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Contents for December 7, 2009
1. Rob Andrews, Peter Dobill, Holly Faurot and Sarah H. Paulson, FF Alumns, at English Kills, Brooklyn, Dec. 11, and more
2. Marina Abramovic, Guillermo Gomez-Pena, Allan Kaprow, Yoko Ono, FF Alumns, in The Wall Street Journal, Dec. 4
3. Canyon Sam, FF Alumn, new book, Sky Train, now available
4. Paul H-O, FF Alumn, at Opalka Gallery, Albany, NY, Dec. 9
5. Barry Wallenstein, FF Member, at Cornelia Street Café, Manhattan, Dec. 14
6. Bob Goldberg, FF Alumn, at Hudson Opera House, Hudson, NY, Dec. 11-12
7. Barbara Moore, Mira Schor, FF Alumns, receive Creative Capital/Warhol Foundation Arts Writers Grant 2009
8. Dynasty Handbag, FF Alumn, at WISP, Stockholm, Sweden, Dec. 11, and more
9. Angelika Festa, FF Alumn, now online at www.okcir.com
10. Julie Tolentino, Richard Kostelanetz, FF Alumns, now online at shifter-magazine.com, and more
11. Josely Carvalho, Karen Shaw, FF Alumns, at Islip Art Museum, thru Jan. 24, 2010
12. Joshua Harris, FF Alumn, on CNBC, December 9
13. Annie Sprinkle, Elizabeth Stephens, FF Alumns, at Femina Potens, San Francisco, Dec. 13, 2009 thru Jan. 10, 2010
14. Stuart Sherman, FF Alumn, at Electronic Arts Intermix, Dec. 8
15. Charles Clough, FF Alumn, December newsletter
16. LA Poverty Department, FF Alumn, December newsletter
17. Anne Bean, FF Alumn, in Tel Aviv, Israel, thru Dec. 13
18. Rashaad Newsome, Yoko Ono, FF Alumns, in The New York Times T Magazine, December 6
19. Warren Neidich, FF Alumn, at Buchhandlung Walther Konig, Berlin, Germany, December 11

1. Rob Andrews, FF Alumn, at English Kills, Brooklyn, Dec. 11, and more


This month I invite you to see two new works.

The first, on December 11th, is at English Kills gallery in Bushwick, Brooklyn. It's part of the Maximum Perception Performance Festival. The performance starts at 8, but there are other important performances that will happen before that then.


The second, on December 18th, is at Exit Art, in Manhattan, and it's part of the performance series, Performance in Crisis. Please come at 7pm to see Peter Dobill perform.

I hope to see you!

Thank you,
Rob Andrews

December 11th – December 12th, 2009
Curators: Peter Dobill + Phoenix Lights

English Kills Art Gallery
114 Forrest St.
Brooklyn, NY 11206


Performances Nightly: 7pm-12am

English Kills Art Gallery is pleased to present the inaugural Maximum Perception Performance Festival, December 11-12, 2009 at English Kills Art Gallery in Brooklyn, NY.

Over 2 nights, the Maximum Perception Performance Festival will be a showcase for over 20 national and international performance artists, focusing on presenting a dynamic range of contemporary performance practice from the best emerging artists in performance.

Curators Peter Dobill and Phoenix Lights seek to present a counterpoint to the fiscally bloated, dilettante-based spectacle that has consumed the image of performance art in New York City. The Maximum Perception Performance Festival will feature newly commissioned performance works in addition to site-specific actions and ongoing projects from all participating artists.

Established as a critically acclaimed exhibition in 2008 to survey the Brooklyn performance art scene, the Maximum Perception Performance Festival has evolved to become a yearly showcase for the forefront of performance art practice in New York City and beyond.

Participating artists include: Rob Andrews, Leah Aron + Tymon Mattoszko, Matthew Blair, Ryan Brown, Holly Faurot + Sarah H. Paulson, Danielle Freakley/The Quote Generator, Philip Fryer, Nate Hill, Erik Hokanson, Andrew Hurst, Naoki Iwakawa, Amery Kessler, Marni Kotak, Jodie Lyn Kee Chow + Zachary Fabri, Jill McDermid, Sandrine Schaefer, Rosabelle Selavy, Mark Stafford, Lech Szporer, Matt White, and Jen Zak.

For a full schedule please visit the Festival website:

For more information please contact:
Curator : Peter Dobill – peterdobill@gmail.com



2. Marina Abramovic, Guillermo Gomez-Pena, Allan Kaprow, Yoko Ono, FF Alumns, in The Wall Street Journal, Dec. 4

The Wall Street Journal
DECEMBER 4, 2009
A Star, a Soap and the Meaning of Art
Why an appearance on 'General Hospital' qualifies as performance art

I was recently treated to an early prototype of a dessert that Marina Abramović, the "grandmother of performance art," created with the pastry chef Dominique Ansel. It's a cylindrical pastry with a lychee center sprinkled over with chili powder and raw gold. I was instructed to kiss a napkin that had been printed with a square of gold powder that would transfer to my face before eating the dessert. This way the dessert would pass through a golden gateway before it was ingested. I did as told, then suggested to the chef that it needed more chili. Was this art?

I have been obsessed with performance art for over a decade—ever since the Mexican performance artist Guillermo Gómez-Peña came to visit my class at Cal Arts summer school. I finally took the plunge and experimented with the form myself when I signed on to appear on 20 episodes of "General Hospital" as the bad-boy artist "Franco, just Franco." I disrupted the audience's suspension of disbelief, because no matter how far I got into the character, I was going to be perceived as something that doesn't belong to the incredibly stylized world of soap operas. Everyone watching would see an actor they recognized, a real person in a made-up world. In performance art, the outcome is uncertain—and this was no exception. My hope was for people to ask themselves if soap operas are really that far from entertainment that is considered critically legitimate. Whether they did was out of my hands.

