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Contents for September 23, 2009
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1. Diana Heise, FF Fund Recipient 2008, in Brooklyn, Sept. 26-27

2. Julia Scher, FF Alumn, at Museum Abteiberg, Moenchengladbach, Germany, thru November 15.
3. Jay Critchley, in Provincetown Harbor, Sept. 24, and online at worm.org
4. Linda Stein, FF Member, at Flomenhaft Gallery, Manhattan, thru Oct. 24, and more
5. Elly Clarke, FF Alumn, at Clarke Gallery, Berlin, Germany, opening Sept. 26
6. Simon Cutts, FF Alumn, at London Art Book Fair, London,UK, Sept. 25-27
7. Michael Smith, FF Alumn, in the New York Times, Sept. 18
8. Ree Morton, FF Alumn, in The New York Times, Sept. 18
9. Claudia DeMonte, FF Alumn, subject of new book
10. James Johnson, FF Member, at Atlas Institute, Boulder, Colorado thru Sept. 27
11. Adam Pendleton, FF Alumn, at Kunstverein and de Appel, Amsterdam, Holland,
12. Ruth Hardinger, FF Alumn, at St. Peter's Church, Manhattan, opening Oct. 1
13. Nicholas Dumit Estevez, FF Alumn, receives Printed Matter Award for Artists 2009
14. Frank Moore, FF Alumn, at Temescal Arts Center, Oakland, CA, Sept. 26
15. Kathy Westwater, FF Alumn, at CUNY Graduate Center, Manhattan, Sept. 25
16. Cecilia Vicuna, FF Alumn, publishes new book, V
17. Joan Belmar, FF Member, at Chilean Embassy, Washington, DC, opening Oct. 13
18. Martha Wilson, FF Alumn, in Athenamagazine, now online
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1. Diana Heise, FF Fund Recipient 2008, in Brooklyn, Sept. 26-27

Gut5: witness walk performances will begin at 2pm on Sat. Sept 26 and Sun Sept 27 in front of Galapagos Art Space (16 Main Street Brooklyn, NY) and move throughout the neighborhood.

The installation will be in the Windows on Main: The powerHouseboilerRoom, affiliated with powerHouse Books (37 Main Street, Brooklyn, NY)

Ed Purver, FF Fund recipient 2009-10, is also exhibiting work in the Under the Bridge Festival on Sept. 26-27.

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2. Julia Scher, FF Alumn, at Museum Abteiberg, Moenchengladbach, Germany, thru November 15.

Julia Scher, FF Alumn, at Museum Abteiberg, Moenchengladbach, Germany, thru November 15 - http://www.museum-abteiberg.de/

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3. Jay Critchley, in Provincetown Harbor, Sept. 24, and online at worm.org

Please join me on Thursday, September 24, 6:10 pm for 21 Gun Salute, a live performance in Provincetown Harbor with simulcast radio play broadcast on WOMR 92.1 FM, streaming online at www.womr.org. Hosted by Lady Di. Check out Tennessee Williams Theater Festival:

http://twptown.org/21-gun-salute-to-life
Thanks, Jay Critchley

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4. Linda Stein, FF Member, at Flomenhaft Gallery, Manhattan, thru Oct. 24, and more

Linda Stein at Flomenhaft Gallery, Chelsea Manhattan, thru Oct. 24. Go to: http://www.lindastein.com/home/SteinBody-SwappingArmor.jpg for gallery invitation.

and

Linda Stein will give a PowerPoint Presentation at the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum. Sunday, October 18 at 2 pm. Go to: http://www.lindastein.com/home/SteinSackler.pdf for presentation invitation.

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5. Elly Clarke, FF Alumn, at Clarke Gallery, Berlin, Germany, opening Sept. 26

Dear Friends,
You are invited to the Opening and Exhibition of SPLASHBACK. This is Clarke Gallery's first group show, celebrating nearly 12 months of exhibitions in the space. The artists are, in order of their appearance over the past year, CHRISTIAN SIEVERS, ELLY CLARKE, VICKY LUCAS, ALEXANDER HEATON, NATASHA WHEAT and LIZ FLETCHER. Work spans the mediums of painting, sculpture, artist books, sound art, print work, photography and video and will be shown throughout the gallery - in the kitchen, hall, bathroom and living room. Where else can you watch video art sitting on Elly's Granny's sofa?

