2019 | 2018 | 2017 | 2016 | 2015 | 2014 | 2013 | 2012 | 2011 | 2010 | 2009 | 2008 | 2007 | 2006 | 2005 | 2004 | 2003 | 2002

ABOUT GOINGS ON: How to subscribe and submit listings

Contents for June 30, 2010
1. Yoshiko Chuma, FF Alumn, at LentSpace, Manhattan, July 7-8
2. Barbara Rosenthal, FF Alumn, in Berlin, Germany, July 8-9
3. Nicole Eisenman, David Hammons, William Pope.L, FF Alumns, in The New York Times, July 1
4. Doug Beube, George Shortess, Ed Ruscha, Andy Warhol, FF Alumns, at Center for Book Arts, Manhattan, opening July 7, and more
5. Paul Lamarre, Melissa Wolfe, FF Alumns, at Eidia House, Brooklyn, July 9
6. Lynn Book, FF Alumn, in Ptuj, Slovenia, July 20-Aug. 31, and more
7. Janine Gordon, FF Alumn, at Museum of Contemporary Art, Denver, CO, thru September 13
8. China Blue, Raul Zamudio, FF Alumns, at White Box, Manhattan, opening July 8
9. Vernita Nemec, FF Alumn, at Purelight Gallery, Turners Falls, MA, July 17
10. Diana Heise, FF Alumn, at Soho 20 Chelsea Gallery, Manhattan, opening July 22

1. Yoshiko Chuma, FF Alumn, at LentSpace, Manhattan, July 7-8

YOSHIKO CHUMA & THE SCHOOL OF HARD KNOCKS (Wednesday and Thursday July 7, 8) The parade of Sitelines premieres continues with Ms. Chuma’s "A-C-E One," which will inaugurate the Lower Manhattan Cultural Council’s outdoor LentSpace. The evening-length work includes a commissioned score for a live brass quartet by John King. At 5:30 and 7:30 p.m., LentSpace, northwest corner of Canal and Sullivan Streets , TriBeCa, (212) 219-9401, lmcc.net/sitelines; free



2. Barbara Rosenthal, FF Alumn, in Berlin, Germany, July 8-9

Berlin International Arts & Culture Association invites you to two special events, this coming week,
with New York artist and writer, Barbara Rosenthal:

Thursday, 8th of July
"Barbara Rosenthal: Existential Flight"
Brunnenstrasse 43
(U: Bernauer)
+49 (0) 1512-669-4548 (English)
+49 (0) 1633-923-721 (Deutsch & Finnish)
Thursday, 8th of July
16:00-21:00 exhibition
21:00-22:00 reception
22:00 video screening

One of the most pervasive themes in Barbara Rosenthal's iconography is flight. This is most apparent as freedom in the air, such as in her portfolio of surreal photographs "Free Birds", but sometimes as escape, often escape through death, such as in her idiosyncratic photo-book-objects "Angel Doll Volume" and "Fly Paper Book."

Morgenvogle "Real Estate" is an art-space whose focus is flying objects, winged creatures, and their homes and habitats. As such, on July 8th, we will exhibit the above three works, plus some photographs from Rosenthal's other surreal photography portfolios "Tiny Houses," "Enchanted Forests", and "Sinister Landscapes" along with a video installation of her "Fly Bus into Finland" and "Bird Rescue."

After a small reception and informal conversation with the artist at 9pm, we will screen a DVD projection of her 63-minute composite of English/German/Yiddish image/text short videos, "Existential Word Play."


