2019 | 2018 | 2017 | 2016 | 2015 | 2014 | 2013 | 2012 | 2011 | 2010 | 2009 | 2008 | 2007 | 2006 | 2005 | 2004 | 2003 | 2002

ABOUT GOINGS ON: How to subscribe and submit listings

Contents for March 02, 2009

1. Yoko Inoue, FF Fundwinner. at Ise Cultural Foundation, Manhattan, opening Mar. 6
2. Karen Shaw, FF Alumn, West Nyack, NY, opening Mar. 8
3. Simone Forti, FF Alumn, at MoMA, Manhattan, March 7 & 8
4. Norm Magnusson, FF Alumn, at SUNY, Ulster, NY, Mar 13-April 17
5. Benoit Maubrey, FF Alumn, at Colorado College, CO, April 29-30, and more
6. Kate Gilmore, FF Alumn, in Modern Painters magazine, March 2009
7. Peter Downsbrough, FF Alumn, at Barbara Krakow Gallery, Boston, MA, opening Mar. 7
8. Mira Schor, FF Member, now online at www.artonair.org, and more
9. Franc Palaia, Joyce Kozloff , Martha Rosler, elin O'hara slavick,
Chrysanne Stathacos, FF Alumns, at Powerhouse Arena, Brooklyn, opening Mar. 7
10. Andrea Cote, FF Member, at Tarryn Teresa Gallery, LA, CA, Mar. 7- Apr 3
11. Donna Henes, FF Alumn, at South Street Seaport Pier 16, Manhattan, Mar. 20
12. Larry List, Barbara Kruger, FF Alumns, at Reykjavik Art Museum, Iceland, thru April 11
13. Yoonhye Park, FF Alumn, at A.I.R. Gallery, Brooklyn, opening March 5
14. Marthe Fortun, FF Alumn, at SculptureCenter, Long Island City, March 15
15. Robin Tewes, Jane Dickson, FF Alumns, at Memphis College of Art, TN, opening March 9
16. Diane Torr, FF Alumn, at The Tron Theatre, Glasgow, Scotland, March 11-14
17. Irina Danilova, FF Alumn, announces 59 top 59 second videos
18. Jim Johnson, FF Alumn, publishes new book, Impasto
19. Robert Longo, FF Alumn, at DZ Bank, Frankfurt, Germany, thru May 9
20. Jennifer Hicks, FF Alumn, at The Dance Complex, Cambridge, MA, Mar. 14-15
21. Moya Devine, FF Alumn, at South Texas College, McAllen, TX, opening April 1
22. Reverend Billy, FF Alumn, to run for Mayor of New York City
23. Tehching Hsieh, FF Alumn, in the Sunday New York Times, March 1, 2009
24. Peggy Diggs, Guerrilla Girls, Beverly Naidus, FF Alumns, at Storefront
Artist Project, Pittsfield, MA, opening March 6
25. Dara Birnbaum, FF Alumn, at The Whitney Museum of American Art,
Manhattan, March 5, and more
26. Peter Cramer, Jack Waters, FF Alumns, at Millenium Film Workshop, Manhattan, March 14
27. Laura Parnes, FF Alumn, at Participant, Inc., Manhattan, Mar. 4-29
28. Andre Stitt, FF Alumn, at The Lab Gallery, Manhattan, April 7-24
29. Yvette Helin, FF Alumn, on The Celebrity Apprentice, NBC, March 8
30. Gulsen Calik, FF Alumn, at Wyndham Hotel, Manhattan, Mar. 6-8
31. Harley Spiller, FF Alumn, at NYU, Manhattan, March 13


1. Yoko Inoue, FF Fundwinner. at Ise Cultural Foundation, Manhattan, opening Mar. 6

Global Fabrics Common Threads

March 06, 2009 - April 09, 2009

Artist(s): Scott Andresen, Andrea Dezso, Donna Huanca, Brece Honeycutt, Yoko
Inoue, Nava Lubelski, Darrel Morris, and Shinique Smith

Curated by: Jeanne Gerrity and Melissa Levin

Opening Reception: Friday, March 6, 6-8PM
Public Program: Wednesday, March 18, 6-8PM
Make Something: A Participatory Artist Demonstration with Brece Honeycutt &
Donna Huanca

ISE Cultural Foundation
555 Broadway
New York, NY 10012

ISE Cultural Foundation is pleased to present Global Fabrics, Common
Threads, a group exhibition co-curated by Jeanne Gerrity and Melissa Levin,
and featuring work by Scott Andresen, Andrea Dezso, Donna Huanca, Brece
Honeycutt, Yoko Inoue, Nava Lubelski, Darrel Morris, and Shinique Smith.


2. Karen Shaw, FF Alumn, West Nyack, NY, opening Mar. 8
Office Space curated by Elizabeth Duffy and Brian Miller with Karen Shaw,
Molly Blieden, Danielle Dimston, Sandra Eula Lee, Marietta Hoferer, Tamiko
Kawata, G. Jesse Sadia, Jr. and Bradley Wester. 
Opening reception March 8, 1-4 PM. Roca 27 South Greenbush Road, West Nyack,
NY 10994.
Office Space is an exhibition presenting contemporary artists who use simple
stationery materials to create contemporary artwork that celebrate the


3. Simone Forti, FF Alumn, at MoMA, Manhattan, March 7 & 8

Simone Forti will be at the Museum of Modern Art in New York, showing three
1961 dance-constructions and six videos spanning from 1973 to 2000.  The
performances of "Huddle", "Platforms" and "Accompaniment for La Monte's 2
sounds and La Monte's 2 sounds" will happen Saturday & Sunday, March 7 & 8,
every hour on the hour, from noon to 5pm.


4. Norm Magnusson, FF Alumn, at SUNY, Ulster, NY, Mar 13-April 17

FF Alumn Norm Magnusson will be debuting his historical marker plaques at
"FOOD" a show of art inspired by food.  This will be the first exhibition of
the plaques that will be shown throughout lower Manhattan this summer in
Magnusson's LMCC-funded "On this site stood - lower Manhattan."  "FOOD" is a
regional juried exhibition at SUNY Ulster's Muroff Kotler Visual Arts
Gallery on the Stone Ridge campus.

Regular Hours: Monday-Friday 11:00 a.m. - 3:00 p.m.
Closed on College holidays.
For more information call 845-687-5113.

Norm Magnusson


5. Benoit Maubrey, FF Alumn, at Colorado College, CO, April 29-30, and more

Benoit Maubrey is on a solo and workshop tour of North America from April
29-30 at the IDEA Center at Colorado College/ Colorado Springs (
www.theIDEAspace.com ) and solo performance THE ELECTRONIC GUY, then from
May 7-10 at Deep Wireless festival/ Toronto (www.naisa.ca) where he is
performing FEEDBACK FRED, presenting AUDIO BALLERINA SOLO, and a slide/video
more infos under: (Feedback Fred) http://www.youtube.com/watch?v=DvLO8oBpyGc
(Audio Gruppe) http://www.audioballerinas.com http://home.snafu.de/maubrey/


6. Kate Gilmore, FF Alumn, in Modern Painters magazine, March 2009

Kate Gilmore, FF Alumn, is profiled in Modern Painters magazine, March 2009,
pps. 32-33.


7. Peter Downsbrough, FF Alumn, at Barbara Krakow Gallery, Boston, MA,
opening Mar. 7

Peter Downsbrough, FF Alumn, at Barbara Krakow Gallery, Boston, MA, opening
March 7th, 3-5 pm and continuing through April 14, 2009.