All work is also for sale at a very reasonable price. Please join us for the opening night reception or during the following week, for a quieter interaction with the work. For further info please visit our website: http://www.clarkegallery.de

Opening Night: Saturday 26th September 19.00h-22.00h and then open daily 28th September - 3rd October 17.00h-19.00h or by appointment.

Clarke Gallery
Friedelstrasse 52
12047 Berlin
Hinterhaus, 4. Stock. Bei Clarke Klingeln.

http://www.clarkegallery.de / 0176 8716 2833 / mail@clarkegallery.de

I look forward to seeing you!

Best wishes,

Elly
mail@clarkegallery.de
+49(0)176 8716 2833
www.clarkegallery.de

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6. Simon Cutts, FF Alumn, at London Art Book Fair, London,UK, Sept. 25-27

Simon Cutts and a selection of Coracle books will be at The London Art Book Fair in the Whitechapel Gallery, London, from 11 am-6 pm, 25-27 September

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7. Michael Smith, FF Alumn, in the New York Times, Sept. 18

NY Times
September 18, 2009
Art Review | Michael Smith and Mike Kelley
Those Are Grown-Up Laughs for a Big Baby
By KEN JOHNSON
Michael Smith is a big baby. Well, not all the time. But when he gets into his droopy diapers and lacy bonnet, adds sunglasses and a pacifier, and totters around on his stumpy legs as Baby Ikki, he's as riveting to watch as any real toddler, albeit larger, hairier and a bit scary. Mr. Smith, the multitalented performer, video maker and multimedia artist, has been doing this character for about 30 years, and it never gets old.

For his latest escapade Baby Ikki went to Burning Man, the weeklong celebration of all things psychedelic that takes place every summer in the Black Rock Desert of Nevada. A film crew followed him as he wandered around the festival in white Crocs, and the resulting footage is the heartbeat of "A Voyage of Growth and Discovery," a wonderfully entertaining and slyly thought-provoking collaboration between Mr. Smith and Mike Kelley, the Los Angeles artist known for, among other things, sculptures made of old, grubby stuffed animals and children's blankets.

Occupying the SculptureCenter's main space, the installation features a half-dozen large flat screens showing various phases of Baby Ikki's day and night peregrinations, which cumulatively add up to an odyssey. In the gallery is a set of tubular metal structures resembling children's playground climbing equipment, which includes one shaped like a rocket and a geodesic dome skeleton whose floor is covered with stuffed animals. This emphasizes a view of Burning Man as an essentially juvenile gathering. The boyish optimism of Modernist futurism , as in the inventions of Buckminster Fuller , is evoked by these jungle gymlike sculptures.

Looming over all is a colossal sculpture of Baby Ikki made of welded-together junk metal, which parodies the towering wooden sculpture with the emblematic figure that is climactically set on fire every year at Burning Man.

The videos start with Baby Ikki playing in the motor home that brought him to the event. Evidently preoccupied by fire, he clicks on a cigarette lighter, turns on the gas-fired stove top and consumes candy fireballs while horror-movie scenes of a woman threatened by flames plays on a television.

Outside he ambulates among campers dressed in all kinds of fanciful costumes, gesturing with clumsily splayed fingers at people and objects of interest. Occasionally he belts vehicles , done up like animals for a parade , with the stuffed green creature he carries around in one arm. All the while he maintains an expression of melancholic, slightly quizzical impassivity.

When night comes, he visits some of the elaborate, walk-in environments created by various campers and observes people dancing, twirling flaming batons and otherwise expressing themselves. At one point three minimally dressed women pull him onstage and writhe around him like lap dancers. Finally, all tuckered out, he finds a cushion-covered floor and falls asleep.

Baby Ikki seems to fit right in amid all the zanily attired burners, but he's not one of them. He's a kind of mole, a secret agent with his own agenda. Clearly Mr. Smith and Mr. Kelley designed their project not to celebrate but to mock the Burning Man circus. To substitute a giant baby for its wooden avatar is to suggest that the festival is driven by infantilism.

Contrary to the old hippie fantasy that expanding consciousness through unbridled fun, creativity and hedonism , and of course psychotropic drugs , will transform the world for the better, they imply that Burning Man is naГЇve and disingenuously complicit with capitalist consumerism. It becomes a symbol of what Herbert Marcuse called "repressive desublimation," which reroutes unruly and rebellious instinctual energies into politically harmless sybaritic indulgence, escapist entertainment and spiritual delusion.

