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Contents for December 14, 2009
1. RENO, FF Alumn, at Dixon Place, Manhattan, Dec. 21
2. Julie Tolentino, FF Alumn receives CHIME Grant 2010.
3. Frank Moore, FF Alumn, at Temescal Arts Center, Oakland CA, Dec. 18
4. Lorraine O’Grady, FF Alumn, in The New York Times, Dec. 11
5. Fred Holland, FF Alumn, in The New York Times, Dec. 11
6. Beth Lapides, FF Alumn, at Renberg Theatre, LA, Jan 9, 2010, and more
7. Michael Bramwell, FF Alumn, at SUNY Geneseo, NY, Jan. 25-Mar. 12, 2010
8. Spalding Gray, FF Alumn, in The New York Times, Dec. 9
9. Linda Montano, FF Alumn, launches blog, http://lindmarymontano.blogstpot.com
10. Nina Kuo, Lorin Roser, on www.bcat.tv, Dec. 16, and more
11. Nicolas Dumit Estevez, FF Alumn, on Skype, Dec. 17
12. Dor Green, FF Alumn, at Shutters, Manhattan, Dec. 18, 20
13. Robin Tewes, Guerrilla Girls, FF Alumns, at Headbones Gallery, Toronto, Ontario, thru Jan. 3
14. Pornography in the City panel, The Graduate Center, Manhattan, Dec. 15

1. RENO, FF Alumn, at Dixon Place, Manhattan, Dec. 21
A lucky scheduling ball-up, and we now have an opportunity for a beverage and a casual conversation in Dixon Place's lounge. I'll be sifting through some of the incredulities commerce has been showing us of late. I need to know if you understand any of this finance stuff.

Money Talks with Citizen Reno

(and guest Wall St. Insider)
MON, DEC 21 8:30 PM
161 CHRYSTIE ST. (just N of Delancey)
Tix: $15/$12 (students/seniors)
dixonplace.org/212 219-0736



2. Julie Tolentino, FF Alumn receives CHIME Grant 2010.


Innovative mentorship program returns to Los Angeles County, providing grants and studio time for Southern California dance artists
The Margaret Jenkins Dance Company (MJDC) today announced the 2010 recipients of the Choreographers in Mentorship Exchange (CHIME) grants in Southern California. CHIME in Southern California received major support from The James Irvine Foundation to return to Los Angeles County for three years after completing a successful pilot in 2008, with funding to support a mentorship relationship for three pairs of Southern California dance artists annually.

The grantees for the first year of CHIME in Southern California are: Lynn Dally, Artistic Director/Choreographer, Jazz Tap Ensemble and Adjunct Professor at UCLA, and Bharata Natyam dancer and choreographer Mythili Prakash; Doran George, artist, dancer, writer, and curator, and Julie Tolentino, time-based installation artist and choreographer; and choreographer and educator Victoria Marks and Mira Kingsley, choreographer/performer and educator. These awardees will receive financial awards totaling $30,000 and more than 300 hours of cost-free studio time over the course of one year beginning January 1, 2010.

An advisory panel of national and regional specialists in the dance field reviewed the proposals and selected the 2010 CHIME recipients. The panel consisted of Bonnie Brooks, chair of the Dance Center of Columbia College Chicago, Rosanna Gamson, former CHIME in Southern California mentor and Artistic Director of Rosanna Gamson/Worldwide; and Oguri, Artistic Director of Body Weather Laboratory.

CHIME is a unique mentorship program allowing for self-selected pairs of professional choreographers – mentor and mentee – to receive financial support for 12 months in order to establish and ex plore a working relationship that includes, but is not limited to, w ork in the studio. The program seeks to formalize the exchange and feedback mechanisms between established and emerging California choreographers.

Conceived by San Francisco-based MJDC Artistic Director Margaret Jenkins, CHIME’s primary goal is to encourage and enrich the development of California choreographers. Since its inception in 2004, more than 60 Bay Area choreographers have received funding and have established new relationships with fellow community artists, all for the sole purpose of elevating the choreographic experience. The James Irvine Foundation funded a pilot year of CHIME in Southern California in 2008, to refine the program with input from the community, toaddress specific needs of local choreographers.

