2019 | 2018 | 2017 | 2016 | 2015 | 2014 | 2013 | 2012 | 2011 | 2010 | 2009 | 2008 | 2007 | 2006 | 2005 | 2004 | 2003 | 2002

ABOUT GOINGS ON: How to subscribe and submit listings

Goings On: posted week of February 27, 2007

1. Nicolás Dumit Estévez, FF Fund for Performance Art recipient, makes a pilgrimage from lower Manhattan to northern Queens, Feb 26-27
2. Nina Yankowitz, Maureen Connor, Joyce Kozloff, Tiffany Ludwig, Howardena Pindell, FF Alumns, at St. John’s University, thru April 21
3. Kyong Park, FF Alumn, at Miguel Abreu Gallery, NY, Feb 27, 7 pm
4. Yvonne Rainer, FF Alumn, at Otis College of Art and Design, CA, Feb 26, 7:30 pm
5. Joseph Nechvatal, FF Alumn, at McDonough Museum, OH, opens March 2, and more
6. Sol LeWitt, Martha Rosler, Ed Ruscha, FF Alumns, at Stedelijk Museum, NL
7. Eve Biddle, FF Member, at Woman Made Gallery, Chicago, opening March 2
8. Hans Haacke, FF Alumn, at Santa Fe Art Institute, March 19-23
9. Andrea Fraser, FF Alumn, in the Village Voice, Feb 15 issue
10. Eleanor Antin, Dara Birnbaum, Louise Bourgeois, DISBAND (Ilona Granet, Donna Henes, Ingrid Sischy, Diane Torr, Martha Wilson), Mary Beth Edelson, Rose English, Barbara Hammer, Susan Hiller, Joan Jonas, Joyce Kozloff, Suzanne Lacy, Ana Mendieta, Linda Montano, Ree Morton, Pauline Oliveros, Yoko Ono, Howardena Pindell, Adrian Piper, Martha Rosler, Miriam Schapiro, Carolee Schneemann, Bonnie Sherk, Cindy Sherman, Mimi Smith, Nancy Spero, Mierle Laderman Ukeles, Cecilia Vicuña, Hannah Wilke, FF Alumns, at MOCA Geffen Contemporary, Los Angeles, opening March 4
11. Theodora Skipitares, FF Alumn, in The New York Times, Sunday
12. Tanya Barfield, FF Alumn, at CUNY Grad Center, May 17
13. Ken Aptekar, FF Alumn, at Rubin Museum of Art, NY, March 9 and 16
14. Mendi & Keith Obadike, FF Alumns, in Evanston, IL and online, March 1-8
15. Dumbolio variety show, at powerhouse Arena, Brooklyn, March 10, 8 pm
16. Mitzi Humphrey, FF Alumn, at art6 Galler, Richmond, VA, March 3, 8 pm
17. Cary Peppermint, FF Alumn, at Pace University, NY, March 2, 10 am-3:30 pm
18. Vitaly Komar, FF Alumn, at Columbus College of Art & Design, OH, March 12
19. Doug Skinner, FF alumn, at Jalopy, Brooklyn, March 3
20. RENO, FF Alumn, at the Puffin Room, NY, March 3, 8 pm
21. Andrea Fraser, FF Alumn, at The Whitney Museum, NY, March 22, 7 pm
22. Eileen Myles, FF Alumn, receives Warhol Foundation Arts Writing Initiative grant.
23. Tim Miller, FF Alumn, in Iowa and Florida, March 2 & 4
24. Lynn Cazabon, FF Alumn, at PS 122, NY, opening March 3, 5-7 pm
25. Krzysztof Wodiczko, FF Alumn, at Eyebeam, NY, March 1, 6-8 pm
26. Duston Spear, Nancy Spero, FF Alumns, at Sara Tecchia Roma Gallery, NY, opening March 1
27. Jay Critchley, FF Alumn, at Andy Warhol Museum, Pittsburgh, March 11-June 17
28. Frank Green, FF Alumn, in Anglemagazine.org
29. DJ Spooky, FF Visionary, at Town Hall, NY, March 1
30. Sarah Schulman, Jack Waters, FF Alumn, at Housing Works Bookstore Cafe, NY, March 6, 7 pm
31. Harley Spiller, FF Alumn, photo essay in Gastronomica, Winter 2007

1. Nicolás Dumit Estévez’, FF Fund for Performance Art recipient, makes a pilgrimage from lower Manhattan to northern Queens, February 26-27

Sowing Seeds On Foot from the tip of Lower Manhattan to the far end of Queens

Lower Manhattan Cultural Council and Franklin Furnace host a work by Nicolás Dumit Estévez

February 26 – 27, 2007; FREE
Beginning: 125 Maiden Lane, between Pearl and Water Streets, Lower Manhattan,
Departure time: 2:00 pm, Monday, February 26, 2007
Ending: Queens Museum of Art, Flushing Meadows Corona Park, Queens, NY
Estimated arrival time: 7:00 pm, Tuesday, February 27, 2007

WHO: Lower Manhattan Cultural Council (the Council) and Franklin Furnace are proud to partner on interdisciplinary artist Nicolás Dumit Estévez’s three-year performance series For Art’s Sake. Seven arduous pilgrimages enacted by Estévez were conceived as a part of the Council’s Workspace residency program and the Franklin Furnace Fund for Performance Art.

WHAT: Estévez stages a series of pilgrimages that reverse the relationship between art and religion, modeling his piece after the Catholic El Camino de Compostela in Spain, where devotees travel to the tomb of St James. Religion becomes a tool in the service of art as the artist endures separate journeys that begin in Lower Manhattan and conclude at seven museums. Upon completion of each penance, a passport credential is signed by the director of the institution or by an appointed official.

Estévez journeys for two days from Lower Manhattan Cultural Council to the Queens Museum of Art, stopping at Queens public libraries along the way to continue disseminating knowledge about performance art. During his path through Queens he is given posada (shelter) at artist run collective and gallery Local Project and The Y Gallery; both organizations will offer a community meal and art talk to celebrate Estévez’ visits. The departing blessing will be delivered cell-epathically from Berlin by independent curator Alanna Lockward.

As part of this sixth pilgrimage, Estévez delivers at each stop a presentation entitled Seven Lives, through which he introduces his audiences to the works of Nao Bustamante, Lisa Bufano, Paco Cao, Coco Fusco, César Martínez Silva and Linda M. Montano, and discusses the five penances that he has undertaken For Art’s Sake so far. Estévez presents each of the sites of his visitations with a free copy of performance art scriptures, consisting of two separate publications tied together by a silk ribbon: Performance Art: From Futurism to the Present, by RoseLee Goldberg and Corpus Delicti/Performance Art of the Americas, edited by Coco Fusco.

The lengthy journey from the urban asphalt of Lower Manhattan concludes as Estévez reaches the placid meadows of Corona Park, and the promise of a bountiful harvest at the end of the exhausting day: a sought-after rest at the Queens Museum of Art. Upon his arrival, the Queens Museum of Art Director Tom Finkelpearl records his signature in the passport with which the pilgrim travels, thus officially stating that the sixth penance of the series has been duly executed.

Past Pilgrimages
For the first journey, on March 20, 2005 Estévez was heavily laden with donated art publications strapped to his back for a trip that took him from the heart of the world’s financial capital in Lower Manhattan to East Harlem. El Museo del Barrio’s Director Julián Zugazagoitia commemorated the performance by signing Estévez’s passport.

For his second pilgrimage, on June 28 and 29, 2005, Estévez forged his way walking backwards from the Council downtown to the Bronx Museum of the Arts, spending the night on a hard bed of art catalogues provided by Longwood Arts Project, Bronx Council on the Arts. The strenuous two-day journey came to an end when the Director of The Bronx Museum of the Arts, Olivia Georgia, officially greeted him at the door and signed his passport.

During his third journey of the series on Sunday, December 4, 2005 Estévez walked from the Council to the Studio Museum in Harlem (SMH) dressed in austere black and white raiment and wearing a heavy iron crown embellished with seven admission buttons from the Metropolitan Museum of Art. Upon arrival at SMH, Director of Education and Public Programs, Sandra Jackson lifted the crown off his shoulders and signed the passport, thus confirming that the journey was successfully completed.

For the fourth pilgrimage on February 2, 2006 Estévez traveled by foot and ferry from the offices of the Council in Lower Manhattan to the Jersey City Museum, stopping at educational and cultural organizations along the route: an Episcopal church, an all-boys Catholic school and a public school, to “Spread the Word” about performance art and the penances that he has been undertaking. Following Estevez’ arrival at the Jersey City Museum, Marion Grzesiak, Executive Director, recorded her signature in the passport.

As part of the fifth penance on October 28, 2006, Estévez traveled on his knees from the offices of the Council on Maiden Lane to the Smithsonian’s National Museum of the American Indian (NMAI) at Bowling Green. In this occasion he carried in his hands a piece of casabe, a type of bread prepared from the indigenous cassava root, thus transporting a legacy of the Caribbean Taíno culture that was presented as a gift to the host institution. Peter Brill, NMAI’s Assistant Director for Exhibitions, Public Programs and Public Spaces, signed the passport.

A component of Estévez’ penances consists of a handmade devotional guide created at the Center for Book Arts in collaboration with artists Ana Cordeiro and Amber McMillan. For information about this publication visit www.centerforbookarts.org

ABOUT Nicolás Dumit Estévez
Nicolás Dumit Estévez is an interdisciplinary artist who has exhibited and performed extensively in the US as well as internationally at venues such as Madrid Abierto/ARCO, The IX Havanna Biennial, The III International Theatre Festival of Santo Domingo, PERFORMA 05, and others. Awards include the PS1/MoMA National Studio Program, the Lambent Fellowship Program of Tides Foundation, the Michael Richards Fund and the Franklin Furnace Fund for Performance Art. His work has been reviewed in The New York Times, NYArts Magazine, The Boston Globe, Art Nexus, Flash Art, and in major publications in Mexico, Spain, Cuba and the Dominican Republic. He has been commissioned to create a public intervention for the MacDowell Colony Centennial Celebration in 2007. Born in Santiago de los Treinta Caballeros, Dominican Republic. Estévez lives and works in the South Bronx.