As Ms. Abramović told me over our dessert tasting, performance art is all about context. "If you bake some bread in a museum space it becomes art, but if you do it at home you're a baker." Likewise, when I wear green makeup and fly across a rooftop in "Spider-Man 3," I'm working as an actor, but were I to do the same thing on the subway platform, a host of possibilities would open up. Playing the Green Goblin in the subway would no longer be about creating the illusion that I am flying. It would be about inserting myself in a familiar space in such a way that it becomes stranger than fiction, along the lines of what I'm doing on "General Hospital."

Performance art is enjoying a moment of validation from the art world establishment. Next month, the Guggenheim Museum will showcase the work of Tino Sehgal, the Berlin-based artist whose "staged situations" have involved uniformed museum guards dancing around a gallery singing, "This is so contemporary, contemporary, contemporary!" The renowned art fair Art Basel Miami dedicated evenings to performances by visual artists, including Claire Fontaine, whose work consists of a Body Opponent Bag (BOB) punch mannequin that professional fighters will beat silly. The P.S.1 museum in New York's Queens borough is in the middle of "100 Years," a three-week-long series chronicling the past century of performance art, so all the oldies but goodies can be studied.

When most Americans think of "performance art," they probably think of its golden age in the 1970s and the early 1980s. That was the time when the artist Chris Burden was creating pieces that entailed being shot in the arm or crucified on a Volkswagen Beetle and Marina Abramović and her one-named partner Ulay were performing "Rest Energy," a piece where they faced each other and held a taut bow with an arrow pointing at Ms. Abramović's heart.

But performance art of this vein got its start as early as the 1950s, when art students started putting down their paintbrushes and cameras and turning to their bodies as instruments. Art critic Harold Rosenberg defined Jackson Pollock and Willem de Kooning as "action painters" and their canvases as records of a performance. Art was no longer to be viewed passively, but something to engage with. Hans Namuth's 1951 film "Jackson Pollock 51" shows Pollock improvising with his painting, making marks and then responding to those marks. Clearly, the process had become part of the art. It was only a matter of time before artists would start discarding the final piece altogether, like Yoko Ono's "Cut Piece" (1965), where the audience was invited to cut Ms. Ono's clothes, or Allan Kaprow's "Fluids" (1967), where a team constructed an enormous ice structure, only to leave it to melt.

Performance art can seem pretentious, but it can also be quite mischievous and playful. Just as Marcel Duchamp rocked the art establishment in 1917 with his found urinal called "Fountain," performance artists of the 1960s and 1970s presented entire practices and occupations as art. In today's version, the artist Fritz Haeg packages lawn care as art—his ongoing series "Edible Estates" consists of designing and implementing ecologically productive front lawns. As Mr. Haeg said at a talk at Columbia University last month, "Being an artist is the one profession where you can wake up and say, 'What do I want to learn about and participate in today?' " What could be more fun than that?

In her 1973 piece "Rhythm 10," Ms. Abramović, the co-inventor of the lychee-and-gold pastry, recorded herself playing five-finger fillet, often cutting her fingers in the process. Then she played the recording back in front of a live audience and recreated the "performance" with the finger slicing put in the exact same place. Thus, the second time around may be a recreation of an act that already took place, but when she cuts herself the second time she still bleeds, and the past action is also taking place in the present tense. It's trippy stuff.

Most performance pieces before the 1970s were not well recorded. All that remains of some works are scraps of various media. This wasn't simply a result of oversight. Chris Burden never intended his early pieces to be filmed because he was concerned that the films would be seen as the work rather than as a record of the work. He was more interested in completing the act than getting the greatest number of people to see it. He worried that people would regard the film as the full experience when anyone who has watched a stage play on film knows, it is never the same as seeing it live.

The gulf between film and performance art has dwindled in the years since Mr. Burden crawled naked across glass. These days, contemporary performances often are staged for a camera and the record of the act becomes primary. The world of performance art has incorporated many of the materials and methods that it once shunned. Contemporary performance artists such as Matthew Barney, Paul McCarthy and Ryan Trecartin depend heavily on film and video to make their work. Mr. Barney relies on Hollywood special effects to achieve his elaborate costume and set design. And Mr. McCarthy's ketchup-and-mayonnaise-loving elves and madmen would be hard to conceive without the precedent of Disney films.

When New York's Museum of Modern Art celebrated the opening of the performance-art retrospective at its sister museum P.S.1 last month, the band Fischerspooner put on a concert in the museum's main atrium. Casey Spooner, a singer who contains great passion under his cool exterior, stopped the show and complained that the audience wasn't engaging with the music enough. Later it was revealed that the complaints were all part of the act and the entire piece will later be presented as a film about a fictional musician.

The folks at "General Hospital" informed me that in three days of filming we backlogged enough material for 23 episodes. There will be one more step. After all of the Franco episodes are aired, my character's storyline will be advanced in a special episode filmed in a "legitimate" New York gallery. One more layer will be added to this already layer-heavy experiment. If all goes according to plan, it will definitely be weird. But is it art?

—James Franco is an actor who appeared in "Milk" and the "Spiderman" movies. He is currently enrolled in NYU's MFA filmmaking program and Columbia's MFA program for fiction writing.Printed in The Wall Street Journal, page W1

Copyright 2009 Dow Jones & Company, Inc. All Rights Reserved



3. Canyon Sam, FF Alumn, new book, Sky Train, now available

Warm Holiday Greetings,

I'm pleased to say that my book, Sky Train: Tibetan Women On the Edge of History hit the bookstores weeks ago and is here just in time for the holiday season. The last two weeks brought a fabulous starred review in Publisher's Weekly, ("A remarkable book...visceral and deeply felt... it deserves to be read by anyone interested in human rights or the untold stories of women") in addition to a long review by NPR's Sandip Roy in the San Francisco Chronicle! (links below) The Chron a month ago had given it a nod as one of the great new books of fall season, as did KQED's Forum radio show with Michael Krasney. I'm extremely honored that His Holiness the Dalai Lama wrote the foreword for the book and that I had the great pleasure of presenting the book to him in person in southern California.

Please check out Sky Train if you haven't already (see more below). As those of you who've seen it know, it also makes a great gift!

