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Contents for November 2, 2010
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1. Linda Mary Montano, FF Alumn, in Canada, November 19-22
2. Jessica Ann Peavy, FF Alumn, at Collette Blanchard Gallery, Manhattan, opening November 5
3. Marisa Jahn, FF Alumn, at Dorsky Gallery, Long Island City, NY, thru Nov. 14
4. E.K. Smith, FF Alumn, at EAB, Manhattan, Nov. 5-7
5. Martine Aballea, FF Alumn, at Mamco, Geneva, Switzerland, Nov. 2
6. Vito Acconci, Laurie Anderson, Eleanor Antin, Colette, Agnes Denes, Gilbert & George, Guerilla Art Action Group, Ray Johnson, Adrian Piper, Willougby Sharp, Alan Sondheim, Andy Warhol, William Wegman, and Hannah Wilke, FF Alumns, now online at www.98bowery.com
7. Mimi Smith, FF Alumn, at Anna Kustera Gallery, NYC, opening Nov. 4
8. Los Angeles Poverty Department, FF Alumn, at The Box, Los Angeles, Nov. 6-20
9. Ruth Hardinger, FF Alumn, at Lesley Heller Workspace, Manhattan, opening Nov. 3
10. Lisa Kron, FF Alumn, in The New York Times, November 1
11. David Everitt Howe, FF Alumn, at The Former Convent at St. Cecilia’s Parish, Brooklyn, opening Nov. 6
12. Andy Warhol, FF Alumn, at The Feldman Gallery, Manhattan, opening Nov. 5
13. Susana Cook, Reverend Billy, Peggy Shaw, FF Alumns, at NYU, Manhattan, November 4-5
14. Yvonne Rainer, Carolee Schneemann, Elaine Summers, FF Alumns, at NYU, Manhattan, thru January 7, 2011
15. Lawrence Weiner, FF Alumn, at 41 Essex St., Manhattan, opening Nov. 6
16. Betty Tompkins, Peter Frank, FF Alumns, at James Graham & Sons, Manhattan, thru Nov. 3
17. Howardena Pindell, Duston Spear, FF Alumns, at University of North Carolina, Greensboro, opening Nov. 7
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1. Linda Mary Montano, FF Alumn, in Canada, November 19-22

LINDA MARY MONTANO will practice THE ART OF PRAYER on a PRAYER/ART PILGRIMAGE toCanada. Nov 19-22, 2010. I will visit the Oratory of St Joseph: ST Brother Andre's Church, the Basilica of Notre Dame, the Church of St Anne and the grave of Kateri Tekawitha.

Send a one sentence prayer request to me and I will read it at one of these pilgrimage sites or if you prefer, name the place you want your prayer read.
lindamontano@hotmail.com

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2. Jessica Ann Peavy, FF Alumn, at Collette Blanchard Gallery, Manhattan, opening November 5

JESSICA ANN PEAVY
Emergency Contraception
November 5 - December 31, 2010
Opening Reception Friday, November 5th 6-8

Collette Blanchard Gallery is pleased to present Emergency Contraception, new work by Jessica Ann Peavy. This exhibition will be on view at 26 Clinton Street from November 5th - December 31st,2010.

A selection of single-channel videos depict vivid first person accounts of romantic encounters that are open to doubt. Four characters confide their secrets, desires, trials, confrontations and internal conflicts to a trusted viewer; yet, the videos encourage the viewer to question the objectivity of each subject, their narratives, and to examine their own prejudices when determining believability. Coupled with photographs and an opening night performance, the work examines how gender, cultural background, gesticulation, and use of vernacular English influence the perception of credibility.

Jessica Ann Peavy is interested in the natural art of storytelling, especially where the lines between fact and fiction are blurred and accounts of actual events can be exaggerated and self aggrandizing. In the video "Parable #1: Katelyn and the Young Black Man" a Domincan woman recalls her white boyfriend cheating on her with white woman, while a male voice counters her story by accusing her of cheating with a black man. The viewer does not actually see the male but we ask ourselves is the voice enough to question the woman's integrity.

The videos and performance use a combination of real people drawing upon personal history and outrageous invented characters to further blur the line. Influenced by folk tales, tall tales, and media that break the fourth wall, Peavy's work creates an alternate universe where confessional-style visual language elicits raw emotion and sometimes, inspires a larger awareness within.

For more information, please contact the gallery at 917.639.2912 or gallery@colletteblanchard.com

Collette Blanchard Gallery
26 Clinton Street
New York, New York 10002
+1 917 639 3912
www.colletteblanchard.com
Gallery Hours are Wed. - Sun. 12 -6 and by appointment.

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3. Marisa Jahn, FF Alumn, at Dorsky Gallery, Long Island City, NY, thru Nov. 14

Recipes Interpreted:
An Afternoon of Shared Instructions Recipes and Scores
with Berin Golonu, Annie Gosfield, Robert Kleier, Robert Kushner, Karen Hakobian, and Marisa Jahn

Sunday October 31st, 2010 (2 - 3:30 pm)
Dorsky Gallery (11-03 45th Ave., Long Island City, NY 11101
E/M trains to 23rd Ely Ave., 7 or G trains to Courthouse Square

A special event in association with the book "Recipes for an Encounter" edited by Marisa Jahn, Berin Golonu, and Candice Hopkins and the exhibition by the same name curated by Golonu and Hopkins on view at Dorsky Gallery from Sunday, Sept 12 - November 14, 2010.

'Recipes Interpreted' will address the anticipatory nature of the artworks in the exhibition by bringing together artists and cultural practitioners to share recipes and instructions in interactive presentations and performances. These collaborative ventures reach across disciplines and welcome open ended outcomes, often determined by participant interaction. Robert Kushner, who served as assistant manager for the artist-run restaurant FOOD located in Soho in the early '70s, will recount some of the encounters he witnessed while working on this collaborative project with its founders Gordon Matta-Clark, Caroline Goodden, Rachel Lew and Suzanne Harris. Marisa Jahn, whose project with Steve Shada titled Commuter Cookout is on view in the exhibition, will present recent projects that involve cooking with ecological travesties such as lightning, tail pipes, and engine blocks. Musician, researcher and human rights advocate Karen Hakobian will share a recipe on How to Colonize a Nation, leading the audience on a short training session on optimal colonization strategies. Musicians Annie Gosfield and Roger Kleier will be interpreting an experimental music score by artist Matt Volla titled Tennis Music/Music Tennis, also on view in the exhibition.

