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ABOUT GOINGS ON: How to subscribe and submit listings

Goings On: posted week of November 12, 2007

1. Fred McDarrah, FF Member, In Memoriam
2. Willoughby Sharp, FF Alumn, at Harvard Graduate School of Design, Nov 14
3. Barbara Hammer, FF Alumn, at NYU, Nov 16, 7 pm
4. Charles Clough, FF Member, at PULSE Art Fair, Miami, FL, Dec 5-9, and more
5. Suzanne Stokes, FF Alumn, in Stone Ridge, NY, Nov 17, 8 pm
6. Marie Sester, FF Alumn, at Fargafabriken, Stockholm, Sweden, opening Nov 17
7. Doug Beube, FF Alumn, at Ai.lov.iu, Brooklyn, thru Nov 21
8. Tobaron Waxman, FF Alumn, received Van Lier Studio Residency for Digital Art
9. Beth B, FF Alumn, on Court TV, premiering Nov. 20, 11 pm et/pt
10. Donna Henes, FF Alumn, in Brooklyn, Dec 1-2
11. Nora York, FF Alumn, new web-based project now online at norayork.com, and more
12. Peculiar Works Project, FF Alumn, at The Loft, Manhattan, Nov 16-20
13. Jennifer Monson, FF Alumn, at Judson Memorial Church, Nov 19, and more
14. George Ferrandi, FF Alumn, in The New York Times, Nov 11, 2007
15. Annie Lanzillotto, FF Alumn, on Wisconsin Public Radio, Nov 16, 4 pm et
16. Salley May, Annie Lanzillotto, Tom Murrin, FF Alumns, at Dixon Place, Nov 15
17. Ken Friedman, FF Alumn, appointed Design Dean, Swinburne Univ. Australia
18. Edward Albee, FF Member, in The New York Times, Nov 11, 2007
19. Tim Miller, FF Alumn, at Salem State College, Boston, Nov 13
20. Larry List, FF Alumn, at Art Institute of Chicago, Nov 18, 2 pm
21. Holly Faurot & Sarah H. Paulson, FF Members, at NYCAMS, Manhattan, Nov 15, 7-10 pm
22. Larry Miller, FF Alumn, at Location, Manhattan, Nov 17, 1-6 pm

1. Fred McDarrah, FF Member, In Memoriam

The New York Times
November 8, 2007
Fred W. McDarrah, Photographer, Dies at 81
By Margalit Fox

Fred W. McDarrah, a self-described square who as a longtime photographer for The Village Voice documented the unwashed exploits of the Beat generation, and as an enterprising freelance talent agent rented out members of that generation (washed or unwashed) to wide-eyed suburban society gatherings, died on Tuesday at his home in Greenwich Village. He was 81.
Mr. McDarrah died in his sleep, his family said. At his death, he was the consulting picture editor for The Voice, with which he had been associated for half a century.

Joining The Voice in the mid-1950s as an ad salesman, Mr. McDarrah soon became its staff photographer. (For many years he was its only staff photographer.) He famously shot a generation of young hopefuls who had come to New York to make their reputations — hopefuls named Kerouac and Warhol and Dylan and Joplin. Later the picture editor at The Voice, Mr. McDarrah was a mentor to a generation of fine young photographers, among them Sylvia Plachy.
Though Mr. McDarrah’s work often hung on gallery walls, critics considered him more photojournalist than artist, an assessment with which he cheerfully agreed.

“If somebody called me a fine arts photographer I’d laugh them out of the room,” he told The East Hampton Star in 1999.
As a photojournalist, Mr. McDarrah chronicled the city — in particular the Village — in all its postwar bohemian splendor. He shot jazz clubs and coffeehouses; concerts and poetry readings; sit-ins, be-ins, love-ins and teach-ins. He captured famous faces, like Norman Mailer and William S. Burroughs; now-vanished places, like the Peace Eye Bookstore on Avenue A; and historic moments, like the Stonewall uprising in 1969. Among his best-known images is a 1965 portrait of Bob Dylan in Sheridan Square, dressed all in black and saluting the camera.

Frederick William McDarrah was born in Brooklyn on Nov. 5, 1926. Visiting the 1939 World’s Fair as youth, he bought a Univex camera on impulse for 39 cents. In World War II he served as an Army paratrooper, remaining in Japan at war’s end to photograph the American occupation. In 1954 he earned a bachelor’s degree in journalism from New York University.
Mr. McDarrah is survived by his wife, Gloria Schoffel McDarrah, whom he married in 1960; two sons, Patrick, of Litchfield, Conn., and Timothy, of Loretto, Pa., and New York City; and three grandchildren.

Many of his photographs were published as book-length compilations, among them “The Beat Scene” (Corinth Books, 1960); “New York, N.Y.” (Corinth Books, 1964); and, in collaboration with his wife, “Beat Generation: Glory Days in Greenwich Village” (Schirmer Books, 1996). Mr. McDarrah was awarded a Guggenheim grant for his work in 1972.

As Mr. McDarrah’s renown as a Beat chronicler grew, his second, inadvertent career took shape. One day in the late 1950s, according to several news accounts of the period, a breathless Scarsdale matron phoned him at his office. Did Mr. McDarrah know where she might rent a real live Beatnik, not too dirty, to read poetry at a party she was giving?
Mr. McDarrah, who by this time knew hundreds of Beatniks (a few scrubbed and all needing cash), happily complied, and a going concern was born. Shortly afterward, he placed the following advertisement in The Voice: add zest to your tuxedo park party ... rent a beatnik. completely equipped: beard, eye shades, old army jacket, levis, frayed shirts, sneakers or sandals (optional). deductions allowed for no beard, baths, shoes, or haircuts. lady beatniks also available, usual garb: all black.