ABOUT Lower Manhattan Cultural Council (the Council)
Lower Manhattan Cultural Council presents, promotes and supports the arts throughout Manhattan. Founded in 1973 by David Rockefeller, and housed in the World Trade Center until 9/11, the Council offers the public a rich calendar of free events in the visual, performing and media arts - on the streets, parks, office buildings and locations where the arts are least expected. The Council’s renowned artist residencies, innovative real-estate partnerships, grants and advocacy programs support hundreds of artists and arts groups each year. www.lmcc.net

ABOUT Franklin Furnace
Franklin Furnace's mission is to present, preserve, interpret, proselytize and advocate on behalf of avant-garde art, especially forms that may be vulnerable due to institutional neglect, their ephemeral nature, or politically unpopular content. Franklin Furnace is dedicated to serving artists by providing both physical and virtual venues for the presentation of time-based visual art, including but not limited to artists' books and periodicals, installation art, performance art, "live art on the Internet"; and to undertake other activities related to these purposes. Franklin Furnace is committed to serving emerging artists and their ideas; and to assuming an aggressive pedagogical stance with regard to the value of avant-garde art to cultural life. www.franklinfurnace.org

ABOUT The Queens Museum of Art
The Queens Museum of Art is dedicated to presenting the highest quality visual arts and educational programming for people in the New York metropolitan area, and particularly for the residents of Queens, a uniquely diverse ethnic, cultural and international community. The Museum fulfills its mission by designing and providing art exhibitions and educational experiences that promote the appreciation and enjoyment of art, support the creative efforts of artists, and enhance the quality of life through interpreting, collecting, and exhibiting art, architecture, and design. The Queens Museum of Art presents artistic and educational programs and exhibitions that directly relate to the contemporary urban life of its constituents while maintaining the highest standards of professional, intellectual, and ethical responsibility. www.queensmuseum.org

DIRECTIONS: #7 to Flushing. Exit Willets Point/Shea Stadium and follow the yellow signs on a ten-minute walk through the park to the Museum, which is located next to the Unisphere.

ABOUT Local Project (LP)
Local Project is a 501 (c)(3) nonprofit organization committed to building a forum for artists, creating synergy between their artwork and the public. LP supports all forms of self-expression by providing an open space for artists without concern to their genre, medium, or provenance. www.localproject.org

ABOUT Y Gallery
Y Gallery located in Queens, New York, is a space that seeks to create a dialogue amongst different communities through exhibitions, lectures and other activities. In July 2006 Augusto Yayiko opened Y Gallery with Cecilia Jurado as curator, thinking about New York as a platform for various and diverse cultures and realities. Y Gallery invites artists coming from different cities or countries who have investigated this condition of diversity and fusion using all types of media. info@ygallerynewyork.com

The Franklin Furnace Fund for Performance Art
The Center for Book Arts
Lambent Fellowship Program of Tides Foundation
The National Association of Latino Arts and Culture
The Michael Richards Fund, a program of Lower Manhattan Cultural Council
The Urban Artist Initiative/NYC
The Queens Museum of Art

Franklin Furnace Fund for Performance Art is supported by Jerome Foundation and public funds from the New York State Council on the Arts, a state agency.

PRESS CONTACT: Jessica Sagert, 212-219-9401x114, jsagert@lmcc.net


2. Nina Yankowitz, Maureen Connor, Joyce Kozloff, Tiffany Ludwig, Howardena Pindell, FF Alumns, at St. John’s University, thru April 21

From the Inside Out: Feminist Art Then & Now
Group exhibition curated by Claudia Sbrissaa

Including works by Nina Yankowitz:


Part I: PERSONAE MIMICKINGS / An Opera: ©1979
Limited edition of 220, Six silkscreens: Chromatic sound score/text, and CD

An electronically woven score of dialects sounding as if musical instruments

Distributed by Printed Matter NYC 2007

Writings 1971-1979 Nina Yankowitz
Published by Steffanotti Gallery 1979
Distributed by Printed Matter NYC 2007

Featuring works by:
Nancy Azara, June Clark, Maureen Connor, Annette Cords, Marietta Davis, Angela Ellsworth, Bea Feitler, Molly Snyder-Fink,Barb Hunt, Joyce Kozloff, Rebecca Layton, Marimekko, Libby McInnis, Diane Miller, Melissa Meyer, Jocelyn Nevel, Howardena Pindell, Jessica Plattner, Melissa Potter, Abigail Rubenstein, Miriam Schaer, Mira Schor, Theodora Skipitares, Joan Snyder, Two Girls Working: Tiffany Ludwig and Renee Piechocki, Kay WalkingStick, Nina Yankowitz, Cheryl Yun, Jennifer Zackin, Julie Voyce, Barbara Zucker.

Feb 22-April 21, 2007 Free and open to the public

Dr. M.T. Geoffrey Yeh Art Gallery
Sun Yat Sen Hall
St John’s University
8000 Utopia Parkway
Jamaica, Queens, NY
Gallery hours: Tuesday through Thursday 10 AM - 5 PM, Friday 10 AM - 3 PM, Saturday 12 PM - 3 PM, Sunday & Monday closed

For further information & for directions please call (718) 990-7476 or visit http://www.stjohns.edu/about/directions/directions/queens/queens.sju

St John’s University is honored to present: From the Inside Out: Feminist Art Then & Now, an exhibition which features a broad range of feminist art activity from first generation artists as well as recent work from contemporary artists who locate themselves within the feminist tradition. This intergenerational perspective aspires to raise questions and prompt discourse regarding how we locate ourselves individually, collectively and historically within the feminist tradition.


3. Kyong Park, FF Alumn, at Miguel Abreu Gallery, NY, Feb 27, 7 pm



A lecture by

Tuesday, February 27, 7pm
Miguel Abreu Gallery
36 Orchard Street (between Canal & Hester)
Tel 212.995.1774
Seating is limited. RSVP dfabricius@earthlink.net

From July 30 to August 24, 2006, a collection of individuals from three continents traveled together through Ljubljana, Zagreb, Novi Sad, Belgrade, Skopje, Prishtina, Tirana, Podgorica and Sarajevo in the Lost Highway Expedition. The general path of this socio-aesthetic movement was to discover new ideas and practices of Balkanization. The importance of understanding Balkanization has been underestimated, as we begin to see more and more of such fragmentation in the proliferation of economic, social and cultural enclaves, extraterritorial phenomena, shrinking cities, global cities, "tiger mappings" of political territories, gerrymandering of voting districts and other apartheids.

About 100 travelers joined more than 200 participants from the region, moving as a network of smaller groups with paths over a wider area. The participants often moved from one group to another, and entered and left the expedition at any point. The Lost Highway Expedition was intentionally under-programmed to become an anarchistic practice of cultural production. By motivating the participants to define the project and its programs, it was also an experiment in the behavior of an emergent swarm. As a decentralized and non-hierarchical network, it was designed to produce multiple process and independent projects after the expedition i.e., exhibitions, forums, publications, workshops.

Kyong Park was the founding director of Centrala Foundation for Future Cities in Rotterdam (2005), the editor of Urban Ecology: Detroit and Beyond (2005), a co-curator for Shrinking Cities in Berlin (2002-2004), a founding member of the International Center for Urban Ecology in Detroit (1999-2001), a curator of the Kwangju Biennale in South Korea (1997) and the founder/director of the Storefront for Art and Architecture in New York (1982-98).

Lost Highway Expedition is a project by Centrala Foundation and the School of Missing Studies. Its founding members are Azra Aksamija, Katherine Carl, Ana Dzokic, Ivan Kucina, Marc Neelen, Kyong Park, Marjetica Potrc and Srdjan Jovanovic Weiss, together with partners in the cities of the Lost Highway Expedition.

Engaging the City is an independent monthly lecture series that serves as a venue for individuals in a variety of professions who engage the extraordinary and exciting complexity of contemporary cities in novel ways. Lecturers are from the fields of architecture, urban planning, and urban design, but also art, philosophy, film, and activism.

This lecture is supported by The New York State Council on the Arts
and The Four of Babylon


4. Yvonne Rainer, FF Alumn, at Otis College of Art and Design, CA, Feb 26, 7:30 pm

Monday February 26th 7:30 PM Yvonne Rainer reads from her memoir, Feelings are Facts, followed by a conversation with Cindy Smith about the construction of memoir through objects. Ben Maltz Gallery, Otis College of Art and Design.


5. Joseph Nechvatal, FF Alumn, at McDonough Museum, OH, opens March 2, and more

McDonough Museum of Art
Telephone 330 941 1400
Fax 330 941 1400
A Center for Contemporary Ideas, Art, Education, and Community
Youngstown State University
One University Plaza
Youngstown Ohio 44555

Modeling the Photographic: The End(s) of Photography
February 23 - March 23, 2007
Opening Reception, Friday, March 2, 6 - 8 pm
Panel Discussion 6 - 7 pm in the Museum’s auditorium

Modeling the Photographic: The End(s) of Photography, organized by Saul Ostrow for the McDonough Museum, Youngstown State University, surveys the effects that photography’s doppelganger, the digital image is having on the practices of artists and photographers. Though few, if any of the artists included actually make photographs in the traditional sense of camera and darkroom, all use photography as their reference, demonstrating the continued attraction its effects and appearances have on us. What does unite their work is that whether simulating the look of the hyper-real, the phantasmagoric, the abstract, or the “actual,” or engaging issues of documentation, representation, and reproduction the works in this exhibition make no particular claims outside of the specificity of their medium, to truthfulness, or objectivity. Along with such nationally and internationally recognized artists as, James Welling, Barbara Probst, Fabian Marcaccio, Joseph Nechvatal, Curtis Mitchell, Matthew Buckingham, and Penny Umbrico, this exhibition includes work by Ohio artists; Bruce Checefsky, Michael DeFabbo, Troy Richards/Knute Hybinette, Dan Tranberg, Barry Underwood and Kelli Connell.