"I am delighted that CHIME is returning to Southern California. As in the San Francisco Bay Area program, CHIME in Southern California respects the lessons learned by choreographers who have pursued their craft over time, values open communication between choreographers of different generations, and compensates choreographers generously for their work — all these elements come together in this project."

For MJDC information, please visit www.mjdc.org or call 415.861.3940.



3. Frank Moore, FF Alumn, at Temescal Arts Center, Oakland CA, Dec. 18

The Underground Hit!
CRITIC'S CHOICE: East Bay Express
experiments in experience/participation performance
Frank Moore, world-known shaman performance artist, will conduct improvised passions of musicians, actors, dancers, and audience members in a laboratory setting to create altered realities of fusion beyond taboos. Bring your passions and musical instruments and your senses of adventure and humor.

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

Friday, December 18th

511 48th Street
Oakland, CA 94609-2058

For more information
Call: 510-526-7858
email: fmoore@eroplay.com

2010 Dates!
Saturday, January 30
Saturday, February 27
Saturday, March 27
Saturday, April 24
Friday, May 21
Saturday, June 26
Saturday, July 31
Saturday, August 28
Saturday, September 25
Friday, October 22
Friday, November 19
Friday, December 17

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

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

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

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

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

Downloadable poster here:

In Freedom,
Frank Moore



4. Lorraine O’Grady, FF Alumn, in The New York Times, Dec. 11

The New York Times
December 11, 2009
Inside Art
Reality Leaves a Fingerprint on the Biennial

The 2010 edition of the Whitney Biennial — that giant survey of American art on the Upper East Side of Manhattan — will not only try to chronicle current goings-on in contemporary art, but it will also reflect the world at large. Thus, in these recessionary times, the show will be smaller than it has been in recent years, with just 55 artists, down from 81 in 2008 and 100 in 2006. It will also be contained in the Whitney Museum of American Art’s home, the Marcel Breuer building, rather than spilling over into a second location, as the 2008 Biennial did when it occupied much of the Park Avenue Armory or into Central Park as other Biennials have.

Next year’s event, which runs from Feb. 25 through May 30, is being organized by Francesco Bonami, 54, the Italian-born curator who helped put together the Rudolph Stingel retrospective at the Whitney in 2007, and Gary Carrion-Murayari, 29, a senior curatorial assistant at the museum who helped with the Biennials in 2004 and 2006.

On view will be a mix of well-known and new artists ranging in age from a 23-year-old photographer, Tam Tran, to the 75-year-old conceptual artist Lorraine O’Grady.
Among the recognizable names will be the painter and sculptor George Condo, the Polish-born artist Piotr Uklanski and the American artist Charles Ray, whose outdoor sculpture of a boy holding a frog became an instant landmark in Venice when it was unveiled last June along the Grand Canal.

One of the Biennial’s pleasures is discovering emerging artists, and this time there will be plenty of them, including Aurel Schmidt, a draftswoman; Jesse Aron Green, a video artist; and Leslie Vance, a painter. In the lobby gallery Martin Kersels, from Los Angeles, is creating a sculptural installation that resembles oversized furniture but that will also function as a stage for programs involving artists, writers, musicians, choreographers and D.J.’s.

In a change from past years, the curators have limited each artist to one work or series, so that the Biennial will feel more like a snapshot of the state of art rather than a succession of mini-retrospectives.

And unlike the one in 2006, this Biennial won’t have a theme. Mr. Bonami said he didn’t want one: "The theme is the year — 2010 — which is the title."
But trends inevitably emerge.
"There’s less noise around," Mr. Bonami said, explaining that he had noticed that young artists were thinking smaller. "The new generation seems less obsessed with big. They have more human-scale attitudes."

Both curators also said that modernism had returned as a source of inspiration. "We’re at a particular moment now where there have been drastic changes across the country, so many younger artists have been looking back to history for guidance," Mr. Carrion-Murayari said, adding that they were using " abstraction as a positive means of expression and are taking historical precedents and trying to make them new and fresh."

