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Contents for March 29, 2010
1. Gigi Otalvaro-Hormillosa, FF Alumn, at UCLA, April 8
2. Kyle deCamp, FF Alumn, at EMPAC, Troy, NY, April 12
3. Laura Blacklow, FF Alumn, at Simmons College, Boston, MA, April 25
4. Rachel Rosenthal, FF Alumn, in Los Angeles, April 9-11
5. Susan Mogul, FF Alumn, now on youtube.com
6. Alicia Grullon, FF Alumn, upcoming events
7. Sol LeWitt, Adrian Piper, DJ Spooky, Dread Scott, Bob Holman, Karen Finley, FF Alumns, at Bowery Poetry Project, Manhattan, March 19-May 2
8. Nancy Spero, FF Alumn, at Cooper Union’s Great Hall, April 18
9. Ethelyn Honig, FF Alumn, at Ceres Gallery, Manhattan, April 3
10. Paco Underhill, FF Member, in The New York Times, March 20
11. Vito Acconci, FF Alumn, at Agnes b. Cinema, Hong Kong, April 12
12. Anna Mosby Coleman, FF Alumn, at Calvary Church, Manhattan, March 31
13. Holly Faurot & Sarah H. Paulson, FF Alumns, in ducts.org
14. Helene Aylon, FF Alumn, at Towson University, MD, April 9
15. Susan Barron at Printworks Gallery, Chicago, IL, May 20-July 3
16. Michel Auder, FF Alumn, at Picture This Atelier, Bristol, UK, thru April 17
17. Ilona Granet, Jay Critchley, Alicia Grullon, Linda Stein, FF Alumns, at Jamaica Art Center, NY, April 10-June 12
18. Lorraine O’Grady, FF Alumn, at MoMA, NY, March 30
19. Annie Lanzillotto, FF Alumn, at Cornelia Street Café, April 10
20. Dominic McGill, FF Alumn, at Derek Eller Gallery, Manhattan, opening April 2
21. Doug Beube, FF Alumn, at 87 Florida, Washington, DC, opening April 2, and more
22. Elke Solomon, FF Alumn, at A.I.R. Gallery, Brooklyn, March 31-April 25

1. Gigi Otalvaro-Hormillosa, FF Alumn, at UCLA, April 8

Exploring Metaculture with Devil Bunny: An Evening of Art and Discussion

Join Devil Bunny in Bondage, AKA Gigi Otálvaro-Hormillosa, for an evening of performance, writing and video works, featuring a diverse cast of characters such as extraterrestrial, feminist heroes, cinematic gorillas in pink-ray, ethnotopic inverted minstrels, and supernatural mestizas that exist along various points of the time-space-culture continuum. The evening will end with an artist talk and Q & A. This event is sponsored by the UCLA Women's Studies Department, with co-sponsorship from The Asian American Studies Center, The Center for the Study of Women, and The Chicana/o Studies Research Center.

Dodd Hall 147
Los Angeles, CA 90095
Thursday, April 8th @ 6pm
Free and Open to the Public

Gigi Otálvaro-Hormillosa AKA Devil Bunny in Bondage is a San Francisco-based interdisciplinary performance artist, video maker, cultural activist, curator and percussionist. Awards include grants from the San Francisco Arts Commission, the Franklin Furnace Fund, and the National Association of Latino Art and Culture, among others. Her work in video, performance and writing has been presented nationally and internationally. To view her complete bio, C.V., and work samples, please visit www.devilbunny.org.



2. Kyle deCamp, FF Alumn, at EMPAC, Troy, NY, April 12

Solo Performance "Urban Renewal" by Kyle deCamp
EMPAC Experimental Media and Performing Arts Center / iEAR Studios / Rensselaer Polytechnic Institute / Electronic Arts Department.
Monday, April 12 at 8:00
EMPAC Theater 110 8th Street, Troy, NY 12180.
Event is free and open to the public.
General Info: 518.276.4135 Events Hotline: 518.276.3921

Perception, public policy and the significance of the buildings we live in.
The solo performance maps an experience of growing up in Hyde Park, Chicago
in the 1960s, caught in the crosshairs of power and history.
Angel Eads light design Dan Hurlin consulting director
Josh Thorson video design Kyle deCamp concept, text, design, performance Stephan Moore soundscore and design
Funded in part by The Jaffe Fund for Experimental Media and Performing Arts



3. Laura Blacklow, FF Alumn, at Simmons College, Boston, MA, April 25

Laura Blacklow will be one of five panelists at a conference, Handmade Photography in the Digital Age. Presented by New England Women in Photography at Simmons College on April 25, the panel will kick off an all-day event that includes the opening of a related gallery show, Going Forward/Looking Back: Practicing Historic Processes in the 21st Century. Blacklow, also one of the exhibiting artist, is the author of New Dimensions In Photo Processes, and teaches at the School of the Museum of Fine Arts, Boston. Other panelists are Karen Haas, Lane Collection curator at the Boston Museum of Fine Arts; Frances Scully Osterman, artist and educator; Jo Sandman, artist; and Jesseca Ferguson, artist and educator. Laura will be teaching workshops on cyanotype and van dyke brown printing (a.k.a. sun-printing) from her studio. See www.lblacklow.com



4. Rachel Rosenthal, FF Alumn, in Los Angeles, April 9-11

Pioneering Interdisciplinary Artist Rachel Rosenthal Presents Her
Improvisational Theater Company TOHUBOHU! Extreme Theater Ensemble

With Monthly Performances in Los Angeles April 9th, 10th, 11th, 2010

LOS ANGELES, CA – Legendary interdisciplinary artist Rachel Rosenthal is set to introduce the world to her new improvisational theater group, TOHUBOHU! Extreme Theater Ensemble, with monthly performances starting the weekend of February 19, 2010. The name, loosely translated, means "collision or chaos" which Rosenthal describes as not what the Company does, but the process they go through to do what they do. Each monthly performance will span three nights during one weekend. Friday and Saturday performances begin at 8:30pm. Sunday at 7:30pm Tickets cost $20. Reservations are necessary to insure seats and can be made by calling 310-839-0661 or online via Brown Paper Tickets at www.rachelrosenthal.org. Espace DbD/The Rachel Rosenthal Company is located at 2847 South Robertson Boulevard, Los Angeles, CA 90034. Street parking is available.

