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Contents for June 30, 2010
Tomislav Gotovac, FF Alumn, In Memoriam

1. Annie Lanzillotto, FF Alumn, at Dixon Place, Manhattan, July 30
2. Mona Hatoum, FF Alumn, at Alexander and Bonin, Manhattan,
3. Iris Rose, FF Alumn, at Esopus Space, Manhattan, June 30
4. Maria Yoon, FF Alumn, at Tribeca Cinemas, Manhattan, July 19
5. Susan Bee, FF Alumn, at Center for Book Arts, Manhattan, July 7-Sept. 11
6. Bob Goldberg, FF Alumn, at Dixon Place, Manhattan, July 1
7. Nicolas Dumit Estevez, FF Alumn, at Museo de Pontevedra, Spain, thru Sept. 12, and more
8. Mitzi Humphrey, FF Alumn, at art6 Gallery, Richmond, VA, opening July 2
9. John Baldessari, FF Alumn, at LA County Museum of Art, thru Sept. 12
10. Deirdre Lawrence, FF Member, at Central Booking, Brooklyn, June 30
11. Rachel Rosenthal, FF Alumn, at Tohubohu, Los Angeles, CA, July 9-11
12. Jenny Holzer, FF Alumn, at DHC/ART Foundation for Contemporary Art, Montreal, Canada, June 30-Nov. 14
13. Laurie Anderson, FF Alumn, in the New York Times, June 22
14. Vito Acconci, Carl Andre, John Baldessari, Darra Birnbaum, Simone Forti, David Hammons, Jenny Holzer, Joan Jonas, Paul McCarthy, Robert Morris, Yoko Ono, Yvonne Rainer, Martha Rosler, Carolee Schneemann, Richard Serra, Andy Warhol, and Hannah Wilke, FF Alumns, at The Whitney Museum of American Art, Manhattan, July 1-September 19
15. Javier Tellez, Julie Tolentino FF Alumns, receive Art Matters grant 2010
16. Bill Beirne, FF Alumn, now online
17. Ben Kinmont, FF Alumn, at Betonsalon, Paris, France
18. Dread Scott, FF Alumn, now online at http://dreadscott.net/Money-to-burn.html

Tomislav Gotovac, FF Alumn, In Memoriam

Tomislav Gotovac passed away on June 25, 2010, R.I.P.

Born in Sombor, in 1937. Came to Zagreb in 1941. Graduated in film directing from the Academy for film, radio and TV in Belgrade, in Professor Aleksadar Petrović's class. Acted his first performance in 1954, in Mostar. Shot his first film in 1962, in Zagreb. His first collages came to light in 1964. In 1971, he acted in a school feature film Plastic Jesus, produced by Belgrade academy of theatre, film, radio and television. In 1980s, he played cameo-roles with Tošo Jelić in feature films by Zoran Tadić and two films by Franci Slak. Member of the Croatian Society of Visual Artists, director of avant-garde films and performer. His films were screened all around the globe. He acted in films by Zoran Tadić and Franci Slak. In 2005, he changed his name from Tomislav Gotovac to Antonio G. Lauer.

Filmography Prije podne jednog fauna / The Forenoon of a Faun (1963)
Pravac [Stevens-Duke] / Straight Line [Stevens-Duke](1964)
Plavi jahač [Godard-art] / Blue Rider [Godard-Art] (1964)
Kružnica [Jutkevič-Count] / Circle [Jutkevič-Count](1964)
Osjećam se dobro / I Feel All Right (1966)
Kuda idemo ne pitajte / Don’t Ask Where we’re are Going (1966)
S (1966)
Ella (1966)
29 (1967)
T (1969)
Alamo (1969)
M (1970)
Obiteljski film II / Family Film 2 (1971)
Glenn Miller I. [Srednjoškolsko igralište I] / Glenn Miller 1 [High School Playground 1] (1977)
Glenn Miller 2000 (2000)
Dead Man Walking (2002)



1. Annie Lanzillotto, FF Alumn, at Dixon Place, Manhattan, July 30

FF alumn Annie Lanzillotto rocks Dixon Place July 30th 10 PM
new songs, rants, a journey into clitoral stimuli and the secrets of LICKING BATTERIES and other lesbian renewable energy sources. $10



2. Mona Hatoum, FF Alumn, at Alexander and Bonin, Manhattan,

During July and August, Alexander and Bonin will exhibit large scale works by Mona Hatoum, Stefan Kürten and Rita McBride.

Mona Hatoum’s Worry Beads, 2009, was first shown in her solo exhibition, Interior Landscape, at the Fondazione Querini Stampalia, Venice last summer. The normally handheld prayer beads have been enlarged to cannon ball size, rendered in bronze and connected by a linked steel chain.

Hatoum’s current solo exhibition, Witness, will remain on view at the Beirut Art Center through September 9th. Current Disturbance, an installation from 1996, will be the third act of Keeping it Real: An exhibition in Four Acts at the Whitechapel Art Gallery, London opening December 17th.

For photographs or further information, please contact Kathryn Gile at 212 367 7474 or kg@alexanderandbonin.com.

Alexander and Bonin represents the work of John Ahearn, Matthew Benedict, Robert Bordo, Fernando Bryce, Willie Cole, Eugenio Dittborn, Willie Doherty, Mona Hatoum, Diango Hernández, Emily Jacir, Robert Kinmont, Stefan Kürten, Michael Landy, Paul Etienne Lincoln, Rita McBride, Sylvia Plimack Mangold, Doris Salcedo and the Estates of Michael Buthe,Victor Grippo, Ree Morton and Paul Thek.




