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Contents for September 29, 2009
1. AA Bronson, Nicolas Dumit Estevez, Hans Haacke, Shirin Neshat, Richard Prince, Robbin Ami Silverberg, Erica Van Horn, FF Alumns, at P.S.1, Long Island City, Oct. 1-4
2. Bill Beirne, FF Alumn, at Madison Square Park, Manhattan, Oct. 2
3. Andy Warhol, Christopher Wool, FF Alumns, at Kunsthaus Graz, Austria, thru Jan 10, 2010
4. Chris Sullivan, FF Alumn, at Open Eye Theatre, Minneapolis, MN, Oct. 2-3
5. John Jesurun, FF Alumn, at Chocolate Factory Theater, Long Island City, Oct. 14-31, and more
6. Susan Kleinberg, FF Alumn, at Chiostro del Bramante, Rome, Italy, opening Oct. 5
7. Michael Smith, FF Alumn, in The New York Times, Sept. 27
8. Clarinda Mac Low, FF Alumn, at X Initiative, Manhattan, thru Oct. 17
9. Naeem Mohaiemen, FF Alumn, at NYU, Manhattan, Oct. 6
10. elin o’Hara slavick, FF Alumn, at Univ. North Carolina, Pembroke, Oct. 1-Nov. 3
11. Peter Cramer and Jack Waters, FF Alumns, at BAAD, The Bronx, Oct. 8
12. Doug Beube, FF Alumn, at Museum of Arts and Design, Manhattan, opening Oct. 7
13. Susan Bee, FF Alumn, at Athens Cultural Center, Athens, NY, opening Oct. 3
14. Susan Share, FF Alumn, at Univ. of Iowa, Iowa City, Oct. 9, and more
15. Taylor Mac, FF Alumn, at Here Arts Center, Manhattan, Oct. 29-Nov. 22
16. Ricardo Miranda Zuniga, FF Alumn, at University of Buffalo, NY, Oct. 19
17. Kriota Willberg, FF Alumn, announces fall 2009 calendar
18. Zlatko Kopljar, FF Alumn, in Graz, Austria, thru Oct. 23
19. Rachel Rosenthal, John Baldessari, Robert Rauschenberg, FF Alumns, at Track 16 Gallery, Santa Monica, CA, Nov. 7
20. Maria Yoon, FF Alumn, announces fall 2009 calendar
21. LuLu LoLo, FF Member, on 14th Street, Manhattan, Oct. 1-24

1. AA Bronson, Nicolas Dumit Estevez, Hans Haacke, Shirin Neshat, Robbin Ami Silverberg, Erica Van Horn, FF Alumns, at P.S.1, Long Island City, Oct. 1-4

Printed Matter, Inc. presents The NY Art Book Fair, October 2-4 at P.S.1 Contemporary Art Center, featuring 205 exhibitors from 21 countries.

Deitch Studios hosts a benefit for Printed Matter, October 1. Tickets include an edition by artist Tom Sachs


Next week, Printed Matter, Inc. and The NY Art Book Fair take over all three floors of P.S.1 to present 205 international presses, booksellers, antiquarians, museums, galleries, and artists from twenty-one countries, showing the very best in contemporary art publishing. More than sixty new exhibitors join this year's event. The Fair opens from 6-8pm on Thursday, October 1, and runs from October 2 through 4th at P.S.1. Entrance to the Fair is FREE.

After the opening, Deitch Studios in Long Island City, hosts a Benefit for Printed Matter, with musical guests I.U.D. and Silk Flowers. Artist-DJs Tim Lokiec and Gary Murphy spin vintage house. Tickets include limited artist editions by Elmgreen & Dragset, Jutta Koether, Tom Sachs, and Mungo Thomson. Buy tickets online now at http://www.nyartbookfair.com.

All weekend long, The NY Art Book Fair bursts at the seams with exhibitors, lectures, exhibitions, performances, and the second annual Contemporary Artists' Books Conference.

Richard Prince: Calling All Readers, is the featured exhibition, a special, three-day survey of the influential artist's books and posters from the 1970s onward.

Zine-makers, artists, collectives, and young publishers bombard two full galleries with all things DIY—from rare zines to hand-packaged DVDs—in the Friendly Fire and Flaming Creatures sections of the Fair.

Peres Projects and Daddy the Magazine present a solo exhibition by Bruce La Bruce in a blacked-out gallery. Dexter Sinister, EAI (Electronic Arts Intermix), Gallery 360º from Tokyo, and the entire student body of Dutch super-school Werkplaats Typografie take over P.S.1's project rooms for the duration of the Fair.

On the third floor, the Contemporary Artists' Books Conference features a keynote session by artists Maria Eichhorn, Hans Haacke, and lengendary curator/author Seth Siegelaub in conversation with MoMA curator Christophe Cherix.

Other events includes:
The Classroom, three days of rapid-fire, artist-driven programming with: Bruce High Quality Foundation, Haim Steinbach presented by Three Star Books, John Miller, presented by mfc-michèle Didier, Jennifer Sullivan, Rick Myers, Triple Canopy, Ugly Duckling Presse, and many others!

Exhibitors from featured countries Canada and Mexico (Segunda Edición) present the latest in art publishing from across North America.
Book signings, with Shirin Neshat, Ryan McGinley, Gregg Bordowitz, AA Bronson, Sarah Morris, Vince Aletti, David Benjamin Sherry and others.

Performances by Bow Ribbons and Mark Borthwick, presented by Lovely Dave; Hot Box and DubbKnowDubb, presented by Cinders; and a special celebration in honor of the journal's tenth anniversary!

LEARN TO READ ART: A History of Printed Matter, a complete history of Printed Matter's 300 books, zines, multiples, and publishing projects spanning 33 years of works by: John Baldessari, Barbara Bloom, Larry Clark, Liam Gillick, Jenny Holzer, Terence Koh, Barbara Kruger, Christian Marclay, Jack Pierson, Ed Ruscha, Felix Gonzales-Torres, Christopher Wool and many others. Produced in collaboration with the Badischer Kunstverein, Karlsruhe, and curated by AA Bronson.

For a complete list of exhibitors, programs, and to purchase benefit tickets, visit http://www.nyartbookfair.com
Printed Matter, Inc. presents
The NY Art Book Fair, October 2-4
P.S.1 Contemporary Art Center
22-25 Jackson Ave at the intersection of 46th Ave, Long Island City, NY
Free and open to the public:
Thursday, October 1, 6-8 PM
Friday and Saturday, October 2 & 3, 11-7 PM
Sunday, October 4, 11-5 PM

Press preview:
Thursday, October 1, 5 PM
RSVP: peter@printedmatter.org

Benefit event for Printed matter:
October 1, 8:30 PM
Deitch Studios
4-40 44th Drive at the East River waterfront, Long Island City, NY
Purchase benefit tickets online at http://nyartbookfair.com or call 212 925 0325.
Printed Matter, Inc. is an independent 501(c)3 nonprofit 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.

Please come to the New York Artist Book Fair, October 1- 4, And visit the Booklyn & Dobbin Books table!
- Robbin Ami Silverberg


Panel Discussion: The Handmade Multiple
featuring former and current Center for Book Arts Artists-in-Residence Nicolas Dumit Estevez, Catarina Leitão, Karina Skvirsky, and James Walsh.

