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ABOUT GOINGS ON: How to subscribe and submit listings

CONTENTS:
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1. Martha Wilson/Barbara Bush, FF Alumn, at Avant-Garde-Arama, PS 122, Manhattan, May 10
2. Erika Van Horn, FF Alumn, in The Independent, UK
3. Bruce Barber, Vito Acconci, Laurie Anderson, Jacki Apple, Richard Layzell, Richard Martel, Larry Miller, Adrian Piper, Martha Rosler, Michael Smith, Martha Wilson, FF Alumns, at Fado, Toronto, Ontario, May 3, noon
4. Dan Kwong, FF Alumn, at Kobe University, Japan, May 7
5. Alice Aycock, Agnes Denes, Michelle Stuart, FF Alumns, at SculptureCenter, Queens, opening May 4, 4-6 pm
6. John Baldessari, Jennifer Bartlett, Felix Gonzalez-Torres, Eva Hesse, Sol LeWitt, Ree Morton, Elizabeth Murray, Adrian Piper, Richard Serra, Ed Ruscha, Cindy Sherman, FF Alumns, at Berkeley Art Museum, CA
7. RENO, FF Alumn, at Ethical Culture Society, Manhattan, May 6, 7 pm
8. Mitzi Humphrey, FF Alumn, at art6, Richmond, VA, May 23, and more
9. Taka Iimura, FF Alumn, at Anthology Film Archives, Manhattan, May 1
10. Ruth Hardinger, FF Alumn, at Lesley Heller Galler, thru June 20
11. Dan Perjovschi, at Kunsthaus Baselland, Basel, Switzerland, thru June 4
12. Grace Roselli, FF Alumn, at Anita Friedman Fine Arts, Manhattan, opening May 6
13. Joseph Nechvatal, FF Alumn, now online
14. Muck, FF Alumn, at Fuse Gallery, Manhattan, opening May 3
15. Judith Hoffberg, Richard Minsky, FF Alumns, now online at minsky.com/umbrellas.htm
16. Steve Kurtz acquitted!
17. Ichi Ikeda, FF Alumn, at the United Nations, Manhattan, May 8
18. Tommy “D”, FF Member, at Dixon Place, May 7, 7 pm

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1. Martha Wilson, FF Alumn, at Avant-Garde-Arama, PS 122, Manhattan, May 10

AVANT GARDE ARAMA KEEPS HOPE ALIVE

"Try as it may to maintain theatrical composure, [AGA] always ends up degenerating, or exploding, into an all-out party."

-flavorpill.net

P.S. 122's longest-running series (25 years) is an action-packed, eye-popping multi-disciplinary mini-festival that always culminates in a DJ dance party. The latest eruption of breakout dance, music, theatre, performance, video/film and more are presented in 8 minutes or less. The ever-popular "40-Second-Street" segment invites the audience to sign-up and present their own express performance contribution, be it prepared or made up on the spot.

Hosted by Yehuda Duenyas and Normandy Sherwood of the National Theater of the United States of America Installation by the Love Everybody Movement with Laminated Love by Cat Celebrezze Corridor piece by R.RABBIT. Special appearance by Guerilla Dance Theater

Friday, May 9th

Red Terror Squad
Ryan Trecartin
Mr Fashion (Dir. Jacob Burckhardt)
DuPree and Friend
Leah Meyerhoff
Lavinia Coop
Fiasco

Saturday May 10th

Martha Wilson / Barbara Bush
M. Lamar
Natalie Agee & Diana Y Greiner with Baby Blue
Bradford Scobie
Leah Meyerhoff
The Dana Leong Band

Curated by Salley May, Tom Murrin, Henry Baumgartner, Joe E. Jeffreys and Miss Joan Marie Moossy

150 First Avenue at 9th Street, Manhattan
www.PS122.org

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2. Erika Van Horn, FF Alumn, in The Independent, UK

The Independent, UK
Artists brought to book

What happens when artists swap their canvases and paint for the printed page? Two new shows at the V&A speak volumes, finds Tom Lubbock

Monday, 14 April 2008

When Hitchcock wanted a weird shot in one of his films, he would tell his camera crew it was for a dream sequence. A similar principle applies if you want to do something a bit creative with a book. You can get away with almost anything – wild typography, oddly shaped pages, wordless images – if you call it a children's book. But if you want to make a book for adults, forget it.