Bios of Event Participants

Berin Golonu is a doctoral student in the Visual and Cultural Studies program at the University of Rochester and was Associate Curator of Yerba Buena Center for the Arts in San Francisco from 2003 to 2008. She has written for numerous national and international arts publications, including Art in America, Art Nexus, Art on Paper, Art Papers, Contemporary, frieze, Modern Painters, Sculpture, and Zing Magazine. Golonu holds an MA from the Visual and Critical Studies Program at CCA, where she wrote her master's thesis on the arts publication as a curatorial site.

Hailed as "A star of the downtown scene" by The New Yorker, Annie Gosfield lives and works in New York City. She has three CD's out on the Tzadik label, and divides her time between performing on piano and sampler with her own group, and composing for many ensembles and soloists. Her music often explores the inherent beauty of non-musical sounds, and combines acoustic instruments with electronics. Gosfield held the Darius Milhaud chair at Mills College, and has taught at Princeton University and CalArts. Her essays on music have been published in the New York Times' series "The Score". Upcoming projects include a concert-length piece for the kitchen, a new CD for Tzadik, and a CD of piano music performed by Lisa Moore for Cantaloupe.

Karen Hakobian is a musician, researcher and human rights advocate/trainer from Armenia. He is the president of Hujs (Hope,) a human rights organization promoting a culture of participatory democracy. He lectures frequently on contemporary issues in politics and arts.

Roger Kleier is a composer, guitarist, and improviser who began playing electric guitar at age thirteen after discovering Captain Beefheart and Jimi Hendrix on the radio airwaves of Los Angeles. He studied composition at North Texas State University and the University of Southern California, and has developed a unique style that draws equally from improvisation, contemporary classical music, and the American guitar traditions of blues, jazz, and rock. Much of his compositional work involves the development of a broader vocabulary for the electric guitar through the use of extended techniques and digital sound manipulation. His three solo CDs are "KlangenBang", released on the Rift label, "Deep Night, Deep Autumn" released by the Starkland label, and "The Night Has Many Hours" on the Innova label. He has formed a quartet called "El Pocho Loco" dedicated to guitar instrumentals that features keyboardist Annie Gosfield, bassist Trevor Dunn, and drummer Ches Smith.

Robert Kushner is a painter and a sculptor based in New York City. He gained attention in the early seventies as a performance artist, using food, fabric and nudity. From 1971 to 1973, he was the assistant manager of the artist-run project FOOD, a restaurant located in Soho, founded by Gordon Matta-Clark and Caroline Goodden, in collaboration with many others.

Of Ecuadorian and Chinese descent, Marisa Jahn is an artist, writer, and community organizer whose work has been featured at The MIT Museum (Cambridge); ICA (Philadelphia); ISEA/Zero One (San Jose, CA); the National Taiwan Museum of Fine Arts, Yerba Buena Center for the Arts, the San Francisco Asian Art Museum, and more. A graduate from UC Berkeley and MIT, Jahn is the founder of REV-, an organization dedicated to furthering socially-engaged art, design, and pedagogy and the co-editor of two books-'Recipes for an Encounter' and 'Byproduct: On the Excess of Embedded Art Practices.' She is currently the Deputy Director at People's Production House.

Support: Produced by Dorsky Gallery, this exhibition, publication, and related programming are supported, in part, by public funds from the New York State Council on the Arts.

REV- is a non-profit organization that furthers socially-engaged art, design, and pedagogy. REV- produces projects that fuse disciplines, foster diversity, and vary in form (workshops, publications, exhibitions, design objects, etc.). Engaged with different communities and groups, REV-'s projects involve collaborative production, resource-sharing, and a commitment to the process as political gesture. The organization derives its name from both the colloquial expression "to rev" a vehicle and the prefix "rev-" which means to turn-as in, revolver, revolution, revolt, revere, irreverent, etc.

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4. E.K. Smith, FF Alumn, at EAB, Manhattan, Nov. 5-7

Purgatory Pie Press will be at E|A B : editions|artist books
Former Dia/Former X Initiative
548 West 22nd Street, Between 10th & 11th Ave
www.eabfair.com
FREE to the Public: Friday - Sunday, 5 November-7 November 2010.
Hours: 11 AM - 7 PM Friday & Saturday; 11 AM - 4 PM Sunday.

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5. Martine Aballea, FF Alumn, at Mamco, Geneva, Switzerland, Nov. 2

Martine Aballéa, reading "La maison au bout de la rue" (The house at the end of the street) at MAMCO, Geneva, Switzerland on Tuesday November 2nd. at 6pm.
"La maison au bout de la rue" was originally published weekly in serial form in "Le Berry Républicain", the local newspaper of Bourges, France. The context was the "Fréquences 2" exhibit at Transpalette, Emmetrop, Bourges. The story recounts the revolution of the vegetable kingdom to eliminate or transform humans.

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6. Vito Acconci, Laurie Anderson, Eleanor Antin, Colette, Agnes Denes, Gilbert & George, Guerilla Art Action Group, Ray Johnson, Adrian Piper, Willougby Sharp, Alan Sondheim, Andy Warhol, William Wegman, and Hannah Wilke, FF Alumns, now online at www.98bowery.com

The out of print catalog from
Lives
Organized by Jeffrey Deitch
The Fine Arts Building, NYC
Nov. 29-Dec. 20, 1975
Is now available online at www.98Bowery.com

Featuring FF Alumns
Vito Acconci, Laurie Anderson, Eleanor Antin, Colette, Agnes Denes, Gilbert & George, Guerilla Art Action Group, Ray Johnson, Adrian Piper, Willougby Sharp, Alan Sondheim, Andy Warhol, William Wegman, Hannah Wilke, and others.