Calls flooded in. For $15, The New York Mirror reported in 1960, the client got one Beat and a half-hour of poetry. Two hundred dollars bought three Beats, who read poetry, answered questions, played the guitar and, of course, the bongos. Mr. McDarrah, who took a small commission and let the artists keep the rest, supplied Beats for school groups, photo shoots, meetings and catered affairs in and around New York for about two years, till the early 1960s.

As an agent, Mr. McDarrah was careful to protect the talent from the clientele. He would not procure lady Beats for bachelor parties. Nor would he rent a Beat of any kind to a children’s party. He once turned down a request from a scoutmaster looking to hire, for a speaking engagement, any Beatnik who was a former Eagle scout. (Mr. McDarrah’s refusal in this case may have owed simply to the sheer impossibility of filling the order.)

He also took pains to protect the clientele from the talent. In an interview with The Mirror in 1960, Mr. McDarrah described the personal, if highly atypical, habits of the Beats in his stable:
“They always behave, and drink moderately, if at all,” he said. “I see to that.”


2. Willoughby Sharp, FF Alumn, at Harvard Graduate School of Design, Nov 14

Willoughby Sharp, Reflections on my work after my retrospective
6 pm Wednesday November 14, 2007
Piper Auditorium, Harvard Graduate School of Design
Cambridge, MA

Willoughby Sharp reflects on his life's work after the opening of "RETROSPECTION," at The Clifford Gallery, Colgate University, Hamilton, New York (October 31-December 7, 2007


3. Barbara Hammer, FF Alumn, at NYU, Nov. 16, 7 pm

The Undergraduate Dep't of Film and TV
The Department of Cinema Studies
invite you to

The Experimental Lecture

"Barbara Hammer: The Cinema of the Optic Nerve"
Film, Video, Performance and Conversation

Friday November 16
7 PM Free

Tisch School of the Arts
721 Broadway
Room 109 (Lobby Floor)

World renowned avant-garde filmmaker Barbara Hammer will talk and screen films from a movie career that spans forty years. Hammer will use a performative style that challenges all our assumptions about what a "lecture" should be, projecting unseen treasures from her own archive as well as her award winning shorts Optic Nerve and Sanctus.

Barbara Hammer biography
Barbara Hammer was born on May 15, 1939 in Hollywood, California. She is a visual artist working primarily in film and video and has made over 80 works in a career that spans 40 years. She is considered a pioneer of queer cinema.

Barbara's experimental films of the 1970's often dealt with taboo subjects such as menstruation, female orgasm and lesbian sexuality. Inmail the 80's she used optical printing to explore perception and the fragility of 16mm film life itself. Her documentaries tell the stories of marginalized peoples who have been hidden from history and are often essay films that are multi-leveled and engage audiences viscerally and intellectually with the goal of activating them to make social change. Hammer was a Fulbright Senior Specialist in Fall 2005 at the Bratislava Academy of Art and Design, Slovakia; she received the first Shirley Clarke Avant-Garde Filmmaker Award in October 2006 and the Women In Film Award 2006 from the St. Louis International Film Festival. In February 2007, she was awarded a tribute and retrospective at the Chinese Cultural University Digital Imaging Center in Taipei, Taiwan.

She lives and works in New York City.



4. Charles Clough, FF Member, at PULSE Art Fair, Miami, FL, Dec 5-9, and more

Hi Friends

I was selected for participation in the GEISAI section of the PULSE Art Fair in Miami, December 5-9, 2007. GEISAI is the art fair project of Kaikai Kiki Co. which was founded by Takashi Murakami in 2001. Its goals as an enterprise include the production and promotion of artwork, the management and support of select young artists, general management of events and projects, and the production and promotion of merchandise.

I will show three 32 x 44 inch, acrylic on board paintings (click the “recent works” link on the clufff.com homepage). Each painting was worked over many months and each stage and hundreds of detail photos of each painting were made. A book and print portfolio is to be made for each painting.

And I will present my new book, PEPFOG CLUFFF, The Photographic Epic of a Painter as a Film or a Ghost, a 120 page, illustrated account of the 36-year development of my art.

I’m also pleased to tell you that I will begin teaching at the Rhode Island School of Design next semester.


5. Suzanne Stokes, FF Alumn, in Stone Ridge, NY, Nov 17, 8 pm

We cordially invite you to Cave Dog's new performance piece, "Archaeology of a Storm". The show will be performed at the High Meadow Performing Arts Center in Stone Ridge NY, on November 17, at 8pm.
We hope to see you there, it is sure to be a wonderful event!

Cave Dogs is a shadow-based theatre company which brings together visual artists, musicians, dancers, storytellers, and writers in the spirit of experimental collaboration. Performances consist of innovative, large-scale shadow projections cast onto a screen from sculptures, props, costumes, and the human body. Using improvisational techniques, cast shadows move in concert with projected video imagery, spoken narrative, and an original soundtrack. Working with a variety of artistic mediums, we tell stories, create visual tableaus, and produce effects that conjure both the dreamlike quality of early experimental film and the humor of contemporary animation. Cave Dogs attracts a diverse audience with varying levels of experience with art and performance. In this unique shadow medium, Cave Dogs tells life stories that charm, intrigue, challenge, and captivate adults and children alike.

"Archaeology of a Storm" is a multi-media, contemporary shadow performance and tragicomedy that explores the influences
of pacifism, activism, materialism and poverty as forces that both bind and erode three families over the course of several
generations within the same apartment building in New York City. With each succeeding generation, (World War I and the
union building/busting era, the late nineteen sixties, and the present), the material, political, and spiritual legacies inherited
are revealed and represented in a narrative woven with shadow and video projections and an original soundtrack. The
exploration of this landscape is part documentary and part fictionalized realism developed through extensive research, live
recordings, and written preservation of oral traditions.