Friday, 9th of July--Lettrtage: Das junge Literaturhaus in Berlin
"Das Tagebuch gibt mir Ideen" ("The Journal Gives Me Ideas")

Methfesselstr. 23-25
10965 Berlin-Kreuzberg
(U: Merringdam)
01512-669-4548 (English)
030.692.45.38 (Deutsch)
info@lettretage.de (fur programme im Deutsch)
Friday, 9th of July
17:30-19:30 Prologue (Audio CD + Projections)
19:30-20:30 Main Idea (Reading with Projections)
21:30-21:30 Afterword (Discussion and Audience Journal Game)

Live and audio reading performance with photo-projections from Journal-based books Sensations, Homo Futurus, and Soul & Psyche and the forthcoming Performance & Persona. plus discussion with the author about how keeping a journal leads to ideas in fiction and art, showing projected pages from her own Journals, and a game to generate fiction from any tagebuch anyone in the audience might bring.

Barbara Rosenthal is an avant-garde artist and writer who produces idiosyncratic combinations of words, communicative sounds, and pictures. Her artist's books are in the collections of MoMA, Whitney, Tate, and Berlin Kunstbibliotek. This season she has represented the United States in Performance Art at Tina B.: Prague Contemporary Art Festival, and in Text-Based Art at the festival's sister-city, Padua. Four of her books of photographs, short stories, and journal-text have been published by Visual Studies Workshop Press, and a fifth is forthcoming in January, 2012. Her existential work investigates the relationship between an

artist's psyche and the outer world.

More info:
More info:



3. Nicole Eisenman, David Hammons, William Pope.L, FF Alumns, in The New York Times, July 1

The New York Times, July 1, 2010
Art? Life? Must We Choose?
ANNANDALE-ON-HUDSON, N.Y. — The Center for Curatorial Studies at Bard College here may or may not have intended a pair of summer exhibitions on view at its CCS Galleries and Hessel Museum of Art as a parable for the ideological rifts that characterize our artistic moment. But that is the combined effect of "Philippe Parreno" and "At Home/Not at Home: Works From the Collection of Martin and Rebecca Eisenberg."

On one side, in a spare, slick show of work by Mr. Parreno, a French post-Conceptualist, art objects are kept to a minimum and spectacle prevails. The presentation consists mainly of wide-open, red-carpeted spaces — nearly 10,000 square feet — punctuated by two immense video screens, each playing, in alternation, one short video. Born in 1964, Mr. Parreno has since the late 1980s been a mover and shaker in the artistic development known as relational aesthetics. In this realm, artist-orchestrated social exchanges, situations and communal experiences are generally preferred to art objects, which are seen at best as optional — props whose formal qualities are almost beside the point — and at worst terminally corrupt in their role as art-market commodities.

On the other side, in the Eisenberg exhibition, art objects are rampant, domestic in scale and often overtly handmade. The show — which has been selected and expertly if rather too densely installed by Matthew Higgs, director of the Manhattan alternative space White Columns — presents around 150 works by 106 artists, most of them dating from the last decade. Painting, sculpture, photography and their hybrids and derivatives dominate here, along with various forms of drawing and a couple of videos.

Seen together, these shows seem to argue about a familiar litany of issues: Is making art objects regressive? Does making work that sells amount to selling out? How valid is self-expression in art? Is there nothing left to do but appropriate, restage and rearrange? Has art become primarily a mirror of larger contexts, whether social, historical or architectural?

Luckily art is more about questions than answers, and in any case cultural clash is always invigorating — especially if it reduces the penchant for simple dualities and oppositions. What at first appears to be an either-or choice in these two shows starts to blur once you spend time with them, as the underlying messiness of both art and life seeps through.

Mr. Parreno’s exhibition, characterized as a retrospective, originated at the Centre Pompidou in Paris. It seems to have progressively slimmed down and also to have been continually rethought by the artist as it moved on to London and then Dublin and then here, for its fourth and final "iteration." This one, which has been overseen by Maria Lind, who was until recently the director of the graduate program at the center, unfortunately will not teach the uninitiated much about Mr. Parreno’s art. But the two videos, separated by nine years, nevertheless trace what may be the essential trajectory of his development, from hermetic and dryly cerebral to less hermetic and more accessible and emotionally layered.

