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Contents for March 9, 2010
1. AA Bronson, FF Alumn, at Electronic Arts Intermix, Manhattan, March 10
2. Stanya Kahn, FF Alumn, at Susanne Vielmetter Los Angeles Projects, CA, opening March 13
3. Marina Abramovic, FF Alumn, in The New York Times, March 3
4. Barbara Rosenthal, FF Alumn, March-April events
5. Rachel Rosenthal, FF Alumn, at Espace, Los Angeles, CA, March 12-14
6. Ame Gilbert, FF Alumn, at Astor Center, Manhattan, March 12
7. Annie Lanzillotto, FF Alumn, in Manhattan, March 25, and more
8. Anita Ponton, FF ALumn, now online
9. Yvonne Korshak, Robert J. Ruben, FF Members, at The Grolier Club, Manhattan, March 24-May 28
10. Willie Cole, FF Alumn, at Alexander and Bonin, Manhattan, opening March 12
11. Roy Colmer, FF Alumn, at Santa Barbara Museum of Art, CA, March 20-Aug. 15
12. Jack Waters, Peter Cramer, FF Alumns, at Union Docs, Brooklyn, March 13
13. Coco Gordon, FF Alumn, art news
14. Martha Rosler, FF Alumn, at Grey Area, UK, March 12-April 4
15. Halona Hilbertz, FF Alumn, at Williamsburg Art & Historical Center, Brooklyn, March 13
16. Bob Goldberg, FF Alumn, on NPR and online

1. AA Bronson, FF Alumn, at Electronic Arts Intermix, Manhattan, March 10

Video Screening
Introduced by AA Bronson

Wednesday, March 10, 2010
6:30 pm

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

Admission free
Please RSVP: info@eai.org

Please join EAI for a screening of works by groundbreaking art collective General Idea. EAI will screen three videos from the late 1970s and early '80s: Test Tube (1979), Loco (1982) and Shut the Fuck Up (1984). AA Bronson, a founding member of General Idea, will introduce the screening and participate in a post-screening Q&A with the audience.

Formed in Toronto in 1969, the artist collective General Idea — AA Bronson, Felix Partz and Jorge Zontal — generated an influential body of work that included video, performance, photography, installations, publications and a range of other distributed media. In their distinctive videos, General Idea often took on and parodied television, hacking into its toolbox of genres, tactics and formats to deliver witty, ironic critiques of the art world and celebrity-fueled popular culture. Their politically potent videos harnessed TV as a vehicle for media activism, exploring social phenomena ranging from the production, distribution and consumption of mass media images to gay identity and the AIDS crisis.

Collapsing the boundaries between popular culture and fine art was a major focus of General Idea's conceptual practice and connects the three works screened at EAI. The 1979 video Test Tube was conceived as a program for television. Presented under the brand "The Color Bar Lounge," a cocktail bar in the mythical 1984 Miss General Idea Pavilion, the program is a hybrid of popular television formats, including talk show, soap opera, news magazine, and infomercial. Loco is a reflection on the role of General Idea's formative creation and muse, "Miss General Idea." In Loco, clips salvaged from a purported 1968 film showing glimpses of Miss General Idea are interspersed with images of Bronson, Zontal and Partz dressed as poodles (a recurring General Idea motif) and meditating in nature. Finally, General Idea s classic video Shut the Fuck Up juxtaposes material from television and film of the 1960s, including historic footage of Yves Klein's painting and performance from the film Mondo Cane, with documentation of the collective s own 1984 performance XXX blue, which saw the artists painting on canvas using stuffed poodles dipped in chroma-key blue paint. A quote from Felix Partz explains the essence of their critique: "Those who live to please, must please to live."

General Idea worked together from 1969 until the deaths of Partz and Zontal in 1994. AA Bronson was born in Vancouver, British Columbia, Canada in 1946. He works independently as an artist, and has been widely exhibited. Felix Partz was born in Winnipeg, Manitoba, Canada in 1945. Jorge Zontal was born in Parma, Italy in 1944.

