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Contents for January 19, 2009

1. IN MEMORIAM:  Coosje van Bruggen, FF Visionary

2. Nao Bustamante, Eileen Myles, FF Alumns, at Light Industry, Brooklyn, Jan. 30
3. Laurie Anderson, Carl Andre, John Cage, Max Gimblett, Ann Hamilton, Dick Higgins, Tehching Hsieh, Kim Jones, Allan Kaprow, Alison Knowles, Larry Miller, Linda Montano, Yoko Ono, Nam June Paik, Adrian Piper, Robert Rauschenberg, Richard Tuttle
Andy Warhol, and Robert Wilson, FF Alumns, at the Solomon R. Guggenheim Museum, Manhattan, Jan 30-April 19
4. Barbara Hammer, FF Alumn, in Berlin, Feb. 5-23
5. Richard Prince, FF Alumn, at Michael Kohn Gallery, LA, thru March 7
6. Susan Mogul, FF Alumn, in The Village Voice, Jan. 13
7. Bea Nettles, FF Alumn, at University of Washington, Seattle, opening Feb. 5
8. Tim Miller, FF Alumn, launches new website at www.TimMillerPerformer.com
9. Terry Dame, FF Alumn, at Aji, and Rubulad, Brooklyn, Jan 23-24
10. Robin Tewes, FF Alumn, on television, Jan. 24


1. In Memoriam:  Coosje van Bruggen, FF Visionary

The New York Times, January 13, 2009, Carol Kino
Coosje van Bruggen, Sculptor, Dies at 66
Coosje van Bruggen, a critic, art historian and artist known for the colorful public sculptures she created around the world with her husband, the Pop artist Claes Oldenburg, died on Saturday in Los Angeles. She was 66 and had homes in New York and Beaumont-sur-Dême in the Loire Valley, France.
The cause was metastatic breast cancer, said Andrea Glimcher, director of communications at PaceWildenstein, which has represented Ms. van Bruggen since 1990.
Over three decades, Ms. van Bruggen and Mr. Oldenburg created more than 40 public sculptures for parks, urban centers and museums. Typically, each piece depicts a monumentally sized object that often comments archly on its surroundings, like the giant up-ended “Flashlight” (1981), 38 feet tall and installed at the University of Las Vegas, or “Bicyclette Ensevelie” (“Buried Bicycle,” 1990), a mammoth bicycle that appears to be half-buried at Parc de la Villette in Paris.
Although their projects often engendered controversy, Ms. van Bruggen always adopted a matter-of-fact approach to persuading civic governments and mayors to embrace them.
“I’m the daughter of a physician,” she said in a 2006 interview, “and I always feel that every piece is a diagnosis.”
Ms. van Bruggen was born on June 6, 1942, in Groningen, the Netherlands. While she was growing up, her father, a doctor, held a weekly salon for writers and painters at the family home, and she and her siblings were encouraged to participate. She went on to study art history at the Rijks University of Groningen, obtaining a graduate degree in 1967.
That year, she became an assistant curator at the Stedelijk Museum in Amsterdam, working with environmental artists like Doug Wheeler, Larry Bell, and the members of the Dutch avant-garde.
“I belong to the first Conceptual generation,” she told Artnews in 1990. “I was involved when Jan Dibbets dug up the foundations of the Stedelijk and Ger van Elk made a sidewalk out of bathroom tiles. I wanted to push the parameters of art.”
Along the way, she married her first husband and had two children.
In 1970, Mr. Oldenburg, the Swedish-born giant of American Pop, arrived at the museum to install a traveling retrospective, and Ms. van Bruggen, 13 years his junior, was assigned to help. Although Mr. Oldenburg was smitten, their initial meeting went badly.
“I had a lot of anti-American feelings,” Ms. van Bruggen told Artnews. “I thought, ‘Here is a typical imperialist American artist.’“
Their courtship didn’t take off until 1975, by which time Ms. van Bruggen was divorced and teaching art history at the Academy of Fine Arts in Enschede.
Their first collaboration came in 1976, when Mr. Oldenburg was commissioned to rework “Trowel I,” a 1971 sculpture of an oversize garden tool, for the grounds of the Kröller-Müller museum in Otterlo, the Netherlands. At one point, Ms. van Bruggen recounted later, “Claes said, ‘I made the trowel for you.’ I said, ‘It is not for me, and I don’t like it!’ ”
At her urging, he changed its color from silver to the bright blue of Dutch workmen’s overalls, and placed it where the garden became wild parkland, to underscore its function.
They married in 1977.
The next year, Ms. van Bruggen moved to New York, and they began working together in earnest.
Although critics often looked askance at Ms. van Bruggen’s participation in what was often perceived as Mr. Oldenburg’s work and sometimes even refused to credit her, the couple maintained that theirs was a true collaboration. They conceived their ideas jointly, but he did the drawing while she chose the colors and handled the work’s fabrication and siting. Ms. van Bruggen often described their working process as “a unity of opposites.”
At her instigation, too, they branched out into indoor installations and performance. In 1985 they collaborated on “Il Corso del Coltello” (“The Course of the Knife”) a performance piece in Venice, Italy, with the architect Frank Gehry, whom Ms. van Bruggen had met in 1982, when she was on the selection committee for Documenta, the important contemporary art show in Kassel, Germany.
Ms. van Bruggen maintained an independent career as a critic, writing monographs on her husband’s early work as well as that of Bruce Nauman, John Baldessari, Hanne Darboven and Mr. Gehry’s design for the Guggenheim Bilbao.
Together with Mr. Oldenburg, Ms. van Bruggen has been the subject of nearly 40 exhibitions, the most extensive of which was “Sculpture by the Way,” a 2006 retrospective at the Castello di Rivoli Museum of Contemporary Art in Turin, Italy, which later traveled to the Fundació Joan Miró in Barcelona.Ms. van Bruggen became an American citizen in 1993. In addition to Mr. Oldenburg, her survivors include two children, Paulus Kapteyn of Jersey City and Maartje Oldenburg of London; two grandchildren; and three siblings: Dirk van Bruggen and Hanneke van Bruggen Rous, both of Amsterdam, and Jaap van Bruggen of Katete, Zambia.
The couple’s final project together is “Tumbling Tacks,” to be installed in May at the Kistefos Museum, in a former paper mill on the banks of a river near Oslo. The sculpture consists of four 18-foot-wide thumbtacks that appear to be hurtling down a hillside toward the museum.