Sunday, October 4 at 12:30 PM in The Classroom at PS1
As part of The New York Art Book Fair
Erica Van Horn , along with a selection of Coracle Books, will be at Printed Matter's New York Art Book Fair, 2-4 October at P.S.1, Long Island City



2. Bill Beirne, FF Alumn, at Madison Square Park, Manhattan, Oct. 2


Friday, October 2 / 12:00 – 1:30 PM
Madison Square Park
Enter at Fifth Avenue and 23rd Street
RSVP Required: (212) 538-1884
or info@madisonsquarepark.org



3. Andy Warhol, Christopher Wool, FF Alumns, at Kunsthaus Graz, Austria, thru Jan 10, 2010

Warhol Wool Newman. Painting Real
Curated by Peter Pakesch

Opening: Saturday, September 26, 2009, 11am
September 26 - January 10, 2010
Tue - Sun 10am-6pm

Kunsthaus Graz
Universalmuseum Joanneum
Lendkai 1, A–8020 Graz
T +43-316/8017-9200, F -9212

Seen in retrospect, the oeuvre of Andy Warhol qualifies for "artist of the century" status. What Picasso represented for the first six decades of the 20th century, Warhol represents not only for the rest of that century but also for the 21st century to date. Warhol has been dead 22 years. He was considered a myth, celebrity and public figure even in his lifetime. That was part of his strategy. Like the sphinx he was often compared with, he had a gift for camouflaging his true artistic meaning behind the media packaging. He developed from it a complex artistic principle whose real extent has become evident only in recent years. That also means that Warhol is the paramount artist right now, achieving prices in the market matching those of Picasso or the Impressionists. In the coming years, we may expect a real spate of exhibitions focusing on him in particular.

The nature of the oeuvre and Warhol's treatment of his myth open up countless opportunities for interpretation - an aspect that reinforces his importance still more. We find classic and thematic interpretations alongside contemporary and personal biographical interpretations.

The present exhibition endeavours to get to the heart and revolutionary force of the oeuvre. In the 50s, American painting took a leap into a new world with the work of Barnett Newman. A politically and socially very committed artist, Newman developed a basic abstract formal idiom that, as we now know, wholly redefined physical, mental and spiritual space. His radicalism went much further than that of colleagues of his generation such as Mark Rothko or Clyfford Still. It is the same with Warhol and Pop Art. In the avenues he explored, he likewise went much further than painters such as Lichtenstein or Rosenquist, not only challenging painting as a medium but also exploring the topics of existence and the function of pictures in a way that had barely seemed possible before. Present developments in the media world confirm the relevance of his approach to an undreamt-of extent. These are important aspects for our exhibition.

Our starting point is the assumption that, in a certain phase of his work in the sixties, Warhol was looking specifically towards Newman's work. The exhibition will show prominent pictures from those years. It was the time when Warhol was formulating his "classics", but turning step by step towards film work. For us, that means that, under the title Screening the Real, we reflect his film output with film and media installations, so as to put them in a comparable context alongside the exhibition of his painting works.

For the Kunsthaus Graz, however, it is also important to look at these assumptions from a contemporary angle. Just as in the exhibition Gods in Exile we viewed Salvador Dalí and Arnold Boecklin through the eyes of Albert Oehlen, for this project one of the most significant painters today, Christopher Wool, is our partner. For someone like him, art and involvement with pictures has become inconceivable without Warhol. Since the 1980s, artists have been drawing on the phenomenon and its consequences in the art and media world. In Wool's case, the result has been a highly radical oeuvre in the best tradition of American painting. In consultation with the artist, we have decided to focus particular attention on his Word Paintings in the selection of his works. They constitute a further step in the mediatisation of images, and, with a radicalism comparable to Warhol's, combine directness, indifference and commitment, a combination of concepts that is traditionally far from normal, and indeed contradictory - but is for that reason all the more explosive. In an earlier decade, it would have been called "cool".

More exhibitions in Kunsthaus Graz:

Screening Real. Conner Lockhart Warhol
Curated by Peter Pakesch
Opening: Saturday, September 26, 2009, 11am
September 26 - January 10, 2010
Kunsthaus Graz, Space02

These days, we regard moving images as an integral component of art. Projected images are capable of evoking and materialising – and at the same time challenging – possible definitions of "real". One of the most distinctive figures of the younger US-filmmaking generation is Sharon Lockhart. Her approach to the media is strongly influenced by the New American Cinema, which since the late 1950s, radically redefined film and placed it in the context of the plastic arts – even shocking the avant-garde!

Bruce Conner, a key figure of this movement, regarded his films screened in exhibitions as an expansion of art space. Andy Warhol used many of his films furthermore in an actionist or performance context.

Not only the question of reality unites these three positions, also the materiality of film itself plays an important part. Lockhart's approach of "painting" films can be seen in her latest work Double Tide (2009). Warhol's Screen Tests (1964-66) and Conner's A MOVIE (1958) and REPORT (1963-67) also investigate the medium of film in respect of its material aspects.

Through the work of these three filmmakers, Screening Real provides a model history of the development of media spaces, and a commentary on the spectacular changes in American culture during a period of major and fluctuating political events.

In cooperation with steirischer herbst.



4. Chris Sullivan, FF Alumn, at Open Eye Theatre, Minneapolis, MN, Oct. 2-3

Chris Sullivan. FF Alumn 1990
Open Eye Theater is excited to present Chris Sullivan as part of the Open Eye Open Studio Series, a program that offers adventurous audiences a glimpse of work in the making by established artists. Mr. Sullivan’s performance work was last seen in Minneapolis in 1996 at the Walker Art Center.

Tickets are $10-$15 and can be reserved by calling 612-874-6338 or email:

Fri , Oct 2, 2009 , 7:30pm
Sat , Oct 3, 2009 , 7:30pm




5. John Jesurun, FF Alumn, at Chocolate Factory Theater, Long Island City, Oct. 14-31, and more

Chocolate Factory Theater presents
Written,Directed and Designed by John Jesurun Featuring Black-Eyed Susan and Benjamin Forster October 14 – 31, 2009 Wednesday through Saturday at 8:00PM

Tickets: $15
Reservations: 212.352.3101
Online: www.chocolatefactorytheater.org
The Chocolate Factory
5-49 49th Ave, Long Island City, Queens
Subway 7 to Vernon/Jackson (1st stop in Queens) or G to 21st St. and Van Alst LIZ ONE by John Jesurun: Black-Eyed Susan plays Elizabeth I of England as revealed through her private diaries. She struggles with a revolving set of presences to disentangle, un-write and finally rewrite her own biography.

Lighting Designer: Jeff Nash • Production Manager: Jennifer Ortega Assistant Director: Kevin Hourigan • Technical Director: Logan George BENEFIT PARTY honoring Black-Eyed Susan Tuesday, Oct 27, 7-10PM at THE CREEK, 10-93 Jackson Ave, Long Island City

Tickets: $75 Artist Tickets: $20
Info: 212-989-7960 or shatterhand2@earthlink.net AFTER IMAGE At the Chocolate Factory Gallery throughout the run of LIZ ONE:
A retrospective exhibit of photos and drawings of John Jesurun’s groundbreaking multi-dimensional designs spanning 25+ years of work.
Photographers include Paula Court, Kirk Winslow, Peter Cunningham, Naoko Tamura & Jörg Hass.


Announcing two new collections of John Jesurun plays now available on Amazon:





6. Susan Kleinberg, FF Alumn, at Chiostro del Bramante, Rome, Italy, opening Oct. 5

OPENING: Oct. 5, 6 - 8 pm.
The prints relate to a large scale, digitally generated video piece, "Tierra Sin Males," shown in June at the Venice Biennale. They are descended from incidents in the film, which spins, fractures, spirals, spins back faster, hits, rolls, hesitates, pivots out of balance at the fulcrum, regroups, continues ... both with and against any predictable laws of physics or nature. The image distorts, contorts, looks primeval and of the future. The context of the room and its shadows roll and spin, against gravity.

The central image, initially reminiscent of Attic vase painting, is, in fact, the reflection of a highway sign near the Mexico/US border warning drivers not to hit families as they flee across the road. The title is taken from comments by Adolfo Perez Esquivel, Argentina's Nobel Laureate, concerning utopia and revolving tension

The drawings, on seaweed paper, are cellular in quite a different way. Their form is the result of the interaction of water, the drawing medium, and the algae. Their dimensionality is stable, both referential to the larger body of work and unto themselves in their own dialogue. They are a diary of thought, motion, tension and surprise.

Via della Pace
00186 Roma, Italy
Near the Piazza Navona.

For further information contact: xplr@mac.com, +39.349.360.1969.

