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Contents for April 06, 2009

1. Mike Asente, FF Alumn, at Ice Box Project Space, Philadelphia, thru April 26
2. Beverly Naidus, Mierle Laderman Ukeles, FF Alumns, in Seattle, WA, thru May 2
3. Joseph Nechvatal, FF Alumn, now online
4. Dara Birnbaum, FF Alumn, in Ghent, Belgium, thru Aug. 2
5. Andrea Polli, FF Alumn, at apexart, Los Angeles, CA, June
6. Andre Stitt, FF Alumn, at Roger Smith Hotel, Manhattan, thru April 24
7. Leon Ferrari, FF Alumn, in The New York Times, April 3
8. Pamela Sneed, FF Alumn, at Long Island University, Brooklyn, April 9
9. Robin Tewes, Joyce Kozloff, FF Alumns, at the Philoctetes Center, Manhattan, thru May 14
10. Alyson Pou, FF Alumn, at South Street Seaport Museum, Manhattan, thru April 19
11. Penny Arcade, FF Alumn, at Dixon Place, Manhattan, April 8-19
12. China Blue, FF Alumn, now online
13. Claire Fergusson, Vernita Nemec, FF Alumns, in Tribeca, April 24-27
14. Patty Chang, Kate Gilmore, FF Alumns, in Manhattan, thru April 30
15. Ken Butler, FF Alumn, at The Hogar Collection, Brooklyn, opening April 17
16. Diane Torr, Robert Mapplethorpe, Felix Gonzalez Torres, FF Alumns,

at Gallery of Modern Art, Glasgow, Scotland, thru Nov. 15
17. Anna Mosby Coleman, FF Alumn, at Calvary Church, Manhattan, April 8
18. Koosil-ja, FF Alumn, at LMCC Swing Space, Manhattan, May 12-17
19. Elizabeth Murray, Martha Wilson, Nina Yankowitz, FF Alumns, in The Huffington Post, now online
20. Harley Spiller, FF Alumn, at John Jay College, Manhattan, April 19

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1. Mike Asente, FF Alumn, at Ice Box Project Space, Philadelphia, thru April 26

Tyler Sculpture 2009
An alumni exhibition to benefit Tyler exhibitions and public programs

Ice Box Project Space
1400 North American Street
Philadelphia, PA 19122

Michael Asente
Francine Lomazoff Gintoff
John Gintoff
John J. Donnelly
Kevin Finklea
Danial Nord
Virginia Tyler
Gene Hracho
Erica Ando
Gina Occhiogrosso
Lori Costenbader-Coan
Candy DePew
Kim Kamens
Roxana Perez-Mendez
Shawn Dougherty
Peter Kreider
Wendy DesChene
Ianthe Jackson
Gregory Labold
Bob Gonzales
Austin Lee
Joseph DiGiuseppe
Chris Golas
Josh Kerner
Timothy Belknap
Susanna Gieske
Laura Hricko
Sarah O'Donnell
Shelby Donnelly

Alumni and friends are welcome to join the Tyler School of Art for an
opening reception, cocktails hors d'oeuvres provided by Victory Brewing
Company. Enjoy the artwork of 27 Tyler graduates from around the nation.

Exhibition Dates:
April 1 - 26
Wednesday-Sunday, Noon - 5:00 PM and by appointment.
Contact 215-204-6057 to schedule an appointment.

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2. Beverly Naidus, Mierle Laderman Ukeles, Ruth Wallen, FF Alumns, in
Seattle, WA, thru May 2

Tikkunim: curated by Tamar Benzikry-Stern, featuring work by Jackie
Brookner, Manya Fox, Shari Mendelson, Beverly Naidus, George Ostrow, Ann T.
Rosenthal, Sharon Siskin, Ilene Sunshine, Mierle Laderman Ukeles and Ruth
Wallen

April 2 - May 2, 2009
Opening Reception: Thursday, April 2, 6-8 pm
Curator Talk: Thursday, April 2, 7 pm

Tikkunim refers to tikkun olam, the ancient Hebrew expression that has
become a catch-all for healing, mending, repairing the world and improving
society through social activism. The show examines the term's application to
restoration of ecological balance and reclamation of resources both organic
and man-made. The ten artists presented in Tikkunim explore humanity,
nature, ecology and sustainability through their media and message.

Similar to the Jewish books known as tikkunim that share source material but
offer versions of functionality - one for scribing biblical text and one for
learning how to chant it - each artist offers a version of environmental
repair. From meditations on the current state of affairs to possibilities
for reparation, a photograph, sculpture, print, shelter, or book gains new
meaning. With an understanding of art-making as analogous to scribing, each
work of art represents a palpable hope for chanting - dialogue and impelled
action.

The artists in Tikkunim share Jewish roots, many citing tikkun olam as a
basic source and link to a universal art practice that addresses community
and ecology: belonging to a larger whole.

>From changing degraded identities of service workers to the restoration of
ravaged landscapes, Mierle Laderman Ukeles' public works reveal our powers
of transformation. In Allocations, she selects the ancient site of G'rar,
which is situated near the border 
of present-day Gaza, as "the fundamental site of public art". Ukeles points
to water in a cleft Israeli landscape. Symbolic of current divisiveness, the
photographic work also hearkens back to the site's biblical wells and
promise of overcoming division.

Ruth Wallen explores the frog as an indicator of changing human interaction
with the natural world. Photographs from curio shops, biology classrooms,
museum storerooms and a frog jumping contest are combined with scientific
and archaeological illustrations and anthropomorphizing imagery from fables
and folk tales to contemporary advertisements. Drawing from both art and
science she asks, "If frogs and toads disappear, how much else will
disappear with them?"