Unless, of course, you channel your ambitions into that specialised field, the artist's book. You won't get bookshop distribution, but you can do pretty much anything you want, and the options are wide open – as two new exhibitions at the V&A make clear. One is big, in size and in spirit, the other small; one is mainstream, while the other is an almost underground current.

You'd have to look quite hard in the world of art or books before you came across the 15-odd book-artists in Certain Trees: The Constructed Book 1964-2008. They constitute a fringe tradition, mostly British, of visual-verbal-paper creation. Self-published, often collaborative, their practice grew out of the concrete poetry movement of the early Sixties. The pivotal figure is the late, great Ian Hamilton Finlay, artist, poet, gardener, philosopher, and some of his paper works are among those on view.

"Art is a small adjustment": one of his epigrams could be a motto for the whole display. The books, booklets and other paper productions here are modest, precise, laconic, fragile. There's a strict economy of words, images, pages. Their mood is quietly playful or quietly moved. Their concerns are often rural and domestic. They never forget where books come from: there's natural gravitation toward the subject of wood and trees.

The artists dwell wittily on their materials – on letters, typefaces, inks, paper, printing, the way books work. Steve Wheatley's Over the Hills and Far Away is a book whose leaves are cut in the shapes of dipping hills; overlapped, they become a receding valley. Thomas Clark prints the words "small grey bird of dusk" in deep blue letters, but the vowels are printed in grey, like birds in an evening sky. The five vowels, you notice, run a e i o u.

David Bellingham simply prints a row of lower case "i"s, sharp black, in two typefaces, alternating. The title is Johnston's Diamonds, Gill's Pearls. It involves a typographical aperçu. Edward Johnston and Eric Gill were 20th-century pioneers of sans serif alphabets. The dots of Johnston's "i"s are diamond-shaped; the dots of Gill's are perfectly round. Diamonds and pearls, then, and the small difference of the smallest detail is glorified.

Stuart Mills' booklet The Bridle Path is Filled with Clouds has a photo of puddles, brimming with reflections. The page opens and reveals. There's a knack for making imaginative leaps from the physical world of the book to the larger universe. Another Bellingham booklet reads, page by page, "in – the – turning – of – pages – we – regulate – light – and – shade". Ideally, you'd be turning these pages with your own hand. But as with any book show, exhibit and viewer are imprisoned behind glass.

All kinds of paper objects are included, as artists make something out of the card index (Simon Cutts), the firework (Martin Fidler), the paper aeroplane (Finlay), and the carrier bag, the ticket, the label. They celebrate the universal utility of paper, and its mortal transience – so easily burnt, soaked, crumpled, torn, blown away.

At the same time, these works are a model of carefulness. As they lay out printed marks on a page, you're conscious of the aligning, centring and spacing of words and letters. You see judgement at work, tact, the imperative to get it right, make it true. The achievement is not only exquisite, it's a kind of ethical behaviour.

Certain Trees lurks in a remote upper chamber of the V&A. Bang next to the museum's main entrance there's a much more "major" display. Blood on Paper: The Art of the Book opens tomorrow. The contrast is dramatic. Here is a world of big productions, big statements, big egos. Go through the door and you're face to face with a giant volume, man-height, standing upright and open, its pages cast in solid lead. It is, you may have guessed, a work by Anselm Keifer. It strikes a suitably grandiloquent note.

The show gathers a roster of post-war stars: Bacon, Balthus, Beuys, Bourgeois, Caro, Giacometti, Hirst, Kapoor, Koons, LeWitt, Lichtenstein, Long, Matisse, Miro, Picasso. It's not really interested in the art of the book at all (whose leading practitioners are seldom well known). It's interested in what a band of otherwise extremely famous artists have done when, from time to time, they had a go at a book.

Their approach is, in most cases, vain and thoughtless. They seem to regard a book, in itself, as a dismally humble and inexpensive object. The challenge they set themselves is: how can I elevate a pitiful thing like a book into something that looks like a work by a very important artist like me? And they don't have much of a clue.

