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Contents for November 23, 2009
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Alice Hutchins, FF Alumn, In Memoriam

Jeanne-Claude, FF Alumn, In Memoriam

1. Cary Peppermint, FF Alumn, now online at http://whitney.org/Sunset
2. Paul Henry Ramirez, FF Alumn, in new publication, Public Art for Public Schools
3. Adrian Piper, FF Alumn, at Museu d’Art Contemporani de Barcelona, Spain, thru April 25, 2010
4. Donna Henes, FF Alumn, now online at www.huffingtonpost.com
5. Robin Tewes, FF Alumn, at Headbones Gallery, Toronto, Ontario, thru Dec. 7
6. Adam Pendleton, FF Alumn, at de Appel, Amsterdam, The Netherlands, starting December 12
7. Halona Hilbertz, Yoko Ono, FF Alumns, at Williamsburg Art and Historical Center, Brooklyn, thru Dec. 27
8. Gabriel Martinez, FF Alumn, at Arcadia Univ. Art Gallery, Philadelphia, PA, thru December 21
9. Naeem Mohaiemen, FF Alumn, at LABoral, Gijon, Spain, thru April 5, 2010
10. Andrew Ginzel, Alan Sondheim, Elaine Tin Nyo, FF Alumns, at Triple Candy, Manhattan, thru January 17, 2010
11. Don Celender, FF Alumn, at Public Collectors Study Center, Chicago, opens Dec. 9
12. G. H. Hovagimyan, FF Alumn, at Pulse, Miami, FL, Dec. 3-6
13. Stephanie Brody-Lederman, FF Alumn, at OK Harris gallery, Manhattan, opening December 5

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Alice Hutchins, FF Alumn, In Memoriam

Alice Hutchins (b. 1916 ) passed on Sunday, October 25, in Santa Barbara, California, just shy of her 93rd birthday. Family, friends and the world art community have lost an amazing intelligent artist. Alice started her art career as a painter in Paris in the 50s. By the 60s she was the lone American in a group of avant-garde artists and writers whom gathered weekly at the Heidsieck-Janicot apartment in Paris. In 1967 she began experimenting with magnets and plastic boxes. In late 1967, Hutchins made her first trip as an artist to New York, having learned through her friendships with French critic Pierre Schneider and artist Paul Gette that several New York artists were also working with clear plastic boxes, in particular an artist named George Maciunas, whom she later learned was the founder of Fluxus.

Soon after her arrival, she met Fluxus artists Alison Knowles and Dick Higgins, who mounted her first one-person exhibition of small magnetic works at the Something Else Gallery in 1968. A few months earlier, Ms. Hutchins also placed some of her works with Marian Goodman at the Multiples gallery in New York. Goodman led Ms. Hutchins to George Maciunas, the Lithuanian-born founder of Fluxus, from whom Ms. Hutchins bought one of the original Fluxhouse co-op lofts, which she kept for the next twenty-eight years. Moving between Paris and NYC she straddled two continents, making alliances in the intermedia art world. Hutchins and Maciunas collaborated on a work called Jewelry Fluxkit, a small plastic box containing little bells and rings that she had brought with her to their first meeting in 1967. Interestingly, and in true Fluxus spirit, neither artist was interested in being the formal author of the piece. This dismissal of authorship also anticipated the precepts of postmodernism. In the spring of 1968, soon after the assassinations of Dr. Martin Luther King, Jr., and Bobby Kennedy, Ms. Hutchins returned to Paris, arriving shortly before the May 1968 riots began. In late 1968, Ms. Hutchins had her first one-person show in Europe at the Galerie Riquelme in Paris, titled "play-things."

She went on to add cut, plated metals and found bits and used both Alnico and ferrite magnets cut to her specifications. The sculptural magnetic works afforded Alice the level of communication that had eluded her with painting. Her interactive art invited the "spectator" to experiment and become the artist as well. She liked the unpredictability of the magnet force and the chance and change it afforded. Her magnetic constructions have been described as arenas for happenings. Ms. Hutchins’ magnetic work has been featured in thirteen solo exhibitions during her career and over fifty group exhibitions in the U.S. and Europe, including the group exhibition of Fluxus artists in the 1990 Venice Biennale titled Ubi Fluxus Ibi Motos, and a major retrospective of her work in 2005-2006 titled "Magnetic Encounters" at the Santa Barbara Contemporary Arts Forum. On view with the exhibition was an animated film of the limitless permutations of one of her works.

This last year Alice Hutchins showed work at the National Portrait Gallery at the Smithsonian, the Pompidou Center, Paris, and the D’Amelio Terras Gallery in New York. A forthcoming article In the Field with Alice Hutchins in the November issue of Women & Performance: A Journal of Feminist Theory is due out soon.