2. Nao Bustamante, Eileen Myles, FF Alumns, at Light Industry, Brooklyn, Jan. 30

Nao Bustamante, Eileen Myles,
Light Industry

Hooded and Headless: An Erratic Survey of Anonymity in Recent Video and Life
Curated by Harry Dodge

Friday, January 30, 2009 at 7:30 pm
55 33rd Street, 3rd Floor
Brooklyn, New York

"The human brain is bombarded with information, and our brains automatically eliminate redundant information and remember only unique features in order to identify objects or people. FaceIt video cameras capture a face and are fed into a computer which identifies people by their facial features. Visionics, the manufacturer of the system, concluded there are 80 unique landmarks on a face, which include eye sockets, cheekbones and the bridge of the nose. The computer measures these landmarks and their relationship to one another. Since each face has its own unique pattern, with the exception of identical twins, the computer is able to distinguish one person from another by referencing the person's face against a database of known people.  While the program potentially has 80 landmarks to work with, the computer only has to match 14 to make a reliable identification. The software ignores changeable characteristics like: hair color, hair style, lighting, and facial expressions. On May 7, 1999 Visionics announced that their FaceIt surveillance system has benchmarked at 12 million comparisons per minute."

- Christopher Benjamin, "ShotSpotter and FaceIt: The Tools of Mass
Monitoring," UCLA Journal of Law and Technology (2003).

"Privacy is the basis of individuality. To be alone and be let alone, to be with chosen company, to say what you think, or don't think but to say what you will, is to be yourself. Solitude is imperative..."