Beverly Naidus employs culture jamming as a subversive art practice in her
series of digital monoprints. Ads from the post-World War II era with their
"innocent" statements of desire and progress are altered with the words of
those living in denial about ecological collapse or words of despair over
living as canaries in the coal mine. Painful humor questions complacency. In
Reframing Eden, a drawing of Naidus' first outdoor site-specific,
collaborative project, humor is combined with an embrace of the sacred, and
complacency is supplanted by action. Developed with artist Shahreyar Attaie,
the new permaculture garden and its interactive altars will herald a larger
soil remediation project on Vashon Island, WA.

Tikkunim is co-sponsored by the 2009 AJC Seattle Jewish Film Festival themed
"SJFF 14, Go Green" and running April 23 - May 3. Visit the Jewish Film
Festival website or contact Pamela Lavitt, Festival Director, tel.
206.622.6315, lavittp@ajc.org for more information. Part of the proceeds
from artwork sales will benefit the AJC Seattle 
Jewish Film Festival.

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3. Joseph Nechvatal, FF Alumn, now online

'Viral Symphony 4th Mvt (Edit) - Joseph Nechvatal included here for mp3
download
http://theebradmiller.blogspot.com/2009/04/because-god-told-me-to-do-it....
Because God Told Me To Do It: - Formulation
"Cosmic forces can have a twisted sense of humor.
I am the reincarnation of Perkin Warbeck" -TheeBradMiller
Part 1: Formulation
cover art by Red Cell (new Bigger Inside Sleeve!)
Track Listing;
a Fire Alarm - AxemRangers
b Ahi Mele - The Missing Middle
c Witness At The Fountain - The Vivi Sect
d Wall Of The Shot (God's Version) - No It Is Opposition
e Burning/Crawling - Vampyramidf/F
f Will You Come Now - Phallus Dei featuring John Walker
g Celebration Of The Moon - Salakapakka Sound System
h Fire - A Forgotten Tale
i PianoSomewhere - AkuYou
j Viral Symphony 4th Mvt (Edit) - Joseph Nechvatal
k Gorka krv - Tearpalm
l Echoes - Elvatorium

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4. Dara Birnbaum, FF Alumn, in Ghent, Belgium, thru Aug. 2

EXPO S.M.A.K.
Dara Birnbaum
Retrospective :
the dark matter of media light
04.04 - 02.08.2009

S.M.A.K.
Citadelpark
9000, Ghent
Belgium
museum.smak@gent.be

http://www.smak.be

Dara Birnbaum (°1946 New York, USA) presents an emotionally loaded and
highly critical insight into (American) society and more particularly into
the way it is being portrayed by television. The prominent presence of 'the
woman' as emotional being allows for a feminist interpretation of her work.
Yet, unlike other contemporaries Birnbaum does not run diametrically counter
to a male society affected by testosterone. Her work is a sustained search
for a redefinition of what it can mean to be 'a woman' in a world evolving
ever faster and overloaded with images. Dara Birnbaum considers it a
challenge to formulate a strong and well-founded commentary on a political
as well as a social level, by means of new audiovisual techniques. Although
she grew up in a climate of political crisis, she has still maintained her
unfathomable sense for romanticism.

For the retrospective parts of her personal archive will be opened up and
films which were never shown before will be presented. At the same time a
retrospective monograph will be compiled in which a choice selection of
national and international authors will throw light on their view on
Birnbaum's oeuvre from various perspectives. The exhibition begins in
S.M.A.K. and will afterwards travel to Fundaçao Serralves (Porto, Portugal).

Birnbaum's work has been shown on numerous occasions, since the 1980s, both
at the Museum van Hedendaagse Kunst and S.M.A.K. In 1991, the museum first
presented a large-scale installation work by Birnbaum, Tiananmen Square:
Break-In Transmission (1990), on the occasion of the Time Festival. This
work was so well received that it was immediately purchased into the
permanent collection. This spatial installation concentrates on the events
surrounding the broadcasting of the student and worker uprising in the
summer of 1989, which culminated in "Tiananmen Square." Particularly
revealing is Birnbaum's concentration on the means used to get the
documentation of these events out to a mass viewing audience. For example,
one of the installation's video channels concentrates on the moment that
both CBS and CNN were forced to cease broadcast transmission, while another
channel reveals the ways and means taken up by students in order to continue
to get such images out, as with fax machines. The presentation of such
imagery, on small LCD screens, forces the viewer to be in a direct, close-up
confrontation with the displays, thus further accentuating the balance of
power that political structures and media strategies adopt in everyday life.
The diversity of the facts is culturally determined and played out
strategically. It is up to the viewer to keep their dormant critical sense
awake.

In 1992, the year after the purchase, Dara Birnbaum was commissioned by
Documenta IX, Kassel, to produce a new work, Transmission Tower: Sentinel.
Here Birnbaum concentrates on excerpts from the now famous "Thousand Points
of Light" speech, made by George Bush when he accepted his party's
nomination to run for President, in 1988. The downward curve, formed by
sequential monitors, refers to the exact path taken by the most frequently
dropped bomb by the U.S. in the Gulf War. Thus, the structure also underpins
and reinforces the political tone of Allen Ginsberg's reading of his
anti-war poem "Hum Bom!", on the occasion of the opening night of the 1988
National Student Convention, held at Rutgers University. The exhibition
space, the Friedericianum in Kassel, the 18th-century symbol of political
power, was the backdrop to the section of high voltage pylon of an actual
transmission tower from which the eight monitors were suspended. This
setting enhanced the tension between the three sets of images, which are
presented in the motion of a constantly moving linear video wall: Ginsberg's
recitation, excerpts of George Bush's acceptance speech; and contra-flowing
images from students at the 1988 National Student Convention, which move in
an upward motion against the others.

