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1. Fifth Graders in FF’s Sequential Art for Kids program, at City Reliquary, Brooklyn, opening May 23, 7 pm
2. Lynn Book, FF Alumn, at ESS, Chicago, May 30, 8 pm, and more
3. Nicolás Dumit Estévez, FF Alumn, at P.S. 1, Long Island City, opening May 17
4. R. Sikoryak, FF Alumn, in MAD Magazine this month
5. Michael Smith, FF Alumn, in The New York Times, May 13
6. Richard Prince, Michael Smith, FF Alumns, at White Columns, May 17
7. Agnes Denes, FF Alumn, new book now available
8. Cheri Gaulke, FF Alumn, at The Getty, Los Angeles, May 21, 8:30
9. Todd Alcott, R. Sikoryak, FF Alumns, at Dixon Place, Manhattan, May 21
10. Irina Danilova, FF Alumn, in Europe, May 27-June 1
11. Gisele and David Gamper, FF Members, at Roulette, Manhattan, June 5-7
12. Martha Wilson, FF Alumn, at Werkstatte, Manhattan, May 20, 6 pm
13. James Johnson, FF Alumn, newly updated websites now online
14. Annie Lanzillotto, FF Alumn, at Dixon Place, Manhattan, June 19-July 5
15. Jerome Covington, FF Alumn, now online at http://www.moodgadget.com
16. Eleanor Antin, John Baldessari, The Kipper Kids, Suzanne Lacy, Martha Rosler, William Wegman, FF Alumns, in The Wall Street Journal, May 17
17. Murray Hill, Selene Luna, FF Alumns, in The New York Times, May 18
18. David Khang, FF Alumn, new book release and panel discussion, at Centre A, Vancouver, BC, May 21, 7 pm
19. David Medalla, FF Alumn, in Firenze, Italy, May 20, and more
20. Mark Berghash, Wooloo, FF Alumns, now online at wooloo.or
21. Dick Higgins, Ray Johnson, Courtney J. Martin, FF Alumns, now online at artforum.com
22. Anne Flournoy, FF Alumn, now online at http://www.youtube.com/anneflournoy
23. Max Gimblett, FF Alumn, at Page Blackie Gallery, New Zealand, opening May 27
24. Harley Spiller, FF Alumn, at Kitchen Arts and Letters, Manhattan, thru mid-June


1. Fifth Graders in FF’s Sequential Art for Kids program, at City Reliquary, Brooklyn, opening May 23, 7 pm

Ahoy Brooklyn Bridge Enthusiasts!
Are you looking for an alternative to the official city-sponsored celebrations of the 125th Anniversary of the Brooklyn Bridge.

As you know, the City Reliquary is FOR-THE-PEOPLE, and we have your answer!!!!
Come and celebrate the most beautiful bridge in the world with your friends at the City Reliquary at one of our Bridge-tacular events this month!

And YES, unlike some important city officials, we will be here in New York City commemorating this big anniversary on the ACTUAL date set in history:
MAY 24TH, 1883!

May 23rd - aka Brooklyn Bridge Birthday Eve
The City Reliquary Museum presents,

The exhibit will feature the artwork of NYC-based students as inspired by the majestic towers of the Brooklyn Bridge and iconography that surrounds it. Kindergarten through college students in public and private schools, including 5th graders in Ms. Nichelle Hayne’s class at P.S. 20 in Fort Greene Brooklyn, who participated in Franklin Furnace’s Sequential Art for Kids program, have submitted artistic projects that show historic research and/or visual exploration of the bridge.

Artists' reception will be held;
Friday May 23rd at 7:00 PM at the City Reliquary Museum
370 Metropolitan Ave. near Havemeyer St.
in Williamsburgh, Brooklyn
The exhibition runs May 3rd through June 8th, 2008
Regular museum hours: Saturday & Sunday 12-6 pm
or weekdays by appointment or chance. Admission: "Pay what you wish."


The City Reliquary Museum presents our annual,
This year celebrating 125 years since opening day May 24th, 1883.
Meet at the City Reliquary Museum
370 Metropolitan Ave. near Havemeyer St.
in Williamsburgh, Brooklyn
The bicycle ride will depart from the Museum and culminate on the Brooklyn anchorage of the Brooklyn Bridge. We will be met with BIRTHDAY CAKE, BEVERAGES, LIVE MUSIC, and a lively presentation of the bridge's illustrious history. Souvenir t-shirts will be on sale at the CR giftshop.
Suggested donation $5; or free with purchase of t-shirt.


May 22nd, 23rd, 24th & 25th:
in association with the City Reliquary,
The Levys' Unique New York, NY's First Family of Tour Guides presents:

Harbor Tours of the Brooklyn Bridge with the Roebling Family!

Take an hour-long New York Harbor cruise aboard the NY Water Taxi with The Levys' Unique New York! NY's First Family of Tour Guides portraying the family that built the Brooklyn Bridge – John, Washington and Emily Roebling. Tour will include a first person narrative of the history, drama, tragedy and triumph of the building of The Great Bridge by one of the Roeblings or a caisson worker. Cruise beneath its majestic Gothic arches and sail past Lady Liberty and Ellis Island.

Tours depart from South Street Seaport on May 22nd, 23rd, 24th, and 25th at 10:30 am, 12noon and 1pm.

Tours are $25. To purchase tickets or book this tour as a charter contact [LINK: mailto:Mark@levysuniqueny.com] Mark@levysuniqueny.com
or call 877 NYC LUNY (877 692 5869)

No matter how you do it, enjoy this spectacular commemorative moment in NYC HISTORY!

Always civic,

Dave Herman, President
The City Reliquary
Museum and Civic Organization
Please visit http://www.cityreliquary.org
To hear about all our civic events send an e-mail to;


2. Lynn Book, FF Alumn, at ESS, Chicago, May 30, 8 pm, and more

Lynn Book Performs
Friday, May 30th 8PM
Audible at ESS [Experimental Sound Studio]
5925 N. Ravenswood, Chicago, IL 60660, 773-769-1069
Lynn will perform vocal and textual interventions in response to Kristin M. Frieman's Thread Tracings exhibition at Audible at ESS.
Thread Tracings is a series of over 100 embroidered drawings created from a dressmaker’s raw materials: needle, thread, and muslin. The compositions are created in sequence; threads pulled from the structure of the cloth hold a memory of linear form. Lynn will 'read' the drawing compositions as a vocal score and also perform a text-based work built upon another series of Kristin's referred to as "cares".
A concert of improvisations and remapped compositions will follow in duet with renowned percussionist, drummer, composer and arts advocate, Michael Zerang.
Chicago Tribune Metromix had this to say in 2003: "[Book] blended stream-of-consciousness word jazz, novel utterances created by lips, lungs and diaphragm, and snatches of exquisite jazz and operatic singing into a unique aural confection... a beguiling thrill ride of a concept piece."
See: Kristin M. Frieman
Thread Tracings: A Dressmaker’s Still Life
May 2 – June 15, 2008


Writing Through (the) Voice - May 31, 1 - 4 pm

This workshop with vocalist and intermedia artist Lynn Book is for performers, writers, poets, vocalists, and anyone interested in exploring dynamic relationships between text and voice. It will focus on the relationship of ‘voiced bodies’ to language production. The burden of ‘making sense’ in writing and speaking – especially through shopworn narrative structures and imperatives for efficient communication – often delimits imagination. When ‘voiced bodies’ are engaged, there is a new indeterminacy at play challenging the stability of rules and roles of words, meaning and being. We will explore short-circuiting, shock as well as surplus methods through vocal and writing improvisations aimed at plumbing distances between impulse, feeling, image and utterance. Writing becomes physical, voicing becomes textual, and the immediate and unpredictable circulation makes possible new assemblages of desire in the making.