There have been times when anarchic revelry seemed like a good way to resist and overturn socially limiting mores. The antics of the Dadaists in the 1920s and the high jinks of the Merry Pranksters in the '60s were, perhaps, genuinely liberating. But now that Dionysian catharsis has become the promise of beer commercials and spring-break debauchery, behaving "wildly" is no longer so threatening to the status quo.

This does not make the Smith-Kelley project antipsychedelic. A politics of paranoia that finds everywhere the surreptitious, systematic curbing of individual freedoms and democratic initiative has always been part of the counterculture psyche. Yet this sort of suspicious mind-set can be diverted into less troublesome endeavors like "institutional critique," the academically certified type of conceptualism that views art museums as agents of consciousness control and puts its faith in the analytic powers of the properly trained intellect.

The Smith-Kelley project is an unusually imaginative and funny instance of "institutional critique," assuming it is fair to call Burning Man an institution. Admittedly, satirizing the festival and its associated New Age culture is like shooting fish in a barrel. (Borat could have a field day there.) But there are moments in the videos of considerable metaphorical and emotional urgency, as when we see Baby Ikki alone in the distance, almost lost in a dust storm, or when he falls asleep and dreams of women's breasts.

In the Fellini-like scene with the three dancers, he's like Odysseus enduring the call of the sirens. It's less the tendentious didacticism than the comic, mythological vision that makes it compelling.

But the tension between ideological critique and carnivalesque rebellion , a schism that has been running through American radicalism for over a century , is something to think about too. A choice between purity of spirit and exuberance of soul.

"A Voyage of Growth and Discovery" is on view through Nov. 30 at the SculptureCenter, 44-19 Purves Street, Long Island City, Queens; (718) 361-1750, sculpture-center.org.

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8. Ree Morton, FF Alumn, in The New York Times, Sept. 18

The New York Times
September 18, 2009
Art Review | 'Ree Morton'
The Clues Left Behind in Works on Paper
By KAREN ROSENBERG
The brevity of Ree Morton's art career had little to do with the usual reasons for the disappearance of talented women. Morton had married and started a family before she became a full-time artist in the late 1960s, taking just a decade to get up to speed with all the major "isms." She had a show at the Whitney Museum of American Art and an installation at the South Street Seaport and was the subject of an Artforum essay by the influential critic Lucy Lippard.

Then in 1977 , just shy of her 41st birthday , Morton died in a car accident. Her death, coming not long after those of Eva Hesse in 1970 and Robert Smithson in 1973, dealt another cruel blow to postminimal sculpture. The art world recognized her achievements with a Morton retrospective at the New Museum in 1980.

Since then her art has turned up in the odd gallery show and in 1970s surveys like "WACK! Art and the Feminist Revolution" (which opened in 2007 at the Museum of Contemporary Art, Los Angeles) and "High Times, Hard Times: New York Painting 1967-1975" (a touring show that stopped at the National Academy Museum in New York in 2007). Europeans were ahead of the curve; last year the Generali Foundation in Vienna mounted the most comprehensive Morton show in recent memory.

Most of these exhibitions featured Morton's later sculptural work and focused on its relationship to feminism or to Pattern and Decoration. So expectations have been running high for the Drawing Center's "Ree Morton: At the Still Point of the Turning World," the first exhibition to highlight her drawings.

Alas, the show is a missed opportunity. It fails to penetrate the quixotic, introverted world of these items, which were a key part of her creative process but are in many ways her least influential works.

"At the Still Point of the Turning World" has been organized by JoГЈo Ribas, a former curator at the Drawing Center who this month assumes the post of curator of exhibitions at the List Visual Arts Center at the Massachusetts Institute of Technology. His show, which fills the main galleries at 35 Wooster Street and the Drawing Room project space across the street, has its charms. For one thing it finds multiple personalities within roughly seven years' worth of art.

The earliest drawings, from 1969-70, deploy the Minimalist grid in playful ways. Some resemble smudged or crossed-out Agnes Martins; others make illusionist mischief with trompe l'oeil holes and slashes.

The next gallery is devoted to maplike, diagrammatic drawings like the "Newfoundland" series (1973), made during a summer in that Canadian province. Here dotted lines and nested forms with irregular contours evoke borders and boundaries in a generic, affectless way.

More striking, and original, are the drawing-sculpture hybrids that spill from wall to floor. In "Paintings and Objects" (1973), a dotted yellow line extended into three-dimensional space invites the violation of road rules.

