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Contents for November 30, 2009
1. Norm Magnusson, FF Alumn, introduces phone apps
2. elin o'Hara slavick, FF Alumn, at Room 100 Gallery, Durham, NC, thru Jan. 10, 2010
3. Stuart Sherman, FF Alumn, in the New York Times, Nov. 30, and more
4. Peggy Shaw & Lois Weaver, FF Alumns, at Dixon Place, Manhattan, Dec. 4-19
5. Mendi Obadike, FF Alumn, introduce new mp3s
6. Michel Demanche, FF Alumn, wins 2009 Holgapalooza competition
7. Joseph Kosuth, FF Alumn, at Para/Site, Hong Kong, thru Jan 17, 2010
8. Lorraine O'Grady, FF ALumn, at Art Basel, Miami Beach, FL, Dec. 3-6
9. Frank Moore, FF Alumn, on KPFA radio, Berkeley, CA, Dec. 3
10. Erica Van Horn & Simon Cutts, FF Alumns, at Wurmfest, Dublin, Ireland, Dec. 4-6
11. Alicia Hall Moran, FF Alumn, at The Kitchen, Dec. 4-5
12. Susan Leopold, FF Alumn, at Elizabeth Harris Gallery, Manhattan, thru Dec. 22
13. Martin Wong exhibition at PPOW, Manhattan, opening Dec. 10
14. Ligorano/Reese, FF Alumns, new edition of snow globes now available
15. Peter Gordon, FF Alumn, at Issue Project Room, Brooklyn, Dec. 5
16. Mary Beth Edelson, FF Alumn, at Deborah Colton, Houston, TX, thru Dec. 18
17. Nina Yankowitz, FF Member, in Portugal, Dec. 10
18. Harley Spiller, FF Alumn, in The Brooklyn Eagle, now online

1. Norm Magnusson, FF Alumn, introduces phone apps

Norm Magnusson, FF Alumn, introduces interactive fine-art based kids app for iPhone. Old MacDonald's Farm features paintings and animation by Magnusson and vocals by Jill Sobule. More information can be found at Apple's app store:




2. elin o'Hara slavick, FF Alumn, at Room 100 Gallery, Durham, NC, thru Jan. 10, 2010

elin o'Hara slavick, FF Alumn, at Room 100 Gallery, Golden Belt, Durham, NC, now through January 10, 2010 -



3. Stuart Sherman, FF Alumn, in the New York Times, Nov. 30, and more

The New York Times
November 30, 2009
Art Review | Stuart Sherman
A Tabletop Conjurer, Rediscovered

We lose good artists to the past all the time, because their work was ephemeral, or difficult, or fashion wasn't on their side. The performance artist Stuart Sherman, who died of AIDS in 2001, was a candidate for disappearance on all three counts. But thanks to two exceptional exhibitions, one at the New York University 80WSE gallery, the other at Participant Inc., an alternative space on the Lower East Side, he's back in a big way, big at least for him.

Sherman's signature pieces, which he called "spectacles," were evanescent and minute. They featured just one performer, himself, and were initially presented in his downtown Manhattan apartment for friends and in city parks for passers-by.

His stage was a small folding table; his props everyday items: a pen, a light bulb, eyeglasses, a roll of tape, toys. The performance consisted of him rapidly, usually soundlessly, always precisely arranging and rearranging the objects, putting one on top of another, taping some down, tossing some away, creating the equivalent of still lifes seen in a flipbook.

Each spectacle lasted just a few minutes. Even later pieces on a larger scale, using several performers, were disconcertingly succinct. An adaptation of Sophocles' "Oedipus" came in under half an hour; he did a 20-minute "Hamlet," a 5-minute "Faust." In the solo performance his demeanor was always the same: dressed in plain dark clothes, focused intently on the table in front of him, he looked at once geeky and Olympian, a combination of obsessive kid and master magician.

Anyone expecting traditional rabbit-out-of-a-hat tricks, though, would be disappointed. The spectacle itself - the materials he used and the wit, speed and rhythm of their manipulation - was the trick, the magic. If you didn't get it, you didn't. If you did, you wanted more.

More is what you'll find in "Beginningless Thought/Endless Seeing: The Works of Stuart Sherman" at New York University. All aspects of his creativity, as a performer, writer, reader, filmmaker, sculptor and draftsman, are touched on in the show, which has been organized with immense tact and care by three of Sherman's friends and collaborators, John Hagan, Yolanda Hawkins and John Matturri.

