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Contents for January 31, 2011
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1. Zackary Drucker, FF Fund recipient 2010-11, at LGBT Center, Manhattan, Feb. 11
2. Lynn Cazabon, FF Alumn, at the Pacific Design Center, West Hollywood, CA, thru May 27, and more
3. Power Boothe, FF Alumn, at New Britain Museum of American Art, CT, thru April 10
4. Joyce Cutler-Shaw, Christo and Jeanne-Claude, Agnes Denes, Ichi Ikeda, FF Alumns, at Pori Art Museum, Finland, Feb. 4-May 29
5. Ann Messner, FF Alumn, launches new website
6. Neal Medlyn, FF Alumn, at Le Poisson Rouge, Manhattan, Feb. 17
7. Kathleen and William Laziza, FF Alumns, announce new street webcam
8. Joseph Nechvatal, FF Alumn, at SVA Theatre, Manhattan, Feb. 10
9. Theodora Skipitares, FF Alumn, at La MaMa ETC, Manhattan, previews starting February 3
10. Dahn Hiuni, FF Alumn, at Pratt Institute, Brooklyn, opening Feb. 8
11. Felix Gonzalez-Torres, FF Alumn, at Museum fur Moderne Kunst, Frankfurt, Germany, thru April 25
12. Annie Lanzillotto, LuLu LoLo, FF Alumns, in The Jewish Forward, Jan. 26
13. Max Gimblett, FF Alumn, at Gow Langsford Gallery, New Zealand, opening Feb. 1
14. Kate Gilmore, FF Alumn, on www.nyfa.org
15. Charles Clough, FF Alumn, at White Columns, Manhattan, opening Feb. 5
16. elin o'Hara slavick, FF Alumn, at Essex Art Center, Lawrence, MA, Feb. 4-Mar. 4
17. Mitzi Humphrey, F FAlumn, at art6, Richmond, VA, Feb. 4
18. Regina Silveira, FF Alumn, publishes new book
19. Dan Perjovschi, FF Alumn, at Para/Site Art Space, Hong Kong, thru April 17
20. Sol LeWitt, FF Alumn, at MassMOCA, MA, thru March 23
21. Babs Reingold, FF Alumn, now online
22. Sue de Beer, FF Alumn, in The New York Times, Jan. 26
23. RENO, FF Alumn, at Dixon Place, Feb. 7
24. James Prez, FF Alumn, at Brooklyn Public Library, Leonard Branch, thru Mar. 31
25. Carolee Schneemann, FF Alumn, at MoMA, Manhattan, and more
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1. Zackary Drucker, FF Fund recipient 2010-11, at LGBT Center, Manhattan, Feb. 11

The Queen: Then & Now film screening at the LGBT Center on Friday, Februrary 11, 2011.

The Queen: Then & Now unreels a full range of film and people surrounding the landmark 1968 documentary The Queen for an evening of screenings, memories, reflections and dish.

Long before Paris is Burning this remarkable pre-Stonewall documentary captured a raucous drag pageant at New York City’s Town Hall in 1967.

Rarely seen The Queen will be screened along with Zackary Drucker’s At least you know: you exist and Joe E. Jeffreys’ The Queen: After Party Outtakes.

The screenings will be followed by a public conversation examining the 50 year evolution of gender queer politics. Participants will include The Queen’s star Flawless Sabrina (aka Jack Doroshow), Zachary Drucker and Joe Jeffreys.

Living Live
The Queen Then and Now is presented as part of the Living Live exhibit at the Lesbian, Gay, Bisexual & Transgender Community Center. Curated by David Louis Fierman and RJ Supa, Living Live is an exploration of the distance between representation and actual experience. The exhibit runs Thursday, January 27, 2011 through Monday, February 28, 2011. The opening reception is Thursday, January 27th from 7:00PM-9:00PM.

About the films:

The Queen (1968, 68 minutes, directed by Frank Simon) was one of the first documentaries to present a mainstream audience with a non-pathologized view of drag and homosexuality. Director Frank Simon’s impressionistic verite film was widely praised by the press, set box office records and screened internationally. The New York Times praised the film as "funny—an inspired—extraordinary" and the East Village Other dubbed The Queen "a stone gas!" [JPG of original film poster featuring Flawless Sabrina(Jack Doroshow) attached]

At least you know: you exist (2011,10 minutes, Zackary Drucker with Flawless Sabrina) Created inside an archeology of the Uptown apartment that legendary queen Mother Flawless Sabrina has inhabited since 1967, At least you know: you exist is a site-specific exploration of a fixed space where everything is in a state of change. Totemic mystical objects act as an index, a collection of mysterious sculptures in different states of mutation, and rich layers of feverish history interface with a new vision of transgender performativity, inhabited by young artist Zackary Drucker. Weaving a fluid, parallel text of these two divergent lives, the 16mm film explores a legacy being passed from a lost generation towards the future.

The Queen: After Party Outtakes (2010, 7 minutes) screens recently discovered outtake footage from The Queen documenting the pageant’s star studded after party with cameos from pageant participants Harlow and International Chrysis as well as Edie Sedgwick, Larry Rivers and Terry Southern among others. Jack Doroshow provides commentary. Created by Joe E. Jeffreys for Drag Show Video Verite 2010 and made possible in part with funding from the Jerome Foundation.

