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ABOUT GOINGS ON: How to subscribe and submit listings

Goings On: posted week of April 9, 2007

CONTENTS:
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1. Sol LeWitt, FF Alumn, IN MEMORIAM

2. Franklin Furnace benefit, April 27, in the Village Voice, Broadway World and more
3. Cheri Gaulke, FF Alumn, at Orange County Center for Contemporary Art, thru May 20
4. Clemente Padin, FF Alumn, in Montevideo, April 12 and in Buenos Aires, April 21-22
5. Dan Graham, FF Alumn, at Electronic Arts Intermix, April 10, 6:30 pm
6. Twinart, FF Alumns, at Frank Pictures Gallery, Santa Monica, CA, opening April 15
7. Tim Miller, FF Alumn, at Cal State, LA, April 9, 7 pm
8. Barbara Hammer, FF Alumn, at Workman Theatre, Toronto, April 12, 7 pm
9. Leslie Hill, Helen Paris, FF Alumns, at Genesis Cinema, London, UK, April 16, 6 pm
10. Pamela Sneed, FF Alumn, at Bowery Poetry Club, NY, April 11, 7 pm
11. Mitzi Humphrey, FF Alumn, announces publication of BroadStrokes, vol. III, issue 1
12. Tom Trusky, FF Alumn, at Holter Museum, Helena, MT, April 22, 2 pm
13. Joshua Kinberg, FF Alumn, in New York Magazine, April 9 issue
14. Joseph Nechvatal, FF Alumn, at NYIT, Manhattan, April 12, 7-9 pm
15. Cathy Weis, Jennifer Miller, FF Alumn, at ICA, Boston, April 28-29
16. Ken Butler, FF Alumn, on Youtube.com and several events in Oregon, April 5-May 9
17. Robbin Ami Silverberg, FF Alumn, at Brooklyn Central Library, opening April 24
18. Kal Spelletich, FF Alumn, in New Orleans, April 14, noon – midnight, and more.
19. Jay Critchley, FF Alumn, in The San Francisco Chronicle
20. Ruth Hardinger, FF Alumn, at City Without Walls, Newark, NJ, opening April 12, and more
21. James Casebere, FF Alumn, at thepound.wordpress.com
22. David Medalla, FF Alumn, at The Foundry, London, England, May 13, 2007
23. Lorraine O’Grady, FF Alumn, now online at http://www.moca.org/wack/?p=230
24. Sonya Rapoport, FF Alumn, at University of Wisconsin-Madison, April 23-27
25. Joshua Kinberg, FF Alumn, in Wired News, and online
26. Doug Beube, Robbin Ami Silverberg, FF Alumns, at Center for Book Arts, April 13-June 30
27. Simon Cutts, Jean-Noel Herlin, FF Alumns, at Cue Art Foundation, April 20, 6:30 pm
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1. Sol LeWitt, FF Alumn, IN MEMORIAM

It is with great sadness that we repeat below the April 9 New York Times obituary for Sol LeWitt, FF Alumn.

Sol LeWitt, Master of Conceptualism, Dies at 78

by Michael Kimmelman

Sol LeWitt, whose deceptively simple geometric sculptures and drawings and ecstatically colored and jazzy wall paintings established him as a lodestar of modern American art, died yesterday in New York. He was 78 and lived mostly in Chester, Conn.

The cause was complications from cancer, said Susanna Singer, a longtime associate.

Mr. LeWitt helped establish Conceptualism and Minimalism as dominant movements of the postwar era. A patron and friend of colleagues young and old, he was the opposite of the artist as celebrity. He tried to suppress all interest in him as opposed to his work; he turned down awards and was camera-shy and reluctant to grant interviews. He particularly disliked the prospect of having his photograph in the newspaper.

Typically, a 1980 work called “Autobiography” consisted of more than 1,000 photographs he took of every nook and cranny of his Manhattan loft, down to the plumbing fixtures, wall sockets and empty marmalade jars, and documented everything that had happened to him in the course of taking the pictures. But he appeared in only one photograph, which was so small and out of focus that it is nearly impossible to make him out. His work — sculptures of white cubes, or drawings of geometric patterns, or splashes of paint like Rorschach patterns — tested a viewer’s psychological and visual flexibility. See a line. See that it can be straight, thin, broken, curved, soft, angled or thick. Enjoy the differences. The test was not hard to pass if your eyes and mind were open, which was the message of Mr. LeWitt’s art.

He reduced art to a few of the most basic shapes (quadrilaterals, spheres, triangles), colors (red, yellow, blue, black) and types of lines, and organized them by guidelines he felt in the end free to bend. Much of what he devised came down to specific ideas or instructions: a thought you were meant to contemplate, or plans for drawings or actions that could be carried out by you, or not.

Sometimes these plans derived from a logical system, like a game; sometimes they defied logic so that the results could not be foreseen, with instructions intentionally vague to allow for interpretation. Characteristically, he would then credit assistants or others with the results. With his wall drawing, mural-sized works that sometimes took teams of people weeks to execute, he might decide whether a line for which he had given the instruction “not straight” was sufficiently irregular without becoming wavy (and like many more traditional artists, he became more concerned in later years that his works look just the way he wished). But he always gave his team wiggle room, believing that the input of others — their joy, boredom, frustration or whatever — remained part of the art.

In so doing, Mr. LeWitt gently reminded everybody that architects are called artists — good architects, anyway — even though they don’t lay their own bricks, just as composers write music that other people play but are still musical artists. Mr. LeWitt, by his methods, permitted other people to participate in the creative process, to become artists themselves.

A Dry Humor

To grasp his work could require a little effort. His early sculptures were chaste white cubes and gray cement blocks. For years people associated him with them, and they seemed to encapsulate a remark he once made: that what art looks like “isn’t too important.” This was never exactly his point. But his early drawings on paper could resemble mathematical diagrams or chemical charts. What passed for humor in his art tended to be dry. “Buried Cube Containing an Object of Importance but Little Value” (1968), an object he buried in the garden of Dutch collectors, was his deadpan gag about waving goodbye to Minimalism. He documented it in photographs, in one of which he stands at attention beside the cube. A second picture shows the shovel; a third, him digging the hole.

Naturally, he was regularly savaged by conservative critics. By the 1980s, however, he moved from Manhattan to Spoleto, Italy, seeking to get away from the maelstrom of the New York art world. (He had had a retrospective at the Museum of Modern Art in 1978.) His art underwent a transformation. Partly it grew out of what he saw in Italy. But it was all the more remarkable for also proceeding logically from the earlier work.

Eye-candy opulence emerged from the same seemingly prosaic instructions he had come up with years before. A retrospective in 2000, organized by the San Francisco Museum of Modern Art, which traveled to the Whitney Museum of American Art in New York and the Museum of Contemporary Art in Chicago, concluded with some of these newly colorful wall drawings. (Mr. LeWitt always called them drawings, even when the medium became acrylic paint.)

His description for a wall drawing, No. 766 — “Twenty-one isometric cubes of varying sizes each with color ink washes superimposed” — sounded dry as could be: but then you saw it and there were playful geometries in dusky colors nodding toward Renaissance fresco painting. “Loopy Doopy (Red and Purple),” a vinyl abstraction 49 feet long, was like a psychedelic Matisse cutout, but on the scale of a drive-in movie. Other drawings consisted of gossamer lines, barely visible, as subtle as faintly etched glass.