3. Iris Rose, FF Alumn, at Esopus Space, Manhattan, June 30

Dear Friends,

Next week I will be moderating a panel discussion about the Pyramid Club that is being held in conjunction will a fabulous (!) exhibit of Clayton Patterson’s portraits of drag performers (and a few real girls) from the 1980’s. If you haven’t already received the info from some other source, and you are interested in the moderately old days of the East Village, here’s the scoop.



Drag at the Pyramid Club in the 1980s

(A panel discussion co-sponsored with the Greenwich Village Society
for Historic Preservation)

Wednesday, June 30th, at 7pm at Esopus Space -
http://cts.vresp.com/c/?EsopusFoundationLtd./4cacd9c25b/589b4c371f/a623c29d9e/Id=3775 (64 West Third St., #210, NYC)

In conjunction with the exhibition "Clayton Patterson: Pyramid Portraits,"
http://cts.vresp.com/c/?EsopusFoundationLtd./4cacd9c25b/589b4c371f/ff208cb453/Id=3776 Esopus Space and the Greenwich Village Society for Historic
Preservation will co-sponsor a panel discussion next Wednesday, June
30th, about the groundbreaking drag scene -
http://cts.vresp.com/c/?EsopusFoundationLtd./4cacd9c25b/589b4c371f/ca912651ed in the 1980s at New York City's legendary Pyramid Club, whose intensely creative environment fostered the early careers of performers like Lypsinka, John Kelly, and RuPaul. Panelists will include photographer and community activist Clayton Patterson, performance historians Joe E. Jeffreys and Iris Rose, performance artist Agosto Machado, and Andrew Berman, executive director of the Greenwich Village Society for Historic Preservation (which is currently seeking landmark status for the Pyramid Club building at

101 Avenue A). Open to the public; free admission. RSVP to this event
by calling 212-473-0919 or emailing space@esopusfoundation.org -
space@esopusfoundation.org?subject=Pyramid%20Club%20Panel%20RSVP .


Andrew Berman is Executive Director of the Greenwich Village Society for Historic Preservation.

As a theatre historian, Joe E. Jeffreys has published in journals including The Drama Review, Women & Performance, Theatre History Studies, and Biography. His theatre and book reviews have been widely published in periodicals including The Village Voice, TheateWeek, The Advocate and The Lambda Book Report. Recent book contributions include Out of Character (Bantam), Shattered Anatomies (Arnolfini), and Extreme Exposure (TCG). He is at work on a full-length novelized non-fiction biography of East Village drag performer Ethyl Eichelberger.

"Pre-Stonewall Christopher Street queen" Agosto Machado has worked with Jack Smith, John Vaccaro, the Playhouse of the Ridiculous, Warhol Superstar Jackie Curtis, H.M Koutoukis, and Ethyl Eichelberger in New York Downtown theater venues such as La Mama,. P. S. 122, and Theater for the New City.

Clayton Patterson moved to New York City from his native Calgary in 1979 and has since amassed an exhaustive photo, video, and audio archive of New York's Lower East Side, including groundbreaking videos of the Tompkins Square Park police riots in 1988. He has published several books, including Captured: A Film/Video History of the Lower East Side and Resistance: A Radical Political and Social History of the Lower East Side, and most recently exhibited his work at Kinz+Tillou Fine Art in New York. Captured, a documentary about Patterson by Dan Levin, Ben Solomon, and Jenner Furst, was released in 2009.

Between 1981 and 1994, Iris Rose wrote, directed, and performed dozens of original works, alone or in collaboration with the performance group Watchface, and performed regularly at the Pyramid Club, 8BC, P.S. 122 and La MaMa, among other venues. Her shows were also seen in Los Angeles, San Francisco, Washington D.C., and Houston, where Of Little Women was the first work of performance art presented at the Alley Theatre. Iris has received fellowships from the National Endowment for the Arts and the New York Foundation for the Arts, as well as grants from the Jerome Foundation and Art Matters. She devoted most of the years from 1995 to 2007 to parenting and writing, but returned to directing with the creation of Theater of the Grasshopper in 2008.

Esopus Foundation Ltd.
64 West Third St., #210
New York, New York 10012



4. Maria Yoon, FF Alumn, at Tribeca Cinemas, Manhattan, July 19

33rd Asian American International Film Festival (http://www.aaiff.org/2010/) accepted Maria the Korean Bride (Work in Progress)!
Tribeca Cinemas highlighting weddings from AZ, CA, WA, OK, DE, RI, and Alaska!
FREE admission but limited seating.
Please RSVP: info@asiancinevision.org
7:00 p.m. - 8:30 p.m.
Tribeca Cinemas: 54 Varick Street/Canal Street, New York, NY 10013
Monday, July 19th, 2010



5. Susan Bee, FF Alumn, at Center for Book Arts, Manhattan, July 7-Sept. 11

Susan Bee, FF Alumn, in Poems & Pictures: A Renaissance in the Art of the Book (1946-1981), Center for Book Arts, NY, July 7 to September 11, 2010



6. Bob Goldberg, FF Alumn, at Dixon Place, Manhattan, July 1

best band ever. come and see why. follow link below for tix.

