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Contents for August 20, 2010
1. Julie Tolentino Wood, FF Alumn, in The New York Times online
2. Mitzi Humphrey, FF Alumn, now online at youtube.com
3. Claudia DeMonte, FF Alumn, at Univ. of Alabama, Tuscaloosa, opening Aug. 19
4. Rosecrans Baldwin, FF Alumn, at McNally Jackson Books, Manhattan, Sept. 15
5. David Everitt Howe, FF Alumn, in The New Yorker, August 16, and more
6. Robert Galinsky, FF Alumn, at School of Visual Arts, Manhattan, Sept. 21-Oct. 19
7. Richard Serra, FF Alumn, at Fabian & Claude Walter Gallery, Zurich, Switzerland, Aug. 26-Oct. 1
8. Barry Wallenstein, FF Alumn, at Smalls, Manhattan, Aug. 28
9. Alicia Grullon, FF Alumn, at Maccarone Gallery, Manhattan, thru Aug. 27
10. David Medalla, FF Alumn, in Kew Gardens, London, UK, Aug. 28
11. Istvan Kantor, FF Alumn, at Smash, Toronto, Canada, opening Sept. 9
12. Roberta Allen, FF Alumn, now online at http://pcpersist.blogspot.com/
13. Circus Amok, Johnny Dynell, Bob Holman, Eileen Myles, Chi Chi Valenti, FF Alumns, in Howl, Manhattan, Sept. 10-12
14. Tehching Hsieh, FF Alumn, in Gwangju Biennale, South Korea, Sept. 3-Nov. 7, and more
15. Eleanor Antin, Mary Beth Edelson, Leslie Labowitz, Lynn Hershman Leeson, Suzanne Lacy, Carey Lovelace, Howardena Pindell, Martha Rosler, Rachel Rosenthal, Moira Roth, Emily Roysdon, Carolee Schneemann, Barbara T. Smith, Nancy Spero, Hannah Wilke, and Martha Wilson, FF Alumns, in 2010 Toronto International Film Festival, Ontario, Canada, Sept. 12-19
16. Katherine Behar, FF Alumn in Wassaic Project Summer Festival, NY, Aug. 15
17. Alex Komlosi, FF Alumn, at Czech Center, Manhattan, opening Aug. 26
18. Ricardo Miranda Zuniga, FF Alumn, at Museo Nacional de Bellas Artes, Santiago, Chile, thru Sept. 14

1. Julie Tolentino Wood, FF Alumn, in The New York Times online
Please visit the link below to see an image of Julie Tolentino Wood, FF Alumn:
for a story on the (illustrious) RODARTE's upcoming book - coming out Fall 2010


2. Mitzi Humphrey, FF Alumn, now online at youtube.com

FF Alumn Mitzi Humphrey announces that the recent WORN AGAIN recycled fashion designer's show at art6 gallery, the gallery in Richmond, Virginia which she co-founded, is now on YouTube. All the winning fashions made from recycled castoff clothing may be seen on the runway at art6 at




3. Claudia DeMonte, FF Alumn, at Univ. of Alabama, Tuscaloosa, opening Aug. 19

Works by Claudia DeMonte to Open University of Alabama's Sarah Moody Gallery Season

"Claudia DeMonte: Mapping Beauty" will open the 2010-2011 season at the College’s Sarah Moody Gallery of Art in the Department of Art and Art History.

The exhibit will run from Thursday, Aug. 19, to Thursday, Sept. 23.

The opening reception will be from 6 to 8 p.m. Thursday, Aug. 19, at the gallery, 103 Garland Hall on Woods Quad.
DeMonte is an artist, teacher, curator and collector of objects reflecting women’s issues, global community, social awareness and self-reflection. DeMonte’s mixed media works reflect women’s place in the world.

DeMonte’s work has been featured in numerous national and international exhibitions and resides in the collections of the Corcoran Gallery of Art in Washington, D.C.; the Brooklyn Museum in New York; and the New Orleans Museum of Art, among others.

Hours are 9 a.m. to 4:30 p.m. Monday-Friday and 5 to 8 p.m. Thursdays. Admission is free. For more information, call (205) 348-1891



4. Rosecrans Baldwin, FF Alumn, at McNally Jackson Books, Manhattan, Sept. 15

Rosecrans Baldwin reads from his new book on Wednesday, September 15, 7:00 PM at McNally Jackson Books (with Maud Newton)
52 Prince Street
New York, NY 10012




5. David Everitt Howe, FF Alumn, in The New Yorker, August 16, and more

Spinoff Dept.
Graphic Novel
by Samantha Henig August 16, 2010
Richard Price, who was born in the Bronx in 1949, spent two years of his life hanging around the Lower East Side of Manhattan. He was gathering material for "Lush Life," his 2008 novel, which explored the collision, through a murder, of the area’s various constituencies—Chinese, Dominicans, Jews, hipsters. Standing on Orchard Street recently, he was feeling burned out. "For me, down here now, it’s like revisiting a girlfriend from high school," he said. "The Lower East Side: I’m through with it."

The neighborhood is not through with him. This summer, nine galleries between Fourth and Canal Streets have participated in a group show inspired by "Lush Life," each taking one of the book’s nine chapters as a theme. The project was the idea of two curators, Franklin Evans and Omar Lopez-Chahoud, who wanted to draw attention to the area’s new art scene. When they began planning, last December, neither of them had read "Lush Life." But it had nine chapters, and they had nine galleries in mind. Price found out about the shows when he happened to meet the owner of Invisible-Exports, one of the galleries, at a Paris Review party. Evans said that it hadn’t occurred to him to contact Price: "It seemed like trying to reach Meryl Streep or something."

The other day, Price visited the "Lush Life" show. Dressed in a heathered gray T-shirt and gray jeans, he started at Invisible-Exports, which presented "Chapter 3: First Bird (A Few Butterflies)," in which the teen-age protagonist, who has just killed a man during a stickup gone awry, contemplates what he’s done. Most of the art works were literal plays on the title: a video of a hundred doves trapped in the American Museum of Natural History, prints of owls, a diagram of a bird-bear hybrid. You’d think that birds were a central plot point, but the chapter is a mere six pages and contains one brief description of a bird fluttering outside a window. "It’s like a parlor game," Price said, furrowing his brow.

Walking up Orchard Street to the next gallery, Price gestured toward the Tenement Museum. "I toured that place a million times before I started writing the book," he said. He’d been considering writing a novel set in the past. "But I realized, Why would I write a historical novel? I’m an obsessive writer, so I’d go, Well, how did people blow their nose in 1910? What did they use for toilet paper? It’s just too much homework."