Some people who had presumed that Mr. LeWitt’s Conceptualism was arcane and inert were taken aback. He began making colored flagstone patterns, spiky sculptural blobs and ribbons of color, like streamers on New Year’s Eve, often as enormous decorations for buildings around the world. It was as if he had devised a latter-day kind of Abstract Expressionism, to which, looking back, his early Conceptualism had in fact been his response.

Sol LeWitt was born in Hartford, on Sept. 9 1928, the son of immigrants from Russia. His father, a doctor, died when he was 6, after which he moved with his mother, a nurse, to live with an aunt in New Britain, Conn. His mother took him to art classes at the Wadsworth Atheneum in Hartford. He would draw on wrapping paper from his aunt’s supply store.

Finding His Way

At Syracuse University, he studied art before he was drafted for the Korean War in 1951, during which he made posters for the Special Services. After his service he moved to New York to study illustration and cartooning. For a while he did paste-ups, mechanicals and photostats for Seventeen magazine. He spent a year as a graphic designer in the office of a young architect named I. M. Pei.

Meanwhile, he painted, or tried to. For a while, he hired a model to draw from life and copied old masters. He felt lost. An aspiring artist in New York during the waning days of Abstract Expressionism, an art squarely about individual touch, he thought he had no particular touch of his own and therefore nothing to add.

But then he took a job at the book counter at the Museum of Modern Art, where he met other young artists with odd jobs there, including Dan Flavin, Robert Ryman and Robert Mangold. He noticed the nascent works of Flavin and also absorbed early art by Jasper Johns and Frank Stella. Minimalism, a yet-unnamed movement, seemed like a fresh start. Mr. LeWitt was meanwhile intrigued by Russian Constructivism, with its engineering aesthetic, and by Eadweard Muybridge’s photographs, sequential pictures of people and animals in motion, which he came across one day in a book that somebody had left in his apartment. From all this he saw a way forward. It was to go backward.

He decided to reduce art to its essentials, “to recreate art, to start from square one,” he said, beginning literally with squares and cubes. But unlike some strict Minimalists, Mr. LeWitt was not interested in industrial materials. He was focused on systems and concepts — volume, transparency, sequences, variations, stasis, irregularity and so on — which he expressed in words that might or might not be translated into actual sculptures or photographs or drawings. To him, ideas were what counted.

At the time, linguistic theorists were talking about words and mental concepts as signs and signifiers. Mr. LeWitt was devising what you might call his own grammar and syntax of cubes and spheres, a personal theory of visual signs. It was theoretical, but not strictly mathematical. Partly it was poetic. He began with propositions for images, which became something else if they were translated into physical form by him or other people.

He also liked the inherent impermanence of Conceptual art, maybe because it dovetailed with his lack of pretense: having started to make wall drawings for exhibitions in the 1960s, he embraced the fact that these could be painted over after the shows. (Walls, unlike canvases or pieces of paper, kept the drawings two-dimensional, he also thought.) He wasn’t making precious one-of-a-kind objects for posterity, he said. Objects are perishable. But ideas need not be.

“Conceptual art is not necessarily logical,” he wrote in an article in Artforum magazine in 1967. “The ideas need not be complex. Most ideas that are successful are ludicrously simple. Successful ideas generally have the appearance of simplicity because they seem inevitable.”

Relishing Collaboration

To the extent that Mr. LeWitt’s work existed in another person’s mind, he regarded it as collaborative. Along these lines he became especially well known in art circles for his generosity, often showing with young artists in small galleries to give them a boost; helping to found Printed Matter, the artists’ organization that produces artists’ books; and trading works with other, often needier artists, whose art he also bought. Some years back he placed part of what had become, willy-nilly through this process, one of the great private collections of contemporary art in the country on long-term loan to the Wadsworth Atheneum, his childhood museum and the one that again was in his neighborhood after he moved, in the mid-’80s, from Spoleto to Chester. He lived there with his wife, Carol, who survives him, along with their two daughters, Sofia, who lives in New York and works at the Paula Cooper Gallery, and Eva, a senior at Bard College.

It was said that Mr. LeWitt didn’t like vacations. His pleasure was being in his studio. He explained that he had worked out his life as he wanted it to be, so why take a vacation from it?

To the sculptor Eva Hesse, he once wrote a letter while she was living in Germany and at a point when her work was at an impasse. “Stop it and just DO,” he advised her. “Try and tickle something inside you, your ‘weird humor.’ You belong in the most secret part of you. Don’t worry about cool, make your own uncool.” He added: “You are not responsible for the world — you are only responsible for your work, so do it. And don’t think that your work has to conform to any idea or flavor. It can be anything you want it to be.”

Gary Garrels, a curator who organized Mr. LeWitt’s retrospective for San Francisco in 2000, said: “He didn’t dictate. He accepted contradiction and paradox, the inconclusiveness of logic.”

He took an idea as far as he thought it could go, then tried to find a way to proceed, so that he was never satisfied with a particular result but saw each work as a proposition opening onto a fresh question. Asked about the switch he made in the 1980’s — adding ink washes, which permitted him new colors, along with curves and free forms — Mr. LeWitt responded, “Why not?”

He added, “A life in art is an unimaginable and unpredictable experience.”

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2. Franklin Furnace benefit, April 27, in the Village Voice, Broadway World and more

Hello Friends of Franklin Furnace,

Our event made it into the Village Voice online – under the benefits category. 
http://www.villagevoice.com/blogs/sightlines/archives/2007/04/cui_bono_benefi.php

and into Broadwayworld.com
http://www.broadwayworld.com/viewcolumn.cfm?colid=16646

and other blogs as well, including:
networked_performance - http://www.turbulence.org/blog/
http://www.nnseek.com/e/fa.fictionofphilosophy/special_goings_on_one_month_from_today_fwd_45081143t.html
http://www.fridayarts.net/blogs/?p=1328
http://jeromecovington.blogspot.com/2007/03/if-not-then-to-play-franklin-furnace.html

Surely there’s more to follow. Hope to see you on April 27 th.

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3. Cheri Gaulke, FF Alumn, at Orange County Center for Contemporary Art, thru May 20

ECHOES: Women Inspired by Nature

an exhibition of 21 women artists whose work focuses on the natural environment
Co-Curated by Betty Ann Brown and Linda Vallejo
Full Color Catalog with essay written by Dr. Betty Ann Brown and designed by Dr. Paula DiMarco, Roadwork Design

Exhibition Dates:  April 6, 2007 to May 20, 2007
Opening Receptions:  April 7and May 5, 6–10 pm

“Echoes: Women Inspired by Nature” will be presented at the Orange County Center for Contemporary Art (OCCCA) from April 5 through May 20, 2007. Curated by art historian Betty Ann Brown and visual artist Linda Vallejo, the exhibition will highlight the work of 21 women artists who focus on the natural environment. In artwork that ranges from traditional easel painting, to the newer media of photography and installation, to the very Postmodern use of non-art materials such as Gummy Bear candies, these artists call out attention to the beauty and wonder of the natural world, and to humanity’s deep and abiding connection with it. They also address issues such as pollution, over-consumption of resources, scientific atrocities and animal abuse.

We don’t need to have seen Al Gore’s compelling documentary, An Inconvenient Truth, to become aware of the devastating environmental changes in recent years. On an almost daily basis, television newscasters report on the destructive results of toxic spills, raging fires, rising pollution, or the horrific storms exacerbated by climate changes. Although artists are neither politicians (no matter how politically engaged), nor environmental scientists (no matter how intrigued by the vicissitudes of scientific inquiry), they can and do respond to the state of the natural world around them. In creating new and intriguing images of nature, artists can compel us to view our natural environment with fresh eyes. As Rachel Carson has noted, “The more clearly we can focus our attention on the wonders and realities of the universe about us, the less taste we shall have for destruction.”