The first, "Anywhere Out of the World" (2000), stars Annlee, a female character. Mr. Parreno and the artist Pierre Huyghe purchased the rights to use Annlee from a Japanese Manga agency and then made the character available to other artists to work with. (The arrangement has a slightly sordid comfort-woman tinge, even if one or two of the artists were women.) Like a flatter and less compelling version of the androids in "Blade Runner," Mr. Parreno’s Annlee laments her existence as "no ghost, just a shell," a vessel to be filled with narrative, but she’s as interesting as a blank canvas.

After her video ends, the second screen shifts into action that is much closer to reality, and to life, with "June 8, 1968" (2009). In lush color and alternating waves of tumultuous sound and windblown quiet, this film piece restages scenes from the summer day when thousands of people gathered along the railroad tracks to pay last respects as the train carrying Robert F. Kennedy’s body made its way from New York to Washington for burial. The scenes are closely based on photographs taken by Paul Fusco, a photojournalist who was aboard the train and show Americans of different ages, races and demographics in settings variously pastoral, banal and gritty.

"June 8, 1968" imbues the past with the familiar mediated immediacy of live television, creating memories unfamiliar even to people alive at the time, since the journey was not televised live — unlike, say, the carefully orchestrated funeral of President John F. Kennedy years earlier. Do the color, camerawork and sound — provided by a Hollywood cinematographer and sound editor — make this history real to people who were born later? Does sitting together on the red carpet watching the film provide a momentary sense of community? And does this have the weight of a substantial work or just a well-made, arted-up documentary?

The high production values and dwarfing scale of this work are hallmarks — and often pitfalls — of some of the more recent works of relational aesthetics, which are frequently made possible by enthusiastic institutional support. But here Mr. Parreno gets beyond that easy impact to achieve an emotional resonance that seems light-years away from Annlee. He may go a bit Hollywood — he has before — but he creates moments of indelible beauty and poignancy. Not the least of these is the film’s almost silent final shot, in which several people stand along the crest of a slope, isolated from one another above an enormous and gnarled tree — a sign of both endurance and vulnerability.

Across the broad, glass-fronted lobby that connects the Center for Curatorial Studies to the Hessel Museum, "At Home/Not At Home" presents a seemingly alternate universe. Mr. Higgs’s selections from more than 2,000 works by 350 artists that the New Yorkers Martin and Rebecca Eisenberg acquired over the last two decades fill no less than 17 galleries. (Mr. Eisenberg is a vice president of Bed Bath & Beyond.)

This array may seem to offer immediate respite from the high-mindedness of Mr. Parreno’s show, and yes, these pieces are commodities, among other things. They were made mostly by hand and were bought, taken home and lived with, with the proceeds of the sales going to artists as well as to galleries and their staffs (which often include other, younger, not-yet-selling artists).

But the real difference between the Parreno and Eisenberg shows is not so much nonobject versus object as public versus personal, which is a matter of scale and tone. As if to prove this point the Eisenberg show opens with an early example of relational aesthetics, but a small-scale and intimate one: Rirkrit Tiravanija’s "Untitled 1993 (shall we dance)," which consists of turntable and record that visitors can play, waltzing to the Rodgers and Hammerstein song from the album (vinyl) of "The King and I." Also in the first gallery is a cohort of five puppets commissioned by Mr. Parreno and Mr. Tiravanija that portray the artists themselves, along with Mr. Huyghe; the artist Liam Gillick; and one of the group’s most vocal advocates, the critic and curator Hans Ulrich Obrist, who is now the director of the Serpentine Gallery, a noncollecting exhibition space in London. Like many puppets, they exude an inanely cheerful self-satisfaction.

While Mr. Higgs has presented many impressive exhibitions at White Columns, this is his most ambitious on the East Coast. It is interesting to see him spread his wings, even if the crowding is initially off-putting. But conditions improve as you focus, moving from work to work and gallery to gallery, and you start to see that he has often made the best of some outstanding efforts by more and less familiar artists (but for a change, no meganames).