There will be a panel discussion entitled, “Whatever Ever Happened to Photography?”

The panel will explore the issues faced by artists, photographers, historians and curators as digital technologies redefine the nature of the photographic image and as other traditional mediums come to be annexed and subsumed by the experiences and aesthetics of the media-sphere. Panel participants include: Saul Ostrow, Dan Tranberg, Shirley Irons, and Kelli Connell. Saul Ostrow is Chair of Visual Arts and Technologies, as well as Head of Painting at the Cleveland Institute of Art. He is the Editor of the book series Critical Voices in Art, Theory and Culture published by Routledge, UK, the Art Editor for Bomb Magazine and was Co-Editor of Lusitania Press (1996-2004.) Since1987, he has curated over 70 exhibitions in the US and abroad. His writings have appeared in numerous art magazines, journals, catalogues and books in the USA and Europe.


The School of Visual Arts (SVA) presents Digital Diving: A "Cut and Paste" Update. Moderated by Suzanne Anker, chair of the BFA Fine Arts Department at SVA, the symposium will explore the uses and abuses of digital technologies as they effect knowledge acquisition and its manipulation. "New media" models of the visual and alterations in community configurations will be the focus of the discussion . The panelists are Lauren Cornell, Joseph Nechvatal, Judith Solodkin, Bruce Wands and McKenzie Wark. The event takes place Tuesday, February 27, 7pm at School of Visual Arts, 209 East 23rd
Street, New York City. Admission is free.

Panelists include:
Lauren Cornell is a writer and curator who worked with the Andy Warhol Film Project at the Whitney Museum of American Art in 2004. She has written about experimental film, contemporary art and new media for Time Out New York and Rhizome.org, among other publications.

Joseph Nechvatal is a digital artist who produces computer robotic-assisted paintings and electronic installations that focus on political issues. His work has been exhibited in one-person shows in Paris, Munich, New York and Marseille, and is in the collections of The Museum of Modern Art, the National Gallery of Art and Moderna Museet, Stockholm, among others. He has published numerous essays on digital art as well as the impact of media culture on modern life.

Judith Solodkin is president of Solo Impression, Inc., a fine art publisher that has printed editions for the collections of The Museum of Modern Art, the Metropolitan Museum of Art, the National Museum of Women in the Arts, Washington, D.C., and the Tate Gallery, London, among others. She is currently working on print editions that employ digital embroidery.

Bruce Wands is chair of the MFA Computer Art Department at SVA. The
department's web site, www.mfaca.sva.edu, was named among the "100 Best
Sites of 2002" for original web art by Yahoo Internet Life. Wands is the author of Digital Creativity: Techniques for Digital Media and the Internet (Wiley, 2001), and Art of the Digital Age (Thames & Hudson, 2006), an illustrated guide to digital art's major genres.

McKenzie Wark is associate professor of media studies at Eugene Lang College and the New School for Social Research. He has written several books about new media and cyberspace, including A Hacker Manifesto (Harvard University Press, 2004), about issues involving intellectual property, and Dispositions(Salt Publishing, 2002), a diary-like "novel" set primarily in New York City.

Moderator Suzanne Anker is an artist and theorist. Anker lectures frequently in the U.S. and abroad on the intersections of art and science. She is the co-author, with the late Dorothy Nelkin, of The Molecular Gaze: Art in the Genetic Age (Cold Spring Harbor Laboratory Press, 2004) and host of The Bio-Blurb Show on WPS1 Art Radio.

For more information, contact Michael Grant, Assistant Director of
Communication at 212.592.2011 or mrgrant@sva.edu.

Joseph Nechvatal


6. Sol LeWitt, Martha Rosler, Ed Ruscha, FF Alumns, at Stedelijk Museum, NL

Mapping the City’ focuses on the relationship between artists and the city from around 1960 to the present day. The group show revolves around the way in which artists perceive urban space. The emphasis is on the city as social community, on behaviour, poses, and urban rituals.

Participating artists
Doug Aitken, Francis Alÿs, Stanley Brouwn, Matthew Buckingham, Philip Lorca diCorcia, Guy Debord/Asger Jorn, Ed van der Elsken, Valie Export, Lee Friedlander, Dan Graham, Frank Hesse, Douglas Huebler, William Klein, Saul Leiter, Sol LeWitt, Sarah Morris, Bill Owens, Martha Rosler, Ed Ruscha, Willem de Ridder en Wim T. Schippers, Beat Streuli, Jeff Wall

Two ideas are at the heart of the exhibition: the flâneur, a type first described by Charles Baudelaire around 1850, and the activity of dérive, a practice coined by Situationist Guy Debord. The exhibition begins in the late nineteen-fifties when Debord published his Theorie de la dérive (1958). Another jumping-off point is Stanley Brouwn’s famous series This way Brouwn. Starting in 1962, Brouwn started asking random passers-by for directions in getting from point A to point B. He gave each route that people drew for him the title This way Brouwn.

From the late nineteen-sixties and early nineteen-seventies onwards, many artists adopted the city as their workspace. Similar to Brouwn, themes such as walking through the city, chance, and grappling with our everyday environment are also integral to the work of Douglas Huebler. Others, like Martha Rosler, subject the metropolis to critical scrutiny. In her piece The Bowery in Two Inadequate Descriptive Systems Rosler employs photography and text to analyze the underbelly of New York society. For Austrian artist VALIE EXPORT, the city was ‘still a male space’. With her Tapp- and Touch Cinema (1968), she invited the viewer to a 'tactile experience that is the reverse of inauthentic voyeurism'.

Another theme in the exhibition is ‘street photography’. From the nineteen-fifties onwards, photographers like Ed van der Elsken, William Klein and Saul Leiter, injected post-war photography with a freshness and immediacy. For instance, Klein’s unpolished, experimental style caused quite a furore and inspired a generation of young photographers. His photo diary of New York figured people, children, parades, litter and an aggressive, alien, lonely urban landscape cluttered with raucous billboards.

Contemporary art
The core of Francis Alÿs' activities revolves around the many walks he has taken through the centre of Mexico City since the early nineteen-nineties. Alÿs’ Collection of Ephemera includes numerous drawings, photos, notes, maps and objects that relate to his walks in the ten-block radius around his studio in the historic centre of Mexico City.

The Heads of Philip Lorca diCorcia and the street scenes by Beat Streuli can be seen as contemporary variants of classic street photography. Their photographs capture the manifestly vacant expressions on the faces of anonymous passers-by.

A biography of Florida’s sun-drenched capital, Sarah Morris’ video work Miami presents the city’s various facets as the hub of the tourist industry, drug and illegal immigrant trafficking on a more or less equal footing. The film installation A Man of the Crowd by Matthew Buckingham is based on the similarly-titled short story by Edgar Allan Poe. The result is a tense mini-thriller set in the streets of Vienna. The video piece by Doug Aitken, Electric Earth, is pervaded by a powerful sense of estrangement. This overwhelming video installation projected onto eight huge screens confronts us with the modern city as though it were the remains of an alien civilization.

Press contact: Arjan Reinders, tel. +31 (0)20 5732.662 / pressof
General press info and (high res.) images: http://www.stedelijk.nl/press

Stedelijk Museum CS
Post CS Building, 2nd floor
Oosterdokskade 5
1011 AD Amsterdam, NL
Tel. +31 (0)20 5732.911
Fax. +31 (0)20 6752.716
Open: daily from 10.00 -18.00.
Info & directions: http://www.stedelijk.nl


7. Eve Biddle, FF Member, at Woman Made Gallery, Chicago, opening March 2

Friday, March 2 - 29, 2007
10th International Open Group Artists' Reception: March 2 from 6-9pm
Group exhibition with art in all media by 43 women, juried by Audrey Niffenegger

Woman Made Gallery
685 North Milwaukee Ave


8. Hans Haacke, FF Alumn, at Santa Fe Art Institute, March 19-23

Hans Haacke, FF Alumn presents a lecture at 6 pm on March 19th at Santa Fe Art Institute’s Tipton Hall, followed by master classes on March 20th thru March 23rd.
Santa Fe Art Institute
PO Box 24044
Santa Fe NM 87502


9. Andrea Fraser, FF Alumn, in the Village Voice, Feb 15 issue

Critiqueus Interruptus
The lady is not a tramp: Andrea Fraser replaces sensationalism with adoration
by Jerry Saltz, February 15, 2007

“Andrea Fraser is a whore”: That’s how fellow critic responded when I told him I was writing on Fraser's current show. As evidence he cited "Untitled," Fraser's one-hour silent video shown in 2004 in which she has what she called "just regular sex" with an art collector who reportedly paid $20,000, "not for sex," according to the artist, but "to make an artwork." The collector, collaborator, co-star, John, or whatever you want to call him, was a sturdy white man in his early forties. Fraser—who in recent years has regularly appeared nearly or completely naked in her work—is this cute, nerdy looking librarian-type above the neck but some ultra-worked-out Super Theory Woman below the shoulders.

The sex in "Untitled" is stilted but sweet. After sitting and talking, he awkwardly touches her, she kisses him, then initiates most of what follows. After mutual oral sex they have intercourse in several positions. He apparently ejaculates inside her (which seems pretty intimate to me). Defending "Untitled" to my angry critic acquaintance, I talked about women taking control, Baudelaire's idea of the artist as prostitute, institutional critique art that risks being vulnerable, reality TV, and reminded him that men like Chris Burden and Vito Acconci did illegal and sexual things in their work and no one ever called them "whores." He wasn't swayed. Fraser had evidently crossed some sort of ethical-aesthetic gender-specific line.

Which brings us to her current, succinct exhibition of seven color photographs based on pictures made more than 20 years ago and one excellent new 12-minute videotape. This outing does three things well. First, it shows this leading light of so-called institutional critique smartly stepping back from the line she crossed with "Untitled" and avoiding anything overtly sensationalistic. Second, it traces Fraser's knotty trajectory from being an appropriation artist who, however competent, veered too close to tropes already in use by artists like Louise Lawler, Sherrie Levine, Richard Prince, Martha Rosler, and Adrian Piper, to becoming an intermittently singular maker of something abberant, deeper, and complicated. Finally, it demonstrates Fraser's nimble melding of theory, weirdness, and psychoanalysis with autobiography, performance, and her own batty sensibility.

