Skowhegan Presents “Mine are True Love Stories…”
Five panel discussions on artist Ellen Cantor (A ‘91). Held in conjunction with four concurrent exhibitions of Cantor’s work in New York City, screenings of her videos at Electronic Arts Intermix (EAI), and the world-premiere of her feature-length film Pinochet Porn at the Museum of Modern Art.
From September to November 2016, the life and work of 1991 Skowhegan alumna Ellen Cantor (1961—2013) will be the focus of an unprecedented joint effort by the Estate of Ellen Cantor and seven organizing venues. The collaboration involves four concurrent exhibitions of her work at Foxy Production, Maccarone, Participant Inc, and NYU’s 80WSE Gallery, a screening of her video works at Electronic Arts Intermix (EAI) and the premiere of Cantor’s film Pinochet Porn (20082016) at The Museum of Modern Art.
Skowhegan School of Painting & Sculpture will host, “Mine are ‘True’ Love Stories...”*, a series of five panels curated by Natasha Marie Llorens that provide a glimpse into Cantor’s deeply introspective and collaborative practice. The programs will be held at Skowhegan’s New York program space at 136 West 22nd Street. No reservations are required; each panel is free and open to the public.
A feminist artist who emerged during the 1990s, Cantor made significant contributions to contemporary art in the fields of drawing, video art, film, painting, and sculpture. Her work explored the relationship between fiction and life, the simultaneous presence of goodness and evil, and the role of the female protagonist as depicted in popular culture. Cantor used her own personal life as a medium, but she also appropriated material and collaborated often, blurring the line between her own biography and the worlds she created.
“Mine are ‘True’ Love Stories...”* contextualizes the exhibitions of Cantor’s work shown by the participating venues. These discussions are centered on the perspectives of her collaborators, those who supported her work, and those whose own work engages with her artistic legacy.
Panels
Making Video as Film Thursday, September 29, 7PM
A panel composed of people with a deep understanding of both Cantor’s work and formal knowledge of film and video, either from a critical, curatorial or artistic perspective. The discussion aims to contextualize Cantor’s work in the formal histories she drew from—mainstream and independent film, video art, pornography, and photography. Featuring Peggy Ahwesh, Karl McCool, and John Thomson, moderated by Johanna Fateman.
Symposium, Saturday, October 8, 6:30PM
What the Feminist Body Wants
This panel will try to extend Ellen’s critical perspective on sexually explicit material to the present, or to contextualize her contribution in reverse. The discussion will address the different stakes of visibility for normative vs. nonnormative sexualities. Featuring A.K. Burns, Jack Halberstam, Xandra Ibarra, and Julie Tolentino, moderated by Natasha Marie Llorens.
Why Explicit?
Lorraine O’Grady’s provocation, published as an essay for the first version of Coming to Power, was this question: where is the sexually explicit work by women of color, and what discourses is it responding to? This panel does not necessarily answer O’Grady’s question, but rather explores how sexually explicit material resonates outside the realm of hegemonic whiteness. Featuring Lorraine O'Grady, Sondra Perry and Sable Elyse Smith, moderated by Vivian Crockett.
Portrait of an Artist: Ellen Cantor, Friday, October 21, 7PM
The panel takes a genealogical view of the artist in order to give a sense of who and what influenced Cantor, as well as whom she influenced. The discussion will address key exhibitions, bodies of work, and scenes Cantor was involved in both in London and New York. Featuring Joseph Grigely, Gerald Matt, and Nicola Tyson, moderated by Nicola Lees.
The Making of Pinochet Porn, Friday, November 11, 7PM
Ellen Cantor’s last work, Pinochet Porn, will be screened at the Museum of Modern Art on October 31, 7PM. This panel will discuss the work’s major themes (sexually explicit material, representations of war and violence, humor and sexuality, etc.), the personal narratives underpinning the film, and the editing process. Featuring John Brattin, Lia Gangitano, Cy Gavin and Jay Kinney, moderated by Clara López Menéndez.
*taken from a 1995 artist statement.
This program is supported in part by a grant from the Lily Auchincloss Foundation, Inc.