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ABOUT GOINGS ON: How to subscribe and submit listings

Goings On: posted week of January 30, 2007

CONTENTS:
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1. Bob Goldberg, FF Alumn, at The Brooklyn Museum, Feb 3
2. Charles Clough, FF Alumn, at Norwich Arts Council Gallery, CT, opening Feb 2
3. Barbara Kruger, FF Alumn, at Ikon Ltd., Santa Monica, thru Mar 3
4. Andrea Cote, FF Member, at Delaware Art Museum, thru Mar 4
5. Linda Montano, FF Alumn, announces new Living Art project participant
6. Rachel Rosenthal, FF Alumn, performance art intensive, Feb 16-18
7. Isabel Samaras, FF Alumn, at M Modern Gallery, Palm Springs, CA, and more
8. CUE Art Foundation, NY, presents performance art, Feb 2-3
9. Joshua Fried, FF Alumn, at Black and White Gallery, Brooklyn, Feb 4
10. Coco Fusco, Lucy Lippard, FF Alumns, in The New York Times, Jan 29
11. Anna Mosby Coleman, FF Alumn, at Victory Hall, Jersey City, Feb 2
12. Nam June Paik, FF Alumn, discussed at College Art Assn. free panel, Feb 16
13. Terry Dame, FF Alumn, CD release party, Barbes, Brooklyn, Feb 2, and more
14. Clarinda Mac Low, FF Alumn, wins Foundation for Contemporary Arts grant 2007
15. John Baldessari, FF Alumn, at Portikus, Frankfurt, Germany, opening Feb 9
16. Harley Spiller, FF Alumn, in The New York Times, Jan 26
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1. Bob Goldberg, FF Alumn, at The Brooklyn Museum, February 3

ANGELS, ACCORDIONS AND ART AT BROOKLYN MUSEUM POSTPONED to Saturday February 3rd!

Due to concern over capacity crowds for the close of the Annie Leibovitz exhibit, the Brooklyn Museum has postponed Bob Goldberg and Dance Theatre Etcetera’s ANGELS, ACCORDIONS AND ART performances until Sat., February 3rd. The performances will take place in the Ron Mueck exhibit, two shows at 1pm and 2 pm on Saturday February 3rd. Tickets are free with purchase of Museum admittance. For further information, visit www.dancetheatreetcetera.org, www.brooklynmuseum.org or contact Bob Martin at the Dance Theatre Etcetera office at 718.287-2224.

Performance: Angels, Accordions, and Art
Meet in the Rubin Lobby, 1st Floor

As part of Weekend of the Muse, Brooklyn's own Dance Theatre Etcetera presents Angels, Accordions, and Art, an interactive tour and performance created in conjunction with the Ron Mueck exhibition. A question-and-answer session with director Martha Bowers and music director Bob Goldberg, FF Alumn, follows. Free tickets available at the Visitors Center in the lobby at noon.

Robert Martin
Project Coordinator
DanceTheatreEtcetera
p/f: 718.287.2224
c: 646.372.1869
e: bob@dancetheatreetcetera.org
www.dancetheatreetcetera.org

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2. Charles Clough, FF Alumn, at Norwich Arts Council Gallery, CT, opening Feb 2

Charles Clough’s 62nd solo exhibition will present paintings from the past fifteen years, made in New York and Westerly, RI, at the Norwich Arts Council Gallery 2, from the 2nd through 24th of February, 2007. His work emerged in New York in the late 1970s and, as was critically recognized by New Museum curator, Bill Olander, secured the middle-ground between the neo-expressionists and the “pictures theory” artists. Clough’s art is included in a dozen and a half museums, including the Museum of Modern Art ( New York), National Gallery and the Smithsonian American Art Museum and has been included in over 150 group exhibitions throughout North America and Europe.

The exhibition will provide a view of Clough’s “big finger” practice, of the 1980s and ‘90s and then traces the evolution of his renovated style. This includes: painting on the ground of the garden, his re-engagement of the brush in lyrical watercolors and a new synthesis of brushed, blotted and polished surfaces in the Pepfog Series. These works represent the pathos of maturity by way of Clough’s obsessive photography of each of the painting’s states and all of the “composed” vignettes to be found in each state. These are gathered into a book of some 300 images per painting which redefine the relationship between painting and photography in terms of “close reading”.

The exhibition opens on Friday February 2nd, from 6 - 9 pm at 60-64 Broadway, Norwich, CT. Gallery hours: Tuesday through Saturday 12 noon - 4 pm, Friday 12 noon - 6pm. (860) 887-2724, www.norwicharts.org, www.clufff.com Online catalog: http://www.clufff.com/CloughNAC.pdf

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3. Barbara Kruger, FF Alumn, at Ikon Ltd., Santa Monica, thru March 3

Winter selections
Works by Barbara Kruger, Damien Hirst, Gerhard Richter, Yoshitomo Nara, Thomas Ruff, and Paul Morrison  
http://www.ikonltd.com/current/indexnew.cfm