The seven photos are all new. All, however, are derived from slide projections she originally made in 1984. Each medium-sized picture is a kind of Frankensteinian combination of two or three images overlaid to make something jarring but oddly familiar. We see amalgams of some of our favorite painterly things from different artistic eras, a De Kooning or Pollock projected over a Titian or Raphael. Thus we get images of women by men redeployed by a woman in love with but skeptical of these pictures. In one photo you see a Titian "Madonna and Child" with the sexual drawing of one of De Kooning's wild busty "Women" over it. The Christ child appears to reach out for these two huge De Kooning orbs, while De Kooning's "Woman" drawing makes Titian's Madonna turn into a sort of whore. There's that word again. Whatever, it's porn for theory mavens and theory for art lovers. Remarkably, these pictures are pretty good—although as lovely as they are, they're still too literal.

Her new video, "A Visit to the Vatican," on the other hand brings us back into the thick of Fraser's strangeness. We see her with the thronging crowds walking through the Vatican Museum on her way to the Sistine Chapel. The action is as sweet and stilted as "Untitled," and its money-shot is just as buried. The soundtrack is the museum's Acoustiguide. To strains of baroque music, a guide commands Fraser where to look and reminds her to "be pious." Fraser dutifully tries to comply, which sets up a wonderful ironic Bondage & Domination call-and-response. As Fraser makes her way from gallery to gallery, she's led through various gift shops and bookstores. Meanwhile, tour guides from every country constantly signal to their charges. It all turns into a religious Disneyland. I won't spoil the Sistine Chapel-ending except to say that not only does it capture some of the magic of this room, it shows how much Fraser respects and adores art. In her own uncanny way she is always asking, "What do we want from art?"

This questioning, vulnerability, strangeness, and love distinguish Fraser from most so-called "Institutional Critique" artists. By now, and despite the fact that every work of art is a critique or theory about the way art should look or be displayed, the "institutional critique" mode is so in vogue that one has to wonder how any artist can purport to critique institutions that are so utterly enamored of the very critique the art is making. Criteria should be applied to this kind of art, like whether this work makes serious inquiries that are not grounded in belly-button-gazing, too many pre-approved aesthetic orthodoxies, insider-to-insider insularity, or above-it-all pretenses of being "outside the market" while exhibiting within a gallery or institution. Examining the mechanisms of the system is important. Artists, however, shouldn't just be content to bite the hand that feeds them. More artists might consider critiquing the power structure the way Hogarth did—with style, wit, ferocity, guile, doggedness, and a knife that cuts in many directions. These are the things that give Fraser's art its edge.


10. Eleanor Antin, Dara Birnbaum, Louise Bourgeois, DISBAND (Ilona Granet, Donna Henes, Ingrid Sischy, Diane Torr, Martha Wilson), Mary Beth Edelson, Rose English, Barbara Hammer, Susan Hiller, Joan Jonas, Joyce Kozloff, Suzanne Lacy, Ana Mendieta, Linda Montano, Ree Morton, Pauline Oliveros, Yoko Ono, Howardena Pindell, Adrian Piper, Martha Rosler, Miriam Schapiro, Carolee Schneemann, Bonnie Sherk, Cindy Sherman, Mimi Smith, Nancy Spero, Mierle Laderman Ukeles, Cecilia Vicuña, Hannah Wilke, FF Alumns, at MOCA Geffen Contemporary, Los Angeles, opening March 4

WACK! Art and the feminist revolution
March 4th 2007 to July 16th 2007
GEFFEN CONTEMPORARY AT MOCA 52 North Central Avenue, Los Angeles, CA 90013 USA

The first comprehensive, historical exhibition to examine the international foundations and legacy of feminist art, WACK! focuses on 1965 to 1980, the crucial period during which the majority of feminist activism and art-making occurred in North America. The exhibition includes the work of approximately 100 artists from the United States, Central and Eastern Europe, Latin America, Asia, Canada, Australia and New Zealand. Comprising work in a broad range of media, including painting, sculpture, photography, film, video and performance art, the exhibition is organized around themes based on media, geography, formal concerns, and collective aesthetic and political impulses. The exhibition is curated by MOCA Curator Connie Butler and is accompanied by a fully illustrated catalogue

Magdalena Abakanowicz - Marina Abramovic - Carla Accardi - Chantal Akerman - Helena Almeida - Sonia Andrade - Eleanor Antin - Judith F. Baca - Mary Bauermeister - Lynda Benglis Camille Billops - Dara Birnbaum - Louise Bourgeois - Theresa Hak Kyung Cha - Judy Chicago - Ursula Reuter Christiansen - Lygia Clark - Tee Corinne - Sheila Levrant de Bretteville - Iole de Freitas- Niki de Saint Phalle, Jean Tinguely and Per Olof Utvedt - Jay DeFeo - Assia Djebar - Disband - Rita Donagh - Kirsten Dufour - Lili Dujourie - Mary Beth Edelson - Rose English - VALIE EXPORT - Jacqueline Fahey - Louise Fishman - Audrey Flack - Isa Genzken - Nancy Grossman - Barbara Hammer - Harmony Hammond - Margaret Harrison - Mary Heilmann - Lynn Hershman - Eva Hesse - Susan Hiller - Rebecca Horn - Alexis Hunter - Mako Idemitsu - Sanja Ivekovic - Joan Jonas - Kirsten Justesen - Mary Kelly - Joyce Kozloff - Friedl Kubelka - Shigeko Kubota - Yayoi Kusama - Suzanne Lacy - Suzy Lake - Ketty La Rocca - Maria Lassnig - Lesbian Art Project - Lee Lozano - Lea Lublin - Ana Maria Maiolino - Sylvia Plimack Mangold - Monica Mayer - Ana Mendieta - Annette Messager - Marta Minujin and Richard Squires - Nasreen Mohamedi - Linda Montano - Ree Morton - Laura Mulvey and Peter Wolle - Alice Neel - Senga Nengudi - Anne Newmarch - Lorraine O’Grady - Pauline Oliveros - Yoko Ono – ORLAN - Ulrike Ottinger - Gina Pane - Catalina Parra - Ewa Partum- Howardena Pindell- Adrian Piper - Sally Potter - Yvonne Rainer - Lis Rhodes - Faith Ringgold - Ulrike Rosenbach - Martha Rosler - Betye Saar - Miriam Schapiro - Mira Schendel- Carolee Schneemann - Joan Semmel - Bonnie Sherk - Cindy Sherman - Katharina Sieverding - Sylvia Sleigh - Alexis Smith - Barbara T. Smith - Mimi Smith - Joan Snyder - Valerie Solanas - Annegret Soltau - Nancy Spero - Spiderwoman Theater - Lisa Steele – Sturtevant - Cosey Fanni Tutti - Mierle Laderman Ukeles - Cecilia Vicuña - June Wayne - “Where We At Black” Women Artists - Colette Whiten - Faith Wilding - Hannah Wilke - Francesca Woodman - Nil Yalter - Judy Blum and Nicole Croiset - Zarina

Have also a look at:


11. Theodora Skipitares, FF Alumn, in The New York Times, Sunday

Eight to Watch
Theodora Skipitares
By Kathryn Shattuck

ALL the seats in Theodora Skipitares’s East Third Street living room were occupied, and like a good hostess, she introduced her guests.

“This is Orestes,” she said, tracing the face of a wan aristocrat attired in muted pink. “Orestes is traumatized by guilt, and his color is not good.” So, apparently, was his sister, Electra, pale if resplendent in a macramé gown. “Menelaus thinks he’s a war hero, and there’s something kind of pompous in the way he dresses,” Ms. Skipitares went on, stroking his bronzed breastplate. “And he’s my favorite — the house slave of Helen of Troy,” she said of the man in colorful coat and velvet slippers. “Look at how beautiful his hands are.”

Soon enough she was dancing a little waltz with Orestes. With his plaintive eyes and aquiline nose, the resemblance to Ms. Skipitares was uncanny. “I have always made puppets that look a bit like me,” she said of the nearly life-size figures, created with Cecilia Schiller, part of the career memorabilia decorating her apartment cum studio. “I think all my figures are still somewhat autobiographical, even though I stopped making autobiographical performances a long time ago.”

Beginning March 22 at La MaMa Annex, Ms. Skipitares will present a three-week run of “The Exiles,” her adaptation of “Orestes” by Euripides and the latest in her series of puppet plays based on Greek classics that echo the Iraq war.

Ms. Skipitares, who began her political explorations at Berkeley in the 1960s, made a name for herself in New York with searing documentary-style performance pieces, often featuring choruses of puppets. But four years ago she put her own plays aside.
“As a child and as a young artist I didn’t really focus on the Greek myths, even though Greek culture was all around me,” said Ms. Skipitares, who grew up in a close-knit Greek-American family in San Francisco. “I think I got interested in the Greek myths after living in India in 2000, when I saw dozens of dances, plays and religious rituals that were based on very old, magnificent stories.”
“When I came back to the United States, I rediscovered the Greek myths and the tragedies, and I saw them in a new light,” she continued. “And I really hook that up to when we went to Iraq. The Greeks lived in a time of endless war, and sometimes I think we feel we’re in a war without end.”

In “Trilogy,” seen at La MaMa last year, she used her puppets to weave fragments of the Iliad and the Odyssey, and works by Euripides and Robert Graves, into a commentary on the Trojan War and its immediate aftermath.

“I believe ‘The Exiles’ is about the longer-term postwar situation of a country that gave its all for a war and is not yet healed,” she said. “Now Orestes and Electra find themselves in a postwar situation where they’re citizens who have kept quiet for too long.”
Last month Ms. Skipitares joined Artists Against the War in a subdued protest in Washington. “I think of our time right now,” she said. “There’s a kind of stall in the air, where we thought people kind of registered their voices a few months ago, and nothing is happening.”