Certainly he, like the Eisenbergs, is at heart object-oriented, with a highly eclectic sense of formalism. He groups things according to medium, subject, color and texture, revealing all kinds of mutual sympathies and unexpected connections. Into a small gallery dominated by strong pieces about identity by black artists like David Hammons, Rashid Johnson and William Pope.L, he places a large, monochrome black painting by Mark Grotjahn, who is not black. He nominates Alexandra Bircken’s 2007 "Spindel" — tree branches held together by knitted squares — as an expansion on Jim Lambie’s 2000 "Psychedelicsoulstick #7," a piece of bamboo wrapped in silk thread, by placing them not side by side but in the same corner two rooms away.

In one small gallery works by Ricci Albenda, Mr. Hammons, Shinique Smith and Tony Feher meditate on black, white and transparency in circles, spheres or bulges; Gabriel Orozco demurs with a black-and-white wall piece in nylon mesh and polyurethane foam that is all angles and ooze. Another gallery might be titled More Than Photography. Here the efforts of Wolfgang Tillmans, John Stezaker, Walead Beshty, Shannon Ebner and Michaela Meise push the medium beyond its usual function as a two-dimensional record of reality, into abstraction, seriality, sculpture.

Mr. Higgs draws interesting distinctions between art involved with the figure in art history — like Matthew Monahan’s Roman-Egyptian-Michelangeloesque "Youth Fenced In," Anne Chu’s riffs on Tang ceramic statues and Nicole Eisenman’s painting "Death and the Maiden" — and more visceral evocations of the body itself, as in assemblage sculptures by John Bock and John Outterbridge. Similarly, there is abstract painting as process-oriented image — Mary Heilmann, Richard Hawkins, Josh Smith — and paintinglike abstraction in video performance, installation or wall sculpture — Alex Hubbard, Guyton/ Walker and Mr. Lambie. Everywhere there are striking juxtapostions, as with Charline Von Heyl’s weirdly foliate white on black painting and Hayley Tompkins’s even weirder wall sculpture made mostly of a branch of dried leaves.

These two exhibitions exemplify the different paths opened up by Conceptual art and its early 1970s offshoots. In tending away from art objects, Mr. Parreno’s works perpetuate the sense of historical inevitability that Conceptual art in many ways sought to overturn. In contrast, most of the artists in the Eisenberg collection are using the new freedoms unleashed in the early 1970s as a way to reinvigorate art objects. This show has a great spirit and a sense of artists operating on all cylinders in many different kinds of engines.

It some ways it is easier to sit back and enjoy Mr. Parreno’s efforts, with their streamlined confidence that history is on their side. Things are considerably messier in terms of both art and life on the Eisenberg side of the lobby. There you can only take comfort in the feeling that ultimately we never really know whose side history is on.



4. Doug Beube, George Shortess, Ed Ruscha, Andy Warhol, FF Alumns, at Center for Book Arts, Manhattan, opening July 7, and more

The Center for Book Arts
28 W 27th Street, Third Floor
New York, NY 10001
(212) 481-0295

Opening reception July 7, 2010, 6 to 8pm
This exhibition, featuring current members of CBA’s artistic community and other invited artists whose work furthers the discourse of the exhibition, focuses on how the art of cutting: pochoir (stenciling), relief printing, paper cutting, and other related techniques are used to convey content, form, text, and image. Featuring work by Noriko Ambe, Andersen M Studio (Line Andersen and Martin Andersen with Mikkel H. Ericksen/Instrument Studio), Lynne Avadenka, Bryan Baker, Katie Baldwin, Doug Beube, Sarah Bryant, Victoria Burge, Susan Goethel Campbell, Macy Chadwick, Rosemarie Chiarlone, Béatrice Coron, Andrea Deszö, Colette Fu, Anne Gilman, Rory Golden, Janet Goldner, Leilei Guo, Takuji Hamanaka, Barbara Henry, Sun Young Kang, Karen Kunc, Carole P Kunstadt, Guy Laramée, Ken Montgomery, Shervone Neckles, Jánis Nedéla, Chris Perry, Sarah Plimpton, Railsmith (Krista Peters with Aardvark Aaronson, Antony Berzack, and Veronica Ceci),Felicia Rice, Benjamin Rinehart, Gaylord Schanilec, Kenneth Schnall, Shawn Sheehy, George Shortess, Irwin Susskind, Carolyn Thompson, and Tromaroma (Febie Babyrose, Herbert Hans, and Ruddy Hatumena).