8. Mira Schor, FF Member, now online at www.artonair.org, and more

Now back online at artonair.org (previously WPS1)
(Just in time to help enjoy the fairs and, if you listen to the end of the
question period, please note where, on February 14, 2006, I predicted that
there would be another great depression and discussed how it might  affect
the art world )

HISTORIC AUDIO - Living History
listen | listen with RealPlayer
First broadcast April 24, 2006

This program features a lecture by the artist, critic, editor, and educator
Mira Schor entitled The Art of Nonconformist Criticality; basically, how to
think straight when you are surrounded by creative influences and market
demands. Schor is the author of Wet: On Painting, Feminism, and Art Culture,
an influential and highly regarded series of essays, among other activist
pursuits. This talk, on Feb. 14, 2006, was the second in a series launched
by the newly formed MFA Art Criticism and Writing Department at the School
of Visual Arts. (90 minutes)


Please save the date:

An exhibition of recent paintings by Mira Schor opening at Momenta Art
Friday March 20, press release and e-vite to follow soon


9. Franc Palaia, Joyce Kozloff , Martha Rosler, elin O'hara slavick,
Chrysanne Stathacos, FF Alumns, at Powerhouse Arena, Brooklyn, opening Mar. 7

Franc Palaia, Joyce Kozloff , Martha Rosler, elin O'hara slavick, Chrysanne
Stathacos, FF Alumns, have work in a large group show entitled 
"2,191 Days and Counting" Iraq Veterans Against the War. at the 
Powerhouse Arena, 37 Main St. Brooklyn, NY 718-666-3049. March 5-22, 
2009, opening- March 7, 6-10pm. This is a benefit exhibition with 
proceeds going to IVAW.


10. Andrea Cote, FF Member, at Tarryn Teresa Gallery, LA, CA, Mar. 7- Apr 3

I have two recent activities to share.

a. In January I was featured in a thoughtful interview with Brian Sherwin of
myartspace.com. The conversation touches on education, collaboration,
performance and the changing roles of women artists, among other topics. In
the interest of dialogue, your comments are always welcome and appreciated.

Interview with Brian Sherwin on Myartspace.com

b. Also, I am excited to be presenting my work next month at Tarryn Teresa
Gallery in Downtown Los Angeles. I will be sharing the space with my friend
Etsuko Ichikawa, an artist I much admire. We will both be in attendance for
the opening. I'll be presenting the video performance and installation "Cut"
along with a series of photographs and drawings.
Please forward on to your friends in LA!

Tarryn Teresa Gallery
1850 Industrial Street, #714
Los Angeles, CA

Andrea Cote and Etsuko Ichikawa
March 7- April 3, 2009

Opening Reception: March 7, 6-8pm

Tarryn Teresa Gallery is pleased to present Abstracted Remains, a joint
exhibit by Andrea Cote and Etsuko Ichikawa exploring the fluidity between an
artist's conception and action. Featuring works on paper and installations
by both artists, this exhibit celebrates the "theatrical" process of each
artist and explores the theme of the work as the "remains" of these
processes. Both Cote and Ichikawa regard their works on paper as "drawings",
but their processes are anything but conventional. The viewer's initial
reaction may dwell on the aesthetic similarities between the work, but
further examination reveals that each piece is very distinctly a product of
the individual artist.

For Cote, her work incorporates much of her own being- her hair and
occasionally, as in her video presentation, her entire form. With cuttings
of her own hair, Cote ceremoniously and methodically paints, prints, and
peels the strands away to create an all-over composition. The markings that
remain from her improvised movements are inscrutable, yet layered with
meaning. Ichikawa uses molten glass, or the smoke or hot air which
accompanies it, to draw on paper. Her process marries the intuitive
movements of her body with her material, but in the finished product only
the abstractions resulting from this process remain.

Each artist will design an installation congruent to their individual
process and statement for the gallery space. Cote's installation mixes her
site-specific drawings with a video of her performance piece "Cut".
Described as a "moving drawing", "Cut" documents Cote cutting and printing
her hair. On the gallery walls, the imprints left from the previously cut
hair are archived in paint. In the middle of the space, Ichikawa will drape
a large pyrograph from the ceiling to the floor. Arching slowly over 36
feet, the piece flows fluidly and engages the viewer to examine the space
vertically as well as horizontally. Through this joint exhibit, Tarryn
Teresa Gallery hopes to engage the viewer in a conversation about the origin
of the marks they see in front of them and use the answers to inform their
interpretation of each piece.

About Andrea Cote
Andrea Cote is a multi-disciplinary artist living in New York. In her work
Cote questions the boundaries that have traditionally divided artistic
disciplines, taking on multiple roles using her own body as subject, object,
and medium. Her work has been exhibited at The Philadelphia Museum of Art,
Islip Art Museum, Delaware Art Museum, Art Center South Florida, the
Philadelphia Fringe Festival and Photo Buenos Aires.

About Etsuko Ichikawa
Etsuko Ichikawa is a Tokyo-born, Seattle-based visual artist who works
primarily with glass and paper in various scales, including architectural
installations. Her body of works are examples of creating something tangible
from abstract concepts, and psychology has been her primary source of
inspiration. Her work has been exhibited and included in the public and
private collections internationally, including The Ueno Royal Museum,
Bellevue Arts Museum, and Microsoft.


11. Donna Henes, FF Alumn, at South Street Seaport Pier 16, Manhattan, Mar. 20

March 20
Friday, 7:15 am
34TH Annual World Famous Equinox Celebration:
Eggs on End: Standing on Ceremony
with Mama Donna Henes, Urban Shaman

A sunrise ceremony to usher in spring.

Pier 16 South Street Seaport
For info: 718-857-1343


Larry List, Barbara Kruger, FF Alumns, at Reykjavik Art Museum, Iceland, thru April 11

Franklin Furnace alumnus Larry List has co-curated Thirty-two Pieces: The
Art of Chess, an exhibition of 15 significant chess set designs by
contemporary artists for the Reykjavik Art Museum It is being presented
through April 11, 2009 in Reykjavik. Artists include Mauricio Cattelan, Jake
& Dinos Chapman, Oliver Clegg, Tracey Emin, Tom Friedman, Paul Fryer, Damien
Hirst, Barbara Kruger, Yayoi Kusama, Alastair Mackie, Paul McCarthy Matthew
Ronay, Tunga, Gavin Turk, and Rachel Whiteread. The exhibition also
celebrates the Museum's acquisition of a major chess-related work by
Franklin Furnace alumnus Yoko Ono, Play It By Trust, 2009. The exhibition
calendar will feature a wide range of lectures and events, including Fluxus
artist Takako Saito's Liquor Chess and Canape Chess interactive (and edible)
game performance pieces. A 140 page illustrated catalogue with artist
interviews by Mark Sanders and an essay by Larry List will document the