General Idea's work has been widely exhibited internationally. General Idea Editions: 1967-1995, a retrospective of General Idea's prints, posters, books, multiples and editions, was organized in 2003 by Barbara Fischer for the Blackwood Gallery, University of Toronto at Mississauga. The exhibition toured to eighteen international venues around the world through 2007, including Luckman Gallery, California State University, Los Angeles; Art Gallery of Greater Victoria, British Columbia; Andy Warhol Museum, Pittsburgh; Kunstverein Munich, Germany; Henry Art Gallery, University of Washington, Seattle; University of Southern Florida Contemporary Art Museum, Tampa; and Centro Andaluz de Arte Contemporáneo, Seville, Spain.

For more information about General Idea s videos, please visit: www.eai.org

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

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



2. Stanya Kahn, FF Alumn, at Susanne Vielmetter Los Angeles Projects, CA, opening March 13

“It’s Cool, I’m Good”
March 13 - April 24, 2009
Reception: Saturday, March 13, 6 - 8 pm
Susanne Vielmetter Los Angeles Projects has moved. The new address is 6006 Washington Blvd in Culver City, 1 block west of La Cienega at Sentney Avenue. Gallery parking is available in the parking lot across the street from the gallery off of Sentney Avenue. Gallery Hours are Tuesday through Saturday from 11 am - 6 pm and by appointment.

6006 Washington Boulevard, Culver City, California 90232 phone 310.837-2117 www.vielmetter.com



3. Marina Abramovic, FF Alumn, in The New York Times, March 3

The New York Times
March 3, 2010
Sets for the Artist Marina Abramovic’s Dramatic Life
by Elaine Louie
For Marina Abramovic, a 63-year-old Yugoslavian-born performance artist, the star is a potent symbol, and it makes frequent appearances in her work. Ms. Abramovic, whose retrospective, “Marina Abramovic: The Artist is Present,” opens this month at the Museum of Modern Art, constructed and set a large star on fire in an early piece, lying down inside it. During another widely publicized performance, she carved a star around her navel in what she describes as an anti-Communist act.

“I come from a Communist country,” she said. “The star is on my birth certificate and on every book in the school — they remind me of the restrictions of freedom.”

So it’s no accident that the house she owns in Malden Bridge, N.Y., in Columbia County, is star-shaped.
It took “30 seconds” to make the decision to buy it, she said. Not only did the shape have personal significance, she explained, “it’s a beautiful harmony of space and light, and a 360-degree view.”

Like Ms. Abramovic’s loft in SoHo, where she will spend most of her time while her show is at MoMA, the 3,400-square-foot house was designed by Dennis Wedlick, a Manhattan architect. It was built in the early 1990s for a doctor and his three adult children, so that every member of the family could have his own wing. (Each of the four bedrooms on the third floor occupies a different point of the six-pointed star; the two bathrooms are in the remaining points.)

But when Ms. Abramovic, a self-described minimalist, bought it in 2007, for $1.25 million, she said, there were murals painted throughout the house and the floors were a grainy yellow pine that she hated.

“The house was heavy,” she said.
That’s how she met Mr. Wedlick.
Ms. Abramovic, who is not known for her reticence, simply called and left him a message saying, “This is Marina. I just bought your star house, and I have a sofa arriving tomorrow, and I need you here.”

“It caught me off guard,” said Mr. Wedlick, who had no idea who Marina was. It took him two weeks to call her back, he said, but when they finally met, “I totally fell in love with her. She has the most ordinary persona for someone who does such extraordinary, controversial work.”

“Marina doesn’t point out details,” he continued. “She only tells you one or two ideas. She never changes her mind; she makes a decision and goes on.”
Perhaps because of that, he found her very easy to work with. “She said, ‘Dennis, make this white,’ ” he recalled. “She gave us $250,000 and eight weeks.”

