Deborah Colton – OUTPOST NYC DCG

Daniel Johnston Film Screening Weekend at ANTHOLOGY FILM ARCHIVES in NYC.

Anthology Film Archives: 32 2^nd Avenue, New York, NY 10003. 212-505-5181
September 20-22, 2025

Songwriter, musician, and artist Daniel Johnston passed away in 2019, but both his music and artwork continue to attract rapturous attention. Johnston is certainly best known as a stunningly prolific songwriter, whose unique, deeply personal, vulnerable, and unapologetically lo-fi songs – most of them initially recorded and distributed on cassette tape – attracted legions of fans despite, or because of, their unpolished textures and their disarming reflections of the mental illness with which he struggled throughout his life. Celebrated both by critics and fellow musicians (most famously Kurt Cobain, but also Jad Fair, Tom Waits, Jeff Tweedy, and many others), Johnston’s music was only one manifestation of his creativity. He was an equally prolific artist, compulsively producing countless drawings that reflected – perhaps even more than his music – his singular preoccupations, highly distinctive set of characters and symbols, and his unique view of the world.

In collaboration with Johnston’s sister, Marjory Johnston, as well as gallerist Deborah M. Colton, owner of Deborah Colton Gallery and OUTPOST NYC DCG.

Anthology Film Archives presents a weekend of screenings of some of the films and videos that have documented Johnston’s life and work, including the acclaimed documentary THE DEVIL AND DANIEL JOHNSTON (2005), the concert film THE ANGEL AND DANIEL JOHNSTON: LIVE AT THE UNION CHAPEL (2008), and a brand-new work, FLAT TIRE DOWN MEMORY LANE (2025), in which filmmaker Avalon Stevens provides a fascinating glimpse of Johnston’s artwork and the collections that he assembled and among which he lived in his home in Waller, Texas, in his final years.

Marjory Johnston, Avalon Stevens and Deborah Colton will be here in person to present the screenings.

Avalon Stevens

FLAT TIRE DOWN MEMORY LANE

2025, 60 min, digital

This newly completed work – made after Johnston’s death – constructs a highly revealing portrait of the artist via interviews with his sister, Marjory (who in his later years collaborated with Daniel on his artwork and continues to advocate for and promote his work), a special focus on his drawings, as well as documentation of his last home, a house in Waller, Texas, which he filled with a truly mind-boggling volume of books, records, VHS tapes, and other collections, all of which serve as a kind of self-portrait of a unique mind and sensibility. Plus, additional clips and excerpts!

Sat, Sept 20 at 5:30 and Sun, Sept 21 at 7:30.

Jeff Feuerzeig

THE DEVIL AND DANIEL JOHNSTON

2005, 110 min, 35mm

This acclaimed film – made with the cooperation of Daniel Johnston – is the definitive documentary portrait of the singer-songwriter. Delving deeply and sensitively into Johnston’s extraordinary music, his equally singular and accomplished artwork, and his struggles with mental illness, it’s a profoundly revealing exploration not only of a particular artist and his work, but of the relationship that so often exists between artistic creation and psychological disturbance.

Sat, Sept 20 at 7:30 and Mon, Sept 22 at 7:30.

Antony Crofts

THE ANGEL AND DANIEL JOHNSTON: LIVE AT THE UNION CHAPEL

2008, 65 min, digital

This concert film captures one of Daniel Johnston’s greatest live performances, a July 2007 appearance at London’s Union Chapel. Joined by an impressive array of friends and admirers, including longtime collaborator Brett Hartenbach, Scottish folksinger James Yorkston, and English composer Adem, Daniel delivers definitive renditions of favorites from across his body of work.

Sun, Sept 21 at 5:30.

Noriko and Ushio Shinohara: Cutie and the Boxer in Asbury Park

August 15 to September 22, 2025

“Cutie and the Boxer” Film Screening:
ShowRoom Cinema, 707 Cookman Street, Asbury Park, New Jersey
Friday, August 15^th at 7:30 pm and Sunday, August 17^th at 4:30 pm

Art Exhibition Opening Reception:
Parlor Gallery, 717 Cookman Street, Asbury Park, New Jersey
Saturday, August 16^th from 6:00 to 10:00 pm

Ushio and Noriko Shinohara. Courtesy of Daniel Driensky.