Through March 3, 2007

IKON LTD./Kay Richards
Contemporary Art
Bergamot Station
2525 Michigan Avenue, Suite G4
Santa Monica, CA 90404
310-828-6629  
ikonltd@earthlink.net

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4. Andrea Cote, FF Member, at Delaware Art Museum, thru March 4

Fever Pitch
Delaware Art Museum
2301 Kentmere Parkway
Wilmington, DE

January 27 - March 4

I'll be creating a large site-specific wall drawing installation and showing photographs in this fantastic show!
www.delart.org
www.andreaspace.net

thank you.
Andrea Cote

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5. Linda Montano, FF Alumn, announces new Living Art project participant

Steven Reigns participates as a satellite member of Montano's, ANOTHER
21 YEARS OF LIVING ART(1998-2019)

On January 1, 2007, Steven Reigns embarked on S(T)EVEN YEARS, a 7-year endurance-performance based on Linda M. Montano's 14 YEARS OF LIVING ART 1984-1998, and in solidarity with Montano's ANOTHER 21 YEARS OF LIVING ART 1998-2019. S(t)even Years is guided by the seven energy centers of the body and is under the mentorship of Montano.

Each year Reigns will incorporate the Chakra's focus/color in the following:
In his writing practice
During meditation
Create an annual chapbook of his writings
Lead an annual free writing workshop
Wear one colored item of clothing each day to represent the year's chakra
Alter Living space for each year

For more information on S(T)EVEN YEARS:
www.stevenreigns.com

For more information on 14 YEARS OF LIVING ART:
www.bobsart.org; also LETTERS FROM LINDA M MONTANO,Routledge

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6. Rachel Rosenthal, FF Alumn, performance art intensive, Feb 16-18

The DbD Experience
A 32-hour Weekend Intensive

Friday February 16 2007 from 6pm to Midnight Saturday & Sunday February 17th and 18th 10am to 11pm MAX 14 Participants The DbD explores every aspect of performance: body, voice, concept, dramatic improvisation, music, sets, costumes and lighting. All levels welcome.

The 8-Week Performance Class
Tuesday Nights from 7pm to 11pm
February 27th through April 17th 2007

The 8-week series is designed for experienced performers or those who have taken the DbD experience. The workshop delves deeper into process and honing the performer's skills, and focuses on developing individual performance pieces.

The cost is $500.00
Limited Full and Partial Scholarships Available

For more info
Call 310.839.0661
Email: r2co@rachelrosenthal.org

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7. Isabel Samaras, FF Alumn, at M Modern Gallery, Palm Springs, CA, and more

Upcoming shows and news:

"Blond Bombshells" -- a group exhibition featuring painting and photography from a great group of artists, at M Modern Gallery, 2400 N. Palm Canyon Dr., Palm Springs, CA, opened January 27th.  www.mmoderngallery.com

And I'm just givin' it away in a bunch of charity auctions, check 'em out!

"Rua De Sao Paulo" -- Benefit Art Auction, at Jonathan LeVine Gallery, 531 W. 21st St, NYC, January 31, www.jonathanlevinegallery.com

"Charity By Numbers" -- a fundraiser for the Alliance for Children's Art in which a heap of fab artists were all given vintage paint-by-number paintings to work on.  Preview February 10th, 6-9pm, actual auction on eBay.  www.coreyhelfordgallery.com

"Hit the Deck" -- custom painted skateboard decks on display at the United tradeshow in Las Vegas, sponsored by Synthesis Magazine.  Sales benefit The Global Fund.  Feb. 13 - 15th.

And lastly, a nice little write-up on Thrillist (referring to my work as "modern art that's both provocative and bitchin'"):

http://www.thrillist.com/archives/2007/01/isabel_samaras.html

Keep On Keepin' On,

Isabel Samaras
izzycat@aol.com
www.devilbabe.com

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8. CUE Art Foundation, NY, presents performance art, Feb 2-3

NARUHODO! Za Wahrudo / OH I SEE! The World
Performance by CUE exhibiting artist Haruko Tanaka
CUE Art Foundation, 511 West 25th Street , NYC (between 10 and 11 avenues, closest subway E)
Saturday, February 3 at 4:00pm
Performance time: 40 min. Free Admission.
Reservations Recommended in Advance: 212.206.3583

Travel all over the globe in 40 minutes, Japanese style in artist Haruko Tanaka’s un-subtitled, re-cut and simultaneously translated screening of one of Japan's legendary travel TV quiz shows from the 80's, ‘NARUHODO! Za Wahrudo’. “Naruhodo” means “hmm yes, I see, I get it,” and “Za wahrudo” means “the World” in Japanese. The interactive performance at CUE will feature bi-lingual, dual/real time/live translation by three translators (one being the artist) guiding audience members on their 40 minute journey.

The performance will feature projected footage compiled from ten TV segments of various Japanese journalists each traveling to a different country throughout the world. At the end of each segment, the reporter poses questions about the local customs or particular activity taking place to Japanese celebrities back in the studio. During the screening, audience members will be invited to shout out their own answers to these quiz questions. As an extension to Tanaka’s current exhibition at CUE (February 1 – March 10), the program further reveals the artist’s attempt to delineate the gap and transcend the distance between the familiar and the foreign, by exploring the relationship between what the audience is hearing (and trusting) from the translators and what they are seeing on the screen.