Most of the exhibits are swanky, oversized, luxury, one-off or limited-edition items. They are essentially product, a kind of franchising, a way of squeezing the last drop of yield out of a reputation. Some are quite shameless exploiters – the Francis Bacon "books" consist of replicas of old leather suitcases found in his studio, each filled with facsimiles of 76 bits of detritus (photos, post cards) found in his studio!

And for the rest, they're mostly boxes of prints, which would be better shown in a row on the wall. Matisse's Jazz, say, is visually magnificent, but it gains nothing from being a book, a sequence of turnable pages. There are also some artist's coffee-table books and books with illustrations, commercially published. Only Daniel Buren's work is a piece of proper creative page-turning in pure colour.

Then there are the "book-based" sculptures. Oh dear. There's the moderately pretentious, like Anish Kapoor's Wound, where a pile of pages have laser-cut into them the form of Christ's-side wound. And there's the preposterous, in the shape of Damien Hirst's New Religion. Plan chest-cum-altar-cum-coffin-cum-exorcist's tool box, it's a total waste of space, and of talent too, because he could make a very good pop-up.

Certain Trees - The Constructed Book 1964-2008 (to 17 August); Blood on Paper – The Art of the Book (tomorrow to 29 June); both at V&A, London SW7; every day, admission free

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3. Bruce Barber, Vito Acconci, Laurie Anderson, Jacki Apple, Richard Layzell, Richard Martel, Larry Miller, Adrian Piper, Martha Rosler, Michael Smith, Martha Wilson, FF Alumns, at Fado, Toronto, Ontario, May 3, noon

FADO presents

A conversation with Bruce Barber

Saturday, 3 May 2008 at Noon. VMAC 4th Floor 401 Richmond W., Toronto

Artist, cultural historian and NSCAD professor, BRUCE BARBER will discuss his new YYZ books with performance colleagues, PAUL COUILLARD, JOHANNA HOUSEHOLDER, CLIVE ROBERTSON and JESSICA WYMAN.

Mr. Barber’s books contain information on the following FF Alumns Vito Acconci, Laurie Anderson, Jacki Apple, Richard Layzell, Richard Martel, Larry Miller, Adrian Piper, Martha Rosler, Michael Smith, Martha Wilson, and others.

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4. Dan Kwong, FF Alumn, at Kobe University, Japan, May 7

KOBE , JAPAN: Performance artist DAN KWONG (FF Alumn '94) will conduct an introductory workshop on autobiographical writing & performance and give a lecture to students and faculty on his theory and methods of teaching performance, at Kobe University on Thursday, May 7th. Sponsored by the Innovative Ethics Research Project of Kobe University.

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5. Alice Aycock, Agnes Denes, Michelle Stuart, FF Alumns, at SculptureCenter, Queens, opening May 4, 4-6 pm

Dear Colleagues,

Join us next Sunday, May 4, 2008, 4-6p for the opening of Decoys, Complexes, and Triggers: Feminism and Land Art in the 1970s, curated by Catherine Morris and featuring work by Alice Adams, Alice Aycock, Lynda Benglis, Agnes Denes, Jackie Ferrara, Suzanne Harris, Nancy Holt, Mary Miss, Michelle Stuart, Jackie Winsor.

Created entirely for SculptureCenter's lower galleries Michael Portnoy presents an exhibition of new work titled Casino Ilinx. This opening is not to be missed, Michael Portnoy will activate his exhibition with surprise performances and croupiers will lead each of the artist's three abstract tables, instructing, coaxing, and hustling viewers into action.

Also, be sure to mark your calendar for our upcoming events including a roundtable discussion with Catherine Morris and Connie Butler, a night of mystic abstractions with Michael Portnoy, and an evening in the court yard with Tucson musicians. Please find press releases as well as information on upcoming events below.

I look forward to seeing you at SculptureCenter soon!