- United States v. White, 401 U.S. 745, 762-763 (1971).

This program consists of a short talk on the function and condition of anonymity vis a vis the hood, followed by a program of films and videos, including a new work by Harry Dodge, that evoke or exploit hoods, masks, facelessness or headlessness. What does the hood reference? What does it allow? What is gained and lost with the obscuring of a face? (Or the complete dispatch of a head?) What is the relationship of the face to compassion? What is the relationship of specificity (the local) to ethical response? What is possible in a performance without a face?

Kardinal, Otto Muehl, 16mm, 1967, 5 mins
Clown, Luther Price, S8mm, 1991, 13 mins
Somethings Gonna Soon, Math Bass and Dylan Mira, video, 2008, 4 mins
See Yourself, Nadia Dougherty, video, 2008, 6 mins
This Beast Called Force, Harry Dodge, video, 2008, 16 mins
Current Affairs, Dan Acostioaei, video, 2008, 5 mins
Being Bamboo, Brian Bress, video, 2006, 3 mins
Sans Gravity, Nao Bustamante, video, 1998, 1 min
Porky, John Sturgeon, video, 1974, 2 mins
Tom Dale, Deadendless, 2008, 2 mins
Marks, Skip Arnold, video, 1984, 13 mins

Followed by a conversation between Dodge and Eileen Myles.

Tickets - $7, available at door.

About Harry Dodge

Harriet "Harry" Dodge is a visual artist working in video and sculpture, with a focus on shape, unnameability, and hybridity/defiance. In the 90's Dodge ran a community-based performance space called The Bearded Lady, while also writing and performing several critically-acclaimed, large-scale monologues. By Hook or By Crook, an award-winning, feature-length movie which Dodge co-wrote, edited, and directed, premiered in 2000. After graduating with an MFA from Milton Avery Graduate School of the Arts at Bard College in 2003, Dodge became part of a collaborative videomaking team whose work has been exhibited nationally and internationally, including at the 2008 Whitney Biennial. More recently, Dodge co-founded the collaboration TESTHOLE, which has since undertaken a series of community-based, interventions/partnerships experimenting with decomposition and fertility. Dodge teaches art and writing at CalArts, UCLA and UCSD.

About Light Industry

Light Industry is a new venue for film and electronic art in Brooklyn, New York. Developed and overseen by Thomas Beard and Ed Halter, the project has begun as a series of weekly events at Industry City in Sunset Park, each organized by a different artist, critic, or curator. Conceptually, Light Industry draws equal inspiration from the long history of alternative art spaces in New York as well its storied tradition of cinematheques and other intrepid film exhibitors. Through a regular program of screenings, performances, and lectures, its goal is to explore new models for the presentation of time-based media and foster an ongoing dialogue amongst a wide range of artists and audiences within the city.

About Industry City

Industry City, an industrial complex in Sunset Park, Brooklyn, is home to a cross-section of manufacturing, warehousing and light industry. As part of a regeneration program intended to diversify the use of its 6 million square feet of space to better reflect 21st century production, Industry City now includes workspace for artists. In addition to offering studios at competitive rates, Industry City also provides a limited number of rent-stabilized studios for artists in need of low-cost rental space. This program was conceived in response to the lack of affordable workspace for artists in New York City and aims to establish a new paradigm for industrial redevelopment--one that does not displace artists, workers, local residents or industry but instead builds a sustainable community in a context that integrates cultural and industrial production.

For more information, please visit�http://www.industrycityartproject.org

Contact Thomas Beard for further information:
thomas@lightindustry.org�(646) 420-0359


3. Laurie Anderson, Carl Andre, John Cage, Max Gimblett, Ann Hamilton, Dick Higgins, Tehching Hsieh, Kim Jones, Allan Kaprow, Alison Knowles, Larry Miller, Linda Montano, Yoko Ono, Nam June Paik, Adrian Piper, Robert Rauschenberg, Richard Tuttle
Andy Warhol, and Robert Wilson, FF Alumns, at the Solomon R. Guggenheim Museum, Manhattan, Jan 30-April 19