Organized by Alexander Campos, Executive Director, and Amber McMillan, Proprietor, Post Editions

Artist Talks:
Wednesday, July 21, 6:30 pm
Wednesday August 4, 6:30 pm
Also on view:
Poems & Pictures: A Renaissance in the Art of the Book (1946-1981)

Exhibitions on view through September 11, 2010.


July 9 - October 9, 2010

[Artspace] at Untitled will premier the exhibition Altered Books with an opening reception on July 9th from 5 - 8pm. On view through October 9, it will feature book art by artists from across the United States and Canada. Complimenting the exhibit will be a selection of vintage photographs from the Photographic Society of America collection featuring books. In conjunction with the show, exhibiting artist Doug Beube will give a lecture entitled Doug Beube: Biblioclast; Piercing the Veil of Knowledge in Oklahoma on July 8 at 6pm. The lecture and opening reception are both free and open to the public.

Though book making has been prevalent for centuries, book arts didn't emerge until the 1960's. Since then the field has expanded to include many practices including the production of one-of-a-kind books or book works, limited edition printed books, altered books and sculptural books.

Untitled's Altered Books exhibition will focus on the book as object in a primarily sculptural sense. Artists, Cara Barer, Doug Beube, Brian Dettmer, Linda Ekstrom, Jean Fitzgerald, Lynne Hendrick, Jennifer Khoshbin, Guy Laramee and Jacqueline Rush Lee utilize books as raw material, either independent of content or supporting it. The artists have deconstructed and reconfigured these 'objects' transforming them into something other than their utilitarian design. Through folding, carving, shredding, slicing, warping, excavating, dissecting, and stacking, each act turns the book from a container of text and illustration into an abstract form. However, even as they are cut, warped, and bound the visual remains of the book - pages, printed text and cardboard spine - remain, allowing the identification of the object's origin.

Altered Books is being curated by Elizabeth Brown, Assistant Chair and Associate Professor of Art at the College of Fine Art and Design, University of Central Oklahoma. Brown's inspiration for this exhibit came from the idea of reading form, form which at one time was a book. She states, "To take an object typically thought of as a container of information and treat it as raw material or a blank slate is simultaneously sacrilege and inspiring."

This exhibition will be open to the public Thursday and Friday 10am - 5pm and Saturday 10am - 4pm. Admission is free.

A National Exhibition of Book Art
July 11 - September 19, 2010

Sir Francis Bacon said, "Some books are to be tasted, others to be swallowed, and some few to be chewed and digested." The artists in our summer exhibition Unbound: A National Exhibition of Book Art have other ideas in mind. This show features 65 artists who tear, paint, puncture, and sew the pages, covers, and spines of books to create new two and three-dimensional works. Some of the artists recreate the book form in ceramic or fabric and others create one-of-a-kind books that pop up, fold out, or hang on the wall.

Regardless of the popularity of the electronic book, Kindle, iPad, etc., the traditional book form of paper between covers has a protected place in the hearts of readers. The book has been the body of human thought for many centuries and those who cherish the written word also cherish the book. Many artists in Unbound have produced books that are creatively hand-built and bound, while others have embraced the book as medium to repurpose its shape and content into meaningful objet d’art.