He pulled a wallet from his back pocket and slid out an American Express card. "You’re always looking for the small things," he said. He told a story about a cop he met while he was researching the novel "Clockers," who moonlighted as a building superintendent in the Bronx: Price bought dinner one night for the cop and a girlfriend and the girlfriend’s twitchy little boy. "When I went to pay, I took out this credit card," he said, "and the kid grabs it and goes, ‘Oh, my God!’ And I’m thinking he’s responding to the fact that it’s a platinum card. And then the kid goes, pointing to the centurion, ‘Mommy, look! He’s one of the guys that killed Jesus!’ "

At Scaramouche ("Chapter 8: 17 Plus 25 Is 32"), an artist named Karina Aguilera Skvirsky had assembled photographs from her childhood in Ecuador, annotated with captions she had written in the nineteen-seventies and supplemented with ones she had added recently, in the same childish scrawl. "Forgery," Price said, peering at the handwriting. At Lehmann Maupin ("Chapter 4: Let It Die"), he examined white letters spray-painted on a mirror ("They look like bones") and a smear of dark red that appeared to have human hair embedded in it ("That’s almost forensic—like dried blood"). (It was deer blood.)

Over all, Price reacted to the work spawned by his novel with equanimity. (He had just finished writing the screenplay for "Lush Life," a process he grumpily described as "doing the book lite.") "There’s so much art here that you just have to let it wash over you," he said. "The book is just starter’s yeast."

David Everitt Howe, the associate director of Scaramouche, told him that many visitors have been frustrated that there isn’t a clearer connection between the novel and the art. Price scoffed. "They’re looking for the book, but the book ain’t here," he said. "It’s like that old phrase ‘You don’t bring a knife to a gunfight.’ You don’t bring a book to an art show."

Read more http://www.newyorker.com/talk/2010/08/16/100816ta_talk_henig#ixzz0wPn1ll00

Art In America, August 2010
Progress Performed
by David Everitt Howe 08/11/10

One of two works in Tino Sehgal's recent exhibition at the Guggenheim in New York featured one male and one female actor, straddling one another on the museum's rotunda. As they changed positions, his hand reaching up her back or her face grazing his, artists Brennan Gerard and Ryan Kelly recorded the movement comprising The Kiss (2006) in real time. The performance was—unsurprisingly, considering Sehgal's past as a dancer—rather tightly choreographed. The artists' auditory score of the work sounds something like this: "Her right knee on floor standing on left foot, his left knee on floor standing on right foot, facing each other, his right hand around back of her neck..." At that time, Gerard and Kelly were completing the Whitney Museum Independent Study Program, and found the work's gender-specific pronouns problematic. They re-performing the work at Volta Art Fair, among other locations, using a couple or trio of homosexual males, re-titled You Call This Progress? (2010).

This same score is the foundation for the artists' most recent work, performed at The Kitchen in New York. Ideological Formation (2010) opened with Gerard and Kelly's recorded Sehgal score, played over the black box sound-system. Three variously sized, mass-produced white boxes lay on a bare stage, two of them concealing dancers. Moving across the floor and interacting on stage, the two boxes finally tipped over and two dancers spilled out. The choreography that followed integrated simple, pedestrian movements, militaristic drills, and gestures that evoked voguing. About midway through the dance, the sound of Kelly's voice reading the score was overwhelmed by Madonna's song "Material Girl," inflecting the work with the pop star's paean to consumerism and materialism. The queer politics that marked You Call This Progress? were here broadened, vis-à-vis a Minimalist vernacular, to question the confluences of identity, capitalism, and commodification.

Gerard and Kelly will perform the work, in elaborated form, at the Mount Tremper Arts Festival August 13 and 14. I sat down with the collaborators to discuss the work in relationship to Minimalism, capitalism, and spectacle.

DAVID EVERITT HOWE: Tell me about the Minimalist references in your work—the white boxes, the Trisha Brown-like choreography, etc.

BRENNAN GERARD: The boxes are an explicit reference to Robert Morris' dance pieces, and the choreography of early Judson Church: Yvonne Rainer, Simone Forti, etc. At the very beginning Robert Morris and Simone Forti were married. The legend is that she gave Robert Morris all his ideas, because she was really into props, specifically boxes. She did a piece called Roller Boxes (1961), where the dancers were in boxes on wheels with ropes attached, and they screamed while being spun around. Then she did Accompaniment for La Monte's "2 sounds" (1961), where the dancer was tied up in rope, and then just unwound and wound again. Later he started working with boxes, incorporating them into performances, and then it wasn't until years later that he put the boxes in the gallery—not until long after he'd done this Judson stuff.

RYAN KELLY: And Trisha Brown's choreography. Which is something that we're kind of pushing more in this elaboration of Ideological Formation that we're working on for Mount Tremper.

HOWE: Are you still going to play [my favorite] Madonna song, "Material Girl"?

KELLY: Well, we were thinking about these claims of immateriality that are made around performance practice as of late. And thinking specifically about Marina Abramovic's statement at the completion of her exhibition: that "art should be and will be more and more immaterial." And we wonder what the stakes are of that. Hopefully when we use that song we call up the stakes: the complete identification of the performer/performance artist with his or her body, with his or her self in an autonomous way, versus the idea of the kind of construction where something can exist outside of the body or outside the self. This is the case in the choreography of a postmodern dancer like Yvonne Rainer—that you can achieve this distance between the performer and what is performed.

GERARD: For me, a performance has a material affect on the memory. I think it changes the way your brain works. And when you remember this performance, it has an impact on your thought processing which is physical. I mean from a neurological standpoint. And also, I don't think the performance exists in the moment that it's being performed; it exists more in the after-burn of memory. That's where it really happens: when you are remembering it. The actual "event" is just the kind of conditions necessary for the memory to happen. And this is a very conscious reversal of the present-this fetishism of the present. Because I don't think that, in that moment, that much happens. I think the cauldron is too hot. It's like the moment of the revolution, or the orgasm. Nothing actually happens there. But it's what happens in the memory of it that that's most affective. That it's not actually happening when it's happening. And I think there's a politics implied in this phenomenology: it's actually only in the memory of it, that it becomes a political project. So that saves you from that idea which I think is so elitist, which is: "you had to have been there," "you had to be there." Because what if I'm not there at the revolution because I'm working? What if I'm not there because I'm having sex, or sleeping? I don't think that you have to be there. And to me, it's more interesting what happens to the performance in the act of its memory. A lot of people talk about the communist revolution, or the Paris commune-but in fact, it's over. This moment of revolutionary potential is now over. We live in the era after the Paris commune. The Paris commune failed. But to go back to materiality, another thing that we're playing with is that when you think about Madonna in terms of Marina Abramovic—or in terms of creating a kind of materiality of performance—Madonna's very successful at that, at creating a product that is outside of her persona. And because the product kind of exists in the world, it preserves some degree of privacy-of a personal escape from the market.

KELLY: If you consider performance as an immaterial practice, there is no distinction, there is no distance: the performer is the body, the body is the commodity, the artist is the commodity. And I think this is something that Tino Sehgal understands, which is why he has enlisted participants who are willing to instrumentalize themselves. I think it's so he can have that distance from the body that performs, which is the commodity. And I think that's also why he can quickly commodify the work, and why Marina is still kind of wondering how that's possible.