A Washboard Jungle Reunion Concert
(to benefit the new Dixon Place!)

with special guest Lee Feldman

Thursday, July 1 at 8pm

Dixon Place
161A Chrystie Street
(between Rivington & Delancy)
NYC, NY 10002

$25 ($15 is tax deductible)
$75 includes priority seating and a 7pm cocktail reception
with Washboard Jungle ($65 is tax deductible)



7. Nicolas Dumit Estevez, FF Alumn, at Museo de Pontevedra, Spain, thru Sept. 12, and more

The Pontevedra Biennial
June 4 - September 12, 2010

Museo de Pontevedra
Sexto Edifcio
Padre Amoedo 3
36002 Pontevedra
Tel: +34 986851455
secretaria@depo.es http://www.museo.depo.es

Museo de Pontevedra:
Monday to Friday:17:00h-21:30
Saturday and Sunday:12:00h-14:00h

Facultad de Bellas Artes:
Monday to Friday:12:00h to 14:00h and 19:00 to 21:00h

The Pontevedra Biennale is the oldest of its kind in Spain. Organised by the County Council of Pontevedra from the city’s Museo Provincial, which houses a relevant historical and archaeological collection, this event has been held on 30 occasions since 1969.

In the early years the biennale was celebrated each year, alternating national and international editions, with a painting and sculpture prize model.

Since the 1980s, several projects for change have gradually configured its current thematic structure.

In its most recent editions, the Pontevedra Biennale has focused on a specific geographic area or cultural region, in order to establish a network of connections with Galicia and its context.

Partcipating Artists:

Adán Vallecillo + Aglutinador + Alexandre Arrechea + Alg-a + Ángel Poyón + Aníbal López + Artería + Arturo Souto + Baltazar Torres + Beta-local + Betsabé Romero + Caja lúdica + Carlos Capelán + Carlos Garaicoa + Carme Nogueira + Carolina Caycedo + Castelao + Cátedra Arte de Conducta + Chemi Rosado + Cinthya Soto + Dalia Chévez + Dany Zavaleta + David Damoison + David Pérez Karmadavis + Donna Conlon + DUPP + Edgar León + Emilia Prieto + Enema + Ernesto Salmerón + Escoitar + Espora + Eugenio Granell + Federico Herrero + Florencio Gelabert + Hamlet Lavastida + Hugo Ochoa + Humberto Vélez + Instituto Buena Bista + Facultad de BBAA + Isaac Julien + Javier Calvo + Jean François Boclé + Jessica Lagunas + Jhafis Quintero, María Montero y José Días + Joaquín Rodríguez del Paso + Jonathan Harker + Jorge Perianes + Jorge Pineda + Joscelyn Gardner + José A. Toirac y Meira Marrero + José Bedia + José García Cordero + José Osorio + José Suárez + Kiko Pérez + La Cuartería + La OIP + La Torana + Leiro Limber Vilorio + Lucía Madriz + Luis González Palma + Manuel Ferrol + Mario Granell + Marta María Pérez Bravo + Maruja Mallo + Mauricio Esquivel + Max Jiménez + Mayra Barraza + Miguel Ángel Madrigal + Moisés Barrios + Nadín Ospina + Nano4814 + Nicolás Dumit Estevez + Olmo Blanco + Osvaldo Maciá + Patricia Belli + Priscilla Monge + Raúl Quintanilla + Regina Galindo + Reinier Leiva + Ricardo Elías + Rolando Castellón + Rolando Faba + Ronald Morán + Santiago Mayo+ Sayuri Guzmán + Soledad Sevilla + Tania Bruguera + TEOR/éTICA +Virgilio Viéitez + Walterio Iraheta +Wifredo Lam

Home Sweet Home
International Performance and Video Festival

July 7-9, 2010

Werkstatt der Kulturen
Wissmannstraße 32
12049 Berlin

Tel. 030 - 60 97 70-0
Fax 030 - 60 97 70-13

U7 / U8 Herrmannplatz

This video program includes selections by different curators from several organizations:
Monica Aggio & P60 (Italy / Netherlands)
Johnny Amore (open call selection - Germany)
Juan Ramon Barbancho (Videoartworld - Spain)

INTRANSITos - Alejandra Borja / Jana Taube (Germany)
Luis Renato Hermosilla (Chile)
Federica Matelli (Liminal B - Italy / Spain)
Imma Prieto (Universitat de Girona - Spain)

Juan Ramon Barbancho’s selection will be screened on Sunday, July 10th, 5 PM. This selection includes works by:
1 Enrique Ramírez, Chile : Brises 12’ 40’’ (2008)
2 Jean-Gabriel Periot, France / Frankreich: Nijuman No Borei (2007)
3 Nicolás Dumit Estévez, Dominican Republic, USA / Dominikanische Republik, USA : Love is blind/ Liebe ist blind, 4’ (2003)
4 Felix Fernández: Planta 23 / 23rd Floor, 3' 45"
For more information visit: http://www.glogauair.net/programmehsh.htm



8. Mitzi Humphrey, FF Alumn, at art6 Gallery, Richmond, VA, opening July 2

FF Alumn Mitzi Humphrey is exhibiting in UNBOUND, an altered-book art show for which participating artists have transformed old, discarded books into art. The selected entries are on exhibit in the upstairs Skylight Gallery of art6 Gallery, 6 East Broad Street, Richmond, Virginia 23219, with an opening reception 6 – 10 pm on First Friday, July 2. The show continues through July 30. Participating artists are Henrietta Near, Jane Ware, Bobby Jacobs, Eileen Abbott, Morgan Jacobs, Rosemary Jesionowski, Jacob Urbanski, Keithley Pierce, Mike Dulin, Sophia M. Gardner, Ronnie Taylor, and Siddartha Pierce.