And

The Man Who Pictured Space From His Apartment
CUE Art Foundation, 511 West 25th Street , NYC (between 10 and 11 avenues, closest subway E)
Performance by CUE exhibiting artists Cupola Bobber (artists Tyler Myers and Stephen Fiehn)
Friday, February 2 at 8:00pm
Saturday, February 3 at 6:00pm
Performance time: 1 hour, 30 min. Free Admission
Reservations Recommended in Advance: 212.206.3583

In homage to the irrepressible American desire to conquer distance, and with a nod towards the comic delights of vaudeville, the technological feat of the transcontinental railroad, and the inventive lens of Buster Keaton, Chicago-based experimental performance group, Cupola Bobber’s (artists Tyler Myers and Stephen Fiehn) premier performance of The Man Who Pictured Space From His Apartment at CUE will chronicle the duo’s struggle to find comfort in the mass of space by imagining a railroad to the sky, while investigating the stars, the railroad, and the meaning in that parallax.

Mixing basic materials with homespun engineering, and bumbling wit, Cupola Bobber thoughtfully tinkers with reality by creating imagery that hangs between staged theatrics and the utterly familiar details of everyday interactions. Using an intricate, barely visible web of lo-fi mechanics, the duo will convert a confined interior gallery space into an expansive nightscape through deceptively simple means, a universe (room) out of cardboard, and two small towers made from cardboard toy bricks, and various suspended props from the ceiling of the gallery.

Achieving height as a means of  reaking free, conquering distance, and attempting to defy gravity in pursuit of unbridled joy are themes persistently and futilely explored during the performance through physically-demanding activity including: tap dancing, one performer carrying the other on his shoulders, precariously balancing on towers formed out of cardboard boxes, donning paper mache hats in the shape of stars, becoming line dancing constellations and building ephemeral structures out of cardboard that have the illusion of being architecturally sound until they are laid to waste. The logic of the tasks flow into each other, as the space changes visually, and as the lighting recedes from spotlight, to twilight, and then to darkness peppered by incandescent stars. Dialogue involving conversations that describe something that can not be adequately explained finds meaning in the dozens of connecting threads left on the fringe of its intention.

Working in a medium in which the highly prized moment instantly comes and goes, Cupola Bobber push themselves to the physical limit in order to slow down time and turn a moment into something monumental, thus allowing the audience to break free of worldly constraints and allow the poignancy of their words, images, and envisioned contexts to seep in. 

CUE Art Foundation, a 501 (c)(3) non-profit arts organization, is dedicated to providing a comprehensive creative forum for contemporary art by supporting under-recognized artists via a multi-faceted mission spanning the realms of gallery exhibitions, public programming, professional development programs and arts-in-education.

Programming assistance is provided by: Accademia Charitable Foundation, Ltd., American Express Company, Milton & Sally Avery Arts Foundation, The Sam & Adele Golden Foundation for the Arts, Inc., The Greenwall Foundation, Holland & Knight Charitable Foundation, Inc., Joan Mitchell Foundation, Viking Foundation, The Andy Warhol Foundation for the Visual Arts, and with public funds from New York City Department of Cultural Affairs and New York State Council on the Arts.

For additional information, please contact Kara Smith, Programs Assistant, CUE Art Foundation, 212-206-3583, or email kara.smith@cueartfoundation.org

Gallery hours:  Tues-.-Sat., 10am-6pm. 

CUE Art Foundation
511 West 25th Street
New York, NY   10001
Tel 212 206 3583
Fax 212 206 0321
www.cueartfoundation.org

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9. Joshua Fried, FF Alumn, at Black and White Gallery, Brooklyn, Feb 4

{--shoes, steering wheel, boombox, laptop--} {-turning live radio into recombinant funk}

RADIO WONDERLAND live
Another Sunday matinée, in sunny Williamsburg, Brooklyn Sunday 4 February 2007, 2pm

Radio Wonderland in a gallery space usually means you can get as close as you want, I can be as weird as I want, and people don't dance.

But you still can dance if you want to.

This event is sponsored by the intrepid Transmission Arts organization free103point9, dedicated to all things art in wireless, or wireless in art. My performance will rock the PA speakers, but be ready to don radio headphones for their trademark "Radio 4x4", with a sound system you wear and control. It all takes place in a cool Williamsburg gallery, and includes a CD release event for The Dust Dive Flash.

Sunday 4 February 2007
Black & White Gallery
483 Driggs Ave.
Brooklyn, New York 11211
free103point9 performances 2pm-6pm

Map http://tinyurl.com/2h4sp4

free103point9's info link http://www.free103point9.org/event.php?eventID=972

Radio Video! January 7th performance now online.

I'm happy to announce Radio Wonderland's debut presence on YouTube, courtesy Ritsu Katsumata. Ain't nothing like the real thing, but if you can't make it in person, a video sure beats nothing.

