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ABOUT GOINGS ON: How to subscribe and submit listings

Franklin Furnace's Goings On
July 11, 2006

CONTENTS:
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1. ARTstor and FRANKLIN FURNACE ANNOUNCE COLLABORATION AGREEMENT, ARTstor’s FIRST WITH AN “ALTERNATIVE SPACE”
2. Joni Mabe, FF Alumn, on Atlanta PBS television, and more
3. Stanya Kahn, FF Alumn, at Margo Leavin Gallery, LA, opening July 15, 4-6 pm
4. Roberta Allen, FF Alumn, in Saugerties, NY, July 18, 7 pm
5. Frank Moore, FF Alumn, at Space Theater, Sacramento, July 14, 7:30 pm
6. Roberta Allen, FF Alumn, in Saugerties, NY, July 18, 7pm
7. Peggy Diggs, FF Alumn, at CESTA, Czech Republic, August 2006
8. Vito Acconci, FF Alumn, at Miguel Abreu Gallery, NY, opening July 11
9. Suzanne Lacy, FF Alumn, at Track 16, Santa Monica, opening July 15, 6-9 pm
10. Beth B, FF Alumn, on Court TV, TONITE, 10 pm
11. Toni Dove, FF Alumn, at Lincoln Center, July 28, 8:30 pm
12. Tanya Barfield, David Cale, FF Alumns, in Playwrights Horizons 2006-07 season
13. Robert Wilson, FF Alumn, at Anthology Film Archives, July 17, 8 pm
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1. ARTstor and FRANKLIN FURNACE ANNOUNCE COLLABORATION AGREEMENT, ARTstor’s FIRST WITH AN “ALTERNATIVE SPACE”

About Franklin Furnace and ARTstor:

Since its inception in 1976, Franklin Furnace has presented what has come to be known as “variable media” art work -- works that take on new dimensions in each iteration. These works challenge the bounds of genre, varying in the meanings they take on contextually as well as in their physical deployment.

ARTstor is an educational initiative launched by The Andrew W. Mellon Foundation; ARTstor became an independent non-profit in 2004. Its principal goal is to develop a digital archive of art images for non-commercial use in educational settings. ARTstor is now available at more than 600 art schools, colleges, museums, and universities (from large research universities to dozens of community colleges); more information may be found at www.artstor.org

About the Collaboration:

Digital images are fast replacing slides and slide projectors in the teaching of art and art history. To respond to these changes, Franklin Furnace will work with ARTstor to digitize and distribute images and documentation of events presented and produced by Franklin Furnace, with the goal of embedding the value of ephemeral practice into art and cultural history.

The records of Franklin Furnace present an unparalleled resource in that they are the only artifacts of live, ephemeral, variable media works. While scholars still debate the locus of art in time-based, variable media, the physical history held in Franklin Furnace's institutional archives offers a rare and valuable resource that captures the moment, the concept of the artist, and the historical context in which the work was created through the prism of its documentary parts.

Artists working in the late 70s and early 80s broached topics of personal, social and political relevance, and artworks produced at Franklin Furnace reflect their historical context. Artists who got their start in alternative spaces crossed genres to address issues of identity and politics from the perspective of the marginalized “outsider” in the realms of gender, ethnicity/nationality and other subjects at the core of cultural conflict.

Artists presented by Franklin Furnace include: Eric Bogosian, monologist and star of stage and screen; Jenny Holzer and Ann Hamilton, who represented the United States in the Venice Biennale; Guillermo Gómez-Peña and Liza Lou, winners of the MacArthur "genius" award; Mona Hatoum, the first artist to ever win the prestigious Sonning Prize; Shirin Neshat, world renowned Iranian artist and filmmaker; and Ana Mendieta, Cuban-born artist whose retrospective was on view in 2004 at the Whitney Museum of American Art. The individual and collective impact of artists such as these upon larger culture is documented in the materials contained within the archives of Franklin Furnace:

Franklin Furnace has a history of actively making its collections and archives available for research. From pioneering storefront art space in TriBeCa to “going virtual” on the Internet, Franklin Furnace has explored new venues to reach the public. On May 11, 2006, the organization received notification that its proposal to the National Endowment for the Humanities--to digitize and publish on its website --www.franklinfurnace.org--

records of performances, installations, exhibits and other events produced by the organization during its first ten years—had been funded. This project will create electronic access to what are now the only remaining artifacts of these singular works of social, political and cultural expression.