Showing concurrently with UNBOUND is WORN AGAIN, an annual juried extravaganza recycling event in which fashion designers are given a bag of discarded clothing and asked to transform the contents into recycled fashions. This year the designs will be modeled on a runway which will be built in the Main Gallery at art6 for this exciting First Friday exhibition. The WORN AGAIN fashion show will run continuously through the evening of July 2, 7-10 pm, and subsequently will be displayed throughout the Main Gallery of art6 for the remainder of the month. For further information call the gallery at 804-794-8778. Many of the books and fashions for UNBOUND and WORN AGAIN will be sold or auctioned to benefit both art6 Gallery and Books on Wheels. Books on Wheels is a nonprofit bus which distributes used books throughout Richmond and repairs bicycles for free.



9. John Baldessari, FF Alumn, at LA County Museum of Art, thru Sept. 12

John Baldessari: Pure Beauty
June 27 – September 12, 2010

Los Angeles County Museum of Art (LACMA)
5905 Wilshire Blvd
Los Angeles, CA 90036

First U.S. retrospective of artist's work in twenty years

The Los Angeles County Museum of Art (LACMA) presents John Baldessari: Pure Beauty, the most extensive retrospective to date of Los Angeles-based artist John Baldessari (b. 1931), on view June 27 to September 12, 2010. Organized by LACMA in association with Tate Modern, the exhibition will bring together more than 150 works and examine the principal concerns of Baldessari, who is widely regarded as one of the most important artists working today. LACMA's presentation will be the only West Coast showing and feature the greatest number of works of any venue on the show's major international tour.

Over the years, John Baldessari has collaborated with LACMA on a number of projects, including the unique installation design for the 2006 exhibition Magritte and Contemporary Art: The Treachery of Images, where he turned the galleries topsy-turvy, most memorably placing Magritte-inspired cloud carpet on the floor and papering the ceiling with freeway images. In December 2007, LACMA debuted its new logo, designed by the firm 2X4 in collaboration with Baldessari, using an image with a pencil and palm tree originally made by the artist in the 1960s. Baldessari also contributed the inaugural work to adorn the Wilshire Boulevard façade of the Broad Contemporary Art Museum (BCAM) when the building opened in February 2008. And most recently, in conjunction with Pure Beauty, he has created new banners for the Wilshire façade of BCAM, featuring a giant nose and ear—themes commonly seen in his work.

Made possible by Bank of America

This exhibition was organized by the Los Angeles County Museum of Art in association with Tate Modern, London.

Additional support for the Los Angeles presentation was provided by LACMA's Wallis Annenberg Director's Endowment Fund and the Jamie and Steve Tisch Foundation Inc.

The exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.

In-kind media support was provided by KCRW.



10. Deirdre Lawrence, FF Member, at Central Booking, Brooklyn, June 30

And now for the final special event of the season,
an informal informative talk for those curious about artist's books and collecting policy
Wednesday, June 30, 6:30pm

Deirdre Lawrence
Artists books: what is collected by the Brooklyn Museum?

Deirdre Lawrence, the Brooklyn Museum's Curator of Artists' Books, will talk about several artist’s books on view in Gallery I: Irene’s Wing at CENTRAL BOOKING that are also part of the extensive Brooklyn Museum Library Artists' Book Collection. Among the topics to be discussed are how the books fit into the Museum's collection, various forms the artist book can take and the museum’s selection process. As an added treat, Miriam Schaer whose work is represented both at the Brooklyn Museum and at CENTRAL BOOKING, will be present.

Deirdre Lawrence has been the Principal Librarian at the Brooklyn Museum since late 1983. Before coming to the Brooklyn Museum, she was Associate Librarian at the Museum of Fine Arts in Boston. Lawrence oversees the Museum's research collections including two libraries and the archives. She is the Curator of the Brooklyn Museum's artists' book collection and has written and lectured about it extensively. She has curated several exhibitions including the Artist’s Book exhibition held at the Brooklyn Museum in 2000. She is a visiting professor at Pratt’s School of Information and Library Science and serves as a board member at the Center for Book Arts in New York.

$5 admission

Support Central Booking, make your tax deductible contribution today

Premiere Issue of Central Booking Magazine now available, purchase today http://centralbookingnyc.com/?page_id=88

Maddy Rosenberg
Executive Director/Curator

March 4- May 2, 2010

111 Front St., Gallery 210
Brooklyn, NY 11201



11. Rachel Rosenthal, FF Alumn, at Tohubohu, Los Angeles, CA, July 9-11

Rachel Rosenthal Company's
Improvisational Theater Group
TOHUBOHU! Extreme Theater Ensemble
Features Special Guest Artist Amy Knoles With Three Performances in Los Angeles July 9 – 11, 2010

Rachel Rosenthal Company is excited to feature Guest Artist Amy Knoles, a fascinating Los Angeles new music luminary who performs experimental live electronic music, at TOHUBOHU! Extreme Theater Ensemble performances in July. The TOHUBOHU! "total free improvisation" performances featuring Knoles run Friday, Saturday and Sunday, July 9, 10 and 11, 2010. Friday and Saturday performances begin at 8:30 p.m., Sunday performances at 7:30 p.m. Tickets cost $20. Reservations are necessary to insure seats and can be made online via Brown Paper Tickets at www.rachelrosenthal.org or www.brownpapertickets.com/event/89856. The Rachel Rosenthal Company’s venue, Espace DbD, is located at 2847 South Robertson Boulevard, Los Angeles, CA 90034. Street parking is available.

Knoles and Rachel Rosenthal have been friends and collaborators for many years. Knoles collaborated on Rosenthal's final full-length solo piece UR-BOOR. She also scored Rosenthal's 60-performer piece "Zone" at the UCLA Center for the Performing Arts, as well as performed live with Rosenthal in "Pangaean Dreams," "Timepiece," and "The Unexpurgated Virgin" throughout the US and Europe. As a TOHUBOHU! guest artist, Knoles will be integrated into The Ensemble as she performs her unique electronic music live.