Around 1974 Morton's art took a whimsical turn. Made with crayon and colored pencil, her text-based drawings from this period have a fairy-tale, storybook sensibility. The best of them reveal twin interests in botany and wordplay, in teasing riffs on the names of plants and flowers: bitter buttons, trumpet weed, jack-in-the-pulpit.

Also here is the sprawling sculpture "Devil Chaser" (1975-76), which refers to an ancient name for St. John's wort. Its curlicues of wire, festooned with painted, claylike foliage, expunge the Minimalism of Morton's earlier work with evident delight. The show could have used more of these pieces and less of the twee scrap-wood figures that make up the bulk of the sculpture on view.

The exhibition does show off Morton's love of language and semiotics. The show's evocative title comes from a line of verse she kept above her desk, a quotation from T. S. Eliot's "Four Quartets." She also admired Raymond Roussel, the punning French novelist and poet whose work supplied the titles for some of her drawings.

Her own writing, some of which is in the show, is slightly more accessible. One notebook page records a list of likes and dislikes and has a charming, diaristic quality. Among the likes: "Roman Villa Murals," "Sculptors , Real," "Printed Circuits." Among the dislikes: "Greek Hellenistic Sculpture," "Painters , Phony," "Elegance," "Good Taste."

Also telling is the mantra that appears on another scrap of paper: "Light and ironic on serious subjects without frivolity."
The catalog, like the show, takes Morton's influence for granted. It includes a conversation among Mr. Ribas, the independent curator Allan Schwartzman and the Museum of Modern Art's drawings curator, Cornelia H. Butler. All three tend to assume that readers know Morton as well as they do.

They comment astutely on Morton's regard among her peers but don't name a single young artist under her sway. And no one seems to know what to do with Morton's mom-turned-artist biography, which is alternately celebrated and played down.

The most useful information comes from Ms. Lippard's 1973 essay, reprinted with a new introduction. Her supportive but critical take on Morton has held up remarkably well. It sheds light on some of the vexations of the current show:

"Morton's work conveys a highly abstract and hermetic narrative quality. Signs and shapes repeated again and again as though to say ‘Now do you see?' are islands in a landscape, things that seem imbued with meaning, but what meaning?"

"Ree Morton: At the Still Point of the Turning World" continues through Dec. 18 at the Drawing Center, 35 Wooster Street, SoHo; (212) 219-2166, drawingcenter.org.

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9. Claudia DeMonte, FF Alumn, subject of new book

Claudia DeMonte

Claudia DeMonte is an artist, a teacher, a curator, and a collector. She has given each of these simultaneous careers her unfailing attention throughout her adult life. To say she is accomplished in each field is an understatement; in fact, she has excelled in all and has managed to break new ground in each. She's a pioneer, a feminist, an acute observer, and an advocate for the overlooked.

This monograph of her career as an artist begins with her self-image works of the 1970s--photo-essays, installations, T-shirts--followed by her painted pulp paper sculptures, works in clay, and paintings and her Female Fetish series (pewter milagros nailed onto wooden objects), fabric pieces and installations, drawings, and bronzes. The array of media she uses is not only eclectic; it's highly unusual. But DeMonte has never hesitated to jump in and use whatever feels right.

In each stage of her career, with each medium, she has combined sobering commentary on the status of women in the world with lighthearted humor. A paper sculpture might seem both hilarious and heartbreaking at the same time. An exquisitely beautiful bronze bowl will exude the power of a sacred object, with women poised at its edges not in the form of traditional goddesses but instead as ponytailed "everywomen." Her installations examining questions such as "What is real beauty?" are joyful in their inclusion of images from all over the world, while they force us to confront our own misconceptions of global culture.

With approximately 120 reproductions, a foreword by Agnes Gund, and an essay by Eleanor Heartney, this is the first retrospective of Claudia DeMonte's work, a long overdue review of one of America's most intriguing contemporary artists.

By Eleanor Heartney. 112 pages with more than 120 color and black-and-white images, exhibition history, index of artworks, and foreword by Agnes Gund. Size: 9 x 9 1/2 in. Hardcover smyth-sewn casebound book, with jacket. ISBN: 978-0-7649-5097-1. $29.95

About the Author Eleanor Heartney Eleanor Heartney is a contributing editor to Art in America and Artpress and author of numerous articles and books on contemporary art. She received the College Art Association's Frank Jewett Mather Award for distinction in art criticism in 1992 and was honored by the French government as a Chevalier dans l'Ordre des Arts et des Lettres in 2008. She is co-author of After the Revolution: Women who Transformed Contemporary Art, (Prestel Publishing, 2007). Other books include Critical Condition: American Culture at the Crossroads (Cambridge University Press, 1997), Postmodernism (Tate Gallery Publishers, 2001), Postmodern Heretics: The Catholic Imagination in Contemporary Art (Midmarch Arts Press, 2004), Defending Complexity: Art, Politics and the New World Order (Hard Press Editions, 2006), and Art and Today (Phaidon, 2008).