You can find it via Radio Wonderland central: http://radiowonderland.org

coming in Feb.: Minneapolis, BAM Café!
...And don't forget "Morning Drive Time":
RADIO WONDERLAND Live Every Wednesday,
mangling morning rush hour radio talk
on free103point9 online radio.
http://free103point9.org/

Wednesday mornings
9:00am Eastern Time, 14:00 UTC (or GMT/Zulu) time

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10. Coco Fusco, Lucy Lippard, FF Alumns, in The New York Times, January 29

January 29, 2007
Feminist Art Finally Takes Center Stage
By HOLLAND COTTER, The New York Times

“Well, this is quite a turnout for an ‘ism,’ ” said the art historian and critic Lucy Lippard on Friday morning as she looked out at the people filling the Roy and Niuta Titus Theater at the Museum of Modern Art and spilling into the aisles. “Especially in a museum not notorious for its historical support of women.”

Ms. Lippard, now in her 70s, was a keynote speaker for a two-day symposium organized by the museum that was titled “The Feminist Future: Theory and Practice in the Visual Arts.” The event itself was an unofficial curtain-raiser for what is shaping up as a watershed year for the exhibition — and institutionalization, skeptics say — of feminist art.

For the first time in its history this art will be given full-dress museum survey treatment, and not in just one major show but in two. On March 4 “Wack! Art and the Feminist Revolution” opens at the Museum of Contemporary Art in Los Angeles, followed on March 23 by “Global Feminisms” at the Brooklyn Museum. (On the same day the Brooklyn Museum will officially open its new Elizabeth A. Sackler Center for Feminist Art and a permanent gallery for “The Dinner Party,” Judy Chicago’s seminal proto-feminist work.)

Such long-withheld recognition has been awaited with a mixture of resignation and impatient resentment. Everyone knows that our big museums are our most conservative cultural institutions. And feminism, routinely mocked by the public media for 35 years as indissolubly linked with radicalism and bad art, has been a hard sell.

But curators and critics have increasingly come to see that feminism has generated the most influential art impulses of the late 20th and early 21st century. There is almost no new work that has not in some way been shaped by it. When you look at Matthew Barney, you’re basically seeing pilfered elements of feminist art, unacknowledged as such.

The MoMA symposium was sold out weeks in advance. Ms. Lippard and the art historian Linda Nochlin appeared, like tutelary deities, at the beginning and end respectively; in between came panels with about 20 speakers. The audience was made up almost entirely of women, among them many veterans of the women’s art movement of the 1970s and a healthy sprinkling of younger students, artists and scholars. It was clear that people were hungry to hear about and think about feminist art, whatever that once was, is now or might be.

What it once was was relatively easy to grasp. Ms. Lippard spun out an impressionistic account of its complex history, as projected images of art by women streamed across the screen behind her, telling an amazing story of their own. She concluded by saying that the big contribution of feminist art “was to not make a contribution to Modernism.” It rejected Modernism’s exclusionary values and authoritarian certainties for an art of openness, ambiguity, reciprocity and what another speaker, Griselda Pollock, called “ethical hospitality,” features now identified with Postmodernism.

But feminism was never as embracing and accessible as it wanted to be. Early on, some feminists had a problem with the “lavender menace” of lesbianism. The racial divide within feminism has never been resolved and still isn’t, even as feminism casts itself more and more on a globalist model.

The MoMA audience was almost entirely white. Only one panelist, the young Kenyan-born artist Wangechi Mutu, was black. And the renowned critic Geeta Kapur from Delhi had to represent, by default, all of Asia. “I feel like I’m gate-crashing a reunion,” Ms. Mutu joked as she began to speak, and she wasn’t wrong.

At the same time one of feminism’s great strengths has been a capacity for self-criticism and self-correction. Yet atmospherically the symposium was a very MoMA event, polished, well executed, well mannered, even cozy. A good half of the talks came across as more soothing than agitating, suitable for any occasion rather than tailored to one onto which, I sensed, intense personal, political and historical hopes had been pinned.

Still, there was some agitation, and it came with the first panel, “Activism/Race/Geopolitics,” in a performance by the New York artist Coco Fusco. Ms. Fusco strode to the podium in combat fatigues and, like a major instructing her troops, began lecturing on the creative ways in which women could use sex as a torture tactic on terrorist suspects, specifically on Islamic prisoners.

The performance was scarifyingly funny as a send-up of feminism’s much-maligned sexual “essentialism.” But its obvious references to Abu Ghraib, where women were victimizers, was telling.

In the context of a mild-mannered symposium and proposed visions of a “feminist future” that saw collegial tolerance and generosity as solutions to a harsh world, Ms. Fusco made the point that, at least in the present, women are every bit as responsible for that harshness — for what goes on in Iraq for example — as anyone.

Ms. Kapur’s talk was also topical, but within the framework of India. It is often said that the activist art found in early Western feminism and now adopted by artists in India, Africa and elsewhere has lost its pertinence in its place of origin. Yet in presenting work by two Indian artists, Rummana Hussain (1952-1999) and Navjot Altaf (born in 1949), Ms. Kapur made it clear that they have at least as much to teach to the so-called West as the other way around.