Amy Knoles
Multimedia Artist/Percussionist/Composer Amy Knoles tours globally as a soloist, performing computer-assisted live electronic music with electronic percussion controllers and linear/interactive video. Knoles is the executive director of the California E.A.R. Unit, an internationally renowned contemporary chamber ensemble that performs electro acoustic and live interactive computer music. She also works with Natural Plastic, Kronos Quartet, Squint, the Paul Dresher Ensemble, Collage Dance Theater, the Los Angeles Philharmonic New Music Group, Ensemble Modern of Frankfurt, The Bang On A Can All Stars, and Basso Bongo. Knoles has worked with John Cage, Elliott Carter, Morton Feldman, Louis Andriessen, Don Preston, Frank Zappa, Morton Subotnick, Steve Reich, Tod Machover, Flea, Quincy Jones, Milton Babbitt, Charles Wournien, M. Kagel, John Luther Adams, John Adams, and many others.

She has recorded nearly 30 CDs of new music. Past commissions include works for the J. Paul Getty Museum, Collage Dance Theater, Vicki Ray, and Rosenthal. Knoles has received honors from organizations such as UNESCO, C.O.L.A, Durfee, and The Music Center of Los Angeles. She has also headlined at numerous international festivals. Her music has been described as "frightening beauty, fascinating, complex." (NPR) And the Los Angeles Times declared Knoles "Los Angeles' new music luminary, infinitely variable, infinitely fascinating."

The Rachel Rosenthal Company’s TOHUBOHU! Extreme Theater Ensemble, the latest offering in the 83-year-old Rachel 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, music, lighting, and sets into seismic experiences. This genre of work, total free improvisation, is completely unique. The name "tohubohu" (from ancient Hebrew), 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. 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.

"The evening is almost like a spiritual or religious experience, with Rachel Rosenthal as your shaman, guiding not only the performers in their quest, but the audience as well. The seating is limited, with only 35 patrons per performance, and the experience is quite intimate. It felt as if the audience was a voyeur, a nearly invisible yet necessary element in the progress of an incredibly talented corps of dedicated performers. TOHUBOHU! realizes what many scripted performances attempt yet fail at achieving; it poignantly deconstructs the human condition, and awakens the audience to confront their own place within it." (Thomas Hampton Reviews)

Rachel Rosenthal Company members include visual artists, dancers, aerialists, a Cake Diva, and the operator of the Tyrannosaurus Rex model at the Natural History Museum, among others. To read more about TOHUBOHU! from a previous Green Galactic press release, see: www.greengalactic.com/2010/rachel-rosenthal-tohubohu/

(pic of Rachel)
Rachel Rosenthal
Rachel Rosenthal, a leading figure from the Southern California arts movement in the 1960s, 1970s and 1980s, has been inspiring audiences for decades. Born into an affluent Russian-Jewish family in Paris, Rosenthal’s father, Léonard Rosenthal, was a gem merchant widely known as "The King of Pearls." During World War II, her family escaped France, moving to Rio de Janeiro by way of Portugal. After losing his material wealth to the Nazi’s, her father had to start over at age 65. In 1941, the family left Brazil to settle in New York where Rosenthal graduated from the High School of Music and Art and became a US citizen.

She studied art, theater and dance in Paris and New York after the war with such teachers as Hans Hoffmann, Erwin Piscator, and Jean-Louis Barrault. Her circle included Robert Rauschenberg, Jasper Johns, Merce Cunningham, and John Cage, whose Zen sensibility informed and influenced Rosenthal’s aesthetic. With this foundation, she moved West and began her theatrical career in Los Angeles in the mid-1950s as artistic director and performer for the ten-year run of the totally improvised and influential underground Instant Theatre which created pieces that drew upon notions of chance.

Rosenthal has presented over 40 of her own original performance pieces – thought provoking works centered on humanity’s place on the planet. According to Artweek Magazine, "Rosenthal defines what differentiates quality performance art from mundane theatrical exercise … she took us into her reality, and for that brief and precious moment, she altered our vision of the world. This is what great art can and should do."

Rosenthal has performed in over 100 venues around the world including documenta 8 in Kassel, Germany, The Helsinki Festival, ICA London, The Performance Space in Sydney, The Whitney Museum in New York City, and Museum of Contemporary Art here in Los Angeles. The Pompidou Centre recently included her in its 2006 show Los Angeles 1955-1985. Her pioneering performances have earned Obie, Rockefeller, Getty, NEA and CAA awards, among others.

In 1999, Rosenthal received an Honorary Doctorate from the School of the Art Institute of Chicago; and in 2000 she was honored by the City of Los Angeles as a "Living Cultural Treasure of Los Angeles." Critics have called her "a monument and a marvel" and Richard Schechner, editor of The Drama Review (TDR), put Rosenthal into the same category as Robert Wilson, Ping Chong, Richard Foreman, Meredith Monk, and Laurie Anderson.

She opened her studio, Espace DbD, on Robertson Boulevard in Los Angeles in 1980. From 1980 to 1983, Rosenthal presented performances by many emerging and established performance artists including Barbara Smith, Eleanor Antin, Cheri Gaulke, Alan Kaprow, John White, Joyce Cutler Shaw, Tom Jenkins, Stelarc, and many others. Rosenthal founded The Rachel Rosenthal Company as an educational non-profit arts organization in 1989.