Wishing you peace and joy this season,


P.S. If you are so inclined I would appreciate it very much if sometime when you have a few minutes you could think about five people you think might be interested in this book and forward this note to them. Their interest could be in the Himalayan area, Buddhism, women's history, Tibet, China, memoir, creative nonfiction, or oral history, peace and social justice, India, nonviolence. They could in turn send it to five people and those would do the same. 5 x 5 x 5...= Buzz!

Publishers Weekly called Sky Traina "remarkable book. . . . Visceral and deeply felt, this narrative deserves a read from anyone interested in human rights and the untold stories of oppressed women everywhere."

Canyon Sam was a guest on San Francisco's CBS KPIX Channel 5 "Bay Sunday" program.

The San Francisco Chronicle calledSky Train a "notable new book" and also featured it in a list of great new fall titles.

Join Canyon Sam

February 11, 2010 at 7 p.m.
Book Soup, Los Angeles, CA

February 14, 2010 at 2 p.m.
Pacific Asia Museum, Pasadena, CA

February 28, 2010 at 4 p.m.
Rubin Museum of Art, New York City

March 2, 2010 at TBD
Community Bookstore, Brooklyn

March 3, 2010 at 7 p.m.
Tibet House, New York City

For details on events or
Sky Train, please contact
Rachael Levay at
(857) 756.8443 orremann@u.washington.edu

We are very excited to announce that Sky Train by Canyon Sam was selected as Publishers Weekly's Web Pick of the Week on November 9.

The University of Washington Press is hosting a Share the Love web sale on our site and, from now until the end of 2009, all books are 20% off. Just use the code W209 to save 20% on all our books, including Sky Train!

Sky Train:
Tibetan Women on the Edge of History

By Canyon Sam
With a Foreword by His Holiness the 14th Dalai Lama

"[A] remarkable book. . . . Visceral and deeply felt, this narrative deserves a read from anyone interested in human rights and the untold stories of oppressed women everywhere." -Publishers Weekly

"A miracle of a book." -Maxine Hong Kingston, National Book Award winning author of The Woman Warrior

"A book that is sure to illuminate a Tibet so many of us have been longing to know." - Alice Walker, author of The Color Purple

Canyon Sam is a Chinese American who, in the eighties, went to China in search of a deeper understanding of her heritage. While there, she traveled to Tibet and discovered a true sense of home and belonging with the Buddhist people and, in particular, the women of the Tibetan and Buddhist culture. She found herself extremely close to four women -- a child bride, a gulag survivor, a visionary educator, and a freedom fighter -- and has woven their stories into Sky Train. In the book she finally comes to term with her own past and forges a lifelong connection to Tibet and the Buddhist faith and, in addition, chronicles the vast changes to Tibetan people and landscapes by a greater connection with the Chinese through the new high-speed "sky train" that connects Lhasa to China.

Gracefully connecting the women's poignant histories to larger cultural, political, and spiritual themes, the author comes full circle, finding wisdom and wholeness even as she acknowledges Tibet's irreversible changes.

Canyon Sam is a San Francisco writer, performance artist, and Tibet activist. Her one-woman show The Dissident was critically acclaimed in the Village Voice and the Boston Globe. This is her first book.

More praise for Sky Train

"Canyon Sam's Sky Train powerfully moves the heart, as it brings to life deep truths about our world today, about Tibet, the land and people and especially its outstanding women. Just as important is the author's own revelatory discovery of 'Tibet' as a compassionate, wise, and down to earth state-of-mind essential to the survival of the whole world. Words cannot express how wonderful is this honest, generous, and perceptive book." -Robert Thurman, Jey Tsong Khapa Professor of Buddhist Studies at Columbia University

"Through the experiences of older Tibetan women, the author offers a captivating journey spanning half a century and several countries. Sky Train conveys women's lessons of community-building, generosity, faith, and determination. A beautiful, moving, riveting book." -Valerie Matsumoto, UCLA

"This book about the Dharma of connection, of companioning, of compassion, has strengthened my own devotion." -Sylvia Boorstein, author of Happiness Is an Inside Job: Practicing for a Joyful Life

"It is Canyon Sam's love for Tibet -- its culture and its people -- that makes this book so special. An important work . . . poignant and inspiring." -Sharon Salzberg, author of Lovingkindness: The Revolutionary Art of Happiness

http://washington.edu/uwpress - 20% off sale until Dec 31



4. Paul H-O, FF Alumn, at Opalka Gallery, Albany, NY, Dec. 9

DATE & TIME: Wednesday, December 9 at 7pm
LOCATION: Opalka Gallery
The Sage Colleges
140 New Scotland Avenue
Albany, NY 12208

CONTACT: Jim Richard Wilson or Fabienne Waring
VOICE: 518/292-7742
WEB: www.sage.edu/opalka
EMAIL: opalka@sage.edu
FAX: 518/292-1903

In conjunction with the Opalka Gallery’s current exhibit, Dona Ann McAdams: Some Women, there will be screening of the film Guest of Cindy Sherman on Wednesday evening, December 9 at 7pm.

Guest of Cindy Sherman takes an eye-opening look at what happens when a skeptical outsider finds himself romantically involved with the ultimate insider. Present for this screening will be the director of the film, Paul H-O, and the photographer Dona Ann McAdams, who appears in the film. There will be a question and answer session after the showing.

The documentary combines rare, intimate verite of Sherman with anecdotes by friends and associates (filmmaker John Waters, writer/performer Eric Bogosian, artist Eric Fischl, photographer Dona Ann McAdams, Interview Magazine editor Sischy, writer Brad Kessler, actors Danny DeVito, Carol Kane, Jeanne Tripplehorn and Molly Ringwald, New York times art critic Roberta Smith, fashion designer Mucchia Prada, among others) as well as Gallery Beat footage

Guest of Cindy Sherman is both a quirky valentine to one of the great contemporary artists and an uncompromising look at the art industry itself, seen through the penetrating gaze of a man whose experiences as an art scene observer barely prepared him for the whirl of the most elite salons of the world.



5. Barry Wallenstein, FF Member, at Cornelia Street Café, Manhattan, Dec. 14

An Evening of Poetry and Music
Barry Wallenstein (poetry/vocals)
Eric Plaks (piano)
Vincent Chancey (French horn)
& Guest Musicians (TBA)
Guest Poet, Chris Brandt

Monday December 14th, 2009 / 6 p.m.