HOWE: I think Sehgal is interesting because he elaborates on a 1990s strain of representation critique. You could put relational aesthetics on one side, which is this sort of utopian, outside position to capitalism. And in his book Relational Aesthetics, Nicolas Bourriaud thinks of this participatory movement as a Marxist push-back against spectacle-spectacle in a Debordian sense. On the other side, you have artists that worked within capitalism. You could say Phillipe Vergne's "Let's Entertain" exhibition is a good example of this kind contrary kind of idea, as it exhibited artists or collaboratives like Bernadette Corporation who produce spectacle, and use the tropes of Hollywood, in a way that revels in it while trying to locate potentials for criticality. Of course, in a way that's not positioned as exterior to, or outside of, the market. I mean, a lot of critics have a problem with relational aesthetics-Claire Bishop and Sven Lütticken immediately come to mind. And for good reason, I think. It's kind of idealistic, maybe naïve. That's the general consensus. Not that it's not a good indicator of the kind of work being made at the time. So you have artists like Pierre Huyghe who do the inverse, and like I said before, embrace the system we're in. He made a great video, The Third Memory (2000), in which he juxtaposes this Hollywood representation of a real-life bank robbery with the "real life" bank robber recounting the events. There's a great essay called "No Ghost" which talks about this, and scholar Tom McDonough points out that the bank robbery, in real life, was inspired by Hollywood movies. So it's this strange media tautology-the point being that this guy, John Wojtowicz, conceived of the robbery in relation to these other films. And he'll slip into this cinematic rhetoric as if there's no difference there: cinema constitutes real life as cinema.

GERARD: Yeah, I think Bernadette Corporation is very interesting, as they sort of insist upon the product outside of one's self. So that one can kind of make a living without necessarily constant self-exploitation.

HOWE: You know, Bernadette Corporation really enjoyed the fashion line: they wanted to be critical of corporations, fashion, the economy, but they also wanted to make money. They sold their clothes at Steven Alan downtown. Of course, their fashion line was when they first started, but they were very aware of this paradoxical position. They tried to do both, essentially.

GERARD: Ryan and I just read [theorist] Isabelle Graw's essay "When Life Goes to Work: Andy Warhol." She claims that Warhol is really the first artist to exploit his position in a neoliberal, bio-political world. Where the market has infiltrated every aspect of our lives. He was the first artist to negotiate this new paradigm, but also resisting it simultaneously, and she talked a lot about how he resisted-this idea of the "product" versus the "person." Warhol maintained that separation. Even though he very much was a persona, and even though he was on the scene and participating, there was always a product that was outside of him. But in this new art market, which is highly personalized, and really fetishistic of the artist's presence, Graw says the problem is when the artist can no longer have a product that's outside the person. Warhol was in the Factory, was still doing the silk-screening, he was still doing all of this stuff. Even his performances felt like products, because they were all about wigs, and accoutrements, and this whole play with distance. And Graw's saying he was able to preserve some level of-and maybe this is conservative what she's saying-but some level of interiority or privacy, or something that's not available to the consumer or to the market.

HOWE: I don't think that's possible. I don't believe you can salvage the subject any longer, particularly when it's in large part formed and constituted by the market-by spectacle. As Claire Fontaine has said, "Guy Debord is dead," and I think resistance is a rhetorical no-go.

KELLY: Well, I think these are the stakes of materiality, if we can think this through. Maybe performance doesn't have to be complicit with the market. Perhaps there's a way of finding resistance within it, and resistance only to the extent that you can carve out...I mean there is no space outside of the market, but maybe can you hide...within it?



6. Robert Galinsky, FF Alumn, at School of Visual Arts, Manhattan, Sept. 21-Oct. 19

Robert Galinsky's New York Reality TV School
Voted one of the "Top Ten Coolest Classes in New York City"
(Time Out Magazine) & one of "America’s Coolest Classes" (YellowPages.com)
Now being offered this fall at School of Visual Arts in NYC

The School of Visual Arts (SVA) is proud to offer the New York Reality TV School every Tuesday, 6-8:30pm, September 21 thru October 19, (course details at http://www.tinyurl.com/svareality).

Robert Galinsky's students have had success landing work on such shows as: Matchmaker Millionaire (Bravo), Money Hungry (VH1), The Fashion Show (Bravo), Groomer Has It (Animal Planet), Hole in the Wall (FOX) and Robert continues to work with reality hopefuls across the country. This 5 week workshop will feature guest lectures with 4 time Emmy Winning Producer ("Dr. OZ") and creator of TLC's "DC Cupcakes" Terence Noonan, Casting Producer Vinnie Potestivo ("The Hills", "Laguna Beach", "Real World Road Rules") and cast-mates from "Survivor", "the Mole", "Amazing Race", "Bad Girls" and more.

Voted one of the "Top Ten Coolest Classes in New York City" by Time Out Magazine and one of "America’s Coolest Classes" by YellowPages.com, this workshop offers similar challenges, obstacles, conflicts and camaraderie building found on reality TV shows. Students work along side master teacher Robert Galinsky and guest reality veterans from such shows as: Survivor, Hell's Kitchen, Amazing Race & more. We explore what makes for an outstanding personality on TV and the rugged road of being on a show.

Main themes include: Casting, Knowing Your Story, Confidence Building, Reality Conflict, and Camera-Work. The primary goal is to get students to complete a self-assessment and decide what works and what doesn't for reality TV to effectively communicate their personalities and achieve their goals on reality TV.

About Robert: Robert Galinsky is the founder and "Principal" of the New York Reality TV School and host of CBS Digital's "Robert Galinsky's Reality Wanted". An innovator in experiential learning techniques, Galinsky appreciates the connections and similarities between succeeding in the entertainment business and winning within the newly emerging reality TV market. He created the New York Reality TV School and its programs as a means to share his knowledge and training principals with individuals, organizations, would-be television contestants and media outlets. Galinsky has appeared on The VIEW, ABC Nightline News, BBC TV, Wall Street Journal Digital TV, FOX Good Day New York’s "Money Watch", CNBC, talking about authenticity, confidence, and narrative. He has been quoted in The Financial Times of London, Advertising Age, The Wall Street Journal, USA Today, The New York Times and other print media to discuss his revolutionary workplace approaches. Galinsky has recently been invited to deliver his "Energizer" program to TED Talks in New York City and is a newly appointed advisor to The 140 Characters Conference, where he has been asked to deliver the "Energizer" program as a means to expand attendee horizons and thought patterns.



7. Richard Serra, FF Alumn, at Fabian & Claude Walter Gallery, Zurich, Switzerland, Aug. 26-Oct. 1

RICHARD SERRA Large Scale Etchings 1981 - 1990 at Fabian & Claude Walter Galerie

Mr. Fabian Walter & Mrs. Claude Walter
Phone: +41 44 440 40 18
Fabian & Claude Walter Galerie
g27, Grubenstrasse 27
PO Box 5068, CH-8045 Zurich

26 August - 1 October 2010
Wednesday - Friday 12.00 - 6.00 pm
and by appointment

On Thursday, 26 August 2010, the art galleries to the left of the river Limmat celebrate the opening of the season with big names and big works. Fabian & Claude Walter Galerie start off with the American artist Richard Serra (b. 1939 San Francisco). In the rooms of g27, six large-format prints from a rarely available edition will be presented to a Zurich audience for the first time.