For more information see www.artmuseum.is


Yoonhye Park, FF Alumn, at A.I.R. Gallery, Brooklyn, opening March 5

Furthermore, The A.I.R. Gallery 8th Biennial
Curated by Lilly Wei opens March 5th, 2009
New York, N.Y., FEBRUARY, 2009 - Furthermore, The A.I.R. Gallery 8th
Biennial, curated by Lilly Wei, is an exhibition of work by thirty-four
women artists from the United States and abroad of diverse backgrounds. The
exhibition will be on view from March 4 to March 29, 2009. The opening
reception will be held on Thursday, March 5, from 6-8 PM. In Furthermore,
works by thirty-four artists, reflecting a dynamic cross-section of
contemporary art, demonstrate that women artists continue to be a major
force in the art world. The 8th Biennial builds on the pioneering efforts of
A.I.R. Gallery and on more than three decades of showcasing exciting new
work by women artists. Lilly Wei, the exhibition's curator, writes: "Founded
in 1972, A.I.R. Gallery has nurtured the careers of many great women
artists, effectively answering Linda Nochlin's ironic, exasperated question
of 1971: "Why have there been no great women artists?" This 8th Biennial,
rich in diverse media, ideas, and aesthetic approaches, further
addresses that claim. Works by: Emily Barletta, Beth Blinebury, Kate Carr,
Alyssa Casey, Pauline Chernichaw, Enid Crow, Rose Frances DeSiano, Taiga
Ermansons, Rebecca Finley, Karla Hackenmiller, Einat Imber, Tal Jabotinsky,
Hye-na Jeong, Naomi Kaly, Monica Kane, Mung Lar Lam, Victoria Latunski, Mari
Marks, Kyoko Masutani, Meredith Miller, Eti Naor, Yoonhye Park, Alyson,
Provax, Alexandra Roxo, Annette Rusin, Heather Saunders, Laurie Schorr, Maki
Teshima, Cara Turett, Yi-Hsin Tzeng, Jill Vasileff, Anneliesa Vobis,
Elizabeth White and Anat Zalk are included in the exhibition. Lilly Wei is a
New York based independent curator, essayist and critic who writes for Art
in America and is a contributing editor at ARTnews and Art Asia Pacific. The
Biennial Series has a strong curatorial history. Cornelia Butler, Charlotta
Kotik, Lowery Sims, Elisabeth Sussman, Anne Ellegood, Shamim Momin and Maura
Reilly curated the seven previous biennials. On March 26 from 6 - 8:30 PM
Night A.I.R. will highlight work, curated by Lilly Wei, by four women video
artists: Alexandra Roxo, Meredith Drum, Katja Loher and Julia Kim Smith.
Appetizers from local eateries and other light refreshments will be served,
and exciting prizes will be raffled. Space is limited - $20 with RSVP by
March 19 to infor@airgallery.org, $25 at the door.

A.I.R. Gallery is located at 111 Front Street, #228, in the DUMBO
neighborhood of Brooklyn. Gallery hours: Wed. - Sun., 11am to 6pm. For
directions please see www.airgallery.org. For more information please
contact Gallery Director, Kat Griefen at 212-255-6651 or info@airgallery.org


14. Marthe Fortun, FF Alumn, at SculptureCenter, Long Island City, March 15

Dear Friends,

I hope You are well!

I welcome you to an evening of performances entitled "Its All Yours Now"  at
the SculptureCenter, March 15th. The bill features 6 other artists whose
work I love, and together we offer you 3 hours of unadulterated experience.
My hopes for the night is to spend it with You, so my performance "History
is Ennui" may be completed.

I am on at approximately 4:30 PM. I kindly advise you to come early.

All the best,


It's All Yours Now
Sunday, March 15, 2009, 4-6pm
Gallery Hours:
Thursday - Monday, 11am-6pm
$5 suggested donation
Media Contact:
Nickolas Roudané
t 718.361.1750
f 718.786.9336
KALUP LINZY, NADER SADEK (in order of appearance)
SculptureCenter is pleased to present It's All Yours Now, an afternoon of
performances taking place March 15, from 4-6pm. The participating artists
will take over a temporary stage at SculptureCenter, using the format of a
song or a love letter to examine identity politics, the credit system,
political personae, and the inversion of institutional relations. Selected
by the In Practice panel last summer, Carey Ascenzo's piece Care, 2009,
requires that SculptureCenter's staff and Executive Director perform a song
of the same name by Kaada in front of an audience. In exchange, Ascenzo has
allocated her production budget to the purchase of two gifts chosen by staff
members: a digital camera and a new sump pump. Care seeks to invert the way
artist commissions usually take place, and stretches the comfort zones of
the staff and Director, something that Ascenzo considers required of artists
on a regular basis. The other particularity of this piece is that the
original version of Kaada's Care is in fact a sampling of existing songs,
and this will be the first time the song is performed live. Ennui is
History, by Marthe Ramm Fortun is described as a "celebration of failure,"
combining video, narrative content, and dancing. Fortun bases her piece on a
quote by Ashley Dupré, who said when asked about her relationship with Eliot
Spitzer, "I was whoever they wanted me to be, and he was whoever he wanted
to be..." With this transformational model in mind, Fortun describes her
piece as introducing Ashley Dupré to a young Norwegian soldier from the
Second World War. In the artist's words, "together, they are
un-identifiable. Separate, they are arguably historical. In this live work
they are drifters, taking on new forms as desired. He, she, it, dances.
Sincerity is taken to the point of mysticism in a collapsing cycle of
gestures, image, and object. The escape route is a pirate taxi to reality."
Linda Weiss' privacy/policy-heidegger/arendt, 2007, is a DVD transcript of
excerpts from love letters between philosophers Hannah Arendt and Martin
Heidegger starting in 1925, covering the period when Arendt was Heidegger's
student in Germany, through her exile in France and the United States, until
her death in 1975. The love letters between Arendt, a survivor of the
Holocaust and a violent critic of totalitarianism, and Heidegger, once
complicit with the Nazi regime, capture a crucial part of twentieth century
history, its contradictions, its problematics, and its mea culpa. As Weiss
puts it, "these letters are an example of where the personal and the
political meet." Rachel Mason inhabits the minds of real and fictional
characters in her evolving cast of musical collaborators for an
unpredictable operatic experience. Impersonating figures like Saddam Hussein
and Carlos II, the last of the Habsburg dynasty, Mason's lyrics are based on
semifictional and found material to form a musical performance based on our
collective consciousness and tragic-comic interpretation. Her co-performers
for the evening include guitarist John Allan and drummer Sahba Sizdahkhani,
grouped under the provisional name, Trixy Santiago. Petit Mal, which
signifies tiny seizures in French, is an electro-pop duo composed of Ben
Seymour (synths) and Melanie Gilligan (vocals). One of their songs, Crisis
In the Credit System, composed over three years ago, prophesied the current
economic debacle. Incorporating elaborate lyrics referring to
social-economic processes, mystical and real, the musicians captivatingly
croon melodies studded with literary and political references, and a
nostalgic take on '80s synth-duos. Kalup Linzy engages with different
personas and recurring characters, using formats and dialogues from
soap-operas and music videos, where the type-casts of the figures are in
fact complex formations that riff-off gender and cultural expectations,
while never entirely being reducible to them. His characters are approached
with nuance, with the seductive qualities of the artist shining through the
costumes, mises-en-scenes, and video projections. SweetBerry Sonnets are
R&B-inspired songs from an album of the same name that combine humor and
heartfelt energy. Nader Sadek's new performance piece, B'doun Wag'h
("Faceless"), provocatively incorporates Middle Eastern design, Death Metal
music, and Darfur activism. Current and former musicians from well-known
metal bands Morbid Angel, Cryptopsy, Krallice, and Behold. the Arctupos will
play a specially commissioned composition on a stage featuring Middle
Eastern elements that resonate with the occult iconography of this
underground music scene. Woodwork screens, blistering guitars, and frenetic
drumming blur configurations of private and public, holy and profane, ritual
restraint and impulsive aggression. In a further twist of cultural
signifiers and conventions, proceeds from the event, including sales from
the "merchandise table," will go to victims of the Darfur crisis.
SculptureCenter's programs are supported in part by The National Endowment
for the Arts; The New York State Council on the Arts; The New York City
Department of Cultural Affairs; as well as The A. Woodner Fund; The Andy
Warhol Foundation for the Visual Arts; Citibank; Joan Mitchell Foundation;
The Kraus Family Foundation; The Lily Auchincloss Foundation, Inc.; The
Mathis-Pfohl Foundation, The Milton and Sally Avery Arts Foundation; Peter
Jay Sharp Foundation; The Pollock-Krasner Foundation; and The Starry Night
Fund of Tides Foundation. We also acknowledge the generous support of our
Board of Trustees, individual donors and members, and our dedicated interns
and volunteers.