Sherman was born in 1945 in Providence, R.I., and even when very young he read voraciously and had a yen for performing. Asked in a 1980s interview about the sources of his art - and there were many, from gadget demonstrations on 1950s television to the Judson Dance Theater and Fluxus art in the 1960s - he said: "I'm influenced the most by myself as a child. I don't feel so very different from when I was 5."

After graduating from Antioch College in Ohio, he came to New York City in the late 1960s. At the time he thought of himself primarily as a writer, then as a visual artist; samples of his chance-generated poetry and diagrammatic drawings are in the show.

But in New York he ended up immersing himself in the world of experimental theater, working with two men, the writer-director Richard Foreman and the actor-director Charles Ludlam, then in the early stages of influential careers.

In the mid-1970s Sherman introduced his spectacles, documenting them on video. Several videos are in the exhibition and they bear repeated viewing. What at first looks like improvisation turns out to be tightly scripted. Patterns of movement have the rhythms and rhyme schemes of poetic structure. Apparently random objects begin to suggest psychological narratives about confusion, self-destruction and self-definition.

Sherman experienced bouts of paralyzing depression, which brought on profound inertia. Task-oriented performance was, he found, a way to circumvent it. It was also a way for him to engage with people immediately but indirectly. For him performing for an audience was a way of hiding in plain sight, a way to express himself indirectly, even invisibly.

"I don't think of making pieces," Sherman once wrote. "It's what I do, but it's the result of developing strategies for personal salvation, for escape from the intolerable, from certain existential cul-de-sacs."

With time he expanded his performance in scale and extended it into films, all short, some with sound. Several were "portraits" of fellow writers and performers like George Ashley, George Stefan Brecht, Edwin Denby, Bérénice Reynaud, Black-Eyed Susan and Scotty Snyder. The likenesses are whimsical and oblique, studies in how the subconscious processes our perceptions of others. The act of thinking, rather than the completed thought, was always Sherman's subject.

Although he received steady, if bare-bones, institutional support in the form of awards and grants, Sherman's work was increasingly out of step with the New York art world of his day. Even in the 1970s, when he introduced his spectacles, another avant-gardist, Robert Wilson, was gaining wide attention for producing traditional spectacles, performances that lasted many hours. One of them, "Einstein on the Beach," became an opera with a score by Philip Glass and was performed at the Met.

By the 1980s small and ephemeral were out.
Painting and sculpture, whatever could be marketed and collected, were in. During these years Sherman sublet his Manhattan apartment and traveled tirelessly, to the West Coast, to Europe, Asia, Australia, wherever he could get gigs, focusing more and more on films and videos until illness slowed him down. At the time of his death, in San Francisco, he must have seemed, even for some people who had long admired him, a figure from an earlier era, lost in the shuffle of cultural commerce.

But a revival of his reputation is under way, one that may give him a larger presence than he had in his lifetime. His films are being conserved by the Museum of Modern Art. His archives are in the hands of New York University's Fales Library, which did much to make the pristine and comprehensive 80WSE Gallery show possible.

Next weekend several of his plays will be revived at the Emily Harvey Foundation in SoHo. (A schedule is available at emilyharveyfoundation.org.) On Dec. 8 Electronic Arts Intermix in Chelsea will host a short survey of Sherman videos followed by a discussion with Mr. Foreman and the artist Paul Chan (eai.org). At Participant Inc. the group exhibition called "Stuart Sherman: Nothing Up My Sleeve" is on view through Dec. 20.

The Participant show, organized by the artist Jonathan Berger and billed as "inspired by the work of Stuart Sherman," begins with photographs of Sherman's stage pieces, then turns into an ambitious visual essay on magic acts, invented personas and other illusion-making strategies used in art and popular culture alike to create alternative realities.

An ensemble of Spiritualist artifacts takes the theme back to the 19th century, implicitly casting Sherman's tabletop manipulations in the tradition of séances. Documentary material on the escape artist Harry Houdini, from photos of him encased in a locked chest to one of his vintage mouth-operated lock-picks, illustrates the notion of performance as extended exercise in deception that can still, minute by minute, evoke genuine emotion.

And for a model of the artist as self-creation Mr. Berger also brings into the show the spirit of the cult comedian Andy Kaufman, whose characters and actual personality were, to all appearances, indistinguishable. In the show's selection of musty, relic-like personal effects - Kaufman's 1950s record collection, a suitcase full of his Transcendental Meditation paraphernalia - we presumably see evidence of the man himself, but who knows? With life, as with performance, where does realness begin and end? Some fans believe that Kaufman's reported death of cancer in 1984, when he was 35, was part of his act, that he is still alive and waiting to make a comeback.