Asbury Park welcomes the internationally acclaimed artist couple, Ushio and Noriko Shinohara to both ShowRoom Cinema and Parlor Gallery on Cookman Street. The artists are represented by Deborah Colton Gallery and this project is in conjunction with OUTPOST NYC DCG. Both artists and Deborah Colton will be present to introduce the film and during the art exhibition’s opening reception.

Born in Tokyo in 1932, Ushio Shinohara (nicknamed “Gyu-chan”), is a Japanese Neo-Dadaist artist who has lived and worked in the United States since 1969. His parents, a tanka poet and Japanese painter, instilled in him a love for artists such as Cézanne, Van Gogh and Gauguin. Known for his boxing paintings, which are artifacts of his performances, Ushio works in several mediums including painting, printmaking, drawing and sculpture.

Ushio’s bright and frequently oversized work has exhibited at prestigious institutions, including the Hara Museum of Contemporary Art; Centre Georges Pompidou; the Guggenheim Museum, New York; the Japan Society, New York; the National Museum of Modern Art, Tokyo; the Museum of Contemporary Art, Los Angeles; the Metropolitan Museum of Art, Pusa, the Walker Art Center, the Philadelphia Museum of Art, the Dallas Museum of Art and at the Tate Modern in London among many others.

Noriko Shinohara was born in 1953 in Takaoka City, Japan, moved to New York in 1972 to study art, and soon met Ushio in 1973. She has worked as an artist for many years, but the work she is best known for is her Cutie and Bullie series that began in 2006. This series includes drawings, paintings, and prints that feature her characters Cutie and Bullie who are based on a semi-autobiographical story of her relationship with Ushio. The scenes inspired by recent events reveal Cutie’s triumphs as her work and worth are finally being realized, by both herself and the outside world. Noriko and Ushio are the featured subjects of the Academy Award nominated documentary that also received an Emmy Award for “Best Documentary,” Cutie and the Boxer, which explores the history of the couple’s often tumultuous marriage and their lives as artists. Noriko’s work has been exhibited frequently in New York, nationally and internationally, and is in many institutional permanent collections, including the Davis Museum and Cultural Center at Wellesley College. Noriko’s works have been exhibited throughout the United States and world-wide.

ShowRoom Cinema is a small independent theatre that features high-quality first run films, documentaries, Oscar Shorts, classics, and hosts live comedy and musical performances. In a small intimate setting, they are known for providing a variety of entertainment to the art-conscious community.

OUTPOST NYC DCG was established in 2009 as part of Deborah Colton Gallery (DCG). It aims to show new and newly rediscovered films, video and installation art, photography, painting, performance art and drawing and sculpture. OUTPOST NYC DCG is a platform for developing new experimental programing, often in collaboration with existing art venues and organizations, mainly in New York, but also nationally and internationally.

Since 2009, Parlor Gallery has been the heart of artistic and cultural renaissance and revival in Asbury Park, redefining the gallery experience through diverse and thought-provoking exhibitions which combine contemporary urban art with coastal charm. Featuring both emerging and internationally recognized artists, the gallery fosters artistic growth by providing a platform to educate and inspire, and to also bring art outside to public spaces through their collaborative art initiatives like the Wooden Walls Art Project.

Jonas Mekas – 2025 Film Festival

Showroom Cinema at 707 Cookman Avenue, Asbury Park, New Jersey
July 17 to July 27, 2025

Salvador Dalí and Jonas Mekas, C. 1964, NYC. Courtesy of Sebastian Mekas.

Jonas Mekas Film Festival in Asbury Park, New Jersey will be held at the Showroom Cinema at 707 Cookman Avenue, just one block from the train station. The Film Festival will run from July 17 to July 27, 2025. The Film Festival is in conjunction with OUTPOST NYC DCG. Additionally, Parlor Gallery at 717 Cookman Avenue will be exhibiting Jonas Mekas still-framed photographs and will host a reception on the opening evening of the Film Festival.