"Rosenthal’s TOHUBOHU! may be the actualization of the best of Artaud’s intentions. Surely anyone who witnesses the improvised creation of this unique ephemeral art will indeed be connected with something deep and true within themselves." (Whitehot Magazine)

For more information, to get on the press list for an upcoming TOHUBOHU! performance, photos, or to arrange an interview, please contact Green Galactic’s Lynn Hasty at 213.840.1201 andlynn@greengalactic.com



12. Jenny Holzer, FF Alumn, at DHC/ART Foundation for Contemporary Art, Montreal, Canada, June 30-Nov. 14

Jenny Holzer at DHC/ART Foundation for Contemporary Art, Montreal
DHC/ART Foundation for Contemporary Art
DHC/ART Foundation for Contemporary Art
451 S-Jean
H2Y 2R5 Montreal

June 30th - November 14th, 2010
Opening Hours:
Wed - Fri/ noon to 7 pm
Sat-Sun/ 11 am to 6 pm
Free admittance

For more than thirty years, Jenny Holzer's work has paired text and installation to examine personal and social realities. In this exhibition, which centers on her work from the mid-1990s to the present, Holzer fuses political comment with formal beauty. Using language as her principal medium – either printed on posters and T-shirts or scrolling on LED (light-emitting-diode) displays – Jenny Holzer's text-based art provides a range of opinions and voices while addressing the interplay between the public and the private. Appearing in both museum exhibitions and more anonymously in the public realm, her work is also presented as dematerialized and somberly majestic nighttime projections on buildings and in natural settings, including crashing ocean waves.

Part oracle and part provocateur, the viewer must sort the profound from the prattle in Jenny Holzer's texts. Her incisive and premonitory pronouncements, which are condensed, filtered or distilled from the culture at large, bear witness to social and interpersonal conflict, the body politic and the body, while relentlessly exposing the machinations of the military/commercial/entertainment complex.

Her analysis continues in the presentation at DHC/ART with recent LED works and silkscreen paintings based on declassified US documents and the US-led invasion of Iraq. Using transcripts of policy debates, as well as testimonies of American soldiers and detainees in US custody, the exhibition features Redaction paintings, which refer to documents government censors have partially or totally blacked out – redacted – because the subject matter was deemed too sensitive for public consumption



13. Laurie Anderson, FF Alumn, in the New York Times, June 22

The New York Times
June 22, 2010
Electronic Expressions in the Service of the Soul

LAURIE ANDERSON was home for a few hours last month — a rare occurrence. This musician and multi-media artist had returned from Poland, where she performed improvised music with the saxophonist and composer John Zorn and the bassist Bill Laswell. Soon she would be off to Iceland for a solo recital, and then to Australia, where she was a curator of the Vivid Live arts festival in Sydney with her husband, Lou Reed. In addition to retrospective and work-in-progress performances she would introduce a video installation and give a high-frequency outdoor concert composed primarily for an audience of dogs. (It was apparently a hit.)

Consequently her TriBeCa loft — her base of operations since 1975 — was a hive of activity, including a conference about a coming museum installation in Brazil and various promotional tasks surrounding the release of "Homeland," her first album of new material in nearly 10 years. Thirty-some years into a career that began on the fringes of the downtown avant-garde scene, Ms. Anderson, 63, is more prolific than ever and, together with Mr. Reed, has ascended to New York art-world royalty. The two were even queen and king of this year’s Mermaid Parade at Coney Island.

At the moment Ms. Anderson — dressed in a dark plaid shirt and loose, cement-colored pants — was still thinking about Poland. Before her show there she visited Majdanek, a former Nazi concentration camp, with Mr. Zorn. "It was a devastating trip," she said in her home studio, which overlooks the ruins of a Hudson River pier. "Zorn and I spent two hours crying after walking through this thing, and just couldn’t stop crying."

It’s an understandable response, yet slightly surprising to hear coming from Ms. Anderson, whose work often considers the horrors and follies of humanity from a cool, more detached perspective. Her signature song, the left-field 1981 new-wave hit "O Superman," conflated maternal succor with the psychology of the modern corporate state using electronically processed verse. "So hold me, Mom, in your long arms," Ms. Anderson sang, "Your petrochemical arms/Your military arms."

"Homeland" similarly twists together ideas of the personal and political, beginning with the title, a word that has acquired ominous overtones in the shadow of Sept. 11.
"It’s a very cold, bureaucratic word," Ms. Anderson said. "No one I know would say ‘my homeland.’ " She notes its recent pairing with the word "security," which she contends "is not about security, really, but more about control. The phrase doesn’t make anyone feel particularly safe, does it?"

Sociology of language notwithstanding, "Homeland" may be the most frankly emotional record Ms. Anderson has ever made. The work is dedicated to her parents, and the mood veers between degrees of darkness. The lead track, "Transitory Life," begins with a yarn spinner’s sly indictment — "It’s a good time for bankers, and winners, and sailors" — then segues into a more intimate voice, describing the funeral of a grandmother who "lies there in her shiny black coffin looks just like a piano." The music is shaped by a stark, mournful viola line played by Eyvind Kang, and a pair of igils — horse-head fiddles — played by members of Chirgilchin, a Tuvan traditional group Ms. Anderson has performed with. "The Lake" and "The Beginning of Memory" are slowly unfolding songs that each refer to the death of a father.

But the sense of loss on "Homeland" goes beyond family. "Dark Time in the Revolution" tries to square modern-day America with the nation Tom Paine was defining when he wrote "Common Sense." "You thought there were things that had disappeared forever/Things from the Middle Ages/Beheadings and hangings and people in cages," Ms. Anderson intones over Joey Baron’s inexorable tom-tom rolls. "And suddenly they’re alright welcome to the American night."