In 1991 Alice and her husband Jack settled in Santa Barbara, where Jack died in 1994. Ms Hutchins is survived by two younger sisters, Claudia Steel (also an artist) and Elinore Giberson; her son Thomas J. Hutchins, a retired Judge of the Ventura County California Superior Court; daughter Claudia Hutchins-Puechavy, an artist, who lives in Paris, three grand children and five great-grandchildren. Merrily Peebles

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Jeanne-Claude, FF Alumn, In Memoriam

The New York Times
By WILLIAM GRIMES
Published: November 19, 2009

Jeanne-Claude, who collaborated with her husband, Christo, on dozens of environmental art projects, notably the wrapping of the Pont Neuf in Paris and the Reichstag in Berlin and the installation of 7,503 vinyl gates with saffron-colored nylon panels in Central Park, died Wednesday in Manhattan, where she lived. She was 74.

A statement on the couple’s Web site, christojeanneclaude.net, said the cause was complications of a brain aneurysm.

Jeanne-Claude met her husband, Christo Javacheff, in Paris in 1958. At the time, Christo, a Bulgarian refugee, was already making art of wrapped packages, furniture and oil drums. Three years later, they made their first work together, a temporary installation on the docks in Cologne, Germany, that consisted of oil drums and rolls of industrial paper wrapped in tarpaulin.

To avoid confusing dealers and the public, and to establish an artistic brand, they used only Christo’s name. In 1994 they retroactively applied the joint name "Christo and Jeanne-Claude" to all outdoor works and large-scale temporary indoor installations. Other works were credited to Christo alone.

Their collaborative approach, as described on their Web site, remained constant throughout the years. After he and his wife conceived an idea for a project, Christo made drawings, scale models and other preparatory works that were sold to finance the final project. With the help of paid assistants, they then did the on-site work: wrapping buildings, trees, walls or bridges; erecting umbrellas ("The Umbrellas," 1991); spreading pink fabric around 11 islands in Biscayne Bay near Miami ("Surrounded Islands," 1983).

"We want to create works of art of joy and beauty, which we will build because we believe it will be beautiful," Jeanne-Claude said in a 2002 interview. "The only way to see it is to build it. Like every artist, every true artist, we create them for us."

Jeanne-Claude Denat de Guillebon was born on June 13, 1935, in Casablanca, where her father, a French army officer, was stationed. After attending schools in France and Switzerland, she earned a baccalaureate in Latin and philosophy in 1952 from the University of Tunis.

In addition to her husband, she is survived by their son, Cyril Christo of Santa Fe, N.M.

In 1962, Christo and Jeanne-Claude caused a sensation when, in response to the building of the Berlin Wall, they blocked the tiny Rue Visconti in Paris with a barricade of oil drums. Jeanne-Claude managed to stall the police as they closed in, arguing that the work, "Wall of Oil Barrels, Iron Curtain," should stay in place a few hours more.

Jeanne-Claude and Christo moved to New York in 1964 and embarked on grander, more theatrical projects. Nothing, it seemed, was too large to be shrouded in fabric. In the late 1960s, they wrapped the Kunsthalle in Bern, Switzerland, just one of many buildings, walls and statues to come. In 1969 they wrapped a million square feet of coastline near Sydney, Australia.

Although wrapping remained the couple’s signature, they staged other environmental projects and public displays. At the Documenta exhibition in Kassel, Germany, in 1968, they erected, with the assistance of two giant cranes, an inflated cylindrical fabric "package," in appearance a bit like a stretched-out Michelin Man, that stood nearly 280 feet tall.

The projects became communal events, during construction and after. Millions of viewers were attracted to "The Umbrellas," installed simultaneously in 1991 in Ibaraki, Japan, and at the Tejon Ranch in Southern California. "The Gates," a series of flapping bannerlike panels installed in Central Park in 2005, also attracted more than five million viewers during the two weeks that the work lasted.

Mayor Michael R. Bloomberg, in a statement released Thursday, praised "The Gates" as "one of the most exciting public art projects ever put on anywhere in the world — and it would never have happened without Jeanne-Claude."

The couple often had to overcome stiff resistance to their projects from municipal officials and citizens worried at the possible environmental impact of their work. Some critics dismissed their work as a repetitive series of stunts devoid of intellectual content. More often than not, however, the projects, once in place, turned out to be enormously popular.

Before Jeanne-Claude’s death, she and Christo were at work on two longstanding projects: "Over the River," a series of fabric panels to be suspended over the Arkansas River in Colorado, and "The Mastaba," a stack of 410,000 oil barrels configured as a mastaba, or truncated rectangular pyramid, envisioned for the United Arab Emirates.

Like all of their projects, these were intended to be temporary. Whether executed in oil drum or brightly colored fabric, the art of her and her husband, Jeanne-Claude said, expressed "the quality of love and tenderness that we human beings have for what does not last."

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1. Cary Peppermint, FF Alumn, now online at http://whitney.org/Sunset

whitney.org - sunset / sunrise series presents
Untitled Landscape #5 by ecoarttech
http://whitney.org/Sunset

A series of Internet art projects commissioned by the Whitney specifically for its new whitney.org site mark sunset and sunrise in New York City every day. Unfolding over a timeframe of ten to thirty seconds, each project accompanies a transition of the website’s background color from white (day) to black (night) and vice versa. A new project will be posted every three to four months.