Warmest regards,

Katie Farrell
Director of Development and Communications
SculptureCenter

718.361.1750 x111
kfarrell@sculpture-center.org
www.sculpture-center.org

Decoys, Complexes, and Triggers: Feminism and Land Art in the 1970s

Alice Adams, Alice Aycock, Lynda Benglis, Agnes Denes, Jackie Ferrara, Suzanne Harris, Nancy Holt, Mary Miss, Michelle Stuart, Jackie Winsor

This exhibition focuses on work by women artists who made significant contributions to the development of sculptural practice in the 1970s. They explored the formal constructs of Post-Minimalism: altering notions of sculptural scale, introducing non-traditional mediums, as well as adapting unusual landscape and interior sites. Utilizing an abstract, formal language, the artists in Decoys, Complexes, and Triggers helped define the structural conventions of Land Art and Post-Minimalism, such as architectural scale, the use of mathematical systems, and an awareness of the human body in relation to monumental works of art. The exhibition includes sculpture, models, photographs, drawings video, and other forms of documentation, some of which has not been shown since its original exhibition. Many of the works in this exhibition contain oblique references to the body, subjectivity, and self-portraiture. To read more, click here to download the full press release.

Michael Portnoy: Casino Ilinx

"Director of Behavior" and performance artist since 1995, Portnoy's long-standing investigation of the poetics of humor and the rules of communication and play, takes form in Casino Ilinx as a series of gambling tables and related sculptures.Casino Ilinx is composed of a series of moments, surprises, dead ends, and trap doors. The viewer must negotiate sporadic performers, sculptures such as a rabid cube, a squirrel escort, and other opaque symbols and rules. Drawing on gambling's roots in ritual and divination and influenced by gaming devices from various cultures and times, Portnoy's objects take on a life of their own. When activated by games, the artist's gaming tables and stylized sculptural pieces trigger experimental and experiential situations for the study of human behavior. "Rules" are imparted through riddles and gestures interpreted by players of each game. The rules and language associated with each piece shift constantly, challenging the viewer's interaction with individual objects leading to dysfunctional, intimate, and absurd situations. To read more, click here to download the full press release.

Upcoming Public Programs

Paradigms and Parallels: Feminism and the Politics of Structure

Saturday, May 17, 4:30pm

Decoys Curator Catherine Morris and WACK! Curator Connie Butler speak with exhibiting artists about making sculpture in New York in the 70s, the ways in which feminist content is or is not manifested in their work, and how they see their relationship to feminism then and now.

Michael Portnoy Presents: Milk the Weasel, Pull the Rug

Thursday, May 29, 7pm

Director of Behavior Michael Portnoy and special guests open the tables for gambling sessions. Accompanied by a card counting demonstration by Melissa Brown, a lecture on the acceleration and collapse of time by Adina Popescu, and a presentation on dice-footed animals and pre Columbian dermatology by Marianne Vitale.

Christmas in Tucson

Sunday, June 29, 7pm

Join us for a musical evening on the rocks, with live music from Tucson, AZ, featuring featuring Bebe and Serge, Al Foul, Al Perry, Chris Taylor, The Pork Torta, and surprise guests. Co-organized with Elizabeth Cherry and Olivier Mosset.

SculptureCenter on YouTube

www.youtube.com/SculptureCenter

This message has been sent to subscribers to the SculptureCenter's press mailing list. If you do not wish to receive further mailings, please reply to this message with the word "unsubscribe" in the subject line.

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6. John Baldessari, Jennifer Bartlett, Felix Gonzalez-Torres, Eva Hesse, Sol LeWitt, Ree Morton, Elizabeth Murray, Adrian Piper, Richard Serra, Ed Ruscha, Cindy Sherman, FF Alumns, at Berkeley Art Museum, CA

University of California, Berkeley Art Museum and Pacific Film Archive

Thirty years of MATRIX at BAM/PFA
University of California, Berkeley Art Museum and Pacific Film Archive (BAM/PFA) 2626 Bancroft Way, Berkeley, CA 94720
http://bampfa.berkeley.edu

Over the past thirty years, with more than 220 exhibitions, BAM/PFA’s acclaimed MATRIX Program has charted a unique course through the landscape of contemporary art. At the program’s inception in 1978, then museum director James Elliott brought to Berkeley an idea developed originally during his tenure at the Wadsworth Atheneum in Hartford, Connecticut. The continuous exhibitions of contemporary art in the MATRIX Program were envisioned as “discrete units in a cumulative and ongoing statement reflective of the wide range of ideas being explored by today’s artists.”