Commenting on the value of Franklin Furnace’s event archives to scholars, Barbara Kirshenblatt-Gimblett, Professor of Performance Studies, New York University writes, “The Franklin Furnace archive is of interest to a wide range of humanities fields, because of the opportunity it affords to explore the role of art and the artist in American society in the post-World War II period. …this work was particularly responsive to the historic era in which it was made. As a result, scholars in such fields as American studies, art history, visual cultural studies, theater history, performance studies, cinema studies, cultural studies, critical studies and museum studies will find rich research possibilities here .”

Says Martha Wilson, Founding Director of Franklin Furnace Archive, Inc., “The Board of Directors made the wrenching decision to sell the loft at 112 Franklin Street and ‘go virtual’ during our 20 th anniversary season in 1996-97. At that time, in the wake of the Culture Wars, our primary concern was to choose a venue and art medium in the Internet that would provide the same freedom of expression artists had enjoyed in our loft space in the 70s. Ten years later, the decision to make our website our public face has resulted in Franklin Furnace’s successful transition from physical art space to online research resource. I am truly thrilled to be embarking on Franklin Furnace’s 30 th year with ARTstor’s collaboration agreement and a major grant from the NEH. The confluence of these events will help fulfill our mission to make the world safe for avant-garde art.”

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2. Joni Mabe, FF Alumn, on Atlanta, GA television, and more

Public Broadcasting Atlanta
Atlanta Roadtrip - A Day Away
Mondays at 8 PM, July 3 - 31

The six-part PBA 30 Original Production takes to the road to explore new and exciting places and activities that are just a day away. or right around the corner! Fun, fast-paced and always entertaining, each half-hour episode of Atlanta Road Trip visits several destinations, and includes a great mix of things to do and see for adults, kids and those in between. Your tour guide is PBA 30's Alicia Steele, the former host of two travel shows and an enthusiastic traveler in her spare time.

This week on Atlanta Road Trip: Joni Mabe's Panoramic Encyclopedia of Everything Elvis, Cornelia GA; Mercer Air Field, Mile Marker 310 on I-75; Cagle's Dairy, Canton GA; Booger Hill, Just North of Cumming GA; and Charlemagne's Kingdom, Helen GA.

Public TV series explores diverse places in Ga., Tenn.
Atlanta Journal-Constitution
By Amanda J. Miller
What do Elvis memorabilia and tree climbing have in common? Or antiques and NASCAR racing? These are a few of the diverse topics that will be featured in a six-part series beginning Monday on WPBA, one of Atlanta's PBS stations. " Atlanta Road Trip: A Day Away" will air at 8 p.m. Monday. It will repeat at 11:30 p.m. Thursday and 4 p.m. Saturday. The half-hour show, hosted by Alicia Steele, visits four or five destinations per episode, most of them in Georgia.

Even lifelong Georgians might not know about some of these attractions. Joni Mabe's Panoramic Encyclopedia of Everything Elvis in Cornelia, for instance, displays Mabe's original art, plus 30,000 Elvis objects including posters, lunchboxes, decanters, bedspreads and toenail clippers.You'll find out where to go for adventures such as tree climbing or car racing or to find the best antiques in Columbus.Here are the topics for the first episode:

Episode 1: Joni Mabe's Panoramic Encyclopedia of Everything Elvis in Cornelia; Mercer Air Field, Mile Marker 310 on I-75 in Georgia; Cagle's Dairy, Canton; Booger Hill, north of Cumming; and Charlemagne's Kingdom in Helen.

Information: www.pba.org
http://www.wpba.org/

and

Big E Championship Luau Show will be held August 4, 2006 featuring 2004 Big E Champion Damon Hendrix, 2005 Big E Champion Arik Christopher and 2005 Youth Division Champion Alex Swindle. Bar-B-Que Dinner at 6:00 PM and Concert at 7:00 PM. Tickets are $25.00.

The 7th Annual Big E Festival & ETA Competition will be held August 5, 2006. Competition starts at 10:00 AM and ends when Elvis leaves the building. Admission is $10.00. Both events will take place at the Loudermilk Boarding House Museum, 271 Foreacre St., Cornelia, GA 30531. For more info, call 706-778-2001 or 706-778-4654.

Advance Combo tickets are $35.00 which includes a program book ($5.00 value). Send check or money order, payable to Joni Mabe to above address. Thankyaverymuch.