The show also has a smart mix of work by contemporary artists - Carol Bove, James Lee Byars, Matthew Brannon, Vaginal Davis and others - who in one way or another play with existential truth as something both genuine and fake, heartfelt and cooked up, and do so with something like Sherman's enigmatic, punning wit.

Whether he influenced any of them directly is a question. More certain is the example he sets for young artists now: how to make art that's about yourself but isn't, using nothing, or almost nothing, materially speaking; and how to keep making it whether you have an audience or not because you need to stay alive and want to stay awake.

"Beginningless Thought/Endless Seeing: The Works of Stuart Sherman" continues through Dec. 19 at 80WSE Gallery, 80 Washington Square East, Greenwich Village; nyu.edu/pages/galleries. "Stuart Sherman: Nothing Up My Sleeve" continues through Dec. 20 at Participant Inc., 253 Houston Street, near Suffolk Street, Lower East Side; participantinc.org.


Screening + Discussion

Please join EAI for a special evening devoted to the work of Stuart Sherman, featuring a conversation between playwright and director Richard Foreman and artist Paul Chan, moderated by Jay Sanders.

The discussion will be preceded by a short screening program surveying Sherman's work in film, video, audio, and performance, introduced by Andrew Lampert of Anthology Film Archives.
Tuesday, December 8, 2009
6:30 pm

Electronic Arts Intermix (EAI)
535 West 22nd Street, 5th Floor
New York, NY 10011

Admission free
RSVP: info@eai.org

Stuart Sherman was an iconoclastic artist whose influential practice defies classification. This event will launch the distribution of Sherman titles previously unavailable on video, preserved in collaboration with the Fales Library & Special Collections, NYU.

Remaining outside of any one artistic identity, Sherman considered his work to be performative and visual but with a "literary bent-(I) consider everything I do a form of writing." Sherman's art combined the influences of writing, avant-garde theater and conceptual art, as well as his admiration of pop culture figures such as the television talk show host Joe Franklin. Beginning in the late 1970s, Sherman developed a unique performance style that characteristically took the form of Spectacles, as he called them.

These performances were usually short in duration-a matter of seconds or minutes-and involved a deadpan manipulation of simple everyday objects, often over a folding table. The effect was a purposeful transformation of these objects into rhetorical questions.

On the occasion of Sherman's death in 2001, Richard Foreman wrote: "Stuart Sherman was like no other artist I've ever known. A sweet and gentle man whose art was nevertheless honed with a rigor and discipline that was almost frightening in its iron-clad integrity. Because instead of being shaped by the hurricane winds of the world, the minute and pure crystals of Stuart's art were able to proliferate in a thousand scattered locales-their diamond-like glitter being the manner in which such detailed miniaturization testified to a defiance of received opinion and accepted artistic styles."

Stuart Sherman was born in Providence, R.I., in 1946. He arrived in New York City's Greenwich Village in the 1960s, where he was a performer with Charles Ludlam's Ridiculous Theatrical Company and Richard Foreman's Ontological-Hysteric Theater Company, before launching his independent art career. His work has been performed and exhibited at venues such as the Performing Garage, The Museum of Modern Art, Mudd Club, The Kitchen, Franklin Furnace, the Whitney Museum of American Art and Theater for the New City, all in New York; Walker Art Center, Minneapolis; List Center at M.I.T., Cambridage; Kunstmuseum Berne, Kunstmuseum Zurich, and Centre Georges Pompidou Center, Paris.

Sherman's work is currently being exhibited in New York City:

Beginningless Thought/ Endless Seeing: The Works of Stuart Sherman, at 80WSE
(Between West 4th Street and Washington Place), October 21 - December 19, 2009.

Stuart Sherman: Nothing Up My Sleeve, at PARTICIPANT, INC
(253 East Houston Street), November 8 - December 20, 2009.

Paul Chan is an artist who lives in New York. He can be found online at www.nationalphilistine.com. His work is on view at Greene Naftali Gallery from October 22 - December 5, 2009.

Richard Foreman (born 1937, New York City) is the artistic director of his own theater, the non-profit Ontological-Hysteric Theater, founded in 1968. He has written, directed and designed over fifty of his own plays in NYC and abroad, and staged many classical works and operas around the world. In Spring 2009, John Zorn's label Tzadik released Richard Foreman: Ontological-Hysteric Theater, Vol. 1 - Sophia: The Cliffs/35+ Year Retrospective Compilation. Foreman's play IDIOT SAVANT is running at The Public Theater from October 27 to December 13, 2009.