The Third Mind: American Artists Contemplate Asia, 1860–1989
Solomon R. Guggenheim Museum, 1071 Fifth Avenue, New York
January 30–April 19, 2009

FF Alumns in the exhibition and in the ‘Third Mind Live!’ performance cycle include:

Laurie Anderson, Carl Andre, John Cage, Max Gimblett, Ann Hamilton, Dick Higgins, Tehching Hsieh, Kim Jones, Allan Kaprow, Alison Knowles, Larry Miller, Linda Montano, Yoko Ono, Nam June Paik, Adrian Piper, Robert Rauschenberg, Richard Tuttle
Andy Warhol, and Robert Wilson


4. Barbara Hammer, FF Alumn, in Berlin, Feb. 5-23

Barbara Hammer, FF Alumn, shows, screens and performs at The Forum Expanded, The International Berlin Film Festival

Shows:  A 60 foot photographic scroll of a six inch hand painted 16 mm film strip
In the lobby of Arsenal, 2 Potsdamerplatz, Berlin, Feb. 5-23

Performs:  The Changing Space of Film: Available Space and Bent Time
Media Room, Hamburger Bahnhof
6 p.m., Sunday, February 8

Screens:  A Horse Is Not A Metaphor (European premiere), Sanctus, Vital Signs, Still Point
Arsenal 1     10.02.  17:45
Arsenal 2     13.02.  13:00


5. Richard Prince, FF Alumn, at Michael Kohn Gallery, LA, thru March 7

SHE: Images of Women by Wallace Berman & Richard Prince
January 15 - March 7, 2009

Opening Reception: January 15, 6:00 – 8:00 pm

Michael Kohn Gallery
8071 Beverly Blvd
Los Angeles, CA 90048


Michael Kohn Gallery is pleased to present a special exhibition, SHE: Images of Women by Wallace Berman & Richard Prince, guest curated by Kristine McKenna. Opening on January 15, SHE draws connections between these two world-renowned contemporary artists and the common subtext that courses through their work: Women, the archetypes and the fantasies. Featuring works from 1958 to 2008, SHE will be on view through March 7, 2009 at Michael Kohn Gallery in Los Angeles.

SHE features previously unseen works by Berman as well as representative pieces from Prince's signature series, Nurses and Girlfriends, and the debut of his Car-—a 1986 El Camino automobile with images from his Girlfriends series superimposed on the car's body. In the 1960s, Wallace Berman (1949-1976) became an extremely prominent figure in the counterculture movements of Los Angeles and San Francisco. He helped shape the artistic sensibility of the Beat generation as a master of assemblage and editor of Semina, a mail art publication. A generation later, Richard Prince gained notoriety in the 1980s for his rephotographs and appropriating popular media into his collages and paintings.

Highlights of SHE include Richard Prince's Nurse collages, a careful selection of Girlfriend photographs, a collaged mailbox sculpture, and finally Car. Car is the third in a series of cult cars that are wrapped in vinyl and printed with images of Prince's infamous Girlfriends (rephotographs of biker girls found in motorcycle magazines), one of which was shown this past June at the Serpentine Gallery in London in Prince's show, Continuation. Wallace Berman will be represented by a series of previously unseen single-image Verifax collages, a body of rarely exhibited mailers from the collection of Teri Garr, inserts from his limited edition, hand-made artists magazine, Semina, selections from his recently discovered body of photographic portraiture, and several unique works incorporating images which were considered "pornography" at the time.

The exhibition, SHE: Images of Women by Wallace Berman & Richard Prince, will be accompanied by a comprehensive catalogue of the works designed by Lorraine Wild of Green Dragon Office. It will include an essay by Kristine McKenna and an interview with Richard Prince. The catalogue is published by Michael Kohn Gallery.