It was already with growing interest that S.M.A.K. kept track of Birnbaum's
work from the early days of her artistic career. This collaboration reached
its first climax in the late 80's and early 90's. At that time, an intense
bond developed, which has been sustained until this very day. The artistic
director, Philippe Van Cauteren, therefore considered it no more than a
logical conclusion that the museum should be the driving force behind a
proper retrospective exhibition, with a full catalogue of the oeuvre. After
all, the last exhibition of any size dates from 1995 and since then her work
has undergone a huge evolution, not least as a result of the technological
progress of the last decade. After nearly 15 years of retrospective silence,
it is essential to turn the spotlight on work of such quality once again and
to pay Dara Birnbaum the respects she deserves.

Contact

Els Wuyts
Press officer S.M.A.K.
Citadelpark
9000 Gent
T +32 (0)9 240 76 47
M +32 (0)495 89 05 26
E els.wuyts@gent.be
W http://www.smak.be

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5. Andrea Polli, FF Alumn, at apexart, Los Angeles, CA, June

apexart is moving to Los Angeles*

456 PROPOSALS - 65 COUNTRIES

250 JURORS - 7000 VOTES

The FRANCHISE <http://www.apexart.org/exhibitions/franchise.htm>
location has been decided. apexart will present the exhibition X, Y, Z, and
U curated by the League of Imaginary Scientists at Outpost in Los Angeles.

In December apexart held a worldwide open call for 250-word proposals for
exhibitions. Based on the idea of creating its own franchise apexart wanted
to hear from the participants why the FRANCHISE should come to their town.
To enhance the democratic notion of the project apexart invited over 250
jurors from the art world and beyond to judge this unusual experiment. In
the end a proposal from Los Angeles stood out against the 456 proposals from
65 countries that were submitted.

In June, 2009, apexart will host X, Y, Z, and U curated by the League of
Imaginary Scientists at Outpost for Contemporary Art, 6375 N. Figueroa
Street, Los Angeles, CA 90042.

X, Y, Z, and U <http://www.apexart.org/exhibitions/franchise.htm> is an
exhibition and series of discussions and workshops featuring the mapping
projects of artists whose creative practices resemble field research and
scientists who use DIY tactics and creative visualization to map scientific
information. Through community-based activities and actions, X, Y, Z, and U
asks: Where is science and how do we interact with it? Who maps information
and who has access? Can anyone participate in genomic research?

Participating artists and scientists include:
Kim Abeles
Kelly Jaclynn Andres
Jason Bobe
Mackenzie Cowell
Liz Kueneke
Andrea Polli
Chuck Varga

The League of Imaginary Scientists
<http://www.imaginaryscience.org/>
is an inventive research collective. In pairing science and art, the League
seeks to formulate new methods for data expression, embodied through
interactions that produce physical artifacts and accompanying scientific
residues.

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6. Andre Stitt, FF Alumn, at Roger Smith Hotel, Manhattan, thru April 24

SHIFTwork
Andre Stitt & Fritz Welch
April 7 - 24, 2009
Live Cut-up Akshun Performance: April 16, 5:30 - 6:30pm

Contact: Robert Curcio: curcioprojects@yahoo.com, 646.220.2557; Matt
Semler: rogersmitharts@rogersmith.com; 212.339.2092
Location: Corner of 47th Street and Lexington Avenue at The Roger Smith
Hotel.
Interview: April 13 at noon; David Weinstein interviews the artists on
www.artonair.org.
The Lab Gallery is pleased to present SHIFTwork by Andre Stitt and Fritz
Welch, curated by Robert Curcio of curcioprojects. SHIFTwork is a
collaborative installation/performance that will investigate the perceptions
of the artist's method of production as "work" and the artist as a cultural
worker. The space becomes a public studio for the exploration of the artist
as "common worker" and an artistic activity that exposes the performance of
painting as labor and cultural practice. This activity takes the form of a
series of work "shifts" that reflect labor patterns and "shiftwork" activity
throughout the city.

>From April 19th to 16th the public can view the artists on the job
working/painting on a series of "live" in-situ works through the large
windows of the corner street level gallery during their assigned shifts; see
attached schedule. During rush hour (5:30 - 6:30pm) on April 16th, Stitt
and Welch will have a live akshun performance within the space where they
will dismantle, cut-up, and construct new works from the debris of the
paintings they were just working on for distribution to the public, at no
cost to them, before becoming marketable products available through
curcioprojects. The residual installation and products/art will be on view
until April 24th.

SHIFTwork is the first collaborative piece by Stitt and Welch.
Internationally renowned cult performance artist, Andre Stitt first met a
teenaged Fritz Welch, during a performance at the Commerce Street Artist's
Warehouse in Houston , Texas in 1989. Seventeen years later, Welch invited
Stitt to take part in a series of performances accompanying the exhibition
Acute Zonal Occult Outer, at The Drawing Center, NYC in 2006.

SHIFTwork is supported by the Arts Council of Wales and Creative Wales
Award.

SHIFTwork Schedule and Events:

Thursday, April 9: 8am to Noon , 4pm to 8pm .
Friday, April 10: 8pm to Midnight , short break, until 2am .
Saturday, April 11: 2pm to 4pm. Evening performance of The Peeesseye
Brothers with special guest Andre Stitt at West Nile in Brooklyn .
www.shinkoyo.com/parislondon; www.peeesseye.com.
Sunday, April 12: 3pm to 7pm .
Monday, April 13: 10am to 2pm, 4pm to 8pm. Noon interview on
www.artonair.org.
Tuesday, April 14: Grave yard shift, late night to early morning.
Wednesday, April 15: 2pm to 4pm, 6pm to late night. 7:30 begins in space
performance with Ki featuring Tamio Shirasihi and Michiko
Thursday, April 16: 5:30pm to 6:30pm live Akshun performance.
Friday, April 17 to Friday, April 24: installation

Artist Biographies:
Andre Stitt (born in Belfast , N. Ireland 1958) is considered one of Europe
's foremost performance and interdisciplinary artists. Stitt is Professor of
Performance and Interdisciplinary Art at the University of Wales Institute
and is the director of the Centre for Fine Art Research at Cardiff School of
Art & Design in Wales . He is identified with a strain of performance
relating more to visual art and action [identified in Stitt's work as
"akshun"]. His work focuses on difficult and traumatic themes; issues of
oppression, freedom, coercion, subversion, alienation, appropriation of
cultures, globalization, and communal conflict. Stitt's work physically and
emotionally embodies the divisive forces of capitalism and materialist
addiction. A retrospective of Stitt was at the Spacex Gallery, England last
year and will travel to MCAC, Northern Ireland 2009. Other recent projects
include the Venice Biennale and the Baltic Contemporary Art Centre both in
2005. Stitt is represented by curcioprojects.