Following Ms. Abramovic’s instructions to strip the house bare, he had the walls and ceilings painted white. The floors were refinished with a sealer called Bona Naturale, to soften the grain without adding sheen, so that they would be smooth and pale as well. Columns flanking some entrances were removed, as was the circular driveway.

“Americans like to park their cars in front of the house,” Ms. Abramovic said. “This is unacceptable. A car should be parked out behind the barn.”
There is still color, but in discrete bursts: the orange of a 1965 Olivier Mourgue Djinn Relaxer, the cobalt blue of a 1968 Bouloum chaise, the red of a 1968 Kazuhide Takahama Suzanne sofa.

“She likes bright colors as a sculptural piece, as a moment,” Mr. Wedlick said.
The renovation went so well that as soon as it was completed, Ms. Abramovic gave Mr. Wedlick $750,000 and four months to redo her city home, a 2,500-square-foot loft she had purchased in 2001 for $1.5 million. (Sean Kelly, her Manhattan gallerist, sells photos of her performances for between $40,000 and $350,000, which has helped finance her renovations.)

There, to eliminate any sign of messiness for his fastidious client, he structured the design around a 370-square-foot translucent cube that contains the kitchen, the dressing room, the laundry room and a guest bathroom, and can be closed off with aluminum-framed frosted-glass doors. Some of the kitchen cabinets are clad in turquoise-lacquered wood, others in Granny Smith-green glass.

“A city is so gray,” Ms. Abramovic said. “Green is healing to the eye.” When the cube is closed, she noted, it glows a soft blue-green, like a “light box.”

She furnished the loft, like the country house, with brilliantly colored furniture, including orange and lavender sofas by Patricia Urquiola, her favorite designer. “Orange is the sun,” she said, “and lavender is the most spiritual color of all — violet gives you calmness.”

She also has an Antibodi chaise covered with felt flowers, a substitute for real ones: “I don’t have time for flowers.”
It’s a long way from her first decorating project, which she undertook at 14, emptying her rooms in the family’s Belgrade apartment of everything but a bed, a table and a chair — “I like function,” she said — and painting the walls black using 350 pots of shoe polish she had sequestered. Her mother opened the door and screamed.

“I was not an easy child,” she said. “But she was not an easy mother, either.”
That was the day, she said, that she became a minimalist.
Some of the furniture in her homes, where she lives alone, was chosen by Paolo Canevari, an Italian artist from whom she was recently divorced, after a 12-year relationship. “He loved objects, and I was always fighting to have less,” she said.

Asked if she plans to marry again, she replied decisively: “Never, ever, ever.”
“I’m not exactly a housewife,” she said. “My work is my life.”
An earlier relationship with a German artist called Ulay, who was her collaborator, also lasted 12 years, and when they broke up, they didn’t do it casually — they created a performance. Starting at opposite ends of the Great Wall of China, they walked toward one another until they met in the middle, three months later, and shook hands to make it official.

“I am too much woman for one man,” she concluded.
For her, she said, home is now a place to think, to read and — in the country, at least — to entertain. In the city, any guests must abide by her rules: “They can stay only three days, no more.”

Pointing to an austere-looking vintage piece with a thin, hard platform, she added: “And they have to stay on this uncomfortable daybed.”



4. Barbara Rosenthal, FF Alumn, March-April events

Please join Barbara Rosenthal in NY and LONDON, March 2010
Highlights from the 2009-10 Tina B Prague Contemporary Art Festival.
Plus music by The Vintage DJ.
March 2, 7:30pm
321 East 73 St. (between 1st-2nd Ave.)
Artist will be present.

CENTRAL BOOKING, an artspace at 111 Front Street, DUMBO, Brooklyn, NY.
Gallery One:
Print Suite by Barbara Rosenthal
Preview: "First Thursdays in Brooklyn," Thursday, March 4, 6-8pm
Artist will be present.
Subway: A and C: High St./Brooklyn Bridge Station
or 2 and 3: Clark St Station

4 archival digital print collages of scanned articles of clothing belonging to the artist, and still worn, since the 1960s; Each piece comprises 12 prints, sewn back-to-back and together by the artist, on her Singer, with black cotton thread. Each is placed in Artelope See-Throughs, and hung by Steel Binding Rings suspended from Blond Wooden Hangars.