About SculptureCenter

Founded by artists in 1928, SculptureCenter is a not-for-profit arts
institution dedicated to experimental and innovative developments in
contemporary sculpture. SculptureCenter commissions new work and presents
exhibits by emerging and established, national and international artists.
For additional information or images, please contact Nickolas Roudané at 718
361 1750 x111 or press@sculpture-center.org.


Robin Tewes, Jane Dickson, FF Alumns, at Memphis College of Art, TN,
opening March 9

Robin Tewes, Jane Dickson, FF Alumns, David Hockney, Brenda Goodman, Jullie
Heffernan, and others in It's A Dogs Life, curated by Beth Edwards Memphis
College Of Art, March 9-April 10
For more information contact 901-272-5100 or visit www.mmca.edu


Diane Torr, FF Alumn, at The Tron Theatre, Glasgow, Scotland, March 11-14

Diane Torr, FF Alumn,, in a new solo performance - DONALD DOES DUSTY at The
Tron Theatre, Glasgow, Scotland. March 11-14, 2009 at 7.30pm
DONALD DOES DUSTY is a performance exploring Diane's late-brother Donald's
fascination with Dusty Springfield, his rise to fame and his untimely
death.The performance draws upon Donald and Dusty's lives and careers.  They
shared a common heritage: both coming from lower class backgrounds; both
singers and performers; both desirous of fame and both closeted gays in a
homophobic Britain.  Additionally, they were both forceful and demanding
personalities who were demanding of those around them - and they were both
given to dramatic outbursts. During the early 70's Donald was a singer and
dancer in the television troupe, The Young Generation and later appeared in
West End shows such as Anthony Newley's, Stop the World, I Want to Get Off.
Sadly, Donald died of AIDS in 1992.  Donald Does Dusty pays homage to him
and his determination to escape Mastrick his background, and become a
millionaire in London.  It also deals with issues of bereavement and how to
celebrate the spirit of all our loved ones who have passed on.


Irina Danilova, FF Alumn, announces 59 top 59 second videos

Happy International 59th Day of the Year!
Dear Artists, Friends and Supporters,
We are pleased to announce that the 59 Seconds Video Festival
has completed its 59 international screenings:
The 59 top videos, selected by audiences of all screenings are now
on line: http://www.project59.org/59seconds/selection.html .

We are very happy to announce that the best work, selected by 59
audiences is "Moustache" by Israeli filmmaker, Avi Dabach, with
actor Meir Asraf:  http://www.youtube.com/watch?v=a1YtK5Cwp4U
Avi's e-mail: avidab1@yahoo.com

59 Seconds project has now entered its post-production stage
with the development of a catalog and DVD. We plan to produce 2 DVDs.
One with final collection and another one with the best 59 videos that
were made specifically for 59 Seconds Festival and incorporated
number 59 in any manner.

We are looking for venues for screening the final collection of the
as well as for installation of festival documentation and artifacts.
Your help and information will be highly appreciated.

First screening is scheduled in New York City at The Tank on May 9th, at
354 West 45th Street. Curator Tatyana Tenenbaum.

All the best,
Irina Danilova and Hiram Levy


Jim Johnson, FF Alumn, publishes new book, Impasto

The Discopie Corporation is pleased to announce the publication of IMPASTO
by Jim Johnson.  An alphabet book of painted letters, the pages show both
the front and the back of each letter in full color. 2009, paperback, spiral
bound, 57 pp., 7.5 X 7.5", edition open.  

Available at: "http://www.lulu.com/content/5777697"


Robert Longo, FF Alumn, at DZ Bank, Frankfurt, Germany, thru May 9

Robert Longo:
Of Men and Monsters
Feb. 24 - May 9, 2009

[Kunstsammlung] ART FOYER
Platz der Republik
60265 Frankfurt/Main


Frankfurt's oldest high-rise has now been successfully modernized, and
Cityhaus 1, the second DZ BANK tower, located at Platz der Republik, boasts
a new facade. As part of the redesign of the lobby area, new and larger
rooms were created, among other things for the DZ BANK [Kunstsammlung] ART

The Collection now enjoys in excess of 300 sq. m. exhibition space open to
the public - between four and five exhibitions can be held here each year.

The DZ BANK Collection focuses on photographic images in contemporary art
and has gone on public show in recent years in the form of various
international thematic exhibitions. Most recently, a cross section was shown
in 2008 at Städel Museum in Frankfurt - as the Real exhibition. Compared
with the Collection, which includes some 6,000 works by over 550 artists,
the new ART FOYER may still seem small, but it is quite unique among the
venues where corporate collections are displayed in Frankfurt.

It is no coincidence that the first exhibition in the new location entitled
Of Men and Monsters concentrates on New York artist Robert Longo (born
1953). It will show works from his three series Monsters (2000), The Freud
Cycle (2000) and Men in the Cities (1981/1998). The large-format pieces are
IRIS prints and thus, if not strictly speaking photographs, decidedly
photographic. Moreover, in particular the Men in the Cities, which date back
to snapshots in the early 1980s, relate to a focal point in the Collection,
namely the thematic issues of the media, power (violence) and identities,
are often addressed under the buzzword 'postmodernism' and are reflected in
the works of Cindy Sherman, Sherrie Levine, Louise Lawler, Marie-Jo
Lafontaine and others.

Robert Longo perhaps stays most clearly rooted in the terrain of New York as
an unreal city, as described by authors such as Paul Auster (City of Glass)
and Bret Easton Ellis (American Psycho). Everything, even nature in the
image of the wave (Monsters), appears in Longo's work as a gesture, as a
matter of look and style, and thus as an image. His approach to the
figurative is not dissimilar to that of Gerhard Richter (e.g., in the
latter's 18th October 1977 painting cycle), addressing the specific
interaction between drawing (painting) and photography, as is highlighted
especially in the monumental presence of absence in his Freud cycle. Longo
says that what interests him is not least to produce artworks that can stand
their ground in the face of TV, films and magazines.