First in the series of commissions is Untitled Landscape #5, a project by the collaborative ecoarttech (Cary Peppermint and Christine Nadir - http://ecoarttech.net). At sunrise and sunset, fluctuating orbs of light disrupt the "digital landscape," and the information environment of whitney.org is disordered by ecoarttech's visuals, suggesting a natural phenomenon. The size and speed of the orbs will vary based on the number of visitors to whitney.org since the previous sunrise (for sunset) or sunset (for sunrise); higher visitation results in larger, slower-moving orbs. ecoarttech's work has consistently explored relationships between landscape, technology, and culture, and their commissioned work for whitney.org metaphorically explores the museum's information landscape as it is shaped by its visitors.

To see sunset or sunrise, be anywhere on whitney.org.
For sunset / sunrise times see http://whitney.org/Sunset

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2. Paul Henry Ramirez, FF Alumn, in new publication, Public Art for Public Schools

Paul Henry Ramirez is pleased to announce his work is featured in a 2009 publication, Public Art for Public Schools.

Michele Cohen (Author), Michael Bloomberg (Foreword)
Public Art for Public Schools
Paul Henry Ramirez April 20, 2009, p.176, 214 (illus.)

http://www.randomhouse.com/catalog/display.pperl?isbn=9781580932158

PAUL HENRY RAMIREZ Going Up, Up, Up
Medium: Aluminum and Urethane Paint, cut aluminum 1/8, 1/4 and 1/2 inches thick, spacer stacked and mounted to a 1/2-inch thick aluminum plate. Sculptural relief dimensions: approx. 9'x24’x3"

PERCENT for ART 2005 Commission
Location P.S. 254 84-40 101st Street, Richmond Hill, Queens

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3. Adrian Piper, FF Alumn, at Museu d’Art Contemporani de Barcelona, Spain, thru April 25, 2010

Blood Sweeter than Honey, Ahmet Ögüt, edit. Art-ist Prodüksiyon Tasarim Vb Yaincilik, 2002-2004
The Malady of Writing. A project on text and speculative imagination
Museu d'Art Contemporani de Barcelona
Placa dels Àngels, 1
08001 Barcelona
Phone: +34 934813372
Fax: +34 934124602
Contact: Chus Martinez
cmartinez@macba.cat

www.macba.cat

20 November 2009 to 25 April 2010

This exhibition takes place at MACBA Study Centre

Monday to Saturday, 10 am to 8 pm
Sundays, 10 am to 3 pm
Artists: Stuart Bailey, Becky Beasley, Julian Beck, Erick Beltrán, Bernadette Corporation (col.), David Bestué/Marc Vives, Mariana Castillo Deball, Keren Cytter, Dexter Sinister (col.), Paul Elliman, Tim Etchells, Matthias Faldbakken, Richard Foreman, Justine Frank, Rene Gabri, Ryan Gander, Dora García, Simon Goldin + Jakob Senneby (K.D.), Hadley & Maxwell, Karl Holmquist, Miranda July, Viola Klein, Irene Kopelman, Lea Lagasse, Rita McBride, Jørgen Michaelsen, Helen Mirra, Miguel Noguera, Ahmet Ögüt, Terje Overas, Sener Ozmen, Adrian Piper, Falke Pisano, Olivia Plender, Seth Price, Roee Rosen, Frances Stark, Michael Stevenson, Sue Tompkins, Jalal Toufic, Nickel van Duijvenboden, Rodolfo Walsh and Adrian Williams, among others.

Exhibition dates: From 20 November 2009 to 25 April 2010
Curator: Chus Martínez, MACBA chief curator
Organisation and production: Museu d'Art Contemporani de Barcelona (MACBA).

The Malady of Writing is a unique library composed by a collection of books, pamphlets, ephemera and single pages written by artists.

While traditionally a distinction is made between art books and theoretical, critical or biographical texts written by artists, this exhibition deals with artist's fictional text: academic fiction, literary fiction, political fiction and poetic fiction. Books that are written, produced and often self-published by artists, these works are a different sort of novel and fiction – works that are unlikely to be successful in the literary world. Instead, they were written out of necessity or compulsion: this is the malady of writing.

The circuits of distribution determine the presence of books in the places where one regularly goes to buy a novel. The projects included in The Malady of Writing have been made possible because the artists themselves, small or independent publishers or art institutions decided to publish them. Being printed in a limited number of copies and distributed in a great variety of contexts, such literary projects live on the border of – or in parallel to – the major publishing houses and the system of specialised literary agents. Many of the works have achieved cult status or are in high demand in the artistic community. Hence the reader of these texts engages in an exercise of re-writing and re-inventing language that is directly related to the economies of artistic production.

Though there are opening and closing dates for the project, which will be presented at the MACBA Documentation Centre, its public presentation is just the beginning. This is just the first step to introducing the volumes that we have collected to date: more than 130 works by 48 international artists. The project is the result of a year of research, and it will continue to grow as more texts are found.