The Rachel Rosenthal Company TOHUBOHU! Extreme Theater Ensemble, the latest offering in the 83-year-old Rosenthal’s remarkable career, is inspired by Jean-Louis Barrault’s concept of "Total Theatre" and Antonin Artaud’s "Theatre of Cruelty." Echoing Barrault’s and Artaud’s revolutionary notions about theater, Rosenthal’s performance aesthetic integrates movement, voice, choreography, improvisation, costuming, lighting, and sets into seismic experiences. This genre of work, total free improvisation, is completely unique. Nobody knows in advance what will happen – not Rosenthal, not Company members, and certainly not the audience. This uncertainty makes the performances psychologically charged for all involved.

"Improvisational theater is the most difficult art form in the world. You can’t perfect your technique and there are no lines to rehearse," says Rosenthal, "Everything happens in the moment."

Kate Noonan
Managing Director
Rachel Rosenthal Company



5. Susan Mogul, FF Alumn, now on youtube.com

"Susan Mogul's Woman's Building" is now on You-Tube.

"Nobody likes you if they think you’re rude- you better act the way you should." But none of us did. Telling it the way it was lived, Susan Mogul’s short film captures the energy, passion and radical spirit of the Los Angeles Woman’s Building (1973-1991), a groundbreaking center for women’s culture

Snappy, educational, funny, and poignant, Susan interviews nine of her cohorts from the seventies – artists, writers, musicians – who broke expectations of proper female behavior. They made art out of their own lives, proclaimed the personal the political, and literally built an alternative space: the Woman’s Building.

The Woman’s Building was a manifestation of the highly influential feminist art movement in Los Angeles that emerged in the early seventies.

"Susan Mogul’s Woman’s Building " was commissioned by Otis College of Art and Design for the exhibition Doin’ It in Public: Feminism and Art at the Woman’s Building, October 1– December 3, 2011, in the Ben Maltz Gallery as part of Pacific Standard Time: Art in L.A. 1945-1980 sponsored by the Getty Foundation.

hope you like it.

warm regards,




6. Alicia Grullon, FF Alumn, upcoming events

Hello friends and colleagues,

I hope all finds you well. Below is some quick information on events I am currently involved in.

Revealing New York: The Disappearance of Other April 10, 2010
1 pm to 4 pm
Jamaica Center for Arts and Learning
161-04 Jamaica Ave
Jamaica, NY 11432

I will be presenting "Revealing New York: The Disappearance of Other", as part of the Jamaica Flux '10 curated by Hen-Gil Han, Jamaica Flux:
Work Spaces & Windows, a project of Jamaica Center for Arts & Learning (JCAL). "Revealing New York: The Disappearance of Other" is a sequel to her Franklin Furnace Fund for Performance Art project An Auto-ethnographic Study: The Bronx. The first held in 2008 for Art in Odd Places:Pedestrian in Manhattan. The work highlights the effects of the city's transformation by covering her face with clippings and media associated with housing changes occurring in New York City.

These changes bring revitalization but in some cases displacement, devastation, and anonymity. Engaging different people from all economic and cultural backgrounds, the project asks the question of how housing development changes the city's demographics as well as its landscape. For Jamaica Flux, I will focus on the foreclosure crisis affecting Queens.

I am currently a participant in the first Volunteer Lawyers for the Arts, Art & Law Residency Program. The inaugural session of the VLA Art & Law Residency will be celebrated with an exhibition and symposium of participant work at Maccarone Gallery in NYC this August. We had our first session led by an incredible team: Sergio Muñoz Sarmiento, Esq. VLA Associate Director, Program Director and Faculty Elena M. Paul, Esq. VLA Executive Director, Advisor and Program Faculty and Erin Donnelly Exhibition Coordinator and Curator. Some Seminar leaders include leading legal scholars including Regina Austin, John F. Delaney, Sonia K. Katyal, Eduardo M. Peñalver, Annelise Riles, and Virginia Rutledge, as well as critical theorists such as Eduardo Cadava of Princeton University. I will keep you updated on events.

My piece "Decolonizing the Image" was selected for publication in the academic journal "Performing Ethos" from Intellect Books. Short
Photography has completed the racialization of identity as a vehicle in colonization throughout modernity. With the emergence of immaterial art such as performance, the artist has been able to use the body in order to de-construct identity. As a result, performance documentation, like Adrian Piper's Mythic Being, begin to unmark imperialist overtures embedded in images. More soon.

My project from this past summer in Korea has been published in "Doing Art in the Market" from Achim Media. It contains all the exiting work from the Arts Council Korea's and Stone and Water Gallery's International Residency in Anyang's traditional Seoksu Market. At the moment it is only available in Korea. You can order one for your university library or for yourself. isbn#978-89-86955-16-3 Achim Media

286-15 Seoksu-2-dong, Manan-gu, Anyang, Gyeonggi-do, Korea stonenwater@hanmail.net

Warm regards,

Alicia Grullón is interested in the affect place has on identity, the politics of living and the body as word. Her projects consist of performances and photography in public spaces where everything accidental and local become setting and character. Alicia has exhibited at Mount Holyoke College’s Five College Women’s Studies Research Center, Raritan Community College, Masur Museum of Art, the Peekskill Arts Festival, Samuel Dorsky Museum at the State University of New York at New Paltz, Hunter College Gallery, The Point Community Center, and The University of Rhode Island. Awards include: Franklin Furnace Fund for Performance Art 2007-08, Chashama visual arts awards, and Arts Council Korea international artist residency at Stone and Water Gallery in Anyang, South Korea. She participated in 2008’s Art in Odd Places Pedestrian and Jamaica Flux 2010 at the Jamaica Center for Arts and Learning. Alicia's work has appeared in The World Journal of Post-Factory Photography, Dirty Pop Magazine, and ICP at the Point.