About the people:
Jack Doroshow a.k.a. Flawless Sabrina, is a performer, muse, gender pioneer, tarot reader, and oracle. From 1959 to 1968 Sabrina organized and emceed 46 drag contests a year across the United States. Ms. Flawless' balls recruited the likes of Judy Garland, Truman Capote, Gloria Swanson, Eartha Kitt, and Andy Warhol, as celebrity judges; and legendary ladies, Monique, Dorian Corey, Crystal LaBeija, Mario Montez, Rachel Harlow and International Chrysis as contestants. Repressive masquerade laws, which stipulated that queens wear three pieces of male clothing, landed Sabrina and her girls in jails and escorted to many a state border. Doroshow has worked as a special advisor on such films as Myra Breckenridge, Midnight Cowboy, and Butch Cassidy and the Sundance Kid. Flawless has also worked on both the Hillary Clinton and Al Gore campaigns, and has established various children's programs in the five boroughs, pairing kids with artists.

Zackary Drucker is a misnomer, the birth-name alias of an artist who is actually a fishy bitch. Interested in obliterating language obstacles, pulverizing identity disorders and revealing dark subconscious layers of outsider agency, Drucker disarms audiences using live performance, voice, video installation, and photography. Keeping normative culture on the periphery, Drucker focuses instead on "reading"-- a sub-cultural dialect of resistance, online sexual exploitation vernacular, and uses her body to illicit desire, judgment, and voyeuristic shame from her viewer. Drucker's critical indecision to live above the radar, below definition, and beyond static representation, ultimately aims to teach you about yourself.

Joe E. Jeffreys is a drag historian. He teaches theatre studies at New York University’s Tisch School of the Arts Department of Drama and produces Drag Show Video Verite. Jeffreys’ video shorts have screened internationally and his work on The Queen was awarded funding by the Jerome Foundation.

WHAT Film Screening at the LGBT Center
WHEN Friday, February 11, 7:00 PM
WHERE The Center, 208 West 13th Street

CONTACT Cindi Creager, Communications Director
+ 1 (212) 620-7310, ccreiger@gaycenter.org

This performance/variable media art work was made possible, in part, by the Franklin Furnace Fund supported by stimulus funds from the New York State Council on the Arts, a state agency and the Lambent Fund of Tides Foundation.

About the Lesbian, Gay, Bisexual and Transgender Community Center
Established in 1983, the Lesbian, Gay, Bisexual and Transgender Community Center, located at 208 West 13th Street in New York City is the largest LGBT community center on the East Coast. More than 6,000 people visit the Center weekly and 300 groups meet here. More information is available at gaycenter.org.

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2. Lynn Cazabon, FF Alumn, at the Pacific Design Center, West Hollywood, CA, thru May 27, and more

Lynn Cazabon has work in two upcoming exhibitions:

Detroit: A Brooklyn Case Study, Superfront LA at the Pacific Design Center, West Hollywood, CA, Jan 20 - May 27.
http://losangeles.superfront.org/2010/12/detroit-opens-january-20/

Sex Drive, Cantor Fitzgerald Gallery, Haverford College, Haverford, PA, Jan 28 - March 4, curated by Stuart Horodner.
http://www.haverford.edu/calendar/details/161682/1296320400

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3. Power Boothe, FF Alumn, at New Britain Museum of American Art, CT, thru April 10

I have a one-person exhibition opening this Thursday, January 27, 2011, at 6:00pm, (it will run from 1/27/11 to 4/10/11), at the New Britain Museum of American Art in New Britain, CT.

Best regards,

Power Boothe

Power Boothe is an artist, educator and academic administrator. After serving as Dean of the Hartford Art School, University of Hartford from 2001 to 2010, he has now joined the Hartford Art School faculty as Professor in the Painting Department. From 1998 to 2001 Boothe served as Director of the School of Art at Ohio University. While Co-Director of the Mount Royal Graduate School, Maryland Institute College of Art from 1993 to 1998, he was awarded the MICA Trustees Award for Teaching Excellence. Boothe served as Lecturer in the Humanities at Princeton University from 1988–1994 and Foundations Instructor at the School of Visual Arts from 1977–1988.

Over the past decade, as Dean of the Hartford Art School, Boothe oversaw a strategic planning process that resulted in a successful capital campaign. As a result, scholarship and programmatic endowments were increased from $7million to $10million, while an additional $4million was raised to build the Renée Samuels Center (an art and technology instructional facility). Boothe also raised funds for an additional 8,000 SF of renovations to existing space. He led an innovative NASAD Self-study, which led to the renewal of the School’s accreditation, while advancing its strategic planning process. He also created and oversaw the development of two innovative, nationally recognized graduate programs; a low-residency MFA in Illustration program and an International low-residency MFA in Photography program.