“ECHOES” ARTISTS

The “Echoes” artists listen to nature and tell of the stories they have heard. Some of the stories glory in nature’s beauty and power. Others bemoan our ongoing abuse of nature. But all of them acknowledge our oneness with nature and our desperate need to respect and love her. The artists respond to nature in three elegantly interconnected ways. They create art that reveals an awe of nature’s beauty and power. They create art that manifests a feeling of meditative oneness with nature (rather than domination over nature or separation from it.) And they create art that mourns the losses from environmental abuse.

IN AWE OF NATURE’S BEAUTY & POWER

“Joy in looking and comprehending is nature’s most beautiful gift.” Albert Einstein, German physicist

Patsy COX uses the intense, saturated colors to fill up, even overwhelm, her installation space of clumping cactus

Astrid PRESTON creates riveting images of trees and flowers that are so finely crafted they astonish the viewer

Susan SILTON returns birds to the gorgeous rush of nature’s cycles

Linda VALLEJO participates Native American ceremony and is keenly aware of the sanctity of nature

Miriam WOSK presents dense, rich, and elaborate views of the ocean depths

Takako YAMAGUCHI recalls the decorative elegance of Japanese scrolls and screens

MEDITATIVE ONENESS WITH NATURE
“One touch of nature makes the whole world kin.”  William Shakespeare, English dramatist

Judith F. BACA depicts the ancestors united with the rocks and hills and caves

H. Barbara CUTLER assembles nature’s detritus and recycles it into sartorial statements about our connection to the constantly regenerative powers of nature

Cheryl EKSTROM senses the continued beauty in the world, of our oneness with natural cycles, and our need to press on even in grief

Suvan GEER focuses on the body’s time and the cycles of nature

Pamela GRAU TWENA is troubled by humanity’s ongoing disregard for nature and wonders what nature may do in response

Akiko JACKSON evokes poetic allusion through forms sharing physical and functional affinities

Lezley SAAR combines found black and white photographs with whimsical yet sophisticated drawings focused on natural forms

MOURNING THE LOSSES

“Ultimately, it is the earth – which has supported us and loved us and caressed us –that we must now stand up for, for she is under the gravest danger ever in the history of man.”  Chief Eddie Benton Banai, Grand Chief of the Three Fires Society

Kim ABELES presents a potent testimony to governmental disdain about pollution

Rabyn BLAKE creates fragile boats evoking a nostalgic sense of loss

Yaya CHOU asks “Why are these artificially flavored and colored products so widely present and persistent?” with her Gummy Bear sculpture

Cheryl Marie DULLABAUN asks what we have done to the paradise of nature

Samantha FIELDS combines the tradition of landscape painting with contemporary environmental concern

Linda FROST explores the abuses of genetic research and manipulation.

Cheri GAULKE shares the artist’s concern about the loss of numerous frog species

Holly TEMPO is concerned about the accelerating destruction of the tropical rain forests

ECHOES: Women Inspired by Nature

Orange County Center for Contemporary Art (OCCCA), 117 North Sycamore, Santa Ana, CA 92701, 714.667.1517, grau@prodigy.net.  Open Thursday and Sunday: 12 PM to 5 PM, Friday and Saturday: 12 PM to 9 PM

Exhibition Dates:  April 6, 2007 to May 20, 2007, Opening Receptions:  April 7and May 5, 6–10 pm
CONTACT: Pamela Grau Twena, Telephone: 714.667.1517  Email: grau@prodigy.net
Orange County Center for Contemporary Art (OCCCA)
Telephone: 714.667.1517  Email: grau@prodigy.net
Website:  http://occca.org/index.html
Betty Ann Brown:  betty.a.brown@csun.edu
Linda Vallejo: www.lindavallejo.com , vallejo@earthlink.net

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4. Clemente Padin, FF Alumn, in Montevideo, April 12 and in Buenos Aires, April 21-22

PER ASPERA AD ASTRA, Clemente Padin’s performance, will be carried out on April 12, 2007, at 20 hs. in Gallery of MEC, San Jose almost Paraguay, Montevideo, Uruguay, in the frame of Rene Pietrafesa Bonnet and Carlos Musso Rinaldi’s THE OTHER BORDER installation.

and

SOS TIERRA /SOS EARTH>Third Encounter the International of Art Action and ecology. Hudson/07 21 Saturday and Sunday 22 of April of 2007.

lll Encounter of art action:  SOSTierra/07 

SOS EARTH intends to create an uncommon fabric where the artists intervene with their proposals to the anguish of lack of current horizon. Claiming a liberated space of contamination of the environment. Where the one dialogues and the commitment between the artists and the society, be so overwhelming that it allows to arise the new thing.

The paradigm of the art detonated. In the face of the barbarism being about the planet, we intended to travel the one on the way to the resistance to their aesthetics of the horror. Proposing securities and a creative commitment with the life. Radically changing the look of the things.  Defending the measured ecosystem of the things.

Making of the Encounter of SOSTierra, a possibility to share, openly, the aesthetic experience. Taking a risk the body. Not substituting the reality, being her. Rebooting a poetic of liberation and the humans' autonomy in the face of the growing horror.

SOS Earth is a desperate, poetic expression. That it Trusts these signs that arise in the world, in favor of a social construction, infinitely, different to this. Celebrating the life, looking for the peace, through the art. Spitting life. By more D.e.s.a.r.m.e. Not being accomplices of human sacrifices, in irrational altars. Ominous. 

X bigger territories of creativity. The exploration that we carry out with SOS Earth will be shown appearing. Dreaming. Hugged. Watering us. Until the end.

Daniel Acosta/enero/07
Tercer Encuentro Internacional de Arte Acción y ecología. Hudson/07
Sábado 21 y domingo 22 de abril de 2007.
A accionar en el Museo ecológico Guillermo Hudson.
Florencio Varela Pcia. De Buenos Aires. 

Artistas invitados:
Canadá - Francis Arguin, Marie-Eve, Pettigrew,Richard Martel, Irene Loughilin, Henri Chalem, Francis O´Shaugnessy, Julie-Andrée T, Christian Messier, Sonia Pelletier
Brasil - Paula Darriva, Ingrid Antunes
Colombia - Sergio Jiménez Rosales
Cuba - Rafael Álvarez , Irlanda, Sinead Odonnell   
Uruguay - Clemente Padin, Mariana Picart Motuzas
Suecia - Pernilla Hägg
Argentina - Paula Abalos, Gabriela Alonso, Paloma Acosta, Daniel Acosta, Moira Antonello, Sofía Althabe, Joaquín Amat, Andrea Cárdenas, Mónica García, Isabel Mozón, Guadalupe Neves, Nelda Ramos, Javier Robledo, Claudia Ruíz Herrera, Joan Prim, Alberto Sarli, Calixto Saucedo, Gabriel Sasiambarrena, Javier Sobrino, Daniel SIMCA, Aníbal Vallejos, Rodrigo Viera, Grupo Baldío Móvil, Grupo Repecho, Grupo Mundos Oníricos, Grupo Presente continúo, Graciela Gutiérrez Marx y Compañía de la tierra bienamada

Idea y Coordinación: Daniel Acosta
Asistente: Gabriela Alonso
Comunicación: Soledad Obeid, Paula Abalos. Pablo Aguilar.
Dirección Técnica: Nelda Ramos
Colaboración: Calixto Saucedo, Claudia Ruiz herrera.
Sede: Museo ecológico Guillermo Hudson
Director: Rubén Ravera.
Apoyo de:

Embajada de Canadá - Imagínate, revista de cultura visual – Heterogénesis – IUNA Universidad de Arte SUM. Servicio universitario Mundial – Zonadearte - Canal Cero –

Video Bardo - ASOCIACION ARTISTAS VISUALES INDEPENDIENTES DE VARELA http://www.proyectosostierra.blogspot.com

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5. Dan Graham, FF Alumn, at Electronic Arts Intermix, April 10, 6:30 pm

Tuesday, April 10, 2007
Dan Graham
Video - Television - Architecture

Please join EAI and Dan Graham for an artist talk that explores his early and unrecorded experiments with video, architecture, and time.6:30 pm

Electronic Arts Intermix (EAI)
535 West 22nd Street, 5th Floor
New York, NY 10011

Admission free
RSVP: info@eai.orgFounded in 1971, Electronic Arts Intermix (EAI) is one of the world's leading nonprofit resources for video art and interactive media. EAI's core program is the international distribution of a major collection of new and historical media works by artists. EAI's activities include a preservation program, viewing access, educational services, online resources, and public programs such as exhibitions and lectures. The Online Catalogue provides a comprehensive resource on the 175 artists and 3,000 works in the EAI collection, including extensive research materials. www.eai.org

Please visit EAI's new project, The Online Resource Guide for Exhibiting, Collecting & Preserving Media Art, a comprehensive source for information on single-channel video, computer-based art, and media installation: http://resourceguide.eai.org

Electronic Arts Intermix
535 West 22nd Street, 5th Floor
New York, NY 10011
(212) 337-0680 tel
(212) 337-0679 fax
info@eai.org

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6. Twinart, FF Alumns, at Frank Pictures Gallery, Santa Monica, CA, opening April 15

Laurie Frank Invites you with great pleasure to an exhibition by

TWINART
Rewind > Fast Forward
Vintage Polaroids 20 x 24
1987 > 2007

Opening Reception
Sunday, April 15, 2007
6:30 - 9:00 pm
click here for directions

REWIND > FAST FORWARD

TwinArt’s Instant Replay series produced between 1987 and 1993, on view at the Frank Pictures Gallery in Santa Monica this spring, confirms Polaroid founder Edwin H. Land's conviction that artists would be the ones to lead in the development of photographic technology. Land, who had hired Ansel Adams to freely work with the first "instant" Polaroid camera he produced in 1948, set up a program in the 1970s to encourage artists to explore the creative potential of his instant cameras – simultaneously sponsoring innovation in the new medium and building a unique corporate art collection. Along with Chuck Close, David Hockney, William Wegman, and Ellen Carey, Ellen and Lynda Kahn were among the artists sponsored by Polaroid to work with the large-format 20x24 instant camera Edwin Land developed in 1977. As part of Polaroid's Artist Support program, TwinArt was invited to the now legendary 20x24 Studio in Boston. Their first 20x24 photographs juxtaposed brand-name products like Hostess Twinkies and Nestlé's Quick with eclectic props and ephemera including religious icons, miniature robots, electric light bulbs, and exotic food packaging. Where the hyper-real images of products and stereotypes collided, the perfect world they advertised was challenged, and ironies emerged.

The following year, TwinArt was again invited by Polaroid to the new 20x24 Studio in Soho, New York. The result was their Instant Replay series, which exposed the dream of the effortless, "instant" life as a mirage mirrored in the parallel and reciprocal realms of advertising and consumerism. The unique Polaroid prints TwinArt produced during this period exposed the contradiction between glossy and lushly color-saturated photography (one of the commercial purposes that drove the 20x24 camera's invention) and the grainy look of video TwinArt had been exploiting since the 1970s. The complex images in this series combined figures from different professions and lifestyles as well as actors selling products like shampoo and lipstick and dwelled on the packaging for household cleaning products. Nuanced media messages were remixed to give the pop sensibility a critical edge. Devo’s hit song It’s a Beautiful World could have been the soundtrack for this body of work in which TwinArt recycled video clips captured as freeze frames, superimposing them with fragments of print ads.

Today, these vintage images have the feel of the "re-mix" avant la lettre, as if – like David Bowie in Nicolas Roeg's classic 1976 film The Man Who Fell to Earth – the viewer were watching multiple TV channels at once. TwinArt's 20x24 Polaroids are an homage to French New Wave cinema, and in particular to Godard, whose video experiments during the 1970s were an inspiration to the Kahn sisters. Proffering the commercial product as icon, Instant Replay also invokes the work of Andy Warhol, Kenneth Anger, Stan Brackage, Bruce Connor. TwinArt's video works have been exhibited at the Kitchen, Mudd Club, Franklin Furnace, and Anthology Archive in New York, and at the 1986 Tokyo Video Biennale. Privileged to have been selected three times by Polaroid to participate in the Artist Support Program, Ellen and Lynda Kahn were also awarded a National Endowment of the Arts Fellowship in New Media in 1981. Their art work has been exhibited internationally in museums and galleries, including the Whitney Museum of American Art Image World 1990, the Metropolitan Museum of Art Pucci Love 1991, and the Pompidou Center in Paris Instant This – Instant That 1982, and is represented in the corporate art collections of Absolut Vodka, Polaroid, Bell+Howell, and Best Products.

Today, Emmy Award-winning Ellen and Lynda Kahn are still the creative force of TwinArt, a bi-coastal company based in New York City and Los Angeles which conceptualizes ideas, builds brands and stylizes pop culture. With a focus on the visual media – photography, film, video, and graphic design – their work appears everywhere from film to broadcast television, commercials, print ads, museums, and billboards. Together, the dynamic duo has brought their artistic edge-sensibility to projects for Absolut Vodka, Martini & Rossi, and Polaroid, among others

-- Denise Bratton

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7. Tim Miller, FF Alumn, at Cal State, LA, April 9, 7 pm

Hi Folks!

I am performing Monday, APRIL 9 in California State University, Los Angeles. This will be especially juicy because I taught full time at Cal State LA  a years ago. I am doing a fun FREE performance at Cal State LA  called SEX/BODY/SELF. I perform several sections and talk in between about work. It's at 7PM at Arena Theater at Cal State LA and is sponsored by the Cross Cultural Centers. Cal State LA is just east of downtown. Here's a map. http://www.calstatela.edu/univ/calendar/

Sex, Body, Self: An Evening of Performance With Tim Miller
Monday, April 9 at 7 pm
Arena Theatre, 1st floor, Music Building
Cal State L.A.
FREE!
Internationally-acclaimed performance artist Tim Miller explores the artistic, spiritual, and political topography of his identity as a gay man in this performance and discussion. For more information, please contact the Cross Cultural Centers at Cal State L.A. at (323) 343-5001.

SEX! BODY! SELF!
A performance & lecture & rant by Tim Miller

A highly stimulating and opinionated rant with performance about performance, identity, the culture wars and queer strategies for the future.
Gasp at the hideous congressional slander of artists engaged with society!!!
Witness Lesbian and Gay Americans be forced into exile because of US Human Rights violations!!!
See shirtless Scottish lesbians drum out a thousand years of violence!!!
Thrill to fierce cultural plots and plans for radical transformation!!!!