Andrew Lampert is a filmmaker, programmer, and the Archivist of Anthology Film Archives

Jay Sanders is a writer, curator, and the Director of Greene Naftali Gallery.

Special thanks to Mark Bradford, Executor of the Stuart Sherman Estate.

For a list of Stuart Sherman titles available through EAI, please click here. Where noted, titles were preserved by EAI in collaboration with the Fales Library & Special Collections, NYU and the Barbara L. Goldsmith Preservation Lab, NYU Libraries.

About EAI
Founded in 1971, Electronic Arts Intermix (EAI) is one of the world's leading nonprofit resources for video art. A pioneering advocate for media art and artists, EAI's core program is the distribution and preservation of a major collection of over 3,500 new and historical media works by artists. EAI fosters the creation, exhibition, distribution and preservation of video art and digital art. EAI's activities include a preservation program, viewing access, educational services, extensive online resources, and public programs such as artists' talks, exhibitions and panels. The Online Catalogue is a comprehensive resource on the artists and works in the EAI collection, and also features extensive materials on exhibiting, collecting and preserving media art: www.eai.org

Electronic Arts Intermix
535 West 22nd Street, 5th Floor
New York, NY 10011
(212) 337-0680 tel
(212) 337-0679 fax

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



4. Peggy Shaw & Lois Weaver, FF Alumns, at Dixon Place, Manhattan, Dec. 4-19

The New Dixon Place is located at 161A Chrystie Street
(b/w Rivington & Delancey)
New York, NY 10002, 212-219-0736, www.dixonplace.org

Friday & Saturday, December 4* & 5* at 7:30pm
Sunday, December 6** & 13 at 3:00pm
Wed-Sat, December 9, 10, 11, 12 at 7:30pm
Wed-Sat, December 16, 17, 18, 19 at 7:30pm

*$12 previews
**Dec 6 - w/ talkback & reception
Wed, Thurs, Fri & Sat - $20 (general admission), $15 (students/seniors)
Sun matinees -$15 (general admission), $12 (students/seniors)
Reservations: 212-219-0736
Advanced tickets: www.dixonplace.org

Written & Performed by Peggy Shaw & Lois Weaver
Movement by Stormy Brandenberger
Music & sound design by Vivian Stoll.
Lighting design and photos by Lori E. Seid
Costumes by Johann Stegmeier



5. Mendi Obadike, FF Alumn, introduce new mp3s

Mendi + Keith Obadike have three mp3s now available for free download:

MENDI + KEITH OBADIKE | Document: If the Heavens Don't Hear, the Earth Will Hear

Side A: "If the Heavens Don't Hear (A Roller Skating Jam for Marian Anderson)"
Side B: "The Earth Will Hear (for Audre Lorde and Marlon Riggs)" & a remix of "Heavens" by Gordon Voidwell

The song titles come from an English translation of an Igbo proverb: "Si kele onye nti chiri; enu anughi, ala anu."

Mendi + Keith Obadike make music, art and literature. Their works include The Sour Thunder, an Internet opera (Bridge Records) and a poetry collection, Armor and Flesh (Lotus Press). Mendi + Keith also produced a text-sound compilation album entitled Crosstalk: American Speech Music (Bridge Records). Their opera-masquerade, entitled Four Electric Ghosts, premiered at The Kitchen in 2009.

Mendi+Keith Obadike on facebook::

If the Heavens Don't Hear, The Earth Will Hear (free downloads)

Four Electric Ghosts



6. Michel Demanche, FF Alumn, wins 2009 Holgapalooza competition

BROOKLYN, NY.- Causey Contemporary photographer, Michel Demanche has won first place in the special categories for the 2009 Holgapalooza National Photographic Competition, sponsored by LightLeaks Magazine. Out of 2500 entries, her entry, "Finding Santa" was selected as the the Holgablog award for the strangest, most bizarre and downright WTF photograph. The image will be printed in issue 16 of Ligh Leaks, Low Fidelity Photography available at lomography stores worldwide and at lightleaks.org.

Michel says of her winning photography, "this image was taken with a holga plastic camera during the Envision Art Groups 2009 spring trip to New York. I think that I saw Santa on one of his vacation days and quickly captured both his image and some of his special magic. The blurring, scratches and unusal qualities of the image come from some of my own special magic, when I take the picture and int eh processing of the film."