Cave Dogs members are Suzanne Stokes, James Fossett, Michelle Hughes, Tracy Leavitt, Dan Getman, Jeremy Holmes, and Amy Schoonover. Dean Jones created the soundtrack and Michelle Hughes wrote the script in collaboration with Cave Dog members.


6. Marie Sester, FF Alumn, at Fargafabriken, Stockholm, Sweden, opening Nov 17

Marie Sester, FF Alumn, at Fargfabriken, Stockholm, Sweden, November 17, 2007 - January 13, 2008.

THREATBOX.US by Marie Sester will be featured at Farqfabriken, Laboratory of the contemporary, Stockholm, Sweden, November 17, 2007 - January 13, 2008. Opening Saturday 12 pm - 1:00 am, bar & dj from 8 pm.

THREATBOX.US live streaming will debut during the opening. To view on line, please visit http://www.threatbox.us
Exhibition Hours: Thursday - Sunday 12 pm – 6pm (GMT +1).

THREATBOX.US is an art installation with web surveillance interface in which a movie frame "attacks" visitors via a robotic video projector and computer vision tracking system.

The merging of the technologies of vision and of destruction results in our " military-entertainment" complex. THREATBOX.US seeks to question the ideological offensive and propaganda of American military-entertainment politics.


7. Doug Beube, FF Alumn, at Ai.lov.iu, Brooklyn, thru Nov 21

November 7-21, 2007

Opening reception WEDNESDAY, November 7,?6-9pm

Art work by:

Doug Beube
Aaron Sing Fox
Kathy Stecko
Mario Camacho
Evan Z Crane
Kristy Knight

Ai.lov.iu is a new art space in Fort Greene, in the BAM cultural
district at the corner of Fulton St and Fort Greene Place.

85 Fort Greene Place
Brooklyn, NY 11217

Sat-Sun 12-6pm
Or by appointment


8. Tobaron Waxman, FF Alumn, received Van Lier Studio Residency for Digital Art

Announces 2007 Van Lier Residency Recipient

Harvestworks Digital Media Center has selected Tobaron Waxman to receive the Van Lier studio residency for digital art. The fellowship is funded through a special grant from the New York Community Trust.

The Van Lier grants target young, New York-based artists with financial need and from backgrounds traditionally underrepresented in the electronic arts. The residencies help advance Van Lier fellows’ professional, post-college development and promote diversity, equity and access in the arts.

Tobaron Waxman will use the fellowship to create “Block of Ice + 1/60”. The work uses the artist’s own brainwave patterns to dynamically locate Web images pertaining to water in the Israeli/ Palestinian conflict. The images are then affected and projected onto a block of ice. The installation generates an artist’s multiple:

an edition of bottles of water, each bottle labeled with a screen capture of the live projection concurrent to when it was filled by the flow of melting water. Proceeds from the sale of these bottles are donated to human rights organizations concerned with hydrology issues in the Middle East, and or grassroots labour organizations local to venues where “Block of Ice + 1/60” is shown.

Waxman’s work has received various Canada Council for the Arts grants, and the Franklin Furnace Performance Art Award. His images and writing have been published in Fuse, Time Out, GLQ, and his work was selected for inclusion in Carte Blanche, the first ever juried compendium of Canadian photography. He has presented at universities and venues in Tel Aviv, Berlin, Hong Kong and London. His videos have screened in Brazil, Germany, and across the US, where he continues to give workshops for voice.

The Van Lier fellowship covers travel and living expenses and include access to training, studio space and production facilities at Harvestworks. Van Lier fellows can take advantage of Harvestworks’ broad-based education program to acquire new skills and work with our staff of engineers, artists and multimedia designers in creating new digital media works. Fellows also receive important career development support through our mentoring and peer-contact programs.

Harvestworks is a not-for-profit arts organization founded in 1977 to cultivate artistic talent using digital technologies. While originally focused on electronic music and audio production, Harvestworks now offers video and multimedia studios and technical assistance, providing an on-site environment where artists learn new technologies, create art and exhibit new works in an integrated way.

Funding for Van Lier Residency Program at Harvestworks is provided by The New York Community Trust. Other Harvestworks funders include the New York City Department of Cultural Affairs. The New York State Council on the Arts (a public agency), The National Endowment for the Arts, The Mary Flagler Cary Charitable Trust, The Jerome Foundation, The Foundation for Contemporary Performance Arts, and the Lower Manhattan Development Corporation Cultural Enhancement Fund.

Harvestworks Digital Media Arts Center 596 Broadway, Suite 602 New York. NY 10012
Press Contact: Harvestworks
Carol Parkinson 212.431.1130 x12


9. Beth B, FF Alumn, on Court TV, premiering Nov 20, 11 pm et/pt


Young gay men are vanishing and it seems there’s nothing investigators can do to stop it…
Directed and Produced by BETH B

Premiere Episode of “The Investigators” Explores the Twisted Mind of a Serial Killer

Tuesday, November 20th at 11 PM ET/PT


10. Donna Henes, FF Alumn, in Brooklyn, Dec 1-2


Catch the Holiday Spirit and enjoy stress-free shopping (and complimentary goodies!) at the Tea Garden. Select and collect your special holiday gifts from our unique stock of ceremonial tools and supplies. And don’t forget to pick up Mama Donna’s new book, The Queen of My Self. It makes a perfect gift for friends and family, or for yourself.