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3. Stanya Kahn, FF Alumn, at Margo Leavin Gallery, LA, opening July 15, 4-6 pm

Stanya Kahn and Harry Dodge show recent video at Margo Leavin Gallery,
group show opens July 15th in Los Angeles.

"Locale"
curated by Kris Kuramitsu

Lisa Anne Auerbach, Harry Dodge and Stanya Kahn, Shannon Ebner, Noriko Furunishi, Alyssa Gorelick, Brenna Youngblood.
July 15-August 19 2006
Reception Saturday July15th 4-6pm
Margo Leavin Gallery
812 North Robertson BLVD.
LA, CA 90069

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4. Roberta Allen, FF Alumn, in Saugerties, NY, July 18, 7 pm

Roberta Allen
& Playful Writer Workshop members,
Barbara Pokras & Patricia Hawkins
read from their work

Tuesday, July 18, 7PM

The Inquiring Mind Bookstore
63 Partition St.
Saugerties, NY 12477

845.246.3765

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5. Frank Moore, FF Alumn, at Space Theater, Sacramento, July 14, 7:30 pm

Thee Instagon Foundation Presents
A Midsummers Night Freak Out
Saturday, July 15, 2006
The Space Theater
2509 R. Street (Between 25th & 26th)
Sacramento, Ca
7:30pm
$6 Cover

Frank Moore's Cherotic All Star Band
Uberkunst
Botchi
Instagon
for downloadable poster go to:
http://www.eroplay.com/events.html
www.tif.org
instagon@gmail.com

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6. Roberta Allen, FF Alumn, in Saugerties, NY, July 18, 7pm

Roberta Allen will read new work at The Inquiring Mind Bookstore on Tues. July 18th, 7 PM 63 Partition St., Saugerties, NY 12477 845.246.3765

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7. Peggy Diggs, FF Alumn, at CESTA, Czech Republic, August 2006

PEGGY DIGGS will do an international collaborative project in August at CESTA (Cultural Exchange Station in Tabor) in the Czech Republic. Working with two artists from Vancouver, she will devise a public project on "The Sense of Fear," this year's theme at CESTA. As their project prospectus described, "It is said that fear is the strongest emotion. Perhaps this is its only universal characteristic, and it is a curious one. As something which stimulates every living organism similarly fear carries infinite responses, often strong opposites: arrogance and timidity, empowerment and immobilization, desecration and reverence. Such polarities lend themselves easily to exploitation experienced with alarming regularity in the politicization of otherwise existential, subjectively defined, and potentially manageable fears. For Sense of Fear, CESTA invites artists from all disciplines to collaborate in creating works which explore, perceive and define fear - the personal and collective - towards discovering where fantasy meets phobia, when a chance to be challenged becomes an opportunity to be oppressed, why selfhood and society are strengthened or compromised."

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8. Vito Acconci, FF Alumn, at Miguel Abreu Gallery, NY, opening July 11

Hands Up / Hands down:
Vito Acconci, Sam Lewitt, Scott Lyall, Pieter Schoolwerth, Jimmy Raskin, Raha Raissnia, Paul Pagk, Matt Bakkom
July 11 – August 20, 2006
Tuesday, July 11, 6:30 – 9 PM

Opening on Tuesday, July 11th, 2006, Miguel Abreu Gallery is pleased to present “Hands Up/Hands Down,” a group exhibition that focuses on traces of the body in the making of images.

In the fall of 1969, Vito Acconci stood in the woods near Woodstock, New York. He raised his arms with a camera in hand and snapped a picture. He then lowered his hands and snapped another picture. The resulting “photo-activity,” titled “Hands Up/Hands Down,” combined these two photographs with a short explanatory statement; nothing more, nothing less. Part of the radicality of this piece lies with the way it unequivocally severs photography from both its “documentary” and “pictorialist” traditions, as it reveals the automatic, quasi-robotic nature of its technological operation. Simultaneously and crucially, the work foregrounds the artist’s body in absentia as its ultimate subject, as the human agency that determines the basic parameters of the image, but in turn resists being determined by it. Here the image is obviously no extension of the artist’s gaze; here the artist’s thoughts and possible intentions are separated from what the viewer will actually see.

If the lives of today’s citizens are more than ever impacted by an invisible network of immaterial forces, and if artists are more and more concerned with channeling these abstract currents into the fabric of their work, let us revisit the trace of Mr. Acconci’s slapstick, yet disciplined gesture. Is there not an oblique premonition in play of an epochal shift towards an information economy, a cultural environment in which the ubiquitous camera contributes heavily to the robotization of social relations? Again, “Hands Up/Hands Down” points towards this ominous development by objectifying it, yet keeping it at bay.