Alicia has a BFA from New York University and an MFA from the State University of New York at New Paltz. Born in New York City, Alicia has lived in the Netherlands, England, and Korea. She now lives and works in the Bronx.



7. Sol LeWitt, Adrian Piper, DJ Spooky, Dread Scott, Bob Holman, Karen Finley, FF Alumns, at Bowery Poetry Project, Manhattan, March 19-May 2

 Bowery Poetry Club/JohnSimsProjects
in association with Ringling College of Art and Design

Sol LeWitt and Adrian Piper
Selected Infinite Extensions Arbitrarily Constrained

curated by John Sims
March 19, - May 2, 2010

As a part of the nine exhibitions of the Rhythm of Structure: Mathematics, Art and Poetic Reflection exhibition series, we present the duet exhibition, Selected Infinite Extensions Arbitrarily Constrained featuring the late Sol LeWitt and Adrian Piper, world renown conceptual artist. Adrian Piper new and not yet seen before installation, Vanishing Point #1, will be in responding juxtaposition to an adapted version of LeWitt Wall Drawing #163- Two lines in a square/6, which was first presented in 1973 at the Museum of Modern Art in Oxford, England. Also at the opening we will present a Piper group performance piece involving 28 participants. For the poetic responses, a number of prominent members of the poetry community have been invited to respond to this exhibition. At the opening on March 19, Former U.S Poet Laureate, Mark Strand will read. At the closing, Bob Holman, Monica del Torre and Edwin Torres will present their responses.

Reading by Mark Strand and the premier of an Adrian Piper Group performance piece

May 1, 2:00-:30pm
Featuring Poets:
Bob Holman, Monica de la Torre and Edwin Torres
Music: Yael Acher and Brother Num
Rhythm of Structure
Mathematics, Art and Poetic Reflection
September 11, 2009 - August 30, 2010

John Sims, Bowery Poetry Club-Artist in Residence has organized a series of nine (4-6 weeks) duets and group exhibitions/performances for the ArtWall (in association with Selby Gallery of Ringling College of Art and Design) at the Bowery Poetry Club. Connecting mathematics to the process of art to the voice of poetry, in a call and response format, the shows explore the multi dimensional nature of structure from the geometric to conceptual to social to the metaphysical. The shows cover topics from love to the lotto, from sacred geometry to quilts, and tessellation to mathematical graffiti. To stimulate a dialogue around the use of structure and promote reflection via the poetic lens, poets have been invited to respond to the work forming the basis of a documentary film and catalogue. The exhibition series opens this September and runs until August 2010.

Featured Artists included in the duets shows: Sol LeWitt/Adrian Piper, Karen Finley/John Sims, Paul D. Miller (DJ Spooky)/Dread Scott, Paulus Gerdes/Ken Hiratsuka, and John Hiigli/Vandorn Hinnant

Bowery Poetry Club, 308 Bowery, New York, NY 10012, contact www.bowerypoetry.com/#Art_Wall or John Sims (rhythmofstructure @gmail.com)
email: johncsims@gmail.com



8. Nancy Spero, FF Alumn, at Cooper Union’s Great Hall, April 18

Nancy Spero (1926-2009): A Public Commemoration of Her Life and Work, Sunday April 18, 2010, 3 pm, The Great Hall at Cooper Union, 7 E. 7th St. NYC 10003

Speakers include Kiki Smith, FF Alumn. Inquiries 212-315-0470. All Are Welcome.



9. Ethelyn Honig, FF Alumn, at Ceres Gallery, Manhattan, April 3

Ethelyn Honig, FF Alumn, presents "Small Murders Under the Sea" at Ceres Gallery, 547 W. 27th St. #201 NYC 212-947-6100. ceresgallery.org ethelynhonig.com

March 30-April 24, 2010
Reception April 3, 2-6 pm



10. Paco Underhill, FF Member, in The New York Times, March 20

The New York Times
March 19, 2010
In Bid to Sway Sales, Cameras Track Shoppers
The curvy mannequin piqued the interest of a couple of lanky teenage boys. Little did they know that as they groped its tight maroon shirt in the clothing store that day, video cameras were rolling.

At a mall, a father emerged from a store dragging his unruly young son by the scruff of the neck, as if he were the family cat. The man had no idea his parenting skills were being immortalized.

At an office supply store, a mother decided to get an item from a high shelf by balancing her small child on her shoulders, unaware that she, too, was being recorded.
These scenes may seem like random shopping bloopers, but they are meaningful to stores that are striving to engineer a better experience for the consumer, and ultimately, higher sales for themselves. Such clips, retailers say, can help them find solutions to problems in their stores — by installing seating and activity areas to mollify children, for instance, or by lowering shelves so merchandise is within easy reach.

Privacy advocates, though, are troubled by the array of video cameras, motion detectors and other sensors monitoring the nation’s shopping aisles.
Many stores and the consultants they hire are using the gear not to catch shoplifters but to analyze and to manipulate consumer behavior. And while taping shoppers is legal, critics say it is unethical to observe people as if they were lab rats. They are concerned that the practices will lead to an even greater invasion of privacy, particularly facial recognition technology, which is already in the early stages of deployment.

Companies that employ this technology say it is used strictly to determine characteristics like age and gender, which help them discover how different people respond to various products. But privacy advocates fear that as the technology becomes more sophisticated, it will eventually cross the line and be used to identify individual consumers and gather more detailed information on them.

"I think it is absolutely inevitable that this stuff is going to be linked to individuals," said Katherine Albrecht, founder of Consumers Against Supermarket Privacy Invasion and Numbering, an advocacy group.

Some degree of privacy, experts say, is necessary as a matter of decency.
"When someone’s watching me, I’m going to act differently than when I think I’m alone," Ms. Albrecht said. "Did I pick my nose? What was I doing? What did they see?"
Some stores use existing security systems for such monitoring and others have installed entirely new systems.
The most basic surveillance setup has been around for a few years. It uses video cameras in ceilings and sensors near fitting rooms to learn how many customers pass through the doors and where they tend to go.