Although the work in this show is extremely diverse, the artists all seem to be borrowing the intimacy and profundity of the book into their personal works. At times the objects might be barely recognizable as book parts, but they still provoke nostalgia for those portable, private companions we love to hold in our hands. Unbound includes artworks in every media from drawing, painting, and printmaking to ceramics, photography, and video.

Bedford Gallery presents Unbound concurrently with the grand opening of the new Walnut Creek Downtown Library. The library will house several art works purchased and commissioned by the city including Christian Moeller’s Portrait in 12 Volumes of Gray, Marta Thoma’s Journey of a Bottle, and other works by Lorene Anderson, Jennifer Bain, Amy Blackstone, Catherine Courtenaye, Guy Diehl, Don Farnsworth, Sheila Ghidini, Peter Goldlust, Susie Grant, Joyce Hsu, Norie Sato, Gina Telcocci, and Peter Tonningsen. Guided tours of the library art will be offered by Bedford Gallery docents beginning in July. The Walnut Creek Downtown Library opens to the public with a celebration on Saturday, July 17th.

- Carrie Lederer, Curator of Exhibitions

This exhibition has been generously funded by a Lesher Foundation grant and Diablo Regional Arts Association. Thank you as well to our media sponsor, Contra Costa Times.

Kim Anno • Richard Baker • Kelly Ball • Cara Barer • Michael Bartalos • Tony Bellaver • Doug Beube • Squeak Carnwath • Macy Chadwick • Julie Chen • Sas Colby • Claire Dannenbaum • John DeMerritt • Carl Dern • Marie Dern • Lauren DiCioccio • Arián Dylan • Marcel Dzama • Daniel Gonzalez • Susannah Hays • Lisa Hasegawa • John Hersey • Charles Hobson • Lisa Kokin • Richard Lang • Hung Liu • David Mamet • Mary Marsh • Emily McVarish • Tucker Nichols • Abner Nolan • Catie O'Leary • Lisa Onstad • Francesca Pastine • Pamela Paulsrud • Nora Pauwels • Emily Payne • Stan Peterson • Nigel Poor • Maria Porges • Laura Raboff • Ehren Reed • Jim Rosenau • Luz Marina Ruiz • Ed Ruscha • Dickson Schneider • Ward Schumaker • Nancy Selvin • Tim Sharman • Richard Shaw • Helen Stanley • David Stein • Inez Storer • Travis Summerville • Erin Sweeney • Robert The • Peter & Donna Thomas • Andie Thrams • Jina Valentine • Andy Warhol • Allison Weiner • Gail Wight • William Wiley • Alison Yates



5. Paul Lamarre, Melissa Wolfe, FF Alumns, at Eidia House, Brooklyn, July 9

An EIDIA HOUSE project Presenting Elaine Angelopoulos
June 9 to July 9, 2010

Closing Reception Friday, July 9, 2010 6 - 8 pm

14 Dunham Place, Basement Left (street level doors) Williamsburg Brooklyn, NY 11211
646 945 3830 / eidiahouse@earthlink.net / http://www.eidia.com/ By appointment, 1-6pm Wednesday – Saturday

Eidia House announces a new exhibition initiative for 2009-2012, PLATO’S CAVE. Invited artists create an installation and an accompanying limited edition for the PLATO’S CAVE underground space at EIDIA House Studio.

The fifth artist in the series, Elaine Angelopoulos, creates an in situ installation: "Protect, Preserve, Perpetuate" and unique limited edition (of the same title). She utilizes the underground space of Plato’s Cave to mimic the surrounds of a noted SOHO gallery basement office where she has worked for over twenty years.

Angelopoulos writes of her installation:
"'Protect, Preserve, Perpetuate' is a summation of my every day functions on the job at a reputable art gallery in lower Manhattan. I focused on basic details that underscore the various persons and things that have traversed the gallery over time. A series of floor rubbings that unify all activities that left markings from the past. A selection of my papers; to do lists, forms, mementos, and snapshots formed into a gridded scrapbook of controlled performatives."