In his excellent essay on the work of Douglas Huebler, John Miller discusses Vilém Flusser’s pessimistic claim that “ ‘the photographic universe’ is a closed system that not only fails to represent phenomena, but also excludes them.”1  Miller adds later that “in Flusser’s sweeping historical overview, the linearity of writing gave rise to the historical consciousness, which the photograph then eroded, reinstantiating a kind of magical thought that confuses cause and effect (making it irrelevant whether, for example, the cock crows because the sun rises or the sun rises because the cock crows).” So at this fast forwarded point in history, when things have accelerated further, perhaps yes we are left amidst the dust of infinitely transformable and exchangeable bits and pieces of mostly electronic data, in a place where, as Scott Lyall observes in a journal entry from 2001, “to everything is apportioned a beggars share of information.”

Things come back to life in another entry, however, in which Lyall ponders upon the folds in a dandy’s cravat: “Beau Brummell had the look of a man without content, he writes, – the look of a photo – cultivation of a shadow’s survival. When he elevated the folds of his necktie to drawings, he made a new image of the figure, fully subject to commodity. ‘I am the folding of the tie beyond desire, and am ephemeral’. But there was one problem: that the knot in the tie must seem effortless, as if drawn in the absence of every discernible aesthetic judgment. As soon as it was seen, though, it was style and instantly recognized, sometimes copied. To repeat it exactly broke the charm of the audacious new subject. Mr. Brummell worked through the night on his folds of indifference. He perfected the impression of what, when seen, would mean nothing… Henceforth, drawing founds itself on the ‘jouissance’ of being, of fantasy-existing without direction or consequence.”

Reading these insightful lines, surprisingly, made me think that they could be brought to bear on Paul Pagk’s daily drawing practice, in which an insistent graphic impulse, in search of matter, color and space, like the three cardinal nutrients of survival, constitutes at once the beginning and the end of art.  There is a simple breathing quality to this repeated activity of the hand, one that is worlds apart from Lyall’s attempt to pinpoint the conditions under which the opening of a “subjective procedure” in art becomes possible.

For Jimmy Raskin, it all began with a decision to jump and slam his body into a corner a few times while an audiotape of his early notes on the Poet was playing in a boom box. The corner jump became an image of a corner man, which became a diagram, before turning into a figure of the tightrope walker in the Prologue of Friedrich Nietzsche’s “Thus Spoke Zarathustra.” The table – or rather the raised plane of thought – presented in this show, is populated by an arrangement of sculptural incarnations of the key figures and diagrams that have emerged from his ongoing meditation on the Poet, as he encounters his problematic double, the Philosopher, on the road to the New Being.  The trace to be followed here is that of the artist’s body at the point of inception of a turbulent movement of thought, a body that leaps into the Unknown and founds the fundamental split subject of Raskin’s continued exposition.

Pieter Schoolwerth, for his part, is becoming more and more a painter of the contemporary figure in search of its image through the process of painting. In “Workout,” an older man pedaling on a stationary bicycle confronts a reflection of his idealized body in a mirror, as the stuff and freewheeling movement of paint disfigure him in the middle ground. The question of whether he wants the thin and transparent young man listening to his iPod on the right side of the picture remains undecided. Through a succession of appearances within the composition, the depicted body traverses several image regimes before reflexively folding into the body of paint itself.

In “A Scene For the Library: Mott Haven,” Sam Lewitt ingeniously stages a commemorative text about a trip to a remote branch of the New York Public Library during which, while the photocopy machine was warming up, he found time to examine a haphazard display about the Piccirilli Brothers, the “renowned marble carvers of numerous revered American monuments, including the lions seated in front of the main branch of the NYPL.” From his consideration of “the enlarged photographic documents, obviously abstracted from the archives, and the peeling papers of the information panels,” Lewitt generates a trip into memory lane that weaves a series of short reflections and suppositions on the effects of technical innovation in the burgeoning age of mechanical reproduction. Lewitt invites the viewer/reader to “search for (think) disparities and gaps even within a seemingly unified image.”  In this cinema screen size work, which presents a sequence of dark to light photocopies of the artist’s photomontaged text, “the film-like frame’s power of spatialization has had its dimension of temporal movement subtracted. We are not left with a film, but something like a script immediately realized as image; like an image whose immediate form of existence is given to collection as a multiple (a spatial proliferation).” The trace of the sculptors’ hands chiseling the stone into the shape of a lion is one of the potent ghosts in this story. Lewitt proposes an allegory of a past that lays dormant in both the city’s most ubiquitous monuments and those objects resigned to the dust of collection.