About the Author Agnes Gund Agnes Gund is president emerita of the Museum of Modern Art and chairman of its International Council. She joined MoMA's board in 1976 and served as president from 1991 until 2002. Ms. Gund is chairman of the Mayor's Cultural Affairs Advisory Commission for New York City. She is the founder and a trustee of the Studio in a School Association and currently serves on the boards of The Frick Collection, the Foundation for Contemporary Arts, the Foundation for Art and Preservation in Embassies, P.S.1 Contemporary Art Center, and Socrates Sculpture Park, among others. She earned a BA in history from Connecticut College and an MA in art history from Harvard University.

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10. James Johnson, FF Member, at Atlas Institute, Boulder, Colorado thru Sept. 27

This is the last week to see Magic Squares, a video installation by Jim Johnson at the ATLAS Institute:

http://www.colorado.edu/atlas/showcase/magicsquares/

www.discopie.com
where art happens

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11. Adam Pendleton, FF Alumn, at Kunstverein and de Appel, Amsterdam, Holland,

Adam Pendleton
" EL T D K Amsterdam"
Kunstverein & de Appel

Kunstverein
Ruyschstraat 4 III
1091 CB, Amsterdam

de Appel arts centre
Post Box 10764
1001 ET Amsterdam

Phone: +3120 4277603
Fax: +3120 6225215
Contact: Krist Gruijthuijsen, Hiske Zomer
office@kunstverein.nl
press@deappel.nl

www.kunstverein.nl
www.deappel.nl

Adam Pendleton
" EL T D K Amsterdam"

A three-part program comprising two performances and an exhibition in a collaboration between Kunstverein, Amsterdam and de Appel.

Adam Pendleton"s conceptual practice constructs formal templates in which he slots information. As a painter, writer and performer, he uses extreme freedom of reference and quotation, as well as a rejection of conventional hierarchies among sources, to create a re-historicized present, one that upsets and unbalances comfortably subjective interpretations of history and culture.

Part one
three scenes
23/09/09
Performed at 8 and 9 PM
Location: Kunstverein, Ruyschstraat 4 III, Amsterdam

Over the past few years American artist Adam Pendleton has written various performances in which he exploits the easy-psychology of autobiographical readings by using devices that render language concrete and contingent. Often he combines specialized discourses and common knowledge in a redistribution of cultural information. Previous performances range from the evening length 30-person gospel choir production The Revival to a series of manifestos such as the Black Dada Manifesto.

For three scenes Pendleton will evoke the notion of a retrospective by pulling, assembling and re-appropriating material from all of his performances to date.

The performance is commissioned as part of the official opening of Kunstverein.

Part two
grey-blue grain
11/12/09 , 31/01/10
Location: Kunstverein, Ruyschstraat 4 III, Amsterdam

A selection of projects from 2007-09 that deal directly with the abstraction and instrumentalisation of language and image through sculpture and wall-based work, including his one-color silk-screens derived from the code-based work of "Clairvoyant Poet" Hannah Weiner; selections from System of Display; and fresh configurations of the artist"s abstract and phenomenological alphabet, Untitled (Black Cubes).

Part three
BAND
13 and 14/12/09
Performed at 8.30 PM
Location: De Brakke Grond (Rode Zaal), Nes 45, Amsterdam

In March 2009 de Appel has left its premises that it has occupied since 1993 (Nieuwe Spiegelstraat 10) and is exploring new horizons.
While awaiting completion of her new home base de Appel celebrates the temporary disembodiment with a special programme under the title "The Future Will Last Longer Than The Past". There is a radical scene change with the background becoming foreground, the white cube turns into a black box. The regular parallel schedule of performances, lectures, informances and publications, known as "de Appel On The Side", is now the main programme. The emphasis temporarily shifts from objects and images, to texts, the spoken word and gesture.