Experimental Sound Studio
5925 Ravenswood
Chicago, IL 60660


3. Nicolás Dumit Estévez, FF Alumn, at P.S. 1, Long Island City, opening May 17

DEAN PROJECT, in collaboration with Y Gallery, is pleased to present "Cringe" a five-part performance-based exhibition series curated by Cecilia Jurado.

Opening exhibition reception Saturday May 17th from 6-9pm with performance by Laurence Chirsteby Litt.

Included artists:
Larry Litt - May 17th - May 25th
Brina Thurston - May 31st - June 15th
Elena Tejada-Herrera - June 18th - June 28th
Noritoshi Hirakawa - July 3rd - July 13th
Nicolás Dumit Estévez - July 19th - July 31st

Considering the current state of the art market - an unlimited oasis and supply of commercial art goods ready to be exchanged in multiple venues around the world - Cecilia Jurado questioned, "What about those in search of a small piece of an artist's idea and not merely their detritus?" The answer she found: five culturally critical performance artists who ask, "why not be critical of one's own world? Art has thousands of followers and many creators, but let's be honest, much of the world's population lives fine without it."

Some artists, while they agree with those who cringe at the art world and its financial excesses, still have a deep desire and love for art that stimulates, provokes, and makes them think. Larry Litt, Brina Thurston, Elena Tejada-Herrera, Noritoshi Hirakawa and Nicolás Dumit Estévez remind us that the unmediated and unrecorded performance experience cannot be acquired and collected itself.

This exhibition is a conversation about contemporary art and its arbitrary values; like gold, art is only valuable when someone is willing to pay for it. Yet the collecting of art has an intellectual and cultural status far superior to the crass collecting of gold. When considering the idea of collecting art the average man in the street cringes.

Each of the participants will present original first-time-exhibited work. These performers have a razor sharp attitude towards their subjects and they clearly display their opinions. Sometimes these opinions make us cringe as well.

Be prepared to cringe.

A performance by Laurence Christeby Litt on New York's bottom feeder fundraising live auction art events.

Larry Litt was born in New York. He has been working with performance, video and photography for the last 20 years doing shaman rituals, burning books and making TV-series among other things. He performed his 'Video-Mudang' ritual with several Korean artist/musicians in the

1993 Venice Biennale, sharing the award winning German Pavilion with Nam June Paik and Hans Haacke. He has since performed it worldwide. Since 2001 Litt has written and produced 30 short films as part of his Blame Show series. The videos were seen on Time-Warner cable television from 2005 to 2007. His videos are in the collections of many museums and art libraries. His 'Hate Books-Holy Fires' has been seen at the Moscow Biennale 2007, in New York at the Emily Harvey Foundation's Blago Bung Festival and at Magnan Projects, Litt's Chelsea gallery. Larry Litt lives and works in New York.

45-43 21st Street
Long Island City, NY 11101
Gallery 718.706.1462
Gallery hours: Thurs - Sun noon-7pm & Mon by appt
DEAN PROJECT is located at the back right corner of the P.S.1 Museum in Long Island City


4. R. Sikoryak, FF Alumn, in MAD Magazine this month

MAD magazine # 490 features a 2 page comic strip, "Superdelegate,"
written by Joe Raiola and drawn by R. Sikoryak.

It's on sale this month.

R. Sikoryak




5. Michael Smith, FF Alumn, in The New York Times, May 13

The New York Times
May 13, 2008
Art Review
An Artist’s Concocted World, Starring Himself, Is Too True to Be Real
PHILADELPHIA — Michael Smith, an undersung hero of the New York contemporary art world, is like putty in his own hands. He turns himself at will into his own living artwork: a hapless, naïve, tackily dressed, endlessly puzzled Everyman named Mike. Mike is the magic glue that holds together “Mike’s World: Michael Smith & Joshua White (and other collaborators),” a terrifically entertaining and philosophically compelling survey, at the Institute of Contemporary Art here, of Mr. Smith’s 30-year career as a performance artist, video maker and installation artist.
Organized by Mr. Smith in collaboration with Mr. White, an artist, television director and former producer of psychedelic light shows, the show had its debut last fall at the Blanton Museum of Art at the University of Texas at Austin, where Mr. Smith teaches. (He lives in New York.)
As Mr. Smith tells the artist Mike Kelley in an interview for the catalog, the exhibition was designed to spoof museums dedicated to single historic figures, like the Lyndon Baines Johnson Library and Museum in Austin. At the start you pause in a dark vestibule for a five-minute video welcome to “Mike’s World,” a hilarious, pitch-perfect parody of a typical introductory video. It shows clips from many of Mr. Smith’s videos, and a resonant male voice describes “Mike’s World” as “not just one world but a many-faceted amalgam of many different worlds.”
From there you pass into an initially bewildering, cacophonous environment occupying the institute’s entire ground floor. There are areas displaying drawings, comic books, photographs as well as memorabilia, but several room-size installations predominate. There’s the “Government Approved Home Fallout Shelter/Snack Bar,” built by Mike (along with Alan Herman) according to Federal Emergency Management Agency plans in 1983. Another amazingly detailed installation simulates the office and show rooms of Mus-Co, a seedy operation that specializes in equipment for psychedelic light shows.
Scattered throughout are monitors playing videos dating from 1980 to the present. If you have two or three hours to spare, it is worth watching them all. Among those not to miss is “The World of Photography” (1986), in which Mike takes absurd lessons in photography from a weaselly pro played by William Wegman.
A more recent gem is “Portal Excursion” (2005-7) in which Mike tells the pathetic story of his lifelong effort systematically to increase his vocabulary. In midlife he comes to view that project as misguided, and he tries to rectify it by plowing through a self-study Internet program of college-level courses created by the Massachusetts Institute of Technology. (The video was produced at M.I.T.) It sounds confusing, but it is a heady trip, and it nicely skewers the fantasy of self-improvement through better technology.
Mr. Smith has the makings of a natural-born clown. Short, stocky and beetle browed, he is blessed with a rubbery face whose expressions he controls with the precision of a well-trained actor. Often in his videos he appears in his boxer-style undershorts. He does more-than-competent stand-up comedy and he sings and dances like a summer-stock hoofer. The best-known non-Mike character that he plays, Baby Ikki, an 18-month-old in diapers, sun bonnet and shades, is a wonder of comic body control.
Given Mr. Smith’s riveting presence as a performer, the thought may cross some minds that he could do well in television or the movies. But “Mike’s World” reveals a creative spirit that is too complex, multidimensional, idiosyncratic and open ended for mainstream packaging. In his inventive engagement with diverse forms, including drawing, comic books, sculpture, photography, musical theater and puppet shows as well as installations and video, he has followed a determinedly unpredictable, exploratory course. Aiding him have been many collaborators. The catalog lists 18 artists with whom Mr. Smith has worked on various projects.
Out of all this multifariousness and Pop-Surrealist wackiness, however, there does emerge a certain thematic preoccupation, which you might describe as the gap between the mundane and the transcendental. That theme is embodied in the character of Mike himself, an ordinary guy par excellence who seems always to be hoping, however naïvely or fruitlessly, for some life-changing event. In early videos that parody television sitcoms, a phone will ring and he will gaze at it anxiously and say, “I wonder who’s on the phone?” as though some supernatural entity were calling.
In a 1996 video Mike receives a letter informing him that he has been nominated as one of the Outstanding Young Men of America. He decides to celebrate. He dons a powder-blue disco suit, practices some hip-thrusting dance moves and goes into a dark, empty room where he directs flashlights at a revolving disco ball and ponders its reflections. Ridiculous yet mysterious, the video poignantly captures a feeling that many Americans may share: the more or less conscious, quasi-religious fantasy that one day some great good fortune will rescue them from their humdrum, terrestrial lives.
Curiously, love and sex are not the paths to transcendence for Mike that they are for many people. He’s a solitary guy, and his issues evidently are more existential than relational.
Sometimes the usually passive Mike takes a more active, entrepreneurial role. An installation produced in collaboration with Mr. White in 2001-2 simulates an amateurish exhibition that narrates the history of a failing bucolic arts colony and envisions its transformation into the corporate QuinQuag Arts and Wellness Centre. Under the direction of the huckster-utopian developer, the center promises a synergistic convergence of art, business and science. “When I look out on the horizon,” Mike intones in the mock-promotional documentary video, “I see the future.” But you know it will just be more of the same.
“Mike’s World” continues through Aug. 3 at the Institute of Contemporary Art, 118 South 36th Street, Philadelphia; (215) 898-7188 or icaphila.org.