“I’m hoping that maybe ‘Orestes’ will be the end of the cycle,” she added, “but I don’t know.”


12. Tanya Barfield, FF Alumn, at CUNY Grad Center, May 17

Thursday, May 17th
Confronting History: America Before Before World War II
Reading from 3 new plays about social crisis and change. With playwrights Tanya Barfield (curator), Said Sayrafiezadeh, an Emily DeVoit. Discussion w/ Emily Morse and others. W/ additional suport from New Dramatists, New York.
6:30 p.m., Segal Theatre, CUNY Graduate Center, Manhattan


13. Ken Aptekar, FF Alumn, at Rubin Museum of Art, NY, March 9 and 16

free public opening on March 9th of "The Missing Peace: Artists Consider the Dalai Lama," at the Rubin Museum of Art in New York. I'll be there around 6-8 PM. I'll also be giving a gallery talk on Friday, March 16th at 7:30PM, free to the public. This is the third stop for the exhibition, after LA and Chicago. Best, Ken


14. Mendi & Keith Obadike, FF Alumns, in Evanston, IL and online, March 1-8

a 200-hour long house song with the voices of Chicago-area Citizens

WHEN: March 1st- 8th
WHERE: Northwestern Univ. Campus – Kresge Hall and online at
CONTACTS: office@blacknetart.com (blacknetart.com) &
w-leopold@northwestern.edu, 847-491-4890 (Northwestern Office of
University Relations)

Mendi + Keith Obadike (born 1973, USA) make interdisciplinary art works using live art, music, literature, and new media. One of their better-known projects is Blackness for Sale, in which they auctioned Keith’s blackness on eBay. Mendi + Keith were commissioned by Northwestern University’s Art Theory and Practice Department to create a new work, Big House / Disclosure, an intermedia suite featuring a 200-hour long house song that will be heard in real-time from March 1st-8th in Kresge Hall on Northwestern’s campus and online at http://www.blacknetart.com/Bighouse.html. This work was created in honor of the 200th anniversary of the abolition of the British Slave trade in 1807 and Chicago’s role as the first city in the United States to adopt a Slavery Era Disclosure Ordinance in 2002, requiring businesses seeking city contracts to disclose whether they have profited from slavery.

Big House / Disclosure was constructed using audio interviews conducted by Northwestern University students with Chicago-area citizens about slavery and the city’s slavery era ordinance. Mixing these interviews with elements of Chicago house music, the artists created a multi-channel sound installation. The project includes 200 video clips of live art and musical performances viewable from the website (http://blacknetart.com/BigHouse.html). Musical events in the sound installation are triggered by custom-designed software tracking the real-time rise and fall stock prices of several corporations that have admitted to profiting from slavery.

Keith Obadike received a BA in Visual Art from North Carolina Central University and an MFA in Sound Design from Yale University. Mendi Obadike received a BA in English from Spelman College and a Ph.D. in Literature from Duke University. They have received a Rockefeller New Media Art Fellowship and commissions from the Whitney Museum of American Art, Whitechapel Gallery of London, Electronic Arts Intermix, and The New York African Film Festival. Their Internet opera, The Sour Thunder, was commissioned by Yale University, broadcast in its’ entirety in (104.5 fm) Berlin, and released by Bridge Records in 2004. In 2005 they launched Four Electric Ghosts, an opera produced by Toni Morrison’s Atelier at Princeton University, and in 2006 they performed a live sound art transmission from the Amory Art Show in New York commissioned by the Franklin Furnace. Big House / Disclosure has been generously supported by a Pick-Laudati Award from Northwestern University.



15. Dumbolio variety show, at powerhouse Arena, Brooklyn, March 10, 8 pm

The Second Edition of DUMBOLIO

A monthly variety show created, curated, and hosted by ED SCHMIDT
Saturday, March 10, 2007
8:00 p.m.
powerHouse Arena
37 Main Street * Brooklyn, NY 11201

Tickets are $15 and can be purchased at
http://www.powerhousearena.com or http://www.dumbolio.com
or by calling 718-666-3049 ext. 5

Food-and-drinks concession provided by Rice restaurant.

Musical headliner: TAYLOR MAC, fresh off an international tour and a sold-out performance at the Public Theater, as part of the Under the Radar Festival. A ukelele-strumming "pastiche" singer-songwriter, he manages to be campy and honest, ironic and vulnerable, uproarious and heartbreaking. Taylor Mac is a true original.

SCOTTY THE BLUE BUNNY, a magician, comedian, and violin virtuoso who just happens to perform in high heels and a full-body blue lycra bunny suit.

THOMAS L. BOLSTER, a Corporate Motivational Speaker whose rabble-rousing speeches are, depending on which way you tilt your head, either life-changingly inspiring or utter gibberish.

NakedGuyNYC, a photographer who takes naked pictures of himself in public places. He will orchestrate a self-portrait with the Dumbolio audience as backdrop/participants.

MARINA PAVLUTSKAYA, a self-portrait painter, whose work is unflinching and emotionally direct.

Next month, Saturday, April 21: HOWARD FISHMAN, who just played a sold-out performance at Lincoln Center (as part of the American Songbook Series). His latest songs - as always, in his unique jazz-blues-folk mix - were inspired by travels through Romania.


16. Mitzi Humphrey, FF Alumn, at art6 Galler, Richmond, VA, March 3, 8 pm

Mitzi Humphrey, FF Alumn, will introduce University of Virginia professor, art historian, and curator Matthew Affron, the sixth speaker in the Pinkney Near Memorial Lectures in Art History series. 8:00 pm, Saturday, March 3 at art6 Gallery, 6 East Broad Street, Richmond, VA. $7 admission at the door. Wine and cheese reception to follow.

Matthew Affron will speak on "Fernand Leger: Contrasts of Forms." This art6-sponsored art history lecture series honors the memory of Pinkney Near, the first chief curator of our country's first state-supported art museum, the Virginia Museum of Fine Arts in Richmond, and is an ongoing project of art6 Gallery and its Education and Outreach Committee.

More about art6 at www.art6.org.


17. Cary Peppermint, FF Alumn, at Pace University, NY, March 2, 10 am-3:30 pm

Pace Digital Gallery is pleased to host:
Programmable Media: Open Platforms for Creativity and Collaboration
a free symposium presented by Turbulence
Friday March 2nd, 10:00am to 3:30pm
Pace University, Multipurpose Room, 1 Pace Plaza
New York, NY
symposium program is available on our website

This symposium will explore two forms of current practice.

First, the creation of original software to create tools and services for creative and social use,? such as a freely available 3-D drawing tool and musical instrument, or a public commons meta layer conceived as a continuous public space for collaboration. Second, the creation of original work using the tools available within open platforms such as Second Life and MySpace to build community and raise awareness.

PARTICIPANTS: Helen Thorington, Michelle Riel, Mushon Zer-Aviv and Dan Phiffer,
Amit Pitaru, Tom Igoe, Cary Peppermint, and John (Craig) Freeman

Contact: Helen Thorington (newradio[at]turbulence.org); Jillian McDonald (jmcdonald2[at]pace.edu). Registration is encouraged: email turbulence at turbulence.org.

Directions: 4,5,6 to Brooklyn Brdge/City Hall subway station. Walk south on Park Row to Spruce Street, turn left and enter Pace University building on Spruce near Gold Street. Turn left inside building for the Multipurpose Room. Signs will be posted in the building, and security personnel may also guide the way.



18. Vitaly Komar, FF Alumn, at Columbus College of Art & Design, OH, March 12

Prophets of Deceit
Columbus College of Art & Design, Columbus, Ohio
Opening reception: February 28, 2007, 5:30–8 p.m.
Exhibition: February 28–April 18, 2007
Canzani Center Gallery
Monday–Saturday, 10 a.m.–5 p.m.
Thursdays until 8 p.m.

Curated by Magali Arriola.


This exhibition has been organized by the CCA Wattis Institute for Contemporary Arts, San Francisco.

Lecture: Vitaly Komar, March 12, 6 p.m.
Canzani Center Auditorium
Sponsored by Neil K. Rector

The Columbus College of Art & Design presents Prophets of Deceit, an exhibition that looks into predictions and prophecies as guidelines to the development of history. This exhibition explores the significance of messianic and apocalyptic cults as systems restraining social behavior. Rather than announcing unsuspected events, claims of anticipated knowledge tend to administer fear and uncertainty in order to dictate the outcome of the future.

“Looking into notions of mysticism, religion and the occult as guidelines that assess the development of history, Prophets of Deceit constitutes an essay on the pervading significance of messianic and apocalyptic cults both as systems of restraint of social behavior, and as seditious exercises that seek to subvert those very same structures that brought them into play,” says curator Magali Arriola.

The works in the exhibition posit a series of scenarios in which retroactive myths and self-fulfilling prophecies are enacted as exercises of ideological juggling. In doing so, they not only point to the symptoms of a widespread phenomenon that embraces the specter of authoritarian irrationalism, but also investigate the role of art within the culture industry by questioning artists’ function and the interpretation of their messages in a media-saturated society.

Artists include Craig Baldwin, Tacita Dean, Rod Dickinson, HCRH, Christian Jankowski, Joachim Koester, Komar & Melamid, John Menick, Melvin Moti, Raymond Pettibon, Mungo Thomson, PHAUSS (Carl Michael von Hausswolff and Erik Pauser).

Columbus College of Art & Design
107 North Ninth Street
Columbus, Ohio 43215
614 222 3270

The Ohio Arts Council helped fund this program with state tax dollars to encourage
economic growth, educational excellence and cultural enrichment for all Ohioans.


19. Doug Skinner, FF alumn, at Jalopy, Brooklyn, March 3

Doug Skinner will do a set of his songs, accompanied on ukulele and cuatro, March 3 at Jalopy, 315 Columbia St., in Red Hook in Brooklyn. My set is at 9:00; Les Chauds Lapins, a wonderful group devoted to French music of the '30s, will follow at 10:00. More info can be found at www.jalopy.biz. I'm also teaching uke lessons at Jalopy, for those of you eager to learn!