"Tim Miller sings that song of the self which interrogates, with explosive, exploding, subversive joy and freedom, the constitution and borderlines of selfhood. You think you don't need to hear such singing? You do! You must!"   Tony Kushner, author of Angels in America

Hailed for his humor and passion, Tim Miller's solo performances have been presented all over the world. He is the author of the books SHIRTS & SKIN, BODY BLOWS and 1001 BEDS.  His theater works have been published in the play collections O Solo Homo:  The New Queer Performance (1998) and Sharing the Delirium - Second Generation AIDS Plays and Performances (1993).
Miller has taught performance in the theater departments at UCLA, Cal State LA and NYU. He is a founder of Performance Space 122 in NYC and Highways Performance Space in Santa Monica, CA.   Miller can be reached at his website:  http://hometown.aol.com/millertale/

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8. Barbara Hammer, FF Alumn, at Workman Theatre, Toronto, April 12, 7 pm

Momentum 8:
Thursday, April 12, 7 PM
Joseph Workman Theatre
(1001 Queen Street West, Toronto, Ontario, Canada)
Barbara Hammer (USA) & Sophie Hackett (Canada)
Moderated by Kathleen Mullen

Sophie Hackett, the Assistant Curator of Photography at the Art Gallery of Ontario, engages with the enormously influential American lesbian film and video artist Barbara Hammer, whose films have been presented at Images on several occasions. Hackett and Hammer will focus their discussion on representation and the construction of memory and identity through the use of the archival photography.

Sophie Hackett
Sophie Hackett is the Assistant Curator, Photography at the Art Gallery of Ontario.  Prior to this, as a writer and independent curator, she published writing in Lola, Saturday Night magazine, Xtra!, C Magazine, Canadian Art and Prefix Photo.  She has curated five exhibitions independently, including The Found and the Familiar: Snapshots in Contemporary Canadian Art, co-curated with Jennifer Long (2002), Flash Forward (2005), and Wallpaper (2005).

Barbara Hammer
Barbara Hammer is a visual artist working primarily in film and video and has made over 80 works in a career that spans 30 years. In 2005 the Mar del Plata International Film Festival in Argentina presented a retrospective of her work. In  2006 she was awarded a week’s tribute and screening of 7 programs of her work at the XI International Gay and Lesbian Film Festival in Turin, Italy and three days at Cinematheque Bologna. Her Creative Capital project, Resisting Paradise, (2003), was purchased by the Sundance Channel, received the Best in Show at the Digit Film Festival and the Peace Prize at the Orlando Peace Film Festival. Her new film Lover/Other: Claude Cahun and Marcel Moore premiered at the Berlinale International Film Festival in Germany and Directors’ Fortnight at the Museum of Modern Art in New York City in 2006. Hammer was a Fulbright Senior Specialist in 2005 at the Bratislava Academy of Art and Design, Slovakia and teaches each summer at The European Graduate School in Saas-Fee, Switzerland. She is the first recipient of the Shirley Clarke Avant-garde Filmmaker Award (2006).  

Kathleen Mullen (Moderator)
Kathleen Mullen is currently working on her MFA in Film Production at York University after having left Inside Out Toronto Gay and Lesbian Film Festival where she worked for five years as the Director of Programming. She has curated and programmed for film festivals locally and internationally for the past 11 years including the Vancouver International Film Festival, Boston Museum of Fine Arts Film Program, Out on Screen and Provincetown International Film Festival. Her first film, you wash my skin with sunshine, has screened internationally and she is near completion of her next short, Sleep Lines.

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9. Leslie Hill, Helen Paris, FF Alumns, at Genesis Cinema, London, UK, April 16, 6 pm

(be)longing, directed by Leslie Hill and Helen Paris, FF Alumns, a 10-minute documentary will be screened on April 16 at 6 pm at Genesis Cinema, 93-95 Mile End Road, London, Ei4UJ, England, www.genesiscinema.co.uk

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10. Pamela Sneed, FF Alumn, at Bowery Poetry Club, NY, April 11, 7 pm

5th Annual Show
www.poeticpeoplepower.com
www.myspace.com/poeticpeoplepower

are you of the system?

SICK

TIRE & D presents its 5th Annual Show

SICK & TIRED

A Call l for Universal Care

Poetic People Power is an ongoing project that combines poetry and activism. Join NYC’s best poets as they bring their political poems to the stage to advocate for universal health care.

DATE: Wednesday, April 11, 2007
TIME: 7 PM Sharp
LOCATION: Bowery Poetry Club, 308 Bowery, NYC
ADMISSION: $10

POETS: Tara Bracco, Cynthia Bruckman,
Erica R. DeLaRosa, Frantz Jerome,
Sugar Johnson, Chris Martin,
Pamela Sneed, Jonathan Walton

Produced by Tara Bracco. Funding has been made possible by the Puffi n Foundation and the Lower Manhattan Cultural Council through the New York City Department of Cultural Affairs.

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11. Mitzi Humphrey, FF Alumn, announces publication of BroadStrokes, vol. III, issue 1

FF alumn Mitzi Humphrey announces the publication of the Third Anniversary Issue of BroadStrokes, (Vol. III, issue 1), the review of events at the non-profit art6 Gallery in Richmond, Virginia. The issue contains many photographs of the gallery, its artists and events taken by Humphrey during 2006-2007 and edited by her son Thomas M. Humphrey II.

The new issue may be seen online at http://art6.org/broadstrokes/3rd%20Anniv.pdf.

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12. Tom Trusky, FF Alumn, at Holter Museum, Helena, MT, April 22, 2 pm

Tom Trusky on *Life of James Castle* Sunday, April 22, 2 pm at Holter Museum, Helena, MT

Tom Trusky, curator of James Castle: From Icehouse to Early Attic, will present a lively talk on the life of James Castle on Sunday, April 22, at 2 pm, at the Holter Museum. Castle's work has been on exhibit at the Holter since January. The exhibition, organized by Trusky and the Idaho Center for the Book, closes on April 22.

Trusky, Director of the Hemingway Western Studies Center and Professor of English at Boise State University, has studied James Castle for many years. Trusky is the leading authority on the life of this internationally renowned self-taught Idaho artist who lived from 1899-1977. Tom has recently learned new information about Castle's life that he is very excited about--and the Holter audience will be the first to hear Tom share these stories.

"Whatever his motivations or inspirations, Castle labored ceaselessly for over sixty years, struggling to record his surroundings, to convey his messages, to create his hauntingly beautiful and original visions...." Trusky comments.

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13. Joshua Kinberg, FF Alumn, in New York Magazine, April 9 issue

New York Magazine’s Intelligencer

The Disappeared by Tim Murphy

The cops took his high-tech protest bike and left him with lingering paranoia.

The recent revelations of the NYPD’s disturbingly thorough black-ops preparations against protesters at the 2004 Republican convention brought Joshua Kinberg back into the limelight. He’d rigged up a bike—or, as the NYPD called it, a “quick vehicle of escape”—that could receive slogans via cell phone, then spray them on the ground in chalk. He was arrested pre-convention while showing off the bike to MSNBC cameras. Kinberg, 28, spoke to Tim Murphy from San Francisco, where he now lives.

Were you surprised to find out you’d been spied on?
No, because the arrest felt orchestrated.

How did it work?
A cell phone received text messages from visitors to my Website. A program that I’d written sent the message to a printing apparatus. It took about five to six months to build and cost $5,000.

And it was your Parsons thesis. What grade did you get?
I don’t remember. Either an A or a B-plus. A lot of my instructors didn’t like it. But Parsons showed it in their front window.

So what was being arrested like?
The Bomb Squad dealt with me. They were like, “You built this? You’re a genius, but you shouldn’t be doing this.” I was held for 24 hours.