Boothe grew up in the San Francisco Bay Area, Lafayette, CA. He received a BA from Colorado College in 1969 and in 1989, an Honorary Doctor of Arts degree from Colorado College. Boothe was a fellow at the Whitney Museum Independent Study Program, studying both Museum Studies and Studio Art and he has participated in two Post-graduate programs; in 1990 he studied classical archeology at the American School of Classical Studies, Athens, Greece and in 1996 he studied linguistics and philosophy (with George Lakoff, Mark Johnson and John Searle) at the University of California, Berkeley, CA.

As a painter, Boothe has had 18 one-person exhibitions in New York, as well as having participated in numerous group exhibitions. He is exhibiting his work at the New Britain Museum of American Art, New Britain, CT and at the University of Virginia Art Museum, VA in 2011. His paintings and prints are represented in many public and private collections, including the Metropolitan Museum, the Guggenheim Museum, and the Museum of Modern Art. Boothe has received numerous individual grants, including a National Endowment for the Arts Fellowship, a Pollock/Krasner Foundation Fellowship, and a Guggenheim Fellowship for painting.

Boothe also is known for his accomplishments as a set designer for theater, dance and video. He has produced short films and visual theater, for which he has received a Bessie Award for set design, a Film/Video Arts Foundation Award for film, and Art Matters Grants for his theater productions. He has designed sets for Obie Award-winning productions and art directed and designed music videos that have received international awards, including the Cyndi Lauper’s, "Girls Just want to have Fun." He has been the co-recipient of numerous collaborative grants, including NEA Inter-Arts Grants and NY State Council Grants, as well as a Lila Wallace Reader’s Digest Grant.

He is married to Lynne Steincamp, a former costume designer for dance and theater and they reside on a small horse farm in rural Connecticut.

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4. Joyce Cutler-Shaw, Christo and Jeanne-Claude, Agnes Denes, Ichi Ikeda, FF Alumns, at Pori Art Museum, Finland, Feb. 4-May 29

ECO – ART 04 February – 29 May 2011 Hall, Lobby

Jan-Erik Andersson, Brandon Ballengée, Ciel Bergman, Christo and Jeanne-Claude, Joyce Cutler-Shaw, Agnes Denes, Chris Drury, Michael Flomen, Andy Goldsworthy, Helen and Newton Harrison, Ichi Ikeda, Richard Misrach, Nils-Udo, Dennis Oppenheim, Robert Smithson, Alan Sonfist

Guest Curators: John K. Grande (Canada) and Peter Selz (USA)

Curator: Pia Hovi-Assad

Lecture Wednesday, 02 February at 6.30 pm, "Nature is the Art of which We are Part" by John K. Grande, Curator Emeritus of Earth Art, Royal Botanical Gardens in Canada,
Pori Art Museum’s lecture hall, admission free
Preview for the media Thursday, 03 February, from 10 am to 12 pm
Artist and curator talk and tour Friday, 04 February, at 12.
Guest Curator John K. Grande, and artist Chris Drury will present the exhibition.
Admission free.
The opening of the exhibition will be on Friday, 04 February, at 6 pm.

Welcome!

The Eco-Art exhibition starts the 30th anniversary year of Pori Art Museum. It represents legendary American pioneers in Land and Environmental Art, and contemporary artists from USA, Canada, Japan and Europe. Many of these artists are showing their works for the first time in Finland. Eco-Art comprise of photographic prints, drawings, videos, installations and wall paintings. Most of the photographic prints have been produced locally to enable a reduced carbon footprint for the exhibition. As the landscape and environment change on our planet for a number of reasons, artists’ engagement with these issues increasingly moves from a theoretical and conceptual bias to direct action and process-oriented art, or alternatively an art that involved landscape integration as part of its vernacular. The discourse on art and ecology has become important. Eco-Art reinforces a new vision of art through the various artists’ presentations, an alternative to economies of scale more like art in scale with nature, and ecological systems. As we can see from the beginnings of Earth and Land Art, this art form is evolving. Increasingly ephemeral earth art attracts a truly global and inter-cultural participation.

The Pori Art Museum has a long history of exhibitions and events that reveal a strong commitment to the art/nature dialogue. Eco-Art is an effective show for its renders available to audiences the works of artists from far away, and we can see the themes, the approaches, the interests all lead us back to nature, along a trail that history and time can forget, but only briefly. Similar triggers and cues inspired even the early modernist artists of the 20th century, but the economic vision was one of unassailable growth and exploitation of resources. The economies we have built out of the natural world, and its correspondent tautology of progress, are still reliant on resources just as they have always been. The dilemmas of contemporary criticism are, in part the result of a failure to identify with the holistic basis of art, not only in a visual, symbolic or conceptual way, but more importantly, in realizing that nature is the art of which we are a part.

In co-operation with: Royal Botanical Gardens (Kanada), Galerie Lelong (USA), Electronic Arts Intermix (USA)

More information: Pia Hovi-Assad, exhibition curator, tel. +358-02-621 1089, or +358-044-7011089
pia.hovi-assad@pori.fi www.poriartmuseum.fi

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5. Ann Messner, FF Alumn, launches new website

Please visit Ann Messner’s new website:

annmessner.net

thank you.