6. Richard Prince, Michael Smith, FF Alumns, at White Columns, May 17

VIEW WORKS ON LINE ANYTIME: www.whitecolumns.org

Tomma Abts, Dan Asher, Mark Barrow, Michael Bauer, Justin Beal, Dike Blair, Paul Bloodgood, Lizzi Bougatsos, Josh Brand, Bozidar Brazda, Tom Burr, Carter, Peter Coffin, Anne Collier, Martin Creed, Gregory Crewdson, Jeremy Deller, Peter Doig, Trisha Donnelly, Cheryl Dunn, Judith Eisler, Embah, Patricia Esquivias, Roe Ethridge, Ryan Foerster, Anna Gaskell, Jack Goldstein, Wayne Gonzales, Kim Gordon, Amy Granat, Janice Guy, Tamar Halpern, Mark Handforth, Jay Heikes, Oliver Herring, Matthew Higgs, Vlatka Horvat, Jacqueline Humphries, Lars Laumann, Daniel Lefcourt, Glenn Ligon, Kalup Linzy, Andrew Lord, Nate Lowman, Ari Marcopoulos, Nick Mauss, Adam McEwen, Dave McKenzie, Sean Mellyn, Dan Miller, Dave Muller, Thomas Nozkowski, Marlo Pascual, Oliver Payne & Nick Relph, Anthony Pearson, Adam Pendleton, Enoc Perez, Jack Pierson, Carl Pope Jr., Richard Prince, Aurie Ramirez, Mariah Robertson, Kay Rosen, James Rosenquist, Heather Rowe, Sterling Ruby, Nicolas Rule, Max Schumann, Leslie Shows, Lisa Sigal, Laurie Simmons, Michael Smith, Agathe Snow, Kirsten Stoltmann, Josef Strau, Emily Sundblad, Sarah Sze, Padraig Timoney, Rirkrit Tiravanija, John Tremblay, William Tyler, Sara VanDerBeek, Marianne Vitale, Charline von Heyl, Jennifer West

NEW YORK, NY 10014


7. Agnes Denes, FF Alumn, new book now available

Spring Publications is pleased to announce the immediate availability of the first complete publication of the writings of the American environmental artist AGNES DENES:

The Writings of AGNES DENES

Edited and with an introduction by KLAUS OTTMANN

Paperback original, $25 USD
320 pages, ills., first edition
ISBN-10: 0-88214-569-X
ISBN-13: 978-0-88214-569-3

The first complete collection of the writings of the American artist Agnes Denes. A pioneer of the environmental art movement and an artist of enormous vision, Denes investigates the physical and social sciences, philosophy, mathematics, linguistics, psychology, art history, poetry, and music. Her art involves ecological, cultural, and social issues and is often monumental in scale.

"Agnes Denes is widely recognized as an artist who is able to transform her brilliant original ideas and concepts into innovative visual images and integral texts on an enormously wide range of topics and disciplines. By applying her visual philosophy to analytical writings, she has enriched our insights into problems of human and global survival."
– Peter Selz

"Agnes Denes seems to straddle science and art in a way reminiscent of Leonardo."
– Donald Kuspit

"In the history of art there gave been few artist’s artists – individuals who have emphasized in their work the raising of provocative questions and who have also tested the limits of art by taking it into new, unforeseen areas. Agnes Denes is one of these special artists."
– Robert Hobbs

"Agnes Denes more or less invented ecological art and remains a leading practitioner of the genre. It's fortunate that her theoretical writings on art, nature, and history are being published at a time when the whole world knows we need ecological reverence and care."
– Thomas McEvilley


8. Cheri Gaulke, FF Alumn, at The Getty, Los Angeles, May 21, 8:30

A short videotape of mine called Eclipse in the Western Palace will be part of an evening program at the Getty Museum. Without Imagination There Is No Will: The Woman's Building Tapes is a video screening and lecture by Meg Cranston, Wed., May 21, 7:30 p.m. It is part of the California Video exhibition that “reveals the variety of artistic experimentation that has occurred in the video medium throughout California over the last 40 years” currently on view through June 8. My videotape was created in 1976 using a Sony Portapak (the first black-and-white reel-to-reel video equipment available to consumers)! The Getty is located at 1200 Getty Center Drive, Los Angeles, California 90049. Museum entry is free. Parking is $8.


9. Todd Alcott, R. Sikoryak, FF Alumns, at Dixon Place, Manhattan, May 21

Dixon Place presents...

Cartoon slide shows & other projected pictures
presented by a glittering array of artists, performers, graphic novelists, & other characters.

Hosted by R. Sikoryak

Todd Alcott
Leela Corman
Brian Dewan
M. Sweeney Lawless
Jared Whitham
and R.S.