Over the thirty-year history of the program, MATRIX curators Michael Auping, Constance Lewallen, Lawrence Rinder, Heidi Zuckerman Jacobson, Chris Gilbert, and Elizabeth Thomas have cultivated the development of exhibitions and special projects that embody experimentation, material and conceptual innovation, and engagement with the ideas of our times. This dedication to progressive art practices was rare when the program was founded in 1978, and the pioneering success of MATRIX has led many other art institutions to adopt similar programs.

Many artists had their first major exhibition in the MATRIX Program, and many have gone on to great prominence in the field. Past participants include Doug Aitken, John Baldessari, Jennifer Bartlett, Georg Baselitz, Jean-Michel Basquiat, Louise Bourgeois, James Lee Byars, Sophie Calle, Jim Campbell, Bruce Conner, Willem de Kooning, Richard Diebenkorn, Peter Doig, Brian Eno, Peter Fischli and David Weiss, Nan Goldin, Felix Gonzalez-Torres, Eva Hesse, Robert Irwin, Alfredo Jaar, Sol LeWitt, Ree Morton, Tom Marioni, Chris Marker, Julie Mehretu, Elizabeth Murray, Adrian Piper, Charles Ray, Susan Rothenberg, Richard Serra, Ed Ruscha, Wilhelm Sasnal, Allan Sekula, and Cindy Sherman, to name just a few.

BAM/PFA will mark the thirtieth anniversary with a year of programs, beginning with MATRIX/REDUX (on view through July 6), an exhibition that samples from the rich history of the MATRIX program with selections from the BAM/PFA collection and loans from local collections rarely seen by museum audiences.

On April 25, BAM/PFA celebrates the MATRIX program with a birthday party, featuring special guest David Ireland, and including a collaborative performance with Deerhoof and future MATRIX artist Martha Colburn.

A year-long series of public conversations between past MATRIX artists and curators will begin with Heidi Zuckerman Jacobson and painter Peter Doig on April 27.

Other talks include Constance M. Lewallen, Larry Sultan, and Mike Mandel on June 22; Lawrence Rinder and Nayland Blake on October 19; Michael Auping and Susan Rothenberg on November 2; and Elizabeth Thomas and Paul Chan in January 2009.

In Spring 2009, at the end of the year of programs, BAM/PFA will publish a book gathering these live conversations, as well as selected artist conversations convened specifically for publication. To mirror the spirit of the program, New York-based designers Project Projects have been commissioned to generate an archival framework that contextualizes the totality of the MATRIX program’s eclectic history. Together, these dual aspects of the book will produce new reflections on the program and the artists who shaped its history.

Credit Line

The MATRIX Program at the UC Berkeley Art Museum is made possible by a generous endowment gift from Phyllis C. Wattis.

Additional donors to the MATRIX Program include the UAM Council MATRIX Endowment, Jane and Jeffrey Green, Joachim and Nancy Bechtle, Rena Bransten, Maryellen and Frank Herringer, Noel and Penny Nellis, James Pick and Rosalyn Laudati, Barclay and Sharon Simpson, Roselyne C. Swig, Paul L. Wattis III, Penelope Cooper and Rena Rosenwasser, Paul Rickert, Iris Shimada, and other generous donors.

Information:

(510) 642-0808 TDD: (510) 642-8734

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7. RENO, FF Alumn, at Ethical Culture Society, Manhattan, May 6, 7 pm

BENEFIT FOR WBAI RADIO: “COMEDY AND THE CRASH” RENO and (Economist/NY Times Columnist) PAUL KRUGMAN

TUES. MAY 6
6pm Cocktail Party
7pm Show

Ethical Culture Society
2 W 64th @ CPW
800-838-3006 or
http://www.brownpapertickets.com/event/31557

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8. Mitzi Humphrey, FF Alumn, at art6, Richmond, VA, May 23, and more

FF Alumn Mitzi Humphrey will introduce the seventh speaker in the series of Pinkney Near Memorial Lectures in Art History at 8 p.m Friday, May 23, 2008, at art6 Gallery, 6 East Broad Street, Richmond, Virginia. $5 suggested donation.

The speaker will be Dr. Mitchell Merling, Paul Mellon Curator and Head of the Department of European Art at the Virginia Museum of Fine Arts. Dr. Merling's slide talk will be based on the Virginia Museum of Fine Arts' newly acquired prints by Théodore Géricault, French painter and lithographer.