A shaft of light on darkness remains a force of to be reckoned with in Raha Raissnia’s exiled, gestural paintings. As if scratching the arid earth from too close a range, the architectonic balance of her black and white shapes seems to emerge from an extended battle. It manifests an aura of trust and solidity. There is no need to attempt calling to mind uncertain references to nature or to the cosmos, for those are refuted before they can prove themselves. Here the mind is made to wonder and the body shows.

Matt Bakkom’s “New York City Museum of Complaint” has taken the shape of a 48-page tabloid format newspaper to be distributed in public parks in Lower Manhattan and available for pick up at the gallery during the months of July and August. The publication reproduces a series of letters from the New York City Department of Records that “have been drawn from the archive of mayoral communications that contain all written messages sent to the mayor of New York City since 1700. In our research,” Bakkom says, “we have attempted to locate and reproduce a range of examples of civic dissatisfaction. It is our hope that they provide you with a refreshing form of rational entertainment and distracted instruction in the various styles and strategies of civic/self expression.” The language and very calligraphic arrangement of some of the gems in this opus convey a stunning sense of belief in the democratic forum from a bygone era.

To conclude, it should be noted that the intention behind this exhibition is in no way to propose that the hand of the artist, or rather the trace in the work of art of whatever body it may be, should be taken to express an alleged moment of freedom in the image. It is assumed, indeed, that the body can only perform within the confines of a particular situation that precedes it, and that an image can acquire potency only in as much as it affirms its construction within the articulated parameters of the work’s position in a historical sequence. This is when the artist’s “disciplined” body is in action.  These histories can then be argued for or against in terms of how true they are, how well they function, and how useful they might be. At this juncture in history, however, the trace of that body in the making of images can be said to operate as at least a minimal moment of interpellation that initiates an important process of recognition in the viewer. It has a way of striking me as the singular element that cannot be immediately integrated into the free flow of abstract information. And as such, it can be raised to the status of an organizing principle.

Thank you to Sarina Basta for letting me know about Vito Acconci’s “Hands Up / Hands Down.”

For more information or for visuals, please contact the gallery at 212.995.1774. 1 John Miller, “Double or Nothing,” Artforum, April 2006, pp. 220-27.
Gallery hours: Wednesday – Sunday,  11:00 AM to 6:30 PM
MIGUEL ABREU GALLERY
36 Orchard Street, New York, NY 10002 — 212.995.1774 fax 646.688.2302 —info@miguelabreugallery.com
www.miguelabreugallery.com

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9. Suzanne Lacy, FF Alumn, at Track 16, Santa Monica, opening July 15, 6-9 pm

Otis College of Art and Design in collaboration with Track 16 Gallery is pleased to present Omage: Artists, Designers, and Writers of Otis College of Art and Design
Exhibition Dates: July 15-August 31, 2006

Opening Reception: Saturday, July 15, 6-9 pm
Readings: Saturday, August 26, 7 pm

Closing Reception: Thursday, August 31, 6-9pm
Location: Track 16 Gallery, 2525 Michigan Avenue, Bldg C-1, Santa Monica, CA 90404
For gallery hours and directions, see www.track16.com or call 310 264 
4678.

Omage: Artists, Designers and Writers of Otis College of Art and Design, curated by writer/curator Christopher Miles, highlights work by more than 70 professional artists who teach at Otis. The work of these painters, digital artists, sculptors, installation artists, graphic designers, ceramic artists, fashion designers, architects, interior designers, landscape designers, photographers, performance artists, illustrators, poets and writers reflects the depth and breadth of creativity in Los Angeles. Through their exhibitions, publications, and public works, as well as through the work of their students, they have played an important role in shaping the city’s prominence in art, design, and literature. The work of Suzanne Lacy, FF Alumn, is included alongside the work of several other artists in this group exhibition.

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10. Beth B, FF Alumn, on Court TV, TONITE, 10 pm

PATTERN OF DECEPTION
Produced and Directed by BETH B
BROADCASTING:TONIGHT!
Monday, July 10, 10pm
On Court TV
As part of The Investigators series
Watch it! Tell all your friends!
B Productions, Inc.
143 Oakview Avenue
Maplewood, NJ 07040
973-762-0611

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11. Toni Dove, FF Alumn, at Lincoln Center, July 28, 8:30 pm

Toni Dove
Friday, July 28th at 8:30
Spectropia: A Sneak Preview
at the Walter Reade Theater at Lincoln Center.