About Wallace Berman
Considered by many to be the father of the assemblage movement, Wallace Berman (1949-1976) was born in 1926 in Staten Island, New York. He began his career making sculptures from unused scraps and reject materials while working in an antique furniture factory. By the early 1950s, Berman had become an artist and active figure in the beat community in Los Angeles and San Francisco. Moving between the two cities, Berman devoted himself to his mail art publication, Semina, which contained a sampling of beat poetry and images selected by Berman. In 1963, Berman moved to Topanga Canyon in the Los Angeles area, and began work on verifax collages (printed images, often from magazines and newspapers, mounted in collage fashion onto a flat surface, sometimes with solid bright areas of acrylic paint). He continued creating these works, as well as rock assemblages, until his death in 1976. Berman's work is included in public collections at numerous institutions including the Los Angeles County Museum of Art; Museum of Contemporary Art, Los Angeles; Whitney Museum of American Art, New York, and the San Francisco Museum of Modern Art.

About Richard Prince
Richard Prince first gained critical attention in the early 1980s when his photographs of magazine advertisements redefined the autonomies of authorship and ownership and the very nature of representation. Prince's best known work about women is the Nurse series. Begun in 2002, and taking the covers of pulp novels as their point of departure, the Nurse paintings are studies in a contained sexuality that leaks out and stains the entire canvas. In addition to Nurses, Prince's Girlfriends exude a raunchy power so extreme that it verges on the comical, though it is anything but funny. Prince was born in 1949 in the Panama Canal Zone and lives and works in upstate New York. His work has been the subject of numerous solo museum exhibitions, including the Whitney Museum of American Art, New York; the San Francisco Museum of Modern Art; the Solomon R. Guggenheim Museum, New York; and most recently at the Serpentine Gallery, London.

About Kristine McKenna, guest curator
Kristine McKenna is a widely published critic and journalist. Her profiles and criticism have appeared in Artforum, Artnews, Los Angeles Times, The New York Times, Vanity Fair, The Washington Post and Rolling Stone Magazine, and she was the recipient of a National Endowment Arts Administration grant in 1976. She is producer and co-writer of the documentary The Cool School. Her 2007 monograph Wallace Berman Photographs, co-written with Lorraine Wild, was selected as one of the 50 best art books of the year by the A.I.G.A. Her monograph Los Angeles: Photographs by Ann Summa, will be published in the spring of 2009. Currently, she is collaborating on Feral Institutions, a survey of rogue organizations in Los Angeles, and McKenna is organizing an exhibition of West Coast assemblages for the California Folk Art Museum that opens in April 2009.

About Michael Kohn Gallery
Established in Los Angeles in 1985, Michael Kohn Gallery has exhibited the work of 20th-century artists from Picasso to Warhol, Bruce Conner, Wallace Berman, and John McLaughlin, with a focus on representing the work of mid-career artists from California, New York, and Europe such as Maureen Gallace, Mark Innerst, James Nares, Darren Waterston, Guy Limone, and Walton Ford. The gallery also extends its programming to introduce emerging and established artists such as Los Angeles-based artists Christine Ngyuen, David Korty, Dennis Hollingsworth, and Mark Ryden.

The Kohn Gallery has exhibited the work of Andy Warhol (during his lifetime), Richard Tuttle, Peter Halley, Dan Flavin, Mark Tansey, Lorna Simpson, Maureen Gallace, Christopher Wool, and Bruce Conner, among many other notable and talented artists. For nearly 25 years the Michael Kohn Gallery has maintained a space in Los Angeles.

Michael Kohn Gallery is located at 8071 Beverly Blvd. Los Angeles, CA 90048
Hours: Tuesday through Friday, 10am – 6pm; Saturday, 11am – 6pm

For further information, please contact
Laura Sumser, Michael Kohn Gallery, at laura@kohngallery.com or 323-658-8088, or
Melissa Goldberg, FYAworld, mgoldberg@foryourart.com or 323-951-9790