Politics inevitably seep into some of the work. While both curators said there wouldn’t be as many political statements as in past Biennials, some artists have, Mr. Bonami said, "used their own personal experiences to explore political issues."

The curators are planning to organize the space in a new way. "We’ve divided the museum in layers like the slice of a cake," Mr. Bonami said.
While the fifth floor will still feature selections from the Whitney’s permanent collection, it is being rehung with work from previous Biennials. Still on view will be many of the Whitney’s old favorites, like Edward Hopper and Milton Avery paintings. "What a lot of people don’t realize is that some of these iconic works first appeared in Biennials," Mr. Carrion-Murayari said.

And for the first time film and video will be, for the most part, separated from other mediums, occupying the entire third floor. "We want each floor to have a different mood," said Mr. Bonami.

Not all the curators’ plans are final. They hope to mount a project in the meatpacking district, on the site of the Whitney’s intended second home. The idea is to have the architect Jeffrey Inaba design a temporary pavilion that could be used for all sorts of events.

"It would be a signifier for the new Whitney and for things to come," Mr. Bonami said. "Biennials are supposed to be a bridge to the future."
MoMA Shares a Work
Bruce Nauman fans in New York who missed his new video work when it was shown as an offshoot of the Venice Biennale will have a chance to experience the work close to home.
On Tuesday the Museum of Modern Art’s board voted to acquire 50 percent of the American version of "Days," with Maja Oeri, a MoMA trustee, buying the other half on behalf of the Emanuel Hoffmann Foundation, whose collection is at the Schaulager in Basel, Switzerland.

In the piece visitors walk through two rows of wafer-thin white speakers playing voices that chant the days of the week. There are two versions: in English and Italian. For the English-language version Mr. Nauman said he recorded seven different voices in places like Montana, Georgia and Mexico. He then taped seven voices in Italy.

Although MoMA already has 78 works by Mr. Nauman in its permanent collection, they are mostly from earlier in his career, and few were made after 1993. "We felt it was important to continue the Nauman story into the present," said Ann Temkin, the museum’s chief curator in the department of painting and sculpture.

While she said she planned to show "Days" next summer, details of how the museum will share it with the Schaulager still have to be worked out.

Kimbell Gets Bonington

A dreamy oil sketch of Venice by the 19th-century British artist Richard Parkes Bonington was acquired by the Kimbell Art Museum in Fort Worth, Eric M. Lee, its director, announced this week.

Oil sketches by Bonington are rare and only a handful of American museums have any. "Even though he is not very well known, he was one of the towering figures of 19th-century landscape painting," Mr. Lee said.

He explained that works by Bonington, whom he described as "a quintessential romantic artist," were hard to come by because the artist died when he was only 25. The Kimbell work is a quick plein air scene of what the artist saw one day in 1826 along the Grand Canal.

The Kimbell bought the painting, "The Grand Canal, Venice, Looking Toward the Rialto," an oil on millboard, from the Manhattan dealer Richard L. Feigen. While Mr. Lee declined to say what the museum paid or where Mr. Feigen found the painting, dealers who specialize in British art know it well and say it came from the collection of John Pomerantz, who made his money in the clothing business and is known to have been a victim of Bernard Madoff’s Ponzi scheme.

The painting will go on view at the Kimbell on Friday, next to two other views of Venice, one by Canaletto and another by Guardi.



5. Fred Holland, FF Alumn, in The New York Times, Dec. 11

The New York Times
December 11, 2009
Art in Review

‘Recent Works: 2007-2009’
Tilton Gallery
8 East 76th Street,
Through Dec. 24

After leaving art school in the 1960s, Fred Holland embarked on a long and substantial career as a performer, collaborating with writer-choreographers like Meredith Monk and Ishmael Houston-Jones and creating dances of his own. And maybe this background explains features of the sculpture and painting he returned to in the 1990s: their use of ephemeral materials and metaphoric narrative and their ability to deliver difficult content with apparent effortlessness.