Wednesday, May 21, 2008
8 pm (door opens at 7:30 pm)

Dixon Place
258 Bowery, 2nd Fl, between Houston & Prince

Tickets: $12 or TDF; $10 student/senior

Advance tickets & more info:
(212) 219-0736


10. Irina Danilova, FF Alumn, in Europe, May 27-June 1

An announcement of the 59 Seconds Video Festival's Spring 2008 European screening tour [curated by Irina Danilova, FF Alumn and Hiram Levy]:

May 27th from 11am - 6pm
53 Beauchamp Place, SW3
London, England
Organized by David Gryn

Landmark, Bergen Kunsthall
May 29th at 21:00
Rasmus Meyers allè 5
Bergen, Norway
Organized by Morten Kvamme
Thanks to Are Hauffen

May 31st at 20:00
Kulturverein Provisorium
Heiligkreuzstrasse 4
Nürtingen, Germany
Organized by Josephine Bonnet
Thanks to Carine Doerflinger

Studio 29
June 1st at 7:00pm
10 Martello Street E8
London, England
Organized by Hervé Constant


11. Gisele and David Gamper, FF Members, at Roulette, Manhattan, June 5-7

see hear now: visible music @ Roulette
3 nights - 3 themes - 3 nows
june 5, 6 & 7th, 8:30 pm $15
each night’s improvisation focuses on a different theme.
after a year of working in our studio, we look forward to creating another unique installation in Roulette’s space.

david gamper - multi-instrument acoustic music with live digital transformation using Max/MSP/Spat into 5 channel sound diffusion installation

gisela gamper - live video mixing and multi-stream projection installation using Isadora on laptops, video mixer, projectors, mirrors and servomotor shutters


for calender & additional information visit:

20 greene street between grand and canal
new york, ny
reservations/tickets: 212.219.8242


12. Martha Wilson, FF Alumn, at Werkstatte, Manhattan, May 20, 6 pm

Werkstätte cordially invites you to
Eye Witness Report
A Panel Discussion with Patterson Sims, Martha Wilson, James Kalm and Kat Griefen
Moderated by Patsy Norvell
This Tuesday, May 20th
55 Great Jones Street, between Bowery and Lafayette
The nomadic trajectory of artists and galleries as they have settled and resettled throughout Manhattan and the boroughs of New York is an amazing unpredictable phenomenon. Soho emerged in the late 1960s from an industrial wasteland to become, in the 1970s and 1980s, a pioneering artists' community and the center of the gallery and art scene. And while Chelsea may be thought of as the locus of the current gallery scene, Soho and Noho have been steadily reemerging, and in fact some galleries and artists never left. With the opening of The New Museum and galleries nearby, the Bowery neighborhood throbs with a new and vital energy.
Join panelists Patterson Sims, Martha Wilson, James Kalm and others as they discuss their years in the area, how they feel their presence had an impact on the art world, and why they have chosen to stay or leave.
This event is part of the Werkstätte “Monday Night” Series in conjunction with the current exhibit A.I.R. Gallery Retrospective: 1972-1979. The A.I.R. cooperative gallery was the first all-women's gallery, featuring the best work from prominent artists of the downtown art scene. It follows in the tradition of A.I.R.'s “Monday Night” programming, a discursive educational program that utilized a time when galleries are traditionally closed. On select Monday evenings A.I.R. opened its doors to varying speakers, performances, and how-to seminars that covered topics ranging from tax preparation to organizing a cooperative gallery.
The exhibition runs through June 14, 2008. The gallery hours are Tuesday–Saturday, 11-6pm. If you require further information, please call 212 228 2996 or email alexis@werkstattegallery.com


13. James Johnson, FF Alumn, newly updated websites now online

Announcing the updates of both my home page:http://spot.colorado.edu/~johnsoja/Home.html

and the Discopie web site: http://www.discopie.com

Both sites may now be viewed in several languages courtesy of Babel Fish. Just click on the flag of your choice at the bottom of the Links and Directory pages. There's a new link to: Digital Type:http://www.discopie.com/NewType.html

on the Discopie site where you can download the Magic Squares font in Mac or PC format.

There's also a new page for the Magic Squares Matrix Series: http://www.discopie.com/MagicSquares/MatrixSeries.html

The series consists of nine 20 X 20" gouache paintings on paper completed between 2007 and 2008.



14. Annie Lanzillotto, FF Alumn, at Dixon Place, Manhattan, June 19-July 5

WheredaFFFhuck Did New York Go?
by Annie Lanzillotto
A New Yorker looks for New York in all the wrong places, --New York.
Named one of "200 essential New Yorkers" by the Smithsonian, and now one of New York's thousands of evicted, Lanzillotto weaves a narrative palimpsest through the eyes of a quintessential New Yorker who faces expulsion from her urban Eden. Can she take her apple and go? Come deconstruct the core of urban planning and find out just how far down the Manhattan Schist we stand and build upon goes...
Dixon Place, 258 Bowery (between Houston and Prince), NYC
Thursdays, Fridays, and Saturdays:
June 19th, 20th, 21st
June 26th, 27th, 28th (June 28th is a special Post Dyke March Performance,
with a How to Mount a Mailbox demo and saddle-up contest)
July 3rd, 4th, 5th (July 4th is a special Independence Day Pizza Bash Pre-Show)

$15, $12 Student – call for group rates 212-219-0736


15. Jerome Covington, FF Alumn, now online at http://www.moodgadget.com

hi friends,
i'm happy to announce that moodgadget is promoting a remix i did of paul simon's "can't run but".
to hear it.
thanks for listening,
Jerome Covington


16. Eleanor Antin, John Baldessari, The Kipper Kids, Suzanne Lacy, Martha Rosler, William Wegman, FF Alumns, in The Wall Street Journal, May 17

The Wall Street Journal
They Were Just Playing Around
But Experimental Videos
From '60s and '70s California
Are Now Recognized as Art
May 17, 2008; Page W6
Los Angeles

"Video at the Getty," said David Ross in a matter-of-fact tone that could not, given the circumstances, help sounding like an incredulous question.

The former director of art institutions on both coasts was waxing nostalgic recently in an auditorium at the Getty Museum of Art. Invited to help celebrate its landmark "California Video" exhibition, running through June 8, he was eventually joined on stage by other gray-haired pioneers of electronic media and performance from the 1970s -- John Baldessari, Bill Viola, Suzanne Lacy, Paul McCarthy, Doug Hall and, by video hookup, William Wegman -- all of whom had worked in universities and art collectives around California back in the day.

A mood of pride and bemusement filled the hall. It was like a high-school reunion where the kids from shop class, dismissed as pot-heads and losers by their peers, had grown up to be recognized as the true visionaries.

For the world's richest art museum to have lovingly preserved and installed famous and obscure works by some 58 artists, and produced a highly readable catalog of essays and interviews, underlines the exalted status of video now. Not everything here deserves lavish praise, by any means. But give the Getty credit: Since the turn of the millennium, when the museum's leaders rebranded it as a player in the field of contemporary art, they have done so with seriousness and care.

The decision in 2005 to buy the video archives from the Long Beach Museum of Art, where Mr. Ross was deputy director from 1974 to 1976 (and arguably the first curator of video art anywhere), signaled that the Getty wanted to be comprehensive (it likes to buy in bulk, when it can) as well as a supporter of local products. The consulting curator Glenn Phillips and his staff have spent the past two years overseeing digital transfers of material created in various outmoded formats that was scratched, decaying or worse.
Almost no one at the time regarded these taped documents of goofy antics -- Mr. Wegman spraying his underarm with an entire can of aerosol deodorant, Mr. Baldessari writing the sentence "I will not make any more boring art" for 32 minutes and 21 seconds -- as valuable, least of all those who created them. Videotape was like "toilet paper," in the words of performance artist Martha Rosler. Mr. Ross recalled that New York dealer Leo Castelli showed an almost parental indulgence toward the artists in his gallery who chose to "play around with video."