Though his prints are less well known than his steel sculptures, Richard Serra manages to translate the weight and monumentality of his three-dimensional work onto paper. The powerful interplay of statics and dynamics, of balance and proportion that characterises Serra's steel plate objects, determines also the artist's graphic work, albeit in a reduced and compacted form that reaches beyond the confines of the paper.

Determined by their sheer size, the prints tower above the viewer. Also in two dimensions, Serra's works appear monumental, thereby encouraging a personal contemplation on perception. The exhibited work 'Back to Black', for instance, reveals traceable signs of its creation. Richard Serra reflects lightness in weight and weight in lightness.

Printing enables the artist to analyse the relation between his massive sculptures and the space they claim. The resulting works represent studies frequently made after the completion of the respective three-dimensional object and form an enquiry into its individual nature and the questions that arose during its creation. The artist's interest lies in the process underlying the actual making of a print, the technique and the qualities of the materials, rather than in the actual possibility of reproduction. Richard Serra compares printing with 'alchemy'.

The link between Serra's prints and his sculptural work is undeniable. Far from being merely of marginal importance, as frequently assumed, they constitute an integral part within his artistic work.

The first viewing of these special prints in Zurich finally closes a gap for collectors, connoisseurs and art lovers. This presentation enables a new approach to the work of one of the most well-known sculptors in steel - a true discovery.

Biography: Richard Serra (*1939, in San Francisco, USA) studied at the University of California in Berkeley. In 1961 he graduated from the University of California at Santa Barbara with a BA in English literature. Three years later he graduated from Yale University with both a BFA and a MFA. For his artistic works he has been awarded the Skowhegan Medal for Sculpture (1975), the Praemium Imperiale by the Japan Art Association (1994), and Order Pour le mérite für Wissenschaften und Künste (2002). The Museum of Modern Art, New York, has shown two career retrospectives, in 1986 and 2007. Serras works has been presented in numerous solo exhibitions in museums like the Musée National d'Art Moderne, Paris, the Museum Haus Lange, Krefeld and the Solomon R. Guggenheim Museum, Bilbao, among many others. Richard Serra lives today in New York and Nova Scotia.



8. Barry Wallenstein, FF Alumn, at Smalls, Manhattan, Aug. 28

Smalls Jazz Club Lit Series! Saturday, August 28th
wild features + open mic, 5 – 7 PM

Barry Wallenstein is the author of six collections of poetry, the most recent, Tony’s World [Birch Brook Press, January 2010]. A special interest of his is presenting poetry readings in collaboration with jazz. He is an Emeritus Professor of literature and creative writing at the City University of New York and an editor of the journal, American Book Review. He has traveled widely giving poetry readings with musicians in London, Dublin, Cape Town, Prague, and Paris. His latest recording, Euphoria Ripens [Cadence Jazz] was listed among the "Best Jazz Recordings of 2008" in AllAboutJazz magazine.

Eric Plaks, piano, was born and raised in Princeton, NJ, where he received his early musical education in the legendary Princeton High School Studio Band under the leadership of the late Anthony Biancosino, who taught many musicians that later went on to achieve recognition in jazz and related genres. Eric began performing jazz piano and teaching music in the public school system in New York in 1996, and has produced and led three albums on Ducaine Records (distributed by NorthCountry): The Witch Man (2003), Rooftop Reveries (2004), and Eric Plaks with Strings (2007). His latest album, an avant-garde project, was released by Cadence Records in 2009. Eric performs regularly with his piano trio in and around the New York area.

Vincent Chancey, French horn, has performed with the Brooklyn Philharmonic, the Pan American Symphony, the Harlem Symphony, the Zephyr Woodwind Quintet, and the Netherlands Opera, in Amsterdam Holland. Some of his accomplishments include collaborations with Wayne Shorter, Herbie Hancock, Lionel Hampton, Cassandra Wilson, Sun Ra, Lester Bowie, David Murray, and Carla Bley in jazz; Aretha Franklin, Patty Labelle, Elvis Costello, Brandy, Ashford and Simpson, and Maxwell in the popular idiom. Chancey has toured extensively in North and South America, Europe, Japan, Africa, and the Middle East. Chancey has two CD’s released under his name. "Next Mode" is his latest on DIW records. His first CD is titled "Welcome Mr. Chancey" on In and Out records. He’s heard on three of Wallenstein’s recordings and lately released, LEGenDES Imaginaires, a duo CD with Serge Pesce.

Neil Haiduck, Clarinet, has performed as a clarinet soloist with orchestras and jazz bands in North America, Europe, and Japan. Recordings include Montréal Meets New York and Modern Jazz. Recently in New York, Haiduck has enjoyed performing with poet Barry Wallenstein, and with the Brooklyn Repertory Orchestra and the Blue Moon Ensemble. Haiduck also plays baritone sax with El Rico Son. He teaches woodwinds at Manhattanville College and at Bergen Community College in New Jersey and has led clarinet workshops at the Royal College of Music in Stockholm, Sweden. Haiduck was educated at Columbia University and at the Manhattan School of Music, where he was a student of the great clarinetist, Charles Russo.

Leco Reis, bass, began his music journey at a young age in Brazil under Maestro Luis Motta. After working with a variety groups in his homeland, Leco moved to Boston. In Beantown, Leco played with the Sonny Watson Quartet, earned a bachelor’s degree from Berklee College of Music and a reputation as a permanent fixture in the city’s music scene. Since moving to New York, earning a master’s degree in jazz studies from the Aaron Copland School of Music, and touring Asia and Europe, Leco has played with Billy Newman, Graham Haynes, Paul Winter, Paulo Braga, Aloisio Aguiar, Zé Luis, Felipe Baden Powell, Airto Moreira, Ogans, Eric Plaks Quintet, Brooklyn Brazil Bop and Clarice Assad. Leco has studied under John Lockwood, Charlie Banacos, Edward Tomassi, Rufus Reid, Antonio Hart, Mark Helias and Ron Carter.

Smalls Jazz Club
183 West 10th Street , NYC 10014
where 10th Street meets Seventh Avenue
Poetry hosted by Lee Kostrinsky & Christine Timm
Still only $ 10



9. Alicia Grullon, FF Alumn, at Maccarone Gallery, Manhattan, thru Aug. 27

Exhibiting as part of the culminating event from Art and Law Residency Program with Volunteer Lawyers for the Arts. Her work is driven by questions about gender, race, class, and activism. See 2

photographs from her Illegal Art project and video documentation from live piece done at the opening reception on Saturday.

Maccarone Gallery
630 Greenwich Street NYC 10014
Monday to Friday 10 am to 6 pm
August 14 to August 27


Visit her blog: http://thebookcaseproject.blogspot.com/
The Bookcase Project
A project documenting her reading everything in her bookcase.