For a 1999 solo show at Gallery X in Harlem (founded by the Turkish artist Gulsun Erbil and now closed), Mr. Holland created an installation on a big theme — the circles-within-circles structure of cosmic and personal history — using found and perishable materials. Solarized prints made with onion slices on paper became planetary charts. Black-eyed peas stuck on a blue-painted wall were spiral nebulae. The rings of an old tree trunk, inscribed with tiny names in pencil, became a record of his Southern family going back generations.

The larger part of the Tilton show is also an installation of several pieces, each shaped with care. On night walks through his Manhattan neighborhood over the past few years, Mr. Holland collected castoff pieces of medical equipment — wheelchairs, walkers, commodes — associated with infirmity and old age. He painstakingly recreated each of them from cutout strips of soft powder-blue Styrofoam joined together with glue and pins. Unlike the originals, his aids for the weak are of an absurd delicacy. They bend at a touch. A breeze could knock them over. Far from giving support, they require it.

Other sculptures in the show underscore the idea of physical frailty. In "Colon I," hung high on a wall, human viscera are reduced to a coil of rough rope squeezed into a transparent box with the one loose end hanging down. In another piece a plaster head faces the wall and weeps long strings of tissue-pink plastic pearls. A third sculpture, so small as to escape immediate notice, seems to be in the shape of some vital organ, a kidney or a heart, but is painted with gold leaf and bristles with small, arterial armlike branches.

Here again Mr. Holland goes for the poetry of the humble. The gold object is a common yam, a dietary staple in Africa much like the sweet potatoes in the African-American home of Mr. Holland’s childhood. Even after being dug from the earth, this root vegetable continues to grow, sending out sprouts, as the gilded one at Tilton does, bringing full circle the theme of mortality and resurrection that lifts this beautiful show. HOLLAND COTTER



6. Beth Lapides, FF Alumn, at Renberg Theatre, LA, Jan 9, 2010, and more

Un-Cabaret and the L.A. Gay & Lesbian Center’s
Lily Tomlin/Jane Wagner Cultural Arts Center Present:

100% Happy 88% of the Time

Written and performed by Beth Lapides
The Renberg Theatre, 1125 N. McCadden Pl. 90038
Saturday, January 9, 8pm

The Comedian’s Way
A Writing & Performance Workshop with Beth Lapides & Un-Cabaret Producer Greg Miller
Wednesdays, January 20 & 27, 7-10pm

Los Angeles, CA, Dec. 9, 2009 – Beth Lapides considers herself a 'homo-lectual' - she thinks gay – and that thinking guided her as a pioneer of the ‘alternative comedy’ movement.

Although she's only slightly gay herself, writer/actor/comedian/producer/teacher/artist/ author/yogi/TV and radio personality Beth Lapides has done a lot for the cultural life of the gay and lesbian community in Los Angeles. And she’s about to do a lot more when she performs her new solo show as a benefit for the LA Gay & Lesbian Center and teaches a workshop there in January 2010.

Beth’s legendary ground-breaking show Un-Cabaret started at the Women’s Building in downtown LA as an attempt to bring comic entertainment to the under-served community of lesbian artists. As they said, they couldn’t go to the ‘straight’ comedy clubs because they became the butt of the jokes. Beth created a show that was un-homophobic, un-xenophobic and un-misogynistic. She called it the ‘Un-Cabaret’.

After several wildly-popular shows at the Women’s Building, Beth moved the Un-Cabaret to Highways Performance Space in Santa Monica for another run, before settling into LunaPark, a nightclub in the heart of West Hollywood. Un-Cabaret didn’t just serve a gay and lesbian audience. It provided a liberating forum for gay and lesbian comedians like Terry Sweeney (the first openly gay performer on network TV when he appeared on Saturday Night Live) and many comics who had never been out onstage before like Taylor Negron, Mike McDonald, Tim Bagley, John Riggi (co-executive producer of 30 Rock) and Michael Patrick King (the writer-director-executive producer of "Sex and the City"). She lured Scott Thompson (of Kids in the Hall) onstage for the first time as himself – without any wigs, costumes or characters to hide behind. She got drag icon Jackie Beat onstage and out of drag as Kent Fuhrer, the man behind the woman – and later featured him, along with other ‘out’ performers like Terry Sweeney, John Riggi, Bob Smith, Rene Hicks and Sabrina Matthews in "Coming Out Party", a DVD of comedians telling their coming out stories. The Un-Cabaret also provided an important platform and launching pad for gay-friendly performers like Kathy Griffin and bi- comics like Andy Dick and Margaret Cho.