And

FF Alumn Mitzi Humphrey, a Virginia printmaker, is currently exhibiting two life-size self-portrait silhouette woodcuts on fabric (linen and burlap) in "Of Women," a group exhibition by and about women. The show runs through May 18 in the sTudio 6 gallery, located at Rockaway Center for the Arts (RoCA), Fort Tilden, Queens, NY. Her daughter, Staten Island painter Sheryl Humphrey, is also exhibiting in this show and helped with the preparation and installation of the large, unframed woodcut prints.

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9. Taka Iimura, FF Alumn, at Anthology Film Archives, Manhattan, May 1

TAKA IIMURA
ON TIME IN FILM
Thursday, May 1 , 7:30 PM
Anthology Film Archives
32 Second Ave., at 2nd st.NYC, 10003,
Subway:F & V at 2nd Avenue. Walk 2 blocks north on 2nd Ave.at 2nd St.
212-505-5181 $ 8, Students/Seniors $6

Inquire: iimura@gol.com

"In concentrating on [a] set of problems, often wrongly seen as ‘minimalist’, Iimura went much, much further than any other film artist in exploring a kind of art-science. This concern with the experience of time, its measured passage and the analogy between time and space, has been the main recurring theme at the center of his work.”

Malcolm Le Grice

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24 FRAMES PER SECOND (1975, 10.5 minutes, 16mm, b&w, sound)

“Both in terms of its examination of time and space, of light and darkness, of visuals and sounds; and in terms of its demands and potential rewards for an audience, [this] is a quintessential Iimura film.” Scott MacDonald

TIMED 1, 2, 3 (from MODELS, Reel 1) (1972, 10.5 minutes, 16mm, b&w, sound)

“Visually, each section of the film is composed of 10-second spans of clear and dark leader, arranged in a progressive fashion so that at first there is more and more light and less darkness, then vice versa… One of Iimura’s most impressive films.” Scott MacDonald

ONE FRAME DURATION (11 minutes, 16mm, b&w/color, sound)

“The film concerns the duration (or non-duration) of one frame, as the title indicates, the minimum unit of film in space (dark and light) with sound (or silent) and their various combinations.” T.I.

1 TO 60 SECONDS (1973, 30 minutes, 16mm, b&w, sound)

“In [this film] Iimura does an extraordinary thing: he abstracts time from any concrete associations, seems to put it on the screen and there you sit looking at (or for) it, - Paul Poggiali

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10. Ruth Hardinger, FF Alumn, at Lesley Heller Galler, thru June 20

you are invited to view
In the Garden
Ruth Hardinger
new concrete sculptures
lesley heller gallery
16 East 77th St. , ground floor

April 25 to June 20, 2008

Gallery hours:

tuesday - saturday 11m - 6 pm (through june 6)
monday-friday 11am-6 pm (june 9 - august 22)

for further information: 212-410-6120

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11. Dan Perjovschi, at Kunsthaus Baselland, Basel, Switzerland, thru June 4

Dan Perjovschi, exhibition view Kunsthaus Baselland

Fair enough
Kunsthaus Baselland
St. Jakob-Str. 170
CH-4132 Muttenz / Basel

Phone: +41 61 312 83 88
Fax: +41 61 312 83 89

Contact: Sabine Schaschl
office@kunsthausbaselland.ch
www.kunsthausbaselland.ch

Tue, Thu-Sun 11 am - 5 pm
Wed 2 - 8 pm
Thru June 4, 2008

curated by Sabine Schaschl

With his unpretentious, comic-like, political, humoristic, and ironic drawings on walls and windows, Dan Perjovschi (born in 1961 in Sibiu/Romania, lives in Bucharest) has definitely made a name for himself in the past few years. Perjovschi, who takes a keen interest in world affairs, is known in Romania also for his politically inspired performances as well as for his journalistic work for Magazine 22, a publication that came into being following the fall of the Ceausescu regime in 1987.

With his artistically unique and direct language that is reminiscent of children"s drawings and Art Brut, he comments on international and local events, or on that world in which his works manifest themselves-the art scene. Equipped with a permanent marker or chalk, without having done any preliminary drawings, just with a rough idea about the content of his commentary, the artist arrives at the scene of his creative act. Dan Perjovschi takes an approach that is very specific to the venue and space in question.