Amulets * Charms * Luck & Fortune Items * Candles * Burners * Soaps * Teas * Energy Jewelry * Percussion Instruments * Totems * Animal Helpers * Affirmations * Unique Global Ceremonial Attire * Boxes * Bags * Cards * Calendars * Books * CDs * Magazines * Medicine Pouches: pre-made or by prescription * Featuring Mama Donna's Own Blend of Blessing Oils

December 1 & 2, Saturday & Sunday 12am-6pm
Mama Donna's Tea Garden and Healing Haven, Park Slope, Brooklyn
Info: 718-857-1343 or www.donnahenes.net


11. Nora York, FF Alumn, new web-based project now online at norayork.com, and more


October 11 2002 Congress passed a bipartisan resolution cited as the "Authorization for Use of Military Force Against Iraq Resolution of 2002

To acknowledge the passing of five years since the U.S. congress gave president George Bush war powers, Nora York and her musicians present a musical FREE streaming version of POWER/PLAY. POWER/PLAY is York's "mash-up" set-piece conflations framed by remixed verses of Bob Dylan's declarative tome "Master’s of War." POWER/PLAY had its first incarnation in 2002 as a commission for Brooklyn Academy of Music to compliment their film series “Hanoi to Hollywood”. Today she continues to explore the unraveling American narrative; The United States of America at war and work; through a musical lens from the Civil War, WW2, Vietnam War, up to our current horror. Come HEAR POWER/PLAY for FREE!



November 10th, 2007 through January 5th, 2008

Deborah Colton Gallery is pleased to present Between Heaven and Earth, a solo exhibition debut by New York based artist Jerry Kearns. The exhibition opening reception with the artist is Saturday, November 10th, from 6:00 to 9:00 PM. In addition to the twelve major works on canvas and works on wood, the artist will debut Killer Run, a new video collaboration with artist Ben Pederson and singer Nora York, in the gallery’s projection room.

Kearns' aesthetic voice is marked by social influence and underscored by his powerful wit aimed at the very nature of America. Distortions of all kinds are found throughout the artist’s imagery. He creates a collision between location and dislocation, stability and instability. The images in his art originate in the commercial media: television, film, magazines, newspapers, and the Internet. Reproductions are collected, scanned and digitally manipulated to combine with other captured images. Their collaged forms function as parts of amalgam figures which are constructed with body fragments from weightlifting magazines, soft pornography, religious iconography, anatomy books, and so on. Perfectly chiseled, tanned hyper-masculine male figures have robotic limbs and feminine appendages. An altered female form bears futuristic phallic machinery crowned by an infant's head.

After witnessing the events of September 11, 2001, Kearns began a series of blue-sky paintings where peaceful abstract beach scenes are invaded by airplanes and falling bodies. Those works have evolved into a colorful dialogue about America in the wake of the turmoil visited by the War on Terror. Pop culture fossils that inform Kearns' visual alphabet, only recently inspired our celebrity driven sexualized culture. Ripped, 2005, portrays the head and halo of Jesus Christ on a flexing body builder's shoulders who is standing on a mountain in a field of delicate white poppy flowers. He appears to be reading a golden text in the cloudless sky above, YOU WANT THE TRUTH…WHY? A related collage series presents distorted characters dancing across details of Islamic mosque walls. The colorful geometry of the building fragments are multiplied, mirrored, and manipulated into architectural fields. Kearns repeated pairing of symmetry and disorder produces a dichotomy that partially reveals his response to current distortions in the ancient myth of innocence and perfection that unites American belief. “Our central myth, the one promising never ending rebirth back to a state of innocence, is being repeatedly shocked by deception, illusion, and distortion."


Deborah Colton Gallery is an innovative showcase for the presentation and promotion of significant contemporary artists whose diverse practices include painting, works on paper, sculpture, photography, video and mixed media installations. The gallery aspires to provide a forum that connects Texas art with national and international artists that encourage and engage progressive understanding and change with their art.

Deborah Colton Gallery
2500 Summer Street, Third Floor
Houston, TX 77007

T 713.869.5151
F 713.869.9592


12. Peculiar Works Project, FF Alumn, at The Loft, Manhattan, Nov 16-20

Peculiar Works Project invites you over to our place for A Quick Nut Bread To Make Your Mouth Water, a pre-holiday morsel from the recipe of playwright William M. Hoffman (As Is, Ghosts of Versaille). 5 performances only! Friday, November 16 – Tuesday, November 20, 2007 at 7pm at The Loft, 595 Broadway, 2nd floor (just below Houston St.). Ralph Lewis directs a site-specific take on this intimate, end-of-the-‘60s classic where the joint really cooks with live jazz in the kitchen and pipin’ hot nut bread in the oven. The flavor of experimental, downtown performance is baked with care on location and served by Mike Amato, Nick Matthews* and Lisa Villamaria* with Ann Pielli, and live music by Spencer Katzman and company.

Admission is FREE with rsvp to 212-529-3626 or rsvp@peculiarworks.org (running time 75 minutes).
SPECIAL EVENT: Join us Tuesday, November 20th for a post-show talk with playwright Hoffman followed by a reception with the cast.


13. Jennifer Monson, FF Alumn, at Judson Memorial Church, Nov 19, and more

Dear Friends,

I am thrilled to be dancing with DD again in this on-going collaboration. As many of you know I am moving to Illinois to join the dance faculty of the University of Illinois, Urbana Champaign in January. I'm thinking a lot about NY and enjoying every inch and every minute of it. I know I'll be performing in NY fairly often in the future but from a different vantage point so if you can come please do. DD and I started working on this piece in 1993. I'll also be presenting RUMPSNACK at Catch at ps122 on Dec. 22nd. That's a piece from 1997. it's kind of a mini retrospective fall for me.