A Native Texan, Ms. Demanche, currently an assistant professor of art at the University of Maryland Eastern Shore is known for a multi media manner of art visualization. Often her work is the result of stories that manifest into painting, mixed works on paper, or photography. Michel has been interested in the subject of eminent disaster, be it in the form of nightmares, storms, or man made destruction. These works have found their

way into many venues such as the Whitney Museum of American Art, The Women's Museum, Franklin Furnace Archive and as part of the permanent collection of the Houston Museum of Fine Art. In 2003 she was the grand prize award winner at the Florence Biennele, with selections based in a new direction, traditional silver print photographic records of natural transformation.

As a mid career artist she is fortunate to also be part of several permanent collections such as Chase Manhattan Bank, Frito Lay Corporation, and E-Systems of Dallas. Her work can be found through her representatives, Causey Contemporary, Brooklyn, New York and William Campbell Contemporary Art, Fort Worth, Texas. Locally her work is part of the Levinson Collection at Sheppard Pratt. Ms. Demanche is represented by William Campbell Fine Art in Texas and Causey Contemporary in New York.



7. Joseph Kosuth, FF Alumn, at Para/Site, Hong Kong, thru Jan 17, 2010

Joseph Kosuth and Tsang Kin-Wah
Para/Site Art Space
G/F, 4 Po Yan Street,
Sheung Wan,
Hong Kong
Phone: +852 2517 4620
Fax: +852 2517 6850
Contact: Dominique Chiu


Opening: (Saturday) 28 November 2009, 7pm
Exhibition: 29 November 2009 - January 17 2010
Venue: Para/Site Art Space, G/F, 4 Po Yan Street, Sheung Wan, Hong Kong
Curator: Alvaro Rodriguez Fominaya
Para/Site Art Space is honored to present a two-person exhibition by Joseph
Kosuth (1945, Toledo, Ohio, USA) and Tsang Kin-Wah (1976, China).

This is the first time that Joseph Kosuth exhibits his work in China, and almost four years have passed since Tsang Kin-Wah's last solo show in Hong Kong. This exhibition opens a series of collaborations between artists from China and the West at Para/Site Art Space.

Tsang Kin-Wah has prepared the new installation If Someone Calls It Art, It's Kun(s)t, a text, sound and light installation related to Joseph Kosuth's works in the exhibition. The artist has included Kosuth's L'essence de la rhétorique est dans l'allégorie (1996) in this concept-specific installation, that addresses notions that are recurrent in the historical Conceptual Art Movement connected to linguistics and post-structuralism. This work occupies the main gallery of Para/Site Art Space. Tsang Kin-Wah indicates that this new work '.explores the openness, brutalities and 'limitations' of language and written texts, and, at the same time, makes comment on the 'cold, mechanical, conceptual bullshit' and its 'over-conceptualization' as a form of representation'.

The show includes a historical selection of ten works on paper by Joseph Kosuth, dating from 1996 to 2008, such as Kurz, eine Metapher ist.(N. Goodman) (1996), Double Meaning (2005), Andersen Self Described (2006) and A Grammatical Remark (Pescara) (2005).

Joseph Kosuth is one of the founders of the Conceptual Art Movement in New York in the 60's. Joseph Kosuth is one of most internationally renowned artists working today. As an originator of the Conteptual Art Movement, his artistic practice is rooted in the notion of Philosophy and Linguistics, and particularly to the connection between language and its meaning. Kosuth draws on the ideas of Ludwig Wittgestein as well as Post-Structural Philosophers. Kosuth has been shown in all major museums and biennials worldwide, including four editions of Documenta in Kassel and three editions of The Venice Biennale. His works appear in numerous prestigious collections such as the Museum of Modern Art, Guggenheim Museum and The Whitney Museum of American Art in New York.

Tsang Kin-Wah studied at Camberwell College of Arts (London) and Chinese University of Hong Kong (Hong Kong). He has had solo shows at Yvon Lambert (New York), and more recently at Pékin Fine Arts (Beijing). He has also exhibited at the Xth Lyon Biennial, MOCA Shanghai, National Museum of Art (Oslo), KIASMA Museum of Contemporary Art (Helsinki), Louis Vuitton: A Passion for Creation at the Hong Kong Museum of Art and Museum of Modern Art (Moscow), among others.

Gallery Talk:
(Sunday) 29 November, 2:30pm
Gallery Talk by Alvaro Rodriguez Fominaya (Exhibition Curator)
at Para/Site Art Space

For more information, please contact Dominique Chiu at 2517-4620 or
Tsang Kin-Wah is represented by Pékin Fine Arts.