Beth’s comedy spoken word show, "Say the Word" at the Skirball Cultural Center, also gave a voice to under- and un-represented gay and lesbian writers sharing their own personal stories, featuring writers like Carol Leifer, Gary Janetti (Will & Grace), Jon Kinally (Ugly Betty), Michael Patrick King, John Riggi, Dan Bucatinsky (The Comeback), Scott King (Mad-TV) and others.

Beth and her partner, Un-Cabaret producer Greg Miller, have been teaching their workshop, The Comedian's Way, for over ten years, helping writers, performers and other humans (gay, lesbian, bi, victims of crime and disease, yoga teachers, even lawyers) find their authentic voice and express their deepest stories in the funniest possible way. They teach privately, and have taught at UCLA extension, CalArts, Humber College, the Skirball Center, Media Bistro, Judy Carter’s Comedy Workshop and many other venues.

This will be their first workshop at the Gay & Lesbian Center and it will focus on developing material for personal essays and one-person shows.
Lapides is an original thinker who has contributed her time, energy and creativity to gay and lesbian causes and sees them as part of a broader human liberation movement. Her columns and opinion pieces have appeared in the Los Angeles Times, Huffington Post, Utne Reader and on NPR’s All Things Considered. Her first book, DID I WAKE YOU: Haikus for Modern Living, was published in 2006 (Soft Skull Press). Her column "My Other Car is a Yoga Mat" is now syndicated to LA Yoga and several other magazines.

Between producing, teaching, writing and performing, Beth also creates visual art that has been exhibited in museums and galleries from Los Angeles to London, and her work has been featured in such productions as Nip/Tuck, My Wife and Kids and Spiderman 3. In fact her art and graphics are a big part of the visual presentation that accompanies "100% Happy 88% of the Time". It’s like Al Gore’s presentation "An Inconvenient Truth", but Beth’s humor and optimism make this show "A More Convenient Truth". She’s also a lot funnier than Al Gore.


WHAT: 100% Happy 88% of the Time

Written and performed by Beth Lapides
Net proceeds benefit the L.A. Gay & Lesbian Center

WHERE: The L.A. Gay & Lesbian Center’s Renberg Theatre (200-seat mid-size theatre)
The Village at Ed Gould Plaza
1125 N. McCadden Place, Hollywood
(one block east of Highland, just north of Santa Monica Blvd. Free parking)

WHEN: Saturday, January 9 at 8 p.m.
TICKETS: General Admission $20

Tickets available at www.lagaycenter.org/boxoffice or call 323-860-7300.

WHAT ELSE: The Comedian's Way Workshop for Writers, Performers and Other Humans
WHERE: The L.A. Gay & Lesbian Center
1125 N. McCadden Place, Hollywood
(one block east of Highland, just north of Santa Monica Blvd. Free parking)
WHEN: Wednesdays, January 20 & 27 from 7-10 p.m.
TICKETS: Registration $79
Call 323-860-7332 for info and registration.



7. Michael Bramwell, FF Alumn, at SUNY Geneseo, NY, Jan. 25-Mar. 12, 2010

Exhibition: Drawn to New York
Michael Bramwell at SUNY Geneseo (January 25-march 12, 2010).
Dates: January 25 – March 12, 2010
Gallery: Bertha V.B. Lederer Gallery, Brodie Hall, SUNY Geneseo
Curator: Cynthia Hawkins

Drawn to New York is a drawing invitational exhibition. The twelve artists invited are:
Michael Bramwell, Cicely Cottingham, Victor Davson, Russell Gordon, Carl Hazelwood, Peter Jemison, Jill Levine, Juan Carlos Llera, Creighton Michael, Barbara Nesin, Jill Odegaard, Allen Peterson.

Art, regardless of its resulting form or medium, rests on drawing, and is the foundation of creative practice. This exhibition seeks to provide a forum for these twelve artists whose works are two and three dimensional, abstract, figural and at times photography based, to engage in visual dialogue presenting their various creative methodologies that may redefine the way we think about drawing.