10. David Medalla, FF Alumn, in Kew Gardens, London, UK, Aug. 28

David Medalla, FF alum, will recite his Pagoda Poems beside the beautiful Pagoda at Kew Gardens in London, England, on Saturday, August 28, 2010, at four in the afternoon during the World Tea Party celebrations of LONDON BIENNALE 2010. David Medalla wrote his Pagoda Poems in Manila when he was a boy of 7. The poems were inspired by a Chinese pagoda over a canal in Quiapo, a district of Manila.

David Medalla has invited Bryan Mulvilhill aka Trolley World Tea Master to officiate at the tea party in Kew Gardens. In previous London Biennales, Trolley has officiated at tea parties in the oldest tower in the City of Westminster in London, at the Horniman Museum on Forest Hill, at Orleans House in Richmond, in the Royal Academy art school gallery at Hornsey, and beside the Eiffel Tower in Paris during the inauguration of the last London Biennale in 2008.

This year, as in previous London Biennales, there have been a wide variety of inspired and inspiring events by a host of international artists.
Mexican artist and poet Mabel Encinas curated an exhibition and co-curated a series of talks in homage to Paulo Freire entitled 'The Education of Freedom' during the Latin American cultural week at the Institute of Education in London.

Berkeley, California - based American artist John Dugger showed a small version of his large 'Chile Vencera' banner in the excellent exhibition at the Institute of Education.

Brooklyn-based American artist Reynolds Norman-Tenazas presented 'Puki Pedagogy', the latest of her magical 'Puki Peace Processions', around the fountain in Russell Square, London.

A third American artist, Kathy Betetti came to London from Boston, Massachusetts. David Medalla accompanied her on a boat ride along the river Thames from Tate Britain to Tate Modern. Kathy brought tea from Boston. In a simple ceremony, assisted by several London Biennale artists, Kathy Betitti threw the tea she brought from Boston into the river Thames.

LONDON BIENNALE 2010 opened at Soho Square on May Day followed by a congenial gathering of LBAs (London Biennale artists) in the Angel Pub near St. Giles Church. Adam Nankervis, director of MUSEUM MAN and international coordinator of the London Biennale, flew from Berlin. On the first Sunday of May 2010, after an informal meeting of LBAs at the Eros statue on Piccadilly Circus, the gathering of LBAs proceeded to Leicester Square where Adam Nankervis introduced English artist James Edmonds who created a live action of making jelly moulds from the bronze impressions of actress Kate Winslet's hands on the pavement at the square.

Adam Nankervis proposed the 'Flagennation' actions during a previous Londomn Biennale This year Adam Nankervis proposed two new participatory events for the London Biennale: 'SIGNALS' which any LBA can send from anywhere and 'SATELLITE EVENTS'. So far, Satellite Events have taken place on the Pincio Gardens in Rome (organised by Raffaella Losapio and Vincenzo Ceccato of GalleryStudio RA of Rome), in front of the Brandenburg Gate in Berlin (organised by Adam Nankervis and MUSEUM MAN), at Evreux in France in the monastery of Le Corbusier (performance by Geraldine Gallavardin and friends), at the Dolores Serra Gallery in Madrid (performance by Filippos Tsitsopoulos), in the Social Hall of the Philippine Embassy at Washington, D. C. (organised by Marvin de la Cruz Santos), in the Center of Contemporary Art at Las Vegas (organised by Jevijoe Vitug), and at the Christopher Henry Gallery in New York City (organised by Inbred Hybrid Collective). LONDON BIENNALE Satellite Events will be held in Boston (organisers: Mary Sherman and Trans-Cultural Exchange), San Francisco (organisers: Chelsea Wilks and John Dugger) and other places all over the world.

In London itself David Medalla has been coordinating riverine and maritime events. On August 7, 2010, London Biennale artists rode a boat along the river Thames to Greenland Pier. There, at the foot of the Aragon Tower, Ana Milavanovich from Belgrade gave a performance on an iron cannon which the British Navy used in the Battle of Trafalgar. Angela Freiberger from Rio de Janeiro did a live event requesting the people present to wish freedom for the people of Tibet. London Biennale artists performed with David Medalla his mudras about space, time, experience and memory in front of a magnificent mural in ceramic tiles by Alma Tischler Wood, the honoree with John Wood (professor of environmental studies at Goldsmiths College) of this particular LONDON BIENNALE event. Alma and John are on their way to a long sabbatical in South Korea.

On August 14, 2010, the LBAs gathered at Shoreham on Sea in Sussex, for the 'Long Shore Drift', created by painter and performance artist Katie Sollohub. Katie's daughter Louisa celebrated her 3rd birthday anniversary by blowing the tine candles on her birthday cake and making her secret wishes. Afterwards Louisa played the game 'pass the parcel' with her childhood friends, surely an early form of participatory performance art. Ana Milavanovich made an impromptu performance of crawling from the edge of the sea to the beach.

On August 21, 2010, David Medalla will chair a symposium entitled 'CUT/unCUT' on the lawn of Tate Modern. Young English artists and curators will participate in this symposium.

On September 4, 2010, David Medalla will participate in another symposium, in the Ikon Gallery in Birmingham, England. That symposium (about art of he 1970s) will be co-chaired by Jonathan Watkins, director, and Jeanette Koch, ex-deputy director of the Ikon Gallery.

On September 11, 2010, David Medalla and Adam Nankervis will perform at the opening of the Helio Oiticica exhibition in the Museum of Modern Art of Rio de Janeiro.
On September 18, 2010, Adam Nankervis and David Medalla will open their join exhibition entitled 'So Pulo: The Secret History of the Mondrian Fan Club; Part 3', curated by Maria Baro and Adriano Casanova, at Galeria Baro in Sao Paulo, Brazil. This exhibition is dedicated to Piet Mondrian, Lygia Clark, Lygia Pape and Helio Oiticica.

Everyone is invited to all these exciting cultural events.



11. Istvan Kantor, FF Alumn, at Smash, Toronto, Canada, opening Sept. 9

Hey bros and sists!
dont miss this:
pls forward:
SMASH and Junction Arts Festival present ISTVAN KANTOR
RE: INVASION - Recent Crimes and Punishments
Monuments / Plunderworks / Mash-Media / Shinyism / Lebensraum / Subvertainment
Curated by Paul Campbell
Sept 9 – Oct 9, 2010
Opening reception/performance Thursday, Sept 9, 7 - 11pm
Performance and media-artist Istvan Kantor invades the premises of SMASH and turns the junkyard size vintage furniture store, located in the heart of the Junction, into his own Neoist (s)mash-up art headquarters. The industrial store-set is a perfect drill-ground for Kantor’s hyper-audacious strategy, techno-cinematic vision and his conflicting taste for mayhem. The show will open with a new performance, designed and created for this occasion, involving members of Istvan Kantor’s robo-zombie MachineSexActionGroup.