And they held your technology for six months.
I finally found it in a pile behind a desk in the D.A.’s office. They lost the bike.

Has it left you worried about being watched by the government?
There are times when my cell phone makes weird clicking noises.

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14. Joseph Nechvatal, FF Alumn, at NYIT, Manhattan, April 12, 7-9 pm

"Art of the Digital Age" Lecture Panel on Thursday, April 12, 7 - 9 pm

NYIT Manhattan campus, 11th Floor Auditorium, 16 West 61st Street (near Columbus Circle)
Moderator: Bruce Wands, Author of “Art of the Digital Age”, published by Thames & Hudson

Panelists:
Victor Acevedo - Digital Imaging
Joseph Nechvatal - Digital Imaging
W. Bradford Paley - Software, Database and Game Art
Robert Michael Smith - Digital Sculpture

The impact of digital technology on the production of art has been profound. Traditional activities such as painting and sculpture have been radically transformed by digital techniques and media, while entirely new forms, such as net art, digital installation and virtual reality, have emerged as recognized artistic practices. Digital artists themselves are often at the forefront of creative experimentation, relentlessly pushing the boundaries of artistic expression and exploring some of the most urgent social and political issues facing humankind today.

After an introductory statement regarding the past, present and future of digital art, Bruce Wands will moderate a panel of four artists from his book, including Victor Acevedo, Joseph Nechvatal, W. Bradford Paley, and Robert Michael Smith. Each artist will discuss their work, as well their thoughts on digital art. This will be followed by a group discussion, as well as a question and answer period with the audience.

BRUCE WANDS
http://www.brucewands.com/

Bruce Wands has been working in digital media and music for more than thirty years as an artist, musician, writer, and curator. His creative work explores the relationship between visual art, mathematics and music, and the invention of new forms of narrative. He has lectured, performed, and exhibited in the United States and internationally, including Europe, Japan, Korea, Hong Kong and Beijing, China. Recent lectures and exhibitions include Electronics Alive IV, SIGGRAPH 2006, BUDI 2005 in Pusan, Korea, CHArt 2006 and the ACM Creativity & Cognition Conference and Exhibition in London, “Thoughts on Hesse, Digital Art and Visual Music” at SIGGRAPH 2004, and the First Beijing International New Media Arts Exhibition. Time Out New York named Bruce as one of the “99 People to Watch in 1999”. He is the Chair of the MFA Computer Art Department and the Director of Computer Education at the School of Visual Arts in New York. He is the Director of the New York Digital Salon, an international digital art organization that celebrated its 10th anniversary in 2003 (www.nydigitalsalon.org). He is the author of Art of the Digital Age from Thames & Hudson in 2006 and Digital Creativity,
published by John Wiley & Sons, Inc. in 2001.

VICTOR ACEVEDO
http://www.acevedomedia.com

Victor Acevedo is an artist, best known for his digital work involving print making and photography. He attended Art Center College of Design in Pasadena. He is now based in New York where he is on faculty in the MFA Computer Art Department at the School of Visual Arts. He produced a significant body of work in traditional media painting and drawing during the years 1977-1985. Since 1984 computer graphics has been his primary medium. Acevedo’s work has been published in several books and has been shown in over
80 exhibitions worldwide including the Isamu Noguchi Museum, NY 2005, Siggraph/TAS, Paris, 2005; Novosibirsk State Art Museum; 2005; LACDA, 2005; Digital Art Museum, Berlin 2004; Millennium Art Museum, Bejing, China, 2004; ACM/Siggraph CG03; Siggraph/TAS, Cleveland Art Museum 2003; Digital Duality, EZTV/Cyberspace 2002; Levall Gallery, Novosibirsk, Russia, 2002; YLEM's 20th Anniversary Exhibition, SF, California, 2001; Colville Place Gallery, London, 2001

JOSEPH NECHVATAL
http://www.nechvatal.net/

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. Nechvatal started to use computers to make "paintings" in 1986. From 1991–1993 he was artist-in-residence at the Louis Pasteur Atelier in Arbois France and at the Saline Royale/Ledoux Foundation's computer lab. There he worked on the Computer Virus Project, which was an artistic experiment with computer viruses and computer animation.

W. BRADFORD PALEY
http://wbpaley.com/brad/

W. Bradford Paley uses computers to create visual displays with the goal of making readable, clear, and engaging expressions of complex data. He did his first computer graphics in 1973, founded Digital Image Design Incorporated (didi.com/brad) in 1982, and started doing financial & statistical data visualization in 1986. He has exhibited at the Museum of Modern Art; he created TextArc.org; he is in the ARTPORT collection of the Whitney Museum of American Art; has received multiple grants and awards for both art and design, and his designs are at work every day in the hands of brokers on the floor of the New York Stock Exchange. He is an adjunct
associate professor at Columbia University, and is director of Information Esthetics: a fledgling interdisciplinary group exploring the creation and interpretation of data representations that are both readable and esthetically satisfying.

ROBERT MICHAEL SMITH
http://iris.nyit.edu/~rmsmith

Robert Michael Smith is a digital sculptor and Associate Professor of art and technology at New York Institute of Technology
Fine Arts Department. Smith is also NYIT Middle East Fine Arts Computer Graphics Coordinator for Global Exchange Programs
at Amman, Jordan; Kingdom of Bahrain, and Abu Dhabi, United Arab Emirates. Smith has been an active pioneer of digital sculpture,
3D visualization/animation, Web design, virtual sculptures for the Web, virtual actors for computer gaming, curator for international
art exhibitions as well as a philosopher of art & technology aesthetics. Smith was the founding Web Director of www.sculpture.org
during 1997-2003 and Board Director of the International Sculpture Center during 2003 - 2005. Smith is President Emeritus of
The Sculptors Guild, founding Board Director and Treasurer of Digital Stone Project. Smith's sculptures and digital art have been
exhibited extensively worldwide, featured in lectures at numerous universities, international conferences, and included in several international articles.

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15. Cathy Weis, Jennifer Miller, FF Alumn, at ICA, Boston, April 28-29

April 28 and 29, 2007
Saturday , 08:00 PM
Tickets: $30 reserved seating; $25 members, seniors, and students

The Institute of Contemporary Art/Boston 100 Northern Avenue Boston, MA 02210
General Information: 617-478-3100 or info@icaboston.org
Visitor Information: 617-478-3101
Box Office: 617-478-3103 or buy on-line at http://www.icaboston.org
Membership: 617-478-3102

Cathy Weis

Technology and the human body partner as choreographer Cathy Weis and her company present "Electric Haiku: Calm as Custard," a concoction of live movement, video, and sound. Using technology in simple yet ingenious ways, Weis takes physical movement into new realms, as dancers interact with projected images and sights and sounds are amplified to dramatic and comic effect. With its "dazzling video-dance images and belly-laugh humor" (The New York Times), "Electric Haiku" is a witty and inspiring conversation with an artist who encourages us to see dance anew. Presented in partnership with Boston Cyberarts: Ideas in Motion. Performers include Jennifer Miller, Scott Heron, Osmany Tellez, Cathy Weis, Steve Hamilton. Lighting design by Emily Stork. Technical direction by J. Ryan Graves.

RELATED FAMILY EVENT: Join Cathy Weis and her dancers at the April 28 Play Date: Taking Shape.