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7. Mimi Smith, FF Alumn, at Anna Kustera Gallery, NYC, opening Nov. 4

Mimi Smith
New Work

November 4 - December 23, 2010
Opening: Thursday, November 4, 6-8pm

Gallery Hours: Tuesday - Saturday 11am-6pm

Anna Kustera
520 West 21 Street
New York, NY 10001
212-989-0082
www.annakustera.com

Anna Kustera Gallery is proud to present an exhibition of work spanning the past 6 years by artist Mimi Smith. Smith, an early maker of feminist art who has addressed clothing as sculpture since the 1960’s, continues her explorations of sociopolitical imperatives through a personalized history that constitutes not only her own life, but a timeline of femininity itself. Smith subverts female traditions such as knitting, pregnancy, and fashion with her intricate, handmade artifacts. Included are recent works that reference the artist’s interest in women in the military, terrorism, 9/11, fertility drugs, the fur industry and the process of aging.

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8. Los Angeles Poverty Department, FF Alumn, at The Box, Los Angeles, Nov. 6-20

Los Angeles Poverty Department Presents:
State of Incarceration, a gallery installation, and performances
November 6-20, 2010

This installation will fill the main floor of The Box wall-to-wall with 30 bunk beds, same as in over crowded California State Prisons--- where gymnasiums and cafeterias have been turned into dormitories housing 3 and 4 hundred prisoners. The exhibition will include 5 performance events each one different--- all will take place within the prison bunk-bed installation. Each performance is an experiment in which the performers, the audience, and the performance material are inserted into this restrictive prison architecture.

Based in the Skid Row neighborhood, Los Angeles Poverty Department (LAPD) is a non-profit arts organization that connects lived experience to the social forces that shape the lives and communities of people living in poverty.

The performance material, developed in LAPD’s workshops, articulates the performers inside understanding of how the prison system functions.

OPENING RECEPTION
November 6, Saturday, 6-9 pm
@ The Box Gallery, Chinatown, 977 Chung King Road, LA 90012
Performance experiment #1. The opening will include performance material developed in LAPD workshops. The performance will take place in the installation. LAPD’s State of Incarceration project combines theater, installation and public education to examine the personal and social costs of incarceration in the US.

PERFORMANCE
November 12, Friday, 8 pm
@ The Box Gallery, Chinatown, 977 Chung King Road, LA 90012
Performance experiment #2. In State of Incarceration LAPD artists articulate the mental and physical challenges of incarceration and the resources needed to endure and recover from it.
PERFORMANCE
November 13, Saturday, 8 pm
@ The Box Gallery, Chinatown, 977 Chung King Road, LA 90012
Performance experiment #3. California has the greatest number of prisoners in the U.S. The 9th Circuit Court of Appeal has ordered the State to reduce the prison population to 137% of capacity.

PERFORMANCE
November 19, Friday, 8 pm
@ The Box Gallery, Chinatown, 977 Chung King Road, LA 90012
Performance experiment #4. When released from state penitentiaries with $200 gate money, parolees are directed to Skid Row with the largest concentration of low cost housing in LA County.
PERFORMANCE
November 20, Saturday, 8 pm
@ The Box Gallery, Chinatown, 977 Chung King Road, LA 90012
Performance experiment #5. 33% of parolees released to the Los Angeles area settle in the 52 square block neighborhood of Skid Row.

The main floor gallery will be installed wall to wall with prison bunk beds. Video elements will be installed on the beds. The basement gallery will include images charting the expansion of the prison population and new prison construction in California over the past 3 decades and the 21 year and counting history of the lawsuit challenging the quality of the health services available to inmates in the state’s over-crowded prisons. In 2010 the 9th Circuit Court of Appeals ruled that these conditions amounted to cruel and unusual punishment. Governor Schwarzenegger has appealed this ruling and the case will go to the Supreme Court.

This exhibition’s goals include contributing to the public’s ability to visually and viscerally imagine the conditions resulting from policy choices that have made California the state with the largest prison population in the US. Another goal is to create an opportunity for former prisoners to share their lived expertise, about the prison experience, the state of incarceration and how to survive it. And the ultimate goal of the project is to create a moment of exchange and reflection on how we the people of California, as a state can recover from living in a state of incarceration.

LAPD’s History of Incarceration project combines theater, installation and public education to examine the personal and social costs of incarceration in the US. Prior activities have taken place at various Skid Row locations and in parolee re-entry programs in the San Fernando Valley and Central Los Angeles. The project will continue at Chuco Justice High School in Inglewood in December, and evening length performances at Highways Performance Space January 28 and 29. The project will tour to parolee programs, theaters and museums in Arizona, New Mexico and New York in 2012-13. History of Incarceration is a Creative Capital Project. Funders of different phases of project activity include the National Endowment for the Arts, Department of Cultural Affairs, and Los Angeles, The Creation Fund of the National Performance Network, and The Bold and The Beautiful for their generous donation of 30 bunk beds.

About LAPD:
The Los Angeles Poverty Department (LAPD) is a non-profit arts organization that was started in 1985 by artist John Malpede. LAPD’s mission: creating performance work that connects lived experience to the social forces that shape the lives and communities of people living in poverty. LAPD is committed to creating performances and artworks that express the realities, hopes and dreams of people who live and work on Skid Row.

If you have any questions please contact Mara McCarthy, Director of The Box at mara@theboxla.com or 626 463 8144.

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9. Ruth Hardinger, FF Alumn, at Lesley Heller Workspace, Manhattan, opening Nov. 3

Lesley Heller Workspace 54 Orchard Street New York, NY 10002 t: 212 410 6120

Building Beauty
Brenda Garand, Ruth Hardinger, Grace Knowlton, Ted Larsen, Jim Osman

November 3 - December 19, 2010

Opening Reception: Wednesday, November 3, 6-8pm
www.lesleyheller.com
Lesley Heller Workspace
54 Orchard Street
New York, NY 10002
212 410 6120
Gallery Hours:
Wednesday – Saturday 11 – 6
Sunday 12 – 6

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10. Lisa Kron, FF Alumn, in The New York Times, November 1

The New York Times
November 1, 2010
Theater Review | 'In the Wake'
A Whirlwind of Words and Passions
By BEN BRANTLEY
"Wow. I talk a lot!"
So says Ellen, the garrulous heroine of "In the Wake," Lisa Kron’s equally garrulous new play, which opened Monday night at the Public Theater.
Played with exhausting vivacity by a luminous Marin Ireland, Ellen is usually slow (slow enough to occupy two and a half hours of stage time) to arrive at an accurate assessment of who and what she is. So give her points for this early moment of self-perception, which occurs while she’s being seduced into a relationship that will rattle her very foundations.