Fritz Welch (born Decatur, Georgia USA 1967) works with sonic and visual
media. His installations utilize wall drawing, sculpture and sound to
explore themes of anarchic mutation and social transformation. Welch is a
drummer, percussionist and vocalist, in the groups The Peeesseye, Ki and
Lambs Gamble. He has toured widely with these groups and exhibited in
galleries and kunsthalles in The United States and Europe . Welch is
represented by Cuteoproject in NYC and Paris.

curcioprojects:
Robert Curcio of curcioprojects is an independent gallerist, arts
entrepreneur, curator, and writer. Curcio's next project is Desires at a
Chashama space in May. www.curcioprojects.com.

The Lab Gallery:
THE LAB (for installation + performance art) is a New York based, converted
storefront turned fishbowl producing 20+ fast paced performance art and
installation exhibitions annually. Aimed at the furious midtown foot
traffic, THE LAB's programming is designed to confront modern relationships
between art and audience and seeks to force interaction between high energy,
"outrospective" exhibitions and nearly 25,000 daily passersby. For more
information, call 212-339-2092, or email rogersmitharts@rogersmith.com.

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7. Leon Ferrari, FF Alumn, in The New York Times, April 3

April 3, 2009
Art Review | 'Tangled Alphabets'
Alternative Modernism via South America
By ROBERTA SMITH
At least one work in "Tangled Alphabets: León Ferrari and Mira Schendel" at
the Museum of Modern Art should raise some hackles. It is "Last Judgment" by
Mr. Ferrari, an Argentine artist born in 1920 who is still active. It
consists of a large reproduction of Michelangelo's "Last Judgment" fresco in
the Sistine Chapel that Mr. Ferrari left sitting beneath a cage of pigeons.
The whitish substance dotting much of the image has a beautiful softness
reminiscent of volcanic ash; damp, blossoming plaster; and loosely brushed
oil paint. A mechanical reproduction of the best-known depiction of the
world's end becomes an object that is either riddled with decay or
luxuriantly hand-worked. Michelangelo may have populated his fresco with the
minions of the Devil, but Death itself seems to be seeping gently through
the walls of Mr. Ferrari's version.
First made in 1985, "Last Judgment" neatly combines Process Art,
appropriation art and political provocation. A violated ready-made (like
Duchamp's mustachioed Mona Lisa), it hangs in the final gallery of the
Modern's show a few feet from a polar opposite: "Still Waves of Probability
(Old Testament, I Kings 19)" by Ms. Schendel (1919-1988), a Brazilian
artist.
The sheer simplicity of "Still Waves" may also raise hackles. It consists of
thousands of strands of nylon thread hanging to the floor from tiny
jeweler's eye-hooks covering a 12-by-14-foot area in the gallery's
18-foot-high ceiling. In such quantity, the threads form a silvery, wafting,
quasi-visible shaft that could almost be light or rain. Hanging nearby, a
sheet of clear plexiglass is printed with a quotation from I Kings 19
concerning the voice of God, which is not found in wind, earthquake or fire,
but is simply "a still small voice." The religious subject matter is not as
embedded as it is in the Ferrari piece, but "Still Waves," from 1969, is an
early and rather monumental instance of Post-Minimalism.
"Tangled Alphabets" is the Modern's latest attempt to explore modernisms
beyond the narrow Euro-American version that it did so much to lock in
place. Organized by Luis Pérez-Oramas, the museum's curator of Latin
American art, it is essential viewing for anyone interested in 20th-century
art and often displays a taut aesthetic repartee. But it also sometimes
feels halfhearted.
The news release lauds Ms. Schendel and Mr. Ferrari as "two of the most
important South American artists of the 20th century." But the combined
retrospectives suggest an unwillingness to commit. Wedging a double survey
into galleries usually occupied by single ones doesn't help.
Still, "Tangled Alphabets" brings together more work by Ms. Schendel and Mr.
Ferrari than has been seen in a North American museum. It opens a window on
a complex regional artistic history similar to that of the United States in
its assimilation of European models, embrace of both abstraction and popular
culture and oscillation between purity and politics. Expect to find
analogies here to Abstract Expressionism, Fluxus, word art, Arte Povera,
appropriation art and even Neo Geo.
Ms. Schendel and Mr. Ferrari knew each other only slightly and exhibited
together only once in a large group show. They represent, at heart, very
different sensibilities. Mr. Ferrari is extroverted, even grandiose, and
peripatetic, hitting so many different notes over the course of his career
that inevitably more than a few are off key. Ms. Schendel was more
consistent, an introverted purist, a focused student of Eastern mysticism
and a Post-Minimalist before the fact.
They both emerged in the 1960s, when progressive ideas flourished in art and
politics, albeit beneath the gathering clouds of military juntas. Their
alignment is closest during these years, when both worked extensively with
ink and paper, in vocabularies that mixed words, letters, illegible writing
and line, as well as aspects of transparency and automatism. In the show's
center gallery, it is sometimes hard to know who did what.
But they arrived at this common ground from different directions. Ms.
Schendel, a Jew and onetime poet, survived World War II, emigrating in 1949
from Sarajevo to Brazil, where she began to paint. Living in São Paulo after
1953, she met a German bookseller named Knut Schendel who became the father
of her only child and then her husband. Her earliest works at the Modern are
stiff, abstracted, Morandi-like still lifes from the mid-1950s.
Contact with the Brazilian Neo-Concrete artists is reflected in the quirky,
textured, nearly monochromatic paintings she made in the early 1960s. But,
striving for something less rational and more ephemeral, she found her true
voice in a Zen-like visual poetry. It was created by pressing down - often
with only her fingernail - on Japanese rice paper laid on glass laminate
covered with ink and lightly sprinkled with talc.
The technique unleashed an immense range of seismographic marks, symbols,
letters, word fragments and phrases that soon spread to the imposing
two-sided works she called Graphic Objects. Here multiple sheets of rice
paper dotted with regiments of little marks and letters, as well as big
press type, are sandwiched between sheets of plexiglass. The disembodied,
translucent patchworks and textures suggest different layers of sound caught
on scrims - black on white, red on white and white on white.
By 1964, Ms. Schendel was using her rice paper sculpturally, evolving forms
that, concurrent with Eva Hesse's, achieved a resonant fusion of organic and
geometric. Weaving and knotting twisted strands of it, she made odd,
flexible forms that she called Little Nothings. These spheres and irregular
nets evoke brains, vines, relaxed bodies and collapsed grids; they hover
eerily between animate and inanimate.
Mr. Ferrari came to drawing from sculpture, his route first visible in
ceramic vessels from around 1960, whose tapering curves evoke women's
bodies, then in delicate wire sculptures that seem like 1950s period pieces
but were made a decade later. Most of his efforts swing wildly between out
of date and prescient, genuine and stagey.
His spidery ink drawings from the early 1960s lack the innate sense of scale
that informs even Ms. Schendel's slightest works. Better are more carefully
composed works, also from the 1960s, in which jubilant profusions of line
suggest incoherent musical scores, flamboyant alphabets, manically
pretentious script. A kind of studied Art Nouveau automatism prevails.
Sometimes the looping calligraphies heave like layers of sediment.
Occasionally they are legible. Three works from 1963 titled "Letter to a
General" signal the growing political consciousness that would inspire some
of Mr. Ferrari's work for more than a decade. In 1976, as Argentina's
military dictatorship tightened its grip, Mr. Ferrari and his family
relocated to Brazil for 15 years; one son, Ariel, stayed behind and soon
"disappeared."
One of Mr. Ferrari's most interesting political works is unfortunately
represented in this exhibition only by a collage, although it appears twice
in the catalog. It is the 1965 "Western Christian Civilization," a
found-object assemblage and protest against the escalating Vietnam War. It
consists of a nearly life-size figure of Jesus mounted, as on a crucifix, on
the underside of a large, inverted model of an American bomber. Included in
the 2007 Venice Biennale, it is polemical to say the least, but also
remarkably ahead of its time.
This show encourages you to suspend many of your assumptions about postwar
art in the Americas. But it also leaves other things up in the air.
Concentrating on one artist or the other might have provided a fuller,
messier account of either's achievement. Putting them together seems to have
made for a larger tidiness by maintaining a certain Minimal/Post-Minimal
orthodoxy. To shake things up really, the Modern may have to expand more
than just its geographical purview.
"Tangled Alphabets: León Ferrari and Mira Schendel" continues through June
15 at the Museum of Modern Art; (212) 708-9400, moma.org.