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16. Ken Butler, FF Alumn, on Youtube.com and several events in Oregon, April 5-May 9

Friends …….. three exhibitions (and 2 performances) in Oregon

Ken Butler’s Hybrid Visions

Exhibition, “Instrumental Desire: Strings Attached”
Elizabeth Leach Gallery, Portland, Oregon
4/5-28/07, opening April 5th, 6-9
http://www.elizabethleach.com

Exhibition, “Hybrid Visions”, (solo), 58 works
The Art Gym at Marylhurst University, Marylhurst, Oregon
4/10-5/16/07, opening April 10th, 6-8
http://www.marylhurst.edu/theartgym/2007butler.php

(I will be unable to be there for the openings unfortunately)

Performance, “Voices of Anxious Objects”
Wed. May 9th 8pm
Lakewood Center for the Arts, Lake Oswego, Oregon,
KB - hybrid strings
John JB Butler - guitar
Glenn Moore - bass
Martin Zarzar - percussion
http://www.lakewood-center.org/Butler.htm

Exhibition, “Hybrid Visions”, (solo), 58 works,
The Hallie Ford Museum of Art,
Willamette University, Salem, Oregon
6/9-8/11/07, Performance (solo), 6/9/07
http://www.willamette.edu/museum_of_art/index.htm

and:
YouTube video link http://www.youtube.com/watch?v=NEAD7_4IxLQ
(more on the way)

Ken Butler
HYBRID VISIONS
427 Manhattan Ave.
Brooklyn, NY 11222
WEBSITE www.mindspring.com/~kbhybrid
MYSPACE www.myspace.com/kenbutlerhybridvisions
PHONE / FAX (718) 782-4383

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17. Robbin Ami Silverberg, FF Alumn, at Brooklyn Central Library, opening April 24

For a woman, marriage is a profession. (Portuguese, Brazil).

A woman is a wife only through her husband. (Rundi, Barundi).

Mama, what does being married mean? It means, daughter, kneading dough, weaving, having children, and shedding tears. (Russian).

Man’s work is from sun till moon, woman’s work is never done. (German / English).

Young wife during the night, beast of burden during the day (Arabic, Maghreb / West Sahara).

A wife is serviceable in every room (Dutch).

A good wife is the workmanship of a good husband. (English, USA).

Women are necessary evils. (English, UK).

Daughters and land: root of all evil. ( Bengali, Bangladesh).

The woman is never in charge. (Ibo, Nigeria ).

All things come to an end, except women’s work and pain in hell. (Danish).

However smart a woman may be, she will

Women’s Work
An exhibition of artist books
Robbin Ami Silverberg
April 24 - June 16, 2007
Brooklyn Central Library
Mezzanine Gallery
Grand Army Plaza
Brooklyn , NY 11238
Opening reception for library exhibitions is on Tuesday April 24th,
at 6pm in the Central Library’s Trustees Room.

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18. Kal Spelletich, FF Alumn, in New Orleans, April 14, noon – midnight, and more

BONJOUR!
I am in an exhibit i helped brainstorm and curate with Malcom Morley and Michael Aaron. The 2nd Annual Lower Decatur St. Transformation and Enlightenment League Street Festival in New Orleans Louisiana.
On Decateur St. btwn. Ursilines and Govoner St. Nichols streets in the lovely Viex Carre French Quarter.

http://maps.google.com/maps?ie=UTF-8&oe=UTF-8&hl=en&tab=wl&q=new%20orleans

Sat. April 14, 12 noon til midnight.
Lots and lots of bands, performance, video and art.
Among the performers and whatnot are:
Performance
Generic Art Solutions
Scatterbrain (Cincinnati)
Ezra, Adam, Josh
Human Bowling

Video
Holly Streekstra
Chicory Miles
Ellen Ellis

Alternative Fashion Show
Rodneyna O’Connor
Adrian
Glim and Glam T-Shirts

Interactive Installation
Kal’s Amazing Space Ship BB-Q

Music
Morning 40 Federation
Coco Roicheaux
Happy Talk Band
Dry Bones Trio
King James
R. Scully
Michael DJ’s 78s

On Wed. April 11 and Thurs.the 12th I am talking and meeting with students in the Fine Arts Department at Louisiana State University in Baton Rouge. La.
life is amazing~

take care
and well, stop the war.
kal

Kal Spelletich
SEEMEN
institute for the arts , sciences and letters.
since , well, 1980!
http://seemen.org/
http://www.whitehouse.org/

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19. Jay Critchley, FF Alumn, in The San Francisco Chronicle

http://sfgate.com/cgi-bin/article.cgi?f=/c/a/2007/03/30/MNG8OOUJRS1.DTL

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20. Ruth Hardinger, FF Alumn, at City Without Walls, Newark, NJ, opening April 12, and more

City Without Walls Presents "Vitamin W: The Wonder Factor, Altered States"

(NEWARK, NJ) -- "Vitamin W: The Wonder Factor, Altered States," curated by writer, critic, physician and Whitney Independent Study Program Curatorial alumnus Koan-Jeff Baysa, has its opening reception on Thursday, April 12, 2007, 6-8pm at City Without Walls (cWOW) main gallery on 6 Crawford Street, Newark, NJ. The exhibition continues at the gallery through May 31, 2007 and is free and open to the public Wednesday through Friday 12-6pm and Saturday 1-6pm.

The exhibition seeks to articulate the connections between contemporary art and higher consciousness through works that address human experiences of spirituality, ecstasy, rapture, healing, and the sublime.

Nineteen artists are participating in the exhibition: Yun Bai, Monica Castillo, Rodney Dickson, Anne Dushanko Dobek, Fred Fleisher, Shingo Francis, Asha Ganpat, Lynne Dian Gulezian, Ruth Hardinger, James Jack, Jeremy Kost, David Meanix, Pablo Orendain, Hermes Payrhuber, Michael Rees, Loreen Rowley, Michael Somoroff, Lynn Sullivan, and Carlo Vialu.

"The vitamin metaphor was purposefully deployed," says Dr. Baysa, "to encapsulate the idea of an external or pharmaceutical intervention in the creation of altered states, but also to abstract and implicate all conditions that are internalized and conducive to being and becoming 'wonder-full.'"

City Without Walls (cWOW) is an urban gallery of emerging art that advances the careers of artists while building the audience for contemporary art. Founded in 1975, cWOW is New Jersey's oldest not-for-profit alternative art space. cWOW is a three-time recipient of the New Jersey State Council on the Arts Citation of Excellence. cWOW is funded in part by the Prudential Foundation, Geraldine R. Dodge Foundation, NJ State Council on the Arts/Department of State, and JPMorganChase. It is easily accessible by car, mass transit, or at cwow.org.

and

FLAT FILES SHOW at WilliamMAXWELL finearts Opens April 14
The INTANGIBLE al fresco in the Sculpture Garden Opens April 14

THE FLAT FILE SHOW includes over 50 artists creating works on paper for MAXWELL FINE ARTS’ expanded flat files. One paper work from each artist in the flat files will be hung on the gallery walls and rotated with other works in the flat files every 3-4 weeks, creating a new exhibition each time. Interest in any particular artist will provide the viewer with the opportunity to immediately view further works by that artist in the flat files, which will be installed in the center of the first floor gallery adjacent to the exhibition. All paper works in the flat files will be available for any viewer’s perusal interested in individually going through the flat files at their own pace.   Viewer’s will be provided with a pair of curator gloves and instructed on how to handle the artwork with care.  All paper works, both on the wall and in the flat files, will be unframed and easy to access. Recommendations as to framing and hanging of these paper works will be provided and the retail prices for all works will be reasonable. Subject matter and medium will be highly diverse, providing the viewer with a wide range of preference and choice.