For the Junction Arts Festival Kantor extends his installation/performance to the street with a monumental construction of a barricade made of hundreds of old file cabinets in front of SMASH on Saturday, sept 11. Kantor will also actively engage himself with other projects at different sites of the festival, such as a Neoist Brainwash Station and a speed-drawing blitzkunst-action. He will be available to meet festival visitors for informal conversations throughout the JAF event.

Also known as Monty Cantsin, the open-pop-star, Kantor appropriated the trappings and gimmicks of the historical avant-garde, including the manifesto-style propaganda language, and integrated everything in an all-inclusive concept, Neoism.

SMASH 2880 Dundas Street West, Toronto
Mon-Sat 10:00 to 6:00pm Sun 12:00 - 5:00pm 416-762-3113
www.istvankantor.com amen@interlog.com 416-556-8078
Istvan Kantor is a recepient of the Governor General's Award for Visual and Media Arts (2004). Kantor was born in Budapest where he studied medical science. In 1976 he defected to Paris and from there he immigrated to Montreal. He also lived in Portland, New York, Berlin and presently is a resident of Toronto where his three children, Jericho, Babylon and Nineveh were born in the 90’s.

His main subjects are the decay of technology and the struggle of the individual in technological society. His work has been described by the media as intellectually rebellious, anti-authoritarian, as well as technically innovative and highly experimental. He likes to break things and set things on fire. He uses conflict and crisis to present his cause, often placing himself in the center of danger and uncertainty. His radically changing creative ambitions are always related to his living environment and social situation.

Throughout the past three decades he has been arrested and jailed many times for his guerilla interventions in museums. He also received many prestigious awards among them the Telefilm Canada Award for Best Canadian Film and Video in 1998, in Toronto, the Transmediale Award in 2001, in Berlin and the European Media Art Award in 2009 in Osnabruck, Germany.



12. Roberta Allen, FF Alumn, now online at http://pcpersist.blogspot.com/

Hi everyone,

You can read an interview with me at PERSIST: THE BLOG: Exploring the challenges of the creative mind in a world of commerce.






13. Circus Amok, Johnny Dynell, Bob Holman, Eileen Myles, Chi Chi Valenti, FF Alumns, in Howl, Manhattan, Sept. 10-12

Media Contact: press@howlnyc.org
917-841-5237 F 212-941-7576
HOWL! Festival Celebrates its Seventh Anniversary
With a Vibrant Schedule of Events
Tompkins Square Park -NYC’s East Village
September 10th, 11th and 12th
(New York City, August 17, 2010) The 7th Annual HOWL! Festival, the East Village Festival of the Arts, will begin Friday night, September 10th, 5 to 7 PM, with the festival’s traditional reading of the iconic Allen Ginsberg poem, "Howl." Taking place on the South stage, (Avenue A and 7th Street), the reading will feature an amalgam of the East Village’s finest poets, including John Giorno and Anne Waldman and will be led by poet Bob Holman, proprietor of The Bowery Poetry Club, founding member of HOWL! Festival and East Village luminary.

Opening with a program sensitive to the memory of September 11, 2001, Tompkins Square Park will resound with Buddhist gongs, chanting monks, chamber music, yoga practice, poets and musicians, coupled with additional quiet and tranquil activities. On both Saturday, September 11th and Sunday, September 12th, The Lower Eastside Girls Club will present The East Village Earth Circus, including live performances, art and science projects, pony rides (!), and numerous other interactive activities for children.

For adults, both Saturday and Sunday will be filled with surprises, as well as HOWL’s long-established events such as the fun-filled, innovative and entertaining Hip Hop Howl, House of Howl and Lowlife.

The full park schedule is below. For further information and program updates,
please visit www.howlfestival.com.
SOUTH STAGE: Avenue A at 7th Street
5:00 – 7:00p Annual reading of the Allen Ginsberg poem, "Howl," to commemorate the opening of the HOWL! Festival, featuring: Anne Waldman w/Ambrose Bye, John Giorno, Betsy Andrews, Jennifer Blowdryer, Ana Bozicevic, Guillermo Castro, Steve Dalachinsky, Thomas Fucaluro, Greg Fuchs, Daniel Gallant, Alan Gilbert, Amy King, Mariposa, Douglas A. Martin, Angelo Nikolopoulos, Amy Ouzunian, Meghann Plunkett, Jon Sands, Susan Scotti, Jean Ann Verlee, Michael Warr, Chavisa Woods, Advocate of Wordz, Ra Ara ya. Host and Emcee, Bob Holman. Suffer (Art Gallery)

616 East 9th Street between Avenues A and B
8:00 – 9:00p Theresa Byrnes’ -"The Measure of Man" – A HOWL! Festival Special Event: Performance Art Through A Storefront Window in One Hour. Byrnes challenges the assertion of the centrality of the human soul in the order of creation, as dictated by Leonardo DaVinci ‘s’ "The Vitruvian Man’.

HOWL! Festival Schedule (cont.)
Between Avenues A and B in front of the Park Office
Finding Sukah Yoga
11:00a - throughout the day: Finding Sukah Yoga, the East Village’s newest Yoga center, will welcome both adults and children. Bring your yoga mat or borrow one.
SOUTH STAGE Avenue A at 7th Street
1:00 - 1:30p Open Music Ensemble - Awakening the senses, with sounds both pure and contemplative, this pioneering cooperative of acoustic improvisational musicians guides the heart and spirit in meditation, relaxation and healing.

1:40 - 2:00p Poetry –Bill Kushner + Poet TBA
2:10 - 2:40p Vangeline Theater - performing " Mosaic", a resonant butoh dance piece to commemorate 9/11.
2:45 - 3:00p Poetry –Eileen Myles
3:10 - 3:40p Tyler Burba’s "Visit." Tyler, as a solo artist, will pay tribute to Allen Ginsberg’s lesser-known musical side, performing Allen Ginsberg songs.
3:45 – 4:15p Poetry –Emmanuel Xavier + 2 Poets TBA
4:25 - 4:55p Timbila - Ecstatic African rock with an East Village edge, Timbila soars with stinging guitar riffs and sassy celestial vocals.
5:05 - 5:35p Chris Rael – Sitar aficionado, this dynamic composer turns Indian and Western music into a mix of highly refined pop.
5:45 - 6:15p Vangeline Theater - performing " Mosaic", a resonant butoh dance piece to commemorate 9/11.
6:30- 7:00p Arthur’s Landing - Arthur’s Landing is a group of musicians, all of whom worked at various times in various contexts with the late Arthur Russell, a cellist and composer from Iowa who lived on the Lower East Side for most of the latter part of his too-short life. Russell brought together the worlds of dance, pop, and folk with that of downtown’s "new music," and fused Western and Eastern musical traditions, driven by his engagement with Buddhist thought and practice. He collaborated often with Allen Ginsberg, and Phillip Glass was also an early mentor. Arthur’s Landing (songs by Arthur Russell) features Mustafa Ahmed (percussion), Joyce Bowden (voice) Ernie Brooks (voice, bass), Steven Hall (voice, guitar), Bill Ruyle (drums, hammered dulcimer), John Scherman (lead guitar), Peter Zummo and special guest Nomi Ruiz

HOWL! Festival Schedule (cont.)
SUNDAY, Sept. 12
Between Avenues A and B in front of the Park Office
11:00a and throughout the day:
Finding Sukah Yoga, the East Village’s newest Yoga center, will welcome both adults and children. Bring your yoga mat or borrow one. SOUTH STAGE: Avenue A at 7th Street
Noon - 12:30p Rosie's Broadway Kids, performing a cabaret- style show. RBKids’ most senior students will take the stage singing Broadway classics.
12:35 - 12:55p Lower East Side Boys Choir -straight off the stage from their triumphant performance at Lincoln Center, the choir from The Boys Club of New York on Avenue A and 10th Street will bring their beautiful harmonies to their first appearance at the HOWL! Festival.