Sizes and Edition:
A suite of 4; AP and edition of 4. All signed and numbered.
AP for sale at gallery as priced; edition prints to be ordered (8 week delivery), POR.
26" x 38" each, plus hanging hardware.

I made these prints from some of my clothes. I've had a lot of my clothes since the '60s, and I still wear them. Naturally, they're turning to rags and disintegrating. I keep sewing them back together, and reforming them by sewing them together with one another. So they don't disappear altogether, I asked one of my interns to put them on the scanner, but they were too big, so she scanned them in sections, and when I printed them out, I sewed the sections together, and when they didn't quite fit on the pages, I reproportioned them in Photoshop.

A Moving Exhibition
AVA Gallery 08-15 March
Private View Wednesday 10 March 18:00-21:00
Exhibition runs from 08-15 March, 07:00 - 18:00 Monday to Friday

A MOVING EXHIBITION | AVA GALLERY, School of Architecture and the Visual Arts, | University of East London, Docklands | University Way | London | E16 2RD | United Kingdom

A Moving Exhibition
Curated by Antria Pelekanou,
International Exhibiting Artists:
Spike Dennis, Adam Matthews, Daniela Pinterova, Graham Burquest, Kris Wlodarski, Matthew Barnett, Renata Fernandez, Colin Hampden White, Robert West, Barbara Rosenthal, Gavriella Kalafati, and Lucy Apple.



5. Rachel Rosenthal, FF Alumn, at Espace, Los Angeles, CA, March 12-14

Rachel Rosenthal Company
Theatre Ensemble
March 12, 13 & 14
Fridays & Saturdays at 8:30PM
and Sundays at 7:30PM

TOHUBOHU! The Genie is Coming!!

TOHUBOHU! is Total Free Improvisation, which is nothing like a scripted, rehearsed, and repeatable show. Our form of theatre is difficult as no other art form is. We act and react, respond to surprises, challenges, accidents, the unknown, the unexpected, as we do in so-called "real" life. Only in a way that we call "art".

As we perform together, we collaborate with our partners in creating form, composition, and meaning, sometimes realistically, sometimes abstractly, emanating from our conscious, our unconscious, our dreams, our poetic imagination and our unique individual selves.

OR CALL 310/839.0661



6. Ame Gilbert, FF Alumn, at Astor Center, Manhattan, March 12

It’s Alive! Tasting and exploration of yeast culture
March 12, 2010
Astor Center for Food and Wine
New York, NY. Beer, bread and cheese, music and a look at artists work with bread… Come to taste and experience the many lives of yeast culture at Umami food and art festival’s upcoming event at Astor Center for Food and Wine. Refreshments by Tom Cat Bakery, Murray’s Cheese Shop and Ithaca Beer. Please BYOS (Bring Your Own Starter)!

Participating artists: Nicole Payrafitte and Sarah Klein.
Astor Center for Food and Wine, 399 Lafayette @ East 4th St., Fri March 12th, 6:30 - 8:30. Tickets $20 at www.umamifestival2010.com or www.astorcenternyc.com Tel. 212- 674-7501.
For more information contact Yael Raviv yael@umamifestival.com Tel. (917) 720-5706
About Umami:
Umami was created in 2008 as a non-profit biennale event. It offers a meeting ground to people who use food as a medium and who present their audience with a multi-sensory experience in the dining room, or gallery space. The festival's objective is to open avenues of collaboration between these artists and culinary professionals. Choosing food as a common thread allows Umami to present new ways to look at art and to integrate art into daily life. Umami offers an environment for non-commercial, time-based art and encourage artists who work with non-traditional mediums and forms. Umami is excited to be collaborating this year with the NY Food Museum and to support its mission to “encourage people think about the food they eat.”