A video of the Venice Biennale installation is posted on YouTube http://www.youtube.com/watch?v=028cr6vOpk0
and www.susankleinberg.com

The show travels to the Certosa di Padula, curated by Achielle Bonito Oliva, in November.

Over the past five years, Ms. Kleinberg has developed five high-definition digital projection pieces, BLOOD ROLL, D-ROLL, P-SPIN, A DELICATE BALANCE and TIERRA SIN MALES, with related prints, drawings and paintings. BLOOD ROLL was shown first in November 2004 in Seoul, Korea, in an international exhibition at the Total Museum. In 2005, she showed BLOOD ROLL during the opening of the Venice Biennale in collaboration with the Istituto Veneto. Ms. Kleinberg installed P-SPIN at the Pulkovo Observatory in St. Petersburg, Russia in the fall of 2007, for Pro Arte in an exhibition organized by Olesya Turkina, curator from the Russian State Museum. TIERRA SIN MALES was shown at the 2009 Venice Biennale, Telecom Italia Future Centre, Chiostro di San Salvador. In 2003, Ms. Kleinberg mounted What Would Make for a Better World, a video installation for “Future Democracy” at the Istanbul Biennial. In 2001, she created Fear Not for the Venice Biennale, curated by Harald Szeemann. It was shown in New York at P.S. 1/MOMA (2001-2002) and was chosen as a Special Project for the Chicago International Art Fair (2002). Ms. Kleinberg showed related paintings and drawings at Venice Design Gallery, Venice, Italy (2001) and a preview installation at the Stark Gallery in New York (2001). In 2002 the piece was shown along with related prints at the Tasende Gallery in Los Angeles and the Tasende Gallery in La Jolla, CA. Sposalizio del Mar, whose reference was to the most important ceremony of the Venetian Republic, the marriage of the Doge to the sea, floated in the Grand Canal between San Marco and San Giorgio, part of "Artelaguna," during the 1995 Venice Biennale. The beginnings of all of this work were shown at the Castelli Gallery in New York. There is currently an installation at the Istituto Italiana di Cultura in Los Angeles.

Ziegler Foundation
Istituto Italiana di Cultura Los Angeles; Tom Polson, 3D Paint; Les Guthman; Jacques Boulanger, Creative Audio Post New York. Thanks to the American Academy in Rome.



7. Michael Smith, FF Alumn, in The New York Times, Sept. 27

The New York Times
September 27, 2009
Culture Warriors’ (Serious) Fun House
IT probably makes sense to start at the end of the journey. In this case that would mean beginning with the finished artwork, an installation by Mike Kelley and Michael Smith titled “A Voyage of Growth and Discovery,” which occupies the ground-floor exhibition space of SculptureCenter in Long Island City, Queens, spilling through a side door and nearly reaching the ceiling.

The contents of the space include, but are not limited to, a 30-foot junk-metal sculpture of an egg-shaped baby with a finger pointing skyward, extensive jungle-gym equipment, five portable toilets, a rusted Volkswagen van, thousands of small stuffed animals, a soundtrack of synthesizer beats, and six large video screens that play footage of the 58-year-old Mr. Smith dressed as a figure he calls Baby Ikki.

In quick cuts you see Baby Ikki — wearing a makeshift diaper, a bonnet and toy sunglasses — wordlessly stumbling through the Burning Man festival in the Black Rock Desert of Nevada. He walks up to, and then past, a team of Speedo-wearing muscle boys; explores the physical properties of prepackaged cupcakes in his R.V.; and, with glow sticks strung around his neck, takes in rave parties. One night he wanders into a vampire-theme bar, holding a stuffed animal of indeterminate species aloft when a chubby exotic dancer takes the toy from his hand and dances with it.

Baby Ikki just keeps pointing.
“The baby does the things that babies do,” Mr. Smith said in a recent interview about his role. “I’ve been playing him for 30 years, but he always stays about 18 months old. He doesn’t have a lot of range.”

The piece can be seen as a playful — and sort of creepy — mating of two artists’ careers, their divergent aesthetics overlapping in themes of infantilization and transgressive aspirations that never quite manage to produce transgressive results. In a review of the show in The New York Times this month Ken Johnson called it “a wonderfully entertaining and slyly thought-provoking collaboration.”

Elisabeth Sussman, a curator at the Whitney Museum of American Art who put together a retrospective exhibition of Mr. Kelley’s work in 1993, said of the two: “They’re each so funny. They’re each so serious. The exterior of their work is very accessible because it relates to experiences we’ve all had.” The work is also more pointed, she said, adding, “We are our own adolescence.”

Lauren Cornell, a curator at the New Museum of Contemporary Art, said: “Both of them have been influential by pursuing their attraction to this kind of flip side of American consciousness, or cool — a side that’s base and infantilized. In the joint project they’re taking these ridiculous, absurd desires in our culture” and amplifying them.

The two Mikes have been friends since 1975, when Mr. Kelley, an art student at the University of Michigan, saw Mr. Smith put on a rather situationist and nonsensical performance. It involved things like passing a pot of water around the audience and telling members to keep their eyes on it, though it never did anything.

Mr. Smith, who divides his time between New York and Austin (where he teaches at the University of Texas), was included in the 2008 Whitney Biennial. He is probably best known for another performance character, his painfully bland alter ego who has his name, “Mike,” emblazoned on his otherwise nondescript clothes. It’s a character who tries to coach himself into being “outstanding” — at what is never specified — with jargon he’s apparently picked up from infomercial pitchmen.

Mr. Kelley, 55, is known for disturbing, pretty-veering-on-ugly conceptual art that makes use of ratty children’s dolls and images from high school yearbooks. He has become both decorated — with solo exhibitions at the Whitney Museum in New York, the Pompidou Center in Paris and the Hirshhorn Museum in Washington — and rich. His sculptures have sold for as much as $2.75 million, and he employs a staff of 8 to 30, depending on a project’s scale, at his Los Angeles studio.

The two artists first began discussing a joint project starring Baby Ikki about five years ago. “I wanted to do a piece where you had the baby getting lost and there was implied peril, the threat of abduction,” Mr. Kelley said, adding that the idea was to see Baby Ikki “totally alienated from the experience, with everybody ignoring him.” So: a rave.

“Raves are a funny place for the baby, because of the juxtaposition of innocence — all these people with pacifiers and plushies — and an environment that’s not that innocent,” Mr. Smith said.

Burning Man, a heavily branded, drug-friendly, clothing-optional convention of 50,000 men and women, organized around tribal theme camps and encouraging “radical self-expression,” presented itself as the ideal backdrop.

For the filmed part of the project the division of labor went roughly like this: Mr. Smith, who stayed in character through his entire five days at the festival last summer, took a small film crew and amassed 11 hours of footage, mostly of people reacting to his character. But the sight of a 5-foot-6 hirsute baby in Crocs barely seemed to register. Either the crowd was truly oblivious, or assumed that the man embodying the persona was just your average fetishist setting free his fantasy self. “For the most part everybody looked right through me,” Mr. Smith said.

Mr. Kelley, meanwhile, stayed home (“I’m not the greatest traveler,” he acknowledged), then took Mr. Smith’s material and built an elaborate fun house for it. The raw recording wasn’t quite what he’d been hoping for. “I had in mind Swee’Pea from ‘Popeye’ meets Antonioni,” Mr. Kelley explained. “This little baby that keeps moving along, just barely avoiding danger. I wanted the baby alone in a truck stop, the baby alone against vast distances. But all the ideas kind of decided themselves, because unfortunately young people today don’t know how to do that. They can only do this hand-held, post-MTV kind of ‘We’re having fun,’ style of photography.”

Mr. Kelley was speaking good-naturedly about one of their videographers, a longtime Burning Man participant who was helpful at obtaining the proper clearance for filming. Though the artists were eventually happy with her work, there were obvious aesthetic gaps to overcome.

“I kept telling her ‘Long, wide shots,’ ” Mr. Smith said. “And after half a day I looked and what she’d gotten and the longest shot was four seconds.”