Otherwise a well-meaning, politically engaged tornado of words, she hurtles unheedingly forward, full of an energy and hope that may do more harm than good, until close to the final curtain. Ellen, who comments retrospectively throughout the play on the events that derailed her life, speaks of "the blind spot" in herself that she failed to locate. But "deaf spot" might be more fitting. This woman cannot hear herself. Unlike the audience, which hears her all too well.

Ms. Kron has hitherto been best known as the inspired creator of two memoir plays, "Well"(about her housebound mother) and "2.5 Minute Ride" (about her father, whose parents died in Nazi concentration camps). In those works, in which Ms. Kron played herself, the author’s own blind spots were ingeniously built into the plays’ structures. And Ms. Kron’s portrayal of Lisa Kron was so captivating that we willingly shared her alter ego’s limited point of view right up to the moment when it was shattered.

"In the Wake," directed by Leigh Silverman, is a more conventionally naturalistic play (set mostly in a painstakingly detailed shabby New York apartment, created by David Korins), and Ms. Kron does not appear in it. Instead of practicing charming self-sabotage as the narrator of her own life, she instead sends Ellen on a collision course wherein she sideswipes the lives of others, all the while believing that she is a positive moral force.

At the same time, we are constantly being reminded — both by onstage conversation and video collages of television news (designed by Alexander V. Nichols) — of the political events that occur in the years of Ellen’s story. That’s the early part of this century, the era of George W. Bush, from his disputed election victory of a decade ago, through 9/11 and the invasion of Iraq and on into the national catastrophe of Hurricane Katrina.

Ellen is so exercised by the road her country is pursuing that she fails to see that there might be a few parallels between her own unthinking behavior and that of the United States. Once again, we, the audience, are way ahead of her.

As written by Ms. Kron and embodied by Ms. Ireland, Ellen has been shaped with an honorable bravery. Her turbo-charged effervescence is as irritating as it is charming. And it’s just as easy to identify with those she alienates as with those she enchants.

In the enchanted camp are Ellen’s longtime partner, Danny (Michael Chernus), a wry but huggable schoolteacher, and Amy (the commandingly centered Jenny Bacon), an experimental filmmaker with whom she has an affair. Less blinded by Ellen’s vitality are Kayla (Susan Pourfar), Danny’s sister, and her partner, Laurie (Danielle Skraastad), who live in the same East Village building as Ellen and Danny. Ellen’s friend Judy (Deirdre O’Connell), a grumpy international aid worker, may be the person who sees her most clearly.

As the play’s characters — who also include a visitor from Middle America in the person of Tessa (the appealing Miriam F. Glover), Judy’s young, racially mixed niece — swap (and sometimes hurl) opinions and revelations, the conversation embraces a heady brew of topical subjects. Ms. Kron is very good on the shades of political difference that may exist within a seemingly like-minded community of friends, particularly after the attacks of 9/11. And the cast’s collective effusiveness and comic timing keep the production from feeling like a speech-a-thon.

Yet from the fractious Thanksgiving Day gathering that begins "In the Wake," the group scenes are often infused with a perkiness that brings to mind the amiably, mutually annoyed characters of a sitcom like "Friends." Ms. Silverman, who did beautifully by Ms. Kron’s "Well," here fails to lay the necessary bedrock of seriousness that "In the Wake" requires.

For much of the production, there’s a disconnect between the characters’ endearing surface eccentricities and their more corrosive discontent. And your awareness of that tonal contradiction buzzes faintly, mosquitolike, throughout.

Ms. Ireland, it must be said, gives a credible, fully integrated performance that never begs for affection. In recent years this protean actress has appeared mostly as somber, beaten-down women ("Blasted," "A Lie of the Mind"), and it’s a pleasure to see her flourishing as an attractive, if wrongheaded, character who believes that she’s on top of her life.

Her Ellen brings to mind a slew of young women I knew in college — intense, coffee-fueled conversationalists whose aggressive idealism was sexy until you perceived the self-centeredness of it. These women could hold guys (or girls) in their thrall for semesters on end. Exposed on a stage that lays bare her delusions from the beginning, Ellen’s spell evaporates much more quickly, despite Ms. Ireland’s and Ms. Kron’s ambitious and conscientious efforts.

IN THE WAKE
By Lisa Kron; directed by Leigh Silverman; sets by David Korins; costumes by Susan Hilferty; lighting and projections by Alexander V. Nichols; sound by Darron L West; production stage manager, Martha Donaldson; general manager, Andrea Nellis; associate artistic director, Mandy Hackett; associate producer, Maria Goyanes; director of production, Ruth E. Sternberg. Presented by the Public Theater, Oskar Eustis, artistic director; Andrew D. Hamingson, executive director. At the Public Theater, 425 Lafayette Street, at Astor Place, East Village; (212) 967-7555; publictheater.org. Through Nov. 21. Running time: 2 hours 45 minutes.

WITH: Jenny Bacon (Amy), Michael Chernus (Danny), Miriam F. Glover (Tessa), Marin Ireland (Ellen), Deirdre O’Connell (Judy), Susan Pourfar (Kayla) and Danielle Skraastad (Laurie).

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11. David Everitt Howe, FF Alumn, at The Former Convent at St. Cecilia’s Parish, Brooklyn, opening Nov. 6

Half a self,
a cave-dweller

Paul Branca
Julia Brown
Yve Laris Cohen
Carla Edwards
Nicolás Guagnini
Chelsea Knight
Ellie Krakow
Oliver Lutz
Fionn Meade
Seth Scantlen
Austin Shull
Mary Simpson
Jonathan VanDyke

Curated by David Everitt Howe

November 6 - November 14, 2010
Opening Reception: Saturday, November 6, 7 - 10pm
Performance Schedule: Saturday, November 6, 7 - late (see below)
Viewing Hours: Friday-Sunday, 12 - 6pm, and by appt.