* Umami is the fifth taste sensed by the human tongue (in addition to sweet, salty, bitter and sour). Umami is a Japanese word meaning "savory" or "meaty" and applies to a sensation common in meats, cheese and other protein-rich foods or to "earthy" foods such as mushrooms and soy sauce.



7. Annie Lanzillotto, FF Alumn, in Manhattan, March 25, and more

Thurs March 25
11:30 a.m.
Annie and FIASCO
Washington and Greene Streets
on the corner, outside the building where the Triangle Fire took place in 1911.

I wrote lyrics for the sisters who died in the Triangle Fire, to Leadbelly's music "Where Did You Sleep Last Night" I will be singing this song, playing guitar, and leading the crowd to chant some of the lyrics, at the official Workers United ceremony,

where family members of the victims will place flowers, the NYC Fire Dept will raise a ladder to the fatal height (2 floors too short to reach the girls), local churches will ring bells, politicians will say a few words....

please come. bring a drum or pot and pan, or bottle and key, to make some sound, for our fallen sisters

6:30 pm - 8-30
Thurs March 25
Judson Church
I will emcee the event and sing with my FIASCO
Triangle Fire Remembrance

c. April 5
Sloan Kettering
actors read patient works
book party anthology for Invisible Ink" including a piece I wrote "The First Time I Walked Into Sloan Kettering"

April 10
Cornelia Street Cafe
i am a featured reader (15 min)
Italian American Writers Association


forse sogniamo quasi abbastanza....
perhaps we dream nearly enough...




8. Anita Ponton, FF ALumn, now online

Anita Ponton
Hiya everyone

Excuse the group mail. I have just uploaded a short video of documentation of my performance in the Undercroft at Greenwich Palace, back in November. The whole piece was just over 3 hours long but the video is considerably shorter...

If you want to take a look, here's the url:

All the best



9. Yvonne Korshak, Robert J. Ruben, FF Members, at The Grolier Club, Manhattan, March 24-May 28

For immediate release Contact: Megan Smith msmith@grolierclub.org
Beyond the Text:
Artists’ Books from the Collection of Robert J. Ruben
At the Grolier Club March 24 — May 28, 2010
Artists’ books, part of a radical avant garde movement, take a leap beyond the kind of text and illustrations normally associated with the book to carry the viewer to new vistas of aesthetic, emotional and intellectual awareness. Some artists’ books arrive on our visual doorstep bearing humor while others—all in mixed degrees—convey intellectual challenge, or emotions such as awe or joy. Some are embassies from the dark side of human experience

The Grolier Club’s current exhibition, Beyond the Text: Artists’ Books from the Collection of Robert J. Ruben, includes over 60 examples of accordion books, codices, scrolls, box books, pop-ups and tunnel books, in every variety of mixed media. Some are by artists of international renown, others by new artists forging their creative paths. Some of the books have previously known texts, others new texts or no texts at all, and the subject matter ranges from political, argumentative, ironic, lyrical, to tragic.

For example, the giant pop-up Back to a Remembered Time by Paul Johnson shows a complex house-like form made up of many windows, entrances, and restive spaces, all with a dazzling range of colors. Opening its kaleidoscopic wings, the viewer opens to a sense of joy.

Back to a Remembered Time
A complete turnabout in form and mood, Tatana Kellner’s 71125: Fifty Years of Silence Eva Kellner’s Story is devoted to the experience of the author’s mother in a concentration camp. Etched into the plain pine box with a slide-off lid, such as used for Orthodox Jewish funerals, is a replica of Eva Kellner’s concentration camp number. Inside, a life-like three-dimensional image of her forearm and hand with the inked tattoo embedded in the pink, naturalistic skin, as the arm and hand are embedded in the text, die cut around the arm. Turning the pages reveals more and more of the story, and more and more of forearm and hand to the final full paper cast at the end.