Enjoy the coming cold,

With Love,
Jennifer Monson

with DD Dorvillier and Jennifer Monson
"years of love and practice have taught them to never say goodbye"

Monday November 19, 2007 at 8pm
Judson Memorial Church
55 Washington Square South
NO RESERVATIONS and ADMISSION IS FREE seating is limited, so arrive early
...also on the same evening Melanie Maar, Regina Rocke, Pascale Wettstein

Jennifer Monson
Artistic Director, iLAND-interdisciplinary Laboratory for Art Nature and Dance


14. George Ferrandi, FF Alumn, in The New York Times, Nov 11, 2007

The New York Times
November 11, 2007
An Artistic Neighborhood, Right Down to the Firehouse
By Saki Knafo

Last winter, a firefighter in Ladder Company 104 named Dave Herman called a meeting in his firehouse on South Second Street in Williamsburg. Often, when firefighters get together, they discuss department politics or baseball, but Mr. Herman wanted to talk about art. New York’s firefighters have a tradition of decorating the kitchen tables around which they banter and sip coffee and consume one another’s cooking, and Mr. Herman, 31, an academically trained artist, thought his house could have the most beautiful table in the department.

Leave it to a Williamsburg firehouse to employ someone who has a master’s degree from the School of Visual Arts.
When Mr. Herman isn’t hanging around the firehouse, or crawling on his belly underneath a blanket of smoke, he can often be found at the City Reliquary Museum on Metropolitan Avenue, a civic organization and storefront repository of New York ephemera that he established several years ago. The museum contains what Mr. Herman thinks may be the largest collection of vintage Statue of Liberty postcards, as well as fragments of famous city buildings and the iconic Yiddish-inspired sign from the defunct Second Avenue Deli.

At the firehouse meeting in the winter, he showed a sketch to colleagues from Ladder 104 and the house’s other tenant, Engine Company 221; solicited suggestions; and announced that another Williamsburg artist, George Ferrandi (that’s George as in Georgina), would help him realize his vision.

Ms. Ferrandi proceeded to work on the table in her studio on Grand Street, where she restores plaster saints and other religious ornaments for a living. Using gold-leafing and other old-fashioned techniques, as well as the more modern technique of airbrushing, she covered the tabletop with a detailed mural depicting the full span of the Williamsburg Bridge. The finished product was unveiled Sept. 10, a day before the department’s most solemn anniversary.

The actual table had been created not in a Williamsburg atelier but in the Long Island carpentry workshop of a fire captain, Dan Krueger. Captain Krueger, who served at Ladder 104 before he was promoted from lieutenant this year, had built the table as his farewell gift to the house.

One recent day, a cadre of firefighters sat around the colorful slab, chatting and joking. They playfully called Mr. Herman a “freak” (he wears his hair with a slick 1950s center part, and a huge tattoo on his back depicts the General Slocum steamboat fire of 1904).

They also raved about Ms. Ferrandi.
“George is the best,” said Pat D’Emic, a husky, 43-year-old firefighter from Westerleigh, Staten Island. “I’d put her up against the Sistine Chapel.”

The comparison, though perhaps a bit wishful, wasn’t completely off the mark. Like much cathedral art, the table is rich in symbolic detail. Of several decorative shields and badges overlaying the purplish background of city sky, one is inscribed with the figure 343, the number of firefighters who died on 9/11. Another depicts a special knot used to rescue unconscious comrades from burning buildings. An image of the old seal of the City of Brooklyn bears the words “Een Draght Mackt Maght,” Dutch for “Unity Gives Us Strength.”

Not all of the symbols gracing the table were universally welcomed. A controversy erupted when Mr. Herman proposed including two female allegorical figures, with some firefighters worrying that the flowing robes and voluptuous forms would compromise the table’s masculine look.

Mr. Herman ultimately prevailed by citing a historical precedent. One figure was inspired by a painting on an old leather fire bucket that he had happened upon in the New York City Fire Museum in SoHo. The painting shows a woman in a long, rippling robe, pouring water from, yes, a fire bucket, that venerable forerunner of the fire hose.

“The Fire Department has a very rich history of art,” Mr. Herman said. “Even now, the chiefs’ helmet is hand painted.”


15. Annie Lanzillotto, FF Alumn, on Wisconsin Public Radio, Nov 16, 4 pm et

listen + call in
I'm a guest on Wisconsin Public Radio
800-642-1234 is the call-in number

It's Jean Feraca's show Radio Without Borders, on Hereonearth.org I'll be reading short stories on food, italian american kitchen trauma drama.


16. Salley May, Annie Lanzillotto, Tom Murrin, FF Alumns, at Dixon Place, Nov 15

Salley May's show at Ellie Covan's legendary Dixon Place
258 Bowery
8:00 pm


17. Ken Friedman, FF Alumn, appointed Design Dean, Swinburne Univ., Australia

Professor Ken Friedman appointed Design Dean

Internationally renowned design researcher Professor Ken Friedman has been appointed as Dean of the Faculty of Design at Swinburne.

Friedman is presently Professor of Leadership and Strategic Design, Department of Communication, Culture and Language at the Norwegian School of Management. He also holds a position as Research Professor at the Design Research Centre of Denmark's Design School.

Widely regarded as one of the top design researchers in the world, Friedman has an outstanding publication record. His research is at the intersection of three fields: design, management and art.

"I am delighted that Swinburne has been able to attract such a high profile internationally recognised academic to fill this important position," said Deputy Vice Chancellor Professor Dale Murphy.

"Ken has articulated an exciting vision for the future of Design at Swinburne which will build on the excellent work of the previous Dean, Professor Helmut Lueckenhausen and the Acting Dean, Professor Lyndon Anderson."

Friedman plays an active role in developing international research networks and conferences for the design research community as editor of the journal Artifact, as book reviews editor of Design Research News, and Communications Secretary of the Design Research Society.

He is also a practising artist and designer active in Fluxus, an international network of artists, composers and designers noted for blending different artistic media and disciplines.

In 2007, Loughborough University honored Friedman with the degree of Doctor of Science, honoris causa, for outstanding contributions to design research.

He will take up his appointment at Swinburne in mid 2008.