8. Spalding Gray, FF Alumn, in The New York Times, Dec. 9

The New York Times
December 9, 2009
Spalding Gray Continues on as Inspiration

Since Spalding Gray killed himself in 2004, I have seen three solos shows that directly honor that fascinatingly self-absorbed performer through an imitation of his patented stripped-down style. To which I say: why so few?

To be fair, I am not counting his numerous acolytes who demonstrate their affection through the use of a desk and a glass of water (his signature accessories) or "Stories Left to Tell," the Off Broadway collection of Gray’s own writings performed by other stars. Gray has arguably been as influential to the solo genre as Hitchcock was to the thriller, and no one minds another borrowing from the shower scene in "Psycho."

The latest entry in this field is Lián Amaris’s "Swimming to Spalding," and it arrives with an interesting name attached: that of its director, Richard Schechner, who in the ’70s worked with Gray in a company that evolved into what is now the Wooster Group.

While some touches, like a bit of unnecessary audio recording intruding on this low-tech production, seemed like inside jokes among theater friends, Mr. Schechner does not get in the way of his star, an appealing performer who sets out to retrace the steps of "Swimming to Cambodia," Gray’s monologue about visiting Thailand. In several modest and carefully observed tales, she describes paying for (but not using) the services of a woman at a brothel and meeting two Australian soldiers on leave from Afghanistan. She never truly brings these character to vivid life so much as she ably dramatizes herself and comments on the human effects of war.

The tricky part of paying homage to Gray is that that since he fixated on himself with an intense commitment, the idea of making a show that’s not all about him but employs his style seems almost a paradox. Ms. Amaris solves this problem by smartly using Gray as a starting point. Carrying herself with beaming enthusiasm and a mischievous sense of humor, she has a flirtatious manner — she unzips her shirt at the start and later douses herself with water — and more of an interest than her model in the world outside the performer’s head. Before long she leaves the chair behind the desk, literally and otherwise.

"Swimming to Spalding" runs through Dec. 20 at HERE Arts Center, 145 Avenue of the Americas, at Dominick Street, South Village; (212) 352-3101 or here.org.



9. Linda Montano, FF Alumn, launches blog, http://lindmarymontano.blogstpot.com

December 2009



10. Nina Kuo, Lorin Roser, on www.bcat.tv, Dec. 16, and more

Happy Holidays

On Wednesday December 16 Nina Kuo's video will be screened at 1:30 and 9:30 PM
music by Lorin Roser


we will also be in the White Box Gallery Art Event 10x10 beginning December 17


WEDNESDAYS 1:30 PM & 9:30 PM

DEC 16

LORENZO PACE ( Sculptor of The African Burial Ground installation)
SYNTHIA SAINT JAMES (Painter / the USPS Kwanzaa stamp )
NINA KUO (Painter / Asian-inspired sculptured figures in terra cotta clay)
LORIN ROSER (Cyber artist, architect / sound composer)



11. Nicolas Dumit Estevez, FF Alumn, on Skype, Dec. 17

A Two People Q&A on Skype
On Thursday, December 17th, 2009 at 6:00 pm (US Eastern standard time, specifically New York City time) I will recollect about Nocturns for the second time, resorting to what my memory retains from my stay at a Roman Catholic cloistered monastery in 2008 for seven consecutive days, the adoration process I undertook as part of my stay, the silent pilgrimage through Hunts Point in the South Bronx, and the Q&A held at the Bronx Academy of Arts and Dance (BAAD).