Robert Longo - Of Men and Monsters
Feb. 24 - May 9, 2009

DZ BANK [Kunstsammlung] ART FOYER
Platz der Republik
60265 Frankfurt/Main
Opening hours:
Tues. - Sat. 11 a.m. - 7 p.m. / closed Sundays and Mondays
Public guided tours take place every Friday at 5.30 p.m.
Please register in advance.
For further details, call +49-69-7447-2386 or mail kunst@dzbank.de
Entrance: Cityhaus 1. from Friedrich-Ebert-Anlage
Nearest public car park: "Westend"


Jennifer Hicks, FF Alumn, at The Dance Complex, Cambridge, MA, Mar. 14-15

CHIMERAlab Dance Project presents
Jennifer Hicks and Jeremy Williams team teaching

The Viewpoints and Butoh
Saturday 1:30 -4:30  and Sunday 10:30 -1:30
Saturday March 14 and Sunday March 15th
cost: $100
BDA, BG, Student with ID discount: $90
@ The Dance Complex
536, Mass. Ave, Cambridge MA

$60 non-refundable deposit and email to
Jennifer Hicks
40 Dune DR
Chatham, MA 02633
email confirmation: jhicks5634@aol.com

Is a unique movement laboratory using techniques including Butoh,
and The Viewpoints, to create dance. This workshop is for those interested
in traveling deep into movement consciousness in the context of dance/
theater. Topics of exploration may include personal memory, embodying
imagery, awareness training, translating poetry to movement, meditation,
physical training and choreography.

This class is open to anyone who is interested.
Exercises can be modified for various levels of experience or body
Students will work as a group, solo and in partners.

The Viewpoints: a point of view, a way to experience the world, an awareness
of what is already there, a set of tools for manipulating elements of the
stage for dynamic performance making, a holistic approach to performance.
The Viewpoints are six labels of direct perception for work on the stage.
These six labels are
used to dissect what is actually happening on the stage in terms of focus,
intention, and subject. The Viewpoints enable theatre artists to make
compositional choices from a non-aesthetic perspective and also provide a
common language for how the elements of the stage are working dynamically
from a physical perspective.

Butoh: is often called a dance of the body in crisis. We dance for the place
where images collide and  the mind gives up to the body and lets the body
dance.  We dance from metaphors, colliding worlds and open to a river of
thoughts and feelings. We move from the elements, from emptiness, from
strength and from turmoil. We move from poetry and from dreams.
It is a dance of internal meditaion and reshaping ones experience toward
movement. Nothing is ever as we think it is. The body as a constantly
changing form.  This interplay between the body, imagery and movement create
a dynamic conflict from which we begin our dance. Exercises will include
solo. partner and group exercises. This work can go from slow intensive
focus to quick chaos. Become what you are doing, not pretend to be doing

Jeremy Williams. M.F.A. is a director, choreographer, and teacher. He has
led the creation of over 20 original works in addition to staging existing
plays and musicals. Wi lliams is a graduate of the MFA Theatre: Contemporary
Performance program at Naropa University. Williams is a practitioner and
teacher of multiple physical forms including The Viewpoints, Contemporary
Dance, Somatic & Developmental Techniques, Suzuki Actor Training, and
Physical Acting.

Jennifer Hicks M.F.A., R.Y.T, (Franklin Furnace alumni) director,
choreographer, teacher and visual artist. She received her MFA from Naropa
University in Contemporary Performance, her BFA from Tufts University and
Degree in Fine Arts from The School of the Museum of Fine Arts, in Boston.
She and a returning guest instructor and director at Naropa University in
the MFA Contemporary Performance Department. She has been teaching movement,
creating original work and performing for over 25 years and is a certified
Shintaido Instructor, Trance Dance International Facilitator and a Yoga
Instructor registered with the National Yoga Alliance. She had been training
in Butoh since 1994 and is a member of Katsura Kans International Butoh
Company. www.fragilecreep.com


Moya Devine, FF Alumn, at South Texas College, McAllen, TX, opening April 1

Moya Devine's work Cyclops will be shown at, Across the Border, Fourth
Annual Human Rights Exhibit, South Texas College.

South Texas College, McAllen Texas,  presents it's 2009 Human Rights Exhibit
in conjunction with the Human Rights Conference, Confronting Sex Slavery In
the 21st Century. Opening reception April 1, 2009.

The show will be exhibited in both the United States and Mexico at South
Texas College and the Universidad de Monterrey, Mexico (UDEM).


Reverend Billy, FF Alumn, to run for Mayor of New York City

On March 2, 2009, The New York Times ran the following news:
Backed by Green Party, Comic Pastor Runs for Mayor
By Rebecca White
Reverend Billy of the Church of Stop Shopping is - to say the least - not
your typical candidate for mayor. With his blond pompadour, cobalt blue
suit, black shirt and white collar, he made his announcement in Union Square
on Sunday accompanied by a choir in green robes.
But he has the nomination of an actual political party and might have a spot
on the ballot in November, something Mayor Michael R. Bloomberg has yet to
"Even if you have 20 billion dollars, you're not going to buy this
election!" he shouted through a white bullhorn to a small gathering of
supporters and reporters. "This campaign will be the revolt of the fabulous
500 neighborhoods, amen!"
Reverend Billy, 58, a longtime street activist and performance artist whose
real name is William C. Talen, said he was approached by leaders of the
state's Green Party in December.
He decided to run last month and received the nomination late last week. He
now has to get at least 7,500 signatures to get on the ballot in November.
"When the Green Party approached him, he was thinking that Bloomberg was
essentially purchasing a third term," said Michael O'Neil, 29, the
campaign's press officer. "He wanted to run because it seemed unlikely that
any of the front-runners in the election would speak to the issues that have
been challenging New York City's neighborhoods."
Reverend Billy, who according to Mr. O'Neil makes a living with paid
appearances at colleges and other venues, said refocusing attention on the
city's neighborhoods - he used the word "neighborhood" dozens of times -
would be the centerpiece of his campaign, though he said little about other
issues, like subway fares and the economic crisis.
He did make it clear that he did not approve of Mr. Bloomberg's pursuit of a
third term. "We're at a critical point in the city's history right now," he
said. "The mayor's trying to privatize Union Square. We're surrounded by
logos everywhere. We need to oppose that."
Reverend Billy, who grew up in the Midwest and arrived in New York from San
Francisco in 1994, has long been known for his colorful street-theater
tirades on what he sees as corporate intrusions on American life. He was
arrested during a protest in Union Square in 2007 and that year was the
subject of the documentary "What Would Jesus Buy?"
But Gloria Mattera, the co-chairwoman of the Green Party's campaign
committee, insisted that this was a serious candidacy. "We're planning on
talking in each borough," she said. "Our team is already formed. This is a
chance not just to stand up against Bloomberg but to stand up against
corporate interests as well."
Mr. O'Neil said the campaign hoped to raise at least $250,000 to qualify for
matching funds from the city.
"He's the alternative that we're desperate for," said one supporter,
Elizabeth Culbert, 34, a freelance writer who lives in the West Village.
"He's worked for so many years for New York, and I think he'll put up an
extremely good fight."
Steve Kraftsow, 49, who was walking through Union Square during the rally,
did not share that enthusiasm. "Never met him, never heard of him," he said.
"I haven't even considered the mayoral race yet. What I know is I want a
mayor who can handle the fiscal responsibilities. I liked Bloomberg, but
vote for Billy? It's not out of the question. I just need to learn more
about him."