The library is not organised by subject: it would be nearly impossible to implement that sort of organisation without inventing Borges-like categories. The books are distributed within the space so as to allow each visitor to discover the best way to relate to the individual works.

The Malady of Writing is evidence of the MACBA's growing interest in writing. This interest is shared by the museum's Programme of Independent Studies, which in 2010 will host debates and workshops aimed at examining the status of criticism and the exercises of radical imagination that initiatives such as this exhibition involve.

The show includes three works produced specifically for this first presentation: El mundo explicado by Erick Beltrán, a Mexican artist living in Barcelona; the text Pourquoi Malady? by the Danish artist Jørgen Michaelsen, and 100 cartas by the Barcelona based artists David Bestué and Marc Vives.

ACTIVITIES RELATED TO THE EXHIBITION.

El mundo explicado by Erick Beltrán
25–28 November
2–5 December
9–12 December
Open: 10:30–1:30 pm and 3:30–7 pm
Ground floor of the Documentation Center. Admission Free

Thursday 3 December 2009 at 7:30 pm
Screening and Debate
Helvetica, Gary Hustwit, 2007, 80 min
Screening organised in conjunction with Disseny Hub Barcelona (DHUB) as part of the exhibition Helvetica. A new typeface? that will be on view from 1 December 2009 to 7 February 2010 at DHUB Montcada (Montcada, 12).

Thursday 10 December 2009 at 7:30 pm
Discussion with Will Holder

Friday 11 December 2009 at 7:30 pm
Discussion with Stuart Bailey

23–26 February 2010 from 4:00–8:00 pm
Workshop with Mariana Castillo Deball and Irene Kopelman
Aimed at young artists and/or art students.
Registration period: Applicants must submit a CV and a letter of interest to programespublics@macba.cat, from 25 January–12 February 2010.
The workshop will be held in Spanish.

For further information: www.macba.cat

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4. Donna Henes, FF Alumn, now online at www.huffingtonpost.com

Dear All,

Great news. I am now writing for the Huffington Post!

Here is a link to my first piece:

http://www.huffingtonpost.com/donna-henes/thanksgiving-celebrating_b_361095.html

Do check it out. And if you can take a minute to post a comment, I would really appreciate it. The editor tells me that comments are important to establish me there.This is something that I have aspired to for some time and I am delighted that it has come to pass. Keep checking into the Living section or my author's page for future articles. http://www.huffingtonpost.com/donna-henes/

Thanks so much for your ongoing support of my work.
Best blessings to all,
xxMama Donna

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5. Robin Tewes, FF Alumn, at Headbones Gallery, Toronto, Ontario, thru Dec. 7

Robin Tewes Exhibition at Headbones gallery
"Spunky Rooms"
November 9-December 7, 2009
Headbones Gallery
260 Carkaw Ave, Unit 102
Toronto, ON M4M 3L1
Tel: 416- 465-7352
info@headbonesgallery.com
Gallery Hours: Wed to Sat / 12-6 PM and also by appointment
CATALOGUE AVAILABLE BY REQUEST

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6. Adam Pendleton, FF Alumn, at de Appel, Amsterdam, The Netherlands, starting December 12

Adam Pendleton
December 2009 - January 2010

A three-part program comprising two performances and an exhibition

Kunstverein /
de Appel arts centre, Amsterdam
More information:
+31 (0)20 4277603 (Kunstverein)
+31 (0) 20 6255651
 (de Appel)
http://www.kunstverein.nl
http://www.deappel.nl

American artist Adam Pendleton composes formal templates in which he slots information, shifting language, forms and images into an arena of artistic inquiry. Practicing extreme freedom of reference and quotation, as well as a rejection of conventional hierarchies among sources, Pendleton establishes new referential devices and displays.

Over the past few years Pendleton has created performances like 2007's The Revival which fused experimental language with Southern-style religious revivals, and works such as his ongoing System of Display, mirror and glass works that atomize historical trajectories and textual realities through cropping, framing, reflection and fragmentation. He exploits the easy-psychology of biographical readings, rendering language and image both concrete and contingent.

Part one: three scenes
(took place on 23 Sept. 2009 at Kunstverein, Amsterdam)

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

Part two: grey-blue grain
12 Dec. 2009 - 31 Jan. 2010
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 Dec. 2009
Performed at 8.30 PM
Location: De Brakke Grond (Rode Zaal), Nes 45, Amsterdam

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, it began 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 programmed by de Appel arts centre in De Brakke Grond, 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

hzomer@deappel.nl
http://www.deappel.nl

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

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7. Halona Hilbertz, Yoko Ono, FF Alumns, at Williamsburg Art and Historical Center, Brooklyn, thru Dec. 27

www.wahcenter.net
Selected Contemporary Works from the Permanent Collection
Part 2 (2002-present)
November 21 - December 27, 2009
Opening Reception Saturday November 21, 1-6 PM
Part of the smART Brooklyn gallery Hop