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6. Neal Medlyn, FF Alumn, at Le Poisson Rouge, Manhattan, Feb. 17

ANNOUNCING THE WORLD PREMIERE OF
BRIDGET & NEAL ARE FUCKING (AND ADAM IS WATCHING)

AN ALL NEW SHOW OF SEX MUSIC, WITH ORIGINAL SONGS BY STARS BRIDGET EVERETT (AT LEAST IT’S PINK, OUR HIT PARADE), NEAL MEDLYN (THE NEAL MEDLYN EXPERIENCE LIVE, OUR HIT PARADE) AND ADAM HOROVITZ (AD-ROCK OF BEASTIE BOYS)

Adam Horovitz, in his first stage role of this kind, joins Bridget Everett and Neal Medlyn in an evening of sex songs, featuring several original numbers (sure to be hits like "Creepy Fuckin’" and "Pee Pee in the Mouth") by the three of them.

Come into Adam and Neal and Bridget’s apartment, temporarily relocated to the stage of Le Poisson Rouge, for a night of carnality, singing, aspirbations, tampa bukkake, guest stars, dolls, and Adam on the 1s and 2s, DJing the whole show.

BRIDGET & NEAL ARE FUCKING (AND ADAM IS WATCHING)
February 17, 2011, 7pm
Le Poisson Rouge, 158 Bleecker Street
Tickets: $20
http://lepoissonrouge.com/events/view/1805

FOR PRESS INQUIRIES CONTACT: Dustin Nelson, Marketing Manager for LPR: dustin@lprnyc.com

HI RESOLUTION IMAGES AVAILABLE ON REQUEST: nealmedlyn@hotmail.com

BIOS:
Bridget Everett has been dubbed "Wynona Judd meets Melissa Etheridge, via the local bar floozy, on a rocket ship out of Twin Peaks" by The Village Voice’s Michael Musto. Having grown up in Manhattan, Kansas, Bridget received her degree in vocal performance at Arizona State University. Soon after, she promptly abandoned it all to move to New York, sing karaoke and work as a waitress. Bridget’s most recent shows with her band the Tender Moments, were named the number one cabaret act of 2010 in Time Out New York. She is also the co-star of Our Hit Parade monthly at Joe’s Pub. She collaborated with Kenny Mellman (Kiki and Herb) and Michael Patrick King ("Sex and the City") on At Least It’s Pink. At Least It’s Pink has played at Ars Nova, Joe’s Pub, the Philadelphia Fringe Festival and the Aspen United States Comedy Arts Festival. Bridget played Lynn Chenney in Taylor Mac’s Red Tide Blooming at p.s. 122. She has performed on the Murray Hill show at Mo Pitkins, sung with the Isotoners, with Jim Andralis and Larry Krone, and plays R Kelly’s sister in the show Neal Medlyn Plus Kenny Mellman Equals R Kelly. You can also catch her wearing gold lame in Times Square along side the Varsity Interpretive Dance Squad in Moby’s latest music video "new york, new york."

Neal Medlyn, now residing in New York City, is a performance artist whose work has appeared at the New Museum for Contemporary Art (THE NEAL MEDLYN EXPERIENCE LIVE! a re-enactment of Beyonce's 2007 concert DVD), the Andy Warhol Museum, Dance Theater Workshop (...Her's a Queen), the Chocolate Factory (Brave New Girl), Joe's Pub, PS122, Fez (Neal Medlyn, the Paris Hilton of Performance Art), on tour across the U.S. and in London as a resident performer at the Royal Vauxhall Tavern.

He won a 2010 New York Dance and Performance Award for his sound design for Miguel Gutierrez' Last Meadow and has also designed sound for a joint project between Gutierrez and Jenny Holzer at the Institute for Contemporary Art in Boston. He was honored with the title of Mr. Lower East Side in 2004 and starred opposite Karen Finley in "George and Martha" in New York and various places across the U.S.

Adam Keefe Horovitz, better known as Ad-Rock or King Ad-Rock, is an American musician, guitarist, rapper, producer, and actor. He is best known as a member of the pioneering hip hop group, Beastie Boys.

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7. Kathleen and William Laziza, FF Alumns, announce new street webcam
There is a new street webcam connection at http://www.micromuseum.com
Just to let you know that Micro Museum is turning 25 years on Smith Street. Now known as XXV-OMG! There is a a Live Open Mike October 1 from 4 - 8 PM.
The Lazizas ( Kathleen and William ) are exhibiting their large interdisciplinary body of work in multi-year free-wheeling series, ABOVE & BEYOND, every Saturday from 12 - 7 PM ($2)

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8. Joseph Nechvatal, FF Alumn, at SVA Theatre, Manhattan, Feb. 10

Thursday, February 10, 7pm

A discussion featuring artist and SVA faculty member Joseph Nechvatal and composer Rhys Chatham, moderated by MFA Art Practice Department Chair David Ross. Following the discussion will be a screening of Viral Venture, a digital projection by Nechvatal with a score by Chatham. Viral Venture consists of Nechvatal’s most recent artificial-life computer virus attacking his digital paintings of human retinas and anuses; Chatham’s score consists of his 2005 composition for 400 electric guitars, A Crimson Grail. Presented by the BFA Fine Arts Department.