Jonas Mekas (1922–2019) was born in a farming village in Lithuania and moved to New York City in 1949 as a war refugee. A pioneering figure in American avant-garde cinema, he co-founded Film Culture magazine with his brother in 1954 and became a film columnist for The Village Voice in 1958. In the early 1960s, he founded the Film-Makers’ Cooperative and the Film-Makers’ Cinematheque, which evolved into Anthology Film Archives, one of the world’s largest repositories of avant-garde film. He published over thirty books of prose and poetry and taught at institutions such as the New School, Cooper Union, NYU, and MIT. His work influenced generations of filmmakers and artists, such as Jim Jarmusch, John Waters, and Chantal Akerman. His films and installations have been exhibited at major institutions worldwide, including the Venice Biennale, Tate Modern, Serpentine Gallery, Whitney Museum, MoMA, and Centre Pompidou.

A selection of films tracing Jonas Mekas’s lifelong engagement with cinema as a form of personal and poetic expression. This retrospective follows his evolution from Guns of the Trees (1961), a politically charged early work, to Walden (1969), which pioneered his diary filmmaking. Reminiscences of a Journey to Lithuania (1972) and Lost Lost Lost (1976) reflect on exile and belonging, while his portraits of Andy Warhol and Martin Scorsese offer rare insights into their creative processes. The series concludes with As I Was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty (2000), a nearly five-hour compilation of Mekas’s home movies spanning three decades, described by The New York Times as “a first—the home movie as epic,” and Sleepless Nights Stories (2011), a film of late-night musings and unguarded moments with Yoko Ono, Björk, Marina Abramović, and other longtime friends. Sebastian Mekas, the son of Jonas Mekas, will be in attendance and will give introductory remarks several evenings.

The programing schedule for the Film Festival is as follows:

Thursday, July 17
Guns of the Trees (1961) – 86 min.

Friday, July 18
Walden (Diaries, Notes, and Sketches) (1968-69) – 180 min.

Saturday, July 19
Reminiscences of a Journey to Lithuania (1972) – 82 min.

Sunday, July 20
Lost Lost Lost (1976) – 178 min.

Thursday, July 24
Scenes from the Life of Andy Warhol (1990) – 35 min.
Happy Birthday to John (1996) – 24 min.
Zefiro Torna (1992) – 34 min.

Friday, July 25
As I Was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty (2000) – 228 min.

Saturday, July 26
Notes on an American Film Director at Work – Martin Scorsese (2005) – 103 min.

Sunday, July 27
Sleepless Nights Stories (2011) – 114 min.

Showroom Cinema is a small independent theatre that features high-quality first run films, documentaries, Oscar Shorts, classics, and hosts live comedy and musical performances. In a small intimate setting, they are known for providing a variety of entertainment to the art-conscious community.

Jonas Mekas Still-Framed artworks will be available during all evenings of the Film Festival and also through www.outpostnycdcg.com

Molly Gochman – UKR|RUS NYC

The Ukrainian Museum, New York, NY
September 26, 2024 to December 31, 2024

Asser Levy Park, Brighton Beach, NY
October 7, 2024 to December 31, 2024

Installation Series: reclaimed wood, concrete, glass, plaster, ground marble

Installation of UKR|RUS at The Ukrainian Museum, New York

Installation of UKR|RUS at Asser Levy Park, Brighton Beach.

UKR|RUS invites us to question the devastating human cost and destruction caused by aggressive imperialism, and to celebrate the resilience of Ukrainians, their rich cultural history, and the future that so many are fighting to defend. Taking the shape of the Ukraine-Russian border as it is defined by Ukraine and recognized by international law, the work draws parallels between physical and metaphorical boundaries, explores the complex dynamics that exist around borders, and provides a space to center and reflect upon the ongoing struggle of Ukraine and its people.

(The decision to use ‘RUS’ in the title “UKR|RUS” is to identify Russia as the aggressor responsible for the war and devastation inflicted upon Ukraine and its people. The title is not to imply any connection or conflation between the two countries but rather to draw a clear line between them, emphasizing Ukraine’s sovereignty and independence. The intention is to acknowledge the Ukrainian people, their country, and their fight against Russian aggression.)

Sharp angles define the sculpture’s linear form, with sections varying in length (from 4 to 10 feet) and height (14 to 28 inches). Constructed using an assemblage of reclaimed wood, rubble, and various types of ground surface materials including marble, UKR|RUS recognizes the scars of conflict while simultaneously suggesting the possibility of rebuilding and healing. In the wake of major geopolitical events and the ongoing invasion of Ukraine, Gochman’s sculptures serve as a stark reminder of the human cost of conflict and the suffering of those caught in the crosshairs of imperialism.