At the other extreme, some retailers are taping shoppers’ every movement and using specialized analysis to study the shoppers’ behavior. For example, after seeing scores of customers struggle to navigate a particular area, analysts might suggest that the retailer widen the aisle.

The companies that install and analyze video for retailers say that they are sensitive to privacy issues but that the concerns are overblown. They say they are not using the technology to identify consumers but to give them easier and more enjoyable shopping experiences. And, they added, they have the sales results to prove it.

For example, Cisco Systems, the supplier of networking equipment, said one of its clients, the outdoor recreation retailer Cabela’s, installed cameras to monitor how long sales clerks took to approach customers.

"Far fewer customers were being approached within their guidelines than they thought," said Joanne Bethlahmy, a director at Cisco’s Internet business solutions group. Cabela’s took steps to change that, and performance improved. The chain said it was testing video analysis and plans to go ahead with it.

Some of Cisco’s clients are also experimenting with facial recognition technology. Cisco executives noted, however, that the technology was used only to look for general characteristics. "It’s not looking at individuals," Ms. Bethlahmy said. "It registers as ‘old versus young.’ "

Knowing that can help a retailer determine if a display is more appealing to men or to women, to baby boomers or members of Generation X.
Because of sensitivities surrounding privacy, some retailers are reluctant to discuss surveillance technology. And exactly how many cameras are tracking shoppers is not known, partly because cameras are installed and uninstalled during various studies. (The videotape is for internal use only.)

But industry professionals said interest in analyzing shoppers was growing. Video analysis companies said nearly every major chain was or had been a client, including giants like Wal-Mart Stores and Best Buy.

"In 1997, we were the only people doing this, and it was a somewhat risky business," said Paco Underhill, a pioneer in the field of observational customer research and the founder of Envirosell, a research company that is considered the industry trailblazer. "In 2010, the concept of observational research is offered by hundreds of companies across the world."

Many think they have just begun to tap its potential.
"This is truly the next big area to explode in terms of improving retail operations," Ms. Bethlahmy said.
Bill Martin, a co-founder of ShopperTrak, which uses video sensors to help retailers count customers, said chains were asking about the technology to become more competitive in an economic slump. So far, more than 50,000 ShopperTrak sensors are in stores around the world.

Envirosell says this year is the busiest in its history.
The company uses video cameras as well as in-store researchers, or "trackers" in Envirosell parlance, to discreetly observe shoppers. They also interview customers.
At Mr. Underhill’s New York office, young acolytes — his 1999 book "Why We Buy" is read by marketing students the world over — watch hours of video. Information collected by the trackers and the cameras enables the team to draw conclusions about things retailers and manufacturers want to know, like which merchandise areas are least popular. To explain the process, Mr. Underhill showed a reporter surveillance videos of teenagers touching the buxom mannequin.

"We call this being busted," he said dryly.
Such video has inspired malls to create inviting seating areas on the theory that if men stay out of trouble, women shop longer.
Privacy advocates know that stores are not public property, but they would still prefer to see ground rules like telling shoppers they are under a microscope.
But it may already be too late.
As Mr. Underhill pointed out, people are taped dozens of times each day doing routine chores like pumping gas. Cameras, it seems, are pervasive. Stores are merely the latest frontier.
"We live our lives surrounded by them," he said.



11. Vito Acconci, FF Alumn, at Agnes b. Cinema, Hong Kong, April 12

AAA Talk

Vito Acconci + Ai Weiwei: Artists in Conversation
Monday, 12 April 2010, 6:30 – 8:00pm
Agnès b. Cinema, Hong Kong Arts Centre

Asia Art Archive and Para/Site Art Space present a talk with Ai Weiwei and Vito Acconci, two of the most renowned contemporary artists working in the field today. Meeting for the first time in Hong Kong, the pioneering artists will create a work together and engage in a public dialogue. Ai Weiwei and Vito Acconci both gained early recognition in their respective careers for their daring stunts in the art world. Ai was part of a key movement of avant-garde artists who were active during contemporary art’s beginnings in China, while Acconci was at the forefront of early developments in video and performance art in the US. Artistic labels cannot justify the scope of their experimentation; Acconci’s work has spanned performance, video and installation, and Ai’s career has veered into social politics and activism, while both artists have made significant forays into the field of architecture. Dissatisfied with traditional boundaries, in art, architecture and social ideology, the artists will discuss their work, share their experiences in fighting against convention, and discuss their recent collaborative project in Hong Kong - which will result in an exhibition at Para/Site Art Space. The talk will be moderated by Para/Site Art Space Executive Director and exhibition curator Alvaro Rodriguez Fominaya, and is organized in collaboration with the Hong Kong Arts Centre.

Following the talk, Para/Site Art Space will present the exhibition Acconci Studio + Ai Weiwei: A Collaborative Project in May. Please check Para/Site’s website for further details: www.para-site.org.hk.

Event Details
Co-presented by: Asia Art Archive and Para/Site Art Space
In collaboration with: Hong Kong Arts Centre.
Hotel supported by: JIA Hong Kong
Venue: Agnès b. Cinema, 2 Harbour Road, Wanchai, Hong Kong
Date: Monday, 12 April 2010
Time: 6:30 – 8:00pm
Language: English
Registration: enoch@aaa.org.hk or 2815-1112
DVD documentation of the talk will be available for viewing at the Archive.



12. Anna Mosby Coleman, FF Alumn, at Calvary Church, Manhattan, March 31

Cine Capellini at Calvary Church:
7pm to 10 pm on Wednesday, March 31st, 277 Park Avenue South at East 21st Street:

Event includes an art installation and poetry readings beginning at 7:15 by Anna Mosby Coleman (Artist Director/Cine Capellini) with Kathleen MacQueen (Artist and Writer), and Elizabeth Richard (Actor/Musician/Poet) followed by improvised music of Kamel Boutros (Music Director of Calvary Church). A screening/installation of Cecille B. DeMille's c.1927 silent film the "King of Kings" will begin at 8pm, and a delicious meal will be served. Audience is free to come and go during the film. Kamel Boutros (Calvary Church organist) will improvise music to selected scenes from DeMille's film. Event is free although donations are needed (and encouraged).