Main Galleries: Selected Contemporary Works from the Permanent Collection, Part 2 (2002-present)
More than 120 works by over 70 artists
Abdul Rahman Al Mozayen, Muhammed Al Amery, Bahar Behbahani, Marcia Bernstein, Maurizio Bolognini, Ilya Bolotowsky, Orin Buck, Elle Burchill, Hildy Burns, Rodriquez Calero (ROCA), Judy Chicago, Fabrice Covelli, Andrea Cukier, Donn Davis, Thomas DeLooza, Troy Frantz, Dinh Gia Le, Amy Greefield, Samia Halaby, Allen Henriquez, Halona Hilbertz, Virginia Hoge, Tom Hooper, Jeff Hoppa, Hasan Hourani, Richard Humann, Soojung Hyun, Takamune Ishiguro, Hidenori Izumi, Susan Jacob, Ahmad Kanaan, Giro Kato, Ryoga Katsuma, Tamiko Kawata, Gloria Kennedy, Arthur P. Kirmss, Sachiko Kobayashi, Yayoi Kusama, Robert Lansdon, Elodie Lauten, Tom Loeb, Sanae Maeda, Donna Moran, Mauricio Morillas, Hideo Murakami, Philip Naude, Yumiko Nolan, Nana Ono, Yoko Ono, Dana Parlier, Carmen Porfido, Yupin Pramotepipop, Carol Quint, Faith Ringgold, Ce Roser, Boom Rossukkon, Bonnie Rychlak, Cheryl Safren, Joanne Salamone, James Saunders, Shigeno Sawada, Larry Scatturo, Farncisco Schlowsky, Shan Shan Sheng, Sally Shore, Joel Simpson, Carri Skoczek, Sachiko Sube, Ari Tabei, Mayumi Takagi, Yasufimi Takahashi, Lucie Tatarova, Nancy Ward, Mary Westring, Maki Yamamoto, Phyllis Yampolsky, Haejin Yoon, Marcia Widenor, Hani Zurob, and others

Since late 1996 when the WAH Center opened, we have been acquiring contemporary works for a collection. While most of the works in the collection are from wonderful exhibitions held at the WAH Center, some works in the collection were not exhibited at the center, but donated by our generous friends. And while many works are from artists in New York City, we also have works by artists from across the United States and abroad. In one or two cases we have acquired work from an artist in depth, which we can show at special times. And, on particular themes such as last years, "Paradise Lost," we have a very good body of art that can be shown again at special occasions. We are most thankful to have received many works donated by generous artists, and we are especially delighted and honored to have works by some particularly outstanding artists who are highly respected in the art world, such as Ilya Bolotowsky, Judy Chicago, Yayoi Kusama, Faith Ringgold, Jerry Rudquist, Toshiko Takaezu, Ansei and Toshiko Uchima, Chuyu Uemae, (a member of the Japanese avant-garde "Gutai" group) and, and more. For the most part, however, they are working professionals of high talent some of whom have been already recognized, having wide exposure in the New York Art World and beyond, and some of whom we feel will be known in future years. We are following their progress with great interest. We hope that you will come to visit Part 2 of the contemporary art show this November & December that opens November 21st with the smART Brooklyn gallery Hop with free shuttle buses throughout the borough.

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8. Gabriel Martinez, FF Alumn, at Arcadia Univ. Art Gallery, Philadelphia, PA, thru December 21

Arcadia University Art Gallery
November 18 - December 21, 2009

Juror: João Ribas is Curator of Exhibitions at the MIT List Visual Arts Center (formerly Curator at The Drawing Center, New York)

Participating Artists: Leah Bailis, Andrea Beizer, Gabriel Boyce & Preston Link, Bruce Campbell, Michael Davis Carter, John Costanza, Hannah Heffner, Pernot Hudson, James Johnson, Sebastien Leclercq, Erika Mayer, Gabriel Martinez, Kristina Martino, Quentin Morris, Matt Neff, Robert T. Pannell, Mia Rosenthal, Fay Stanford, Mark Stockton, Judith Taylor, and Dino Vasquez.

Featuring 22 works juried from a record number of 1,256 entries submitted by 567 artists living within a 40-mile range of the University, "Works on Paper 2009" is among the most incisive iteration of the show in two decades. With its layering of organic, formal affinities and open, associative themes, the resulting show can be read as a curated effort expressing a deeply focused and invested sensibility.

WEDNESDAY, NOV. 18 - OPENING EVENTS
Lecture by juror João Ribas, Stiteler Auditorium, Murphy Hall, 6:30 p.m.

"Four Points Towards a Present History: Knowledge, Representation, Freedom and the Subject" Ribas’ illustrated talk will revolve around the following four questions related to his current curatorial research and concerns: What role does aesthetic knowledge play in contemporary culture defined by communication, information, and connectivity? What do images of terrorism do to the long-standing critique of photographic representation? If the figure of the artist and his labor were once emblematic of the emancipatory idea of 'individual freedom', is this notion deradicalized by the democratization of subjective expression today? Can art and its implicit 'subject of freedom', now radically democratized, provide a horizon of possibilities for new forms of creativity and social organization?