Mr. Kelley said, “Four seconds and it was a mid-shot.”
Mr. Smith and Mr. Kelley, who were discussing their process while watching a crew set up their installation in Long Island City, began trading critiques of the festival’s notion of itself as a countercultural event and agreed that it was pretty lame.

Both were soldiers of greater, or at least less user-friendly culture wars. Mr. Kelley was a percussionist in the seminal noise band Destroy All Monsters, a sort of precursor to punk rock. (They called it antirock.) Mr. Smith’s came out of the avant-garde performance scene associated with the Kitchen in New York, a pioneer of audience-testing acts of duration and routines built on repetitive movements.

“They say it’s radical self-expression,” Mr. Kelley said of Burning Man, “and then everybody’s the same.”
Mr. Smith added that people there are showing “this folksy, literal” art, “a lot of burnt-looking metal renditions of people grasping hands.” This helps to explain the superstructure around the Baby Ikki video screens in the SculptureCenter, which includes large playground equipment, including what Mr. Smith called “a Bucky Fuller dome,” and a rocket-shape climbing tower made of steel reinforcement bars.

Mr. Kelley said, “The idea was for the whole project to look like the festival site after it’s been abandoned, just after everybody’s gone home.”

And the giant junk sculpture of Baby Ikki is a play on the towering effigy figure that is set on fire every year at the festival. “Instead of the man,” Mr. Smith said, “it’s as if somehow — and it’s not clear what went on for it to happen — the baby has risen as an icon.”

Mr. Kelley developed his ideas for the set by building a tabletop model from balsa wood and wire. “It was pretty rudimentary,” he said, with unassigned components designated simply “big,” “small,” “hard” and “soft.”

At the exhibition’s opening night in mid-September Mr. Smith was working the room as if he knew he was supposed to own it. Mr. Kelley (shy and aloof) mostly hid in the basement, where lesser-known artists had work on display. An hour beforehand he had nearly decided to skip the opening altogether.

Although he has accumulated an art star’s following, “It doesn’t mean my work’s understood the way it’s intended to be understood,” Mr. Kelley said with visible discomfort. “I’m an artist who’s mostly known because of a Sonic Youth album.” (A crocheted doll he made appeared on the cover of the band’s 1992 album “Dirty.”)

“Mike’s more populist about art,” Mr. Kelley added. “I’m a snob.”
Mr. Smith said, “I like to do things that let me watch people’s reactions.”
Both artists — especially Mr. Kelley — were quick to note they never intended their respective bodies of work, despite all the childish content, to function as explorations of childhood. Mr. Kelley said when he began working with dolls and toys, “it was about the commodification of emotions,” and eventually — “because this was how so many people interpreted it” — he became interested in “the culture’s obsession with missing children and childhood abduction.”

Mr. Smith characterized his upbringing as “Chicago, south side, Jewish. My father was in real estate.”
Mr. Kelley said his father, a school maintenance supervisor in Detroit, was against his becoming an artist. “From the time I was in junior high school, I was making stuff I knew was not standard art — light projection things, psychedelic art, cutting up poems and rearranging the words because I’d seen people doing it in art magazines,” he said. “My parents could never make heads of tails out of it. Today I keep away from them.”

Over the three decades since Mr. Smith created Baby Ikki, he has occasionally seen fit to show up in character at birthday parties for friends’ young children, and the results have been mixed. “Sometimes they think it’s funny, sometimes it scares them,” he said, recalling a party at the Canal Street loft of the artists John Miller and Aura Rosenberg for their daughter’s birthday.

“I touched the cake, and the kids didn’t like that,” he said.
Mr. Kelley added: “They can become like pack animals. And if they sense someone’s a threat —— ”
Mr. Smith said, “I was doing it as a gift for my friends.”
Mr. Kelley said: “I don’t think of it that way. I think of it as art.”
It may or may not be relevant to note that neither artist has children. Mr. Kelley has a girlfriend, a younger artist named Trulee Hall, who works a sort of naughty-librarian look in thick-rimmed cat eye glasses and tattoos. Mr. Smith declined to discuss his romantic status, but said his Baby Ikki performance has at time come between him and the women in his life. “Let’s just say, the relationships I’ve been in — a lot them found it unsettling,” he said.

But he volunteered: “My mother, actually, was always fine with the baby character. Once she tucked the baby in at a performance. I was going to sleep.”



8. Clarinda Mac Low, FF Alumn, at X Initiative, Manhattan, thru Oct. 17

Culture Push presents
Cyborg Nation: Dome Living
appearing as part of
Fritz Haeg's "Dome Colony X in the San Gabriels"
Co-conceived by Clarinda Mac Low and Walter Polkosnik with general consultant Deena Patel, PhD, costume consultant Deborah Black, and participation by everybody. Project website: http://www.culturepush.org/?q=node/150

Location: The ground floor of X INITIATIVE, 548 West 22nd Street, New York, NY (the former Dia building).
Gallery hours: Wednesdays through Saturdays, 11am - 6pm. Check the X Initiative schedule to be sure.
Reception: Wednesday, September 16, 7:00 - 9:00pm.
Dome Colony homepage: http://www.fritzhaeg.com/studio/projects/x.html
The exhibit takes place through October 17, 2009. Data from SCoPE sensors
Cyborg events will take place:
During reception, September 16, 7-9
September 18, 2-6 PM, September 19, 2-6 PM
September 25, 3-6 PM, September 26, 2-6 PM
October 2, 2-6 PM, October 3, 2-6 PM
October 15, 3-6 PM, October 16, 3-6 PM
What if technology was designed to enhance your vulnerability and compassion? Come see, or be, a new kind of Cyborg in Cyborg Nation: Dome Living, taking place throughout September and October, 2009, in Manhattan. During the event times you can call in at 646-229-7895, come in and watch or be trained and perform, or send photos and emails to scope@culturepush.org. The training will be for those interested in becoming the Cyborg, the performances will be by co-conceiver Clarinda Mac Low and other trained Cyborgs. At other times the Cyborg Nation photo gallery and other evidence will be part of the ongoing exhibit, so you can send your photos and thoughts at any time.

Photo by Mike Taylor
Cyborg Nation is an episodic, wandering installation that can live anywhere, a technologically enhanced philosophical investigation that takes the form of public dialogues. In it, artist-scientist Clarinda Mac Low and scientist-artist Walter Polkosnik team up with a variety of collaborators, including the general public, to create a miniature telecommunications spectacle. Testing has begun on a prototype Self-Contained Performance Environment, or SCoPE, a wearable media center where the "performer" becomes an opinionated conduit for multiple perspectives.



9. Naeem Mohaiemen, FF Alumn, at NYU, Manhattan, Oct. 6

Chris Marker screening, in conjunction with the "Live True Life"
project, has been re-scheduled-- instead of Sep 24, it is now on Oct 6, in order to have Prerana Reddy join us for post-film discussion.

a. Chris Marker Screening Rescheduled

Asian American Visual Cultures inaugural event

ARTISTS ON FILM: THE CASE OF THE GRINNING CAT (dir. Chris Marker, 2004), 59 min.
Followed by a discussion between Prerana Reddy & Naeem Mohaiemen

7pm, Tuesday, October 6th, 2009
Room 471, 20 Cooper Square (Bowery and East 4th) FREE

In 2001, shortly after the attack on the World Trade Center, a yellow cat appeared from nowhere in Paris. Stencils of this smiling feline began to crop up on the city’s walls, sidewalks and demonstration placards. Who was Monsieur Chat and what did he represent? For Chris Marker, director of such classic cine-essays as ‘La Jetee’, ‘Sans Soleil’ and ‘The Last Bolshevik’, and whose 1977 film ‘Grin Without A Cat’ included a provocative claim that “a cat is never on the side of power”, these mysterious eruptions of feline graphology became an occasion to embark on a series of drifts and peregrinations through the French capital. Everywhere turbulence reigned: the streets were clogged with marches against the war in Iraq, the Chinese occupation of Tibet, the casualisation of labor. The Case of the Grinning Cats, shot over three years, is a city symphony, a diary film, and a witty and associative meditation on political idealism – its necessity, blind spots, melancholia.