The Former Convent at St. Cecilia’s Parish
21 Monitor St., Greenpoint, New York, 11222
Contact: David Everitt Howe, (912) 441-2190
Bringing together interdisciplinary work by thirteen emerging and established artists and critics, Half a self, a cave-dweller is, at its core, about the ways in which iconography both constructs and subjugates identity—when the icon becomes, in a sense, its own being. With video, painting, performance, photography, and installation, this group exhibition presents a sparse installation of work that reacts against an overwhelming amount of representation—from art production to advertising, popular culture to political culture—characteristic of post-modernity. Where does one locate the subject, the body, the ego, when it is both constituted by a desire for images and consumed by their memory—when images are so fully a part of it?

Taking residence within a former Catholic convent, the exhibition considers the convent’s architecture—with its three floors of bedrooms, public spaces, and determined religious sites—as a sort of optical apparatus, in which its nearly identical, demarcated spaces become sites of subtle interventions and expositions. Rather than adopting the segmented logic of its floor plan, Half a self, a cave-dweller allows artists to distribute their work amongst the convent’s many spaces. Taking a cue from Marcel Proust’s overture to In Search of Lost Time—in which the narrator describes a domestic space in constant perceptual shuffle, vacillating between past and present—encounters are rarely fully realized at once. Rather, work is seen in glimpses, in slips of time; temporal disjunction is a key component of the exhibition’s viewing experience, both in regards to the work and to the former convent itself—it is both timeless and placeless, seemingly suspended in an unspecific era.

Conflating language-based conceptualism with modernist painting, Paul Branca paints words and punctuation marks on small canvases, rendering linguistic signs as transcendent objects. Disjoining object from image, place from time, Julia Brown presents an auditory work about the taste memory of an extinct Mediterranean clam. Redolent of painters Franz Kline and Charline von Heyl, Mary Simpson’s prints feature the rudimentary image of an eye, its iconography subsumed into gestural abstraction. These are accompanied by a video produced in collaboration with critic Fionn Meade, Marsyas (2010). Footage of two hands, pressed one on top of the other—one real and one a "copy"—trace the outlines of historically-defined images, thus marking a profound shift where reference is lost and facsimile image gains a timeless, and desiring, autonomy. Further elaborating on this shift, Ellie Krakow deconstructs both icon and index as she distributes eight photographs among six bedrooms, each of which portrays one of two Greek busts. Alternating between views of the sculpture’s front and back sides, its iconic visage and its metal armature, Krakow has also selectively removed portions of the image, leaving negative space. Emphasizing both architecture and photograph as signifying framing devices, Krakow exchanges a past museum experience with a present one at the convent, the intervention thus bringing attention to the perceptual act of viewing. With these works, among others, the apparatus is a key motif; adopting a Minimalist concern with sites of reception and temporal contingency, such frameworks become ancillary to the image—it can, on its own, seemingly gain new contexts at will.

Other artists perform and re-perform notions of gender and sexual difference, both in relation to religious belief systems as well as to pop culture representations. Taking residence in the convent’s elaborate chapel, artist Yve Laris Cohen appropriates iconic choreography from the ballet Giselle, repeating the same movement from 7:00 pm during the opening reception until complete exhaustion. Framed both by the chapel architecture—which features delicate stained-glass windows and a stone altar—as well as a grouping of photo shoot lights and softboxes, Cohen’s endurance-based re-performance subverts notions of religious ritual and gender hierarchies. Jonathan VanDyke’s critique of normative tropes is more explicitly related to popular culture. He has enlisted a male and female pair of performers to reenact segments of dialogue from the Douglas Sirk film Magnificent Obsession (1954) starring Jane Wyman and Rock Hudson. Much like Cohen, VanDyke’s performers repeatedly perform the same three scenes as rituals of rejection, redemption, and reconciliation. Serving as backdrops, two hanging sculptures of framed homasote boards, shaped like modernist canvases, feature a system of pipes and orifices to transport paint. Viscous pigment slowly dribbles onto the floor in streaks, inverting the heterosexual bravado of Abstract Expressionism: action painting is thus rendered a painting of inaction, as layers of paint slowly accumulate into sculptural form.

Lastly, a third strain of work investigates the subject in relation to nation-state and capitalist ideologies. Nicolás Guagnini proffers photographs of women shopping in SoHo. Framed by window displays and shopping bags, the women are seen as both representations of capitalist design as well as objects of heterosexual male desire, correlating both. In the bunker-like boiler room, Chelsea Knight and Austin Shull present their collaborative video installation Acting Out (2010). It features a group of actors rehearsing Alfred Jarry’s early 20th century play Ubu Roi, a satire of bourgeois political power and greed. In some ways a precursor to Brecht’s theatrical productions, Artaud’s Theater of Cruelty, and the Theater of the Absurd, the staging of Ubu Roi in Skowhegan, Maine’s county jail underscores the arbitrariness of social codes of conduct, as well as the political abuses of America’s penal system. Carla Edwards rounds out the group with a large handcrafted quilt made of strips of American flag dyed black. These works, among others, draw parallels between capitalist design and political will. They look at the subject, again, and in sequence, where meaning and image are disoriented from their own after-affect.

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12. Andy Warhol, FF Alumn, at The Feldman Gallery, Manhattan, opening Nov. 5

Please join us for an opening reception on
Friday, November 5 from 6-8 pm.

For Immediate Release: October 15, 2010

ANDY WARHOL
WARHOL'S ANDYS
November 5 - December 23

From the beginning, Warhol offered a contradictory balance between up-close intimacy and calculated artifice. -Robert Rosenblum, Andy Warhol's Disguises

The Feldman Gallery will exhibit a large selection of Andy Warhol self-portraits from 1966 to 1982, including paintings and unique prints, some never before exhibited, and photography and video made with collaborators. Self-portraits occupied a central position in Warhol's entire body of work and were important in the creation of his public persona. Controlling his own image, Warhol played with the art of disguise and deception, seemingly telling us all, yet revealing very little. There are many Andys, but Warhol remains substantially unknowable.