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8. Pamela Sneed, FF Alumn, at Long Island University, Brooklyn, April 9

KONG Reading and Book Release!

Some advance praise for KONG!
With "Kong," Pamela Sneed has given us a gorgeous geography of her
wanderings through literature and history, travel and memoir. She is a
writer for the future, in that she defies genre. She is an expert tour guide
through landscapes we have yet to know.

Hilton Als
The New Yorker

"Absolutely no one writes like Pamela Sneed. Incisive. Insightful.
Plainspoken and passionate. Whether in Wal-Mart or a slave fort in Ghana,
her poetry never fails to rouse, challenge and edify. Kong is a master work
about survival, compassion and the continuous struggle not to avert our eyes
or be silenced."
G. Winston James
Editor, Voices Rising: Celebrating 20 Years of Black Lesbian, Gay, Bisexual
and Transgender Writing

Hilton Als
The New Yorker

Kumble Theater @ LIU
Thursday, April 9, 2009
7:00pm - 8:30pm
Kumble Theater for The Performing Arts
1 University Plaza
Brooklyn, NY
718 488 1624
kumble@brooklyn.liu.edu

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9. Robin Tewes, Joyce Kozloff, FF Alumns, at the Philoctetes Center,
Manhattan, thru May 14

On Aggression Group Exhibition - Robin Tewes, Joy Garnett, Alexander
Gibbons, Joyce Kozloff, Leah Poller, Margaret Roleke
February 28-May 14 Philoctetes Center 247 East 82nd Street Monday-Friday
11-5

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10. Alyson Pou, FF Alumn, at South Street Seaport Museum, Manhattan, thru April 19

A SLIGHT HEADACHE
by: Alyson Pou

March 20th - April 19th
Thursday, Friday, Saturday, Sunday 7:30pm (no show on Easter)
South Street Seaport Museum, Melville Gallery
213 Water Street, New York, NY 10038

Mention that you saw this listed in Franklin Furnace's Goings On and receive
two tickets for the price of one!

A SLIGHT HEADACHE is a performance/installation by Alyson Pou presented in
the manner of a 19thc. Dime Museum/Sideshow. In 1865, a woman miraculously
gives birth to a tiny girl from her forehead, from that moment they are
inextricably joined by their hair. Over the years, the daughter grows and
the hair grows, but it cannot be cut. They reside in the back rooms of a
Dime Museum that displays curiosities and give daily performances upon a
small stage. In this show, the Mother sings, recounts the extraordinary
birth, invites viewers to try and cut their hair, the daughter tells
fortunes. But tonight the daughter refuses to perform. She reveals secrets
about herself and the hair that drive the women to a final, perhaps fatal,
confrontation witnessed by the audience. Alyson Pou plays Mother and
Daughter.

