April 4 – 6, 2000
Chaos in literature, science and art. Sponsored by Pfizer Corporation &Herbert Lee Grayson Foundation Panel Discussion:
Tuesday, April 4th & Wednesday, April 5th, 6pm
Angus Fletcher, CUNY on Spenser’s “Mutability Cantos”and the poetry of John Ashbery
Thursday, April 6th, 6pm John Ashbery, Bard College, poetry reading
Jim Crutchfield, Santa Fe Institute, on the physics of chaos
Joan Richardson, CUNY, on science & poetry
Angus Fletcher, CUNY, respondent
In history, chaos is anarchy, mutability, disorder, chance, indeterminacy, flux, non-linearity, entropy, irrational thought, creativity, destructive emotion and the primal source of all that is.
April 4-6 2000
Retrodiction –The History of Chaos in Literature, Science and Art.
Retrodiction is a series of audio recordings designed for an Internet experience with visual, musical, interactive, and educational components. The series will explore the concept of chaos and the fundamental question: Do things happen by chance? or does nature govern by fixed laws? The goal is to increase public understanding of science through fiction, poetry, and philosophical writings. The project is a collaborative effort among Dactyl Foundation for the Arts and Humanities, the Santa Fe Institute, and the Art and Science Laboratory. Continue reading “Retrodiction”
Mar 30 2000
Reception for the Antioch Review with Cynthia Fuchs Epstein.
March 16th 2000
St. Paddy’s Jam 2000, a poetry reading featuring Colum McCann, Tom Kelley and friends.
March 14th 2000
A reading from The Letters of Alphaville by Raphael Rubinstein.
February 28th 2000
“The Gods of Times Square” is a documentary by Richard Sandler.
February 10th 2000
A poetry reading of works by Mei-Mei Berssenbrugge and Krysia Jopek.
January 24th 2000
Honorary Chair: John Ashbery
Curators: John Bissell, Willem Dafoe, Sean Gullette, Lyle Hysen, Elizabeth LeCompte, David Levine, Kate Valk. Committee: Anurag Bhargava co-chair, Debra Scherer co-chair, Henry Buhl, Michael Caruso, Tom Fontana, Massi Ghausi, Agnes Gund, Eva Herzigova, Sarah Lee, Rick Montgomery, David Sussman, Hillary & Bradley Thomas, David Thorpe, Jed Weintrob. Projects: Darren Aronofsky, Peter Care, Larry Clark, James Crutchfield, Jim Findlay, Michael Galinsky, Suki Hawley, Lewis Klahr, Ken Kobland, Alex McDowell, Jon Moritsugu, Ret.Inevitable, Richard Sandler, Leslie Thornton, Todd Solondz, Brett Vapnek, The Wooster Group.
November 18th 1999
A reading of works by Bernadette Mayer and Dan Machlin.
Nov 6th – Dec 10th 1999
‘Information Paintings,’ an exhibit by James Gilroy also featuring “Don’t Let Go”, a digital documentary with James Gilroy & Larry Clark directed by Neil Grayson
and edited by Chris Schwerin.
Art is born at “the edge of order and chaos,” to borrow Christopher Langton’s phrase, where novel patterns are related to their predecessors, emerging from while transforming convention. According to Langton, who is a central figure in the field of evolution theory, life is only possible within a special equilibrium of order and disorder. The same is easily said for the evolution of art. Science has recently done much to inform the arts. Specialists in the phenomenon of self-organization–who would include Langton as well as Margaret Boden, Murray Gell-Mann, Stuart Kaufman, and lIya Prigogine–have increased popular understanding of how, overtime, order inevitably emerges out of disorderly chance events. Continue reading “James Gilroy, information paintings”
October 28th 1999
A reading of works by Tom Breidenbach and Jonathan Goodman.
Sept 23 – Oct 30 1999
An exhibit of a selection of paintings by artist Anne Dunn.
May 20th 1999
A reading of works by C.D Wright & Camille Guthrie.
April 30 1999
A reading of Avec: A Journal of Writing.
April 27th 1999
The Antioch Review, with Victor Navasky.
April 8th 1999
A reading involving Galway Kinnell, Marie Ponsot, Agha Shahid Ali, Stephen Sandy, Alan Michael Parker, Chuck Wachtel.