THE INTANGIBLE al fresco is a show of abstract outdoor sculptures. Abstract in the sense that the qualities they possess are difficult to define concretely. The sculptures possess an unquantifiable quality, a quality of elusiveness or contradiction, a sense of the intangible. Seen in this way, these works seem to reference something else, something also intangible, a vague feeling, a remote idea, an inconclusive summation. Al fresco simply refers to the works being placed outdoors and somehow integrating with or an insisting from their environment. The show features nine emerging and established sculptors producing very diverse works that are installed in a four-tier sculpture garden as if they are in dialog with each other.  The nine sculptors selected for this exhibition are: Judith Steinberg (Connecticut) Vince Schifano (Dobbs Ferry), Jim Llyod (Cortland Manor), Emil Alzamora (Beacon), Dina Bursztyn (Catskill), Ruth Hardinger (Manhattan), Michael Poast (Long Island City), Wilfredo Morel (Peekskill) and Brent Crothers (Maryland).

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21. James Casebere, FF Alumn, at thepound.wordpress.com

http://thepound.wordpress.com/2007/04/08/james-casebere/

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22. David Medalla, FF Alumn, at The Foundry, London, England, May 13, 2007

David Medalla, FF alumnus, will be performing during the solo show of English artist Jill Rock at The Foundry, on Old street, in London, England, on Sunday, May 13, 2007, at 5 p.m. Medalla's performance is entitled "The Dream of a Chimney Sweep at Balls Pond Road". The house at 99 Balls Pond Road in London was where David Medalla initiated the Exploding Galaxy, a commune of multi-media artists, in 1967. In the bygone days when fires in London's fireplaces were lit with smokey lumps of coal, producing much soot inside London's chimneys, chimney sweeps earned a bare living sweeping the insides of fireplaces. David Medalla made friends with a young English chimney sweep who took David on chimney sweeping rounds around Islington and Dalston in north London in the late 60s. 

Jill Rock's solo show at the Foundry will be an installation consisting of assemblages of delicately painted fragments of wood and walk-in mirrored geodesic forms exploring relationships with the power of color between lyrical and mathematical microcosms. Other artists performing in Jill Rock's installation on May 13 are Adam Nankervis, FF alum, Jo Roberts, Noel Macken, and Cos Chapman and the Scratch Orchestra who will perform pages from Cornelius Cardew's "Treatise".    

One of the fragments of wood in Jill Rock's installation is a piece of wood from the tree over William Blake's grave at Bunhill Cemetery in London. On May 15, at the Foundry, Jill Rock will host an evening of poetry dedicated to William Blake. This year, on Blake's birthday anniversary, Jill Rock, David Medalla, and several other artists and poets, recited poems by William Blake in the room at Tate Britain dedicated to the art of Blake, Samuel Palmer, Cecil Collins and other English visionary and romantic painters. There, at Tate Britain, David Medalla recited Blake's moving poem "The Chimney Sweep". The poem was a passionate condemnation of child exploitation. Today, Medalla remarked, there is still rampant child slavery in many parts of the world, and Blake's poem has still profound resonance.

Besides being one of Britain's truly innovative artists, Jill Rock has also curated several memorable exhibitions for the London Biennale, including shows at the Institute of Physics, Brompton Cemetery, and Orleans House in Twickenham. For her solo show at The Foundry (a venue of cutting-edge art, live music, video and performance art in London), Jill Rock will also organise a "Brain Prism Evening" featuring films by Robert Robinson and the Ocatillo Arts Group and poems by Steve Hawkins. Entry to the exhibition and to the different events is free.

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23. Lorraine O’Grady, FF Alumn, now online at http://www.moca.org/wack/?p=230

Dear Friends,

My 1980-81 performance, Mlle Bourgeoise Noire, has been put online for the first time. The synopsis—including backstory and poems, plus the 13 images of "Mlle Bourgeoise Noire Goes to the New Museum"—is the latest headline of "WACK! Art and the Feminist Revolution." The permanent link is:  http://www.moca.org/wack/?p=230

MOCA has also posted my March 22 Gallery Talk remarks on "white middle-class feminism" and the "spatial vs chronological timelines of global feminism" at:  http://www.moca.org/wack/?p=203

An installation view of Mlle Bourgeoise Noire's costume is at:
http://www.moca.org/wack/?page_id=104#

With warm regards,
Lorraine

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24. Sonya Rapoport, FF Alumn, at University of Wisconsin-Madison, April 23-27

Sonya Rapoport will be participating  in the Conney Project Web Gallery with her web pieces KABBALAH/KABUL: Sending Emanations to the Aliens; REDEEMING THE GENE, MOLDING THE GOLEM, FOLDING THE PROTEIN;  MAKE ME A JEWISH MAN: An Alternative Masculinity, and THE TRANSGENIC BAGE. These artworks can be accessed at www.sonyarapoport.net

The George L. Mosse/Laurence A. Weinstein Center for Jewish Studies at the University of Wisconsin-Madison and sponsored by the Conney Project on Jewish Arts will hold a "Practicing Jews: Art, Identity and Culture" conference that addresses  issues of Jewish identity in the visual arts, music, performance, and literature through both theory and practice from April 23-27, 2007.

Keynote Speakers include:
Norman Kleeblatt - Susan & Elihu Rose Chief Curator, The Jewish Museum, New York

Lisa Bloom - Visiting Associate Professor of Visual Culture, University of California, San Diego and Author of Jewish Identities in American Feminist Art: Ghosts of Ethnicity

Susan Gubar - Distinguished Professor, Department of English, Indiana University, Bloomington, Author of Poetry After Auschwitz

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25. Joshua Kinberg, FF Alumn, in Wired News, and online

Hi all,

Just wanted to share an article that was just published in Wired News about BikesAgainstBush and the recent events: http://www.wired.com/politics/onlinerights/news/2007/04/kinberg_0410

I am considering following up by filing a Freedom of Information Act request to get a copy of my files... we'll see what happens.

Best,
Josh

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26. Doug Beube, Robbin Ami Silverberg, FF Alumns, at Center for Book Arts, April 13-June 30

The Center for Book Arts 
28 West 27th Street , 3rd Floor 
New York , New York 10001  
(212) 481-0295 
info@centerforbookarts.org

presents

Black/White [and Read]
April 13, 2007 - June 30, 2007
Organized by Gloria Helfgott, Artist and Independent Curator 

Black/White [and Read] will lay bare the bones of the book and thus will manifest the strength of image and structure. 

Works by 15 book artists will be featured including Maria Barbosa, Geri Boggs, Inge Bruggemann, Doug Beube, Beatrice Coron, Pamela Drix, Bill Hendricks, Charles Hobson, Kumi Korf, Mary Ellen Long, Barbara Lazerus Metz, Werner Pfieffer, Pia Pizzo, Lise Poirier, Stephen Sidelinger, Robbin Ami Silverberg, Alice Simpson, Beth Thielen, Mary Ting, Nik Tongas, Susann Wilber, Ana Wolf, Arne Wolf, Crista Wolf.

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27. Simon Cutts, Jean-Noel Herlin, FF Alumns, at Cue Art Foundation, April 20, 6:30 pm

Simon Cutts & Steve Beresford
will perform
Poetry and Music

including
An English Dictionary of French Place Names
together with Jean-Noel Herlin
on Friday April 20th 2007 at 6.30pm
to launch the publication by Granary Books of
as if it is at all and Some Forms of Availability
by Simon Cutts

CUE Art Foundation
511 West 25th Street , New York, New York 10001
Tel 212 206 3583

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Goings On is compiled weekly by Harley Spiller

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

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