UKR|RUS underscores that borders are more than mere cartographic lines; they are tangible divisions that shape communities and lives. In the face of Russian aggression, the Ukrainian border is a manifestation of and container for the unique Ukrainian identity, culture, and history, and a reflection of its sovereignty. By positioning parts of the bench in historically Ukrainian communities across New York City, UKR|RUS will be paired with programming with cultural institutions and organizations that support and exemplify Ukrainian culture.

Amidst the noise that often drowns out the reality of Ukraine’s struggle, UKR|RUS invites pause, reflection, and a deeper engagement with the celebration of Ukrainian identity and culture. Most importantly, it serves as a poignant reminder of the shattered lives and communities left in the wake of territorial aggression, urging viewers to stand in solidarity with those impacted.

Molly Gochman – Dispersed Geographies

Asser Levy Park, Brighton Beach, NY
October 7th – December 31st, 2024
Installation series: cut white vinyl silouehettes adhered to concrete

Courtesy of Molly Gochman. Photographs by Alex Mctigue.

In dialogue with her sculptural series, UKR|RUS, which physically embodies the Ukraine-Russia border using reclaimed materials, Gochman’s Dispersed Geographies offers a contrasting medium. This installation translates the border into a two-dimensional form, cut from white vinyl and placed on sidewalks throughout New York City.

By fragmenting the silhouette of the border into 16-inch wide segments that range from two to five feet long, and situating them primarily in historically Ukrainian neighborhoods like the East Village and Brighton Beach, the work explores interconnectedness across distances and communities. The segments, sometimes mere inches apart, at other times separated by entire blocks, highlight the liminal spaces between places and people. These gaps serve as bridges between the local and global, the individual and the collective.

The sidewalk, a ubiquitous public space that facilitates movement and connection, becomes the canvas for Dispersed Geographies. Transforming this familiar ground into a site of contemplation, the installation prompts viewers to reflect on their own journeys. The border fragments become a shared iconography, points of recognition within the neighborhoods where the white silhouettes reside.

UKR|RUS can be viewed at The Ukrainian Museum from September 26–December 31, 2024; and at Asser Levy Park in Brighton Beach from October 7–December 31, 2024. A series of Programs & Events have been scheduled as a part of these installations. Click here to learn more.

Dispersed Geographies can be viewed at various locations around New York City. For a detailed map of the silhouettes’ locations, a Google Map has been created.

Select Works by Tyler Deauvea

Please contact info@outpostnycdcg.com for more information.

Molly Gochman – Gathering at Governors Island NYC

Gathering
September 7th, 2023
Mixed media installation and performance: canvas, rope, and found objects

Situated at Nolan Park on Governors Island, Gathering is a participatory installation by Molly Gochman that invites us to consider how our actions shape our world. Through public engagement, the work encourages viewers to deepen their connections with each other and with the land on which we all live.

Gathering is composed of more than 200 waxed canvas tarps that appear intricately woven into the grass, outlining the shape of Governors Island before its alteration through excavation and dredging in the early 20th century. Draped in white tarp and fastened with rope, the structure undulates across the landscape, encompassing approximately 13,000 square feet of land. The result is an open environment that encourages participants to engage not only with the work itself, but with each other, through acts of play, collaboration, and even alteration. Throughout the month of September, Gochman will periodically unveil sections of the installation, revealing the mosaics of tarps concealed beneath.

Dancers, knot tyers, meditators, healers, community organizers, and other various participants will also energize the site, extending an invitation to join and collectively enrich our understanding of one another. On these occasions, visitors will be invited to take a tarp with them. As they depart with this canvas, the immense installation’s form will begin to evolve—its outline slowly eroding. The work will take on new meaning through this process, as pieces of it find new homes and purposes. The form of Gathering will eventually disappear, yet the exchanges hosted on the site will generate lasting experiences for all who decide to interact with it, just as the individual tarps that make up the work, distributed among these participants, will move on through the world. It’s a dynamic that reflects Gochman’s long-standing social practice, which focuses on activating spaces to facilitate profound collective experiences.