Tehching Hsieh, FF Alumn, in the Sunday New York Times, March 1, 2009

Please visit www.nytimes.com to see images accompanying the following

March 1, 2009

The New York Times

A Caged Man Breaks Out at Last
by Deborah Sontag
IN 1974 Tehching Hsieh, a young Taiwanese performance artist working as a
seaman, walked down the gangplank of an oil tanker docked in the Delaware
River and slipped into the United States. His destination: Manhattan, center
of the art world.
Once there, though, Mr. Hsieh found himself ensnared in the benumbing life
of an illegal immigrant. With the downtown art scene vibrating around him,
he eked out a living at Chinese restaurants and construction jobs, feeling
alien, alienated and creatively barren until it came to him: He could turn
his isolation into art. Inside an unfinished loft, he could build himself a
beautiful cage, shave his head, stencil his name onto a uniform and lock
himself away for a year.
Thirty years later Mr. Hsieh's "Cage Piece" is on display at the Museum of
Modern Art as the inaugural installation in a series on performance art. But
formal recognition of Mr. Hsieh (pronounced shay), who is now a 58-year-old
American citizen with spiky salt-and-pepper hair, has been a long time
For decades he was almost an urban legend, his harrowing performances - the
year he punched a time clock hourly, the year he lived on the streets, the
year he spent tethered by a rope to a female artist - kept alive by talk.
The talk was cultish, flecked with reverence for the conceptual purity and
physical extremity of Mr. Hsieh's performances in the late 1970s and early
1980s. But he himself seemed to have vanished. "Tehching was a bit like a
myth," said Klaus Biesenbach, chief curator of MoMA's department of media.
All along, however, Mr. Hsieh was invisible in plain sight, meticulously
archiving his artistic portfolio as he went about the business of "dealing
with life," as he put it. For 14 years, until he received amnesty in 1988,
his immigration status, or lack of status, had informed his art, but it also
made him an outsider, enduringly. His work was rarely collected, displayed
or studied, and he eventually quit making art entirely.
"My work is kind of unknown, and I am not an artist anymore," he said in his
thickly accented English, which is fluent but limited, often making him
sound terse.
Sipping green tea in his minimally furnished loft above a 99-Cent Plus shop
in Clinton Hill, Brooklyn, Mr. Hsieh pushed across his kitchen table a
history of performance art that mentions him only in a sentence. "I don't
want to say it was race," he said, noting that he has long been reticent to
promote his work.
But Alexandra Munroe, senior curator of Asian art at the Solomon R.
Guggenheim Museum, had no such compunctions, given what she described as a
historical disregard for nonwhite artists in the avant-garde. "Why was
Tehching left out?" she said. "Because he was Chinese."
This winter, owing to renewed interest in performance art, new passion for
contemporary Chinese art and the coinciding interests of several curators,
Mr. Hsieh's moment of recognition has arrived from many directions at once.
The one-man show at MoMA runs through May 18. The Guggenheim is featuring
his time-clock piece in "The Third Mind: American Artists Contemplate Asia,
1860-1989" through April 19. M.I.T. Press is about to release "Out of Now,"
a large-format book devoted to his "lifeworks." And United States Artists,
an advocacy organization, has awarded Mr. Hsieh $50,000, his first grant.
He is gratified by the exhibitions. But he judges the book, which is 384
pages and weighs almost six pounds, to be the definitive ode to his artistic
"Because of this book I can die tomorrow," said Mr. Hsieh, who collaborated
on "Out of Now" with Adrian Heathfield, a writer and curator in London.
Such utterances can startle. ("Life is a life sentence" is another.) But Mr.
Hsieh's matter-of-fact delivery makes them seem less bleak than unblinking -
an existentialist's workaday credo.
"He is deeply philosophical," Ms. Munroe said.
The roots of Mr. Hsieh's lifelong questioning lie in southern Taiwan, where
his little-known artistic odyssey began. There he grew up one of 15 children
of an authoritarian father with five wives. But he was doted on by his
"We were not really a poor family," he said during a long interview, at the
end of which he was joined by his radiantly serene wife, Qinqin Li, an
elementary school art teacher who emigrated from Beijing after meeting Mr.
Hsieh there in 2001. Ms. Li is, Mr. Hsieh noted, 24 years his junior and his
third wife.
In Taiwan Mr. Hsieh's father, who ran a small trucking company, did not
consider art a practical profession. Nonetheless Mr. Hsieh studied with a
private painting teacher throughout his childhood, until in 1967 he dropped
out of high school to devote himself to art. Taiwan in that era was
relatively cosmopolitan. Mr. Hsieh wore his hair long, listened to rock 'n'
roll and read Nietzsche, Kafka and Dostoyevsky.
Next, three years of compulsory military service exposed Mr. Hsieh to the
kind of rigor and regimentation that later governed his performance pieces.
When he left the army, he had his first solo show, but he had already become
more interested in the act of painting than in the product. One of his final
paintings, "Paint - Red Repetitions," was executed in four minutes when he
swirled a circle of red on each page of a sketchbook. "I became empty," he
said. "I just moved my hand."
After that Mr. Hsieh sought new ways to express himself, ultimately buying a
Super 8 camera and training it on his new medium: himself.
Though he had not yet learned of Yves Klein or seen "Leap Into the Void,"
the 1960 photomontage that purported to show that French artist swan-diving
off a rooftop, he tried a version of it for real in 1973. He recorded
himself jumping from a second-story window to the sidewalk - and breaking
both his ankles.
Mr. Biesenbach said he believed "Jump Piece" to be brilliant, an early
indicator of Mr. Hsieh's willingness to give his life to art. But Mr. Hsieh
now considers it immature, an unfortunate harbinger of future
self-destructive pieces, like "Half-Ton," in which he let himself be crushed
beneath Sheetrock, or "Throw Up," in which he ate fried rice until he
While he was recovering from his jump, Mr. Hsieh set his sights on leaving
Taiwan, deciding to train as a merchant mariner so that he could emigrate by
ship. In 1974 he boarded the oil tanker that gradually made its way to the
United States. Mr. Hsieh jumped ship near Philadelphia. He hailed a taxi and
paid the driver $150 to take him to New York City.
During his first long winter in New York the elation faded. Mr. Hsieh shared
a compatriot's unheated apartment and fell into the menial work that would
sap his creative energy for four years, until he conceived of "Cage Piece."
Back in Taiwan Mr. Hsieh's mother, who was baffled by his art, helped
support that project with $10,000 and one condition: "Don't be a criminal."
In the fall of 1978 Mr. Hsieh, then 28, constructed his cell-like cage of
pine dowels inside a loft in TriBeCa. He furnished it with a cot, a sink and
a bucket. Before he shut himself inside, he issued a terse manifesto, typed
on white paper: "I shall NOT converse, read, write, listen to the radio or
watch television until I unseal myself on September 29, 1979."
Mr. Hsieh's loft mate, Cheng Wei Kuong, who had studied with the same
painting teacher in Taiwan, brought his food and removed his waste. After
weeks of beef and broccoli, Mr. Hsieh said, he wordlessly threw one meal to
the floor when it was delivered; later he felt bad about that.
Each day Mr. Hsieh scratched a line in the wall with his fingernail, which
made 365 hatch marks at the end. Each day, with his hair infinitesimally
longer, he stood on his traced footprints to be photographed.
Every three weeks he allowed spectators, but he did not acknowledge them. He
was too busy thinking - about his past, his art, the passing of time and the
boundaries of space. He was thinking about how his physical confinement
liberated his mind.
"That piece was an ode to freedom," Mr. Biesenbach said. "He's an incredibly
thoughtful translator of concepts. He made the idea of meditation and
contemplation very tangible for me. And, really, consider that he did this
in New York City, the fastest place in the world."
After Mr. Hsieh emerged, people seemed "like wolves," he said. At first he
retreated to the cage to feel safe. Eventually he packed the cage and
accompanying artifacts in a crate, revealing early confidence that his work
was worth preserving.
Mr. Hsieh then embarked on a second grueling performance, the punching of
the time clock. He again issued a statement, shaved his head, donned a
uniform and toyed with what Ms. Munroe called an "iconic modern form," the
worker as automaton, "straight out of Marxism 101."
During that year Mr. Hsieh essentially denied himself sleep, given the
self-imposed requirement to punch the clock hourly. To do so he needed
multiple alarm clocks attached to amplifiers to penetrate his befogged
brain. Mr. Hsieh put himself, Ms. Munroe said, in "a mindful state of
delirium that forced confrontation with time itself"; he also generated a
"physical model of time passing" with 8,760 timecards.
That year Mr. Hsieh felt like Sisyphus, he said, engaged in a futile task
that nonetheless gave his life purpose and structure. To this day, he said,
"wasting time is my concept of life," clarifying: "Living is nothing but
consuming time until you die."
In the third test of his own endurance Mr. Hsieh moved out of his loft to
spend a year on the streets. Vowing never to enter a "building, subway,
train, car, airplane, ship, cave, tent," he took on an extreme form of
homelessness, believing: "You have to make the art stronger than life so
people can feel it. Like Franz Kafka says, you have to take an ax" to the
frozen sea in "people's hearts."
That year it was the East River that froze. Mr. Hsieh, wandering with his
backpack, treated Chinatown as his kitchen and the Hudson River as his
bathroom; he slept in drained swimming pools, on cardboard mats and in
garbage cans.
Using a tripod Mr. Hsieh documented his homelessness in striking
photographs, the only original documentation that he ever sold. Because he
was performing in public, he attracted more attention that year than
previously. Word traveled backed to Taiwan, upsetting his family, he said,
because "some people say I should go to mental hospital."
Linda Montano, a feminist performance artist drawn to what she called the
"soulful" posters advertising his outdoor performance, sought him out just
when Mr. Hsieh was looking for an attachment, literally. Having explored
constraints of time and space he wanted to examine human bonds. He proposed,
and Ms. Montano accepted, that they connect themselves at the waist with an
eight-foot rope for a year. The artists slept in twin beds - touching was
not permitted - and tried to go about their separate lives attached, which
involved a constant tug of war. They often did not get along.
"I was more like a cobra, without feeling," he said. "She was more
In his year with Ms. Montano, which began July 4, 1983, Mr. Hsieh was
exposed to the art world as never before because she was a part of it. His
next one-year project was to avoid that world completely, to "go in life"
without seeing, making or talking about art. And his sixth and final piece,
his most inscrutable, was a "13-years plan" to make art but not show it
During this time he tried to exile himself more deeply inside America by
"disappearing" to Alaska, but he made it only as far as Seattle, where,
working low-wage jobs, he felt as if he were fresh off the boat once again.
Giving up after six months, he moved back to New York, got his green card,
worked in construction and sold 96 of his early paintings to a Taiwanese
collector for $500,000. He used much of the money to buy an abandoned
building in Williamsburg, Brooklyn, converting it into an artists'
residence, which he managed.
At the end of the 13 years, on in his 49th birthday, which happened to fall
precisely at the turn of the millennium, he issued a statement in collage
form, using cut-out letters, that said: "I kept myself alive. I passed the
Dec. 31, 1999."
Afterward he sold his Williamsburg building, bought and renovated the loft
in Clinton Hill, traveled with more frequency to China, married Ms. Li and
eventually worked with the curators interested in shaping his legacy. But,
having lived in such a "persistent exile" from art that he could not return
to it, as he said in his book, he declared his life as an artist over and
left others to grapple with what that meant.
Ms. Munroe made an attempt: "Maybe he was a man choosing art as a tool to
demonstrate a certain philosophical set of conditions, and it served his
purpose, so he doesn't need it anymore. I think he's bigger than art on some
level. I think - I'll be really extreme here - that he killed art so he
could transcend it."
Perhaps. Or, perhaps, Mr. Hsieh said, with a wisp of a - sad? - smile: "I am
not so creative. I don't have many good ideas."