The exhibition includes several variations of Warhol's depiction of himself as The Shadow, the mysterious radio character from the 1930s through the 1950s, as part of the 1981 Myths series. Featured is a large composite painting that incorporates ten American myths with Warhol's profile image placed along an entire edge. Also on view are unique trial proofs from the edition of The Shadow - some with diamond dust - and The Shadow with Glasses, characterized by energetic drawing. Based on the reworking of the repetitive image, the prints exhibit color combinations that range from sumptuous contrasts to monochromatic studies.

Two silkscreen self-portraits from the '60s represent the young Warhol, already a Pop icon and part of the culture he celebrated. Larger-than-life self-portraits from 1977, nine years after he was shot, combine different poses with silkscreen effects. A mock strangulation conflates a possibly spontaneous moment with the theme of sudden death. In a 1982 unique print, derived from a photograph to promote his modeling career, Warhol stares directly at the viewer as do many of his celebrity portrait subjects.

Photographs by Christopher Makos include Altered Image in which Warhol, inspired by Man Ray's portrait of Duchamp, role-plays in drag and Andy Warhol Modeling Composite that depicts practice poses and commissioned assignments. Warhol's appearances on TV are documented with clips from The Love Boat, Saturday Night live, and Andy Warhol's Fifteen Minutes, his self-produced cable show. Gerard Malanga's film, Portraits of the Artist as a Young Man, 1964-65, mimics the pace of Andy's films and screen tests, a contrast to a 1987 video of Warhol walking a fashion runway, his last public appearance a few days before he died.

The Feldman Gallery, Warhol's primary print publisher, commissioned five projects of prints and paintings in the '80s: Ten Portraits of Jews of the Twentieth Century, Myths, Endangered Species, Ads, and Moonwalk. The fourth edition of Andy Warhol Prints: A Catalogue Raisonné: 1962-1987, co-edited by Frayda Feldman, was released in 2003. The gallery has mounted the following solo shows of Warhol's work: Myths, 1981; Painting and Sculpture, 1989; Working Process: Unpublished Prints, 1995; Black & White Unique Screenprints, 1998; Unique Screenprints 1967-1987: Part I and Part II, 1998; Myths: Paintings, Drawings, Trial Proof Screenprints, Source Material, 2000; Ads: Paintings, Drawings, Trial Proof Screenprints, Source Material, 2000 and Andy Warhol: Model; Takes and Outtakes, 2004.

There will be an opening reception on Friday, November 5 from 6:00PM - 8:00PM. Gallery hours are Tuesday through Saturday, 10:00AM - 6:00PM. Monday by appointment. For more information, contact Sarah Paulson at (212) 226-3232 or sarah@feldmangallery.com.

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13. Susana Cook, Reverend Billy, Peggy Shaw, FF Alumns, at NYU, Manhattan, November 4-5

Thursday, November 4 – Friday, November 5, 2010

States of Devotion: Religion, Neoliberalism and the Politics of the Body in the Americas
This conference aims to promote and strengthen interdisciplinary dialogue about the changing role and place of religious discourses and practices in the wake of the transformations wrought by neoliberal globalization upon communities, societies and polities across the Hemisphere. The event is part of a multi-year project on 'Religion and Politics in the Americas' funded by the Henry Luce Foundation. Starting from the understanding that conceptions and models of "pluralism" or "secularism" vary across national contexts and regional geographies, we want to focus our attention on the ways in which the retraction of the state and the unrestrained acceleration of economic forces and market logics—neoliberal globalization—have transformed the experience of religiosity as well as the role and influence of religion across the Americas. As religious life has become increasingly channeled through the complex mechanisms of a neoliberal marketplace, the market has increasingly taken on roles and functions previously occupied by the state across broad social arenas. These transformations have not only affected discrete areas of social and economic policy, such as health care, education and security, but have also given rise to new private-public interfaces such as faith-based initiatives and discourses of volunteerism that have supplanted the discourses of rights. This shift has also required the production of new kinds of subjects, emblematized by the shift from citizen to consumer. We are particularly interested in the ways in which religious diversity has been variously enabled, foreclosed, harnessed and even commodified by the neoliberal state. In this context, we also wish to explore how public debates over gender and sexuality serve as flashpoints illuminating the wider workings of the state's ongoing negotiation with religion and religious difference. Sexuality and sexual life more broadly connect individuals to the state as citizens, to the market as consumer-laborers, and to the supposedly traditional values represented by religion. But how this happens, and with what policy implications on a range of issues, will not be the same in every national context.

Confirmed participants include:
Ana Amuchástegui (Universidad Autónoma Metropolitana)
Roberto J. Blancarte (Colegio de México)
Susana Cook (Independent artist)
Rafael de la Dehesa (City University of New York)
Emerson Giumbelli (Universidade Federal de Rio de Janeiro)
Marcial Godoy-Anativia (New York University)
Macarena Gómez-Barris (University of Southern California)
Leda Martins (Universidade Federal de Minas Gerais)
Elizabeth McAlister (Wesleyan University)
Bethany Moreton (University of Georgia)
Kemy Oyarzún (Universidad de Chile)
Ann Pellegrini (New York University)
Anthony Petro (New York University)
Reverend Billy (The Church of Life After Shopping)
Jesusa Rodríguez (Resistencia Creativa)
Pablo Semán (IDES/Colegio de México)
Peggy Shaw (Split Britches)
Winnifred Sullivan (University of Buffalo)
Diana Taylor (New York University)
Moysés Zúñiga Santiago (Independent photojournalist)

Conference Program (PDF)
The event will take place on November 4–5, 2010 at the Hemispheric Institute of Performance and Politics. To guarantee a seat, please RSVP to hemi.conference@nyu.edu no later than November 2, 2010.

Hemispheric Institute of Performance & Politics
20 Cooper Square, 5th Floor
New York, NY 10003

This event is made possible by a grant from the Henry Luce Foundation and is co-sponsored by The Center for the Study of Gender and Sexuality and the Department of Photography and Imaging at New York University.