SVA Theatre, 333 West 23 Street
Free and open to the public

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9. Theodora Skipitares, FF Alumn, at La MaMa ETC, Manhattan, previews starting February 3

The world-premiere adaptation of Lysistrata by the renowned puppet artist, writer and director Theodora Skipitares - and original music and lyrics by Sxip Shirey. This production--which mixes Aristophanes' ancient comic tale about a group of Greek women who withhold sex from their husbands and lovers in order to stop the war with video and newsreel footage of actual modern-day international sex strikes -- will be presented by La MaMa ETC in association with Skysaver Productions, with previews starting February 3 prior to an official press opening February 6 at the Ellen Stewart Theatre (66 E. 4 St.) in Manhattan. Runs Thursdays thru Saturdays at 7:30pm and Sundays at 2:30 pm. For two weeks only. Features scores of life-size puppets as well as giant puppets. Tickets are $25/20. 212 475 7710.

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10. Dahn Hiuni, FF Alumn, at Pratt Institute, Brooklyn, opening Feb. 8

Dahn Hiuni, FF Alumn, included in "Crossing Disciplines: Books" a mixed media, multi media exhibition on the theme of books.

February 9th - March 9th, 2011
Opening reception: Tuesday, February 8th, 4 – 6 pm

Schafler Gallery, on the campus of Pratt Institute. 200 Willoughby Avenue, Brooklyn, NY
for more information www.pratt.edu

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11. Felix Gonzalez-Torres, FF Alumn, at Museum fur Moderne Kunst, Frankfurt, Germany, thru April 25

Felix Gonzalez-Torres
Specific Objects without
Specific Form
29 January – 25 April 2011

Opening:
28 January 2011, 8 pm


MMK Museum für Moderne Kunst
Domstrasse 10
60311 Frankfurt am Main, Germany

www.mmk-frankfurt.de

The MMK Museum für Moderne Kunst Frankfurt am Main hosts the final leg of the traveling retrospective, "Felix Gonzalez-Torres. Specific Objects without Specific Form", previously shown at WIELS Contemporary Art Centre in Brussels and the Fondation Beyeler in Rhien/Basel.

Including both rarely seen and more known paintings, sculptures, photographic works, and public projects, this major exhibition reflects the full scope of Gonzalez-Torres's short but prolific career. Born in Cuba, Gonzalez-Torres settled in New York in the late 1970s, where he studied art and began his practice as an artist before his untimely death of AIDS related complications in 1996, at the age of thirty-eight. He participated in the art collective Group Material in the 1980s, was an engaged social activist, and in a relatively short time developed a profoundly influential body of work that can be seen in critical relationship to Conceptual Art and Minimalism, mixing political critique, emotional affect, and deep formal concerns in a wide range of media, including drawings, sculpture, and public billboards, often using ordinary objects as a starting point—clocks, mirrors, or light fixtures. Amongst his most famous artworks are his piles of candy and paper stacks from which viewers are allowed to take away a piece. Those artworks are premised, like so much of what he did, on a instability and potential for change. The result is his profoundly human body of work, intimate and fragile even as it destabilizes so many seemingly unshakable certainties (the artwork as fixed, the author as the ultimate form-giver, the exhibition as a place look but not touch).

This exhibition proposes an experimental form that is indebted to Gonzalez-Torres's own radical conception of the artwork. At each of the stages of the exhibition tour, namely at WIELS, the Fondation Beyeler and, now, at the MMK in Frankfurt, the show is initially installed by the exhibition curator Elena Filipovic and, halfway through its duration, is completely reinstalled by a different selected artist whose own practice has been influenced by Gonzalez-Torres. At the MMK, Tino Sehgal will reinstall the exhibition as of March 18. Sehgal, no stranger to the MMK, with a work in the collection, will in this case interpret and curate the oeuvre of another artist whose approach has been important to his own. As a result, Sehgal will, for this version of the exhibition, not only reinstall the exhibition with a partially new checklist, but will also devise a special choreography so that daily changes can be enacted to the presentation of Gonzalez-Torres's artworks. Both versions of the exhibition are installed in close dialogue with the MMK architecture and continue this traveling project's attempt to refute the notion that an exhibition has to be something immutable or that a retrospective should offer a single, authoritative narrative. The entire project's experimental curatorial concept thus attempts to respond and pay homage to Gonzalez-Torres's own thinking and practice.

The exhibition concept was devised by Elena Filipovic and initiated by WIELS Contemporary Art Centre, Brussels in collaboration with the Foundation Beyeler, Riehen/Basel, the MMK Museum für Moderne Kunst Frankfurt, and the Felix Gonzalez-Torres Foundation, New York.