For the exhibition "Fair enough" staged at Kunsthaus Baselland, he has devoted his attention to the rows of windows that are a salient feature of the building. Working with daily newspapers, magazines, and an Internet connection to news agencies, the artist produced new drawings on location, and reuse his existing repertoire of drawings with a view to further developing, reinterpreting, or logically complementing adjacent drawings.

Perjovschi"s drawings express vitriolic comments and provide lucid and mordant analyses. They put controversial things in a nutshell, they are polemic and critical at the same time. Most strikingly, they are straightforward, in-your-face, and direct, and they brook no indifference.

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12. Grace Roselli, FF Alumn, at Anita Friedman Fine Arts, Manhattan, opening May 6

Between the idea and the reality… Falls the shadow* Paintings and works on paper

May 6 – June 13, 2008
Reception for the artist, May 6, 6 to 8 pm
Hours: Mon – Fri, 10 - 6, or by appt.

Anita Friedman Fine Arts is pleased to announce an exhibition of recent paintings and works on paper by Grace Roselli. The exhibition, the fourth for the artist at the gallery, will include recent works that continue her exploration of the basic concepts of portraiture. Roselli has developed over time a unique approach to her subject, a process of precise rendering and fragmentation through collage that ultimately leads to the final, composite image. Roselli's paintings are independent works, reworkings of photographic images that convey the artist's knowledge of her subject that reflect the complexities of a global society.

Roselli's recent painting reveal a sensitivity to her subject, usually friends and family, that makes the dramatic element in her paintings that much more potent and compelling. The directness of her imagery, combined with a complexity or layering of content gives the work its powerful presence. At a time when the figure has made a dramatic return to contemporary painting, Roselli has forged her own path over her life as a painter, regardless of current trends, that is defined by her penchant for history, mythology and diverse cultural experience.

The collage works are put together with attention to the relationship between gesture and expression, communicated by details of the subject's hands or close-ups of lips or other highlighted features. These explorations inform Roselli's paintings, leading them in new directions of form and color, independent of descriptive intent. This dialogue between paper works and painting lends a dynamism to Roselli's recent works that is both distinctive and personal. Please contact Robert at the gallery for additional information or images at (212) 472-1527, or by e-mail at affinearts@aol.com.

T.S. Eliot, The Hollow Men
Anita Friedman Fine Arts

980 Madison Avenue
3rd Floor
New York, New York  10021  USA
Tel: (212) 472-1527
Fax: (212) 517-2174
Email: affinearts@aol.com

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13. Joseph Nechvatal, FF Alumn, now online

You may be interested in this:

Our Digital Noology: Catherine Perret in conversation with Joseph Nechvatal by Catherine Perret http://scan.net.au/scan/magazine/display.php?journal_id=56

Best Regards, Joseph Nechvatal

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14. Muck, FF Alumn, at Fuse Gallery, Manhattan, opening May 3

sweetcitywoman

"A rockin' all girl group show curated by Queen Andrea and gmo$ "

Muck, Queen Andrea, gmo$, Toofly, Alice Mizrachi, Gillian Goldstein

Fuse Gallery
93 2nd Avenue, NYC (between 5th and 6th streets)

May 3rd - May 31st, 2008

Opening reception: May 3rd, 7pm - 10pm

http://www.fusegallerynyc.com

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15. Judith Hoffberg, Richard Minsky, FF Alumns, now online at minsky.com/umbrellas.htm

If you would like to see the edition I created last week while in residency as the von Hess Visiting Artist at the Borowsky Center for Publication Arts at The University of the Arts, there are photos of it at

http://www.minsky.com/umbrellas.htm

The text is an essay by Robert Louis Stevenson titled "The Philosophy of Umbrellas," originally published in The Edinburgh University Magazine in 1871. Light and humorous in tone, it presents perceptive observations of human character, and includes assertions pertaining to umbrellas that evoke a dictum now known as Murphy's Law. If you would like to read the entire text, it is online in many iterations. A digitized 1906 version is here.

