Greater New York 2015 at MoMA PS1, NY Times review by Holland Cotter


... "It’s good to see a 1994 sculpture by Mary Beth Edelson, and a wild one it is, conflating Lorena Bobbitt and the Hindu goddess Kali. There are, in addition, painted photographs from the 1970s by this feminist pioneer, though an attempt to connect them to recent art by younger artists feels strained. The 1994 piece makes a stronger impression. So does a recent sculptural self-portrait by Ms. Edelson’s contemporary, Judith Shea, who was also in the 1976 P.S. 1 show with Matta-Clark." ...


Greater New York is on view at PS1 until March 2016

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Materials For the Arts

MFTA Loves NYC: A Retrospective of Creative Reuse


Custom upholstered chair from Combat Zone, 1994, installed at MFTA Loves NYC: A Retrospective of Creative Reuse. Exhibition is up in Long Island City through June 20.

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Feminist Avant Garde

work from the Sammlung Verbund, Vienna at Hamburg Kunsthalle, Germany



March 13 - May 31, 2015

Hamburger Kunsthalle


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Mary Beth Edelson: Six Story Gathering Boxes (1972-2014)

The Aldrich Museum of Contemporary Art, 50th Anniversary exhibition






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Carte Blanche to Nil Yalter

exhibition in Istanbul curated by Nil Yalter & Gizem Karakas at Galerist



exhibition on view from 22 May 2014-21 June 2014

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"Read Your Call"

exhibition in Hamburg at Diane Kruse gallery organized by CALL




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L’HEURE DES SORCIÈRES

Le Quartier - Centre d'Art Contemporain de Quimper




The exhibition at LE QUARTIER runs from February 1 to May 18.

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Looking Back: White Columns Annual Exhibition

White Columns Gallery



Looking Back: The Eighth White Columns Annual - Selected by Pati Hertling

GALLERIST NY REVIEW

NYTIMES REVIEW


Secret Codes

Galeria Luisa Strina

Secret Codes - Galeria Luisa Strina

December 17 2013 - February 22 2014


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Collaborative: 1971-1993

Accola Griefen Gallery

Collaborative flyer
Collaborative flyer

Accola Griefen Gallery
547 W 27th St #634


www.accolagriefen.com
info@accolagriefen.com
646 532 3488


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Let's Start A Pussy Riot

This book, published by Rough Trade Books, has been created in collaboration with Pussy Riot and links together the events leading up to and after the group’s arrest and the themes that these courageous women fight for – feminism, LGBTQ rights, freedom of speech and the environment.


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Washington Art Matters: 1940s-1980s

American University Museum at the Katzen Arts Center, Washington D.C.

June 15 through August 11, 2013


Washington Art Matters: Art Life in the Capital 1940-1990

"Washington Art Matters: 1940s–1980s tells the story of art made here during five crucial decades. As such, this is the first major effort by a museum to present a comprehensive history, representing those times with works by some 80 artists. The exhibition is based on Washington Art Matters: Art Life in the Capital 1940-1990, a book published by the Washington Artists Museum and co-authored by Jean Lawlor Cohen, Benjamin Forgey, Sidney Lawrence and Elizabeth Tebow.

Washington Art Matters: Art Life in the Capital 1940–1990 represents the closing project of the Washington Arts Museum, a curatorial mission that, for more than a decade, mounted shows of work by significant, perhaps neglected, regional artists. WAM founders Renee Butler and Giorgio Furioso envision the book, its broader essays and timelines, as an appropriate coda."

(For more information about the exhibition as well as related events, click the image above to visit the exhibition webpage at the American University Museum website.)


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Artforum

"22 Others" Review by Prudence Peiffer

22 Others Review, Artforum

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Contemporary Art Daily


coverage of Edelson's "22 Others" at Suzanne Geiss Company


Contemporary Art Daily


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22 Others


Suzanne Geiss Company, March 8-April 20, 2013

22 Others review New York Times
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Female Power


Museum voor Moderne Kunst, Arnhem, The Netherlands.


March 3 - May 20, 2013


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excerpts from...

Call


a feminist zine put together by Cathrin Ulikowski, Anna Steinert, Julia Philips, Alida Muschen, Ida Lennartsson, Gitte jabs, and Verena Issel. Hamburg, Germany.