1:00 - 2:15p Hip Hop Howl – A massive live mixtape showcase featuring the hottest up and coming artists in the country.
3:00 - 4:30p House of Howl - A flurry of color, costume and cavortin' Riki Colon's House of Howl is a vivacious variety show featuring voguers, vocalists, dancers and trendy fashion designers. "In Search of a Dream," marries mixed media performance -dance, song, fashion and art - in a dizzying display of high-energy house pop and contemporary couture. Features performances by House of Ninja dancers Javier, Edwin and Star Ninja and dancer Akiko Tokuoka. Fashions by the hot NYC Hemma Collection with live musical performance by Yoshi, with music written and composed by Ev Price.

5:00 - 7:00p Lowlife 4: BEAT GIRL Chi Chi Valenti, Johnny Dynell and a cast of colorful downtown characters pay homage to homegrown fifties beatnik culture and the BOWERY BEATS – the rebel painters, poets and performers drifting east from Greenwich Village. The show also sheds light on the Women of the Beat Generation, often overlooked, and their influence on 50s burlesque. (Children’s) NORTH STAGE - Avenue A at 10th Street HOWL! Festival presents The Lower Eastside Girls Club’s East Village Earth Circus

12:30PM Middle Jamboree
1 PM Brady Rymer
2 PM Rosie’s Broadway Kids

HOWL! Festival Schedule (cont.)
SATURDAY, 9/11 (cont.)
(Children’s) NORTH STAGE - Avenue A at 10th Street (cont. )
3 PM Girls Club Flamenco Dancers
3:15 PM Rod Rogers Youth Dance Company
4 PM Taikoza Japanese Drummers
5 PM Youth Poets
6 PM Free Art Society: The Mad Hatter’s Tea Party
Saturday Only:
Main Events:
Al Gori’s Solar Powered Merry-go-Round
The Bio-Bus (filled with microscopes and cool science stuff)
The Federation of Black Cowboys- Pony Rides (1-3 PM)
In the Yoga Tent: demonstration classes for all ages taught by Trish from
Bikram Yoga and Elena from Vira Yoga (noon – 3pm)
Saturday and Sunday
On the Midway
Fortune Telling Monkey
Robot Pony
Hula Hoop lessons
Face Painting (LES Girls Club)
Photo Booth
Museum of LES Icons (paper Mache heads)
Girlzilla (the 14 foot tall girl robot)
Popcorn and Cotton Candy
Art Programs and Activities for Kids
!Splash! mural painting on canvas and mask making by AAI
Recycled Paper Flower Workshops (LES Girls Club)/ Cindy Ruskin Arts
Double Dutch Demonstrations/Nicolina’s Hearts of the World Mural Project
Environmental / Community Organizations with info booths:
•The EVCC- East Village Community Coalition- Biking and Alternative
CHEJ (Center for Environmental Justice) Anti PVC Campaign
(Sunday only)
350.org - Organizing around climate change issues and for 10/10/10 day of action
Girls Gone Green (LESGC) - air quality and household cleaning products education
FAB - 4th Arts Block- promotion and outreach, community theaters
Middle Collegiate Church (Sat. only)
POP - Power of Peace Youth Booth
Peoples Garden NYC - organizing for community gardens
Voto Latino - voter registration materials
East Village X - new community website

HOWL! Festival Schedule (cont.)
(Children’s) NORTH STAGE Avenue A at 10th Street
SUNDAY Sept 12
Noon: Opening Parade through park with the Youth Arts Marching Band.
12:30p The Youth Arts Marching Band
1:00p Jerry Joy Music and the Louie Band
2:00p Ben Rudnick and Friends Band
3:00p Art- Farm / Circus for a Fragile Planet
4:30p Solar Punch- a solar powered band
Center Ring:
House of Yes- Direct from Brooklyn and the Mermaid Parade: performing Aerial Act s
On the Midway: Roaming performers…
Circus Amok with jugglers, unicyclists, stilt walkers, clowns and more
Annie Hickman’s The Lizard Lady costume act
Free Arts Society- wild and wacky costumes and musicians




14. Tehching Hsieh, FF Alumn, in Gwangju Biennale, South Korea, Sept. 3-Nov. 7, and more

Tehching Hsieh
Upcoming Events
Fall 2010

8th Gwangju Biennale – 10,000 Lives
Gwangju, South Korea
September 3 – November 7, 2010

Liverpool Biennial - Touched
Liverpool, Merseyside, United Kingdom
September 18 – November 28, 2010

Asia Art Archive - Symposium on Performance Art in Asia
Hong Kong, China
October 21 – October 25, 2010
Sean Kelly Gallery is pleased to announce that Tehching Hsieh will participate in both the 8th Gwangju Biennale and the Liverpool Biennial in September with his "One Year Performance 1980-1981." The work is presented as a large-scale installation including documentary photographs and ephemeral material from the performance, a seminal piece in which Hsieh punched a time card at every hour on the hour over the course of one year.

The biennale, titled 10,000 Lives, opens to the public on September 3, 2010 and runs through November 7, 2010. Artistic Director Massimiliano Gioni curated this installment, which will present works from more than 100 artists that were created between 1901 and 2010. 10,000 Lives includes found photographs and cultural artifacts that exemplify the endless metamorphoses of images, at times blurring the line between documents, relics and art works. For more information on the 8th Gwangju Biennale please visit: www.10000lives.org

The Liverpool Biennial, Touched, opens to the public on September 18, 2010. Hsieh’s "One Year Performance 1980-1981" will be on view for the first time in England. Touched explores the emotional impact that both viewing and physically touching a work of art can have on an individual. Lewis Biggs is the Artistic Director. The curatorial team is Lorenzo Fusi, Liverpool Biennial (non-gallery sites); Peter Gorschlüter (Tate Liverpool); Patrick Henry (Open Eye Gallery); Sara-Jayne Parsons (the Bluecoat); Mike Stubbs (FACT – Foundation for Art and Creative Technology) and Mark Waugh (Afoundation / Greenland Street). For more information on the Liverpool Biennial, please visit: www.biennial.com