6. Susan Mogul, FF Alumn, in The Village Voice, Jan. 13

New York Jewish Film Festival Reflects a Semitic Identity Crisis
Village Voice, January 13, 2009, By Ella Taylor
The New York Jewish Film Festival
Walter Reade Theater
January 14 through 29
Given the rainbow muddle that is Jewish identity today—from born-again to secular and all the way to couldn't-care-less—what does a Jewish film festival mean? A very big tent is what, to judge by some of the movies previewed in this year's New York Jewish Film Festival.
For starters, there's not a Jew to be found in Young Freud in Gaza, one of the 18th annual showcase's most arresting entries. Yet Jewish (and, more pointedly, Israeli) identity hovers painfully in the shadows of Swedish filmmakers PeÅ Holmquist and Suzanne Khardalian's fair-minded, intimately probing documentary about a field psychologist serving the besieged West Bank city's Jabaliya refugee camp. By no means do all the cases shouldered by the 28-year-old Ayed—among them an anorexic teenager and an unhappy woman mired in polygamy and poverty—lead directly back to the Palestine-Israel conflict. But there's no question that the very definition of psychotherapy means something different under occupation. The movie's title unwittingly misleads, since there's no place for psychoanalysis in the essentially palliative care (which, for lack of support and resources, boils down to empathic listening and relaxation techniques) dispensed by Ayed, an educated freethinker who's hampered at every turn by regular strikes from Israeli forces, internecine fighting between Hamas and Fatah, and Hamas's reflexive Islamic rejection of all things secular and scientific.
If Young Freud in Gaza's presence on the festival's program reflects a clear, long-standing Jewish conviction that our ethical responsibilities reach beyond our own spiritual welfare, the question of what it means to be Jewish grows murkier in those films with a Jewish focus. I've loved every movie made by Argentine filmmaker Daniel Burman, up to and including his latest, Empty Nest, but despite a trip to Israel, this breezier-than-usual comedy about a couple whose grown children have flown the coop is curiously empty of the secular Jewish inquiry in Burman's other films. And I'm not sure on what grounds visual artist Gay Block's Camp Girls belongs here, other than by cultural default: Its group of extremely-put-together young matrons recall their time at a high-end summer camp mostly attended by Jewish girls, yet wholly without Jewish content beyond the perfunctory lighting of Shabbat candles. Block's photos are nice and the women are bright and appealing, but the doc lacks an organizing idea about the way the camp shaped their lives.
Then again, maybe cultural default is the question. If so, it comes with far more wigged-out élan in Susan Mogul's Driving Men (double-billed with Camp Girls), in which the Los Angeles–based filmmaker takes on a subject that, in less candid hands, might come off hopelessly wanky—herself, in relation to the men who have influenced her unorthodox life as a woman and an artist. Though there are probably too many shots of Mogul showing off her naked breasts, more edifying are her car rides with the now-paunchy dudes as she riffs on all her life journeys, including why it took her 34 years to find a man who loves her. It's a mystery whose answer, Mogul hints with admirable restraint, lies at least in part in the dilemmas of all Jewish women who grew up adoring and resenting their, shall we say, strong-minded fathers.
A similarly diffuse sense of identity pervades some of the festival's dramatic features. Uncle Vanya has been shipped abroad countless times, and though the polluted beauty of Northern Israel makes a suitably lush backdrop for Weekend in Galilee, veteran Israeli director Moshé Mizrahi's eco-reading of Chekhov, it's the universal truths addressed by this intelligent, if formally uninspired, movie that come across more forcefully than any specifically Jewish or Israeli predicament. A German girl prepares unwillingly for her bat mitzvah in Anna Justice's charming, if familiar, domestic comedy Max Minsky and Me, but that's about as Jewish as this budding romance between two kids with unraveling families gets, until the girl's mother drops a zinger by casually announcing that "the essence of Judaism isn't God, but acting as if there were one." I'm more or less with her there, though I wish the movie hadn't raised the wide-open question of whether Judaism is possible without God, even in the assimilated or rapidly secularizing Jewish communities of the West.
The apocalyptic Christian conservatives in the festival's alarmingly good closing-night documentary don't think so. Jews and Israelis who take comfort from the unsolicited affection of evangelical Christians—a group that gives more than $75 million annually to Israel—might think again once they see Kate Davis and David Heilbroner's incendiary Waiting for Armageddon, which brings the interesting news that we Jews are loved because Israel has been chosen as the site for the upcoming end of the world. With friends like these, enemies need not apply.