Ms. Hussain, a religious secularist, used images from her Muslim background as a critical response to sectarian violence; Ms. Altaf (known as Navjot), though based in Mumbai, produces art collaboratively with tribal women who live difficult lives in rural India.

Collaborative or collective work of the kind Navjot does has grown in popularity in the United States and Europe in the past few years. And several of the symposium’s panelists — Ms. Lippard, the Guerrilla Girls, Carrie Lambert-Beatty, Catherine de Zegher — referred to it as a potential way for feminist art to avoid being devoured and devitalized by an omnivorous art market.

It was Ms. Fusco again who brought utopian dreams to earth. While sympathetic to the idea of collective work as an alternative to the salable lone-genius model, she suggested that the merchandising of art is at present so encompassing, and the art industry so fundamentally corrupted by it, that even collectives tend to end up adhering to a corporate model.

The power of the market, which pushes a few careers and throws the rest out — the very story of feminist art’s neglect — was the invisible subtext to the entire symposium. It was barely addressed, however, nor was the reality that the canonization of feminist art by museums would probably suppress everything that had made the art radical. Certainly no solutions for either problem was advanced, except one, incidentally, by Connie Butler, MoMa’s drawings curator, who is also the curator of the Los Angeles show.

In her panel talk she said that when she was agonizing over what choices of work to make for the “Wack!” exhibition, the art historian Moira Roth suggested, brilliantly, that she just eliminate objects altogether. Instead, Ms. Roth said, why not invite all the artists who made them to come the museum for a group-consciousness-raising session, film the session, and then make the film the show?

Somewhat unexpectedly, signs of a raised consciousness were evident among young people in the MoMA audience, the kind of people we are told either have no knowledge of feminism or outright reject it. In the question-and-answer sessions after each panel, the most passionate, probing and agitating questions and statements came from young women who identified themselves as students or artists.

When they spoke; when Richard Meyer, a gay art historian, spoke about queer feminism; and when Ms. Mutu ended her presentation by simply reading aloud a long list of curators, scholars and artists — all of them women, all of them black — who, could and should have been at the MoMA symposium, I had a sense that a feminist future was, if not secure, at least under vigilant consideration.

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11. Anna Mosby Coleman, FF Alumn, at Victory Hall, Jersey City, Feb 2

Anna Mosby Coleman, FF Alumn, performs - Groundhog Day Interlude - with Kamel Boutros, featured baritone at Victory Hall, Jersey City on February 2nd.

Anna Mosby Coleman, a concrete poet and Franklin Furnace Alumn, has produced her word works in a wide range of visual expression from film to installation to artist books, and gift ephemera. Franklin Furnace premiered her sung solo poetry performance and video work - an non - in 1998 as part of Franklin Furnace's inaugural live netcast series - The History of the Future. Anna's work has been collected by prominent institutions including MOMA and the Brooklyn Museum.

For many years, Anna has acknowledged the passing of Groundhog Day with doggerel, i.e. Groundhoggerel, in the form of street action, performance, email broadcast, and chocolate to help assuage the blues of winter and bring some cheer to hearts in anticipation of Spring.

In celebration of Feb 2, 2007, please enjoy the woodchuckly live performance - Groundhog Day Interlude

- written by Anna Mosby Coleman with featured baritone, Kamel Boutros, at Victory Hall. This free performance in Jersey City takes place at 186 Grand Street http://victoryhall.org/ on February 2nd at 9:30pm as part of the reception for the group show - Reverence for all Living Creatures.

Kamel Boutros is the Music Director of Calvary Episcopal Church, Manhattan and maestro of voice, piano, and the organ. Kamel has soloed for the Metropolitan Opera, partnered in performances with Martha Argerich, and played leads in the films: The Hamburg Cell, While the Widow was Away, and The Death of Klinghoffer. In 1998, he won first prize in the New York Oratorio Society's vocal competition, the year following his Carnegie Hall debut.

Works by nearly 40 artists including notable Franklin Furnace Alumns comprise this exhibition. The artists exhibiting are: Alice Wu, Alyce Mayo, Anna Mosby Coleman, Beth Leatherman, Brandon Sorg, Bruce Riley, Christina Soto, Dana Gannon, David Rios, Deirdre O'Dea, Denise Wallner, Donna Dodson, Donna Powers, Edward Fausty, Elisa Pritzker, Emily Helck, Grigory Gurevich, Haeri Yoo, Iris Kufert-Rivo, James Prez, Jane Harris, Jennifer Monson, Jill Scipione, Joe Chirchirillo, Kay Miller, Kevin Cuasay, Melissa Firelei Baez, Naomi Namba, Natalie Giugni, Owen Gray, Philip Pellicane, Rachel Rosenthal, Shawn Sheehy, Tim Vireo Keating, Toni Dalton, Vincent Salvati, and Willoughby Sharp.

Photographic and video documentation of Anna's 10 year DOG A DAY interactive street performance will be among the works in the exhibition, Reverence for all Living Creatures. The show began on the anniversary of the birthday of Mozart, January 27, 2007 and ends on the Lunar New Year, February 18, 2007. Please join us as we leave the Year of the Dog and enter the Year of the Pig.