The umbrella format was chosen to celebrate the 30th anniversary of Umbrella, the publication that Judith Hoffberg started in 1978 to document Artists' Books, Fluxus and Mail Art. The Umbrella archive from 1978-2005 has been digitized and is available free online. The current issue and recent archive (2005-present) are available online for a modest subscription at http://www.umbrellaeditions.com/.

Below is a photo of Copy No. I of my Limited Edition of The Philosophy of Umbrellas. Warning: twirling it may be hypnotic...

Best regards, Richard

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16. Steve Kurtz acquitted!

April 21, 2008

CONTACTS:

Email: media@caedefensefund.org
Edmund Cardoni: (716) 854-1694
Lucia Sommer: (716) 359-3061

JUDGE DISMISSES MAIL FRAUD CASE AGAINST BIO-ARTIST KURTZ

Buffalo , NY —A process that has taken nearly four years may be coming to an end. On Monday, April 21, Federal Judge Richard J. Arcara ruled to dismiss the indictment against University at Buffalo Professor of Visual Studies Dr. Steven Kurtz.

In June 2004, Professor Kurtz was charged with two counts of mail fraud and two counts of wire fraud stemming from an exchange of $256 worth of harmless bacteria with Dr. Robert Ferrell, Professor of Human Genetics at the University of Pittsburgh Graduate School of Public Health.

Dr. Kurtz planned to use the bacteria in an educational art exhibit about biotechnology with his award-winning art and theater collective, Critical Art Ensemble.

Professor Kurtz’ lawyer, Paul Cambria, said that his client was “pleased and relieved that this ordeal may be coming to an end.”

The prosecution has the right to appeal this dismissal. How the prosecution will proceed is unknown at this time. If an appeal were undertaken the case would move to the New York Second Circuit Court of Appeals in New York City.

Lucia Sommer, Coordinator of the CAE Defense Fund, which raises funds for Kurtz’ legal defense, said, “We are all grateful that after reviewing this case, Judge Arcara took appropriate action.” She added that “this decision is further testament to our original statements that Dr. Kurtz is completely innocent and never should have been charged in the first place.”

BACKGROUND ON DR. STEVEN KURTZ AND CRITICAL ART ENSEMBLE

Critical Art Ensemble (which Kurtz co-founded in 1987 with Steven Barnes) has won numerous awards for its bio-art, including the prestigious 2007 Andy Warhol Foundation Wynn Kramarsky Freedom of Artistic Expression Grant, honoring more than two decades of distinguished work. The group has been commissioned to exhibit and perform in many of the world's cultural institutions—including the London Museum of Natural History; The ICA, London; the Whitney Museum and the New Museum in NYC; the Corcoran Museum of Art in Washington, DC; Schirn Kunsthalle, Frankfurt; Musée d'Art Moderne de la Ville de Paris; der Volksbüne, Berlin; ZKM, Karlsruhe; El Matadero, Madrid; Museum of Contemporary Art, Helsinki; Museo de Arte Carrilo Gil, Mexico City and many more.

For more information about the case, please visit: caedefensefund.org

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17. Ichi Ikeda, FF Alumn, at the United Nations, Manhattan, May 8

Also remember to bring of form of picture ID as the UN requires passing through security to enter.

The United Nations headquarters building and visitor's entrance is located on First Avenue at 46th Street, NYC.

The May 8 Seminar Programme is shaping up as follows:

9:00 - 9:45 a.m.

Registration of panelists and invited guests.

10:00 - 10:30 a.m.

Welcoming Remarks

Keynote Address

10:30 a.m. - 12:30 p.m.

Panel I: Confronting Environmental Intolerance - Art, Action, and

Human Security

1:00- 2:30 lunch

3:00 - 4:30 p.m.

Panel II: Art for Change: Vehicles for Environmental Action

4:30 - 5:30

Open Discussion between, and among, panelists and the audience.

Closing remarks

6-8:00 PM, Exhibition Reception

Randy Jayne Rosenberg, Curator
Natural World Museum
San Francisco , California
510-451-6610 (p)
Randy@RosenbergArt.com

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18. Tommy “D”, FF Member, at Dixon Place, May 7, 7 pm

Wed. May 7. 2008, 7:00 P.M. @ Dixon Place, 258 Bowery, Manhattan, Tommy “D” Naked Man performing Naked Poetry.

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Goings On is compiled weekly by Harley Spiller


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