Adam Pendleton"s BAND is a form and content refashioning of Jean-Luc Godard"s Sympathy for the Devil. Made in the aftermath of May "68, the original film helped mark Godard"s break from his Nouvelle Vague period into a more committed engagement with the politics and class struggles of the time. It modelled the director's emerging political faith that radical formal complexity could undermine the bourgeois logic implicit to narrative filmmaking. Often read as a tribute to the Rolling Stones whose rehearsals form an ongoing motif in the film, the Stones were in fact emblematic of the mainstream counterculture from which Godard was attempting to remove himself. BAND will unfold in stages, beginning at the Toronto International Film Festival on September 17th with a rehearsal and live concert by the indie-rock/post-punk band Deerhoof. The Amsterdam performance/reading will present the first edit of footage from Toronto with work-in-progress sequences from texts based on the work of authors explicitly related to Godard"s film, such as the Black Panther" Eldridge Cleaver; or tangentially related, such as Gertrude Stein. The final stage of BAND will occur at The Kitchen, New York in Fall 2010.

Co-producers: Wayne Baerwaldt, Alberta College of Art + Design, Calgary; Noah Cowan, Toronto International Film Festival, Future Projections; Ann Demeester, de Appel, Amsterdam with additional support from Rashida Bumbray, The Kitchen, New York.

For further information, please contact:

de Appel

arts centre
Post Box 10764

1001 ET Amsterdam 

Tel +3120 6255651

Fax +3120 6225215

press@deappel.nl
www.deappel.nl

Kunstverein
Ruyschstraat 4 III
1091 CB, Amsterdam
+31 (0)20-4277603
office@kunstverein.nl
www.kunstverein.nl

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12. Ruth Hardinger, FF Alumn, at St. Peter's Church, Manhattan, opening Oct. 1

Ruth Hardinger
Convergences

St Peter's Church
Narthex and Stairwell Gallery
619 Lexington Ave at 54th St.
New York, NY 10022

Opening reception Oct 1, 2009, 6-8 PM.
Sept 29 - Nov 11, 2009

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13. Nicholas Dumit Estevez, FF Alumn, receives Printed Matter Award for Artists 2009

We Do What We Have to Do:
Printed Matter's Awards for Artists 2009

Exhibition
On view September 12 through October 10, 2009
Printed Matter's new initiative, Awards for Artists, gave awards to ten artists of diverse backgrounds from around the country. In this exhibition we present a small survey of their works, including books, zines, photography, posters, and other media. Printed Matter is located at 195 Tenth Avenue (between 21st and 22nd Street) in New York City.

Awards for Artists was adjudicated through a peer group process: Printed Matter invited twenty artists to nominate up to five artists each for the award. From the 63 finalists, a jury of three artists,Geoff Hendricks, Robin Kahn, and Paul Mpagi Sepuya,chose the following ten artists to receive an award of $2,500 each:

Osa Atoe (New Orleans, LA)
Heather Benjamin (Providence, RI)
Nicholas Dumit Estevez (Bronx, NY)
Edie Fake (Baltimore, MD)
Eve Fowler (Los Angeles, CA)
Chitra Ganesh (Brooklyn, NY)
K8 Hardy (Brooklyn, NY)
Arnold Kemp (Portland, OR)
Julio Cesar Morales (San Francisco, CA)
Carlo Quispe (New York, NY)

For this exhibition, the artists present works in a diverse range of mostly low-cost media: zines, pamphlets, posters, and photographs, as well as an assemblage (by K8 Hardy), and textile objects (by Arnold Kemp).

Heather Benjamin exhibits her sought-after zines, including the just-completed Sad Sex #3, but also surprises us with a series of small watercolor drawings. Nicolas Dumit Estevez presents a performative series of photographs, featuring himself as The Holy Infant of Prague, as well as a new title Induced Labor. Edie Fake is well known to Printed Matter fans for her exceptional zines, such as Rico McTaco, and Gaylord Phoenix which are both included here. Eve Fowler presents a photographic sequence, in collaboration with Math Bass, that you are not likely to forget, together with her popular newsprint publications. Her new titles Gloria Hole and and and I don't care. and I do care are included here.

Chitra Ganesh presents a vitrine of ephemera designed by the artist, together with a faux Indian movie poster with a pertinent message. K8 Hardy brings us a series of large-format double-sided posters, together with performance props from her new zine FashionFashion Bashin'. Arnold Kemp features hoods based on those of the Ku Klux Klan, constructed from traditional African textiles, together with self-portraits modeling the hoods. Carlo Quispe presents the new issue of his Killer Heights zine, together with original dummies of his previous zines. Julio Cesar Morales investigates an early instance of Latin American fusion music in his audio project, Dilo!, which samples bandleader Perez Prado's compositions that mix afro-Cuban rhythms with swing.