20. RENO, FF Alumn, at the Puffin Room, NY, March 3, 8 pm

RENO in SoHo
Sat March 3 @ 8pm

Speech may be free, but it’s not cheap. Plus, a lotta people don’t trust anything they get for free. And then there’s the recent time I got thrown outta court cause I called the Judge “Miss”. I thought it was a more attractive style than “M’aam”. There was no instruction sheet when you came in to the courtroom telling us what to call her.

Like the biggest religion in the world, if you have to conscript devotees by the cannon, it ain’t valid. Isn’t. Your honor. OY.

435 BROOME (B’way/Crosby)
part of the puffin room’s FREE SPEECH BLUES PROJECT
(212) 343-2881 puffin@puffinroom.org


21. Andrea Fraser, FF Alumn, at The Whitney Museum, NY, March 22, 7 pm

The Whitney Museum of American Art presents
Seminars with Artists

Since its inception in the late 1960s, Seminars with Artists has provided a forum for intimate engagements with the most notable American artists of the past forty years.


New York Corners
Taking its cue from the exhibition Gordon Matta-Clark: "You Are the Measure," this season's speakers explore art practices born from critical intersections with New York City.

Keith Sonnier
Thursday, February 22 at 7 pm
Developing a type of Minimalism from found objects, Keith Sonnier’s sculptural work, “no matter what its size,” notes Richard Kalina, “has the capacity to fill and activate a space.” His most recent installation, Double Monopole (2006), makes use of sixty-foot steel frames, neon, and falling water. “I think it’s my Bellagio,” Sonnier has said. “I finally got to build a big fancy waterfall.” The work serves as a gateway to the Kansas City International Airport.

Mary Heilmann
Wednesday, March 7 at 7 pm
Mary Heilmann moved to New York in 1968 and began exploring and experimenting with abstract painting's history and materiality, and infusing her compositions with both pop and personal references. Her first retrospective, organized by the Orange County Museum of Art, opens in May 2007 and will also include her work in ceramics, decorative arts, film, and music.

Andrea Fraser
Thursday, March 22 at 7 pm
For the last twenty years, Andrea Fraser’s work has investigated art as a culture and an economy, highlighting the way museums, collectors, and artists themselves invest art-making with meaning and value. Her 2005 book, Museum Highlights: The Writings of Andrea Fraser, collects essays, performance scripts, and texts that are key to her practice.

Trisha Brown
Thursday, April 12 at 7 pm
Acclaimed choreographer Trisha Brown first became known in the 1960s when she showed her work with the Judson Dance Theater. In 1970, she founded Trisha Brown Dance Company among SoHo's burgeoning alternative-space scene, and began exploring site-specific choreography (like Walking on the Wall, performed in 1971 at the Whitney). From work based on everyday actions and repetitive gestures to dance cycles, choreography for opera, and, most recently, ballet, Brown continues to find new possibilities for movement, collaboration, and postmodern dance.

Lyle Ashton Harris
Thursday, April 26 at 7 pm
Lyle Ashton Harris has incorporated installation, video, and photography in his work, often with himself as the subject. His identity-based photographs of the 1990s explored race, gender, and sexuality through strategies like masquerade, camp humor, and the family snapshot. Of his recent work, Holland Cotter wrote: "Like most really stimulating art, Mr. Harris’s eludes clean readings. It is self-portraiture that is not quite self-portraiture, based on fiction that is not quite fiction." His work was included in the Whitney’s Photography and the Self: The Legacy of F. Holland Day.

Advance ticket sales are strongly recommended, as seating is limited. Tickets may be purchased at the Museum Admissions Desk or by visiting http://www.whitney.org; inquiries at (212) 570-7715 or public_programs@whitney.org.

The Whitney Museum of American Art’s Seminars with Artists program is made possible by the support of The Estée Lauder Companies Inc.

1(800) WHITNEY


22. Eileen Myles, FF Alumn, receives Warhol Foundation Arts Writing Initiative grant

The Andy Warhol Foundation for the Visual Arts is pleased to announce the first round of grants through its Arts Writing Initiative, a three-year, three-million-dollar program to support independent, progressive arts publications and individual arts writers. Designed to encourage and reward writing about art that is both intellectually rigorous and creatively generative, the program aims to strengthen the field as a whole and to insure that critical writing remains a valued mode of engaging the visual arts.

Selected through a nomination-based process for their ambition, commitment and strong editorial vision, each of the eight non-profit journals listed below will receive capacity-building grants of approximately $100,000 intended to stabilize business practices, increase audiences, and encourage the exploration of new partnerships and distribution channels. The grants are meant to enable journals to take creative risks and to showcase ambitious, intellectually committed writing.

Afterall, Los Angeles
Art Papers, Atlanta
Bomb Magazine, New York
The Brooklyn Rail, Brooklyn
Cabinet, New York
Esopus, New York
Nka: Journal of Contemporary African Art, Ithaca
X-tra, Los Angeles

Improving the viability of independent, progressive art publications goes hand in hand with sustaining the work of individual arts writers. Administered by the Creative Capital Foundation, the Arts Writing Initiative’s grants to individuals range from $8,500 - $50,000 and were selected by a six-person national panel of distinguished professionals in the field: Douglas Crimp, Fanny Knapp Allen Professor of Art History at the University of Rochester; Anthony Elms, Editor of WhiteWalls and Assistant Director of Gallery 400 at the University of Illinois at Chicago; Okwui Enwezor, Dean of Academic Affairs at San Francisco Art Institute and Adjunct Curator at International Center of Photography; Sylvie Fortin, Editor-in-Chief of Art Papers; Tim Griffin, Editor-in-Chief of Artforum; and Judith Rodenbeck, Editor-in-Chief of Art Journal and Noble Foundation Chair in Art and Cultural History at Sarah Lawrence College.

Representing a broad range of genres from scholarly studies to experiments with new and alternative media, the eighteen selected projects (listed below) are united by their dual commitment to the craft of writing and the advancement of critical discourse on contemporary visual art.

Julia Bryan-Wilson, Art Works: Artistic Labor in the Vietnam War Era (book), Providence
Susan Cahan, The Politics of Race in American Museums, 1968-1972 (book), St. Louis
Eda Cufer, Art as Mousetrap (book), Portland
Catherine de Zegher, Drawing Book (book), Kortrijk
T.J. Demos, The Document Between Fact and Fiction: Contemporary Art in Beirut (article), London
Grant Kester, The One and the Many: Agency and Identity in Collaborative Art (book), San Diego
Tan Lin, Warhol Writer (article), New York
Mary Warner, Documentary Photography: Episodes in the History of Image-Making and Ideas (article), La Fayette
Tom McDonough and Nancy Davenport, Inhabiting Authoritarianism: Students in the Iranian Pavilion in Paris, 1961-1979 (new and alternative media), Binghamton and New York
Judd Morrisey, The Last Performance (new and alternative media), Chicago
Eileen Myles, The Importance of Being Iceland (book), San Diego
Margaret Nelson, Women, the New York School, and Other True Abstractionists (book), Los Angeles
Molly Nesbit, The Tempest Essays (book), New York
John Peffer, The Struggle for Art at the End of Apartheid (book), Lakewood
Frances Richard, Physical Poetics: The Writings of Gordon Matta-Clark (article), Brooklyn
Reiki Tomii, Collectivism in 20th-Century Japan: A History of Strategic Alliances (article), New York
Kenneth Wark, The Situationists: A Users’ Guide (new and alternative media), New York
Gene Youngblood, George Kuchar’s Video Diaries (article), Santa Fe
For project descriptions and the 2007 grant calendar for individual writers, please visit http://www.artswriters.org.


23. Tim Miller, FF Alumn, in Iowa and Florida, March 2 & 4

Hi All,
I head back to Iowa City to perform March 2 at an amazing conference at University of Iowa on OBSCENITY
http://www.uiowa.edu/obermann/obscenity/ that gathers academics, civil liberties folks and artists. This will be really interesting to me! I will be doing my performance and rant SEX/BODY/SELF March 2 in the Becker Communications Studies Building.

I head directly from Iowa City to Ft Lauderdale for ART EXPLOSION.

I will be performing 1001 BEDS at Cinema Paradiso

Here's a really nice piece in the newspaper Express Gay News in South Florida

Sunday, March 4, 7:30pm
503 SE 6th Street Ft. Lauderdale, FL
All Seating General Admission Tickets $20 / $30
Phone: (877) 877-7677

Then off to New York City for shows at PS 122 March 8-18!
best, Tim


24. Lynn Cazabon, FF Alumn, at PS 122, NY, opening March 3, 5-7 pm

Please come by to see Reunion by Lynn Cazabon at
PS122 Gallery
150 First Avenue
New York, NY 10009

Main Gallery: enter on 9th Street between First Ave. and Ave. A
Thursday – Sunday, 12 – 6pm
opening reception: Sat March 3, 5-7pm
Exhibition on view through March 25th, 2007.

Reunion consists of video and audio portraits of artists as they reflect on a pivotal time in their lives, via a common, vernacular type of photograph: the high school yearbook portrait.

thanks! and see you soon.


25. Krzysztof Wodiczko, FF Alumn, at Eyebeam, NY, March 1, 6-8 pm

Please join us this Thursday, March 1 from 6-8pm, for the opening of our new exhibition, Open City: Tools for Public Action.
Open City: Tools for Public Action is an exhibition documenting the ingenuity of artists, protesters, pranksters, graffiti writers and hackers reclaiming the public realm. By presenting the artifacts of the artists who communicate through the surfaces and structures of the our communal space, Open City offers a deeper look at the means and motivations of urban action and creativity. A series of related screenings, presentations and workshops will turn Eyebeam into an active and participatory environment for the duration of the show. Public works – by any means necessary…

Invited participants include:
Aram Bartholl (Berlin), BORF (Washington D.C.), Graffiti Research Lab (NYC), Institute for Applied Autonomy (USA), Improv Everywhere (NYC). Mark Jenkins (Washington D.C.), KATSU (NYC). KR (NYC), Object Orange (Detroit), Leon Reid (NYC). Matthias Wermke (Berlin), Krzysztof Wodiczko (PL/NYC)

This exhibition is on view from March 1 - April 7, Tues-Sat 12-6pm. Eyebeam is located at 540 W. 21st Street (between 10th & 11th Aves) and all workshops and activities take place there unless otherwise noted.