Mention that you saw this in Franklin Furnace's Goings On and receive two
tickets for the price of one!

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11. Penny Arcade, FF Alumn, at Dixon Place, Manhattan, April 8-19

Penny Arcade collaborates on Araby with singer song writer Chris Rael at
Dixon Place April 8th through April 19th. Araby is singer /songwriter and
composer Chris Rael's first performance piece, and the composer and front
man of Church of Betty, one of New York's most distinctive music projects,
spanning 1989 to 2009, enters this artistic arena with a bang! Rael brings a
fierce yet sensitive intelligence to the emerging literary based performance
scene. Araby is a uniquely structured "chamber musical" re-telling of James
Joyce's Dubliners. In Araby, Rael re-conjures Joyce's 15 short stories in
16 songs with original music and lyrics that draw on and accent the emotions
Joyce sought to illustrate in Dubliners, but that are common to all eras and
cultures. Rael and singers Dudley Saunders, Nancy Magarill and Carlos Ponton
are accompanied by an all-star 9-piece chamber ensemble and video
projections from contemporary Dublin. The compositions reflects Rael's rich
world music orchestral background, but it is his sublime gift as a lyricist,
giving him the rare and powerful ability to write directly from the
character, that will astound you - even moreso if you read Dubliners prior
to seeing the 0Ashow. The libretto itself is impressionistic, recounting
Rael's personal journey with his father (a lover of Joyce) and it is in
Araby where fiction and realism meet as the younger Rael seeks to encounter
and understand his departed father's personal journery and what has become
his own, through the literature he loved and shared with his son. It is the
internal experiences and internal reality rather than chronological details
that fuel Araby- an approach inspired by the depth of Joyce's psychological
portraiture.This is an absolutely unique and extraordinary foray into a new
performance form and it is not to be missed. Araby www.dixonplace.org

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12. China Blue, FF Alumn, now online

Hey, I thought you might want to know about the latest movies I just released:

"Under Voices" and "Memory Strains" are two new movies based on my
recordings of the Eiffel Tower now on You Tube:
www.youtube.com/user/ChinaBlueArt. Tell me what you think of them.

If you are in New York City check out "City Fish" a humorous animation about
the life of an often acoustically traumatized goldfish currently on
exhibition in Domestic at Art Currents through April 11, 2009, 547 W. 27th
Street, 5th Floor (www.artcurrents.org).

"Her work is real art. It can effect my emotional environment. The complex
sonic layering is calming, bright, elevating and woven with a rich visual
palette. Brilliant work in the vein of early Terry Riley." Paul
Hasegawa-Overacker, Producer of Guest of Cindy Sherman and writer for
ArtNet.

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13. Claire Fergusson, Vernita Nemec, FF Alumns, in Tribeca, April 24-27

TOAST 2009 Will Take Place
Friday April 24, 5:00 to 9:00 PM
Saturday, April 25, 1:00 to 6:00 PM
Sunday, April 26, 1:00 to 6:00 PM
Monday, April 27, 1:00 to 6:00 PM
The TriBeCa Open Artist Studio Tour is a free, self-guided tour of
approximately 100 artists' studios throughout TriBeCa. Bringing artists and
the public together, it provides an opportunity for visitors to interact
with the artists and see their artwork at the source, the artist's own
studio. An artist-run organization, TOAST has led a true metropolitan "grass
roots" path. It began as an ad-hoc group of artists who wanted to revive a
neighborhood art walk. Now a not-for-profit organization, it is still a
grass roots effort, run by the participating artists. Neighborhood
businesses and supporters supplement most of the needed funds not covered by
the artists' entry fees.

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14. Patty Chang, Kate Gilmore, FF Alumns, in Manhattan, thru April 30

CHEWING COLOR, CURATED BY MARILYN MINTER
PRESENTED BY CREATIVE TIME AT 44 1/2
WITH WORK BY PATTY CHANG, KATE GILMORE, AND MARILYN MINTER
APRIL 1-30, 2009
Marilyn Minter, Green Pink Caviar, 2009.
(March 17 New York, NY) At 44 1/2, Creative Time's presentation of video art
on MTV's outdoor, gilded screen located in the heart of New York City's
Times Square, will showcase three works curated by artist Marilyn Minter, in
a program entitled Chewing Color. The films include Patty Chang's Fan Dance,
Kate Gilmore's Star Bright, Star Might, and Marilyn Minter's Green Pink
Caviar. The works will be on view hourly between April 1 and 30.

Capturing the spirit of Minter's investigation into what she calls "the
pathology of glamour" and her interest in the border between photorealism
and abstraction, the work in Chewing Color strikes a delicate balance
between beauty and disgust. The visually aggressive work will demand
attention even amongst the bustle of Times Square, bringing the cutting edge
of contemporary art to the neighborhood. Creative Time kicked off At 44 1/2
with the overwhelmingly successful presentation of Shallow by Malcolm
McLaren, and was followed by selections from Mark Tribe's Port Huron
Project, reenactments of classic New Left speeches; early work by the
legendary Gilbert & George; and a presentation of work by three emerging
artists including Matt Calderwood, Mika Rottenberg, and Guido van der Werve.
The larger than life, high definition 44 1/2 screen is located on Broadway
between 44th and 45th Streets, directly across the street from MTV's offices
and studio. At 44 1/2 is part of Creative Time's long history of presenting
public art in Times Square.
"Creative Time is thrilled to be able to invite artists to present their
videos on the brightest screen in the bustling heart of the city," said Anne
Pasternak, president and artistic director of Creative Time. "And we are so
grateful for MTV's unwavering support of art in Times Square in the face of
troubled economic times."