For the record’s 11-minute centerpiece, "Another Day in America," Ms. Anderson uses a vocal processor to assume a male persona, a trick she first used in 1978 as M.C. of a tribute to the writer William S. Burroughs. She referred to the character as "the Voice of Authority" back then. Now he’s aged and acquired a name — Fenway Bergamot — coined by Mr. Reed. "He got melancholic and got a personality somehow," Ms. Anderson said. His semi-robotic voice is strangely emotive. As modern pop singers regularly alter their voice with AutoTune and other effects, "Another Day in America" suggests creative roads not taken.

In the song Bergamot (who has his own Facebook page) ponders the future in a discursive monologue adding a direct address to God. "Ah, America," he says through Ms. Anderson and her electronics. "We saw it, we tipped it over, and then we sold it." In a nice conceptual touch the gender-bending vocalist Antony (Antony Hegarty of Antony and the Johnsons) adds ghostly vocals in the background.

If sadness and loss is the primary tone of "Homeland"; there’s also anger. "Only an Expert" features beats by the British electronic musician Kieran Hebdan (who also records as Four Tet) and eviscerating electric guitar by Mr. Reed. Speaking rapidly and with unusual specificity Ms. Anderson riffs on climate change, the banking crisis, the war in Iraq and civil rights post-9/11.

"It came out of frustration from living in this Oprah Winfrey culture where everything is done for you and people are just infantilized," she said. "I mean, that show is based on the premise that there’s something wrong with you. There’s nothing wrong with you. You’re just a human being. It’s not easy being a human being."

While the recording has an organic feel, "Homeland" is a digital collage of live material — recorded during a lengthy tour of improvised storytelling — and home recordings. When Ms. Anderson finally began assembling the album, she faced an overwhelming amount of data.

"I was staring at like a million sound files, trying to fit together pieces from different songs, different years," she said. "I thought I was going to lose my mind. I was going to give up, and I was kind of crying about it every day. Lou got a little sick of hearing this. So he finally said, "Listen, I’m going to sit with you until you finish it.’ "

And Mr. Reed did, sitting on the studio couch and helping her make ruthless, don’t-look-back decisions. "I think this record is the fruition of everything from her prior records and experiences and thoughts, they all came together in this one," he said in a promotional interview for the record. "She’s a mature artist. There’s a lot of things she can show you."

As an experimental pop pioneer Ms. Anderson is a model for young musicians, even if her themes can set her apart from art-rock’s new school. "I think most young musicians are shying away from that kind of political, global perspective," Mr. Hegarty said. "Their songs are like little gardens of the personal. People aren’t engaging in a wider dialogue about what we’re doing, and what our relationship is to this massive system that we’re part of. Laurie has always done that."

That may be one reason for Ms. Anderson’s appeal abroad. Fergus Linehan, a producer of the Vivid Live festival, which Ms. Anderson and Mr. Reed organized at the Sydney Opera House, said her international resonance was part of her appeal as a curator. "The purpose of the festival is to look at artists who have had a far-reaching influence," he said. "And in addition to their own work it was about what their fascinations were. Laurie is perfect. She wanders into so many different areas."

Ms. Anderson will find time for her hometown in the coming months. She performs songs from "Homeland" at Le Poisson Rouge on July 13. And in September she will open the Next Wave Festival at the Brooklyn Academy of Music, a longtime supporter of her work, with a 12-night run of a new piece titled "Delusion."

The Brooklyn singer Shara Worden, a fan and occasional collaborator of Ms. Anderson’s who also performs as My Brightest Diamond, found the recent Sydney performance of "Delusion" tremendously moving. "I think it makes you ask yourself whether you really love people, and what is it that prevents you from loving them more fully," Ms. Worden said in a phone interview. "It’s extremely honest in a way that I found very challenging. I went home and had one of those moments where you take a hard look at yourself, and then thank the artist for making you take a hard look at yourself."

But between now and Ms. Anderson’s Brooklyn run, there will be plenty of traveling, as she brings her mixed-media storytelling around the world, a 21st-century griot with an iPad.
As Mr. Reed put it: "What she does is overwhelmingly beautiful. In a more enlightened age, they’d build a statue to her."



14. Vito Acconci, Carl Andre, John Baldessari, Darra Birnbaum, Simone Forti, David Hammons, Jenny Holzer, Joan Jonas, Paul McCarthy, Robert Morris, Yoko Ono, Yvonne Rainer, Martha Rosler, Carolee Schneemann, Richard Serra, Andy Warhol, and Hannah Wilke, FF Alumns, at The Whitney Museum of American Art, Manhattan, July 1-September 19

Off the Wall
July 1 – September 19, 2010

Whitney Museum of American Art
945 Madison Avenue at 75th Street
New York, NY
The Whitney Museum of American Art presents Off the Wall, a two-part exhibition that brings together thirty performative actions by artists, in works made from 1946 to the present, and seven iconic works by Trisha Brown.

Part I: Thirty Performative Actions
On view from July 1 – September 19, Off the Wall: Thirty Performative Actions, focuses on actions using the body in live performance, in front of the camera, or in relation to a photograph or a drawing. Each action displaces the site of the artwork from an object to the body, acting in relation to, or directly onto, the physical space of the gallery. The wall and floor are often the stage for these actions: walking on the wall, slamming a door, gathering sawdust up from the studio floor, slapping hands against the wall, walking on a painting, striding and crawling, writing or drawing on the wall and the floor, or performing a striptease. The actions include re-performances of iconic early works by John Baldessari (I Will Not Make Any More Boring Art, (1971) and Yoko Ono (Painting to be Stepped On, (1961), realized by Nate Lowman), as well as recent works by young artists including Dara Friedman and Trisha Donnelly, and David Hammons’ video installation Phat Feet, in which the sidewalk of the Bowery in downtown New York City becomes the stage.