Cornelia St. Café
29 Cornelia St.
(Between Bleecker St. & W. 4th just west of 6th Ave.)
(212) 989-9319

$12 cover (includes one drink)
$7 for students



6. Bob Goldberg, FF Alumn, at Hudson Opera House, Hudson, NY, Dec. 11-12

coming soon. next weekend, in fact. "hudson" comes to hudson. opera house, no less. live animation (moving pictures). i wrote the music and play it, live. i also get to impersonate nixon. briefly. come see!

Hudson Opera House
Concrete Temple Theatre's
Hudson to China
at Hudson Opera House in Hudson, NY

December 11 at 8 pm
December 12 at 2 pm and 8 pm


Co-Created by: Renee Philippi & Carlo Adinolfi
Puppets & Set Design: Carlo Adinolfi
Director: Renee Philippi
Music: Bob Goldberg
AD/Stage Manager/Lighting Design: Casey McLain

Performers: Carlo Adinolfi, Mi Sun Choi, Bob Goldberg, and Zdenko Slobodnik

Hudson to China is a spectacle with projections, puppetry, theatre, and live music. It parallels three different beings seeking a way to China: the statue of Henry Hudson that stands in the Bronx, who believes he has finally found his route to China; a young man, Harry, who dreams of success by literally conquering what he fears: China & its economy, and Hua, a Chinese immigrant, who longs for home. Hudson to China is an adventure in which the experiences become the destination. On the journey the voyagers and we, the audience, lose our way, finding it just to lose it again, echoing Henry Hudson's voyages and our own lives, searching for the mythical Orient.

Support for Hudson to China comes from a commission by the Hudson Opera House with fund from the New York State Council for the Arts s well as Concrete Temple Theatre's support from NYSCA and New York City Department of Cultural Affairs.



7. Barbara Moore, Mira Schor, FF Alumns, receive Creative Capital/Warhol Foundation Arts Writers Grant 2009

Creative Capital | Warhol Foundation Arts Writers Grant Program Announces 2009 Grants

The Creative Capital | Warhol Foundation Arts Writers Grant Program is pleased to announce the recipients of its 2009 grant cycle.

Designed to encourage and reward writing about contemporary art that is rigorous, passionate, eloquent, and precise, as well as to create a broader audience for arts writing, the program aims to strengthen the field as a whole and to ensure that critical writing remains a valued mode of engaging the visual arts.

In its 2009 cycle, the Arts Writers Grant Program has awarded a total of 710,000 USD to twenty-six individual writers. These grants range from 5,000 USD to 50,000 USD in five categories—articles, blogs, books, new and alternative media, and short-form writing—and support projects addressing both general and specialized art audiences.

Representing a range of genres from scholarly studies to self-published blogs, the twenty-six selected projects, listed below within categories, are united by their dual commitment to the craft of writing and the advancement of critical discourse on contemporary visual art.

Christoph Cox, Conceptual Art and the Sonic Turn; Amherst, MA
Jen Graves, Regrade: Rediscovering Seattle's Artificial Roots; Seattle, WA
Chris Kraus, Tiny Creatures; Los Angeles, CA
Fionn Meade, Loose Ends: The Mimetic Faculty & Narrative in Contemporary Film and Video; Brooklyn, NY
Judith Rodenbeck, Once More With Feeling New York, NY

Greg Cook, The New England Journal of Aesthetic Research; Malden, MA
Gene McHugh Post-Internet; Brooklyn, NY
Mira Schor, A Year of Positive Thinking; New York, NY

Bill Anthes, Hock E Aye Vi: Edgar Heap of Birds; Los Angeles, CA
Huey Copeland, Bound to Appear: Art, Slavery, and the Radical Imagination; Chicago, IL
Craig Dworkin, There Is No Medium; Salt Lake City, UT
Lisa Farrington, Emma Amos: Art as Legacy; New York, NY
Martin Friedman, Artist Stories; New York, NY
Ed Halter, New Experimental Cinema in America, 1990–now [working title]; Brooklyn, NY
Pamela Lee, Think Tank Aesthetics: Mid-Century Modernism, the Social Sciences, and the Rise of "Visual Culture"; San Francisco, CA
Barbara Moore, Observing the Avant-Garde: Peter Moore & The Photography of Performance; New York, NY
John Yau, Martin Puryear; New York, NY

New and Alternative Media
Geeta Dayal, Locative Art and Urban Space: Mapping an Emerging Field; Boston, MA

Short-Form Writing
Amy Bernstein, Portland, OR
Janet Estep, Minneapolis, MN
Jeffrey Kastner, Brooklyn, NY
Kelly Klaasmeyer, Houston, TX
Morgan Meis, Brooklyn, NY
John Motley, Portland, OR
Cameron Shaw, Brooklyn, NY
Christian Viveros-Faune, Brooklyn, NY

Art Writing Workshop
The Creative Capital | Warhol Foundation Arts Writers Grant Program is pleased to announce a new partnership with the International Art Critics Association/USA Section (AICA/USA) designed to give practicing writers the opportunity to strengthen their work through one-on-one consultations with leading art critics. For more information see http://www.artswriters.org/writing_workshop.php. For a list of 2009 Art Writing Workshop Recipients see http://www.aicausa.org.



8. Dynasty Handbag, FF Alumn, at WISP, Stockholm, Sweden, Dec. 11, and more

Workshop: "Alter ego"

at W.I.S.P. (Women In Swedish Performing Arts) office, Birger Jarlsgatan 18, Stockholm, Sweden.
Free entrance. Application needed: info@wisp.se
Maximum 12 participants. Participation on all three occasions requested.

30 nov and 7 dec, 6 to 8 pm, workshop leader performance artist Maya Hald (SWE)
11 dec, 6 to 8 pm, guest workshop leader performance artist Jibz Cameron (USA)

The workshop explores the alter ego concept. Using an alter ego can be a great feminist strategy to create and tell new stories, to perform on stage or in a public space. We'll discuss and act to find out in what ways an alter ego can perform. The participants can try on different personas to find new ways to perform. Three occasions with two different artists leading.