Series: Scanners: The 2006 New York Video Festival (July 26 – 30)
The Film Society of Lincoln Center in Association with the Lincoln Center Summer Festival.

Scanners is proud to present excerpts from Spectropia, a work-in-progress by writer/ director and responsive media artist Toni Dove - it's both a feature film and an interactive "scratchable" movie. Dove will show part of her feature and perform segments of the "scratchable" movie with software wizard R. Luke DuBois, the program designer, live on the Walter Reade Theater stage. This sci-fi hybrid, in development for the last six years, features time travel, telepathy, elements of film noir, and other genre forms. Utilizing gaming technology and experimental theater strategies, the performers interact with the narrative, using motion sensors to control the performance of their on-screen avatars. The audience will be able to see through the character’s eyes, hear their interi or thoughts, navigate their way through space, and even talk with the characters. Dove, DuBois, and their intriguing interactive doubles will answer audience questions at the end of the show. Anything can happen.

Walter Reade Theater
165 West 65th Street, between Broadway and Amsterdam
Plaza Level, NYC

The Walter Reade Theater is located on the north side of West 65th Street, between Broadway and Amsterdam Avenue, one flight up on the plaza level. Look for our banner on 65th Street near Amsterdam Avenue to locate the escalator and elevator to the plaza level. Or you may take the escalator at the corner of 65th Street and Broadway and then walk west to the end of the plaza.

Tickets at tickets.filmlinc.com or call 212 496 3809

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12. Tanya Barfield, David Cale, FF Alumns, in Playwrights Horizons 2006-07 season

Congratulations to FF Alumns Tanya Barfield and David Cale who are presenting work as part of the 2006-2007 season at Playwrights Horizons. For complete information please visit www.playwrightshorizons.org

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13. Robert Wilson, FF Alumn, at Anthology Film Archives, July 17, 8 pm

A recently discovered Robert Wilson performance film will screen for the first time at Anthology Film Archives next Monday, July 17th.

Anthology Film Archives
32 Second Avenue (at Second Street), New York, NY
Telephone: (212) 505-5181

Monday 17 July 2006
8:00 PM

LIKE BROADWAY ON MARS: HISTORIC NEW YORK EXPERIMENTAL THEATER
Robert Wilson
Overture for KA MOUNTAIN AND GUARDenia TERRACE: a story about a family

and some people changing
1972, 80 minutes, 16mm, silent. Filmmaker Unknown.

OVERTURE for KA MOUNTAIN AND GUARDenia TERRACE was performed live by Robert Wilson and the Byrd Hoffman School of Byrds at 147 Spring Street, New York City, for six hours each day, from 6 to 9 AM and from

6 to 9 PM, between April 24 and April 30, 1972. The sizeable cast featured such downtown luminaries as dance critic and poet Edwin Denby, dancer Andy De Groat, theater critic Stefan Brecht, and the director's grandmother, Alma Hamilton.

This new preservation print was made directly from the camera original 16mm recently discovered in Anthology's basement along with a group of empty film cans. Archivists at Anthology and The New York Public Library for the Performing Arts (the repository of the Robert Wilson Audio/Visual Collection) were able to salvage the film and identified it as the most extensive extant documentation of OVERTURE. No soundtrack has yet to surface for this film, but its majestic images and wild inventiveness are like a music all their own. This will be the premiere screening of this rare marvel and it is a definite event for all Wilson aficionados as well as the uninitiated.

Special thanks to the Byrd Hoffman Water Mill Foundation and The New York Public Library for the Performing Arts and particularly Sarah Ziebell Mann for making this screening possible.

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Goings On is compiled weekly by Harley Spiller

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click http://www.franklinfurnace.org/goings_on.html
to visit 'This Month's World Wide Events'.
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send an email to info@franklinfurnace.org
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Franklin Furnace Archive, Inc.
80 Arts - The James E. Davis Arts Building
80 Hanson Place #301
Brooklyn NY 11217-1506 U.S.A.
Tel: 718-398-7255
Fax: 718-398-7256
http://www.franklinfurnace.org
mail@franklinfurnace.org

Martha Wilson, Founding Director
Michael Katchen, Senior Archivist
Harley Spiller, Administrator
Dolores Zorreguieta, Program Coordinator