Wendy's Subway / Publishing / Moving Body Moving Study

Lauren Bakst, more problems with form, or desire notes or, still woman

September 2018
28 pages
Saddle-stitched
Printed on Risograph at the Los Angeles Contemporary Archive
Edition of 125
$10

Foregrounding the slippages between doing and undoing or not doing, speech and movement-based forms of address, and improvisation and the score, Lauren Bakst traces the forms performance takes, be they in our everyday experiences, intimate and personal relationships, memories, or on stage.

Lauren Bakst is an artist and writer living in New York. Working at the interstices of language and movement, Bakst stages critical phenomenologies of performance. Her video, publication, and performance works have been commissioned by BAM/Wendy's Subway, Dance and Process at The Kitchen, Klaus von Nichtssagend Gallery, Danspace Project, SculptureCenter, and Pioneer Works. Lauren teaches in Philadelphia at the University of the Arts School of Dance, where she is currently curating The School for Temporary Liveness, opening fall 2019. Her newest work, More Problems with Form, will premiere at The Chocolate Factory Theater in March 2019.

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Patty Chang, Things I'm afraid of right now

September 2018
12 pages
Saddle-stitched
Printed on Risograph at the Los Angeles Contemporary Archive
Edition of 125
$10

A list of the artist's fears, ranging from physiological angst, to interpersonal and social anxieties, animal phobias, environmental worries, and political concerns, written in pencil on scratch paper during a research trip to the Huntington Library in San Marino, California in Summer 2018.

Patty Chang (b. 1972, San Leandro, CA) is an artist working in performance, video, writing, and installation. Chang received her BA from the University of California, San Diego, in 1994. Her work has been exhibited at the Museum of Modern Art, New York; Solomon R. Guggenheim Museum, New York; New Museum, New York; BAK, Basis voor actuele Kunst, Utrecht, the Netherlands; the Hammer Museum, Los Angeles; Fri Art Centre d’Art de Freibourg, Fribourg, Switzerland; Chinese Arts Centre, Manchester, England; the Museum of Contemporary Art, Chicago; the M Museum, Hong Kong; the San Francisco Museum of Modern Art; and the Moderna Museet, Stockholm. She is the recipient of a 2003 award from the Rockefeller Foundation, a 2012 Creative Capital award, a 2008 finalist for the Hugo Boss Prize. She has been a Guna S. Mundheim Fellow in the Visual Arts at the American Academy in Berlin (2008) and a John Simon Guggenheim Memorial Foundation Fellow (2014). Her exhibition “Patty Chang: The Wandering Lake 2009-2017” will travel to the ICA, Los Angeles in 2019.

Jesse Chun, Intangible Heritage

September 2018
36 pages
Saddle-stitched
Printed on Risograph at the Los Angeles Contemporary Archive
Edition of 125
$10

A companion Jesse Chun's eponymous Karaoke video essay, this book centers on a 2,000-year old folk song, which South Korea and North Korea both registered as their own for the UNESCO Intangible Heritage list in 2012 and 2014, respectively. Featuring text documents from the validation process, translations and mistranslations of the lyrics, views of fragmented landscapes, Intangible Heritage disrupts the bureaucratic narrative underlying its subject matter.

Jesse Chun works with text, video, sound, sculpture, and publishing to translate and unlearn the ideological machinery of language. Recent exhibitions, fellowships, and commissions include the Drawing Center (2018), Queens Museum (2018), BAM (2018), Triple Canopy (2018), BRIC (2018), the Bronx Museum of the Arts (2017), ArtCenter/SouthFlorida (2017), among others. Her publications are included in the book collections at the Art Institute of Chicago, the International Center for Photography, University of Texas at San Antonio, the Metropolitan Museum of Art, and more. She has taught at the Museum of Modern Art (NY), and the Bruce High Quality Foundation University. Chun's work has been reviewed in Artforum, the Brooklyn Rail, ArtAsiaPacific, Art21, the Wall Street Journal, and BOMB magazine. She lives and works in New York.