Ful magazine invites you to celebrate the return, the triple issue, the stuffed, the fabulous, the fantastic Ful - the Book!
May we present to you:
Dynasty Handbag (NYC)
who can play air guitar, lap dance and be Mick Jagger, talk with plastic bags, imitate a root vegetable and pull a knife out of her hair. Dynasty Handbag is the hottest performance artist in New York and an unforgettable act that you cannot miss.

You will also get techno-house by Maya Lourenço, danceoke with Öfa
and choir singing by FREDDIEMERCURYKÖREN.
Entrance: 90 sek
Entrance + Ful – the book: 130 sek
(Ful – the book costs 150 sek in stores)
When: 19-03
Where: Pluto Lövholmsvägen 20 in Gröndal
ATTENTION! Membership in Kulturföreningen pluto is required, register on www.p-l-u-t-o.org at least 24 hours in advance and RSVP on festens facebook-event or fest@tidskriftenful.se
In cooperation with W.I.S.P




9. Angelika Festa, FF Alumn, now online at www.okcir.com

My article "Teaching Critical Thinking to Freshman Writers by Engaging Contemporary Artists’ Work" is now available online (free).

In the article I discuss the work of Claes Oldenburg, Edgar Heap of Birds, and Coco Fusco.

To access the article (20 pages) go to the web site:



Volume VII • Issue 1 • Winter 2009

Click on the issue title "Teaching Transformations 2009" or the cover image.

You will see a list of all the articles in this issue.
For my article, click the last link on the list.

You will get my article as a pdf file.

NOTE: The article addresses primarily an audience of writing teachers.
It explores the pedagogy of teaching freshman writing while aiming to serve a population of students at a four-year public art college.

Thank you for your interest,

Angelika Festa (formerly Angelika Wanke -Festa)



10. Julie Tolentino, Richard Kostelanetz, FF Alumns, now online at shifter-magazine.com, and more

Julie Tolentino, FF Alumn, in SHIFTER 15: WILL, now online and Dec 15th print edition release at Ludlow 38. 38 ludlow at grand, Manhattan

Announcing release of Shifter 15 (download at
www.shifter-magazine.com) Please join us for the release of the print edition on Dec. 15 at Ludlow 38.

Sreshta Rit Premnath, Abhishek Hazra
Avi Alpert
Diana Artus
Lindsay Benedict
Daniel Blochwitz
Steven Brower
Jon Cotner & Andy Fitch
Mark Cunningham
Chris Curreri
Thom Donovan
Nathan Haenlein
Nina Höchtl
John Houck
Devin Kenny
Richard Kostelanetz & Nick Eve
Matt McAlpin
Jean-Marc Superville Sovak
Julie Tolentino Wood



11. Josely Carvalho, Karen Shaw, FF Alumns, at Islip Art Museum, thru Jan. 24, 2010

Curator Karen Shaw
Including work by Josely Carvalho and others
Thru Jan 24, 2010
Islip Art Museum



12. Joshua Harris, FF Alumn, on CNBC, December 9

it is a media performance piece going out on cnbc (david faber show is doing a documentary on the bubble).

in this piece i am explaining how pseudo programs, inc. is actually a piece of conceptual art.

the doc airs on december 9th (give or take).

last piece of media performance was sky news:



13. Annie Sprinkle, Elizabeth Stephens, FF Alumns, at Femina Potens, San Francisco, Dec. 13, 2009 thru Jan. 10, 2010

Annie Sprinkle & Elizabeth Stephens: New Work from the Love Art Laboratory
Collages, photographs, wedding costumes/ephemera + an ecosexual walking tour
December 13 – January 10
Femina Potens Art Gallery, 2199 Market St @ Sanchez, San Francsico, CA 94110
Hours: Thurs.-Sun, Noon-6:00. 415-864-1558 Feminapotens.org

Artist couple Elizabeth Stephens & Annie Sprinkle aim to make the environmental movement sexier! Two years ago Elizabeth and Annie made wedding vows, along with 400 guest-witnesses, to "love, honor and cherish the Earth." This propelled them to take the Earth as their lover and start the "ecosexual movement." They believe that "if more people experienced the Earth as their lover instead of thinking of the her as their mother, it would make for a more mutually beneficial and sustainable relationship."

On view in the gallery will be their vegan and bio-degradable wedding costumes and ephemera from five of their way-beyond-gay ecology themed weddings; they married the Earth in Zagreb, Croatia, the Sky in Oxford, England, and the Sea at the Venice Biennale. Viewers will be visually transported to those wedding days and perhaps even be inspired to make their own vows to the Earth, Sky and Sea.

Stephens & Sprinkle have invented a new field of research they coined "Sexecology" which explores the places where sexology and ecology overlap, and they are "sexecologists." This show explores these themes through new collages on topographical maps layered with eco-erotic images, romantic plantings, sensual delights, erotic growths and soiled, wet romps. The artists have also produced a new poster: 25 Ways To Make Love to the Earth. Do not miss their fun, unique and inspiring Sexecological Walking Tour where along the way, Beth and Annie will share their post-queer erotic wisdom, and their vision for helping to save our environment from pollution, overheating and destruction.

Dec. 13, Sunday. 5:00-8:00. Opening reception. Presentation/performance by the artists at 6:30.
Dec. 17. Thursday. 7:00-8:30. International Day to End Violence Against Sex Workers: A Memorial Vigil Ritual.
Dec. 19. Saturday. 1:00-4:00. The Sexecologists are In. Annie & Beth will show you around, chat, answer your questions.
Jan. 3. Sunday. 2:00-3:30. Sexecological Walking Tour with Beth & Annie. Meet at Femina Potens, and take a walk to explore your ecosexuality-- rain or shine. $15.



14. Stuart Sherman, FF Alumn, at Electronic Arts Intermix, Dec. 8

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
Seating is limited. Please 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.

Visit www.nytimes.com for an in-depth article about Sherman's work by writer Holland Cotter.