For the "Protect, Preserve, Perpetuate" edition of 15, Angelopoulos uses a vintage Arches watercolor paper (a gift from the studio of Hannah Wilke) to form a set of paper corners to secure an artwork that is absent. (contact EIDIA House for details) "Actions and embedded memories are traced, rubbed and repeated on paper into an enclosed menagerie that will potentially moisten in Plato’s Cave. Like memories, the ecology of time and space mutate the facts that remain." Angelopoulos

About Elaine Angelopoulos
Elaine Angelopoulos, an interdisciplinary performance artist living in Brooklyn, New York received her MFA from Maine College of Art in 2009, and BFA from Pratt Institute (Cum Laude) in 1987. Her areas of specialization are conceptions and productions in installation, performance, video, drawing, and painting—processed and realized through daily living.

EIDIA House Plato's Cave
14 Dunham Place, Basement Left (street level doors) Williamsburg Brooklyn, NY 11211

14 Dunham Place is only 1 block long, and located at the base of the Williamsburg Bridge, 1/2 block from Kent Ave. between Broadway and South 6th Street. (And 4 blocks west from Peter Luger -all cabbies know this restaurant on Broadway.)

Trains: the L train, first stop from Manhattan in Brooklyn at Bedford stop, walk toward Williamsburg Bridge.
The J & M trains: first stop from Manhattan over Williamsburg Bridge, Marcy stop, walk west down Broadway toward the East River.

Bus: B62 drops you at Driggs & Broadway walk to river & Q59 drops you at Wythe and Williamsburg Bridge, see online: www.mta.info/nyct/maps/busbkln.pdf

To visit the Plato’s Cave installation, Wednesday through Saturday, 1 to 6 pm by appointment please,
contact Melissa Wolf, 646 945 3830. http://www.eidia.com/ eidiahouse@earthlink.net
(Plato’s Cave will be closed July through August.)



6. Lynn Book, FF Alumn, in Ptuj, Slovenia, July 20-Aug. 31, and more

Art Stays 2010, an international festival of contemporary art
July 20 – 30: featured artist residency
July 31: concert
August 1 – 31: exhibition
Ptuj, Slovenia

Book will create a multi-faceted project about the fever of living and the actions necessary to resist death. She will activate sites through interactive performance throughout the city and build a site specific installation for the 8th annual Art Stays in Ptuj, Slovenia’s oldest city on the Drava River.

Follow the SongSpot blog to track the project’s development: http://songspot-artstays.blogspot.com/


spaces In between
An International Exhibition from Transart Collective
Aug 1 - 8: exhibition
Aug 8: concert @Tanzfabrik
Berlin, Germany
Book's installation, "REMOTE", with live and recorded audio from Vienna, will be on view followed by a solo concert of works for voice and electronics derived in part from investigations of the uncanny in varying orders of presence.




7. Janine Gordon, FF Alumn, at Museum of Contemporary Art, Denver, CO, thru September 13
Energy Effects: Art and Artifacts From the Landscape of Glorious Excess

Energy Effects: Art and Artifacts From the Landscape of Glorious Excess is a large-scale exhibition exploring the relationship between energy and aesthetic power. Expanding the definition of energy, this exhibition presents a variety of ways that creativity advocates energy expenditure. From Washington DC-based artist Jim Sanborn’s creation of a working model of the first atom-splitting particle accelerator to Buenos Aires-based Ciro Najle’s experiments in irrational engineering, this exhibition explores the power and beauty of excess energy. Energy Effects encourages visitors to re-examine their assumptions about conservation to develop a more complex view of energy use.

Exhibiting artist list: Maximilien Brice, Orly Genger, Janine Gordon, Pablo Helguera, Anne Hardy, Kcho, Gonzalo Lebrija, Viviane Le Courtois, Richard Meredith-Hardy, Ciro Najle, Martha Russo, Jim Sanborn, Ward Shelley, Jeff Shore & Jon Fisher, Don Stinson, Torolab, Steve Vaught (Fat Man Walking), and Willard Wigan. With a Titan IV rocket engine and two B61 thermonuclear weapons.