18. Edward Albee, FF Member, in The New York Times, Nov 11, 2007

November 11, 2007
Albee the Enigma, Now the Inescapable

THE small, disintegrating painting — delicate flowers flaking off silk — is the work of a French master, but the story about it is pure Edward Albee. Hanging in his TriBeCa loft, almost unnoticeable amid a forest of African sculpture and walls of bold abstractions, it is, Mr. Albee said during a conversation there recently, a puzzle, or rather the key to one. He bought it ages ago, thinking it some kind of sketch or study, only to discover much later the existence of a larger painting with a hole in its middle, of which his flowers were clearly the missing, central piece.

“I should probably reunite them,” he said with a smile indicating no intention of doing so.

Something of beauty, something of an enigma and something removed from its context too: not a bad précis of Mr. Albee’s life and work. But if he remains a puzzle even to many who know him, he is a reassuringly solid one. Unlike the painting, he bears no marks of flakiness, and as for disintegration — he turns 80 in March — he has little but a pair of hearing aids and the death of loved ones to show for his age. He remains restless and protean, even in his fixity. When the digital recording of one of our conversations mysteriously disappeared after he examined the recorder, he invited me back the next day, impishly promising (and faithfully delivering) completely different answers.

Like someone who goes bald early and thus appears to stay the same age for decades, Mr. Albee has pulled off the neat trick of remaining an enfant terrible long after his terrible infancy balded him emotionally. Read all about it in “Three Tall Women”: When you are adopted by parents who seem to regret their decision, the circuitry of rebellion gets hard-wired early. You drop out of school, go to live among the gay bohemians of Greenwich Village, make your name writing about dogs with erections. Even now Mr. Albee’s eyes spark with satisfaction when he gives a contrary answer, makes an obscure reference, mystifies, illuminates, divulges, withholds.

Over the course of some 30 plays, he has at his frequent best done all of these at once. Better still, and unlike his more didactic colleagues, he has usually managed to be funny too. At the very least he is always interesting: “Theater should be a tough experience like anything else,” he said, “but it also has the responsibility not to be boring.”

As such, he remains fearless in his embrace of any taboo, especially sexual. Though this can be a difficult pose to hold, he manages; recent works include fantasias on bestiality, anal rape, voluntary mastectomy and reverse circumcision. “I will go absolutely anywhere,” he said, meaning perhaps that, sharklike, he must.

Of the generation of theatrical giants who came to international prominence in the 1950s with plays that not only won Tony Awards and Pulitzer Prizes but actually seemed to register in the culture as well, he is the only one, with the possible exception of Horton Foote, still going strong. On the heels of excellent Broadway revivals of “Who’s Afraid of Virginia Woolf?” and “Seascape” in 2005, the current theater season includes four major New York-area productions of his work.

If it’s an inadvertent retrospective (he said it happened entirely by chance), it’s still an apt one, sampling and in a way blending the earliest and the latest parts of his career. This is most vividly the case with “Peter and Jerry,” which opens Sunday at Second Stage in a production starring Bill Pullman, Dallas Roberts and Johanna Day. In it, Mr. Albee performs a kind of vascular surgery on his 1958 debut, “The Zoo Story,” suturing it to a new first act that enriches but does not explain the themes and action of the original.

Next comes “Me, Myself & I,” a new play starring Tyne Daly as the not entirely sane mother of identical twins named otto (spoken with a quiet voice) and OTTO (with a loud one); it opens in January at the McCarter Theater in Princeton, N.J. An identical twin also figures in “The American Dream,” the 1960 one-act that Mr. Albee himself will direct on a double bill with “The Sandbox,” starring F. Murray Abraham, at the Cherry Lane in March.
And while he admits that the persistence of the theme of splintered identity in his work is probably biographical in origin (“Being adopted,” he mused, “did I want to be an identical twin?”), that’s the extent of his interest in the connections between life and art. The connections are there, he said, but are not terribly valuable: “They don’t determine the limitations of your experience.” It’s no accident that in “Three Tall Women,” the only one of his plays he considers at all autobiographical, his “mouthpiece” character is given neither name nor lines.

And yet the last of this season’s four Albee productions explores such connections head on. In May the Signature Theater Company resurrects “Occupant,” which was shut down before it officially opened in 2002 when its star, Anne Bancroft, became ill. Now Mercedes Ruehl, a frequent Albee interpreter, takes the role of the sculptor Louise Nevelson, who, looking back from beyond death, tries to unweave (or possibly tangle) the threads of personality and art.

From his living room sofa or from the speaker’s lecterns at which he frequently finds himself, Mr. Albee does much the same thing. At a recent tribute to Terrence McNally, Mr. Albee hastily segued from their shared history (“I saw this breathtakingly handsome 19-year-old, and so I thought I really ought to get to know him”) to praise that sounded like a curse (“The Pulitzer Committee will get to you, Terrence, they’ll get to you eventually”) to a plea for the improved teaching of arts and civics in the nation’s classrooms. He seemed happiest on that theme.

He later explained that he looks at the world “with interest and objectivity,” just as he has always (“except during the 10 years I was drinking so heavily”) looked at himself and his writing. It would certainly be hard to imagine a less romantic description of the writing process: One day he finds himself “knocked up” with a play that had been gestating unbeknownst. Then he merely “delivers” or transcribes it, pretty much intact.
“Literally?” I wondered.

“Creativity is magic,” he said, “don’t examine it too closely.”
Although he can, especially in recent years, be gracious in sidestepping or rerouting deeper questioning, he still appears to run people through what Ms. Ruehl called his “take-no-prisoners bull detector.” The “jealous guarding of the inner life,” she said, is an artist’s necessity and instinct.
She was talking about Mr. Albee and also about Louise Nevelson as reimagined by him. “But Edward’s cautiousness,” she added, “can feel at times to the interlocutor like being put down. Once at a dinner, after speaking about the passing away of loved ones, I asked him what he thought about death and immortality. ‘I never think about it,’ he responded a bit sharply. I heard the door firmly shut on that conversation. Of course, over the years, that sound has become familiar to me and consequently not so threatening. Humbling, yes, but also informative, entertaining and sometimes touching.”