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



15. Charles Clough, FF Alumn, December newsletter

Season’s greetings!

As the year and decade closes and with little more than a year until the fortieth anniversary of my studio I am pleased that:

Seventy museums now include my work, two-thirds as the result of the Vogel 50x50 Project implemented by the National Gallery of Art ( www.vogel5050.org ).

I was awarded a grant by The Pollock-Krasner Foundation in 2009.

Of my most recent showing in New York at NY Art Book Fair, Holland Cotter wrote in The New York Times: "And in the fringe areas, one-man bands get a chance to shine. Charles Clough, whose paintings from the 1980s recently appeared in ‘The Pictures Generation’ at the Metropolitan Museum, has a table by himself in Friendly Fire at which he introduces new work in the form of a multimedia package. It includes an abstract painting, a facsimile print of the painting, a book of images of the picture in progress and a movie made from those images.

"His project is so much more interesting than most of the painting on the walls in Chelsea that I can’t think why someone doesn’t give him a show."

Of my current solo exhibition Colin Dabkowski wrote in the Buffalo News: "Though his work resides in many a respected public and private collection, Charles Clough’s name isn’t precisely a household one. The painter, who got his start in Buffalo in the mid-1970s, where he helped to found Hallwalls Contemporary Arts Center with fellow artist-students Cindy Sherman and Robert Longo, has been engaged in something of a self-imposed identity crisis for the past decade.

"A show of Clough’s work now on view at Nina Freudenheim Gallery (Buffalo) gives us a quick and fascinating glimpse at the momentous achievements of Clough’s auspicious past and the promising new direction in which he has recently pointed his artistic career.

Clough, whose work was recently featured in "The Pictures Generation," an exhibition at the Metropolitan Museum of Art in New York City, continues to be recognized for the unique juxtaposition of abstract painting and photography he achieved in his early work. Much of that work is on view in this exhibition, and stands up as a visually stunning argument for the supremacy of painting in all its historical glory’

Dozens of pieces from the Clough’s ‘C-Notes’ series from the early ’80s, in which Clough’s own photographs and art reproductions have been painted over with rich swaths of enamel paint. Paintings from the series bring up all sorts of curious questions about the uses of photography, the long continuum of painting from antiquity to the present, and the ongoing conversation between abstraction and representation.

"Also on view is ‘Eyes 2,’ an early piece that combines photographs of Clough and collaborator Diane Bertolo’s eyes, which have then been painted over to integrate them into a large brown canvas. It’s a stunning piece, and worth the trip on its own.

"The show contains a look at Clough’s newest project, based around the creation of a single abstract painting, ‘Pepfog 9.1.’ In addition to the rather beautiful painting, the ongoing project features a book of images that document the creation of the painting, a film available on Clough’s Web site ( www.clufff.com ) and a set of prints. It’s all meant to confront ideas about how an artist’s reputation is created, encouraged and spread."

Pepfog 9.1, 2009, acrylic on panel, 27 x 33 inches, sold before the show opened for a five-figure price.

And a retrospective of my work is scheduled for the University at Buffalo’s Art Gallery for Spring, 2012.

Printable pdfs of Pepfog, Pepfog 9.1, Pepfogs, SteroViews08, and From Eyes and C-notes to Pepfog With Books are available at www.clufff.com. Hard-copies of Pepfog, Pepfog 3, Pepfog 9.1, Westerly Art Project and >From Eyes and C-notes to Pepfog With Books are available from www.Lulu.com

Joy 2 the whirled—Charlie



16. LA Poverty Department, FF Alumn, December newsletter

Here comes the LA Poverty Department Newsletter. LAPD is made up of people who make art and live on Skid Row, Los Angeles. A little known fact is that LA’s Skid Row community is an incubator for visionary artistic and social initiatives that are finding solutions to profound societal problems. Creative efforts of all stripes are arising from the community at large. LAPD is happy to contribute to the neighborhood's creative vitality with performance, installation, movement, public art and public conversation events. Here's a short report on what we've been up to, in LA and beyond, and a glimpse of projects in the works.

During the past year, LAPD has worked with some of the most forward looking non-profits addressing homelessness and grass roots community development including: LAMP Community, OPCC, LA Community Action Network, and United Coalition East Prevention Project, Church of the Nazarene, Skid Row Advocates, all in Los Angeles County.

We've also worked with committed arts organizations including 18th St Arts Center; HIGHWAYS Performance Space and The Box Gallery. Recent LAPD projects have focused on: recovery from addiction and drug policy reform, countering the criminalization of homelessness, and on the flowering of the recovery community that is Skid Row. We convened residents and Skid Row based organizations and with the Urban Institute authored a paper "Making the Case for Skid Row Culture", that will soon be published by Americans for the Arts. In addition we created a 2 month residency in Bolivia, for the Spanish language premier of our Agents & Assets project (Agentes y Activos). This project brought Bolivianos and Americans together to reflect on the consequences of drugs and government drug policies on ordinary, low income citizens.

In fast appearing 2010, in Skid Row, we have 3 multi-phase performance projects in the works. "History of Incarceration" will combine historical research with expert lived commentary in generating a greater understanding of the societal costs of incarceration on the scale it exists here and now. "Let's Go", developed through improvisational workshops will articulate personal hopes, dreams and aspirations of community members. "Walk the Talk" a performance folded into a parade, will celebrate artistic and social visionaries who have lived and worked on Skid Row. We also have 2 public art projects in the works that will draw in a number of young artists from around Los Angeles to create their own works in collaboration with LAPD and Skid Row community members. We'll also produce the LA phase of a new international exchange project, with Netherlands based PeerGroup.

Come view, or better yet, participate in our upcoming projects. Make a year-end donation and feel good about it, ‘cause guaranteed we know how to stretch a dollar.

Much thanks,
John Malpede, for LAPD

Agentes y Activos
In July, after months of Spanish lessons in our Echo Park office, four LAPD'ers traveled to Cochabamba, Bolivia for a seven-week residency and the Spanish language premiere of Agents & Assets, directed by John Malpede. The text is an edited version of 1998 transcripts from a hearing of the House Intelligence Committee on allegations that the CIA was complicit in the crack cocaine epidemic that ravaged minority communities in Los Angeles and other U.S. cities. We started performing A & A in 2000, when the California public was debating a treatment versus incarceration initiative, and we were working with a women's recovery program. Since then, we've worked with many recovery groups, recreating this performance in US cities and in the Netherlands.