The exhibition as a whole, although drawn from artists of diverse backgrounds from around the country, has a surprising consistency. Themes of social injustice,including sexism, racism, white supremacy, and homophobia,are cut and pasted into a vision of a do-it-yourself world where identity and sexuality take free form, and artists collaborate in knitting together real communities that transgress corporate culture.

For more information please contact AA Bronson at aabronson @ printedmatter.org.

Printed Matter, Inc. is an independent 501(c)(3) non-profit organization founded in 1976 by artists and art workers with the mission to foster the appreciation, dissemination, and understanding of artists' books and other artists' publications.

Printed Matter, Inc. has received support, in part, through grants from the National Endowment for the Arts, the New York State Council on the Arts, the New York City Department of Cultural Affairs, Altria Group Inc, the Milton & Sally Avery Arts Foundation, The Cowles Charitable Trust, the Foundation for Contemporary Arts, The Gladys Krieble Delmas Foundation, The Gesso Foundation, The Horace W. Goldsmith Foundation, the Schoenstadt Family Foundation, The Roy and Niuta Titus Foundation, The Andy Warhol Foundation for the Visual Arts, and individuals worldwide.

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14. Frank Moore, FF Alumn, at Temescal Arts Center, Oakland, CA, Sept. 26

The Underground Hit!

CRITIC'S CHOICE: East Bay Express

REALITY PLAYINGS:
experiments in experience/participation performance

Frank Moore, world-known shaman performance artist, will conduct improvised passions of musicians, actors, dancers, and audience members in a laboratory setting to create altered realities of fusion beyond taboos. Bring your passions and musical instruments and your senses of adventure and humor.

Other than that,
ADMISSION IS FREE! (But donations will be accepted.)

Saturday, September 26, 2009
8pm

TEMESCAL ARTS CENTER
511 48th Street
Oakland, CA 94609-2058
For more information
Call: 510-526-7858
email: fmoore@eroplay.com
http://www.eroplay.com/events.html
http://www.temescalartscenter.org/

Upcoming performances in this series:
Saturday, October 24
Friday, November 20
Friday, December 18

"...He's wonderful and hilarious and knows exactly what it's all about and has earned my undying respect. What he's doing is impossible, and he knows it. That's good art...." L.A. Weekly

"Merging improv, erotica, entertainment, religion and ritual, Frank Moore - self-styled shaman, world-renowned disabled performance artist, and 2008 presidential candidate ...." - East Bay Express

Resisting "the easy and superficial descriptions..., Moore's work challenges the consensus view more strongly in ways less acceptable than...angry tirades and bitter attacks on consumer culture." Chicago New City

"If performance art has a radical edge, it has to be Frank Moore." Cleveland Edition

"Transformative..." Moore "is thwarting nature in an astonishing manner, and is fusing art, ritual and religion in ways the Eurocentric world has only dim memories of. Espousing a kind of paganism without bite and aggression, Frank Moore is indeed worth watching." High Performance Magazine

"Surely wonderful and mind-goosing experience." L.A. Reader

Downloadable poster here:
http://www.eroplay.com/RealityPlayingsAUG2009.jpg

http://www.eroplay.com/events.html

In Freedom,
Frank Moore
www.eroplay.com
www.luver.com

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15. Kathy Westwater, FF Alumn, at CUNY Graduate Center, Manhattan, Sept. 25

Belladonna and CUNY Graduate Center present
Is Ground as to Figure as Ambience is to Body? Ec(h)opoetics of the Disfigured 'Land'scape

Discussion Organizer and Moderator: Jennifer Scappettone
Panel Members: Marcella Durand, Brenda Lijima, Kathy Westwater, Rita Wong & Linda Sormin

This discussion will sound reciprocal interference between the environment and marked (raced/gendered/polluted) corporeality in the face of landscape's harm-mediation-digitization-withdrawal. Presentations will address a poetics of systemic crisis, stalking solutions, obliging recognition of ambient relations of authority and compromise as compass through a stupefying enormity of damage: Marcella Durand on race and ecological disaster; Brenda Lijima on Agnes Denes's reclamation art; Kathy Westwater on bodily organization within transmogrifying 'nature'; Rita Wong and Linda Sormin on ongoing toxicities.