The exhibition has tried to maintain the carefree and low-tech origins of the work, although the Getty's splendor always makes joking insouciance hard to bring off. Most of the pieces are displayed on small monitors built into pods that rise on stalks from the floor, with two sets of headphones attached. The museum is promoting the show with psychedelic graphics; the mushroom-like pods seem designed in this spirit.

T.R. Uthco/Ant Farm/Electronic Arts
'The Eternal Frame' by Bay Area art collectives T.R. Uthco and Ant Farm
In the view of Mr. Phillips, California video in the late 1960s and '70s was distinguished from New York and European video by "a sense of fun." A stroll through the show certainly elicits more laughter than angst. Bruce Nauman's "Walk With Contrapposto" from 1968 is a deft art-history joke. As the artist jerkily moves his body according to Renaissance dictates for posing an erect statue, he silently demonstrates how one medium's ideal can look ridiculous in another. Ms. Lacy's "Learn Where the Meat Comes From" adopts the style of a Julia Child-type cooking program circa 1976, except here the host enjoys food so much she eventually grows fangs and assaults the side of lamb she is preparing.

Backdrafts from Vietnam, feminism and racial ferment can be felt in much of the work. More surprising are the purely abstract studies in color and electronic distortion that came out of the Bay Area. The National Center for Experiments in Television in San Francisco served as a think tank for anyone interested in video during the '60s and '70s. A number of artists here -- Joanne Kyger, Warner Jepson, Stephen Beck -- did stints there. Ms. Kyger's "Descartes" from 1968 tackles the mind-body problem by blending texts from the philosopher with feedback images, tape loops and other video techniques designed to present someone engaged in thinking about thinking and the fundamentals of reality. This dense piece about mind and body is worth the 11 minutes it takes to unfold.

The show surrounds established figures such as Mr. Baldessari, Mr. Nauman, Mr. Wegman, Eleanor Antin and Chris Burden with many lesser-knowns, permitting all an almost equal chance to assert their lasting importance. Some artists more associated with New York (Tony Oursler) and England (the Kipper Kids) were included because they went to school, taught or exhibited in California.

This attempt at providing context may be necessary for historians but not uniformly enjoyable for visitors. One viewing will have been plenty for a fair amount of the work I saw here.

The highlight for many will be "The Eternal Frame," one of the most infamous works of the period. In 1975 two Bay Area art collectives, T.R. Uthco and Ant Farm, decided to re-create the Zapruder film of the Kennedy assassination where it had occurred, at Dealey Plaza in Dallas. Begun as a gesture of exorcism and nose-thumbing mockery of the media's obsession with JFK, the videotaped re-enactment involved dress up (Mr. Hall was the Art President and Chip Lord was in drag as Jackie), a Lincoln Continental and lots of fake blood.

What the artists didn't expect was that Dallas citizens would embrace the performance, seeing it as a tribute and welling up as they remembered the 1963 events. The artists have the courage to show these reactions as well as the anger of some San Franciscans who, when shown the video in 1976, objected to the desecration of history. Audiences at the Getty can watch the fascinating, multilayered results on a Philco console TV while sitting on a sofa, with JFK memorabilia on the walls and copies of LIFE in the magazine racks.

The archival material stands up better than many of the Getty's recent purchases in the last rooms. Mr. Viola's "Sleepers" from 2002 disappoints. A collection of six oil drums filled with water, each containing a sunken video monitor showing a person asleep, lacks his usual ability to enchant. Mike Kelley's "Candy Cane Throne" from 2005 doesn't prosper as a stand-alone work apart from the sprawling installation about high-school rituals in Detroit of which it's only a small part.

One exception is Jim Campbell's "Home Movies 920-1" from 2006. A masterwork of technical ingenuity and beauty, it consists of light emitting diodes arranged in 40 columns that are spaced a few inches apart, each only an inch-wide. Each LED chip projects tiny pieces of a black-and-white image on the wall behind. Together, they make up a shifting image that seems always about to come into focus but never does.
To judge by the thronged galleries when I was visiting, the Getty is doing a popular service as well as a scholarly one by collecting video. The origins of MTV and the YouTube culture can be found here in these lowly experiments. Pay a visit and you can see a medium travel from disrespect to dominance.
Mr. Woodward is an arts critic based in New York.


17. Murray Hill, Selene Luna, FF Alumns, in The New York Times, May 18

The New York Times
May 18, 2008
The Almost Naked City
Burlesque, that fabled if slightly soiled fantasy realm whose heraldic totem was the twirling pasty and whose undisputed queen was Gypsy Rose Lee, has returned to New York, dripping with rhinestones and trailing clouds of glitter. Under the rubric neo-burlesque, a Depression-era genre whose hallmarks were smut with attitude, bargain-barn glamour, rock-bottom ticket prices and a proudly stuck-out tongue is reasserting itself, flourishing in unexpected corners around the city.

At the cavernous Galapagos Art Space in Williamsburg, dozens of hipsters gather on Monday nights for a show featuring the burlesque queen Clams Casino, “the daughter Dolly Parton and Charles Nelson Reilly never had,” as the performer describes herself on her Web site.

One recent evening at Galapagos, a sultry belly dancer bolted like liquid lightning through a striptease to “The Girl in Blue,” courtesy of Reverend Horton Heat. Other acts ranged from the awkward to the hair raising, literally so in the case of a six-foot-plus performer whose specialty is a striptease on roller skates; after caroming back and forth across the stage, she swerved toward the audience, teetering to a queasy stop before hurtling into the air.

At “Showdown: Bare Knuckle Burlesque,” a recent offering at the Zipper Factory on West 37th Street offered more self-assured leering and a little less Saran wrap and aluminum foil from the costume department.

The mistress of ceremonies was a dominatrix wearing an orange eye patch and black bangs of a shoe-polish sheen, her body poured into a purple and black hour-glass gown. Introducing herself as Ms. Astrid (in real life Kate Valentine), she explained to the 200-member audience that Selena Luna, the “Pocket Venus” from Los Angeles, would face off against the East Village’s Miss Dirty Martini (“Just call me Dirty — everybody does”), an odalisque of operatic proportions, given name Linda Marraccini.

At “C’est Duckie,” a more conceptual import from London at the C. S. V. Cultural Center on Suffolk Street on the Lower East Side, audience members sit at tables that performers approach and sometimes mount, offering unexpected opportunities for participation. At a recent performance, one customer lay splayed across a table while a performer appeared to slice him in half with a power jigsaw.

And in September, the New York Burlesque Festival will award its fiercely sought Golden Pasties in categories like “Performer Most Likely to Drink You Under the Table and Take Advantage of You While You Are Down.” Last year’s winner was Scotty the Blue Bunny, the ubiquitous comedian and M.C. who favors a high-heeled blue rabbit suit.

