy work while also supporting contemporary artist’s engagement with archives. Through partnerships and programming — both at our downtown studio and off-site locations — Soft Network will collectively build and share resources with the ultimate goal of strengthening opportunities for the artist estate and foundation community.
In Soft Network’s temporary online store with Rachel Comey, items are organized into various sections that are periodically updated. A dream archive of sorts, this collection of artwork, publications, special editions and ephemera grows out of Soft Network’s interest in process and dialogue between practitioners and their inspirations.
Soft Network’s collaborators have included Rachel Comey, Pochron Studios, Brooklyn; S&S, Springs; Wolfy Part II, Tivoli, NY; Metrograph, NY; Halsey McKay, East Hampton; Broadway, NY; ArtFizz Projects; Parrish Art Museum Store; Registrars Group LLC, NY; and many individuals.