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Kerry Downey and Joanna Seitz, Weather Report

With an essay by Christian Camacho-Light
September 2018
28 pages
Saddle-stitched
Printed on Risograph at the Los Angeles Contemporary Archive
Edition of 125
$10

A natural shoreline, infused with the ethereal plumes of artificially colored smoke, meets a diminutive white cube, in which the artists navigate the relation between their bodies and the physical surround. Entanglements mediating the body and the environment, the object and the subject, manifest in Seitz and Downey’s movement, revealing relations of mutual care, interdependence and shared process through measured choreography.

Kerry Downey (b.1979, Ft. Lauderdale) is an interdisciplinary artist and educator based in New York City. Downey’s work explores the relationship between states of embodiment and forms of power. Downey works primarily in video with a practice that includes printmaking, drawing, writing, and performance. They’ve recently had a solo show at CAVE in Detroit and two-person shows at Knockdown Center and 20|20 Gallery in New York City. They have exhibited at the Queens Museum, Flushing, NY; the Hessel Museum at Bard College, Annandale, NY; the Drawing Center, New York, NY; Cooper Cole, Toronto, CA, and Taylor Macklin, Zurich, CH. Downey is a recipient the Joan Mitchell Foundation Emerging Artist Grant and Foundation for Contemporary Arts Grant. Downey holds a BA from Bard College and an MFA from Hunter College.

Joanna Seitz (b.1977, Virginia) is an artist and designer living and working in New York City. Joanna holds a BFA from Virginia Commonwealth University and an MFA from Hunter College. Her work includes photography, video, set design, installation, performance, and publications. She has recently held exhibitions at the Art Gallery of Guelph, Ontario; Interstate Projects, Brooklyn, NY; Cave, Detroit, MI; Taylor Macklin, Zurich, Switzerland; REVERSE gallery, Brooklyn, NY; Lynch Tham, New York, NY; Picturefarm, Brooklyn, NY; the Hessel Museum at Bard College, Annandale-on-Hudson, NY; Columbia University, New York, NY; and NURTUREart, Brooklyn, NY.

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Freya Powell, When does "I" become "We"?

September 2018
24 pages
Saddle-stitched
Printed on Risograph at the Los Angeles Contemporary Archive
Edition of 125
$10

In 2013, the War Resisters League, a pacifist organization active in the United States since 1923, put out a call in Critical Resistance’s The Abolitionist for stories of tear-gassing and pepper-spraying in prisons and jails. Hundreds of people sent in letters revealing the rampancy of human rights abuses in incarceration centers. Freya Powell’s When does I become We, based on her video On Fire like Hell Fire, gathers some of these harrowing accounts of prisoners’ exposure to chemical weapons into a polyphony of voices relating the injustices suffered through gassing and medical negligence and the lasting physical and psychological trauma resulting from these experiences.

Freya Powell uses time-based, drawn, and linguistic platforms to explore language and its relationship to memory, myth, and history. Her work has been exhibited in solo shows at Art in General, Brooklyn, NY (2017), Herron School of Art and Design, Indianapolis, IN (2017), Arts Santa Monica, Barcelona, Spain (2014) and Emerson Dorsch, Miami, FL (2013). She has participated in group shows at institutions including EFA Project Space, New York, NY (2016), Queens Museum, Corona, NY (2016), Socrates Sculpture Park, Long Island City, NY (2015), #1 Cartagena: the First International Biennale of Art, Cartagena de India, Colombia (2014), and the Bronx Museum, Bronx, NY 2013), among others. She earned an MFA from Hunter College, New York, NY (2012) and a BA from Bard College, Annandale-on-Hudson, NY (2006).

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Kevin Jerome Everson, Lettermen

October 2018
24 pages
Saddle-stitched
Printed on Risograph at Wendy's Subway
Edition of 125
$10

Lettermen figures the 1965 Alcorn State Braves football team from Lorman, Mississippi.