The screening will be presented by Naeem Mohaiemen, who will be discussing the film with Prerana Reddy, in relation to the project "Live True Life or Die Trying" at Cue Art Foundation.

Prerana Reddy is Director of Public Events at Queens Museum of Art.
She is a member of 3rd I NY, which exhibits South Asian film & video on a monthly basis, and a member of the South Asian Solidarity Initiative, which works with progressive organizations in South Asia.

She is also board member of Alwan for the Arts, a Middle East and Arab cultural space in Lower Manhattan. She has worked as documentary filmmaker exploring such topics as World Social Forum (w/ Jawad Metni & Naeem Mohaiemen) and alternatives to juvenile detention.

Naeem Mohaiemen's projects include "My Mobile Weighs A Ton"
(http://mobileton.wordpress.com at Gallery Chitrak, Dhaka), "Otondro Prohori, Guarding Who" (at National Shilpakala Academy, Dhaka), and "Kazi in Nomansland" (Lines of Control group project at Dubai/Karachi). His essays include “Islamic Roots of Hip-Hop” in ‘Sound Unbound’ (MIT Press) and “Adman Blues Becomes Artist Liberation” in ‘Indian Highway’ (Serpentine Gallery). "Live True Life" is his current project in New York.



10. elin o’Hara slavick, FF Alumn, at Univ. North Carolina, Pembroke, Oct. 1-Nov. 3

Outside the Lines: New Directions in Drawing
October 1 - November 3, 2009

Reception - Wednesday, October 7, 5-7pm
University of North Carolina at Pembroke

I will be giving a lecture on my work there right before the opening at 4pm.

elin o'Hara slavick
Distinguished Term Professor of Art
Hanes Art Center CB# 3405
UNC, Chapel Hill, NC 27599



11. Peter Cramer and Jack Waters, FF Alumns, at BAAD, The Bronx, Oct. 8

BlakTino Performance Series @ BAAD (Bronx Academy of Arts and Dance )
Peter Cramer and Jack Waters
Thursday, October 8, 8pm/Free

An Intimate Living Theatre Experience SHORT MEMORY/NO HISTORY
Award-winning performers and artists Jack Waters and Peter Cramer transform BAAD! into their living room and invite the audience into a unique installation/Living Theater presentation that has traveled throughout the world of their experience living with AIDS and commemorating art and artists' work on the subject. The evening will include their oral history documentary "Short Memory - No History" discussing the role of women and people of color (and Spanish speakers) in the early days of ACT UP. Video interviews in Spanish are also included.

All events at BAAD! Call 718-842-5223 for more info or visit

BAAD! is at 841 Barretto St. in the Hunts Point section of the South Bronx.
Take #6 Train to Hunts Point Avenue.



12. Doug Beube, FF Alumn, at Museum of Arts and Design, Manhattan, opening Oct. 7


Special Visitor Preview, Starting October 7, Invites Public to Watch Artists Install Site-Specific Works in Galleries and in MAD's Lobby

On View Through April 4, 2010, Exhibition Features Works by Contemporary Artists Doug Beube, Thomas Demand, Olafur Eliasson, Tom Friedman and Kara Walker, Among Others

Andreas Kocks, paperwork #703G (Cannonball), 2007. Graphite on watercolor paper. Courtesy of Jeannie Freilich Contemporary, New York. Photo: Herman Feldhaus New York, NY (September 14, 2009) - Slash: Paper Under the Knife explores the international phenomenon of cut paper in contemporary art-showcasing the work of artists who reach beyond the traditional role of paper as a neutral surface to consider its potential as a medium for provocative, expressive, and visually striking sculpture, installation, and video animation. Organized by the Museum of Arts and Design, Slash features 12 new site-specific installations and other new and recent work by over 50 contemporary artists from around the world, including Thomas Demand, Olafur Eliasson, Tom Friedman, Nina Katchadourian, Judy Pfaff, and Kara Walker, among others.

A special weeklong Visitor Preview of Slash, starting October 7, will invite museum visitors to watch the creative process as six Slash artists install their site-specific installations during regular museum hours. Andreas Kocks, Celio Braga, Michael Velliquette, Tomas Rivas, and Mark Fox will install and assemble their new commissions in the Museum's 4th and 5th floor galleries. Andrea Mastrovito will hang his massive paper installation, depicting a storm seizing Christopher Columbus's ship, from the ceiling of MAD's lobby, visible to all visitors passing through the Museum and from the street.

The completed exhibition will be on view from October 14, 2009 through April 4, 2010. A Press Preview with participating artists and museum leadership will be held on Thursday, October 8, from 10:00am to 12:00noon.

"Whether it be through our open studio programs or our digital interactives, our focus at the Museum of Arts and Design is on connecting artists and our audiences in new ways," said Holly Hotchner, the museum's Nanette L. Laitman Director. "This special Visitor Preview of Slash invites the public to watch these visionary artists as they install their work, a process that is usually kept behind the scenes. We hope this special viewing will provide our visitors with a new appreciation for the creative process and will help bring to life the works on view."

Organized by the Museum's Chief Curator, David Revere McFadden, Slash is the third exhibition in MAD's Materials and Process series, which examines the renaissance of traditional handcraft materials and techniques in contemporary art and design. Previous installments in the series include Radical Lace and Subversive Knitting (2007) and Pricked: Extreme Embroidery (2008). Slash: Paper under the Knife is made possible by Kate's Paperie. Generous additional support is provided by the Angelica Berrie Foundation.



13. Susan Bee, FF Alumn, at Athens Cultural Center, Athens, NY, opening Oct. 3

Athens Cultural Center
24 Second Street Athens, New York 12015
an exhibition to honor
The Quadracentennial of Hudson’s Arrival


Susan Bee
Claudia McNulty
Larry Silver
Leah Rhodes
Ellen Kozak
Marianne Van Lent

October 3– November1st
Saturdays & Sundays, 1–4 pm
Reception: Saturday, October 3 rd, 6–8 pm
As far back as the 1830’s Thomas Cole limned the antagonism he felt between retreating wilderness and advancing civilization. This show juxtaposes modern landscapists and art of social commentary, and hopes to illuminate the palpable tension between wilderness and cultivation that charges this place with its vital current.

Curated by Randall Evans and Cynthia Karasek



14. Susan Share, FF Alumn, at Univ. of Iowa, Iowa City, Oct. 9, and more
Susan Joy Share will present the Mitchell Lecture at the University of Iowa Center for the book on Friday, October 9th at 5pm. She will also teach a workshop, Wearable Books and Movement, on October 10&11 http://www.uiowa.edu/~ctrbook/.



15. Taylor Mac, FF Alumn, at Here Arts Center, Manhattan, Oct. 29-Nov. 22

HERE ARTS CENTER & Ethyl Crisp Productions





HERE Arts Center proudly launches its 2009/2010 MainStage season with Taylor Mac’s epic extravaganza The Lily’s Revenge, a five-part multi-genre spectacular that features six directors and over forty performers. This production will run Thursday, October 29 – Sunday, November 22 at HERE Arts Center (145 Sixth Avenue). Official Opening Night is set for Sunday, November 1 at 6:30 PM.

The Lily’s Revenge is part Noh play, part verse play, part vaudevillian theatric, part installation, part puppet theater and part dance, in a site-specific extravaganza. Using flowers as a metaphor for queer (meaning different, not specifically gay) communities, Taylor Mac, with six collaborating directors and an ensemble of more than 40 performers and musicians), tells the tale of a flower’s quest to become a man (in order to wed its beloved bride). As the flower’s journey unfolds, it finds itself at the center of a revolution of flowers intent on destroying their oppressor, The God of Nostalgia. A radical experiment in “genre-squishing,” The Lily’s Revenge is a multidisciplinary pastiche exploring themes of homogenization of city, culture and community, marriage and gay marriage agendas, and the role of theater as a catalyst for action.