Energy Effects is presented in partnership with the 2010 Biennial of the Americas (http://www.biennialoftheamericas.org). MCA Denver is one of the Citywide Cultural partners for the Biennial, which will be a month-long celebration of the culture, ideas, and people of the Western Hemisphere. The Energy Effects exhibition is part of the special cultural programming the Biennial will offer throughout July. It also accentuates the Biennial’s themes of sustainability, innovation, and art.

Energy Effects is presented by MetLife Foundation with additional support from Scott Miller & Tim Gill, The Biennial of the Americas, and the Denver Office of Cultural Affairs.



8. China Blue, Raul Zamudio, FF Alumns, at White Box, Manhattan, opening July 8

The Waste Land is the inaugural exhibition of the Birch Forest Project series to be presented at White Box throughout the summer. The first iteration culls its title from T.S. Eliot's poem by the same name. Considered to be a milestone of twentieth-century modernist poetry, Eliot's magnum opus is written in extended verse and mines a myriad of sources creating an open-ended, literary work par excellence. The poem is used as a touchstone for a topical exhibition consisting of an array of media including painting, sculpture, work-on-paper, photography, video, and installation. One of its well known stanzas, "I will show you fear in a handful of dust," has different connotations altogether within the backdrop of ecological and cataclysmic disaster underscored in the BP oil spill, Icelandic volcanic eruptions, earthquakes and tsunamis. The Waste Land uses Eliot's poem as a foil to dovetail on social and political issues endemic to our contemporary, globalized world. Artworks, however, are not presented via conventional modes of display, but are exhibited within a simulacrum of a primeval, arbor-like environment that constitutes the Birch Forest Project.

Conceived and curated by:

Raúl Zamudio


Jaishri Achibandani
Luis Alonzo-Barkigia
China Blue
Gordon Cheung
Gabriel de la Mora
Liselot van der Heijden
Zhang Huan
Richard Humann
Ferran Martin
Tony Matelli
Damian Ontiveros
Kelly Richardson
Miguel Rodriguez Sepulveda
The Social Art Collective
Svai & Paul Stanikas
Tatyana Stepanova
Jorge Tacla
Mookie Tenembaum
Wojtek Ulrich
Meyer Vaisman
Abdul Vas
Ruben Verdu

For more information visit: www.whiteboxny.org/projectbirchforest



9. Vernita Nemec, FF Alumn, at Purelight Gallery, Turners Falls, MA, July 17

A closing reception Saturday, July 17th, 5-7 for the Art of Detritus Show in Turners Falls, MA at Purelight Gallery in conjunction with a reception for a show of photographs by Vern McClish at the Hallmark Gallery in town. I hope you can come & bring art collectors, for that will be their last chance to buy.

The address is Purelight Gallery, 37 Third St, Turners Fall Ma.
After the show comes down, I will be putting the images of the show up on the Detritus website.

Looking forward to seeing you there!
VernitaN'Cognita, artist/ curator



10. Diana Heise, FF Alumn, at Soho 20 Chelsea Gallery, Manhattan, opening July 22

Dear friends.

I am pleased to let you know that one of my video/performance works, Crush, has been selected for the 15th annual juried exhibition at Soho 20 Chelsea Gallery (http://www.soho20gallery.com/New/June2010.html). The exhibition, curated by Phong Bui, runs from July 20- August 14, 2010 with the opening reception on Thursday July 22 from 6-8pm. The gallery is located at 547 West 27th St. Suite 301, NY, NY.

Happily, I will be in town for the opening and if you are too, it would be lovely to see you.

happy summer.

Diana Heise



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
Jenny Korns, Webmaster
Harley Spiller, Administrator
Eben Shapiro, Program Coordinator
Susie Tofte, Project Cataloguer
Judith L. Woodward, Financial Manager