In its 2008 incarnation, New York burlesque sees itself as nervy and adventurous, with an aversion to the airbrush and the computerized gloss of mass market entertainment. But its history is ancient, and its real affinities are less with velvet ropes than with carnival sawdust.

Back in the 1800s, the acts that filled Manhattan’s music halls were often little different from the circuses and traveling freak shows that entertained audiences in the boondocks. The city’s early museums were as likely to offer displays of dwarves, boa constrictors and waxworks as paintings or statuary. The bar-theater hybrids of the Civil War period known as concert saloons reveled in acrobats, bellowing balladeers and semiclad girl dancers.

Harry Hill’s famed dive on Houston Street was best known for its gloves-off prizefights. Even the staid Academy of Music, the opera house on East 14th Street, gave itself over annually to a sodden ball where the city’s elite rioted elbow to elbow with crooks, drunks and prostitutes. Classic burlesque, with its strip acts and comic skits bearing titles like “Anatomy and Cleopatra,” reached its height during the Depression, with the Minsky Brothers’ gloriously shameless and still lamented Eltinge Theater on 42nd Street.
But in 1942, Mayor La Guardia and his vice-hound license commissioner, Paul Moss, closed down the Minskys, along with two other Times Square grind houses. Left scrambling for bookings were the stars, among them New York’s beloved Sherry Britton, who died last month. She survived by snagging the role of Miss Adelaide in the original touring production of “Guys and Dolls.”

During the 1950s and ’60s, burlesque became an orphaned theatrical genre, surviving only in the hinterlands and later in nostalgic touring shows like Ann Corio’s “This Was Burlesque,” a summer stock perennial in the 1970s.

Postwar Manhattan wanted none of it, particularly in the deteriorating environs of Times Square, and grew fed up with the epidemic of pornography, ratty movie houses, drug dealers and Brueghelesque crowds. Ripley’s Believe It or Not!, burlesque’s stationary cousin and a long-lived attraction on Broadway near 43rd Street, closed in 1972, packing its sideshow grotesqueries off to Los Angeles. Even freak shows, it seemed, had been spooked by the creeping seediness.

Then in the 1990s came the wholesale rejuvenation of Times Square, purging the crime, re-electrifying the signs and drawing hordes of tourists. The district became the city’s major destination for visitors, and was for the most part as family-friendly as a theme park in the Ozarks.

New Yorkers, contrarian as always, soon reacted against this militant wholesomeness and found themselves grieving for lost monstrosities: Bickford’s dank all-night cafeteria, or the Fascination game parlors whose unsavory, glassy-eyed customers could be seen tossing rubber balls into holes for hours on end. They grew nostalgic for the spirit of P. T. Barnum and his lusty embrace of all that was — and remains — tacky, weird, low-rent and, whether or not they admit it, abidingly attractive to highbrow and lowbrow alike.

According to Jen Gapay, a producer of “Showdown,” New York neoburlesque was born in the mid-1990s, out of a hunger for good dirty fun that high-minded reform only whets.
It was also a rebellion against the reformers. “At least in part it was a reaction to the Giuliani crackdown on sex clubs,” Ms. Gapay said.

Ms. Valentine, the co-producer of “Showdown” as well as its vampy hostess, dates the beginning more specifically to the founding in 1997 of New York’s first neo-burlesque troupe, the Va Va Voom Room, and says the genre has been growing exponentially since around 2002.

These days, burlesque can be found on a stage somewhere in the city most nights of the week.
“Starshine Burlesque,” a coproduction by Little Brooklyn and Creamy Stevens (“She learned she loved to entertain through making children cry at the juvenile detention center where she spent most of her teens,” her Web site says), plays Thursday nights at the Fortune Cookie Cabaret in the back room of Lucky Cheng’s on lower First Avenue.

On Fridays, the Slipper Room at Orchard and Stanton Streets on the Lower East Side plays host to Hot Box Burlesque. Le Scandal Cabaret, at the Cutting Room on West 24th Street, performs every Saturday night.

Half a dozen regular events, mostly in Manhattan and Brooklyn, are listed weekly on the Web site About.com, joined by the frequent one-shot offerings. And the scope of the movement, if anything so resistant to structure can be called a movement, is expanding.

Ripley’s Believe It or Not! Odditorium opened on 42nd Street in 2007 after a 35-year absence from the city. And once-forlorn Coney Island, which has seen an increase in visitors in recent years, sponsors both a circus sideshow and, on summer weekends, an event called Burlesque on the Beach.

By Any Other Name
As might be expected with a form of entertainment that claims to be both avant-garde and retro, its producers and performers differ sharply on what neo-burlesque is really all about.
Even the name is up for grabs. Some, like Ms. Gapay and Ms. Valentine of “Showdown,” embrace the term burlesque. Others disown it, claiming that what they do is a riff on cabaret, midway, circus, vaudeville, sideshow, even conceptual performance art.

Simon Hammerstein, president of the Box, a jewel-like toy opera house complete with swag stage curtains on Chrystie Street on the Lower East Side, insists that what he presents is not burlesque at all.
Mr. Hammerstein, whose great-great-grandfather was the turn-of-the-century impresario Oscar Hammerstein Sr., modeled his theater after the Bird Cage in Tombstone, Ariz., renowned in the 1880s for its anything-goes shows and brawling clientele.

On one wall hangs a picture of Harry Hill’s infamous saloon, as if laying claim to its historic rowdiness and attractiveness to celebrities. Guests at the Box sit at the tables that line the horseshoe-shaped balcony and are surrounded by translucent curtains. Mr. Hammerstein and his business partner, Richard Kimmel, reject the notion that their club is simply a gentrified burlesque house: Mr. Hammerstein calls it a “theater of varieties.” Tables go for up to $2,000, they point out, and the production values are impressive.
“We have 19 or 20 numbers with as many as 75 performers on the stage” each night, Mr. Hammerstein said, adding that there is “a full orchestra, and the show changes every night.”

Seated at a table in his theater one afternoon, Mr. Hammerstein, a bearded 30-year-old with a British accent, said: “There’s a science to ordering it. We earn the audience’s trust with something talented, then weird, then high-energy.”

While he readily describes some of the acts as lewd, he contends that the Box has no use for burlesque’s traditional working-class ambiance. “Absolutely, we’re trying to make it exclusive,” Mr. Hammerstein said.
By contrast, Simon Casson, the producer of “C’est Duckie,” insists that his show has a political aim. He says that audience members should not be misled by the rubber chicken that may bounce onto a table, or the dancer who limps across the floor in a walker and clambers with it onto a table. Or the whoopee cushion on which a customer may be asked to bounce in order to inflate a balloon. Or the moment when Mr. Casson sprints from table to table peddling official “Duckie” T-shirts, pillows, cast albums, a souvenir keepsake program consisting entirely of ads and the $60 official “Duckie” jigsaw puzzle, missing only a few pieces.

“C’est Duckie,” he contends, has a satirical point to make: The show’s offerings are intended as an attack on the use of sex as an exploitative marketing tool. Citing an Olivier award, the equivalent of the American Tony, and the show’s run at the Barbican Center in London in 2002, he expresses surprise that American audiences react to the show as if it were, well, burlesque.