The Lily’s Revenge is comprised of five distinct parts. The show’s first four parts are directed by Paul Zimet, Rachel Chavkin, Faye Driscoll and Aaron Rhyne, respectively. Intermission performances or ‘Kyogens’ staged in all areas of HERE Arts Center (café, dressing rooms, even restrooms) between the show’s structured parts are directed by Kristin Marting. David Drake directs the production’s final part, an enormous collaboration between all ensembles.

Taylor Mac has been named one of New York and the country’s best theater artists by American Theatre magazine, the Village Voice, Time Out New York and New York Press. His most recent plays are The Young Ladies of (New York’s HERE Arts Center, Manchester’s Library Theater, Stockholm’s Sodra Teatern and others), Red Tide Blooming (PS 122) and The Be(a)st of Taylor Mac (The Sydney Opera House, Under the Radar Festival at the Public Theater, London's Soho Theatre, Dublin’s Project Arts Center, Portland's Time Based Arts Festival, Seattle’s Bumbershoot Festival, the Spoleto Festival and over 40 additional theaters all around the globe). Vintage Press, New York Theatre Review and New York Theatre Experience have published his plays and he is the recipient of a Sundance Theater Lab residency, a Rockefeller Map Grant, The Creative Capital Grant, The James Hammerstein Award for playwriting, The Edinburgh Festival's Herald Angel Award, two GLAAD Media Award Nomination, PS 122's Ethyl Eichelberger award, a New York State Council of The Arts Grant, an Edward Albee Foundation Residency, The Franklin Furnace Grant, a Peter S. Reed Grant and The Ensemble Studio Theatre's New Voices Fellowship in playwriting. He is currently a HERE Arts Center Resident Artist and a member of New Dramatists.

Paul Zimet is the Artistic Director of the Talking Band and has directed over 35 original works for the company. His writing credits include Imminence, Party Time, Belize, The Parrot, Star Messengers, Bitterroot, Black Milk Quartet, New Cities and two episodes of The Necklace. He is the recipient of the Village Voice OBIE award for direction, and three OBIE awards for his work with the Open Theater and the Winter Project, both directed by Joseph Chaikin. Paul is an alumni member of New Dramatists, and his upcoming productions include: writer/director, Radnevsky’s Real Magic (at La MaMa, October 2009); performer, Young Jean Lee’s King Lear (SoHo Rep, January 2010); director, Walk (ETW, April 2010, La MaMa, Jan 2011) and writer/director, Action (3LD, May, 2010).

As the artistic director of The TEAM, Rachel Chakvin has directed/co-authored Particularly in the Heartland, A Thousand Natural Shocks, Give Up! Start Over! (In the darkest of times I look to Richard Nixon for hope) and HOWL (based on the poem by Allen Ginsberg). Outside of her work with the TEAM she directed The Lily's Revenge (work-in-progress) by Taylor Mac at HERE'S Culturemart 2008, Peace, based on the play by Aristophanes' a new musical co-written with Taylor Mac (HERE, NYC Target Margin's On the Greeks), All the Great Books (Abridged) by the Reduced Shakespeare Company (Hangar Theatre), Chekhov's Uncle Vanya (Classic Stage Company), and the NYC revival of Kurt Vonnegut's Happy Birthday, Wanda June. Upcoming projects include a collaboration with writer Molly Rice and composer Ray Rizzo on Canary, a new rock musical for young adults, and the TEAM's Architecting. As a dramaturg or assistant director she has worked with Elevator Repair Service on Sound and Fury, at NYTW in April 2008, the Civilians on Anne Washburn's The Ladies - assisting director Anne Kauffman, choreographer Pavel Zustiak on Le Petit Mort and Blind Spot, the SITI Company on Macbeth - assisting director Leon Ingulsrud, and Project 400 on Measure for Measure - assisting director Diane Paulus. Rachel is a New Georges affiliated artist, and is a Drama League alumnus. She earned her BFA at NYU where she now serves on the directing faculty at Playwrights Horizons Theater School, and is completing her MFA at Columbia University.

Faye Driscoll was hailed as "1 of 25 to watch out for in 2008" by Dance Magazine. Her recent work, 837 Venice Boulevard, was named "one of the top 5 dance shows of 2008" by The New York Times. Her video flip book dance Loneliness is featured in Younger Than Jesus the first edition of the New Museum’s new signature triennial in which 50 select artists from 25 countries are presented. This summer, Driscoll was commissioned to create a new work at the American Dance Festival.

Her new evening length show has been commissioned by Dance Theater Workshop and is set to debut in March 2010. In addition to creating her own work, Driscoll has collaborated with several theater artists. She is choreographing for Cynthia Hopkins’ new show The Truth: A One-Woman Greek Tragedy, premiering at Soho Rep in 2010. She recently choreographed for Jennifer Miller's Cracked Ice and the National Theater of the United States of America's Chautauqua! at PS 122. She also choreographed for Church (PS 122 and Under The Radar) and The Shipment (The Kitchen), two plays by Young Jean Lee. Driscoll was a member of the HERE Artists Residency Program 2007-2009 and is an Artist Advisor at BAX/Brooklyn Arts Exchange, where she was an Artist-in-Residence 2005-2007. Formerly, Driscoll was a member of Doug Varone and Dancers, performed extensively with Yasmeen Godder and was choreographic assistant to David Neumann in his creation of The Common Foreign Language of the Red-Haired People with Mikhail Baryshnikov. She holds a BFA from NYU's Tisch School for the Arts.

Aaron Rhyne is a director and video artist specializing in theatrical video / projection design. Designs include Jerry Springer: The Opera (Carnegie Hall, Sydney Opera House), Working (Asolo Rep, The Old Globe), Bonnie and Clyde (LaJolla Playhouse) The Civil War (Ford’s Theatre), Dutchman (Cherry Lane), The JAP Show (Actors Temple), Flags (59E59), and Suddenly Summer Somewhere (Dancepace). Directing credits include Once There Was a Boy (FAC), Playing House (HERE),and Princess Ivona (Polish Cultural Institute). Rhyne has also done extensive video work with Caden Manson’s Big Art Group. Additionally, he directs music videos, commercials, and performance projects for television.

David Drake is a New York-based actor, writer and director. He won an OBIE Award for his autobiographical solo play The Night Larry Kramer Kissed Me, which ran a year Off-Broadway before its year-long international tour. As a stage director, David’s credits include Taylor Mac's The Be(A)st of Taylor Mac, developing Edmund White’s Terre Haute at the Sundance Theatre Lab and premiering Anne Bobby’s That Woman: Rebecca West Remembers at Manhattan Theatre Source before taking it to Amsterdam for its European debut. David has also directed new plays in New York at Theatre for the New City, The Public, HERE, Dixon Place, Rattlestick Theatre and the New York International Fringe Festival, and regionally at Provincetown Rep, Baltimore Theatre Project, San Francisco’s Lorraine Hansberry Theatre and as the recipient of three directing residencies at the Out North Contemporary Art House in Anchorage, Alaska.

Kristin Marting has constructed 23 works for the stage, including 10 original hybrid works, 8 adaptations of novels and short stories and 5 classic plays. Recent projects include co-creation/direction of an alternative musical Orpheus with Taylor Mac as the title character; and direction of James Scruggs’s solo work Disposable Men. She is a co-founder and the Artistic Director of HERE.

Rachelle Garniez (composer) is a native of New York City. She has released 4 CDs of original songs and has performed and collaborated with a wide variety of people and ensembles including The Citizens Band, Franklin Stage Company, The Friggs, Sxip Shirey, Marvin Sewell, Jenny Scheinman, the Grumbling Gryphons Traveling Children's Theater, NYU's ETW and choreographer Keely Garfield. Rachelle has been a member of Thomas Dolby's house band at the TED Conference off and on for several years.

Emily DeCola (puppet design) works with puppetry and masks as a designer, director and performer. Recent projects include Hamlet (Public Theater), Peter & Wendy and Prelude to A Death in Venice (Mabou Mines), Women Beware Women, Pericles and Revenger's Tragedy (Red Bull Theater) and LazyTown (Nickelodeon). Emily and her two partners run The Puppet Kitchen: a full-service puppet studio in the East Village. Next up, a blacklight fish musical for Royal Caribbean Cruises.