This discussion is part of the Advancing Feminist Poetics and Activism Conference and is sponsored by Belladonna and CUNY Graduate Center: Center For Humanities, Poetics Group, the PhD Program in English and the Center for the Study of Women and Society. For more info: belladonna

Fri, Sept 25 @ 10am
CUNY Graduate Center
365 5th Ave, NYC
Room 1, Panel 1

FREE

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16. Cecilia Vicuna, FF Alumn, publishes new book, V

V
Insistencias y tensiones
del canto a la escritura de la escritura a la acciГіn de la acciГіn al objeto, a la tierra,muestra de la poesГ­a escrita de Cecilia VicuГ±a

lectura / intervenciГіn
Arcadio Leos, MarГ­a Salgado, Brandon Holmquest
Cecilia VicuГ±a, Renato GГіmez
Viernes 25 de septiembre , 7pm
McNally Jackson Books
52 Prince Street
New York, NY 10012
212.274.1160
CECILIA VICUГ‘A
Poeta, artista visual y cineasta chilena nacida en Santiago en 1948.
EstudiГі en la Escuela de Bellas Artes de la Universidad de Chile en Santiago y en Londres. Vive en Nueva York desde l980. Creadora de "lo precario," una poГ©tica espacial de instalaciones, performances y obras poГ©tico/ecolГіgicas realizadas en la naturaleza, las calles y museos, su trabajo se difunde ampliamente en Estados Unidos, Europa y AmГ©rica Latina. Autora de 14 libros de arte y poesГ­a, ha sido traducida a siete idiomas. Acaba de co-editar The Oxford Book Of Latin American Poetry, New York, 2009.

V ES UNA EXPLORACIÓN ARBITRARIA DE LA OBRA DE CECILIA VICUNA TRAVÉS DE SUS LIBROS:
SABOR A MГЌ , Ediciones Universidad Diego Portales, Santiago 2007 , PALABRARMAS , RIL, Santiago 2005, I TU, TsГ©-tsГ©, Buenos Aires, 2004 , INSTAN , Kelsey St Press, 2002 , EL TEMPLO , Situations, New York 2001 , CLOUD-NET, Art in General, New York, l999 , UL , Four Mapuche Poets, edited by Cecilia VicuГ±a, LARP, l998 , QUIPOEM/THE PRECARIOUS, THE ART AND POETRY OF CECILIA VICUГ‘A, edited by Catherine de Zegher, Wesleyan University Press, l997, UNRAVELLING WORDS & THE WEAVING OF WATER , Graywolf Press, l992 , SAMARA , Ed. Museo Rayo, Colombia l987 , LA WIK'UГ‘A , Francisco Zegers Editor, Chile, l990 , PALABRARMAS , El Imaginero, Buenos Aires, l984 , PRECARIO/PRECARIOUS , Tanam Press, NY l983, SABOR A MГЌ, Beau Geste Press, Inglaterra, l973.

www.ceciliavicuna.org
tRpode
girabel@yahoo.com

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17. Joan Belmar, FF Member, at Chilean Embassy, Washington, DC, opening Oct. 13

Migrations: by Joan Belmar (selected works from 1995 to 2009)
Chilean Embassy in Washington DC
Opening reception October 13, 2009 (RSVP)
6:00pm - 8:00pm
Images request: and RVP: cultural@embassyofchile.org
Exhibition open from 8:30am to 6:30pm Monday-Friday
October 5th to November 27th

Even though this title has been used innumerable times for art exhibitions, it suits perfectly Joan Belmar's exhibition at the Chilean Embassy in Washington DC. Born in Chile in 1970, Belmar moved to Spain in 1995 and spent his first years as a full-time artist, 1995-1999, there. He then moved to the United States, where he was granted permanent residency based on artistic merit. He has lived in Washington D.C for the past 10 years. The exhibition will include around 23 pieces (paper, canvas and 3D paintings) that cover this 14-year period.

The title of the exhibition, while referencing Belmar's literal journey, also denotes his constant search for new techniques and forms of expression to convey his feelings as an outsider in the many societies in which he has lived. This exhibition has also brought him full circle and his most recent works revisit his deep Chilean roots.

EMBASSY OF CHILE 1732 Massachusetts Ave., N.W. Washington D.C. 20036 Phone: (202) 7851746
http://www.chile-usa.org/Belmar.htm

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18. Martha Wilson, FF Alumn, in Athenamagazine, now online

Martha Wilson's "A Short Story About Nova Scotia" is now online at

http://www.anderbo.com/anderbo1/afiction-006.html

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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