71125: Fifty Years of Silence: Eva Kellner’s Story
Julie Chen’s 60” wide masterpiece Panorama heightens awareness about the fragility of our earth’s capacity to support life in the face of climate change. Lois Morrison’s Endangered Species reveals another dimension of environmental threat: buried within lush, exotic flowers that one assumes the title refers to are images of another endangered species, children at risk worldwide. The human spirit is celebrated in Claire Van Vliet’s Sanctae Hildegardis: Circulus Sapientiae (Circle of Wisdom), a stunning evocation of the 12th Century Prioress and leading intellectual of her time, Hildegard von Bingen.

The exhibition is accompanied by a catalog with a full page color illustration of each book. The catalog is a joint effort of the art historian, Yvonne Korshak, PhD and the collector, Robert Ruben, MD.

LOCATION AND TIMES: Beyond the Text: Artists’ Books From the Collection of Robert J. Ruben will be on exhibit at the Grolier Club, 47 East 60th Street, NY, NY, 10022, from March 25th through May 28th, 2010, Monday through Friday, 10 am to 5 pm. Free of charge and open to the public.



10. Willie Cole, FF Alumn, at Alexander and Bonin, Manhattan, opening March 12

Alexander and Bonin
March 13 - April 24, 2010
opening, Friday, March 12, 6- 8 pm
132 Tenth Avenue between 18th and 19th Streets
Tuesday – Saturday, 10 am – 6 pm

Alexander and Bonin is pleased to announce POST BLACK AND BLUE an exhibition of new works by Willie Cole. In this exhibition, Willie Cole addresses the feelings and memories associated with sorrow and lost love using the mediums of ink on paper, video, painting and sculpture. The exhibition title references the aesthetics of blues music and film noir inspired illustration.

Several of the ink drawings, including "cause he was doin her wrong" and "Walkin Blues", are entitled with phrases derived directly from blues songs by Howling Wolf, Sun House and Robert Johnson. These images speak to the sometimes emotionally charged and violent stories told in blues music.

In "Sumsara", a 3-part video installation shot in black-and-white, individuals in states of deep sorrow are projected at enlarged scale. The only clue to the cause of their sorrow is in the title Sumsara, which in Buddhism refers to the human cycle of birth, death and rebirth.

Willie Cole's sculpture has long been known for its use of discarded materials to transform and transcend everyday domestic objects or reference historical events and people. To create his newest sculpture,"Three Dog Night", Cole has sculpted 3 larger than life size dogs, feeding on a heart shaped puddle of discarded and misused love. In this exhibition, the artist has returned to painting for the first time since the early 90s. These new paintings, while highly abstracted, depict accumulated objects.

Willie Cole was born in Somerville, NJ and studied at the School of Visual Arts and the Art Students League in New York. He lives in New Jersey. His work has been the subject of several one-person museum exhibitions: Montclair Art Museum (2006); University of Wyoming Art Museum (2006), the Tampa Museum of Art (2004), Miami Art Museum (2001), Bronx Museum of the Arts (2001) and the Museum of Modern Art, New York (1998).

For images and further information, please contact Kathryn Gile at 212.367.7474 or kg@alexanderandbonin.com.



11. Roy Colmer, FF Alumn, at Santa Barbara Museum of Art, CA, March 20-Aug. 15

Roy Colmer is in an exhibition at the Santa Barbara Museum of Art titled,
Colorscope: Abstract painting 1960-1979. the show is from March 20 to August 15,
2010. Artists include: Richard Anuszkiewicz, Alice Baber, Jerrold Burchman, Roy Colmer, Dan Christensen, Thomas Downing, John Ferren, Sam Francis, Helen Frankenthaler, Kenneth Noland, Jules Olitski, Larry Poons, Ernest Posey, Bridget Riley, and many others.



12. Jack Waters, Peter Cramer, FF Alumns, at Union Docs, Brooklyn, March 13

Investigation: Performance. Works by Jack Waters & Peter Cramer
Jack Waters and Peter Cramer present for discussion.
Saturday, March 13 at 7:30 pm
Suggested donation $7
This event is part of a monthly screening series with The Film-Makers’ Cooperative.
The program launches two videos which examine the construction of performance, both which are distributed by the Film-makers’ Coop. One comes from the perspective of contemporary art practice, the other as a strategic query into ways in which veracity and information are constructed and disseminated into a cultural mainstream.