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12. Annie Lanzillotto, LuLu LoLo, FF Alumns, in The Jewish Forward, Jan. 26

The Remember The Triangle Fire Coalition wwww.rememberthetrianglefire.org members LuLu LoLo (Chair, Shirtwaist/Sashes Parade) and Annie Lanzillotto (Chair, Outreach Committee) are mentioned in "Coming Full Circle on Triangle Factory Fire," an article in The Jewish Daily Forward by Maia Efrem with photos by Shulamit Seidler-Fuller http://www.forward.com/articles/134959

The article highlights a Shirtwaist Sewing Circle event that was held at the home of LuLu LoLo in East Harlem/El Barrio in which two dozen volunteers came together to make shirtwaists for the procession of Shirtwaists that will be part of the events at the centennial ceremonies of the Triangle Shirtwaist Factory Fire on March 25, 2011

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13. Max Gimblett, FF Alumn, at Gow Langsford Gallery, New Zealand, opening Feb. 1

Gow Langsford Gallery along with Max Gimblett invite you to join us at the opening of "The Daring Young Man on The Flying Trapeze", a collection of new works by visionary painter Max Gimblett. Tuesday 1 February, 5 - 7 pm at Gow Langsford and John Leech Galleries.

Gimblett, who has been permanently based in New York since the seventies, will be in New Zealand for the duration of the show and this visit marks a notable time in the artist's career. Earlier this year two works of Gimblett's have become part of the permanent collection of the Solomon R. Guggenheim Museum in New York, signalling the regard with which he is held internationally. This month Christchurch Art Gallery will celebrate the addition of a significant number of Max Gimblett works to their permanent collection. Gimblett is also gifting his old school, Auckland Grammar a major new painting.

Borrowing from the title of William Saroyan's seminal text, "The Daring Young Man on the Flying Trapeze" (1934), Max Gimblett celebrates the spectacle of everyday existence in this new body of work. The exhibition of over twenty paintings will continue at a second space at John Leech Gallery on neighbouring Kitchener Street and is accompanied by a full colour catalogue. For more information on the exhibition please contact Anna Jackson at the gallery, or visit our website at www.gowlangsfordgallery.co.nz.

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14. Kate Gilmore, FF Alumn, on www.nyfa.org

Congratulations to Kate Gilmore, FF Alumn, who is the subject of the first installment in the New York Foundation for the Arts’ new series of video podcasts. Here’s the link:

http://www.nyfa.org/nyfa_current.asp?id=17&fid=1

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15. Charles Clough, FF Alumn, at White Columns, Manhattan, opening Feb. 5

WHITE COLUMNS
FIVE NEW EXHIBITIONS
OPENING RECEPTION / SATURDAY FEBRUARY 5, 6 - 8PM
GALLERY: CHARLES CLOUGH
WHITE ROOM: ELLA KRUGLYANSKAYA
WHITE ROOM: MALCOLM MOONEY
PROJECT: BIANCA BECK
LOBBY: 'KEEP FLOORS AND PASSAGES CLEAR' - CURATED BY TOM GODFREY

GALLERY TALK / TUESDAY MARCH 1, 6.30PM / ADMISSION FREE
CHARLES CLOUGH IN CONVERSATION WITH MATTHEW HIGGS

FEBRUARY 5 - MARCH 5, 2011
TUESDAY - SATURDAY / NOON - 6PM

WHITE COLUMNS
320 WEST 13TH STREET
(ENTER ON HORATIO STREET)
NEW YORK / NY 10014
WWW.WHITECOLUMNS.ORG

WHITE COLUMNS / 1970 - 2011 / 40+ YEARS OF SUPPORT FOR ARTISTS

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16. elin o'Hara slavick, FF Alumn, at Essex Art Center, Lawrence, MA, Feb. 4-Mar. 4

If you are in the Boston area.......

Essex Art Center 56 Island St., Lawrence, MA
Media Contact: Cathy McLaurin, Essex Art Center
978-685-2343
cathyessexartcenter@yahoo.com

After Aftermath
elin o'Hara slavick

Exhibition dates: February 4 - March 4, 2011

The Elizabeth A. Beland Gallery at Essex Art Center is pleased to
present After Aftermath, autoradiographs, cyanotypes, rubbings and traditional photography made in Hiroshima by North Carolina-based artist, elin o'Hara slavick.

In 2008, elin o'Hara slavick spent three months working at the Hiroshima Peace Memorial Museum in Japan, the collection of which houses over 19,000 objects that survived the atomic bombing. She experimented with autoradiography (capturing on x-ray film radioactive emissions from objects), cyanotypes (natural sun exposures on cotton paper impregnated with cyanide salts), rubbings, and traditional photography to document places and objects that survived the atomic bombing. The autoradiographs involved placing A-bombed objects on x-ray film in light tight bags for a period of ten days. Abstract exposures were made on the x-ray film - spots, dots, cracks and fissures. O'Hara Slavick made rubbings on paper of A-bombed places and things and then exposed the 'paper negatives' in the darkroom to make contact prints on photographic paper. After Aftermath is an attempt to reshape how we think about nuclear war and the aftermath.

Elin o'Hara slavick is Distinguished Professor of Art at the University of North Carolina at Chapel Hill, where she teaches Conceptual Photography, Collaborative Visual Projects, Mixed Media and Body Imaging. She received her MFA in Photography from the School of the Art Institute of Chicago and my BA in poetry, photography and art history from Sarah Lawrence College. Her work has been exhibited in Hong Kong, Canada, France, Italy, Scotland, England, Cuba, the Netherlands and across the United States. She is the author of Bomb After Bomb: A Violent Cartography, (Charta, 2007), with a foreword by Howard Zinn.