"More than 28 years ago, MTV helped give birth to a new video medium by
showcasing music videos," said Jeff Yapp, Executive Vice President, Program
Enterprises, MTV Networks Music & Logo Group. "By working with Creative Time
to bring video art to Times Square for a second year, we're exposing
millions of visitors who travel through the Cross Roads of the World to
another group of amazing artists." Green Pink Caviar is presented in
collaboration with Salon 94, Art Production Fund, and ForYourArt.

ABOUT MARILYN MINTER
Marilyn Minter was born in 1948 in Shreveport, LA, and lives and works in
New York City. She received a bachelor's degree in fine art from the
University of Florida in 1970 and a master's in fine art from Syracuse
University in 1972. She had a solo show at SF MoMA in 2005, and was featured
in the 2006 Whitney Biennial. Recent solo shows include Salon 94, New York,
Creative Time, New York and Gavlak Projects, Palm Beach. She is currently
featured in a 2 person show titled SWEAT with Mika Rottenberg at the Laurent
Godin gallery in Paris. She created the first centerfold ever featured in
Parkett in 2007. Upcoming shows include Salon 94 Freemans in late April
2009, and Regen Projects in the fall. Also in the fall, the Contemporary
Arts Center Cincinnati will present a large installation of Marilyn's work.
Her first monograph was published by Gregory R Miller, New York, in 2006.
Minter has, for the past 20 years, explored what she calls the "pathology of
glamour," or the painstaking, everyday un- and re-doing of women's physical
appearance in their strive for perfection. Taking on the clichés of fashion
photography she adds a dose of reality to them. Closing in tight on her
subjects, whether it is a shoe, an eye, or a baby, she subverts the glamour
of desire. The images Minter generates always stand on the border of
photorealism and abstraction: pointing her camera on details, she
continually shoots her photographs at the moment before the image breaks out
of focus.

VIEWING SCHEDULE AND DIRECTIONS
A viewing schedule and directions to the screen are available at
http://www.creativetime.org/at445.

ABOUT CREATIVE TIME
Since 1974, Creative Time has presented the most innovative art in the
public realm. From our base in New York, we work with artists who ignite the
imagination and explore ideas that shape society. We initiate a dynamic
conversation among artists, sites, and audiences, in projects that enliven
public spaces with free and powerful expression. Creative Time's
presentation of video art in Times Square since 2001 has inspired new public
video programs in metropolises across the country and around the world.

SUPPORT
Creative Time is funded through the generous support of corporations,
foundations, government agencies, and individuals. Additional funding
provided by the New York City Department of Cultural Affairs; the New York
State Council on the Arts, a State agency; New York City Council Speaker
Christine C. Quinn; and New York State Senator Thomas K. Duane.

MEDIA CONTACT: NICHOLAS WEIST, 212 206 6674 x205 OR NICKW@CREATIVETIME.ORG

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15. Ken Butler, FF Alumn, at The Hogar Collection, Brooklyn, opening April 17

The Hogar Collection
362 Grand Street, Williamsburg, Brooklyn, NY 11211
tel.718.388.5022     info@hogarcollection.com www.hogarcollection.com
Gallery Hours: Thursday - Monday 12:00 - 7:00pm and by appointment

Presenting 2 Great Shows:

Matt Wycoff solo exhibition, and in the back room -

Ken Butler

Instrumental Bricolage
Sculpture and works on paper

April 17th - May 18th, 2009
Opening Reception: Friday, April 17th, 6-9pm

Friday, May 8th @ 8 pm
Performance by: Ken Butler's Voices of Anxious Objects

Ken Butler on Hybrid Strings with Matt Kilmer on Hand Drums

The Hogar Collection is pleased to announce a very special exhibition in the
"back room" of sculpture and collage based works on paper by Ken Butler. His
"Hybrids" are like complex simplicities that are created from society's
discards. Primarily rooted in an amalgamation of sculpture and music, his
work expands the possibilities of innovative "low-tech" sonic investigations
that synthesize the everyday ordinary trash objects from our utilitarian
world into instruments of the unimagined imagination. Playful and wit-fully
engineered, Butler's work in an overall sense reaches for and embraces
music's primal qualities of understanding a universal existence in an
ephemeral world.

Ken Butler's works have been featured in numerous exhibitions and
performances throughout the USA, Canada, and Europe including The Stedelijk
Museum in Amsterdam and Exit Art, Thread Waxing Space, The Kitchen, The
Brooklyn Museum, Lincoln Center and The Metropolitan Museum of Art in New
York City as well as in South America, Thailand, and Japan. His works have
been reviewed in The New York Times, The Village Voice, Artforum,
Smithsonian, and Sculpture Magazine and have been featured on PBS, CNN, MTV,
and NBC, including a live appearance on The Tonight Show. Awards include
fellowships from the Oregon Arts Commission, the New York Foundation for the
Arts, and the National Endowment for the Arts.

Ken Butler studied viola as a child and maintained an interest in music
while studying visual arts in France, at Colorado College, and Portland
State University where he completed his MFA in painting in 1977. He has
performed with John Zorn, Laurie Anderson, Butch Morris, The Soldier String
Quartet, The Tonight Show Band, and The Master Gnawa musicians of Morocco.
His CD, Voices of Anxious Objects is on Zorn's Tzadik label.

His work is represented in public and private collections in Portland,
Seattle, Vail, Los Angeles, Toronto, Montreal, and New York City including
the permanent collection of The Metropolitan Museum of Art.

*For more information or images, please contact Todd Rosenbaum (director) at
718.388.5022.