For more information please call 646.207.4672

Cine Capellini is a cinema and dining event curated and produced by Anna Mosby Coleman and loving friends with the goal of nourishing the body, soul, and spirit.




13. Holly Faurot & Sarah H. Paulson, FF Alumns, in ducts.org

Holly Faurot & Sarah H. Paulson / An Interview by Hoang Pham


Ducts Art Gallery’s interview series continues with printmaker/ artist, Hoang Pham in conversation with Brooklyn-based performance artists, Holly Faurot and Sarah H Paulson. She communicates with them via email from her studio in Richmond, Virginia.

Hoang: I’d like to start off by talking a little bit about your relationship. I know you two have been together for some time now–the baby years going back to college. Something that has mostly eluded me as an artist is this role of the collaborator. How are each of you posited in this relationship? What characters do you work through?

Sarah: Oddly enough, I’ve always viewed Holly and myself as extremely independent artists. Then I realize that we’ve been working together for the whole of our professional careers. I must admit, that each time I think about my relationship to Holly and our work, I’m amazed.

There’s a running joke that people must think we’re secretly a couple. But in all seriousness, I think for anyone to work together in such a close way, there has to be a connection that is so strong and natural that there is an equal and tremendous amount of room for time and space.

About seven years ago, we thought it would be interesting to do something together—to merge our interests in performance in some way.
We did a performance called In/on strap[ing] in our Brooklyn loft. We brought in about 8 performers (dancers and non-dancers), many of whom my sister Susie drove in from the SUNY Purchase Dance Dept., to improvise with movement. Meanwhile, we had also just met Joel Mellin via an ad we had posted on Craigslist for a sound artist; he played an electronic musical score for the piece. The part of this piece, which would set the stage for a series of about 5 more future performances, were these elastic strap-like components which were attached to the performers in various ways, holding them back from full freedom of movement.

After about 5 or 6 of these, we stopped working in this way. The pieces were too perfect. We got exactly what we were looking for.
Something was missing, so we brought back the things we did in our individual performance work and the components that characterized our individual works from those baby years. From there, and from the beginning, we melded into whatever it is we are today.

When we’re preparing for a piece we sit around in the studio talking and waiting for something to happen. We have what we’ve described as a "net". We’re collecting tons of stuff in there…from our jobs, from our personal relationships, from our joint experiences, from our walks on the streets…everywhere. It all goes in the net, and that’s what we have to work from. Then we start stripping it down. Even though all the components might not be in the final piece, they’re all there. It’s collective, honest, and natural. I can’t think of another place from which we could work. The work is about our collaboration and our friendship and our individual relationships to the world. It’s autobiographical, but the finished product ends up being something more expansive.

Holly : For some reason, this may be cheesy, but I always think of the life’s work of Bob Dylan. One year it was bluegrass folk, the next rock n’ roll, the next country, the next jazzy-swing, but all along you always can hear his true voice in the music. I think Sarah and I work in the same way. Sometimes I am electrician, sometimes Sarah is webmaster, but all along we can see both our voices in the work.

Hoang: Time, as it has passed, as it is happening, as it is coming back around again, how do you deal with this in your work? Are you conscious of an audience dealing with this in your work?

Sarah: I would say that time is one of the main components of our work. In preparing for a piece, we wait. We’ve become aware of time in a way that isn’t focused so much on hours or days, but on a certain feeling or period that evolves between the time that we begin working and the time that we complete a work session. We’ve become conscious of when we will get somewhere and when we will not.

Sometimes the timing is wrong…Things don’t match or feel right.
There’s no reason to force it. But if it’s right, sometimes we’ll have to work all night long. I’ve often been a little envious of artists or choreographers who work in a studio during designated hours.

During the performances, I believe it takes a certain amount of time to really get into something—to drop one’s insecurities and become a part of the system of the performance. With each new work, I’ve found that it takes me less and less time to really find this space. If I had to give a guess, though, I’d say I need at least 15 minutes to begin to feel the right intensity or to feel fully immersed. That’s just the first stage, though. Different levels of immersion happen throughout the work. At the same time, our performances seem to want to get longer.

Hoang: Can you elaborate on what this means?

Sarah: I mean that it becomes obvious during the performance that time helps us to get deeper into something. It sort of works that way with anything—reading, working, being in a relationship, learning something new, learning something for the millionth time, etc. You learn that what you thought you knew as the deepest place might just be getting under the surface. You can always get in there further, so to speak.

Holly: With the performances, ultimately we want to cover the same ‘conceptional’ ground whether it is a 7-minute or a 12-hour piece. We could use a tortoise and hare analogy here and say that "slow and steady wins the race." But with our work there isn’t necessarily a race to be won, there isn’t any "prize" at the finish line. My yoga teacher says very often in class "the more gradual you move, the further you’ll be able to get." Once you get to one "finish line" you see that there is actually another one down the road. And this isn’t frustrating. It is in fact motivating. Long performances force me to see with honesty everything I’m experiencing– whether it is boredom, self-consciousness, intense focus, poignancy, joy, etc.

Hoang: Are you conscious of an audience dealing with this time in your work?

Sarah: I feel like I am beginning to come to terms with my relationship with people coming to see our work. I used to want to jump out of a 2-hour piece and say, "Don’t worry; you don’t need to stay the whole time. It’s okay if you leave." Many of our works are made so audience members can enter and exit the viewing space any time. We’ve wanted people to feel comfortable, to be able to talk, and to be able to take away something totally different than the next person. We’ve wanted people to feel comfortable in what can be a potentially uncomfortable environment due to the duration, lack of seating, etc. At this point, though, I’m realizing that all my concern about the audience’s ability to feel free to do as it pleases, could actually be pushing people away. In the last year or so, I’ve learned to trust that the audience can deal with the endurance factor on its own. People often stay the entire time and are silent. I am learning that they are going through something between the beginning and end of the piece. They are finding a certain zone, as well. Of course, this is the point, but I’m finally beginning to trust it. Holly recently said her yoga teacher told her to trust that certain things are universal. That really hit me; I think it is a good lesson for us.