8. Lorraine O'Grady, FF ALumn, at Art Basel, Miami Beach, FL, Dec. 3-6

Lorraine O'Grady
Art Is . . .
Art Basel Miami Beach 2009, Art Nova
Booth H27
December 3 - 6, 2009

For Art Basel Miami Beach 2009, Alexander Gray Associates is proud to present a solo exhibition of veteran performance artist, Feminist theorist and cultural critic Lorraine O'Grady. Central to the presentation is the premiere of a new body of photographic works, which documents O'Grady's 1983 Harlem performance.

Art Is . . . , a joyful performance in Harlem's African-American Day Parade, September 1983, was, from the point of view of the work's connection with its audience, O'Grady's most immediately successful piece. Its impetus had been to answer the challenge of a non-artist acquaintance in the Heresies Feminist collective, that "avant-garde art doesn't have anything to do with black people." O'Grady's response was to put avant-garde art into the largest Black space she could think of, the million-plus viewers of the parade, to disprove her friend's presumptions. The performance was undertaken in a spirit of elation which carried over through the day; unlike previous works which had critiqued the art world from within, this piece was to be about art, not about the art world. Rather than an invasion, it was more a crashing of the party. The 9 x 15-foot antique-styled gold frame mounted on the gold-skirted parade float moved slowly up Adam Clayton Powell Boulevard, framing everything it passed as art, and the 15 young actors and dancers dressed in white framed viewers with empty gold picture frames to shouts of "Frame me, make me art!" and "That's right, that's what art is, WE're the art!"

The timelessness, elegance and simplicity of O'Grady's gesture belies the complex readings conveyed in the resulting images. In 2009, the work takes a photographic form; both independently and as a group, the images convey the motion and spirit of the action itself. Today, they are time capsules of Harlem's community before the impact of the crack epidemic and real estate gentrification, a reminder of the politics and power of art making, and the joy in experiencing art itself.

Lorraine O'Grady's work as an artist, writer, and critic presents hybridized notions of aesthetics and identity to re-diagram the politics of diaspora. Born in Boston in 1934 to West Indian parents, O'Grady came to art late, not making her first works until the late 1970s, after multifaceted careers ranging from an intelligence analyst for the U.S. government to a rock critic at the Village Voice. Ultimately, her broad background contributed to a distanced and critical view of the art world when she entered it and to an unusually eclectic attitude toward art-making. Since the early 1980s, O'Grady has challenged racial and sexist ideologies in performance and photo installations that combine both opposition to philosophies of division and exclusion, and humanist studies of women throughout history.

Unlike more prolific artists of her generation, O'Grady is an artist who selectively produces works of quality at a gradual rate. The influence of her seminal works is undisputed; her performance work, MlleBourgeois Noire (1980-1983) is considered a important work in the history of Feminist art, and was an entry point in the landmark exhibition, WACK! Art and the Feminist Revolution. Her photo installation, Miscegenated Family Album (1980/1994) has been widely reproduced and is included in the permanent collections of the Art Institute of Chicago, Brooklyn Museum, Harvard

University Art Museums, and the Wadsworth Atheneum.
Alexander Gray Associates is a contemporary art gallery based in New York. The gallery exhibits and promotes a diverse group of mid-career artists who emerged in the 1970s, 1980s and 1990s, whose spheres of influence cross generations, disciplines, and political perspectives. Gallery hours:

Tuesday-Saturday, 11:00 AM - 6:00 PM.



9. Frank Moore, FF Alumn, on KPFA radio, Berkeley, CA, Dec. 3

Frank Moore on Barb Golden's Crack O' Dawn show, KPFA 94.1 Berkeley 12/3/09

Barb will have cultural subversive, poet, shaman performance artist and powerful xmas crooner Frank Moore in her xmas sock for this December's Crack O' Dawn Xmas show on KPFA, 94.1 Berkeley. Thursday, December 3, midnight! CALL IN between midnight and 3am to talk to Frank! (510) 848-4425

To listen online, go to http://www.kpfa.org/streams/kpfa_24k.m3u

More about Frank Moore!

Frank Moore started his life in art by literally using his head to paint when he was in high school in 1963. Because Moore has cerebral palsy, he paints with a brush on a helmet. His big, bright oils of nudes and superheros have been exhibited around the U.S. and Canada. In recent years Moore has created digital art.