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12. Nam June Paik, FF Alumn, discussed at College Art Assn. free panel, Feb 16

Preserving Nam June Paik's Video Installations: the Importance of the Artist's Voice
A free lunch-time session of the College Art Association (CAA) 2007 annual conference in New York, to take place at:

Museum of Modern Art (MoMA)
Celeste Bartos Lecture Hall
Entrance: 4 West 54th St.
New York NY

February 16, 2007 12:30-2pm

The International Network for the Conservation of Contemporary Art - North America (INCCA-NA) joins with the Museum of Modern Art (MoMA), the American Institute of Conservation (AIC), and the Getty Conservation Institute to present a panel discussion on the reinstallation of Paik's time-based media work.

The panel features presentations by Rudolf Frieling, Curator of Media Arts at the San Francisco Museum of Modern Art; Ulrich Lang, Chief Conservator at the Museum of Modern Art in Frankfurt, and Jochen Saueracker, Nam June Paik's assistant of twenty years.

The discussion focuses on the artist’s role in the long-term survival of media installations and options available in the absence of the artist's voice.  Two primary topics are the loss of visual components as technologies become obsolete and the loss of conceptual intent when there is no roadmap to guide future curators. 

This is a free lunch-time session as part of the College Art Association (CAA) 2007 annual conference, and will take place at:

Moderator: Gwynne Ryan, Objects Conservator at the Museum of Fine Arts Boston.

Additional Discussants: Barbara London, Associate Curator of MoMA's Media department, and Glenn Wharton, Research Scholar at New York University and Special Projects Conservator at MoMA.

For more information about this event see http://www.incca.org or contact:
Gwynne Ryan
U.S. membership coordinator for INCCA-NA
gryan@mfa.org

More information about the CAA conference can be found at: http://conference.collegeart.org/2007/
Please note that this is a free session, and registration for the CAA annual conference is not required to attend this panel discussion

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13. Terry Dame, FF Alumn, CD release party, Barbes, Brooklyn, Feb 2, and more

Hi Everyone,
Electric Junkyard Gamelan is proud to announce the release of our new CD "Live From Here".  We are having a CD release show this Friday, February 2nd at Barbes in Brooklyn.  It's 9 live tracks and 2 studio recorded bonus tracks...that's 72 minutes of pure unadulterated musical joy from your favorite invented instrument group.  If you have never heard us before check out our music, photos and video on our website (www.terrydame.com) then come out and groove to the Big Barp, the Terraphone, the Kachapitar and more....  Its danceable, its tranceable....come out and get Barped.

Peace,
Terry

Friday,February 2nd, 8:00pm
Barbes
376 Ninth St
Brooklyn
www.barbesbrooklyn.com/

Other upcoming Terry Dame performances:

w/ Paprika (all girl worldbeat, acid rock dance band)
Saturday, Feb 3rd
Superfine
126 Front Street
Dumbo, Bkln

w/Paprika
Saturday, Feb 17th
Winter Dance Party
Roxbury Arts Center
Roxbury, NY
www.roxburyartsgroup.org

www.paprikamusic.com

with Zoe Lewis
Sunday, Feb 18th, 7pm
Mo Pitkins
34 Ave A
NYC
www.mopitkins.com
www.zoelewis.com

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14. Clarinda Mac Low, FF Alumn, wins Foundation for Contemporary Arts grant 2007

Congratulations to Clarinda Mac Low, FF Alumn, who received The Foundation for Contemporary Arts 2007 Grants to Individuals in the amount of $25,000. Further information can be found at www.foundationforcontemporaryarts.org

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15. John Baldessari, FF Alumn, at Portikus, Frankfurt, Germany, opening Feb 9

JOHN BALDESSARI
Eden: Adam and Eve (with Ear and Nose)
Plus Serpent.

Opening: February 9, 2007, 8 pm
Exhibition: February 10, 2007—March 18, 2007

Conversation with the press: February 9, 2007, 11 am
John Baldessari speaks at the Städelschule: February 10, 2007, 3 pm

PORTIKUS
Alte Brücke 2 Maininsel
60594 Frankfurt am Main, Germany
Telephone 49 69 962 44 54-0 Fax 49 69 962 44 54-24
http://www.portikus.de
We are very pleased that John Baldessari has accepted our invitation, resulting in the present exhibition at the Portikus. Baldessari has been developing his own style in video works, collages, and photography and text montages since the early 1960s. Like many artists of his generation, he focused on deconstructing a modernist idea regarding the autonomy of art.

Eden: Adam and Eve (with Ear and Nose) Plus Serpent, a new project developed for Portikus, draws on earlier works which already used the motifs of ear and nose as pictorial elements. The sidewalls at the Portikus display magnified sections of a female and a male head. Like reliefs, the two eyes and ears emerge from and are recessed into the wall, respectively, treating them as sculptural and photographic elements at the same time. The front wall displays an oversized black-and-white photograph of a snake held up by a person.