In partnership with La Escuela de Arte y Talentos in Cochabamba the project brought together victims of the "War on Drugs" in Bolivia and those in the U.S., people whose lives have been radically impacted by drugs. We presented 13 performances of Agentes y Activos in six cities in a wide variety of circumstances: from prison, to municipal theaters, and central plazas to universities and high schools. The Bolivian audiences made all kinds of links between the reality there and the issues raised in the performance. We created opportunity for dialogue at every performance. People were supportive, and in some cases astounded, to meet Americans with independent perspectives.

The combined company 2/3 Bolivianos, 1/3 LAPD, worked intensively and had an esprit that really pulled together. One of our Bolivian cast members, Judge Yolanda Ramirez, was interested in theater and passionate about the issues addressed in the production. She facilitated the travel of one other cast member, a woman on parole who still had to report back to her. Collectively, we had many miles to travel (I'm talking metaphorically here), to both understand the complex issues of the performance, and to do the production in Castellaño. We learned that demonization of the other is prevalent: Bolivians blaming the users in the North, while the American policy is predicated on the assumption that it’s not our fault that we have a drug problem --that’s why we go forth and eradicate. We learned that in both countries, it’s not the kingpins, but the little people, the users, the mules that fill up the jails.

"We really worked hard to prepare ourselves to perform in Spanish and it was one my best days when, after we performed at the prison, the guys came up and said they thought I was a "Cubano." I was sooooo happy they thought that I actually was a Spanish speaker. The other cast members were very helpful, when they weren’t laughing at us, and often knew our lines when we stumbled over the script. At times it was comical because we were relying on a single word for our cues, and the Bolivianos would ad lib, and we would be lost."

Skid Row resident & LAPD performer

My Eyes Are The Cage in My Head
In December 2008, LAPD produced "My Eyes are the Cage in My Head" an original work written and directed by Ron Allen, a poet, playwright and teacher who has had a close and important artistic relationship with LAPD for many years. "My Eyes" looks at contemporary life through the corrupted eyes of The Fat Man, who says "I breed humans for their function and they have become a brick wall called cities. Staggering medias of grief. They are boring realities. Oh well. Where’s the food. But I only eat power and cities. Women ah women. Humans are becoming obsolete." Ultimately, "My Eyes" witnesses the demise of the Fatman as the everyday superheroes made strong through their daily hardships, break his psychic hold. We presented free performances at The Box Gallery, Chinatown; Church of the Nazarene, Skid Row; and at Industry Café & Jazz, Culver City.

"’My Eyes’ depicts the reality of a tethered humanity in search of itself through desire and self-destructive relationships."
playwright & director

CPR: A Public Training in Life-Saving Skills
LAPD (Lost And Presumed Dead) heroes shared the extraordinary wisdom that accounts for their return-from-the-edge, against-all odds survival in "CPR: a Public Training in Life Saving Skills." The original production was developed in workshops in Santa Monica at OPCC, the network of shelters and services for low-income and homeless youth, adults and families, battered women and their children and people living with mental illness. It was the first collaboration between LAPD and OPCC, and enabled us to create a coalition between neighborhoods struggling to build better communities on Los Angeles’s east and west sides.

"I’m shy. Coming and doing rehearsals and mixing in with different people, it’s really fun and getting out socially is helping me stay out of myself, and be a part of something I never thought I would be involved in."

Skid Row resident & performer

Mr. Smallman Uses His Telepathic Powers To Fight for Justice in the Injustice System
In Fall 2008, LAPD began workshops open to all those in the LAMP Community and Skid Row. Since the beginning of LAPD, LAMP community members have invigorated LAPD with their creative input and output. LAMP provides immediate housing and lifelong supportive services for homeless men and women living with mental illness. Over 9 months of weekly workshops, we created "Mr. Smallman," Through a non-stop improvisational process, with a character switching cast of 20-plus. We tested our telepathic powers with ESP cards and created the ‘dual of the future’, which is done only with the mind. With that we developed a whole bunch of short scenes based on a legal deposition from Mr. Smallman and extrapolated from cast member experiences and impressions of the criminal justice system. On May 5, 2009, we presented Mr. Smallman in the dining room of LAMP on Crocker Street.

"I think this is the best project ever to happen to me, and I love it. I hope we can obtain his project a longer time at Lamp."
LAMP resident & performer

In June, as part of a program of the Animating Democracy Initiative of Americans for the Arts, LAPD held focus groups to identify cultural resources in the Skid Row community. A research paper, "Making the Case for Skid Row Culture", by John Malpede and Maria Rosario Jackson, from the Urban Institute, addressed the gap between the perception and reality of Skid Row. "It has been perceived as a place to dump what you don’t want," said one participant, "but the fact is that Skid Row is the only answer in the entire region, for problems of homelessness, and recovery." We will meet in January to present the paper’s findings to those residents and organization representatives who helped us do this work.WALK THE TALK

Much of LAPD’s work over the past few years has used art-making strategies to instantiate the achievements of Skid Row residents. Based on input from the community during last year’s Skid Row History Museum at The Box gallery and with the support of Los Angeles’s Community Redevelopment Agency (CRA), we are now creating the outdoor public art project, the "Skid Row Walk of Fame". We will build on that work with "Walk the Talk", a year-long project that will include workshops, community conversation events, indoor and outdoor performances including a peripatetic performance (with brass band) that will travel through the neighborhood to celebrate the achievements of neighborhood visionaries, to bring the history of the community to life and keep it alive.

Skid Row has a disproportionate number of citizens with first-hand knowledge of the criminal justice system: through minor infractions like jaywalking or because when they’re released from state penitentiaries with $200, they’re directed to Skid Row. This original theatrical production will employ local expertise through workshops and community conversation events to create a performative meditation on the consequences of living in the country with the highest rate of incarceration on the planet.