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14. Yvonne Rainer, Carolee Schneemann, Elaine Summers, FF Alumns, at NYU, Manhattan, thru January 7, 2011
A SANCTUARY FOR THE ARTS
JUDSON MEMORIAL CHURCH AND THE AVANT-GARDE 1954-1977 EXHIBITION AT FALES LIBRARY, NEW YORK UNIVERSITY OCTOBER 28, 2010 TO JANUARY 7, 2011
Fales Library and Special Collections Bobst Library, 3rd Floor Tracey/Barry Gallery New York University 70 Washington Square South New York City

Exhibition hours at Fales Library are:Monday - Thursday: 10:00 - 5:45 Friday: 10:00 - 4:45 Closed on weekends.

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15. Lawrence Weiner, FF Alumn, at 41 Essex St., Manhattan, opening Nov. 6

Time/Bank and e-flux are pleased to announce the grand opening of the Time/Store.
Time/Store
41 essex street, New York City
Opening reception: Saturday, November 6th, 6-8 PM.
Store Hours: Tuesday – Saturday, 12-6 PM.

Time/Store on Essex Street follows the historic Cincinnati Time Store, opened by the American anarchist Josiah Warren in 1827 as a three-year experiment in alternative economics. Warren's idea was to develop an exchange system where the value assigned to commodities would come as close as possible to the amount of human labor necessary to produce them. For example: 8 hours of a carpenter’s labor could be exchanged for eight to twelve pounds of corn. This system eventually led to the creation of time currency, and to contemporary time banking—an international movement of alternative economics.

Time/Store on Essex Street is an extension of Time/Bank—a platform where groups and individuals in the art community can trade time and skills, bypassing money as the measure of value. Every Time/Bank transaction allows individuals to request, offer, and pay for services in "Hour Notes." When a task is performed, the credit hours earned may be saved and used at a later date, given to another person, or contributed towards developing larger communal projects. For example, if you happen to be in Beijing or Hamburg and need someone to help you shop for materials or translate a press release, you can draw on resources from Time/Bank and get things done without cash changing hands.

Time/Store will offer a wide selection of commodities—from books to food, art, electronics, tools, clothing, and much, much more—all of which will be available for purchase with your time or time currency: Hour Notes, the official currency of Time Bank. Hour Notes can be obtained by opening an account at the Time/Bank and earning hour credits by helping others. The Hour Notes are designed by Lawrence Weiner, and come in numbered denominations of half-hour, one hour, six, twelve and twenty-four hour bills.

Time/Store will also purchase commodities that you may want to trade for time. Every Saturday, from 2-6PM, we will review and selectively acquire some useful items you may want to sell for Hour Notes, which could then be used by you to purchase other items, or to get some help or service from members of the Time/Bank.

Time/Store is hiring: We are looking for several store clerks. Will pay in Hour Notes. Interested? Please write to us at timebank@e-flux.com

Time/Bank is initiated by artists Julieta Aranda and Anton Vidokle.

For more information and to open an account, please visit www.e-flux.com/timebank

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16. Betty Tompkins, Peter Frank, FF Alumns, at James Graham & Sons, Manhattan, thru Nov. 3

'Consider the Oyster' has been extended through Wednesday, November 3rd. James Graham & Sons will be open Monday November 1st from 11-4. Peter Frank of The Huffington Post reviews the show in his 'Haiku Review' feature (also here). Roberta Smith of The New York Times lists the exhibition today in 'Last Chance' (also here)

HAIKU REVIEW: Consider the Oyster puts the work, mostly small, of over two dozen artists out for our delectation. So many group shows these days strain to link vastly disparate artists with conceptually nebulous themes, so when artworks that actually speak to one another gather under a single indubitable noun, the resulting show is as refreshing and easily digested as - well, a nice Chincoteague with a splash of lemon. Or a daytime roll in the hay, which, of course, is conjured by many of the artists who've pounced on the oyster rubric. Still and all, it's variety that keeps the appetite whetted, and with a roster ranging from Betty Tompkins to George Stoll, Dan McCleary to Colette, the bar is loaded.

- Peter Frank

The New York Times
Museum and Gallery Listings for Oct. 29-Nov. 4
Last Chance
'Consider the Oyster'; closes on Saturday. Likening artists to oysters, this endearing, well-selected group exhibition, conceived and organized by the once and (hopefully) future gallerist Ingrid Dinter, matches its title - lifted from M. F. K. Fisher's exquisitely thorough cookbook classic - with equal diligence. More than 40 paintings, sculptures and works on paper explore the bivalve as sea creature; gastronomic experience; source of pearls and their mother; sexual metaphor; and biomorphic, layered or extravagantly encrusted form. A good time is had by all. James Graham & Sons, 32 East 67th Street , (212) 535-5767, jamesgrahamandsons.com. (Smith)

James Graham & Sons
32 East 67th Street
New York, NY 10065
212-535-5767
www.jamesgrahamandsons.com

http://www.bettytompkins.com/

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17. Howardena Pindell, Duston Spear, FF Alumns, at University of North Carolina, Greensboro, opening Nov. 7

ART ON PAPER 2010: THE 41ST EXHIBITION
November 7, 2010 – February 6, 2011

The Weatherspoon Art Museum at The University of North Carolina at Greensboro is pleased to announce the selection of artists for the 2010 Art on Paper biennial exhibition, which opens to the public on November 7, 2010 and remains on view through February 6, 2011.

Xandra Eden, the Weatherspoon’s Curator of Exhibitions, has invited seventy-five artists of regional and international significance to present unique works made on, or of, paper. "With this year’s exhibition, the Weatherspoon continues to expand its international scope," comments Eden, "Art on Paper 2010 includes artists from across the Americas, Europe, Asia and the Middle East." The full list of participating artists appears at the end of this release.