Perhaps one effect of age on Mr. Albee is that some doors no longer close completely, regardless of how hard they’re slammed. He seemed to sense this, and even sadly welcome it, when he started to talk about “Me, Myself & I.” While he was writing Act I, he explained, his companion, the sculptor Jonathan Thomas, was found to have bladder cancer. Mr. Albee put aside the manuscript to care for him as he underwent chemotherapy and surgery.

“I was expecting to die way before Jonathan did,” Mr. Albee said. “He was 18 years younger than I was, and the whole idea was that when I got to be my age, he’d be taking care of me, you know? But life doesn’t always work out the way it’s supposed to.” Mr. Thomas died in May 2005, at 59.

“I couldn’t write for a long time,” Mr. Albee went on. “I mean I didn’t feel like it. One thing I learned was that grief is easily turned into self-pity. Yes, someone that you’re with is fading, going out of focus. But, my God, if we ever lose sight of the fact that they have had the greater loss, then we’re being selfish and self-indulgent.”
He shivered with disgust at this common human emotion, and after a moment I asked, “Are you lonely?”
“Lonely?” he said. “Oh hell, I miss Jonathan a lot, and there are times that I wish I had somebody there in the bed with me, but I’ve not been able to bring myself to want that. The mourning never ends; it just changes. But then I got back into a feeling of usefulness, which helps. In fact I wrote the second act of ‘Me, Myself & I’ in deep grief, but I didn’t let that change the play. It’s a cold response, perhaps, but ——”

“You wouldn’t want your reputation ruined,” I said.

“Not for a second. And, you know, we had such a good, long relationship: nearly 35 years. That’s a long time, a life in itself. Of course that makes it worse, but at the same time you can’t just say, ‘How dare you go away from me?’ — which is an attitude that a lot of people get. ‘How dare you die!’ There’s got to be a lot of ‘Thank you’ too. ‘Thank you for being alive and being with me for so long.’”

He paused for a moment, to catch his voice. “Oh, I’m getting too emotional here,” he said. “I don’t like to cry in front of people.”
Act II of “Me, Myself & I” shows similar restraint, completely maintaining the existential levity and vaudevillian antics of Act I even though it concerns one twin’s decision to untwin himself: to detach his identity from that of his mirror image forever. It’s a poignant image of the loss of a partner, but Mr. Albee slammed that door by saying that the plot was already in place before the play’s birth was interrupted.

We expect artists, at least in extremis, to admit if not wallow in their humanity. But Mr. Albee stands aloof from all that. He is amazed that people are more interested in Beethoven’s deafness than in Beethoven’s music, and troubled by the pervasive idea that one explains the other. Which is not to say his writing is unaffected by his emotions. It’s just that there’s a kind of air-lock system keeping the worlds separate. Even loss must stand in a queue.

“Wait until the next play,” Mr. Albee said. “I know it’s going to cover a great deal of what we’ve been talking about. It’s not a delayed reaction. It’s a reaction that’s coming at the proper time, when I can handle it with better equanimity. I keep saying that people should be objective enough to write a play in praise of Hitler. Yes, I bet I would be able to do that.”
But not this season. There are those four productions to monitor, a responsibility he doesn’t take lightly. Pam MacKinnon, who is directing the first and last of them, described Mr. Albee as very involved and very exacting. “When I first knew I was going to direct ‘Peter and Jerry,’ ” she said, “I asked him to read the dog story” — the six-page aria in which Jerry describes his attempts to win the affection of or kill his landlady’s hideous pet. “Hearing him read it, with his own cadence, was fantastically illuminating.

Though I shouldn’t say he read it. He didn’t need to. He knows it by heart.”
She went on carefully. “But he can also be a bit withholding. Sometimes he’ll say, ‘You have to figure this out yourself,’ or ‘I wrote it so many years ago I don’t remember.’ He truly believes that the meaning of the play is there on the page where he put it.”
For the same reason he rarely rewrites his finished works; it would be like letting a stranger rewrite them. In this, as in most things, he seems to avoid the swamp of self-doubt. He has instead the sangfroid of a con man, but beneath the blur of moving shells — if only you pick the right one — are genuine prizes.

He can be very charming. He supports younger artists not only by working with them but also through the foundation he started when proceeds from “Who’s Afraid of Virginia Woolf?” proved, as he put it, “abundant.” He teaches extensively (albeit sometimes caustically) and turns honorary degrees into opportunities to lament “the destruction of democracy in the United States” and proselytize for change.

He is what used to be called a public artist: the kind whose eminence has given him, as he put it, “more than one vote” and who casts those votes as effectively as possible. At almost 80, though, he might be forgiven if he chose to cast only the plays he has time left to write. But he doesn’t feel that pressure.
“I’m not in a hurry,” he said. “I keep having ideas. The creative mind doesn’t seem to have collapsed. I’ll worry more about that when I’m 90. Meanwhile I take pretty good care of myself, and I have no enthusiasm whatever about dying. I think it’s a terrible waste of time, and I don’t want to participate in it.”

Having been adopted (or bought, as he often says, for $133.30), he cannot guess what his genes have in store for him; in any case he’s not depending on them. (“I’ll survive on pure orneriness,” he said.) Nor, as much as he mourns Mr. Thomas, does he feel unable to go on without him. Like the flowers in his small French painting — or, more likely, like the larger painting with the hole at its center — he’s used to separation. It is the story of his plays and, though he might balk at the connection, the story of his life.