Tehching Hsieh will give an artist talk on October 23, 2010 at the Asia Art Archive’s Symposium on Performance Art in Asia, which will take place in Hong Kong from October 21 through October 25, 2010. The symposium aims to contextualize and reflect on the vivid advancement of performance art in Asia through critical debates surrounding the challenges of historicizing the art form. It is comprised of two panel discussions, artist talks and a series of workshops and performances by artists in the region. For more information on the Asia Art Archive, please visit: www.aaa.org.hk



15. Eleanor Antin, Mary Beth Edelson, Leslie Labowitz, Lynn Hershman Leeson, Suzanne Lacy, Carey Lovelace, Howardena Pindell, Martha Rosler, Rachel Rosenthal, Moira Roth, Emily Roysdon, Carolee Schneemann, Barbara T. Smith, Nancy Spero, Hannah Wilke, and Martha Wilson, FF Alumns, in 2010 Toronto International Film Festival, Ontario, Canada, Sept. 12-19





!Women Art Revolution, the new film from Lynn Hershman Leeson, will premiere at the 2010 Toronto International Film Festival in the Documentary category. Over 40 years in the making, Hershman Leeson's film draws from hundreds of hours of in-the-moment interviews with her contemporaries-visionary artists, historians, curators and critics-and presents an intimate portrayal of their fight to break down barriers facing women both in the art world and society at large.

In the 1960s, the Feminist Art Movement emerged to politicize female
artists and challenge complexities of gender, race, class and sexuality.
Through interviews with her colleagues, Hershman Leeson-a pioneering, award-winning multimedia artist-traces the history of the movement from its relationship to the anti-war and civil rights forces of the 1960s, through its groundbreaking contributions to women's art of the 1970s, to the emergence of The Guerilla Girls, who became the conscience of the art world and held galleries and museums accountable for discrimination. Ultimately, Hershman Leeson and her collaborators would become part of what many historians now claim is the most significant art movement of the late 20th century.

Hershman Leeson says of the film, "In Berkeley in 1966, I borrowed a camera, figured out how to use it and shot people coming through my living room. Then I forgot about all that footage and it was stored in boxes in my studio until I found it in 2004. I felt it had become even more relevant and it was a personal imperative that I complete the project! I felt a tremendous responsibility to find the story inside that raw footage and to honor the women who struggled to invent themselves and who introduced the concepts of social protest, collaboration and public art that addressed directly the political imperatives of social justice and civil rights. This film took 42 years and it needed all that time to find the optimistic and uncompromising legacy."

TIFF Public Screenings of !Women Art Revolution

September 12, 12:15 P.M.
AMC 2 Toronto, Canada
September 14, 7:45 P.M.
AMC 10 Toronto, Canada

September 19, 3:45 P.M.
AMC 7 Toronto, Canada



16. Katherine Behar, FF Alumn in Wassaic Project Summer Festival, NY, Aug. 15

Dear Friends,

Disorientalism, my collaboration with Marianne Kim, is happy to be participating in "Dis-Robed," curated by Kathleen Smith and Ava Rawski at The Wassaic Project Summer Festival. Our new work, Guns N' Gals, includes photographs and a performance on Sunday, August 15th, from 12-3PM. Come visit us in the countryside where we will be hard at work in the Wassaic Project's old grain elevator. There will be lots of other great work on view as well!

Disorientalism: Guns N' Gals Performance
The Wassaic Project Summer Festival
Sunday, August 15th
12 PM - 3 PM



The Wassaic Project Summer Festival
@ the Maxon Mills + Luther Auction Barn
37 Furnace Bank Road, Wassaic, NY
August 13th - 15th, 2010
noon-midnight, every day

WHAT: The Wassaic Project Summer Festival is a free, annual, multi-disciplinary celebration of art, music, and community in the hamlet of Wassaic, NY. 2010 will feature over 100 artists, 25 bands, poetry readings, dance performances, film screenings, and much more.

REGISTRATION: Our festival is still free, but this year we're encouraging people to consider contributing as much or as little as possible by registering in advance. $0 is allowed! $50 gets you this year's poster, $100 gets you this year's and last year's posters... collector's items! Register via our online form. Thanks!

Visitors are encouraged to come for the day or stay the weekend camping on site. Programming is cutting-edge yet family friendly. The beautiful Hamlet of Wassaic is remarkably accessible from NYC and a short walk from the Wassaic MetroNorth train station, just 2 hours from Grand Central.

For more information visit www.wassaicproject.org or emailinfo@wassaicproject.com





17. Alex Komlosi, FF Alumn, at Czech Center, Manhattan, opening Aug. 26

Dear friends and Czech culture aficionados,


It is my pleasure to recommend a site-specific performance at the Czech Center New York by a group of talented young students from the Czech Republic. The project is entitled "Move-House Specific". A brief synopsis of the project is below. You are more than welcome to attend!

The opening is August 26, 2010 at 7pm.

Admission is free.

For more information, please contact: Silvia Gajdošíková – silkyska@centrum.cz

Info on the web:



Previous project: www.youtube.com/watch?v=VLwSjV2MQXM

Thanks! Diky!



Project Site specific /Czech Center New York/Silvie Gajdošíková and collective

The aim of the project is to create a site specific performance in The Czech Center New York. A group of artists (consisting mainly of art, music and humanities students) from Czech Republic and New York will explore the history of the CCNY in New York in the context of the whole Manhattan. It will also focus on the connections between Czech and American culture. On this basis, an art performance will be created in the space of CCNY (3D objects, video-projections, paintings, dance, music). Visitors will be enabled to participate in the installation interactively and to co-create it. The preparation will be divided into two parts: from March to July in Prague and the whole August in New York City.

work on the project in New York: 1th of Augus till 25th of August 2010 – preparation
26th of August till 28th of August - presentation



18. Ricardo Miranda Zuniga, FF Alumn, at Museo Nacional de Bellas Artes, Santiago, Chile, thru Sept. 14


The Miracle of Chile is a multifaceted art project investigating Milton Friedman's famous phrase "Miracle of Chile." In 1981 Friedman declared the phrase to reflect a transformation of Chile's economy through a neoliberal formula of privatization, deregulation of markets and cuts to social spending.

Today, we live in the midst of a global economic crisis that has lead us to question neoliberal philosophy. The art project consists of a workshop, public situation, bus intervention and a virtual labyrinth. Each element asks participants in Chile (the first country to fully adopt neoliberalism) to identify the Miracle of Chile as reflected in personal lives and civil space.

The project is executed for the exhibition portables at the Museo Nacional de Bellas Artes, Mall Plaza Vespucio, curated by Ignacio Nieto and on view from 14 August through 19 September. The exhibition includes the work of Michelle Teran, Chimbalab, Alejandra Perez, Carolina Pino, GraphTech, Otto Von Busch.

Be sure to try out the maze: http://miracleofchile.com/moc2/ and use the space bar to see higher res images of the photos taken by participants.

Hope to see you soon!



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.
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