Gallery Hours: Thursday - Monday, 12- 7 pm and by appointment

The gallery is conveniently located in Williamsburg, Brooklyn and is easily
accessible by all forms of transportation.
Subway: L Train to Bedford Ave, walk south on Bedford Ave to Grand St. Turn
left on Grand St, walk 4 blocks, between Havemeyer and Marcy.
L or G Train to Lorimer St, exit on Metropolitan, walk under BQE towards
Manhattan, left on Marcy Ave, 2 blocks turn right on Grand at the corner of
Marcy. JMZ to Marcy Ave, walk 5 blocks north on Marcy, turn left on Grand
St. By car from Manhattan - Drive over the Williamsburg Bridge, 2nd
immediate exit at South 5th St, left at light on Havemeyer, right on Grand
Street, 4 blocks on right.

Ken Butler
HYBRID VISIONS
427 Manhattan Ave.
Brooklyn, NY 11222
WEBSITE       www.mindspring.com/~kbhybrid
MYSPACE     www.myspace.com/kenbutlerhybridvisions
PHONE / FAX    (718) 782-4383
sculpturemusicbricolagehybridinstrumentsperformance
interactiveaudiovisualmechanicalmultimediainstallation

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16. Diane Torr, Robert Mapplethorpe, Felix Gonzalez Torres, FF Alumns, at
Gallery of Modern Art, Glasgow, Scotland, thru Nov. 15

Diane Torr, Nan Goldin, Robert Mapplethorpe, David Hockney, Felix Gonzales
Torres, Pattie Cronin, Grayson Perry and others in major show sh(OUT) at
Gallery of Modern Art, Glasgow. Show runs until November 15, 2009 so you
have plenty of time to come to Scotland and see it.

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17. Anna Mosby Coleman, FF Alumn, at Calvary Church, Manhattan, April 8

See, Anna Mosby Coleman's "new media" installation, HE IS NOT MY ENEMY at
Calvary Church, Park Avenue at 21st Street at 7:30pm on Wednesday, April 8.
Please see rest of program which includes amazing music, a film, and a
capellini meal.
Anna is the Director of Cine Capellini.

Happy Spring Dear Friends,

Please come to this Wednesday for and evening of art, music, film
& fellowship at Calvary Church: 7:30pm
(21st and Park Avenue).
http://cinecapellini.com/

Kamel Boutros, the music director of Calvary, and I, director of Cine
Capellini,
will host this music and art event to invite meditation for Holy Week
(the week between Palm Sunday and Easter).

Three Works will be featured
HE IS NOT MY ENEMY an installation by Anna Mosby Coleman
(see part 1 here: http://www.youtube.com/watch?v=4clUJr2Adzs )
Leçons de Tenebres (Lessons of Shadows) by Francois Couperin
with sopranos Lucy Yates and Yvonne Bill, organ Kamel Boutros
Most an Oscar-nominated short film by Bobby Garabedian (30 min)
http://www.mostthemovie.com/
The other important part of the evening will be a meal together (FREE)
and an opportunity for discussion.

My apologies for the very short notice with hopes to see you there !!!

Love,
Anna

cine_capellini@yahoo.com

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18. Koosil-ja, FF Alumn, at LMCC Swing Space, Manhattan, May 12-17

koosil-ja/danceKUMIKO
invites you to work-in-progress performance, workshop, and HANG OUT (a
social environment for you and artists in the project).

Location for All Events:
LMCC Swing Space at 14 Wall Street, Just off Broadway (between Broadway and
Nassau), NYC

Admission for all events: FREE

RSVP by email: performance@dancekk.com

All events are made possible by New York State Department of Cultural
Affair, and Swing Space, a program of Lower Manhattan Cultural Council,
generously supported by the September 11th Fund. Project space is donated by
Capstone Equities.

Information about PERFORMANCE

Description of Work:
(Purposefully left blank)

Dance by:
Melissa Guerrero
Ava Heller

Music by:
Geoff Matters

Concept and video for movement by:
Koosil-ja

Date:
Tuesday, May 12th
Wednesday, May 13th
Thursday, May 14th
Friday, May 15th
Saturday, May 16th

Time:
2 performances per night
7pm and 8:45pm

Duration:
Less than an hour

Note:
The space is located at a former bank vault of a fancy office building. It
is a very raw space. There is no theatrical light. You will see the work by
itself.  Seating is extremely limited. Please RSVP by email at
performance@dancekk.com.

Funding Credit:
National Endowment for the Arts, New York State Department of Cultural
Affair, American Music Center Live Music for Dance Program, MAP Fund, New
England Foundation for the Arts National Dance Project, Bossak/Heilbron
Charitable Foundation, Japan Foundation, New York State Council on the arts
and Asian Cultural Council.

This piece is commissioned by Dance Theater Workshop's Commissioning and
Creative Residency program with support from the Ford Foundation, the
National Endowment for the Arts, a federal agency, the New York State
Council on the arts, and the Jerome Robbins Foundation.

Information about WORKSHOP for Live Processing (a performance technique
using video movement sources to create movement for dancers)

Sunday, May 17th
>From 1pm to 5pm

Information about HANG OUT (a social environment for all of you and artists
in the project)
Sunday, May 17th
>From 6pm to LATE NIGHT

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19. Elizabeth Murray, Martha Wilson, Nina Yankowitz, FF Alumns, in The Huffington Post, now online

In Today's Huffington Post:

http://www.huffingtonpost.com/marcia-g-yerman/who-owns-feminist-art-his_b_18

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20. Harley Spiller, FF Alumn, at John Jay College, Manhattan, April 19

The Ellie and Martin Lifton Institute of Judaic Studies' Robert V. Tishman
Lecture Series, a program of Jewish Association for Services for the Aged,
invites you to

"Egg Rolls & Egg Creams: A Uniquely Jewish Love Story"

Sunday, April 19, 12 noon -12:45 pm

a lecture by Harley Spiller

at John Jay College, 899 Tenth Avenue between West 58th and West 59th
Street, Manhattan.  Suggested admission $3.

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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
http://www.franklinfurnace.org
mail@franklinfurnace.org

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