“It’s supposed to be conceptual — about money, about exploitation, the fact that we’re all prostitutes and everything is commodified,” Mr. Casson said. “In London, the show’s seen as ironic. But audiences here take it straightforwardly and literally.”

Political, Sometimes Pudgy
A single current seems to characterize all these incarnations of burlesque: an exasperation with the corporate blandness of modern mass entertainment.
According to Bob Masterson, chairman of Ripley Entertainment, Ripley’s Believe It or Not! Odditorium returned to Times Square to satisfy audiences jaded by Hollywood blockbusters, and seeking personalized, nervy and unpredictable shows with homemade authenticity.
“You watch a movie today and you know that the scenery is digital, that the actors aren’t really flying through the air,” Mr. Masterson said. “It’s like a video game; it delivers a shock, but people are looking for something less plastic. They want a real shock — real live people, no laugh tracks, no special effects. They want something like the standup comedian who can handle a heckler with a quick, off-the-cuff remark.
“Burlesque performers were like that,” Mr. Masterson added. “Everything depended on the entertainer; they didn’t have security guards to clear the room.”
Many in burlesque see their art form as a challenge to the idea that performers should measure up to inhuman standards of beauty and talent. In their eyes, if the lighting is good and the dancer self-assured, a little cellulite is not a deal breaker; nor are a few sags.
“Neo-burlesque is popular with women because it’s sexy, it’s comic, and it’s not all skinny, model-types,” Ms. Gapay said. “It’s something that goes back to Mae West, really. Just taking your clothes off onstage doesn’t make you a good burlesque performer. You have to be at ease with yourself, comfortable with your body, whatever it is.”
Ms. Marraccini embodies this ideal, of which she first became aware when she studied modern dance at SUNY Purchase and watched films of classic burlesque performers.
“I was attracted by the fact that it was all shapes and sizes of women: all feminine, sexual and all allowed to be seen,” Ms. Marraccini said. “Burlesque is a uniquely American dance form, just as jazz is in music. It’s never really been documented in dance history, but its vocabulary of movement has been passed down from dancer to dancer. Bob Fosse danced in a burlesque house as a kid; the dances he put into ‘Chicago’ are influenced by burlesque.”
Whatever the venue, 21st-century burlesque is where Weimar meets Coney Island. You can never be sure whether you’re a cutting-edge cultural mandarin basking in the irony, or a classic pigeon, ogling the flesh and shedding your cash as if it were feathers in molting season.
Mark Caldwell is the author of “New York Night: The Mystique and Its History.”


18. David Khang, FF Alumn, new book release and panel discussion, at Centre A, Vancouver, BC, May 21, 7 pm

How To Feed A Piano
La Monte Young Projects 2003–2008
David Khang
How To Feed A Piano Centre A David Khang
May is Asian Heritage Month in Canada!
Many Cultures,Many Languages,One Celebration
How To Feed A Piano
La Monte Young Projects,
2003 – 2008
David Khang
Essays by
Candice Hopkins, Larissa Lai
and Rinaldo Walcott
Introduction by Makiko Hara
Panel Discussion
7:00 pm
Candice Hopkins, Larissa Lai, Rinaldo Walcott
may 21 wednesday
Available for pre-order through Centre A
or for purchase at the panel discussion.
Limited run of 125 copies available.
How To Feed A Piano was made possible through generous financial support from
2 West Hastings
Vancouver, BC

Please join us on Wednesday May 21st, 7pm @ Centre A,
for an engaging panel discussion with
Candice Hopkins, Larissa Lai, & Rinaldo Walcott.

Exhibition Catalogue for "How To Feed A Piano"
featuring essays by the 3 panelists will be on sale at the event.

Candice Hopkins, of Tlingit descent, is an artist and curator. She is presently Director and Curator of the Exhibitions Programme at the Western Front. She has an MA from The Center for Curatorial Studies, Bard College, NY where she was awarded the Ramapo Curatorial Prize for the exhibition Every Stone Tells a Story: The Performance Work of David Hammons and Jimmie Durham. She received her BFA from the Alberta College of Art and Design in 1999. Her writing is published by C Magazine, MIT Press, BlackDog Press, New York University, Catriona Jeffries Gallery, and Banff Centre Press, among others, and she has given talks at venues including the Tate Modern, Dakar Biennale, Tate Britain, Rhodes College, Simon Fraser University, and the University of British Columbia.
Hopkins is co-curator of the touring exhibitions Jimmie Durham: Knew Urk, which originated at the Reg Vardy Gallery in Sunderland, UK and Shapeshifters, Timetravellers and Storytellers, which originated at the Royal Ontario Museum. Recent and upcoming curatorial projects include exhibitions on architecture and disaster, performativity and fictional identities, and the revolutionary potential of "slowness" in relation to new technologies.

Larissa Lai was born in La Jolla, California, grew up in Newfoundland and currently lives in Vancouver. Her first novel, When Fox Is a Thousand (Press Gang 1995, Arsenal Pulp, 2004) was shortlisted for the Chapters/Books in Canada First Novel Award. Her second novel, Salt Fish Girl (Thomas Allen Publishers 2002) was shortlisted for the Sunburst Award, the Tiptree Award and the City of Calgary W. O. Mitchell Award. She has an MA in Creative Writing from the University of East Anglia in Norwich, England and a PhD in English from the University of Calgary. From January to June 2006, she was a Writer-in-Residence in the English Department at Simon Fraser University. She recently held a SSHRC Post-doctoral Fellowship in the English Department at the University of British Columbia, and is currently an Assistant Professor in Canadian Literature there. Her research addresses theories of subjectivity, strategies of anti-racist cultural production, futurity, Canadian literature, critical theory, globalization, race, gender, sexuality, contemporary poetics and speculative fiction. She has also worked as an instructor at the infamous science fiction writer's workshop Clarion West. Sybil Unrest, her collaborative long poem with Rita Wong, will be published by Line Books in 2008.

Rinaldo Walcott is an Associate Professor of Black Diaspora Cultural Studies in the Department of Sociology and Equity Studies in Education at the University of Toronto. From 2002 to 2007, he held the Canada Research Chair of Social Justice and Cultural Studies also at the University of Toronto. Walcott started his career in rap music. Not as a rapper―or a musician at all―but as a social scientist working on his PhD at the Ontario Institute of Studies in Education at the University of Toronto (OISE/UT). In 1997, Walcott published Black Like Who?―the critically acclaimed collection of essays on contemporary black Canadian culture. He has been seen on Counterspin, Studio One, Q Files, and The New Music and Too Much for Much (on MuchMusic channel), and TVO's The Agenda. He is the editor of New Dawn: The Journal of Black Canadian Studies, an online open access scholarly journal. Rinaldo's writing and research has long engaged with the multiple genres of artistic expression. His areas of specialization are cultural studies and cultural theory, queer and gender theory, and transnational and diaspora studies. His upcoming book is titled Black Diaspora Faggotry: Readings, Frames, Limits (Duke University Press).