Opening reception in the art gallery immediately following.
Both events are free and open to the public.
MORE INFORMATION
About the Arcadia University Art Gallery, Philadelphia, PA
Directions to Arcadia University
About Arts@Arcadia
Join our e-mail list

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9. Naeem Mohaiemen, FF Alumn, at LABoral, Gijon, Spain, thru April 5, 2010

FEEDFORWARD. THE ANGEL OF HISTORY
Thu, October 22 , 2009 - Mon, April 5 , 2010
LABoral Center for Art and Industrial Creation, Gijon, Spain
Curated by Steve Dietz and Christiane Paul

http://www.laboralcentrodearte.org/
http://www.laboralcentrodearte.org/en/603-concept

Review in We Make Money not Art:
http://www.we-make-money-not-art.com/archives/2009/11/feedforward-the-angel-of-histo.php

Steve Dietz Flickr album:
http://www.flickr.com/photos/mediachef/sets/72157606205284311/

FEEDFORWARD – The Angel of History addresses the current moment in history where the wreckage of political conflict and economic inequality is piling up, while globalized forces—largely enabled by the "progress" of digital information technologies—inexorably feed us forward. The exhibition title references Paul Klee's painting Angelus Novus, which Walter Benjamin famously interpreted as an "angel of history" transfixed by the wreckage of the past that is piling up in front of him while being propelled backwards into the uncertain future by a storm from paradise (progress).

The exhibition, curated by Steve Dietz (Artistic Director of the 01SJ Biennial) and Christiane Paul (Director of the Media Studies Graduate Program, New School, NY; Adjunct Curator of New Media Arts, Whitney Museum of American Art) features 29 artworks by 27 artists and artist teams. The projects are presented, as if in the rear view mirror of progress, in sections relating to five themes: the "wreckage" of the 20th century created by wars and conflict; the countermeasures of surveillance and repression that the state as well as global capital set up in an to attempt to maintain control; the aesthetics and symbolic language of the media of our times; the forces of economic globalization such as outsourcing and migration; and the possibilities of reconstruction and agency. 

Together, the projects featured in FEEDFORWARD create a complex picture of the global political and social forces that drive us forward. The exhibition features both the problematic aspects of the present and future, and the potential for collectivity and responsible action. At the nadir of the current global economic crisis, FEEDFORWARD is in effect about cleaning up after the 20th century and asks the question, what is progress now?

Artists: 
AES+F, Christopher Baker, Stella Brennan, Paul Chan, Nancy Davenport, Nonny de la Pena and Peggy Weil, Hasan Elahi, Cao Fei, Bárbara Fluxá, Fernando García-Dory, Daniel García Andújar, Goldin + Senneby, Harwood, Wright, Yokokoji, Knowbotic Research + Peter Sandbichler, Langlands + Bell, Jennifer + Kevin McCoy, Margot Lovejoy, Naeem Mohaiemen, Ali Momeni + Robin Mandel, Carlos Motta, Trevor Paglen, Rachael Rakena, Fez, Fa’anana, and Brian Fuata, Stephanie Rothenberg + Jeff Crouse, System77 Consortium, Piotr Szyhalski, Tamiko Thiel + Teresa Reuter, Carey Young.

Whitney Sunrise /Sunset Commissions
Untitled Landscape #5
by ecoarttech

http://www.whitney.org/sunset

A series of Internet art projects commissioned by the Whitney specifically for whitney.org mark sunset and sunrise in New York City every day. Unfolding over a timeframe of ten to thirty seconds, each project accompanies a transition of the website's background color from white (day) to black (night) and vice versa. A new project will be posted every three to four months.

First in the series of commissions is "Untitled Landscape #5," a project by the collaborative ecoarttech (Cary Peppermint and Christine Nadir). At sunrise and sunset, fluctuating orbs of light disrupt the "digital landscape," and the information environment of whitney.org is disordered by ecoarttech's visuals, suggesting a natural phenomenon. The size and speed of the orbs will vary based on the number of visitors to whitney.org since the previous sunrise (for sunset) or sunset (for sunrise); higher visitation results in larger, slower-moving orbs. ecoarttech's work has consistently explored relationships between landscape, technology, and culture, and their commissioned work for whitney.org metaphorically explores the museum's information landscape as it is shaped by its visitors.

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10. Andrew Ginzel, Alan Sondheim, Elaine Tin Nyo, FF Alumns, at Triple Candy, Manhattan, thru January 17, 2010

Triple Candie is pleased to invite you to a reception on Sunday, November 22nd, from 3:00 – 6:00 p.m., for the following four exhibitions:

In the Case Study
Eye / World (through January 17, 2010)
Curated by: Emily Cheng and Michelle Loh
EYE WORLD
An antique museum case. 72 glass-topped drawers. 72 ways of visualizing the world. Big picture / tiny space. Artists, musicians, mathematicians, curators, writers, philosophers, others.

