Sara Magenheimer

language and abstraction / form in the realm

TUESDAY, NOVEMBER 13, 2018 — 6:30 PM




415 355 9670

presented in association with the CCA Wattis Institute and Untitled Art, San Francisco

This screening is presented in the context of Léonie Guyer: form in the realm of, presented at CCA Wattis Institute October 18–December 15, 2018, in association with Untitled Art, San Francisco
Drawing inspiration from the Wattis Institute’s exhibition Léonie Guyer: form in the realm of, this program presents film and video works which explore personal symbologies, the nature of mark-making, the limits of verbal enunciation and assertive and non-assertive abstractions at the thresholds of the visible. Cryptic questions—verbal, post-verbal or visual—are presented; the answers provided are not as expected. Screening to include ascensions(2017) by arc, a 16mm “window onto eternity” composed of conflicting images and afterimages, both abstract and concrete; A Minimal Difference (2012), Jean-Paul Kelly’s 2012 fusion of modernist abstraction with contemporary news images suggesting disaster; Victoria Fu’s Bubble Over Green 1 (2015), a densely layering of gestural and mechanical art-making gestures; and two works by Sara MagenheimerNothing Comes from Talking (But Sound) (2012) and Seven Signs that Mean Silence (2013) which celebrate both the grace and absurdity of western linguistic symbolism while “meditating on the in-between places and negative space where meaning hides out.” Screening is bookended by two more 16mm works—Hollis Frampton’s Palindrome (1969), a compendium of organic abstractions “metamorphosed from the chemically mutilated flesh of color film itself” and Chinese Series(2013), Stan Brakhage’s final film, literally scratched onto “spit-softened emulsion with bare fingernails” several months before the filmmaker’s death.

Clay Club at SculptureCenter

Clay Club at SculptureCenter
Saturday August 18, 2018 10am-2pm
With artists:

Alisa Baremboym, ektor garcia, Ficus Interfaith, Steffani Jemison, Sara Magenheimer, and Jesse Wine

SculptureCenter was founded as Clay Club in 1928 by sculptor Dorothea Denslow. While Clay Club’s art courses and exhibitions generally took place in Denslow’s Brooklyn studio, or, slightly later, in a carriage house on West 8th Street, the organization’s artists and students gathered on Staten Island every summer from 1928 to 1939 to picnic and collectively build temporary monumental sculptures out of natural clay.

On Saturday August 18, SculptureCenter will revive its founding summer tradition by inviting six artists to reconsider the idea of group sculpture that motivated the original Clay Club parties.

SculptureCenter’s Long Island City exhibition space will open to the public with more than two thousand pounds of clay available for participation in artist-led projects or for free use.

Join us from 10am to 2pm, for music, food and drinks by local vendors, and drop-in art projects. This program is free, open to the public, and for all ages. No RSVP is required.

Frame Structures at Magenta Plains

Keren Cytter, ‘Siren,’ 2014, 14’39”, digital HD video, color & sound, Ed. 5 + 2 A.P., still.
Keren Cytter, Linnea Kniaz, Sara Magenheimer, Steel Stillman
1 April – 6 May, 2018
Opening Reception: Sunday, 1 April 6

8pmMagenta Plains is pleased to present Frame Structures, a group exhibition featuring works by Keren Cytter, Linnea Kniaz, Sara Magenheimer and Steel Stillman. The exhibition takes its title from the acclaimed book of visual poetry by Susan Howe, whose deconstructionist attitude toward language and fragmented process shatters narrative while forming manifold meanings anew.

Similar to Howe’s collagist and layered approach, the four artists in this exhibition use structures such as the camera frame, cropping, overlays, montage, repetition, voiceover, subtitling, rephrasing, inversions, assemblage and isolation of image to contain, expound on, exploit, and defamiliarize text and image—creating endless linkages and meditations on the poetry and fragility of the everyday, of existence, and of memory.


Magenta Plains
94 Allen Street
New York, NY 10002

While I was also listening

Emily Harvey Foundation
537 Broadway
New York, NY 10012
While I Was Also Listening To…NY
presents performances by Morgan Bassichis, Constance DeJong, Wayne Koestenbaum, and Sara Magenheimer that tackle the genre of the “talk” and the medium of “talking” as occasions for investigations in narrativity and storytelling, the relationship between sound and language, and improvisatory modalities of speech.
Friday, March 30th 2018
Doors at 6.00 pm / Performances at 6.30 pm
A performative evening featuring:
Morgan Bassichis
Sara Magenheimer
Constance De Jong
Wayne Koestenbaum

NOON and Screen Series now on view at The New Museum

NOON, a new installation in the 231 Bowery window gallery of the New Museum, is now on view until April 15, 2018. Concurrent with the exhibition is the Screen Series, which is showing 6 of Magenheimer’s videos:

Nothing Comes from Talking (But Sound) (2012)

Seven Signs that Mean Silence (2013)

Slow Zoom Long Pause (2015)

From the Movie of the Same Name (2016)

Best is Man’s Breath Quality (2017)

Art and Theft (2018)

From the New Museum:

Magenheimer presents a new video installation in the window of the New Museum’s 231 Bowery building. This project is part of a new series of window installations, which relaunches the program the New Museum originally mounted in the 1980s. In conjunction with her window installation, a selection of Magenheimer’s films is also on view as part of the Museum’s ongoing Screen Series. This project is curated by Margot Norton, Curator.

On the occasion of her project, Magenheimer has also completed “Notes on Art and Resistance A–Z,” a downloadable PDF. Written by the artist over the course of the past year, following the 2016 US presidential election, the text comprises a sequence of personal meditations on making art in a time of profound political and social change.