CALL


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NYC 1993: Experimental Jet Set, Trash & No Star


New Museum


Feb 13 - May 26 2013


NYC 1993
Curated by Massimiliano Gioni, Associate Director and Director of Exhibitions, Gary Carrion-Murayari,
Curator, Jenny Moore, Associate Curator, and Margot Norton, Assistant Curator.

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A.I.R Pioneers


Portraits by Judy Cooper

Mary Beth Edelson - AIR Pioneers
The exhibition of portraits by Judy Cooper will be up from November 9 - December 1, 2012
at Gallery OneTwentyEight, 128 Rivington, New York, NY as well as
A.I.R Gallery, 111 Front St, Brooklyn, NY, from November 4 - December 2, 2012.
For more information:
www.airgallery.org
www.gallleryonetwentyeight.org
www.judycooperphotographs.com

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Hail to the Feminsts Who Produced the Revolution:
Works by Mary Beth Edelson from 1972-2012


Accola Griefen Gallery, April 5 - May 12, 2012. Reception: Thursday, April 5 6-8 PM



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MAKING EYE CONTACT
A Performance by Mary Beth Edelson
Wednesday, March 3, noon, 12-1

Press Release
Contact : Mary Beth Edelson
marybethedelson@gmail.com
www.marybethedelson.com
212 2260832
Contact: Dr. Barbara Bickel, 604-224-3384
BickelBickelradicaltrust@shaw.ca604

What: Making Eye Contact: a campus wide Performance
Who: MaryBeth Edelson, internationally known artist
Where: University of Illinois, Carbondale
When: Wednesday, March 3, noon, 12-1

 

MAKING EYE CONTACT: A Performance by Mary Beth Edelson
You are invited to participate in a campus wide performance by
making Eye Contact, preferably with someone you do not know, and
sustaining it for as long as it is comfortable.
Wednesday. MARCH 3, AT NOON.

Mary Beth Edelson will be presenting a performance at University of Illinois on March 3, titled Making Eye Contact for the campus of 20,000 students who are invited during the noon hour of March 3, to make eye contact with another person, preferably someone they do not know and to then sustain that eye contact for as long as it is comfortable.
The focus of this performance is to take steps toward reaching connectivity between people who might otherwise not make eye contact. And to present the potential for a powerful moment of vicarious recognition of the other through the agency of the collective unconscious**
A sound piece specifically designed for the performance by composer, Ron Coulter will play during the hour from the bell tower audio system which can be heard across campus.
The participants will be given printed cards to exchange names and #’s if they so desire.

Documentation will include a video production and a series of still photos.

 

BACKGROUND on The Making Eye Contact Series Performed
By MARY BETH EDELSON From 1970 To Present And On-Going

Making Eye Contact was first performed by Edelson in New Orleans in the 1970s in collaboration with Suzanne Lacy’s River Meetings. Lacy produced a dinner party for this meeting, and Edelson’s aspect of the project engaged people from both sides of the river in making eye contact for an extended period of time . Historically the people on either side of the river had never met before, and had been at odds with each other.

Additionally Making Eye Contact has been performed in various European countries over a period of time in both gallery and street settings , but most notably in 2004 during a complex 3 month project in Norway at the Nordland Kunst and Filmskole, Kablevag, during the Lofoten International Art Fair (LIAF) located within the arctic circle. During this time the” ice was broken” between recently arrived refugees from war zones and traditionally bashful native Scandinavians.
Most recently performed within an intimate gallery setting at Debra Coulton, Houston Tx. in which people that Edelson did not know maintained eye contact with her for as long as it was comfortable to do so.

Each such contact is unique, intimate and revealing. Some find it supportive and calming while others view the experience as a test of wills for dominance, (It is not meant to be a staring contest.) Others have referred to the experience as looking into the eye of the other’s soul and finding tranquility and rejuvenation . The phenomena of non-verbal communication can produce a profound alchemical amazement .

**Since not even Jung provided a clear explanation of what the collective unconscious is, as an artist this provides license. I began working with the theory of the collective unconscious in the early 1970s as a result of a 5 year long seminar I participated in at Georgetown University psychology dept . with distinguished scholars, they encouraged my creative experimentation with the concept.