But visual art has been only one aspect of the creative activity of Moore who first came to be known in the 70's as the creator of the popular cabaret show, The Outrageous Beauty Revue. In the 80's he became one of the U.S.'s foremost performance artists. In 1992 he was voted Best Performance Artist by the San Francisco Bay Guardian. In the early 90's he was targeted by Senator Jesse Helms. In 1991 Frank Moore played the role of publisher and editor of the acclaimed underground zine, The Cherotic r(E)volutionary...until he started the web "radio" station

http://www.luver.com in 1999. LUVER has become a powerful channel for the alternative cultures. For the last 10 years Moore has been an every night late night fixture on B-TV, Berkeley's public access cable channel. He also tours both the U.S. and Canada, often backed up by his band, the chEROTIC all-stars. Award-winning film-maker and well-published poet/critic round out his field of activity. But he failed in his bid to become U.S. President in 2008. WHAT A LOSER!




10. Erica Van Horn & Simon Cutts, FF Alumns, at Wurmfest, Dublin, Ireland, Dec. 4-6

Erica Van Horn and Simon Cutts will be reading at WURMFEST at The Complex in Dublin 4-6 December.



11. Alicia Hall Moran, FF Alumn, at The Kitchen, Dec. 4-5

Alicia Hall Moran
the motown project
Dec 4 and 5, 2009 @ 8PM sharp

512 W 19 Street, NYC
Tickets $10

also on the bill is a great band called Gordon Voidwell.

Thank you SO much. AND I love the book that came in the mail! My husband, too, whose PayPay account I used, is loving being on the email list as a result. He was amazed someone just sent straight to his email inbox the news about those who passed away, and also the Adrian Piper exhibition information. It's a public service.




12. Susan Leopold, FF Alumn, at Elizabeth Harris Gallery, Manhattan, thru Dec. 22

An exhibition of Susan Leopold's work just opened at Elizabeth Harris Gallery. The link below will take you to more images of Susan's work. http://www.elizabethharrisgallery.com/leopold/leopold.html If you are in New York, go see the show! It is on view through Dec. 22 at Elizabeth Harris Gallery, 529 West 20th Street, NYC 10011



13. Martin Wong exhibition at PPOW, Manhattan, opening Dec. 10

Martin Wong
Everything Must Go
Curated by Adam Putnam

December 10 - January 30

Opening Reception
December 10, 6-8pm

P.P.O.W is pleased to announce an exhibition of work by Martin Wong, curated by Adam Putnam. Martin Wong, who died in 1999 due to an AIDS related illness, was born in 1946 in Portland, Oregon and moved to New York City in 1978. He received a degree in ceramics, but decided to become a painter when he was thirty years old. He first started exhibiting at the Semaphore Gallery in New York. Martin Wong's last exhibition at P.P.O.W was in 2000.

For most of his time in NYC, Martin Wong stayed nestled in the Lower East Side, enmeshed in the fabric of his neighborhood and the people around him. His work has traditionally been described as a document of that time in the 1980's and 1990's, capturing a moment in the history of the city marked by vacant lots, graffiti and a burgeoning club culture.

This exhibition presents an intuitive ramble through the estate left by this unique and visionary artist. It offers a glimpse into a private world populated by crumbling tenements, vacant lots, prisoners (with those burning eyes), closed gates (and open legs), downtown poets, hustlers, and if we are lucky, perhaps an off-duty Fireman.

Martin Wong wanders through an urban landscape and refashions it into something new. His paintings take us inward, through a hidden, alternative landscape of longing and deeply felt subjectivity. Following this logic of desire, a crumbled brick tenement can become laced with the erotic or a painting of a single cactus can carry all the restrained passion of an unmet gaze from a sexy stranger.

Also on view are several rarely seen photo collages on loan from The Fales Library archives as well as drawings and sketches. These photos are remarkable for the fact that they not only exist as source material for some of the larger paintings but also as a rare document of the long walks the artist would take in and around the Lower East Side.

The vacant lots have long since been filled in, but don't let the glass facades fool you. There is always the torn seam or frayed edge. you just need to know where to look.

The exhibition is accompanied by a full color illustrated catalog with an essay by Carlo McCormick.

In January there will be a panel discussion tentatively based upon the themes of secret languages in the work of Martin Wong. The event will be hosted by the NYU Steinhardt School of Art and Arts Professions. The date will be announced at a later time.