For more information about Open City and a list of related public programs please visit www.eyebeam.org.

Eyebeam is an art and technology center that provides a fertile context and state-of-the-art tools for digital research and experimentation. It is a lively incubator of creativity and thought, where artists and technologists actively engage with culture, addressing the issues and concerns of our time. Eyebeam challenges convention, celebrates the hack, educates the next generation, encourages collaboration, freely offers its contributions to the community, and invites the public toshare in a spirit of openness: open source, open content and open distribution.

Eyebeam's current programs are made possible through the generous support of the Atlantic Foundation, Time Warner Youth Media and Arts Fund, theJohn D. and Catherine T. MacArthur Foundation, the Jerome Foundation, the Greenwall Foundation, the Experimental Television Center, the NewYork State Council on the Arts, a state agency, and the New York City Department of Cultural Affairs. For a list of past supporters, please visit www.eyebeam.org.

Location: 540 W. 21st Street between 10th & 11th Avenues
Hours: Tuesday - Saturday, 12:00 - 6:00pm
Bookstore: Tuesday - Saturday, 12:00 - 6:00pm
Admission: All events are free to the public with a suggested donation unless otherwise noted.


26. Duston Spear, Nancy Spero, FF Alumns, at Sara Tecchia Roma Gallery, NY, opening March 1

THE ACCIDENTALLY REAL | Susan Crile, Reuben Negron, Ward Shelley, Nancy Spero, Eve Sussman and Amanda William

March 1 — April 7, 2007

RECEPTION: Thursday, March 1, 6 – 8pm

Sara Tecchia Roma New York is proud to present DELIVERED, Duston Spear’s second solo exhibition of paintings with the gallery.

Families fleeing to escape combat zones. Soldiers alone, or with comrades, on their way to the fight. Marching, running, creeping–the characters in Duston Spear’s current show of paintings, “Delivered” are always in motion. Taken from photographs which originally appeared in the New York Times, these images are delivered daily, and become part of the public’s awareness. Spear allows her subjects to sublimate into something bigger.

She states: “I work in series. One group of paintings grows out of the other, or sometimes alongside. Over the summer these images from the Times changed from guarded versions of the conflict in Iraq to Caravaggio-like vignettes of the war in the Middle East. I responded by painting them—taking what would be tomorrow's garbage and turning these images into heroic paintings.

Spear also continues her use of graffiti writers’ tools by bringing stencils into play to double, even triple her players. The text of her recent work is missing, replaced by working palettes that form an abstract chorus to the right of the figurative images on each canvas—a visible notation to the medium and it’s plastic ability to replicate and stain its way into our collective memory.
Spear goes on to speculate that these paintings become something else altogether. “A photograph convinces the viewer of its legitimacy in the context of the paper, and the event it records. A painting brings a deeper emotional investigation to the picture and in the picture's double it becomes the accidentally real.”

Taking this one step further, Spear has also curated a consecutive group exhibition in the viewing room of the gallery, which posits image-making versus photojournalism. THE ACCIDENTALLY REAL, featuring the work of Susan Crile, Reuben Negron, Ward Shelley, Nancy Spero, Eve Sussman and Amanda Williams, further illustrates the power of representation. Spero rips images out of historical missiles and tattoos her paper with the currency of human struggle. Williams uses the gallery wall to scratch out a soldier’s atlas of the streets of Baghdad. Sussman uses reenactments to create a new kind of verité.

Spear explains: “Something significant has been happening in the last several years. While the political discourse of the mainstream media has skirted scandalous actions and regurgitated rhetoric, a vigorous political criticism has increasingly been voiced in the arts. In films, plays, the visual arts, music, poetry and novels, contemporary politics is being either analogized or symbolized in scarcely disguised form. Indeed, we are seeing a sort of samizdat for our time and place.”

Benjamin Tischer
Sara Tecchia Roma New York
529 West 20th Street. 2nd floor
New York, NY 10011
tel: 212 741 2900
fax: 212 741 3181


27. Jay Critchley, FF Alumn, at Andy Warhol Museum, Pittsburgh, March 11-June 17

The exhibition, 6 BILLION PERPS HELD HOSTAGE! Artists Address Global Warming, showcases a diverse collection of art works, including textiles, videos, paintings, drawings, inflatables, photography and music, all directing attention to the topic of global warming. These works serve to raise awareness of our current state of affairs, including U.S. policy, natural disasters, the destructive power of corporations, and the harmful effects of carbon production in the food industry as well as initiate public dialog about the issue. The exhibition is a collection of works by Andy Warhol and contemporary artists, including The Yes Men, Preemptive Media, Jay Critchley, The Institute For Figuring, Hugo Kobayashi, Trevor Paglen, Marjetica Potrc, Cai Guo-Qiang, Greg Kwiatek, Bobby Pickett and Horseback Salad, Steffi Domike-Suzy Meyer-Ann Rosenthal, and Bob Bingham. 6 Billion Perps Held Hostage! will be on view from March 11 – June 17, 2007.

Known for impersonating some of the world’s most powerful corporate executives at conferences, on the web and on TV, The Yes Men, “standard issue revolutionaries,” expose the nastiness of evildoers such as Halliburton and Dow Chemical, targeting large corporations and leaders who put profits ahead of everything else. The Yes Men present SurvivaBalls, inflatable orbs whose communication systems, nutrient gathering capacities and defense mechanisms ensure the safety of corporate managers from Mother Nature.

Artist and activist Jay Critchley’s visual, conceptual, and performance work have traversed the globe, and have included theater, film, and music. Critchley invites us to Martucket Eyeland Resort and Theme Park, his most recent project that surfaced because of Cape Cod’s unrestrained development, traffic congestion, water degradation and air pollution. This vacationer’s paradise features wind and solar energy technology, a new and advanced power plant, an oil drilling installation, the exclusive Traffic Jam Carbon Club, Chapel of Our Lady of Nuclear Options, the Vanishing Oyster Bar & Grill, and the Climate Change Casino & Sweat Lounge. The piece received an award from the Boston Society of Architects and is accompanied by its own theme song, written and performed by the artist.

Also contributing to the exhibition are a local team of artists, Ann Rosenthal, Suzy Meyer, and Steffi Domike, who have created Food, Carbon & the Commons. By emphasizing the detrimental effects of carbon production induced by the transportation of foods, these artists urge viewers to think globally and consume locally grown food. Slovenian artist and architect, Marjetica Potrc, presents Pittsburgh in a Time of Global Warming, a project inspired by her two-month residency in Brazil that draws on her experience with Ashaninka Indians of the Amazon, and which urges Pittsburgh to connect its past and present to a possible future by melding communications technology with sustainable living practices. Potrc was the recipient of the 2000 Hugo Boss Prize. The Institute For Figuring, an educational organization dedicated to enhancing the public understanding of figuring techniques, smash together the worlds of crochet, non-Euclidean geometry, and tropical wonders with its Crochet Hyperbolic Coral Reef. Australian co-directors and twin sisters Margaret and Christine Wertheim are crocheting a coral reef to mirror the Great Barrier Reef with which they grew up. Margaret will host a lecture and presentation of their work, as well as a public crochet demonstration. The I.F.F. is among many contemporary discoverers of traditional craft helping to re-establish its hipness, and transforming the relationship between artist and amateur, art and craft.

Complementing the diverse nature of the exhibition is Preemptive Media, a group of artists, activists and technologists who create their own style of beta tests, trial runs and impact assessments based on independent research. Artist, writer, and experimental geographer, Trevor Paglen, blurs the lines between social science, contemporary art, and geography to construct unfamiliar, yet meticulously researched perspectives on the world. Pittsburgh native Greg Kwiatek’s large complex paintings of monstrous faces are derived from his photos of seaweed and other low-tide debris, and Hugo Kobayashi, a former comic strip writer for LA View, invites us to read six of his skinny paintings like unreeling film strips. By merging the graphic techniques of cartoon illustration and commercial design with a painterly brushstroke, Kobayashi crafts paintings that possess both personal and global relevance.

Bob Bingham, Associate Professor of Art at Carnegie Mellon University, creates art that incorporates systems of growth, live plants and natural materials with mechanical and electronic devices. Imagining a future where technology and nature exist in a symbiotic relationship, Bingham proposes architectural layouts that provide a solution to global warming. Known for his literally explosive work, Cai Guo-Qiang draws on a variety of symbols, contemporary narratives, traditions and materials such as feng shui, fireworks, Chinese medicine, dragons, roller coasters, and gunpowder. Having recently held a solo exhibit at The Metropolitan Museum of Art, Cai Guo-Qiang presents two monumental gunpowder drawings, Clear Sky Black Cloud and Black Fireworks: Project for IVAM, as well as three videos of his ephemeral explosion performances. Cai received the Golden Lion Prize at the Venice Biennale in 1999. Bobby Pickett and Horseback Salad introduce The Climate Mash, a revised version of Pickett’s 1962 hit “Monster Mash” that reveals the "zombies" and "vampires" of global climate change. Featuring well-known Halloween characters based on photographs of President George Bush, Vice President Dick Cheney, members of Congress and oil industry executives, The Climate Mash highlights the threat of global warming and the lack of response by the White House.

Several of Andy Warhol’s works, such as his Death and Disaster paintings and Endangered Species prints will be displayed along with those of the contemporary artists. Warhol’s Death and Disaster paintings reflect the prominence of images of disaster in the media, and reveal the numbing effect of the mass reproduction of such images. Warhol’s series of ten color screen prints of endangered animals from around the world create a dynamic tension between art and reality, and his paintings of flowers yield respect to that which is alive. Warhol’s Seismograph, created in response to a major earthquake in Italy, will be on view for the very first time, and complements 6 Billion Perps in its recognition of a natural disaster.