March 6 – April 10, 1999
This marks the first exhibition of portraits by an artist whose reputation was established as an abstract painter. Six portraits will be shown along with a large abstract painting to provide a context. Portrait subjects include: Poet John Ashbery, who, among numerous other distinctions, has received the MacArthur Prize Fellowship and the Pulitzer Prize, and has twice been named a Guggenheim Fellow; he is a member of the American Academy of Arts and Letters and the National Academy of Arts and Sciences. He is also a chancellor of the American Academy of Poets. Novelist Ted Mooney, Senior Editor of Art in America, who has received awards from both the Guggenheim Foundation and the Ingram-Merrill Foundation. Actress,Melissa Errico, who is known for her achievements on the Broadway stage. Poet, author and art critic, John Ash. Poet and art critic, Tom Bridenbach. Yannis Dellatolas, 20th century music expert and photographer. Elizabeth Schub, filmmaker. Continue reading “Stephanie Rose, paintings”
February 25th 1999
A reading of poetry by Jackson Mac Low and Jena Osman with introductions by Stephen Mounkhall and Sharon Lattig. Continue reading “Jackson Mac Low and Jena Osman”
November 28 – 24 December 1998
A group show of paintings and drawings by Camille Eskell, Katherine Kadish, Christina Park, and Alexandra Wiesenfeld.
Continue reading “Group Show, paintings and drawings”
November 5th 1998
A reading of works by Raphael Rubinstein & Max Henry with introductions by Neil Grayson and Stephen Mounkhall.
With Tom Breidenbach, Mark Daniel Cohen, Jonathan Goodman, and Sharon Lattig.
Moderated by Victoria N. Alexander. Continue reading “Science and Art, panel”
Sept 17 – Oct 31 1998
A collection of self-portraits (one painting and drawings) by Judy Glantzman, curated by Neil Grayson.
The Dactyl Foundation is proud to open the 1998 fall season with an exceptional exhibition of one painting and twelve drawings by Judy Glantzman. Her work has received a number of prestigious awards, and her reputation has been thoroughly established in national art publications over the past fifteen years. In the early 80s the talk was about her precedents (i.e. Francis Bacon, Willem de Kooning or Edvard Munch), but, now that the force of her influence on contemporary artists is becoming more and more obvious, recent discussion has been engaged in finding a definition for her own unique style. Continue reading “Judy Glantzman, one painting and drawings”
From Art in America
Neil Grayson at Dactyl Foundation –
In a group of new oil portraits and figure studies, 29-year-old Neil Grayson looks to the past, especially Rembrandt and Goya, for inspiration. Grayson is fixated on the contemporary individual going about his or her solipsistic, contemplative business. His figures, lost to the world, have the air of secular, 21st century saints.
Obscurities abound. In Ghost of a Man Thinking, a scumbly figure seated at a table emerges from the Rembrandtesque ground even as he retreats into it. His pose is ominously meditative, arms on the table, head in had; he is a Hamlet for our unthinking times. Brooding Figure features the same chiaroscuro around a man who rests his head directly on the table; a small paint can and brush are placed before him, on top of a barely discernible American flag. If this last tends to read as social commentary, well, it is and it isn’t; Grayson painted this canvas as a reaction to current events, but the flag also functions purely as a still-life element. While there are still traces of social commentary in Melancholia, the work is more poetic in effect, as the artist lovingly and bravely inspects an emaciated female figure for visible signs of life.
In his earlier work, Grayson presented the viewer with more overtly symbolic fables–a young girl gesticulating with a grotesquely elongated arm at a funeral pyre, a boy trying to keep his father from deploying a syringe raised above his track-ravaged arm. Today, Grayson is more interested in effecting a synthesis between the figurative and the abstract, to which end he is playing down inflammatory narrative and toning up his painterly technique.
But the real sea change in his new work is manifested in two completely different yet related paintings. The twice-life-sized Final Figure is a subtly frenzied rendering of an ambiguous, off-putting form that has deep iconological import for Grayson. A yellowy white, pod-like “thing” hangs in midair in the darkly luminous canvas, its “head” tilted to the left, its “body” ending in a spiraling tail. The form is reminiscent of the “Hanged Man” Tarot card as well as death-by-lynching. The artist commits himself to no single reading. In the mid-sized Light Triptych, a dim yellow glow shines through deep brown mist at the center of each panel-the fabled light at the end of the tunnel, perhaps, or the dawning of a new millennium? Grayson is a late-century illuminator of the confusions that surround not only our art but our lives.