Holly: Making art is very personal; so much of one’s life is exposed and brought to the surface whether directly or indirectly. I don’t always like to admit to that part of the creative process, but it is true. With that in mind, Sarah and I can’t hide from each other in the process of making a performance, and therefore neither of us can hide from the audience.

Hoang: You’ve just been to Beijing for the Open Performance Festival, Sarah physically and Holly virtually (www.open10.com). Can you tell us about the piece you performed there? How was it received, how did it translate?

Sarah: We presented a new piece, Us, the Divine, and the Homeless, during the 5th week of the 10th anniversary of the OPEN Performance Art Festival. Each week was curated by a different international curator. Our week was curated by Jill McDermid, Director of Grace Exhibition Space (Brooklyn, NY).

It was a really interesting experience to work in the festival environment in the Beijing 798 Art District, because we’re not used to moving our work around. We typically make performances for specific spaces, and obviously we weren’t able to see the space beforehand. However, the help and assistance that we received from the Open Art Gallery really blew me away.

Holly: I wasn’t there for the performance in Beijing, but I was in the video that served (as all our videos do), as a "director" of the performance. Performer, Anthony A. Austin, directed me in the making of the video through having me copy, to the best of my ability, a series of improvised movements that he executed.

Sarah: I was in the piece with Anthony and 3 other volunteers who were working for the festival. During the piece, I took movement cues from Holly, and Anthony took cues from me. Therefore, there was this component of translation, and the movements sort of came full circle.

As in most of our work, the subject of translation through different media was absolutely present, but being in China where I did not speak the same language as many of the viewers, this topic of translation was especially apparent.

I think it went over really well, and the reaction was similar to the reaction we receive at home. Some people had no idea what to make of it, and others had very complex interpretations, which I was able to hear via translators. Of course, that was quite fascinating to me because the original message always goes through some kind of filter, so I was in a similar position as the audience. It was a beautiful coupling of performance and environment.

The 3 other performers, Lisa Bauer, Li Linxuan, and Zhang Rui really jumped right into it. I loved that and am grateful for their willingness to do something that must have seemed pretty absurd, since they didn’t know our work. That issue of universality seems to apply to this situation as well.

Hoang: Yes, it comes up again. You seem to be drawn to this idea of the universal. Is it easy to put into words what certain things might be universal in your work? Does it vary from piece to piece, are there certain things that are constantly universal?

Sarah: I’ve only consciously thought about the idea of the universal for a short time, even though it has always been in our work. Holly has been giving these teachings to me as practice for her yoga studies. The messages and anecdotes that she uses shed a lot of light on certain aspects of our performances and our collaboration. This is good for me, because it forces me out of this ambiguous language that Holly and I often use with one another for work that is actually quite specific. I believe that language is the closest thing we have that makes us human. There is great failure in this, but we all give it our best shot. Within this concept, I feel like performance, or movement or the body, is the closest mechanism we can use to match the intentions of language. In folding this idea in on itself, using the body in performance is the closest thing to what it means to be human. How can the universal not be present?

Holly: I would say that by using and presenting our bodies as part of our work, this makes it universal. Everyone knows what it is like to have a body, to feel its fragility and vulnerability. The physicality of the body doesn’t always have to be exploited and pushed for this to be evident. Like, water is water-whether it is a leaky faucet, or Niagara Falls.

Hoang: Did this physical separation have an effect on how the piece was developed and consequently performed?

Holly: Maybe you have someone in your life that you see here and there and you always wait for him or her to say "hi" to you first before you acknowledge them? In a sense this was like us saying "hi" first, and for the first time, to the possibility of something larger in our work, to it being able to carry and hold not just us.

Sarah: I agree with Holly about this separation opening up the possibility for something larger. It was indeed hard for me to be in Beijing without Holly, but the difficulty was more emotional than based in the execution of the work. Of course, I was nervous about making certain decisions, and found myself consulting Holly in my head, but for the most part, I just missed her and the security of our relationship. Though I’m sure the piece would have been different if we were physically there together, the difference is insignificant in the end. It is like wondering if the video component would have been different if I directed Holly’s movements. We began this piece before I left for Beijing, so it was just a matter of filtering information and working with the materials that were available. The physical part is the easy part.

I think we’ve been asking for this ability to be in multiple places at one time, and the Beijing piece was the first step. It really expands the potential of our work and prohibits us from being on top of it—suffocating it. I want the performances to be able to breathe.

I still want to be able to breathe into them, but I want them to take in new air at the same time.

Holly: Knowing that we would be apart, when I made the video with Anthony, my intention was to be as clear with my body as possible.
And by clear, I mean honest in the hopes that this would lend firm support to Sarah. Honest in how I interpreted and translated Anthony’s movements, which meant completely surrendering to him and his instruction. It’s funny, because this always comes so naturally to me when we’re working on a project—I don’t even think about it. It was interesting to actually be literal with myself about my intention. I knew that any hesitancy or possessiveness on my part would come through. But, this ended up being so easy—to surrender and be honest, and I think the video captured this.

Hoang: I am a voyeur. I can’t help suspecting that you both might be as well when I think of your work. There is something performative about being voyeuristic. Do you find any inspiration in this sort of practice?

Sarah : Looking, observing, following, controlling, triggering, and mimicking are all within our work. We can’t avoid it. It’s around us in our day-to-day lives, and so we’ve magnified this in our performances. Holly and I have accumulated a large collection of surveillance cameras, multi-channel surveillance systems, live video feeds, and other components which have an obvious connection to voyeurism.