“The artists in this exhibition have radically different approaches to global warming, some works are politically charged, and others are purely aesthetic. 6 Billion Perps merges satirical comedy, traditional and non-traditional techniques to create a powerful and dynamic perspective on this very urgent issue. The works will be seen at an important time, as the topic of global warming is now so prominent, as it should be, given that the United States is by far the largest contributor of greenhouse gases in the world, and Pennsylvania ranks 3rd among the 50 states in these emissions…” says Matt Wrbican, Archivist at The Andy Warhol Museum.

Although extremely diverse in nature, all of the works in the show address global warming, the man-made disaster that is changing our planet, and threatening life as climates are transformed.

A catalogue in the form of a tabloid newspaper is free to all visitors to the exhibition.

This exhibition is an event in the 2007 Rachel Carson Centennial Year.

Exhibition Related Programs
6 Billion Perps Held Hostage! Artists Address Global Warming
opening Saturday, March 10 6 - 9 p.m.
The Andy Warhol Museum
Tickets: $15. Call 412-237-8300
6 p.m. - Artist lecture with Margaret Wertheim, co-founder of The Institute For Figuring
7 - 9 p.m. - Reception with DJ Schrapnel
7:30 p.m. – Artist Jay Critchley performs his song “Martucket Eyel”
Cash bar and lite bites.


28. Frank Green, FF Alumn, in Anglemagazine.org

Degrees of Frank by Douglas Max Utter

For two decades Frank Green was among Cleveland’s most visible artists and writers. A critic and essayist for the Cleveland Free Times and other regional publications, and then a contributing reviewer to Art in America, Green was diagnosed HIV positive in the late 1980s. A passionate advocate of alternative and experimental art forms, he also used his considerable gifts as a performance artist to raise public awareness of the realities of the AIDS crisis. Green’s one man show, The Scarlet Letters, performed at Cleveland Public Theater, Franklin Furnace (Brooklyn, NY) and elsewhere around the country, was a tightly composed indictment of the denial and hypocrisy surrounding AIDS in America.

In his battered punk motorcycle jacket, Green was a constant, energetic presence at Cleveland galleries and performances. But in 2003 his luck and health hit a wall. He became seriously ill and began treatment. Good news and bad news followed. The physical illness was arrested, but Green suffered severe short-term memory loss and disorientation. Around that time he was admitted to a nursing home on the west side of Cleveland, where he lives today.

Green attended the opening of the show in his honor at Arts Collinwood (15605 Waterloo Road). Frank seemed surprisingly well as he made conversation with old friends, taking in the art and the scene with a practiced eye.

Curated by Tremont-area gallerist Jean Brandt, the exhibit “Degrees of Frank” included prints, drawings, sculpture, photographs, and mini-installations by a dozen veteran artists. In one of the former storefront windows Bruce Edward’s A Brief History of Me hung from the ceiling, made up of layers of shirts and T-shirts on a hanger in a succinct metaphor evoking change, repetition, and repression. Nancy Prudic’s Fear is a mirror painted black, with the question, “What are you afraid of” scratched in the middle. Visitors have added words and phrases like “the known” and “election voting machines.” Michael Loderstedt’s long, tall digital print Frank (Thinking) shows an indistinct lozenge-shaped body, with an area of stormy infra-red activity from a weather map at the top. Nearby, Judith Brandon’s three watercolors depicted human faces emerging from brown, stain-like areas in works titled Lesion of Hypocrisy, Lesion of Denial, Lesion of Compassion.

Filmmaker Robert Banks’ Paper Shadows was activated by viewers, who cranked two handles attached to a machine that wound and played magnetic audio tapes of “found” sounds. Similarly, photographer Jerry Mann’s The Soul of… looped film up and over a framework of pipes, finally projecting indistinct images on a semi-transparent cloth. Three-dimensional works by Sally Hudak, Dennis Maxfield, John Ranally, and Elizzabeth Schiros rounded out a show of notable depth and vitality. A DVD of Andy Timithy interviewing Green at the Literary Café in 1998 stitched the past to the present with almost brutal abruptness.

Large themes of memory and loss, contrasting the wealth of human experience with severely limited expressive means, and the relative privation of recollection, faded in and out of focus at “Degrees of Frank.”

The centerpiece was a video installation by Beth Wolfe titled Flying Upsidedown Ascending Party Chair. An audio tape of Wolfe and others reading Green’s original 1989 script, Letters From Jane for Five Voices With Screamers and Chain was the sound component of this tribute. The script, which in the context of this show seemed all too prescient, consists of passages from author Jane Bowles’ correspondence as she slowly became incapable of communication following a stroke, obsessively crossing out almost all of what she had written. An upside-down chair projected from a live feed. A balloon rested enigmatically on its seat, and filmy, angelic wings sprouted from its barrel back as it slowly twirled in mid-air. There were only questions at “Degrees of Frank,” and haunting glimpses of a jerry-rigged divinity, revolving into darkness.

First Published in Issue 29, November/December 2006


29. DJ Spooky, FF Visionary, at Town Hall, NY, March 1

Hello People:
I'm just in the middle of finishing my first film Rebirth of a Nation but during the interim, there's a couple of concerts I'm doing in NYC.

If you're around on March 1st (this Thursday), I'd like to extend an invitation to you to come out to the show I'm doing at Town Hall.

It's a benefit for an interesting arts/experimental music venue called The Stone and the lineup for the concert
will be:
Dj Spooky
Lou Reed
John Zorn
Lee Reynaldo of Sonic Youth
Medeski Martin and Wood
and others.

If you're in town, please come out and support.
Ticket info below:

A benefit for The Stone
8pm, tickets $52, $38, $25

Town Hall
123 West 43rd Street,
New York, NY 10036

Tickets at Ticketmaster


30. Sarah Schulman, Jack Waters, FF Alumn, at Housing Works Bookstore Cafe, NY, March 6, 7 pm

Housing Works Bookstore Café Presents
Admission is free, but donated books are welcome and encouraged
February 16, 2007 . . . Housing Works Bookstore presents a panel on cinema and the AIDS crisis on Tuesday, March 6 at 7PM. The filmmakers and AIDS activists Jim Hubbard and Jack Waters will present their short films; and then talk with archivist and librarian Marvin Taylor about the preservation of these films; with Professor of Cinema Studies Patricia White as moderator.

The David and Goliath story of indie vs. mainstream is one for the ages, but when looking at the way AIDS is screened on film it is crucial; how you portray an epidemic affects how people deal with it. Avant-garde filmmakers and activists discuss the difference between their work and the cinematic mainstream in representing the AIDS crisis. This event is based around the AIDS activism section of Up Is Up, But So Is Down: New York's Downtown Literary Scene, 1974-1992, edited by Brandon Stosuy, and curated by the writer and AIDS activist Sarah Schulman.

Jim Hubbard is an experimental film maker. In 1987, he co-founded the New York Lesbian and Gay Experimental Film Festival. He has been working in film preservation for 15 years. His films have been shown at the Berlin International Film Festival, the London Film Festival, the Museum of Modern Art and the Tokyo, Hamburg, New York, San Francisco, Los Angeles and numerous other lesbian/gay film festivals.

Sarah Schulman is the author of seven novels and two non-fiction books including The Sophie Horowitz Story, Girls Visions, and Everything, People In Trouble, Rat Bohemia, My American History: Lesbian and Gay Life During the Reagan/Bush Years and Stagestruck: Theater, AIDS and Marketing.

Brandon Stosuy, an associate editor at Paper Thin Walls, staff writer and columnist at Pitchfork, and columnist at Sterogum, is a regular contributor to The Believer, Spin, and various other publications. Up Is Up, But So Is Down, his anthology of Downtown New York literature, was selected by the Village Voice as one of its 25 favorite books of 2006. This fall he's co-teaching a course at NYU on East Village art and writing.

Marvin J. Taylor is Director of the Fales Library and Special Collections at New York University. In 1994, he began the Downtown Collection, which documents the Downtown New York scene from 1974 to the present. He is also the editor of The Downtown Book: The New York Art Scene 1974-1984.

Jack Waters is a Filmmaker, Community Activist, and writer. His films have shown at the Whitney Museum, at Visual AIDS, Anthology Film Archives and the New York Lesbian and Gay Experimental Film Festival.

Patricia White is a professor of Cinema Studies at Swarthmore College.

PRESS QUERIES ONLY CONTACT: Chaya Thanhauser, Special Events and Marketing, Housing Works Bookstore Café: 212-966-0466, X1104 or Thanhauser@housingworks.org.

Housing Works Bookstore Café
126 Crosby Street (one block east of Broadway between Houston and Prince)
Subway: W, R to Prince; B, D, F, V to Broadway/Lafayette; 6 to Bleecker
General Information: (212) 334-3324

Housing Works Bookstore Café Fighting AIDS One Book At A Time
Housing Works Bookstore Café is an independent cultural center that offers patrons a unique opportunity to join the fight against AIDS and homelessness. Arts-based philanthropy in practice, we allow visitors to make a difference simply by buying or donating books; eating at our cafe; coming to concerts, readings, and special events; or volunteering for our staff.

We are a non-profit organization that relies entirely on donations to stock our store and volunteers to run it. All proceeds directly benefit our parent organization, Housing Works, Inc., the nation’s largest minority-controlled AIDS service provider. Housing Works provides housing, healthcare, job training, and advocacy for New Yorkers living with HIV/AIDS. As an activist organization, we are committed to implementing the systemic changes necessary to ensure that AIDS and public health policies are sound in concept and equitable in administration.


31. Harley Spiller, FF Alumn, photo essay in Gastronomica, Winter 2007

Gastronomica, Volume: 7, Number: 1 Winter 2007 includes “Roosevelt Roasters” a photo essay by Harley Spiller about the many roast chicken restaurants on Roosevelt Avenue in central Queens, NY. www.gastronomica.org


Goings On is compiled weekly by Harley Spiller


click http://www.franklinfurnace.org/goings_on.html
to visit 'This Month's World Wide Events'.
To subscribe, unsubscribe, or for information
send an email to info@franklinfurnace.org
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

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