The Lily’s Revenge features performances by Vanessa Anspaugh, Jonathan Bastinani, The World Famous Bob, Salty Brine, Heather Christian, Matthew Crosland, Darlinda Just Darlinda, Kayla E., James Tigger Ferguson, Daphne Gaines, Ikuko Ikari, Barb Lanciers, Kristine Lee, Bianca Leigh, Machine, Ellen Maddow, Glenn Marla, Muriel Miguel, Frank Paiva, Kim Rosen, Tina Shepard, Saeed Simiak, Phillip Taratula, Rae C. Wright, Nikki Zialcita, Lady Rizo/Amelia Zirin-Brown and many more.

The Lily’s Revenge was developed at HERE Arts Center through the HERE Artist Residency Program (HARP); with the assistance of the Sundance Institute Theatre Program; at New Dramatists as part of the Working Sessions Program and with support from the Creativity Fund; and with the support of Abrons Arts Center. The Lily’s Revenge is a project of Creative Capital, and was made possible in part by The MAP Fund, a program of Creative Capital supported by the Doris Duke Charitable Foundation and the Rockefeller Foundation; the Franklin Furnace Fund for Performance Art, supported by Jerome Foundation and the New York State Council on the Arts, a state agency; Ars Nova; the New York State Council on the Arts Individual Artists Program; The JB Harter Charitable Trust; and The Visionary Trust.

Since 1993, the OBIE-winning HERE Arts Center has been a premier arts organization in NYC and a leader in the field of new, hybrid performance work. Under leadership of Founding Artistic Director Kristin Marting and Producing Director Kim Whitener, HERE has served over 12,000 emerging to mid-career artists developing work that does not fit a conventional programming agenda. Work presented at HERE has garnered 14 OBIE awards, including the 2009 Ross Wetzsteon Award, an OBIE grant for artistic achievement, five Drama Desk nominations, two Berrilla Kerr Awards, four NY Innovative Theatre Awards, an Edwin Booth Award and a Pulitzer Prize nomination. HERE proudly supports artists at all stages in their careers through full productions, artist residency programs, festivals and subsidized performance and rehearsal space. Work at HERE is curated based on the strength and uniqueness of the artist’s vision. HERE’s Artist Residency Program (HARP) provides development, commissions and full production for up to 20 artists over one-to-three years.

The Lily’s Revenge plays October 29 – November 22 as follows: Thursday through Sunday
at 6:30 PM. Please note: the performance on Saturday, October 31 (Halloween) is at 7:30PM. Tickets are $35 and can be purchased online at www.here.org or by calling 212-352-3101 or at the HERE Box Office (4 PM until curtain on show days). HERE Arts Center is located at 145 Sixth Avenue, one block below Spring Street. For more info, visit www.here.org.

Contacts: Bridget Klapinski, Adam Bricault (212) 505-2900 abricault@thekarpelgroup.com



16. Ricardo Miranda Zuniga, FF Alumn, at University of Buffalo, NY, Oct. 19

Dear Friends,
I'm writing to tell you about a current exhibition in Buffalo, if you find yourself in Buffalo, please have a look. Documentation is online at:

Breaking News (2009) is a two-part project: a news media literacy workshop designed for young children and an art installation that reflects upon the manner that current events seep into our lives. The installation is informed by the workshop and features the Breaking News application - an rss reader with a critical twist.

I will also be speaking at University at Buffalo as part of the Visual Studies Speakers Series on October 19th.




17. Kriota Willberg, FF Alumn, announces fall 2009 calendar

Hello Everyone!

This fall is an exciting time for the dance film “department” of Dura Mater. October 1 marks the inauguration and lift off of my latest project, an online dance film festival called UMove. Anna Brady Nuse, Marta Renzi, and I spent this summer organizing a new annual event that will promote dance film and kinetic cinema online, broaden the definition of dance film, and advocate for valuing the execution of an idea over the size of a film’s budget.

UMove is hosted by Movement Media (see below for additional information) and our October 4 launch party will also be an MM fundraising event. For those of you who would like to contribute to a Dura Mater project this year, this is it.

I have presented programs at Kinetic Cinema, and will be a guest blogger in the near future. My involvement with UMove will go on for years, and interest in our program is already spreading. We have invitations to screen our live program in LA, Philadelphia, and the UK. Through my association with Movement Media, I have been invited to present a lecture about the influence of Busby Berkeley on contemporary media at the Institute of Contemporary Art in Philadelphia.

My and Dura Mater’s upcoming activities this fall include the launch of UMove, a lecture at the ICA in Philadelphia, the premier of our latest dance short, Sunscreen Serenade, and the ever-continuing blog thecinematologist, where we explore medical themes in Hollywood films. Curation, lecture, film, and blogging may seem like a departure from Dura Mater’s original programming of live dance performance, but I see this change instead as growth and evolution. Dura Mater continues with its ambitious, zany mission of creating artistic and entertaining projects in the areas of dance, film, and anatomy.

Contributing to Movement Media this year supports the thoughtful, wacky diversity of Dura Mater projects this fall, and in years to come. For more information on Movement Media’s projects and mission and for details on how to contribute, please visit their web site at www.pentacle.org/movement_media.asp. Tickets to the Ocober 4 launch party of UMove can be purchased directly from the web site. Hope to see you there! (If you are able to contribute to Movement Media this year, please send me a short email notice that you made a donation, so that I can ensure that you are properly and personally thanked.)

Below is a list of this fall’s upcoming events and projects. Be sure to add them to your calendars!
Thank you, thank you, THANK YOU!
**If you would like to be removed from my mailing list, please reply to this email with "unsubscribe" in the subject line and you will be promptly removed. Thanks!

UMove Launch Party & Festival
The First Annual UMove Online Videodance Festival will take place October 1-31, 2009. The festival will feature short dance and movement-based videos that were made specifically for the web and other new media formats including cell phones, gaming, virtual reality worlds, and mash-ups. In addition to online programming on YouTube and Movement Media's blog, Move the Frame, the festival will include a launch party and live screenings in New York, Philadelphia, Los Angeles, UK, and other locations to be announced.

UMove was started by three dance film-makers: Kriota Willberg, Marta Renzi, and Anna Brady Nuse (Pentacle's Director of Movement Media) who are passionate about promoting dance film through any means possible. We seek to find the most innovative and engaging dance videos on the web and to highlight rising talent in the field.

October 1st will mark the launch of the festival online and there will be a live screening and party in New York after which the festival will tour to select locations around the country and the world in 2009-10.

Launch Party & Screening
Sunday, October 4 @ 7:30 & 9:30 pm (party/reception @ 8:30 pm)
At The Tank
354 West 45th Street (btwn 8th & 9th Ave) New York, NY

Thursday October 1 - Saturday October 31

Under The Influence of Busby Berkeley
Busby Berkeley was a great director/choreographer in his day, but what has he done for us lately? Turns out… a lot! Berkeley’s penchant for crazy camera moves, sex, elaborate staging, geometry and stream-of-consciousness editing style still influences artists today, and has been used to entertain and sell cigarettes, music, TV shows, and pharmaceuticals. How many choreographers can claim such a broad impact? Kriota Willberg presents clips from an array of independent and studio films, music videos, and television commercials, demonstrating Berkeley’s influence on cinematography and choreographic styles over the last 70 years.

In addition to a smattering of the Hollywood and Bollywood cadre, contributors in the line up include Richard James Allen, Jess Curtis, Michel Gondry, Kat Green, Jennie Livingston, Lucky Strike cigarettes, Anna Brady Nuse, Jonathon Rosen, Keith Scofield, and Kriota Willberg.

Followed by a screening of Berkeley's Dames at International House (3701 Chestnut Street).