Since 1965, the Weatherspoon’s Art on Paper exhibition has charted a history of art through the rubric of one-of-a-kind works on paper. Now in its forty-first year, the steadfast commitment of xpdex (formerly the Dillard Paper Company) has allowed the Weatherspoon to acquire works from each and every Art on Paper exhibition, resulting in the formation and tremendous growth of the Dillard Collection of Art on Paper, which today numbers close to 550 objects. Acquisitions have included work by some of art’s seminal practitioners, including Louise Bourgeois, Eva Hesse, Brice Marden, Joan Mitchell, Robert Smithson, and Frank Stella. Support for the exhibition and catalogue is generously provided by the F. M. Kirby Foundation, Inc.

The exhibition opens on Saturday, November 6 with a Curator’s Talk by Xandra Eden at 6:30 pm, and a Preview Party hosted by the Weatherspoon Art Association from 7-9 pm. Call 336.334.5770 or email weatherspoon@uncg.edu for more information and to purchase tickets.

The 28-page Art on Paper 2010 catalogue will includes selected images, an exhibition checklist, and curator’s statement.

Art on Paper 2010: List of Artists
Mequitta Ahuja
Diana Al-Hadid
Michael Ananian
Ky Anderson
Walead Beshty
Huma Bhabha
Nina Bovasso
Natasha Bowdoin
Nicholas Buffon
Tom Burr
Barbara Campbell Thomas
Emilie Clark
Dawn Clements
Gabriel de la Mora
Brian Dettmer
Josh Dorman
Jason Dunda
Will Duty
Jenny Eggleston
Bryan Ellis
Mark Fox
Rosemarie Fiore
Roland Flexner
Heather Gordon
Maximo Gonzalez
Belinda Haikes
Jacob Hashimoto
Elana Herzog
Carter Hodgkin
Katie Holten
Rebecca Horn
Jessica Jackson Hutchins
Fritz Janschka
Lisa M. Kellner
Eun Hyung Kim
Elizabeth Leal
Tonya D. Lee
Maria (Eun-Hee) Lim
Cynthia Lin
John Maggio
Cameron Martin
Frank McCauley
Elizabeth McIntosh
Maureen McQuillan
Jennifer Meanley
Alison Moffett
Roy Nydorf
Paul P.
Angela Piehl
Howardena Pindell
Amy Pleasant
William Powhida
Amy Purcell
Lauren Rice
Charlie Roberts
Chris Scarborough
Aurel Schmidt
Frank Selby
Julie Shapiro
Leah Sobsey
Duston Spear
Mariam Aziza Stephan
Dirk Stewen
Matthew Stromberg
Susanne Thomas
Christopher Thomas
Scott Treleaven
Michael Velliquette
Sarah Walker
Lee Walton
Robert Watts
Ruby Wescoat
Paula Wilson
Lisa Woods
Rachael Wren

About the Weatherspoon Art Museum

Mission
The Weatherspoon Art Museum at the University of North Carolina at Greensboro acquires, preserves, exhibits, and interprets modern and contemporary art for the benefit of its multiple audiences, including university, community, regional, and beyond. Through these activities, the museum recognizes its paramount role of public service, and enriches the lives of diverse individuals by fostering an informed appreciation and understanding of the visual arts and their relationship to the world in which we live.

History
The Weatherspoon Art Museum at The University of North Carolina at Greensboro was founded by Gregory Ivy in 1941 and is the earliest of any art facilities within the UNC system. The museum was founded as a resource for the campus, community, and region and its early leadership developed an emphasis—maintained to this day—on presenting and acquiring modern and contemporary works of art. A 1950 bequest from the renowned collection of Claribel and Etta Cone, which included prints and bronzes by Henri Matisse and other works on paper by American and European modernists, helped to establish the Weatherspoon’s permanent collection. Other prescient acquisitions during Ivy’s tenure included a 1951 suspended mobile by Alexander Calder, Woman by Willem de Kooning, a pivotal work in the artist’s career that was purchased in 1954, and the first drawings by Eva Hesse and Robert Smithson to enter a museum collection.

In 1989, the museum moved into its present location in The Anne and Benjamin Cone Building designed by the architectural firm Mitchell Giurgula. The museum has six galleries and a sculpture courtyard with over 17,000 square feet of exhibition space. The American Association of Museums accredited the Weatherspoon in 1995 and renewed its accreditation in 2005.

Collections + Exhibitions
The permanent collection of the Weatherspoon Art Museum is considered to be one of the foremost of its kind in the Southeast. It represents all major art movements from the beginning of the 20th century to the present. Of the nearly 6,000 works in the collection are pieces by such prominent figures as Sol LeWitt, Robert Mangold, Cindy Sherman, Al Held, Alex Katz, Henry Tanner, Louise Nevelson, Mark di Suvero, Deborah Butterfield, and Robert Rauschenberg. The museum regularly lends to major exhibitions nationally and internationally.

The Weatherspoon also is known for its adventurous and innovative exhibition program. Through a dynamic annual calendar of fifteen to eighteen exhibitions and a multi-disciplinary educational program for audiences of all ages, the museum provides an opportunity for audiences to consider artistic, cultural, and social issues of our time and enriches the life of our university, community, and region.

Weatherspoon Art Museum
The University of North Carolina at Greensboro
Spring Garden and Tate Streets, PO Box 26170
Greensboro, NC 27402-6170, 336.334.5770, weatherspoon@uncg.edu

For more information or press images, contact:
Loring Mortensen, 336-256-1451, lamorten@uncg.edu

Xandra Eden
Curator of Exhibitions
Weatherspoon Art Museum
The University of North Carolina at Greensboro
Spring Garden & Tate Streets
PO Box 26170
Greensboro, NC 27402
weatherspoon.uncg.edu
336.256.1453
xeden@uncg.edu

Current & Upcoming Exhibitions
Hans Hoffman: Circa 1950 (July 3 - October 17)
American Art: Circa 1950 (August 14 - October 24)
Amy Cutler: Falk Visiting Artist (September 18 - December 12)
Art on Paper 2010: The 41st Exhibition (November 7 - February 6, 2011)

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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
http://www.franklinfurnace.org
mail@franklinfurnace.org

Martha Wilson, Founding Director
Mary Haberle, Digital Specialist
Michael Katchen, Senior Archivist
Jenny Korns, Webmaster
Harley Spiller, Administrator
Eben Shapiro, Program Coordinator
Judith L. Woodward, Financial Manager