Kevin Jerome Everson (b.1965 Mansfield, Ohio) lives and works in Charlottesville, Virginia. He holds a MFA from Ohio University, and a BFA from the University of Akron, and is Professor of Art at the University of Virginia, Charlottesville. Everson was awarded the 2012 Alpert Award for Film/Video. His films has been the subject of mid-career retrospectives at the Tate Modern (Fall 2017); Modern and Contemporary Art Museum, Seoul, Korea (February 2017); Viennale (2014);Visions du Reel, Nyon, Switzerland (2012), The Whitney Museum of American Art, NY (2011) and Centre Pompidou, Paris in 2009. His work has been featured at the 2008, 2012, and 2017 Whitney Biennials and the 2013 Sharjah Biennial. Everson co-curated the 2018 Flaherty Seminar with writer/curator Greg DeCuir Jr. Everson has received fellowships from the Guggenheim, NEA, NEH, Ohio Arts Council, and the Virginia Museum, an American Academy Rome Prize, grants from the Wexner Center for the Arts, Creative Capital and the Mid-Atlantic, residencies at Mobile Frames/Media City (Windsor/Detroit), Hallwalls Contemporary Arts Center, Yaddo and MacDowell Colony, and numerous university fellowships.

Sable Elyse Smith, C.R.E.A.M.

Texts by A. H. Jerriod Avant, Jessica Lynne, and Sable Elyse Smith

December 2018
88pp., 5.8 x 8.3 inches
Perfect-bound
ISBN: 978-1-7327086-1-7
Printed in Lithuania
First Edition of 400

Standard Edition SOLD OUT

Special Edition of 50, signed copies, with limited edition poster
EMAIL publishing@wendyssubway.com

Sable Elyse Smith’s C.R.E.A.M. locates the intersection of a specific fantasy of racial exclusion and containment in the mutual investments of real estate development and the prison system. Hollywoodland—the segregated community founded in 1923 and once advertised by the original version of the now iconic sign that sits atop the hills of Los Angeles—and Ironwood State Prison, come together in the imaginary of IRONWOODLAND, a sign Smith installed on the High Line in New York in 2018. Mining personal archives, research materials, and pop cultural references (with the book’s title a homage to Wu-Tang Clan’s 1993 eponymous song), Smith’s Cash Rules Everything Around Me spins out to consider the constant threat of police violence against Black and queer bodies, the prison system and its attendant procedures and regulations, and the interior, emotional landscape of personal trauma and memory. C.R.E.A.M. features writing by Sable Elyse Smith, poetry by A. H. Jerriod Avant, and an essay by Jessica Lynne.

C.R.E.A.M. is published on the occasion of the exhibition Moving Body, Moving Study at BAM and C.R.E.A.M., a High Line Art Commission, by Wendy’s Subway and BAM, Brooklyn with support from the High Line, New York, through the Art for Justice Fund, a sponsored project of Rockefeller Philanthropy Advisors.

Sable Elyse Smith is an interdisciplinary artist, writer, and educator based in New York and Richmond, Virginia. Using video, sculpture, photography, and text, she points to the carceral, the personal, the political, and the quotidian to speak about a violence that is largely unseen, and potentially imperceptible. Her work has been featured at MoMA Ps1, New Museum, The Studio Museum in Harlem, JTT, Rachel Uffner Gallery, and Recess Assembly, New York; Yerba Buena Center for the Arts and Artist Television Access, San Francisco, CA; Birkbeck Cinema in collaboration with the Serpentine Galleries, London. Her writing has been published in Radical Teacher, Studio Magazine and Affidavit and she is currently working on her first book. Smith has received awards from Creative Capital, Fine Arts Work Center, the Queens Museum, Skowhegan School of Painting and Sculpture, Rema Hort Mann Foundation, the Franklin Furnace Fund, and Art Matters. She is currently Assistant Professor of Sculpture & Extended Media at the University of Richmond.