19. David Medalla, FF Alumn, in Firenze, Italy, May 20, and more

David Medalla, FF Alumn, continues his translation event of Franklin Furnace's Mission Statement from English to Tagalog

David Medalla, FF alum, continues his translation event of the Mission Statement of Franklin Furnace from the original English text into Tagalog (the Filipino national language). David Medalla began the event last May 8, 2008, on the wooden esplanade of the Bibliothèque Nationale de Paris during the inauguration of LONDON BIENNALE 2008. Shortly after the initial translation, David Medalla created an impromptu performance with two French monocyclists, father and son, videotaped on YouTube by Marko Stepanov.
A few days later, David Medalla continued translating (in his head) while crossing the English channel with American artist Nelson Loskamp of chaircut and Heather White from Brooklyn, New York, en route to Dover, England, for the White Nave exhibition at the Charlton Centre curated by Rachel Daniels, and the 'Moveable Feast' at the Louis Armstrong Pub in Dover organised by Joanna Jones, Clare Smith and Alma Tischler.
A couple of days later, after an evening's conversation in Bracknell, England, about 'boites en valises' with Adam Nankervis (the director of MUSEUM MAN), in particular, the 'boite in valise' which Adam Nankervis created in Valparaiso, Chile, incorporating volcanic dust, David Medalla continued his translation event.
Last Friday, May 16, 2008, David Medalla flew from Stansted Airport, England, to Bergamo in Italy. On Saturday, May 17, 2009, in the Church of Santa Maria Maggiore at the 'citta alta' (city on high) in Bergamo, in front of the tomb of the composer Donizetti, David Medalla recited sections of his translation into Tagalog of the Franklin Furnace Mission Statement (in polyphonic style) to an enthusiastic group of Italian students and foreign tourists.
On Sunday, May 18, 2008, David Medalla's translation of the text (in palindromic extracts) are incorporated in his performance inspired by the 'cocodrillo di Ponte Nossa', curated by Franca and Emilio Morandi, in the Arte Studio Morandi.
On Tuesday, May 20, 2008, David Medalla will give another recitation of his translation as the prologue to his lecture at the Accademia di Belli Arte di Firenze (the Academy of Fine Arts of Florence), introduced by Italian art historian Vittoria Biasi.
David Medalla will continue his translation event at the Bocca della Verità on May 21, 2008, and at the Studio RA, directed by Raffaella Losapio, in Rome, on May 22, 2008.
David Medalla will recite the final version of his translation of the text of the Franklin Furnace Mission Statement from the original English into Tagalog during the Finale of LONDON BIENNALE 2008, on August 2, 2008, during the "Long Shore Drift", curator: Katie Sollohub, on the beach at Brighton, England. David Medalla is dedicating his translation and his series of nomadic performances to Martha Wilson (founder of Franklin Furnace), Harley Spiller, Eva and Alberto Florentino.


20. Mark Berghash, Wooloo, FF Alumns, now online at wooloo.or

You are invited you to visit my online exhibitions currently hosted at Wooloo.org:


New RE VISIONS continues a project begun in 2006, combining two images of the same scene (one image is flipped) taken in a short interval that shows a sequence of events. The new work concentrates on people... Read More

TWIN SELVES-same subject photographed twice on the same sheet of film, first as they as their every day self and second as if they became a twin and different self.

ALTER EGO PORTRAITS painted bodies
Portraits painted on bodies, representing the subject's alter ego

My web site address is http://www.wooloo.org/berghash.

You can send me a message at http://www.wooloo.org/berghash/s3Contact.php.


21. Dick Higgins, Ray Johnson, Courtney J. Martin, FF Alumns, now online at artforum.com

An article on the Mapping Correspondence show is up on ArtForum.com.

Please take a look via the link below or read the text of the article further below


Congrats to everyone involved, the show continues to receive rave reviews!

"Mapping Correspondence: Mail Art in the 21st Century"
28 W 27th Street, 3rd Floor
April 11–June 28

Mail art, the subject of “Mapping Correspondence: Mail Art in the 21st Century,” may seem tangential to the curatorial focus of the workshop and exhibition space Center for Book Arts. Yet the practice, also called correspondence art, is rooted in the same democratic and craftily subversive (corruption of mail is a felony!) ideals as those of the book arts; likewise, many book-arts practitioners disperse their work via mail art. Defined by its mode of circulation rather than its form, mail art’s ability to shift media allows it to blend into other genres like computer art, performance, poetry, and even sculpture. Organized by Champe Smith, this densely packed exhibition explores the relationship of mail art to the fringes of the worlds of fine art, multiples, and one-off experiments by inviting artists to submit work to CBA through the postal service. These artists invited others to do the same, creating generations of correspondence and some collaboration, like Shinsuke Aso’s trove of postcards, SAPC (Shinsuke Aso Post Card), 2008, which are available for purchase and invite further dissemination by the exhibition’s viewers.
“Mapping Correspondence” also includes significant historical objects, reinforcing mail art’s role in the pre–electronically networked twentieth century. Dick Higgins’s postcard Untitled, 1983—which bears the words THE WORD IS NOT DEAD, ETC—is one of several Fluxus works included here. CBA’s announcement for a 1975 meeting of mail-art pioneer Ray Johnson’s Spam Radio Club and other of Johnson’s works are contrary, poetic, and marked by dry humor. Along with the contemporary work, this section of the exhibition posits a mail-art history that is as aesthetically nuanced as it is literal and literary.
—Courtney J. Martin


22. Anne Flournoy, FF Alumn, now online at http://www.youtube.com/anneflournoy

Hi everybody,

The LOUISE LOG #6 is finished and posted at:


Please turn up the volume. Any echo on the soundtrack is unintentional. (If this happens, please refresh or reload.)

If you click on ''watch in high quality" (on the right, under "Views:__") it will be a much crisper and clearer picture.
I hope you like it and if you do, PLEASE PASS IT ON.
Thank you,


23. Max Gimblett, FF Alumn, at Page Blackie Gallery, New Zealand, opening May 27

Gimblett exhibition at Page Blackie Gallery, Wellington, New Zealand

Dear Friends,

Please join us for the opening of the exhibition “everlastingness” on May 27 at 6pm at

Page Blackie Gallery,
42 Victoria Street
Wellington, New Zealand
telephone 04 471 2636
fax: 04 471 2637


The artist will be present.


24. Harley Spiller, FF Alumn, at Kitchen Arts and Letters, Manhattan, thru mid-June

A selection of spoons from the collection of FF Alumn Harley Spiller, aka Inspector Collector, are now on display in the front windows of Kitchen Arts and Letters, Nach Waxman’s renowned bookstore, the nation’s largest devoted solely to books on food and wine.

Kitchen Arts and Letters is located at 1435 Lexington Ave (between 93rd and 94th Streets) in Manhattan. Telephone 212-876-5550


Goings On is compiled weekly by Harley Spiller

Franklin Furnace Archive, Inc.
80 Arts - The James E. Davis Arts Building
80 Hanson Place #301
Brooklyn NY 11217-1506 U.S.A.
Tel: 718-398-7255
Fax: 718-398-7256

Martha Wilson, Founding Director
Michael Katchen, Senior Archivist
Harley Spiller, Administrator
Elise Kermani, Program Coordinator
Susie Tofte, Project Cataloguer
Judith L. Woodward, Financial Manager