The audience also factors in to the elements of voyeurism. The performers and audience members are meeting one another at different points or levels. I like to avoid what I call the "infinite dancer’s gaze." Instead, I like to make eye contact with audience members and with other performers. It allows for exchange rather than a simple presentation, and often these moments of watching beyond the confines of the performance space are the moments that I remember most. I think this applies to so many aspects of living.

Hoang: Do you see your work having any connection to the more literal meaning of voyeurism? That is, a fascinated observer of the body and/ or bodily acts, often doing this in secret.

Holly: Well, I looked up voyeur in the dictionary because I was wondering what the actual literal written definition is, and most if not all had to do with taking pleasure in watching others engage in sex acts. I think that this applies. Not that we’re watching other people have sex, but there is such intimacy in how another person moves and relates to their own body. Our working process always begins with making videos where someone is copying the movements of another. In this process, you are humbly tapping into an aspect of another person that is incredibly private and intimate.

Sarah: Sure, we’re all looking at things in secret. We often do certain minimal gestures or movements that we’ve seen people do on the subway or in the office. We collect these little bits of information and make them public. It’s celebratory. We can put these simple acts on a pedestal and frame them. The private is significant and special.

Hoang: Yes, yes. I really appreciate that last statement as a point of closure to our conversation, "the private is significant and special". It is fitting that this should illustrate your work, as so much of it is a celebration of things private and otherwise unshared.

In turn, I thank the both of you for sharing with us.

Editor’s Note: Please join us next issue for a continuation of this series, when Holly Faurot and Sarah H. Paulson conduct the interview.

Sarah H. Paulson



14. Helene Aylon, FF Alumn, at Towson University, MD, April 9

Towson University: A Multicultural show
"A Complex Weave: Identity and Women in Contemporary Art"

Symposium April 9, 2010
Keynote Address: Eleanor Heartney - 1:30PM

Artist presentations: 3 PM
Blanka Amezkua
Helene Aylon
Siona Benjamin
Sonya Clark

Center for the Arts Gallery at Towson University
Osler and Cross Campus Drive
Towson, Maryland

This exhibit goes through April 17, 2010.

Helène Aylon
Mailing Address: 55 Bethune St. (808A) NYC 10014
Studio: 526 W 26th St.



15. Susan Barron at Printworks Gallery, Chicago, IL, May 20-July 3

Susan Barron
The Writing on the Wall
Solo drawing exhibition at
Printworks Gallery, 311 West Superior Street (River North), Chicago, Illinois. 312-664-9407
Thursday, May 20th through Saturday, July 3rd. Opening reception: Friday, May 21st.
Normal hours: Tues-Fri 11 - 5
Reception: 5-8



16. Michel Auder, FF Alumn, at Picture This Atelier, Bristol, UK, thru April 17

The New Cut at Picture This Atelier, Bristol

The New Cut: Michel Auder
25 March - 17 April 2010

Picture This continues it's New Cut programme of exhibitions with a solo exhibition by French-American filmmaker, Michel Auder.

In the early 1970s Auder adopted a continuous approach to filmmaking, recording the people and scenarios he encountered and amassing an extensive archive of video footage. His work has been shaped by the informal character of his method and a collection of imagery that is constantly updated, revisited and reworked. This exhibition surveys four decades of his practice in a series of programmes that run continuously in the gallery.

This exhibition was devised by Michelle Cotton and first presented at Cubitt, London in 2009. Supported by Arts Council England and the French Institute in the UK.

Picture This
Corner of Mardyke Ferry Road and Sydney Row
Spike Island

0117 925 7010



17. Ilona Granet, Jay Critchley, Alicia Grullon, Linda Stein, FF Alumns, at Jamaica Art Center, NY, April 10-June 12

Jamaica Flux: Workspaces & Windows 2010
Art as Action
April 10 – June 12, 2010
(Jamaica, NY, March 17, 2010) – The third iteration of Jamaica Flux: Workspaces & Windows will open on April 10, 2010. The contemporary art project of the Jamaica Center for Arts & Learning (JCAL) is a site-specific, public art exhibition that is mounted every three years with the intention of using the urban environment as a studio and exhibition space. Founded in 2004 by JCAL’s curator, Heng-Gil Han, Jamaica Flux includes the commission, creation, and exhibition of site-specific projects, that are installed at a variety of locations along Jamaica Avenue, including banks, stores, street intersections, parks, and other public spaces. The selected works conceptualize this year’s theme, "Art as Action." Artist perspectives will include art that references the tradition of gestural "action painting"; art that literally performs an action, such as a performance or event; and art that aims to solve social problems through constructive action, as opposed to art that merely represents or symbolizes social problems. New to Jamaica Flux, Mr. Han has added Video Slam. Coinciding with the exhibition’s opening on April 10, Video Slam will feature twenty-five videos related to the theme. Video Slam will be on view throughout the day at the Jamaica Performing Arts Center. The inaugural edition of Jamaica Flux: Workspaces & Windows took place in 2004 and featured 34 works

of art by artists including Andrea Fraser, Barbara Kruger, and Fred Wilson. In 2007, the project comprised of work from Felix Gonzales-Torres, Christopher K. Ho, Jenny Polak, and Robert Smithson amongst others. This year, Jamaica Flux Workspaces & Windows 2010 will include work by Hyong Nam Ahn, Ilona Granet, Robert Morris, Lia Perjovschi and Freddy Rodriguez. Below, you will find scheduling information for Jamaica Flux: Workspaces & Windows 2010 at a glance; complete details may be found on our website www.jcal.org.