19. Tim Miller, FF Alumn, at Salem State College, Boston, Nov 13

TIM MILLER performs in BOSTON area NOV 13 - at Salem State College

Hi All!
My one performance in Boston area this Fall will be my show GLORY BOX Nov 13 at Salem State College. For tickets.
November 13, 2007
7:30 PM
Callan Studio Theatre
Salem State College
352 Lafayette Street
Salem, MA

Tickets: $15 general admission/ Free for SSC students w/ ID.
Info and reservations: 978-542-7701 or pperkins@salemstate.edu

Box office opens at 6:30 PM
GLORY BOX a performance by TIM MILLER
GLORY BOX is a funny, sexy and charged exploration of Tim Miller's journeys through the challenge of love, gay marriage, and the struggle for immigration rights for gay people and their partners. From Miller's hilarious grade school playground battles over wanting to marry another boy to the harrowing travails of being in a bi-national relationship with his Australian lover, GLORY BOX leads the audience on an intense and humorous journey into the complexity of the human heart that knows no boundary. GLORY BOX (the term that Australians use for "hope chest") conjures an alternative site for the placing of memories, hopes and dreams of gay people's extraordinary potential for love. cheers, Tim
http://hometown.aol.com/millertale/timmiller.html www.myspace.com/timmillerqueerperformer


20. Larry List, FF Alumn, at Art Institute of Chicago, Nov 18, 2 pm

In conjunction with the Jasper Johns' exhibition Grey, Larry List, writer, independent curator and FF Alumn will be participating in a panel and performance Discovering John Cage with musicologist David Patterson and legendary modernist pianist/performer Margaret Leng Tan, at the Art Institute of Chicago, Fullerton Performance Hall Saturday, November 18th at 2 P.M. List's animated projections of Cage and Johns' works will accompany Ms. Tan's performance and he will discuss exchange of ideas between the composer and the artist.


21. Holly Faurot & Sarah H. Paulson, FF Members, at NYCAMS, Manhattan, Nov 15, 7-10 pm

"Are you going to sweat on my face, again?"
a performance by HOLLY FAUROT & SARAH H. PAULSON music by JOEL MELLIN

Thursday, November 15, 2007
7 - 10 PM (The performance is ongoing. Feel free to arrive anytime between 7pm and 10pm.)

NYCAMS (New York Center for Art & Media Studies)
44 West 28th Street, 7th Floor
New York, NY 10001

NYCAMS (New York Center for Art & Media Studies) will present "Are you going to sweat on my face, again?," a one-night-only performance by Holly Faurot & Sarah H. Paulson. This new work marks the institution of the Sequence System, an automatic cycling of multiple video components used to choreograph the breakdown of time and movement within a non-linear performance installation. This system is a development of the Surveillance System, a physical network of bodies controlling one another through movement, video, improvisation, and sound.

Eight performers are stationed along the periphery of the gallery. Some performers sit awkwardly in what seem to be backwards chairs, while others take cues from videos and one another. The videos displayed on three LCD monitors generate subtle movements that gain emphasis from the performers' partially exposed bodies. Meanwhile, the artists periodically pass through the audience and retreat to a freestanding pink neon-lit room in the center of the space.

A multi-channel video device cycles through a series of four videos, two of which are live feeds. The first pre-recorded video component consists of edited footage of Chimaera, natural clusters of fire located on a mountain five miles from Olympos, Turkey, which the artists shot in May 2007. Another pre-recorded component features a seated man on an industrial rooftop. His intense focus and partially hidden arm movements hint at interactions taking place off-camera.

Are you going to sweat on my face, again? is executed by ten performers, including the artists, and features sound by Joel Mellin, an experimental computer music composer who writes software using JMSL (Java Music Specification Language). The performance is presented in the round. The audience is invited to walk alongside the performance and experience the work from multiple vantage points. Viewers may enter and exit at any time throughout the three-hour work. Optional seating is provided.

Performers: Jessica Cook, Holly Faurot, Kaitie Fitzgerald, Molly Fitzgerald, Onnie Mancino, Troy Ogilvie, Sarah H. Paulson, Susie Paulson, Emily Poole, and Sarah Aphrodite Stolwijk
Clothing: Linda Fitzgerald
Chairs: Paul Loebach
Video Appearance: Daniel Bainbridge
Neon: Lite Brite Neon


Faurot and Paulson have been collaborating for the past five years on work that exists somewhere between the realms of performance art and dance and focuses on movement as a language of basic human interaction, whether it is through a subtle gesture or a theatrical spectacle. The performances relate to voyeurism, shifts in power-positions, and translation through different media. The temporality of installation art, contemporary dance, conceptual art, and video trends are all influences that inform their work. Joel Mellin has composed music for their performances since 2002.

For more information, contact info@faurotpaulson.com or visit www.faurotpaulson.com.


22. Larry Miller, FF Alumn, at Location, Manhattan, Nov 17, 1-6 pm

"Cell: in side, out side"
November 17th, 2007, 1-6 pm

For the final installement of FREE SHOW, Larry Miller will interact with the public via live video feed, from a street level building that was formerly a prison site, on subjects of material and metaphorical membranes - and more.

Larry Miller is an intermedia artist whose work has been presented extensively in global venues since his initial solo exhibition in New York in 1970. He was active in the development of multi-media and performance-based works in SoHo´s earliest alternative spaces, and is associated with developing the new artistic mode described as "installation art". Knives (1973), his installation of found objects and photographs regarding homeless men on New York´s Bowery, was included in New York ca. 1975, an exhibition of defining works from the period at David Zwirner Gallery, New York in 2001. He recently presented a series of performances in hommage to the late Nam June Paik at the James Cohan Gallery. Miller comes to FREE SHOW upon his arrival from Flux East at the Künstlerhaus Bethanien in Berlin.

304 West 10th Street
New York, NY 10014


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