7. Bea Nettles, FF Alumn, at University of Washington, Seattle, opening Feb. 5

Memory Theatres: The Photographic Book Work of Bea Nettles Free and Open to the Public. February 5, 2009, University of Washington’s Suzzallo Library, Basement Room B69. Doors open at 6:45. 
Lecture begins around 7:15.

Nettles will give an overview of her work with the book form, beginning with her earliest mixed media books of the 70’s, her offset photographic narratives, and ending with her most recent limited edition artists’ books. As her work is autobiographical, she has explored her roles as daughter, wife and mother as well as her memories and relationships to particular landscapes.


8. Tim Miller, FF Alumn, launches new website at www.TimMillerPerformer.com


Hi Everyone!




As I get ready to hit the road for 2009, I am really excited about my new performance I am working on called "Lay of the Land". It's my saucy and naughty look at the State of the Onion (I mean Union!)...my jury duty anxiety...my adventures performing in 45 States...and knives at queer 10 year old boy's throats in America's kitchens! The piece friskily gets at the feeling of gay folks being perpetually on trial, on the spot, on the ballot ....that invades this queer life. See what having a narrow majority of your state invalidate 18,000 gay families' marriages will do! The piece is a "lay" in all kinds of ways: an assignation, a topography, and of course a narrative ballad with a recurrent refrain! (my favorite way down the list definition for "lay"!)
The whole show will premiere  May 15-23 at Highways Performance Space in Los Angeles. I just performed  the first chunk of this piece  in Chicago in Nov at LINKS HALL as part of my ongoing National Performance Network project there.   I had an amazing four month performer mentoring project in Chicago that was so exciting. Check out this big piece in Time Out.
I will be performing and teaching all over the country in the next months. March will bring me to Princeton University, Univ of Michigan, Michigan State Univ, Bowling Green State Univ,  Grand Valley State Univ and Univ of Wisconsin.
How I love the midwest! My midwest farmer grandparents would be proud! One set are from Michigan!
best, Tim


9. Terry Dame, FF Alumn, at Aji, and Rubulad, Brooklyn, Jan 23-24

Hello Dear People,
Yes its birthdays and music this week...two great tastes that go great together. Please come out and celebrate my birthday with me on Friday, Jan 23rd with ZapOte or Saturday Jan 24th with Electric Junkyard Gamelan. Two shows, two great bands, one birthday.  See the details below. Happy New Year, and Happy Inauguration Day!

Friday, Jan 23rd 10pm  FREE!
Dawn Drake & ZapOte @ Aji
Its a funky latin samba soul explosion!
Dawn Drake: songs, vocals, bass & percussion
Terry Dame: sax, percussion
Pam Fleming: trumpet
Sam Fenster: guitar
Cathy Harley: keys
Arei Sekaguchi: drums
Aji is at:
287 9th street between 4th and 5th ave.
Brooklyn, NY 11215
F or R train to 9th street stop on Subway

Saturday, Jan 24th 11:30pm  $10
Electric Junkyard Gamelan @ Rubulad
Original grooves on invented instruments
Robin Burdulis
Terry Dame
Mary Feaster
Lee Frisari
Julian "Julz A" Hintz

Rubulad is located at:
338 Flushing Ave.
Great all night party with 5 rooms of live music, DJ's, dancing, art and local weirdo flava


10. Robin Tewes, FF Alumn, on television, Jan. 24

I will be on this TV show

"The Importance of the Arts in Education"

Jan 24th Sat QPTV (Queens Public Television) channels 34, 35, 56, and 57 on Time Warner Cable and on 82, 83, 84, and 85 on RCN.

Thanks, Robin Tewes


Goings On is compiled weekly by Harley Spiller

Franklin Furnace Archive, Inc.
80 Arts - The James E. Davis Arts Building
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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
Angel Nevarez, Program Coordinator
Susie Tofte, Project Cataloguer
Judith L. Woodward, Financial Manager