The City of Los Angeles Department of Cultural Affairs, Cultural Exchange International initiative is supporting the first phase of LAPD’s collaboration with Netherlands-based, PeerGrouP. LAPD will bring artistic director Sjoerd Wagenaar and director Floris Van Delft to LA to participate in History of Incarceration and Walk the Talk. In 2011 PeerGrouP will bring LAPD to Drente, the Netherlands for a residency project about the Cold War.



17. Anne Bean, FF Alumn, in Tel Aviv, Israel, thru Dec. 13

PAVES is a year-long collaboration between the women artists Poshya Kakl (Kurdistan-Iraq), Anne Bean (UK), Vlasta Delimar (Croatia), Efi Ben-David (Israel) and Sinead O’Donnell (Ireland). These artists have all used their bodies in their work to make powerful and passionate performance art works where the interplay of personal and political meet and have vivid ‘conversations'.

PAVES is a collaborative journey supported by the British Council Creative Collaboration program that has already taken place in the UK, Croatia, Ireland and now in Israel.The overall aim of the Creative Collaborations program is to enrich the cultural life of Europe and its surrounding countries and to build trust and understanding across communities by generating dialogue and debate.

In the past year, the artists have gathered for joint work in each of their countries. Now, on their visit to Israel, they will work together from the experiences they have accumulated in the past locations of the project and the experiences that will be added here. They will respond to the place and to each other in many ways: sharing ideas, actions and impressions and all the things that inform their creative process.

Anne Bean, the initiator of the PAVES project, grew up in Zambia. She has spent time in Iraq and Croatia and has been struck by the different ways in which recent political upheavals directly or indirectly affected the work of artists and, particularly, of certain women artists. The PAVESproject came out of reflections on how this intense, wider political context inevitably sculpts an artist’s work.

Poshya Kakl, the young artist form Kurdistan Iraq, was denied a visa to travel so she has not been physically present in the project so far. Contact with her has been made via email and skype and actions have been performed with her sharing time but not space. Her physical absence has become a strong part of the process, influencing the work of the other artists. During the visit to Israel, the artists will travel to Jordan in a quest to finally meet Poshya.

PAVES has proved an incredible arena for the exploration of edges of being, of places, of identities, of definitions. The artists' work as a group; as women from different territories, as artists from various influences, their diverse ages, their allegiances and alliances, their prejudices, their interactions and intense shared experiences, their definitions of identity, their grappling to find what PAVES means for each of them - have all become the work.

>From Dec 6th to Dec 13th the Performance Art Platform in Tel Aviv will host the PAVES project.

At the end of the visit, on Saturday, Dec 12th, at 20:30, the artists will present their performance art works, at their current point in the process.
The evening will take place in Performance art platform, in the new central bus station, 116 Levinsky street, Tel Aviv. 4th floor.

Admission Fee: 25 NIS

For more info about the project:



18. Rashaad Newsome, Yoko Ono, FF Alumns, in The New York Times T Magazine, December 6

The New York Times T Magazine listed "the names of America’s up-and-coming" and included Rashaad Newsome, FF Alumn, Yoko Ono, FF Alumn, was featured in :The Originals: American Dreamers, also in the December 6, 2009 edition of T Magazine.



19. Warren Neidich, FF Alumn, at Buchhandlung Walther Konig, Berlin, Germany, December 11

Book Launch, Warren Neidich, "Lost Between the Extensivity/Intensivity Exchange"

Friday, December 11, 2009 from 18-20 hours.

Buchhandlung Walther König
an der Museumsinsel
Burgstraße 27, 10178 Berlin

Buchhandlung Walther König is pleased to announce a launch for Warren Neidich's new publication "Lost Between the Extensivity/Intensivity Exchange", published by Onomatopee and featuring essays by Sven-Olov Wallenstein, Lia Gangitano and Freek Lomme.

For the past 12 years Warren Neidich has created elaborate diagrams as models of thinking that form the basis of his works of art and his essays. This book is a history of one drawing that began in his studio and was transformed from works on paper into a disseminated poster project that appeared on the streets of Berlin. From there it became a wall drawing at his studio at IASPIS, Stockholm and finally into a projected light installation at Onomatopee, Eindhoven. The book documents that trajectory.

Warren Neidich uses diagrammatic drawings as a means to elucidate his interest in the way that ideas of historical materialism produce a theory of mind, especially in the context of post-Fordist labor practices and the information age. He refers to this as Neuropower when the apparatus of the Empire administrates subjectivity through interventions upon cultural and neurobiological plasticity. This same type of strength can become a powerful instrument in the hands of artists who through the production of a resistant distribution of objects, ideas, and performative works sculpt resistant forms of networks that intercede in the neurobiological architecture of the brain producing new possibilities for thought and the imagination. This is the true Power of Art.

Neidich believes, as many post-conceptualist artists have, that art has the potential to explore fields of knowledge beyond the normal boundaries of aesthetics, such as sociology, anthropology, politics, psychology, and cognitive neuroscience. In post-conceptual practice artists work from the inside through their own personal experience and produce rule based art that is not linked to systems theory and the consequent production of similar objects, like the work of Carl Andre, but rather generate unique objects all which are different.

At 19 hours Warren Neidich will give a short speech concerning some of the ideas contained in the book.

Warren Neidich is an artist who currently lives and works in Berlin. He is currently co-editing a volume of essays entitled Cognitive Architecture from Biopolitics to Noo-politics will be published by 010 Press in 2010 and will launch at the Dutch Pavillion at the Venice Biennial in the fall of 2010. He is former artist in resident at Goldsmith College, 2004-2008, London and currently holds the title of Visiting Scholar at the TU Delft School of Architecture, Delft, Holland. Mr. Neidich has been nominated for this years Vilém Flusser Theory Award.

Lost Between the Extensivity / Intensivity Exchange is published by Onomatopee and 127 pages. It retails for 35.00 euros. A special price of 30 Euros will be given to those who purchase the book at the event.

For further information please call our bookstore at 030 / 2576 098-0.



Goings On is compiled weekly by Harley Spiller

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