Peggy Diggs, Guerrilla Girls, Beverly Naidus, FF Alumns, at Storefront
Artist Project, Pittsfield, MA, opening March 6

Opening Reception
Friday, March 6th
6:00 - 8:00 pm

Poetry Reading by author Karen Chase at 6:15

Curated by Gabrielle Senza in conjunction with the
1st Annual Berkshire Festival of Women in the Arts

Storefront Artist Project   124 Fenn Street   Pittsfield MA
Exhibition runs through March 29.  Gallery Hours: 12 - 5 Sat & Sun

In conjunction with the 1st Annual Berkshire Festival of Women in the Arts,
The Storefront Artist Project announces the opening of Radical Detour, an
exhibition featuring the work of recognized women artist activists who are
trailblazing creative new routes towards public awareness and radical change
on important issues such as global warming, racism, gender issues and human
rights.  Included in the exhibition are Peggy Diggs, Eve Ensler, The
Guerrilla Girls, Beverly Naidus, and Gabrielle Senza. 

"Radical Detour offers unique perspectives in creating awareness," states
exhibition curator, Gabrielle Senza. "The exhibition examines the process of
inspiring both thought and action by some of the nation's most effective
artist-activists who's work focuses on the many challenging issues facing us

A public reception will be held Friday, March 6, from 6:00 - 8:00pm, with a
poetry reading at 6:15pm by author, Karen Chase from her most recent book,


Dara Birnbaum, FF Alumn, at The Whitney Museum of American Art,
Manhattan, March 5, and more

An Immediate Announcement And Important Invitation
For My Friends And Colleagues:

Please Join Me On Thursday, March 5th, At 7 Pm
At The Whitney Museum Of American Art
For "Seminars With Artists"

Since the early 1970s Seminars with Artists has provided a forum for
intimate conversations with some of the most notable American artists of the

Dara Birnbaum
Thursday, March 5 7 pm

A pioneer in the appropriation of popular television imagery, Dara Birnbaum
probes and subverts conventional viewing patterns, narrative structures, and
pop icons to address the ideological and aesthetic character of mass media.
Spanning four decades and varying styles, her work reveals a sustained
engagement with media's complex and dominant societal presence. This
evening, Birnbaum will discuss her attempts to find alternative expressions
that "talk back" to mainstream media's penetration of - and even intrusion
on-public and private life.

Buy tickets online.
Whitney Museum of American Art
945 Madison Avenue at 75th Street
New York, NY 10021
General Information: (212) 570-3600


An Important Announcement: To See The March Issue Of Artforum For Its Cover
And "Conversation"!

Artforum invited DARA BIRNBAUM-pioneering video artist and subject of a
pivotal retrospective next month at the Stedelijk Museum voor Actuele Kunst,
Ghent, Belgium (April 4-August 2)-to sit down with media artist and
programmer CORY ARCANGEL and compare notes on art in light of widespread
appropriation, outmoded applications, and increasingly divergent audiences.
Part of their conversation has been reproduced below. For the rest, pick up
the March issue of Artforum.