The snake motifs has appeared in earlier works by Baldessari such as the nine-part Shape Derived from Subject (Snake): Used as a Framing Device to Produce New Photographs, 1981, where, as the title indicates, it served as a formal means in an experiment with framing. Only the serpentine line determined the selection of detail. One photograph from this series shows the same picture of a snake that now reappears at the Portikus as a complete motif.

In more than one way, the exhibition points toward the incompatibility of purity and temptation, as described also in the Christian myth of the Garden of Eden. Baldessari employs the universal symbolism inherent in his motifs as a means of visual invention.


John Baldessari (b. National City, 1931) lives and works in Santa Monica, CA. He is currently Professor of Art at the University of California, Los Angeles, and taught generations of Californian artists at the California Institute of Arts, Valencia until 1990. Most recently, he curated Ways of Seeing: John Baldessari Explores the Collection at the Hirshhorn Museum and Sculpture Garden, Washington, DC, and designed the display for Magritte and Contemporary Art: The Treachery of Images at the Los Angeles County Museum, Los Angeles.

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16. Harley Spiller, FF Alumn, in The New York Times, January 26

January 26, 2007
The New York Times
My City
Queens Now Has Less Feta, More Jellyfish

By WILLIAM GRIMES

Like most New York immigrant stories, mine started with a long trip, a small apartment in a humble neighborhood and hope for a better life. Sure enough, I graduated from the little apartment to a bigger one, and then a house. I got a better job and a better life. But 27 years later, the neighborhood remains the same: Astoria, Queens.

Try as I might, I cannot think of a good reason to leave. From the Manhattan perspective, Astoria makes some sense because it is, after all, only a few short subway stops from Bloomingdale’s. If you cannot afford Manhattan, well, Astoria — like Park Slope, Sunnyside, Cobble Hill and all the rest of the runner-up darlings of the real-estate pages — qualifies as a fallback position.

But that’s not how I see it. For me, Astoria is not a satellite of Manhattan, it’s the gateway to Queens, a jumping-off point for the borough that, when it comes to ethnic diversity, knows no equal. For me this is not an abstract demographic issue. It is as real as the food on my plate.

As Astoria has changed, and along with it the rest of Queens, my feeding habits have too, never more so than in the last couple of years. Three years ago I stepped down as The Times’s restaurant critic and re-entered civilian life. Gone were the days of lavish Manhattan meals paid for by my employer. I rediscovered my own kitchen and, at the same time, my own neighborhood. The parasitic life of being fed by others was over. My wife, Nancy, and I were hunter-gatherers again. But the terrain had changed.

In 1980, when my rent was $250 a month, Astoria was heavily Greek and Italian. Broadway, my nearest shopping street, abounded in Italian delicatessens and Greek butchers who hung hairy goat carcasses and fuzzy rabbits in the window. Their number has dwindled with the years. A Swiss butcher named René operated a truly anomalous store, a French-style boucherie. His ancient, white-haired mother sat at the cash register and took the money. René, who looked like an enormous slab of meat, took my orders for, say, noisette of pork, without raising an eyebrow. Alas, René is long gone, as is Walken’s Bakery a few doors away, owned by the family of the actor Christopher Walken.

Other ethnic surprises survive. Although the original owner has retired, Astoria Meat Products continues to sell Eastern European sausages, breads and jams. Big chunks of double-smoked bacon and plump, garlicky kielbasa hang from steel rods overhead. On weekends, when the mood strikes, I still drop by and pick up half a smoked, glazed ham.

The Italians are almost all gone, and many of the Greeks have moved on too. The demise of my favorite Greek deli had one fortunate consequence, though. It led me to Titan Foods, a supermarket that draws Greek shoppers from miles around. This is the place for olives — nearly 20 varieties displayed in big steel cylinders — and for feta cheese in every gradation, from crumbly, salty Greek styles to smoother, milder fetas from Bulgaria. It is almost shocking to report that the French make feta too, the creamiest of all.

The real prize in the deli case at Titan is home-made yogurt, thick, tangy and rich, a different species entirely from the standard grocery store brands. Titan sells the standard Greek pastries from a bakery counter, but I go either to Omonia Cafe, on Broadway, where the phyllo-topped custard is so good that I finally asked the woman behind the counter to pronounce it for me so I could order it by name. It’s: galaktoboreko (guh-lock-tuh-BORE-ee-ko). The baklava is also first-rate — packed with finely chopped nuts, well-seasoned and not too goopy — but there’s an even better version at a hole-in-the-wall on 31st Avenue: Thessalikon Pastry Shop, a caterer that sells its wares, often grudgingly, by the tray.

Let us not romanticize the Greek restaurants of Astoria. For some reason, many a food writer, charmed by the neighborhood, has gone weak in the knees over steam-table moussaka, rubbery fried calamari and greasy lamb shanks. Greek cuisine does not, even at its best, ascend to great heights. For a time, Elias Corner on 31st Street enjoyed a cult reputation that utterly mystified me. It is an estiatorio, a type of restaurant in which customers approach a fish counter, point to their choice and pay by the pound. The fish is painted with some olive oil, strewn with a few herbs and grilled. That’s it.