Jamaica Flux: Workspaces & Windows 2010
Events and Public Programs
Heng-Gil Han, Project Director/Curator
April 10 – June 12, 2010:
Site-Specific Exhibition
Location: Various indoor/outdoor sites along and off Jamaica Avenue


Gallery Exhibition
Location: Jamaica Center for Arts & Learning Gallery (161-04 Jamaica Avenue, Jamaica, NY 11432
Video Slam
Location: Jamaica Performing Arts Center (153-10 Jamaica Avenue, Jamaica, NY 11432)
Events and Public Programs
April 10, 2010:
Location: Jamaica Center for Arts & Learning
161-04 Jamaica Avenue, Jamaica, NY 11432
10:00 am – 11:00 am: Opening Remarks
Jamaica Center for Arts & Learning Theatre
11:30 am – 12:30 pm: Guided exhibition tour reviewing all site-specific art works on Jamaica Avenue.
11:30 am – 9:00 pm: Video Slam
Jamaica Performing Arts Center
2:00 pm – 5:30 pm: Artist Talks
Jamaica Center for Arts & Learning
11:30 am – 6:00 pm: Performance Art – various times through out the day on Jamaica Avenue.
6:00 pm – 9:00 pm: Opening Reception
Jamaica Performing Arts Center
Participating Artists in Site-Specific Art
Hyong Nam Ahn, Jennifer Andrews, Bandwagon, Jesse Bercowetz, Elaine Gan, Ilona Granet, Alicia Grullon, Jayson Keeling, Lily & Honglei, Jongil Ma, Robert Morris, Lia Perjovschi, Michael Premo and Rachel Falcone, Damon Rich, Ryan Roa, Freddy Rodríguez, José Ruiz, Shane Aslan Selzer, Hyungsub Shin, Chad Stayrook, and Kyoeng Sub Yue

Participating Artists in Video Slam
damali abrams, Nobutaka Aozaki, Chris Bors, Tsz Man Chan, Jay Critchley, Robert Ladislas Derr, Murray Dwertman, Willum Geerts, Kanene Holder, Andrea Juan, Dana Kash, Jae Kyung Kim, Mayami Komuro, Ellen Lake, Sujin Lee, Jeannette Louie, Mayumi Nakazaki, Shani Peters, Elizabeth Riley, Linda Stein, Bradly Dever Treadaway, Christopher Udemezue, Anthony Cannon Walker, Veronica Winters, and Ina Wudtke

Jamaica Flux: Workspaces & Windows is supported, in part, by the National Endowment for the Arts, Arts Council Korea, and Romanian Cultural Institute in New York.
The Jamaica Center for Arts & Learning is housed in a landmark building owned by the City of New York and is funded with public funds provided through the New York State Council on the Arts, a state agency; the New York State Senate and Temporary President Malcolm A. Smith; the New York City Department of Cultural Affairs with support from Mayor Michael R. Bloomberg; Cultural Affairs Commissioner Kate D. Levin; the New York City Council; Council Speaker Christine Quinn; the Queens Delegation of the Council; Deputy Majority Leader, Councilman Leroy Comrie; and Queens Borough President Helen M. Marshall.

Media Contact:
Kesia D. Hudson
Marketing Director
718-658-7400 ext 136



18. Lorraine O’Grady, FF Alumn, at MoMA, NY, March 30

The Friends of Education of
The Museum of Modern Art presents:
Conversations: Among Friends
Lorraine O'Grady and Sanford Biggers
with RoseLee Goldberg
Tuesday, March 30, 2010
7:00 PM Program
8:15 PM Reception
For tickets ($35): http://www.moma.org/visit/calendar/events/8980
The Roy and Niuta Titus Theater 2
The Museum of Modern Art
11 West 53 Street, New York, NY



19. Annie Lanzillotto, FF Alumn, at Cornelia Street Café, April 10

FF Alumn Annie Lanzillotto reads rants sings at Cornelia Street Cafe,
Saturday April 10th, 5:45 pm. With Maria Lisella, and open mic
$6 gets you in, and a drink



20. Dominic McGill, FF Alumn, at Derek Eller Gallery, Manhattan, opening April 2

Dominic McGill , Opening Reception: Friday, April 2, 6 – 8 pm.
FuturePerfect at Derek Eller Gallery
April 2 – May 15, 2010 , located at 615 West 27th Street, between 11th and 12th Avenues.
Hours are Tuesday - Saturday from 11am - 6pm.
For further information or visuals, please contact the gallery at 212.206.6411 or visit www.derekeller.com



21. Doug Beube, FF Alumn, at 87 Florida, Washington, DC, opening April 2, and more

music bo(o)x
artist’s books & prints of blues and jazz
exhibition developed by John Risseeuw and Lynn Sures
top: "the many lives of miss chatelaine" by doug beube
left: "gymnopaedia no. 4" by barb tetenbaum
curated by lynn sures
participating artists:
doug beube (new york) inge bruggeman (oregon) jacki clipsham (new jersey) ed colker/dave brubeck cj grossman (california) steve e prince (virginia) john risseeuw (arizona) alice simpson (california) lynn sures (maryland) barb tetenbaum (oregon)

87 Florida avenue, n.w.
washington, dc 20001
hours by appointment: email eightyseven!orida@yahoo.com; sundays in may 11am-4pm
live music reception friday april 2, 6-9pm
music bo(o)x march 19 through june 2, 2010


April 5-June 15 at Eastern Michigan University.
This Exhibition investigates the role of the book in the contemporary art world. For this show, the curators have expanded on the traditional definition of a book: they have defined the term "book" loosely as a vehicle for information that is organized into "sections." The exhibition includes unique traditional books, altered books, sculptural books, digital books, and installation-, photography-, and performance-based books. Curated by EMU faculty members Leslie Atzmon and Ryan Molloy, the exhibition features the work of an international group of artists and designers.

Leslie Atzmon
Professor, Art Department
114 Ford Hall
Eastern Michigan University
Ypsilanti, MI 48197

734 487 1268



22. Elke Solomon, FF Alumn, at A.I.R. Gallery, Brooklyn, March 31-April 25

Elke Solomon
A Tavola:
An Installation
March 31- April 25, 2010
A.I.R. Gallery
111 Front Street
Brooklyn, NY 11201
T 212.255.6651
fax 212.255.6653
Wed - Sun 11-6 pm
Reception for artist:
Thursday, April 1: 6-8 pm



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
Eben Shapiro, Program Coordinator
Susie Tofte, Project Cataloguer
Judith L. Woodward, Financial Manager