Thomas Allsopp, Pau Atela, Gudjon Bjarnason, Mathieu Borysevicz, Alison Bradley, Helen Brough, Johnson Chang, Alexandra Chang and Matthew Hockenos, Long-Bin Chen, Margaret Cogswell, Lois Conner, Lisa Corinne Davis, Santiago Cucullu, Robin Dash, Julie Evans, Mary Evans, Solange Fabiao, Jane Fine, Richard Gien, Andrew Ginzel, Richard Gluckman, Deborah Grant, Joanne Greenbaum, Alex Grey, Wenda Gu, Ingo Gunther, Jane Hammond, Julie Hefernan, Betti-Sue Hertz, Jene Highstein, Satch Hoyt, Peter Hristoff, Tom Huhn, David Henry Hwang, Soojung Hyun and Robert C. Morgan, Richard Jochum, David Judelson, Hoon Jung, Elaine King, Ellen Lanyon, Bing Lee, Nicole Lin and Joe Hill, Sarat Maharaj, Katy Martin, Iris Inhee Moon, John Moore, Robert Oxnam, Gary Peterson, Steven Rand, Renee Riccardo and Paul Laster, Lordy Rodriguez, Diane Samuels, Joachim Schmid, Barbara Segal, Varvara Shavrova, Ward Shelly, Eric Shiner, Francesco Siqueiros, Franklin Sirmans, Alan Sondheim, Gary Stephan, Wash SyCip, Elaine Tin Nyo, Jaret Vadera, Richard Vine, Ken Wahl, Sarah Walker, Ryszard Wasko, Lilly Wei, Daniel Wiener, Sally Wu and Christopher Phillips, O Zhang

Drawers accumulate objects. They serve as storage, as filing systems, as compartments for hiding our messy lives. At some point, we look at the objects we once were attached to as if re-discovering an old friend - a marker of ourselves from a different time or circumstance. While other objects illicit indifference because we have evolved away from its significance.

While most drawers hold personal memories, the cabinet at Triple Candie has a different history. Inherited from the New York Historical Society, it was designed to hold 72 different displays of objects with like attributes or uses: butterflies, fossils, arrowheads for example. Each object, removed from its natural or original environment, can reveal infinite clues, to piece together to compile data and form theories.

When asked to curate an exhibition for Triple Candie using these drawers, we set out to explore how artists, curators, writers, architects and others might visualize a system/structure or model of the world.

In earlier times, perhaps we perceived the world as contained in a community, a school, a town, a state, or a country. The world had its own momentum depending on where one lived. Over the last two decades, our world has experienced rapid change politically, economically, and technologically. The unification of East and West Germany , the collapse of the Soviet Union, the rising wealth and power of China and India , the formation of the EU, constitute a smaller "world" in our perception. Multinationals have become the environment of our daily lives. We are reminded of China every time we examine a household object and read its country of origin. Almost every electronic object we own is an amalgamation of efforts from multiple countries. Airplanes make international cities more reachable than ever. Working and living in two different continents now is a common practice for some. We can slip vicariously and seamlessly into other countries with the web by click of a key. Cyber access has created a vertical dimension. The ramifications of this access are increasingly profound yet mind numbing.

How have our international experiences, our personal readings, and the media’s relentless bombardment informed our mental and symbolic pictures of the world? What objects, images, symbols, mappings, photos or shapes would one choose to give form to it? And how can we create this big picture in a tiny physical space?

Together, they construct "Eye World" for you to discover.

In the Main Space

The Calais Guild Prayer Blankets (through December 15)

A reclusive group of women in Eastern Maine. Hand-sewn reproductions of prayer blankets. Wall labels explain. Sex, desire, jealousy, isolation. A real-life soap opera.

Lewis Baltz: Old Work (through January 17)

The New Industrial Parks near Irvine, California. 1974. Fifty-one duo-tone plates cut from the 2001 Steidl monograph.

The Matthew Higgs Society Reading Room (ongoing)

Shack-like structure contains cobbled-together books, images taped to walls. The only non-membership based honorary society for a living curator in North America. Slightly creepy but useful.

Location & Hours
Triple Candie is located at 500 West 148th Street (between Broadway and Amsterdam) in Harlem. Open Thursday – Sunday, 1:00 – 6:00 p.m.

About Triple Candie
Founded in 2001, Triple Candie is a nonprofit exhibition space in Harlem. By and large, it presents exhibitions about art that are devoid of art – Eye / World being a possible recent exception. For more information visit www.triplecandie.org or call 212.368.3333.

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11. Don Celender, FF Alumn, at Public Collectors Study Center, Chicago, opens Dec. 9

Dear Friends,

Starting on December 9th, the Public Collectors Study Center will open at 2456 N. Mozart, 1st Floor, in Chicago.