For some reason, this formula besotted New York for several years, even though rank amateurs could produce the same results at home. I much prefer the five-year-old Agnanti, at the upper end of the neighborhood near Astoria Park, which offers unusual regional dishes like ntaka, a Cretan bread salad, and mustard-dipped shrimp kataifi.

Astoria without Greeks is unthinkable. It is the home not only of Socrates Sculpture Park but also of Socrates Realty and Athena’s nail salon. But in my end of the neighborhood, near the 36th Avenue el stop, the ethnic swirl has brought Bangladeshis, Colombians, Brazilians and Mexicans.

On summer nights, unpredictably, a Bangladeshi vegetable vendor occasionally turns up, his cart heaped high with Asian vegetables sold by no one else. Asian sari shops, sweet shops and grocery stores now line 36th Avenue, along with a video store that brightens the street with its showings of Bollywood musicals on a flat-screen television. On Broadway, one stop north on the N Line, Mexican taquerias flank the off-track betting parlor.

At the far end of the neighborhood, immigrants from Egypt and North Africa have remade a desolate stretch of Steinway Street into a lively boulevard lined with restaurants, hookah cafes and bakeries.

So much for home base. Queens is vast. Over the decades, my explorer’s compass has pointed in wildly different directions. For a while, a Gujarati restaurant in Elmhurst had my full attention, until it burned down. Ping’s and Joe’s Shanghai in Elmhurst also enjoyed my favor. In Woodside, La Flor Bakery and Cafe sells sublime $4 fruit tarts that require two diners to finish them off. My thoughts often turn to them in idle hours.

But Flushing is now my north star. Over the years, an area once in sorry decline has evolved into a pulsating Chinese and Korean neighborhood and a food-lover’s paradise. This is not new news, but it took me a while to catch up. My culinary life has been transformed by the Gold City Supermarket on Kissena Boulevard, a huge, high-energy store, half of it devoted to a dazzling selection of imported sauces, condiments and dried and frozen foods, the other half to produce and meat departments that boggle the mind.

It pays to do some homework before visiting. Although prices are posted, all signs are in Chinese characters. Bruce Cost’s classic “Asian Ingredients” (Morrow Cookbooks) or Huang Su-Huei’s well-illustrated “Chinese Cuisine” (Wei-Chuan) can serve as guides to the aisles stacked with exotic barbecue sauces, light and dark Chinese soy sauces and small treasures like pickled mustard cabbage.

The fish counter is dramatic. I once saw an eel make a break for freedom, slithering across the produce-department floor. Customers like to pick out a live fish, which an impassive fishmonger holds aloft, flopping in a net. A quick whack from a wooden mallet, and the performance is over.

The post-shopping reward is just a few doors away, at the Fay Da Bakery. This is a chain with two outlets in Chinatown and six others scattered across the city. Patrons take a tray, grab a pair of tongs and load up on steamed and fried buns, both savory and sweet. Some are both at once, like a chewy, sticky-rice bun that looks like a honey-dip doughnut outside but inside contains pork bits swimming in a rich gravy.

Then it’s on to downtown Flushing and the J&L Mall. Flushing abounds in monster Chinese restaurants that do a bonanza dim-sum business. But hidden in nooks and corners are tiny stands that offer outstanding bargains. My consigliere in these matters is Harley Spiller, a relentless Chinese-food detective who occasionally sends out field reports to his friends. The “mall” is nothing more than a corridor on Main Street lined by rows of snack stands and lunch counters. Little or no English is spoken, so non-Chinese customers adapt. Finger pointing and basic business terms like “two” or “three” work fine. The stall owners, in my experience, are friendly, accommodating and intrigued to see a non-Chinese customer.

Halfway down the aisle, on the left, a bun stall turns out a variety of large steamed and baked buns at a dollar or two apiece. The best is a crepelike envelope of soft dough encasing chopped chives, egg and glass noodles. A close cousin, which came hot from the oven on my most recent visit, was a big ball of pillowy steamed bread dough filled with egg, glass noodle, chopped Chinese leeks and tiny dried shrimp.

At the entrance of the mall, to the right, the buns come three for a dollar. The staple items are small steamed buns with beef or pork filling, but you can also find sweet fried doughnuts accented with scallion, or sticky rice snacks with a meat and mushroom center. These are steamed in a bamboo leaf and then tied up in a neat package.

At the back of the mall, spicy Szechuan vegetable dishes are sold from a counter by weight. There are about a dozen choices. I picked four at random on my last visit: long strands of pickled seaweed; cabbage and peppercorns in a fragrant, winey pickling broth; cubes of amber, firm tofu with peanuts and sesame seed; and pickled long beans, chopped into tiny slices and tossed with red-pepper flakes.

Flushing may occupy me for a while. There’s another mall just a couple of blocks down Main Street, the Golden Shopping Mall, that merits investigation. And even more seductive is the strangely named Waterfront International Enterprises, a restaurant specializing in the cuisine of northeastern China. It’s cold-weather food, heavily reliant on hearty soups and stews. Grilled whole jellyfish, evidently, is the traditional way to start the meal. Count me in.

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Goings On is compiled weekly by Harley Spiller

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