For additional information about this exhibition or to receive high
resolution digital images for publication, please contact Cathy McLaurin
cathyessexartcenter@yahoo.com or at 978-685-2343.

The Elizabeth A. Beland Gallery is located on the first floor of Essex Art
Center at 56 Island Street, Lawrence, MA.
M-Th 10-6
Closed February 21
Call for additional evening hours

elin o'Hara slavick
Distinguished Term Professor of Art
Hanes Art Center CB# 3405
UNC, Chapel Hill, NC 27599
http://slavicklyon.blogspot.com/
www.unc.edu/~eoslavic
http://www.japanfocus.org/-elin_o_Hara-slavick/3196

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17. Mitzi Humphrey, F FAlumn, at art6, Richmond, VA, Feb. 4

Franklin Furnace alumn Mitzi Humphrey announces the First Friday Art Walk opening reception of "heART" on February 4, 6-10 pm.
Free and open to the public. Artists whose work will be exhibited are: Henrietta Near, Sheryl Humphrey, Ronni Saunders, Helene Ruiz, David Turner, Mitzi Humphrey, Dan Tassone, Alan Entin, Anthony Ferguson, Nancy Strube, Janine Turner, Marian Hollowell, Eugene Vango, Walter Garde, Frances Wessells, Crispin Valladares, Sister Mary Corita (aka Corita Kent), Jessica Norton, Garrett Alan Fees, and Lloyd Chaser. art6 Gallery is located at 6 East Broad Street, Richmond, Virginia 23219, and is open on First Fridays 6-10, Saturdays 12-4, and by appointment.

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18. Regina Silveira, FF Alumn, publishes new book

Dear friends from Franklin Furnace,
Do you know that a book of mine was published in Brasil?
Here is a little thing about it.
Love,
Regina

Regina Vater: An Appreciation
Linda Dalrymple Henderson

The work of Regina Vater is a rich synthesis grounded in a wide range of experiences and interests from the realms of culture and nature—as well as from the fusion of the two in the "archaic cosmologies" she so admires. Brazilian by birth and attuned to Afro-Brazilian and Native American Brazilian belief systems, she is equally familiar with poetry ranging from the ancient Greeks (her great-great-grandfather translated Virgil and Homer into Portuguese) to Mallarmé and the Brazilian concrete poets, including her friend Augusto de Campos. Vater's sensitivity to poetic language and multilingual capabilities, along with her commitment to content in a work of art, has led her to a focus on ideas much like one of her heroes, Marcel Duchamp. At the same time, she has a profound reverence for nature that plays a central role in much of her artistic creation, including her pioneering interest in ecology. Indeed, culture and nature often fuse in her works with their goal, as she defines it herein, of "bring[ing] the public closer to the metaphysics of life and of the cosmos."

During her career Vater has shared friendships with a number of prominent cultural figures, including composer John Cage and fellow Brazilian artist Helio Oiticica. When she arrived in New York in 1973, she was already a prominent artist in Brazil with considerable exposure to filmmaking, which prepared her well for the art world she found. There, time was a major focus in the developing field of new media and film, often discussed in relation to the "space-time" of Einstein's Theory of Relativity. It was at this moment that she met Cage, who had earlier embraced the space-time model, and who also shared with her his commitment to chance processes in composition. That view had a direct effect upon Vater's conception of drawing, encouraging her to leave behind finish and precision in favor of a quick record of thoughts that can be recorded anywhere on any kind of material.

Time and its mysteries have remained a major thread throughout Vater's career, and she has read widely—from St. Augustine to Borges. Her works explore a multiplicity of times, ranging from her 1974 project of Paris metro platform photographs inspired by Einstein and his use of trains to the deep time of ancient myths, often evoked in ritual circular forms. Vater regularly draws her materials from nature (e.g., seeds, stones, eggs), although that is not always the case. In her Black Installation for Silver Turtles of 1984-1986, for example, she uses manufactured materials to contrast the theme of time in Aesop's fable of "The Tortoise and the Hare" to the Amazonian legend of the turtle, who outwits the hare through the cooperation of other identical turtles. (Likewise, in Vater's 1981 installation Cinematic Drawing, twenty-four images of the turtle and of the rabbit are printed, respectively, on the upper and lower sides of a scroll; the mathematical progression of turtle images assures that, as the scroll is rolled up, the turtle is waiting for the hare.) Typical of Vater, too, is the fact that in the Black Installation project the hare is no ordinary rabbit, but rather the White Rabbit, pocket watch in hand, from Lewis Carroll's Alice in Wonderland, a tale she greatly admires. Like Duchamp, Vater here creates subtle layers of analogy and identity to produce her commentary on time.