Now don't envision some kind of monolithic, money-sucking structure that uses expensive corporate parties to fund its daily operations! The Study Center is small. How small? Is it bigger than a bread box? Yes, but not too many bread boxes. Located in the corner of a basement, with a floor-plan measuring just over fifty square feet, the Public Collectors Study Center seeks to create intimate and focused experiences.

The first exhibition begins on December 9th:

DON CELENDER: 11 Books.

When Don Celender died in 2005, he left behind an unusually focused and accessible body of work that feels ripe for rediscovery. To be fair, however, few seem to have known about his work the first time around – particularly younger generations and those who did not see his solo exhibitions (almost all presented in New York), and have yet to encounter his books (mostly self-published and hard to find).

Celender lived most of his life in St. Paul, Minnesota where he taught Art History and Chaired the Art department at Macalester College for over forty years. Celender's books and exhibits most frequently took the form of collected results from surveys that were primarily conducted through the mail with single questions posed on official Macalester College stationary. Despite a great deal of writing about social practices and participatory artworks in recent years, mentions of Don Celender’s many survey projects, all dependent on the voices of others, are curiously absent from this critical discourse.

This is the first survey of Celender's work to be presented in Chicago.
Some of the books included in the exhibit:
OPINIONS OF WORKING PEOPLE CONCERNING THE ARTS (1975)
MUSEUM PIECE (1975)
DESTINY OF A NAME (1978)
OBSERVATIONS, PROTESTATIONS AND LAMENTATIONS OF MUSEUM GUARDS THROUGHOUT THE WORLD (1978)
NATIONAL ARCHITECTS PREFERENCE SURVEY (1979)
REINCARNATION STUDY (1982)
MORTAL REMAINS (1995)

Visitors to the exhibit will be able to pick up a free limited edition folio with materials on Celender published by Public Collectors.

Exhibition hours are from 5 - 8 PM on Wednesdays, starting on December 9, 2009 until February 10, 2010.
Note that the Study Center will be closed on Wednesday, December 23rd.
Additional hours can be scheduled by appointment. Call 773-395-4587 to plan a visit at another time.

Address: 2456 N. Mozart, 1st Floor (corner of Altgeld and Mozart). 1 block North of Fullerton and 1 block West of California. Just several blocks from the "California" stop on the Blue Line El.

Note that due to its very small size, the Study Center does not have opening receptions.
You do not need to make an appointment to visit during regular Wednesday hours.

I hope to see you soon,
Marc Fischer
Public Collectors

http://www.publiccollectors.org/
http://publiccollectors.tumblr.com/

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12. G. H. Hovagimyan, FF Alumn, at Pulse, Miami, FL, Dec. 3-6

For the past few years I've been working with a collaborative group called Artists Meeting. I'm pleased to announce that we will be premiering our latest project at PULSE in Miami Dec. 3-6. Here's the press release.

Artists Meeting – Art Machine premiers at the PULSE art fair in Miami

Artists Meeting, the international multi-generational art collaborative will premier its’ installation Artists Meeting - Art
Machine at the PULSE art fair in Miami Dec.3-6th. The Art Machine
will dispense custom made objects and drawings via a series of mechanical and digital modules embedded in a transparent plastic wall ten feet long by eight feet tall. The drawing module was created by hacking an automatic paper towel dispenser and repurposing it to dispense sections of collaborative drawings created by the group.

There are also three product dispenser modules that dispense vinyl envelopes with various AM objects such as DVD’s, AM underwear, DIY intervention kits, AM ‘Zines, limited edition photo books, digital prints, and other small artworks the artists have created for this project. There is also a token slot module that accepts token that can be purchased at the AM table for $20.

Artists Meeting has been creating collaborative works since 1996 that present new ways of thinking about the creative process, the art object and at PULSE, the art market. The Art Machine changes the art buying experience for the viewer. It is an art market hack. The viewers purchase a token but the machine randomly selects what the token will buy. It can be a section of drawing or one of the small art objects. The purchase has an element of surprise in that the viewer doesn’t know what they will get. In fact the objects and drawings dispensed function as souvenirs of the Art Machine experience. They are dispensed in a mass distribution manner via the Art Machine but they are all hand made or created via desktop publishing, not mass produced.

Artists Meeting members have exhibited their work in major museums around the world including, MoMA, The Whitney Museum, Jeu du Paume (French National Museum) Musée D’art Contemporain de Lyon, SF MoMA, Musée D’Art Contemporain de Marseille, The Walker Art Center

The Artists Meeting – Art Machine will be in the Café at the Pulse Art Fair next to the Locust Projects booth and across from the VIP
lounge. The group will have additional information at their table.
For further information email artmeet(AT)nujus.net or phone
1-646-496-7048

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13. Stephanie Brody-Lederman, FF Alumn, at OK Harris gallery, Manhattan, opening December 5

Stephanie Brody-Lederman, FF Alumn, at OK Harris, Manhattan, opening December 5, 2009 and continuing thru January 9, 2010. The artist will be present at the gallery, 383 West Braodway, on December 5 from 3-5 pm.

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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