Adam Putnam is an artist living and working in NYC. His work has been exhibited at P.S.1, Art Statements Basel, the 2008 Whitney Biennial and most recently, at Taxter and Spengemann Gallery. In 2006 Adam Putnam, with artist Shannon Ebner, curated the show Blow Both of Us at Participant Inc.



14. Ligorano/Reese, FF Alumns, new edition of snow globes now available

Deadly Sin #2

Just in time for the holidays,
our latest edition of snow globes - Deadly Sins #1-7

A signed edition of 100, available as a set or a la carte

A whole lot of sin

for more details and ordering information

see ligoranoreese.net/prospectus

or contact us directly at




15. Peter Gordon, FF Alumn, at Issue Project Room, Brooklyn, Dec. 5

Love of Life Orchestra - Classic Edition
Saturday, December 5, 2009
Issue Project Room
232 Third Street (at 3rd ave)
Brooklyn, NY


Darmstadt's Essential Repertoire Festival at ISSUE Project Room, December 5, features Peter Gordon and Love of Life Orchestra.

Brooklyn-based music series Darmstadt: "Classics of the Avant Garde" presents its second-annual Essential Repertoire festival. This year's iteration celebrates the 30th anniversary of the seminal New Music New York concerts originally curated by Rhys Chatham and held at The Broome street Kitchen.

For the festival finale, Composer Peter Gordon will convene a "Classic" lineup of the Love of Life Orchestra (LOLO). LOLO was formed in 1977 by Gordon and drummer David Van Tieghem to play Gordon's original compositions, which fused elements of minimalist art music with more popular forms, such as rock, jazz, and disco.

Gordon and Van Tieghem will be joined in this special reunion event by a spate of LOLO veterans: singer-artist Jill Kroesen (in her first New York appearance in over 20 years); guitarists Randy (Gun) Burns and Ned Sublette; percussionists Mustafa Ahmed and Bill Ruyle; and trombonist Peter Zummo. More recent LOLO members on hand will include electric violist Martha Mooke, trumpeter Max Gordon, guitarist Zach Layton and the stunning Cuban jazz musicians Elio Villafranca, on piano, and Yunior Terry on bass, with Daisy Press, Rachel Henry, and Nick Hallett adding their vocal talents into the mix.

This will be the first time in two decades that LOLO will be performing selections from the legendary "Extended Niceties" EP (soon to be reissued on upcoming LOLO retrospective on DFA Records.). Songs to be performed from the EP will include "Extended Niceties" (1977) and "Don't Don't" - as well as Gordon's seminal hard-driving "Macho Music" (1973), from the LP "Star Jaws" (1980), recently reissued on Lovely Music.

Zummo, Van Tieghem, Kroesen, and Sublette-each curated into the original roster of the New Music New York festival-will complete the evening with work of their own invention: original songs by Kroesen and Sublette, interdisciplinary strategies for improvisation by Zummo, and a rare performance of Van Tieghem's "A Man and His Toys."




16. Mary Beth Edelson, FF Alumn, at Deborah Colton, Houston, TX, thru Dec. 18

Mary Beth Edelson , FF Alumn, at Deborah Colton, Houston , Tx, continuing performance Making Eye Contact and showing performative photographs through Dec. 18th



17. Nina Yankowitz, FF Member, in Portugal, Dec. 10

THE THIRD WOMAN interactive project is being presented in Portugal at ICIDS 2009 conference Dec. 10. The interactive film was scripted and filmed by Martin Riser and Pia Tikka. Viewers are able to interact with the scenario by downloading clips to their mobile phones. The project was created by a global team of media artists. Sponsored by E-mobilart and supported by the EU., this game is based on reworking the theme of THE THIRD MAN for the 21st century, now scripted THE THIRD WOMAN. Performance interventions took place at other venues.

Pia Tikka (Fin)(narrative engine and Script/Film
Martin Rieser(U.K.) (Concept, Mobile Sensing and Script/Film) -- interactive
technology by: Mauri Kaipainen, Rasmus Vuori, Jim Grimmet)

Margarete Jahrmann(Austria/CH)(Costume & Performance )
Anna Dumitriu (U.K) (Performance interventions)
Cliona Harmey(IRE) (Sound Art)
Barry Roshto(Ger.)(Sound Artist)
Nita Tandon(Austria) (language and Producer
Nina Yankowitz (USA) (introductory sequence & short documentary produced
with Lucjan Gorczynsky

Nina Yankowitz
106 Spring St. 2N.
New York, N.Y. 10012



18. Harley Spiller, FF Alumn, in The Brooklyn Eagle, now online




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