Giornalisti En Maschera by Peter Cramer and Jack Waters
(2009, USA, 30 minutes, DVD)
Did painting die, or simply meiotically reproduce as video art? Has nationalism outlived its cultural relevance? These familiar questions and others are reconstituted and posed at the press previews of the 2001Venice Biennial. The drector/performers investigate relations of art, business, and politics in the guise of objective journalists three months preceding 9/11. Other interviewees include Special Prize winners Janet Cardiff and George Bures Miller (Canada), and other artists; woven together with excerpts from Thomas Mann’s Death in Venice.

Söma Söma Söma by Peter Cramer
(2000, USA, 34 minutes, DVD)
Examining three generations of conceptual, performance, and installation by artists Geoffrey Hendricks, William Pope L., and Patty Chang with interviews and footage of their exhibition performances. A documentary video of the exhibition of the same title curated by William Pope L. at NYC’s Sculpture Center at its former location on East 69th St. Originally conceived as a private commission by artist Geoffrey Hendricks to document his performances, Cramer & Waters had access to include the artists regarding their participation to provide a wider context for the exhibition.

Peter Cramer and Jack Waters have been partners for over two decades in their combined experience in performing, visual and media arts. Their films, videos, installations, and performances have shown in New York City, throughout the U.S., and internationally. http://www.alliedproductions.org



13. Coco Gordon, FF Alumn, art news

Coco Gordon aka Coco Go aka SuperSkyWoman

El Último libro será expuesto en la Zentral Bibliothek de Zurich desde el 10 de marzo al 31 de Julio de 2010.
The Last Book will be exhibited in the Zentral Bibliothek in Zurich, Switzerland, from March 10 until July 31, 2010.

The last book is a project by and curated by Luis Camnitzer, firstly shown at the National Library of Argentina.

SuperSkyWoman is included in the book and always enjoys working on collaborative projects. This book is compiled with written as well as visual statements by artists from around the world in which the authors comment on society past and future, leaving a legacy for future generations. The last book has an unavoidable impact on our daily lives, is sboth printed and alive 'in the flesh”. The Last book serves as a time-capsule and leaves a document and testament of our time.


for Ray Johnson

a new 4X 6 Book About Death POSTCARD MAILED TO:

The Tabernacle
Heol Penrallt
Powys SY20 8AJ

Shown after March 16th deadline

SuperSkyWoman reports with a SuperSkyWoman Powerpoint presenttation on Financial Permaculture and Connecting with Plant Wisdom’s intersection with eco-art for the Willow Way teaching team including Zia Coco, Jeff, Adam and Mait . introducing and reporting on Willow Way’s progress working toward establishing a model of Permaculture: Ecological building, extending the growing season, purification of water & soil using biological processes, beneficial uses of Fungi, Permaculture Financial Permaculture creative business models, connecting with plant wisdom, and how these can weave into an integrated Permaculture design for any site. At Green Spaces, 1368 26th Street, Denver, March 18, starts 6pm


SuperSkyWoman meets with Everybody Eats, March 20 at Prostor Systems, 5555 Central Ave. Boulder, CO 80301 to work out and advise on a food safety policy for Boulder County.



14. Martha Rosler, FF Alumn, at Grey Area, UK, March 12-April 4

'Martha Rosler reads Vogue'
Alison Jones, Martha Rosler,
Milly Thompson
12 March – 4 April 2010

Grey Area
31 Queens Road


'Martha Rosler reads Vogue' looks at the luxury magazine and the veils through which the amorous glances of commodities charm and fascinate with their illusions:

Identification, aspiration, wealth, social superiority, class appreciation of the finer things in life, all these are imbricated in an orgy of bourgeois values; the enduring symptom of women's asymmetric relation to power insistently realized through the private world as to-be-looked-at-ness and being-for-others; the elliptic worlds of fashion, art, media, entertainment and the nexus of money; the co-dependency of the artist producing recondite commodities, possession of which bestows distinction within this realm.