Audience Selection:
This Skype presentation will be for just one audience member, the sixth person who replies to this message. If genuinely interested in participating please e-mail Nicolas Dumit Estevez at indioclaro@hotmail.com

The Person Selected Would:

*be comfortable in the presence of the Most Blessed Sacrament for approximately one hour http://en.wikipedia.org/wiki/Blessed_sacrament ;

*re-confirm his/her attendance by e-mail one day prior to the presentation;

*be on time for a Skype presentation on Thursday, December 17th at 6:00 PM sharp (US Eastern standard time);

*share his/her memory of our Skype Q&A with six other people (privately or as part of a public event);

*not document our Skype exchange other than in his/her memory

For exact Skype Q&A time in locations other than New York visit: http://www.timeanddate.com/worldclock/


On July 20, 2008 I retreated for seven days to a cloistered monastery in the South Bronx, committing myself to the nocturnal adoration of the Most Blessed Sacrament, the consecrated Eucharist, while the resident nuns took their nightly rest. My stay opened the possibility for a round-the-clock exposition of what the Roman Catholic tradition recognizes as Christ's corporeal presence. During the time spent at the cloister I vowed to: devote myself to adoration and prayer, refrain from engaging in any use of language, and avoid communicating with the outside world.

The seventh day of the experience I emerged from the Monastery, and journeyed by foot with an invited group of people to the nearby Bronx Academy of Arts and Dance, where I broke my vow of silence and took questions. During the Q & A I promised to talk about Nocturns only once every year, for seven consecutive years: 2008-2014, and assured those present that at the end of this period I would not speak about it anymore. I therefore rely solely on my audiences to kindly spread information about the experience word-of-mouth, and as a result to archive its history in a purely oral format.

Nocturns was presented with the Hemispheric Institute of Performance and Politics as part of EMERGENYC08 (http://hemi.nyu.edu/emergenyc/aboutfaculty.html)



12. Dor Green, FF Alumn, at Shutters, Manhattan, Dec. 18, 20

Dor Green , FFA, will be featured in the "BARRY HARRIS 80th Birthday Gala"

December 15-December 20, 2009 at SHUTTERS, 433 W. 34th Street. Friday, December 18, 2009. 8:00pm The Jazz Singers Collective, Dor Green, Lela Keels, Ricky DeMarco, Sachiko Tatsuishi,Ira Hawkins and Willie Gee. Sunday, December 20, 2009, 7:00 pm, Dor Green will perform Euripides' MEDEA. Come out and celebrate the great jazz pianist and educator, BARRY HARRIS.



13. Robin Tewes, Guerrilla Girls, FF Alumns, at Headbones Gallery, Toronto, Ontario, thru Jan. 3

The Slasher

Group Exhibition and holiday sale

Anderson Bartosik Bigelow Cleary Copley
Graffiti Guerrilla Girls Girling Jensen
Laden Lane Oakes Rockwell Taylor Tewes Torreano Z'o and others

December 11 – January 3, 2010

260 Carlaw Ave., Unit 102
Toronto, ON M4M 3L1
Tel: 416-465-7352
E: info@headbonesgallery.com
W: www.headbonesgallery.com

Media Contact: Richard Fogarty, 416.465.7352

The Slasher Sale is now online www.headbonesgallery.com Follow the instructions to place a presale offer.



14. Pornography in the City panel, The Graduate Center, Manhattan, Dec. 15

If you are in New York next week, please stop by- Douglas Crimp, Melissa Ragona, Bjarne Melgaard, Linda Ford, Amy Herzog will be speaking together on a panel, with an open discussion afterwards (our session begins at 4 pm, if you can't come earlier). cheers, Melissa


December 15 from 2 to 6 pm in The James Gallery at The Graduate Center, 365 Fifth Avenue, New York
How can we think about the relationship between art and pornography, particularly during the 1960s and 1970s and as it has evolved since?
What is the relationship between viewing, voyeurism, and consumption in "public" environments?
An interdisciplinary symposium at the CUNY Graduate's Center for Humanities (co-sponsored by The James Gallery) in New York on the politics of sexuality in contemporary art, entitled, "Pornography in the City," on December 15 from 2 to 6 pm in The James Gallery at The Graduate Center, 365 Fifth Avenue, New York. This symposium responds to "Peeps," the James Gallery 2009 exhibition on 1960-70s peep show arcades. Participants include Douglas Crimp, Melissa Ragona, Jeff Escoffier, Linda Ford, Dagmar Herzog, William Kornblum, and Amy Herzog, CUNY Media Studies professor & curator of "Peeps."

For more information, visit: http://www.gc.cuny.edu/events




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