Also included are works by Vito Acconci, Carl Andre, Jonathan Borofsky, John Coplans, David Hammons, Joan Jonas, Paul McCarthy, Robert Morris, Bruce Nauman, Dennis Oppenheim, David Salle, Lucas Samaras, Richard Serra, and Andy Warhol. The use of the performative action by women to challenge male definitions of the body can be seen in works by Jenny Holzer, Dara Birnbaum, Martha Rosler, Hannah Wilke, Francesca Woodman, Carrie Mae Weems and Carolee Schneemann. The unprecedented crossover between dance and performance that occurred in the 1970s can also be seen in works by Trisha Brown, Yvonne Rainer, Maya Deren, Simone Forti, and Nauman.

The exhibition includes a number of works that reveal the underlying theatricality of the performative action, and the ways in which artists stage the self in images that question conventions of identity, gender, and perceptions of the body. In the work of artists including Laurie Simmons, Robert Longo, Cindy Sherman, Tony Oursler and Sonic Youth, Francesca Woodman, Jimmy DeSana, David Wojnarowicz, Peter Hujar, Jack Pierson, Lyle Ashton Harris and Robert Mapplethorpe, the camera replaces the white cube of the gallery as the stage upon which action occurs.

Part 1 is curated by Chrissie Iles, the Whitney’s Anne & Joel Ehrenkranz Curator.



15. Javier Tellez, Julie Tolentino FF Alumns, receive Art Matters grant 2010

Art Matters Announces 2010 Grantees
Posted by Andy on June 28, 2010 • Leave a Comment
Art Matters, the innovative nonprofit foundation, is pleased to announce 26 grants ranging in amounts of 3,000 USD to 10,000 USD to artists focusing on communication and collaboration across national borders. Two of this year’s recipients, Javier Tellez and Julie Tolentino, are FF Alumns,

Javier Téllez
Support for a video installation in collaboration with patients at Miguel Bormbarda Psychiatric Hospital in Lisbon.

Julie Tolentino
Support for the project YOUR UNTITLED MARK (upon me), in which the artist and video collaborator Stosh Fila create live portraiture with five queer/trans artists in Manila, Philippines.



16. Bill Beirne, FF Alumn, now online

Please follow the following link to see image from performance recently completed in Ireland.


b well,




17. Ben Kinmont, FF Alumn, at Betonsalon, Paris, France

TALK with Ben Kinmont
Tuesday 29, at 7pm at Bétonsalon
This seminar will be held in English

« I am very interested in the possibilities and limitations of helping others in an art practice. When moving outside of the gallery or museum and into a public realm where value structures and needs differ, artists attempt to address an urgent need to broaden the cultural discourse by incorporating an exchange of values and information with people not usually included in the art discourse. This decentralization away from the art world and market is often accompanied by a (sometimes utopian) desire to help the situation of others in a way that is not being addressed by art institutions. »Extract from Ben Kinmont’s project The Digger Dug (part one) 2004, Air de Paris.

Ben Kinmont looks at interpersonal communication as a means of addressing the problems of contemporary society. His sculptures and actions attempt to establish a direct, personal relationship between the artist and the viewer, using the work as mediator. Ben Kinmont has used the term "Third Sculpture" since 1988 to describe his work out on the street and in stranger's homes. He explores the way art can function in the social sphere but also within various notions of value and exchange. In his curatorial project « The materialization of Life into alternative economies » (1996) he brought together several artists working with different notions of economy and distribution. My reasons were to offer another reading of Lippard's idea of conceptual art as a dematerialization of the art object and, instead, suggest that perhaps, for some, it was actually not so much about the art object but about life, about a materialization of life." One of his recent projects includes On becoming something else (2009) and was presented at the Pompidou and in different Parisian restaurants.

9 esplanade Pierre Vidal-Naquet
Rez-de-Chaussée de la Halle aux Farines
13ème arrondissement à Paris

12 Gestures
This seminar is the result of a discussion between The Public School, which opened at Bétonsalon in September 2009 and a project initiated by the Kadist Art Foundation's philanthropic and artistic branches bringing together an artist and an NGO. Conceived as a series of interventions programmed over one year, this seminar focuses on artistic practices developed in a close relationship with a context, a community and question what we call « social practice » in the field of art.The seminar will present experiences, which keep questioning the role of the artist, curator or art centre outside of mere exhibition making, when artists work in a collaborative, process-oriented and discursive approach, sometimes borrowing its methodologies from other disciplines. We would rather use the term 'gesture' than 'action' since these projects are often modest and very local; they address the complexity of a society taking into account subjectivities and raising political questions, meaning « revealing the presence, behind a given situation, of forces that were hidden until then » (Bruno Latour, Changer de société, refaire de la sociologie).

For more info:http://paris.ecolepublique.org/http://www.betonsalon.net/http://www.kadist.org/

Kadist Art Foundation is a private foundation initiated in 2001. It is dedicated to promoting contemporary art through the constitution of an art collection and the organization of exhibitions and residencies in its space in Paris. Kadist's intention is to be actively involved in the promotion and international dimension of contemporary art. By means of these various programs, Kadist manifests its support to a group of artists who define together its artistic identity.

Kadist Art Foundation
19 bis-21 rue des Trois Frères
F-75018 Paris
Tél. +33 1 42 51 83 49




18. Dread Scott, FF Alumn, now online at http://dreadscott.net/Money-to-burn.html

I've posted the video on Vimeo and YouTube. You can view it on my site at:
Or you can go directly to:



Goings On is compiled weekly by Harley Spiller

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