The works in the show by Alison Jones (ink drawings), Martha Rosler (video) and Milly Thompson (prints) span 3 decades. The show reflects on post-feminism as anti-feminism where invidious forms of oppression are obsequiously returned through the discourse of the free market and consumer culture. New forms of individuality and self-objectification concur with the old forms of the to-be-looked-at-ness of femininity.

In the video Martha Rosler reads "Vogue" (1982) Martha Rosler examines the ideology of the fashion industry. The work coincides historically with the moment a backlash against feminism was first identified and the term Post-Feminist was coined. The values Rosler interrogated then are now ubiquitous within popular culture, but granted legitimacy through the seeming incorporation of feminism within mainstream politics.

Alison Jones depicts the ongoing asymmetry of women's relation to power through the parade of private wealth and culture as seen through the lens of W magazine. Women are photographed contemplating the high art photographs of Helmut Newton and Thomas Ruff. Newton's models pose undressed at sybaritic feasts or as objects on pedestal tables; Ruff rephotographs anonymous internet pornography.

Milly Thompson's graphic digital prints are aestheticised utterances reiterating the subliminal messages of aspiration and desire. Spoken in different registers from the romance of the French language to the plain crude, the electric pulse of neon signs glow as if through raindrops in the dark night of the soul at 3 o'clock in the morning.

Alison Jones and Milly Thompson in conversation
Saturday 20th March 7.30 pm.

Grey Area is a not-for-profit space in Brighton. Set up in 2006 it has become a platform for experimental contemporary art events in a non-sterile project space.

Grey Area
31 Queens Road

Opening Hours:
Thursday - Sunday 1 - 5pm

Private View:
Friday 12th Feb 6 - 9pm



15. Halona Hilbertz, FF Alumn, at Williamsburg Art & Historical Center, Brooklyn, March 13


This Saturday, March 13, 3:30 -6:00pm I will be at the Opening for "Creative Couples". The show explores the artwork of 6 artist couples and raises questions of mutual effect, support, and conflict. I for one have seen new aspects of the support artists can give each other by relying on extra help from Donn in taking care of our son while pricking my fingers sewing - and generally working my ass off - to finish a handsewn, 7 foot high, freestanding figure in time for this show.

So come see my newest piece "Rooted and Thorned" and a bunch of others; Donn's beautiful collages made of cheap print culled from the street; and our best collaboration ever, Hopper, who is now 9 months old, has been fascinated with the horns on the new figure, and pats them good night every evening...It'd mean a lot to me if you can make it to the opening, or the show thereafter.


Williamsburg Art & Historical Center
135 Broadway at Bedford Avenue
Brooklyn 11211 (Near Peter Luger Steakhouse)

“Creative Couples”

Susan Gardner & Bruce Brooks
Halona Hilbertz & Donn Davis
Jan Hoogenboom & P.M. Laura
Sheryl Humphrey & Ed Coppola
Susan Jacobs & Larry Scaturro
Linda Smith and Sam Jungkurth

Saturday, March 13 – Sunday, April 11, 2010

Opening Reception with Performance by Kathleen & William Laziza
Saturday, March 13 from 3:30 to 6 PM

Gallery Hours: Saturdays & Sundays, Noon until 6 PM
(Closed for the holidays, April 3rd & 4th)



16. Bob Goldberg, FF Alumn, on NPR and online

Hi folks.

"Hearing Voices" on NPR recently featured one of my tunes "This is What Democracy Looks Like" as part of a program about protest.
Follow the link below to hear it:
HV085 Protest: From the National Mall to Town Halls

Here's our station list:

"Democracy" is based on recordings from a 2003 protest against the war in Iraq (which form the basis of a studio-built groove). The historical perspective has changed, but the war continues.





Goings On is compiled weekly by Harley Spiller

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