Peter Cramer, Jack Waters, FF Alumns, at Millenium Film Workshop,
Manhattan, March 14


MARCH 14     Saturday   8pm        
Millenium Film Workshop
66 East 4th St.  NYC  212-673-0090


27. Laura Parnes, FF Alumn, at Participant, Inc., Manhattan, Mar. 4-29

Janie 1978-1982
a.k.a. Blood and Guts in High School
Multimedia installation
March 4 - 29, 2009
Opening reception and launch of Blood and Guts in Hollywood: Two Screenplays
by Laura Parnes: Sunday, March 8, 7-9pm

Related programs:

Sunday, March 15, 7pm
My Librarian, a screening of literature-inspired videos, curated by Laura
Parnes, including works by John Brattin, Chris Kraus, Erik Moskowitz and
Amanda Trager, Bernadette Corporation, and Guy Richards Smit.

Sunday, March 22, 7pm
County Down, a reading of a feature script by Laura Parnes, regarding an
epidemic of psychosis among the adults in a gated community that coincides
with a teenage girl's invention of a designer drug. Actors include Jim
Fletcher, Kel O'Neill, Stephanie Vella, Marti Wilkerson, and narrator
Elisabeth Subrin.

Sunday, March 29, 7pm
The Only Ones Left (2006/07) and Hollywood Inferno (episode one) (2001/03),
a screening of works by Laura Parnes.

>From March 4 - 29, 2009, on the occasion of the PARTICIPANT PRESS
publication of Blood and Guts in Hollywood: Two Screenplays by Laura Parnes,
PARTICIPANT INC is proud to present Laura Parnes' Janie 1978-1982 (a.k.a.
Blood and Guts in High School), a multimedia installation inspired by Kathy
Acker' s influential novel. This is the first public presentation of this
work in its entirety, and will be accompanied by a series of events
organized in conjunction with the publication of the artist's screenplays,
with an introduction by Chris Kraus.

In appropriating Blood and Guts in High School, Parnes pays homage to
Acker's radically inventive use of literary appropriation and
intertextuality. As in previous video works (such as Hol lywood Inferno
(episode one); Heidi 2, a collaboration with Sue de Beer, 2000; and No Is
Yes, 1998) a narrative thread is maintained while structure and language
become unstable, invoking the schizophrenic culture that Acker attempted to
write into her work. Acker's novel imagined the sexual life and endurances
of the adole scent outsider, Janey Smith. Parnes re-imagines Janie through a
video series that explores chapters in her life between 1978 and 1982. Set
in New York at a time when Reagan was coming into power an d punk was
emerging, each episode presents a day in the life of Janie, interrupted by
news events that surreally meld into her personal20experience, as well as
eerily presage current world affairs. The installation includes life-size
portraits of the many sides of Janie's personal ity, as well as a display of
Parnes' interpr etive material based on Acker's novel. 

Laura Parnes has screened and exhibited her work widely in the US and
internationally, including Turin GLBT Film Festival, Turin, Italy; Schroeder
Romero, NY; Kunsthalle Winterthur, Winterthur, Switzerland; Akademie Schloss
Solitude, Stuttgart, Germany; Cinematexas, Austin, TX; Pacific Film
Archives, Berkeley Art Museum, Berkeley, CA; John Connelly Presents, NY;
Vtape, Toronto; Contemporary Art Center, Vilnius, Lithuania; Museo Nacional
Centro De Arte Reina Sofia, Madrid, Spain; Whitney Museum of American Art,
NY; Dunedin Public Art Gallery, Dunedin, New Zealand; PS1 Contemporary Art
Center, a MoMA Affiliate, NY; Miami Museum of Contemporary Art, Miami, FL;
and Brooklyn Museum, NY. Her solo exhibitions include Alma Enterprises,
London; Locust Projects, Miami; Upstream Gallery, Amsterdam; Los Angeles
Contemporary Exhibitions, LA; Participant Inc, NY; Deitch Projects, NY; and
in a two-person screening at The Museum of Modern Art, NY. Parnes has been
awarded residencies including the Sally and Don Lucas Artists Programs at
the Montalvo Arts Center; the Wexner Center; Cuts and Burns Residency at The
Outpost; and Harvestworks. Her work has received the support of the
Experimental Television Center and the New York State Council on the Arts.
She is the co-founder and current board president of Momenta Art, Brooklyn,
NY. Parnes has held teaching positions at New York University, The New
School, and currently teaches at Bennington College. She received her BFA
from the Tyler School of Art, Temple University, and lives and works in
Brooklyn, NY.

Kathy Acker's Blood and Guts in High School is reproduced with the generous
cooperation of Matias Viegener, Director of the Kathy Acker Literary Trust.

For their generous support of this project, the artist would like to thank
The Outpost's Cuts and Burns Residency Program, Brooklyn, NY; Bennington
College; and The Experimental Television Center's Finishing Funds Program
that is supported by the EM&F Program at NYSCA.

PARTICIPANT INC's exhibitions are made possible with public funds20from the
New York State Council on the Arts, a state agency.

This program is supported, in part, by funds from the New York City
Department of Cultural Affairs.

PARTICIPANT INC receives generous support from the Harriett Ames Charitable
Trust, Bloomberg, The Brown Foundation, Inc. of Houston, Foundation 20 21,
Foundation for Contemporary Arts, Peter Norton Family Foundation, The Andy
Warhol Foundation for the Visual Arts, and numerous individuals.

PARTICIPANT INC is located at 253 East Houston Street, between Norfolk and
Suffolk Streets on the Lower East Side. Subway: F/V to Second Avenue, Allen
Street exit.

Gallery Hours: Wednesday-Sunday, noon-7pm


28. Andre Stitt, FF Alumn, at The Lab Gallery, Manhattan, April 7-24

Andre Stitt, FF Alumn and Fritz Welch present SHIFTwork, April 7-24, 2009,
at The Lab Gallery, Roger SmithHotel, Lexington Avenue at 47th Street,
Manhattan.  'Live' work: April 9-16; Installation and residual exhibition
until April 24

Curated by curcioprojects


29. Yvette Helin, FF Alumn, on The Celebrity Apprentice, NBC, March 8

All New! Sunday, March 8th 9/8c
The men and women remain divided as each team must create and costume WITH
YVETTE HELIN AND CREW an original comic book character to promote an online
shoe retailer.


30. Gulsen Calik, FF Alumn, at Wyndham Hotel, Manhattan, Mar. 6-8

Liz-N-Val, Gülsen Calik, Yo Park,
Mehmet Demirci, Cigdem Tankut

to visit them
"ME ME ME" -the 6th installation of POOL ART FAIR-

Room 204, Chambre de Commerce

March 6,7,8, 2009, 3pm-10pm, 
Wyndham Hotel, 37 West 24th St. (5th ^ 6th Avenues)
www.frereindependent.com 1(212)604-0519

Vernissage: Friday March 6th, 6-10pm
After Party: 10pm onwards


31. Harley Spiller, FF Alumn, at NYU, Manhattan, March 13

Gastropolis: Food and New York City,
A new book from Columbia University Press

Panel discussion with editors Annie Hauck-Lawson, Jonathan Deutsch, and
fellow contributing authors including Harley Spiller, FF Alumn

Moderated by Krishnendu Ray

Followed by a celebratory reception and book signing

Department of Nutrition, Food Studies, and Public Health
35 West 4th Street, 10th Floor
New York, NY 10012

R.S.V.P. by Wednesday, March 4

Friday, March 13, 2009
6:00 PM - 8:00 PM
35 West 4th Street, 10th Floor
New York, NY 10012


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
Angel Nevarez, Program Coordinator
Susie Tofte, Project Cataloguer
Judith L. Woodward, Financial Manager