Wednesday, October 14 @ 6:30 pm
At the Institute of Contemporary Art @ University of Pennsylvania
118 S. 36th Street, Philadelphia, PA

Sunscreen Serenade screening at the DANCE MOViES Commission 2008-2009 Premiere
Sunscreen Serenade, a short film directed and choreographed by Kriota Willberg with sound by Carmen Borgia and illustration and design by R. Sikoryak (USA), was chosen as one of four recipients of the 2008 DANCE MOViES Commission by the Experimental Media and Performing Arts Center at Rensselaer Polytechnic Institute (EMPAC).

Chosen from a short list of 28 projects by an international panel of dance-film practitioners, curators and producers, the projects range in format, style and emotional tone: from single-channel video installation to 16mm film, from the spectacular to the surreal. Sunscreen Serenade is a clever homage to Busby Berkeley’s flamboyant kaleidoscopic style of the 1930s, where scantily-clad finger puppets tackle the contemporary issue of ozone depletion. Cheerfully dancing in formation, the diminutive dancers deliver a gentle reminder that environmental and political trends come and go, much like the drift of our culture through movie fads.

Tickets can be purchased online through EMPAC’s web site or directly through their box office at (518) 276-3921.

Saturday, November 7 @ 7:30 pm
At the Theater @ EMPAC
110 8th Street Troy, NY
* Artist Talk + Reception: Saturday, November 7, post screening

Kriota Willberg,
Dura Mater
10 Stuyvesant Oval, #10D
New York, NY 10009



18. Zlatko Kopljar, FF Alumn, in Graz, Austria, thru Oct. 23

I cordially like to invite you to our exhibition in cooperation with steirischer Herbst:


vernissage: saturday, 26.september, 15.00
Light-character, light-bearer, light-house, light-sphere – „all the same“. According to the leitmotiv of Steirischer Herbst 09 Zlatko Kopljar is setting an aesthetically absolute counterpoint, which is going to transform the indifference of paraphrases by a multiple injured metaphor into the absolute of bright and compelling proof. In the setting of an experimental station for light bulbs from the 1950s on the gateway to Zagreb, a narrow cube of only 4 meters width reaching 40 meters into the sky, we become participators of an almost never-ending look of a mysterious light-character. The inspection of the bulbs in the 12 storeys is developing from an aesthetic integration of sensually tangible energy to the implementation of a collective awareness of a literally luminous ethic: Lucid understanding provokes responsible acting: “YOU ARE THE LIGHT OF THE CITY.”

Zlatko Kopljar, K13, (LIGHT TOWER), Videostill, Installation, Mixed Media, 2009
Micro- and macro-politics, localism and globalism, post-capitalism and post-socialism, materialism and metaphysics: How can such rivalling fields of conflict develop an aesthetic potential? Zlatko Kopljar has created images for this at the intersection of visual art and performance, images that alternate between concept and grand emotion.

“Light Tower” transforms into a maelstrom of bright light as an absolute point of reference: An injured metaphor as compelling proof of a power that paralyses negativity.

A copruducion with Steirischer Herbst 09 and in cooperation with the Museum of Contemporary Art, Zagreb

ADMISSION € 2,-/ € 1,-
OPENING HOURS: MO – FR 10.00 – 18.00, SA + SO 11.00 – 16.00
Application for school classes: 0316/711133-29. Admission incl. guiding tour: € 2,-
Guided tours Steirischer Herbst: Sunday, 04. October und Saturday, 10. October, each time at 15.45
Meeting point: Kunstverein Medienturm (15.00)

I'm looking forward to see you!

Kind regards,
Johannnes Rauchenberger

VERNISSAGE: saturday, 26. september, 15.00
DURATION OF EXHIBITION: 26. september - 23. october
ADMISSION € 2,-/ € 1,-
Application for school classes: 0316/711133-29, Admission incl. guiding tour: € 2,-
PLACE: Minoriten Galerien Graz, Mariahilferplatz 3 II., 8020 Graz
The exhibition is accompanied by a catalogue in Croatian, German and English with texts by Johannes Rauchenberger, Sandra Krizic Roban and Misko Šuvaković (€ 12,-)

Kulturzentrum bei den Minoriten
Mariahilferplatz 3
8020 Graz
t: 0316/711133



19. Rachel Rosenthal, John Baldessari, Robert Rauschenberg, FF Alumns, at Track 16 Gallery, Santa Monica, CA, Nov. 7

An iconic artist celebrates her rich life at a gala event including an exhibit/auction by some of the art world's brightest luminaries including John Baldessari, Mike Kelley and Robert Rauschenberg.

Please join us on Saturday, November 7, 2009 from 7:00 - 11:00pm at Track 16 Gallery in Santa Monica, CA for....

"Rachel Rosenthal's Birthday Bash 83"

We'll be celebrating:
- Rosenthal's 83rd birthday
- Her new book The DbD Experience - Chance Knows What it’s Doing! (Routledge - Dec.)
- The Rachel Rosenthal Company's new TOHUBOHU! Extreme Theater Ensemble (debuts Jan. 2010)

The celebration is also a fundraiser:
In honor of the 83 years Rosenthal has spent on the planet, the event will feature an exhibit and silent art auction of the highest caliber. The auction will include 83 abstract, conceptual, and representational “portraits” of Rosenthal (not necessarily created in 2009) in a diverse range of media by exceptional established and emerging artists. In addition to Baldessari, Kelley and Rauschenberg, art world legends such as Lita Albuquerque, Eleanor Antin, Judy Baca, Llyn Foulkes, George Herms, Martin Kersels, Ed Moses, Lee Mullican, Betye Saar, Masami Teraoka, Patssi Valdez, and June Wayne have confirmed their involvement.

- For a list of the participating artists to date please visit: www.rachelrosenthal.org/rr/party.html
- For RR's bio, stellar press quotes & select past press clips: http://www.rachelrosenthal.org/rr/press.html

For any media folks interested in Rosenthal's new book and/or a sneak preview of TOHUBOHU! please speak up.

Please RSVP
Lynn Hasty, Green Galactic/213.840.1201/ lynn@greengalactic.com



20. Maria Yoon, FF Alumn, announces fall 2009 calendar

Hi Everyone!
Thanks to all of YOU I had another successful summer of weddings.
I met so many of YOUR wonderful friends and families along the way.
I have posted below my FALL calendar. MARK your calendar today.
- Wedding in CO, AZ, UT, NM, CA, OR and WA accomplished. See photos posted online.
- Oct 8th, 2009: Cue Foundation Group Show. One Night Only!
- Aug 2009: KALX RADIO INTERVIEW, California.
- Nov 6th, 2009: Guest Speaker @ the Museum of Modern Art.
- Dec 5th, 2009: Film Release of New Weddings from this Summer.

- Join Maria's Annual Membership for the coming year 2010.
Thank you for your continuous love and support, Maria



21. LuLu LoLo, FF Member, on 14th Street, Manhattan, Oct. 1-24
LuLu LoLo The 14th Street NewsBoy Oct 2,10, 18, & 24 EXTRA! EXTRA! READ ALL ABOUT 14TH STREET Get your free copy of “The 14th Street Tribune” from the 14th Street NewsBoy Art in Odd Places: Sign--Over 60 artists take over 14th Street this October. www.artinoddplaces.org

LuLu LoLo as The 14th Street NewsBoy, in vintage attire, will continue the turn of the century tradition of the famous Union Square NewsBoys—by shouting: “Extra! Extra! Read All About It in “The 14th Street Tribune!”

Collect all four exciting issues of the weekly tabloid recalling the famous, notorious, and tumultuous events from the history of 14th Street.

The 14th Street NewsBoy will be hawking newspapers on 14th Street between Broadway & University Place—the South Side of Union Square on the following days:

Friday, Oct. 2nd 8-11am first issue
Saturday, Oct. 10th 8-11am second issue
Sunday, Oct. 18th from 12-3pm third issue Saturday, Oct. 24 from 4-7pm fourth issue

OPENING RECEPTION: Thursday,Oct 1, 6-9pm at Theaterlab, 137 West 14th Street between 6th and 7th Avenues.
The 14th Street NewsBoy will be hawking newspapers at the reception rsvp: aiop2009@gmail.com



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