Vater also responded to Duchamp in her 1998 drawing and installation ART é MIS à NoUs, with its poetic play on the latter's La Mariée mis à nu par ses célibataires, même (The Large Glass) of 1915-23 (Philadelphia Museum of Art). Following Octavio Paz's association of the Bride of the Large Glass to Artemis, the moon goddess caught bathing by Acteon, Vater evokes Artemis here by means of a water-filled urn, in which an overhead projection of the moon's reflection is "bathing." Mirror reflections were central to Duchamp's Large Glass project, like Carroll's Alice, and related directly to the popular concept of an unseen fourth dimension of space. In writing about ART é MIS à NoUs, Vater suggests her own interest in such a metaphysical realm, speaking of "that dimension which we never seem to be able to touch or to reach in our lifetime. We can only have a glimpse of it through its reflections mirrored in some fragments of outer reality (like art itself) or in our dreams."

Vater has said of the mythology that is so important to her: "It is a reservoir for a great deal of the fragile imponderable incognito—the unconscious knowledge that links us all." Grounded in Tibetan Buddhism as well as the other cosmologies noted above, Vater's poetic art operates in the realm of the visionary and the sacred, seeking to transform the viewers who encounter it. The drawings in Penelope's Mesh clarify this goal and explain why Cage was such an admirer of Vater and her art. A firm believer in the transformative power of art, Cage once suggested of contemporary Happenings, "I would like happenings to be arranged in such a way that I could at least see through the happening to something that wasn’t it. . . . [Then] we’d be in the Duchamp-Fuller-Mies van der Rohe business of seeing through." It is that positive effect of "seeing through" to the sacredness of nature that Vater's works, grounded in the cultures of the world, accomplish so profoundly.

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19. Dan Perjovschi, FF Alumn, at Para/Site Art Space, Hong Kong, thru April 17

Dan Perjovschi
Hong Kong First

Opening:
Friday, 28 January 2011, 7pm

29 January – 17 April 2011

Para/Site Art Space
G/F, 4 Po Yan Street, Sheung Wan
Hong Kong
www.para-site.org.hk

Curator:
Alvaro Rodriguez Fominaya

Para/Site Art Space is honored to present Dan Perjovschi's solo exhibition in Hong Kong. It follows a series of artists' projects organized by Para/Site Art Space that are responsive to the political and economic positions of the city and contextualizes this discourse regionally and globally.

Dan Perjovschi is well known for having brought the narrative of political cartoons into the realm of the museum through site specific wall drawing installations. These installations deal with the idea of the everyday and are a comment on the economic and political condition of the XXI century. The artist has translated a medium more usual of the small size format into large scale and monumental wall drawings that engage in the architecture of the location, pushing the meaning and limits of the exhibition space. Audiences follow this narrative whilst experiencing the architecture of the art space. These site specific projects are conceived by Dan Perjovschi as an ongoing series in progress that connect the different art galleries that host his exhibitions.

Intelligent humor is part of his critique which hits at the core values of the society that he is looking at and creates a starting point for social debate. Hong Kong provides a new urban background for his research as the territory epitomizes many of the issues addressed in Dan Perjovschi's drawings, including the ideas and deconstruction of capitalism, consumption and hyper-density.

Dan Perjovschi born 1961 in Sibiu Romania lives and works in Bucharest. His recent solo exhibitions include Late News at ROM Toronto and Drawing Institute at San Francisco Art Institute in 2010, Recession at Ludwig Museum Aachen in 2008, What Happen to US? at MoMA New York and I am not Exotic I am Exhausted at Kunsthalle Basel in 2007, The Room Drawing at Tate Modern London, and On the Other Hand at Portikus Frankfurt in 2006 and Naked Drawings at Ludwig Museum Cologne in 2005. He participates at group shows like Lyon Biennial in 2009, the Sydney Biennial and Fifth Floor at Tate Liverpool in 2008, The Magelanic Cloud at Centre Georges Pompidou Paris and the 52nd Venice Biennial in 2007, New Europe at Generali Foundation Vienna and the 9th Istanbul Biennial in 2005.

His first retrospective exhibition States of Mind was held at Nasher Museum of Art at Duke University in 2007.

Perjovschi received George Maciunas Prize in 2004.

About Para/ Site
Para/Site Art Space is a contemporary art space located in Hong Kong Island and founded in 1996. We host an ambitious programme of exhibitions, screenings, talks and events that bring into Hong Kong some of the leading practitioners in the international arena, encourage the visibility of artists from Hong Kong, and facilitate East-West dialogue. We have a satellite venue located at Hanart TZ Gallery which showcases a younger generation of artists.

Para/Site Art Space has organized the official representation of Hong Kong in Venice Biennial in years 2003 and 2009, has also participated in Gwangju Biennial, Guangzhou Triennial, among others. Para/Site Art Space exhibitions and programmes have travelled to Germany, Thailand, Korea, Taiwan, United Kingdom, Singapore and Australia.

Para/Site Art Space is run by an Executive Director/Curator, a Manager, a Programme Coordinator and an Education and Development Officer and governed by a board of directors. Para/Site is supported by the Hong Kong Arts Development Council as well as vital contributions from patrons and Founding Friends of Para/Site.

For media contact, please contact:
Jenny Lam
Email: jenny@para-site.org.hk
Tel: +852 2517 4620

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20. Sol LeWitt, FF Alumn, at MassMOCA, MA, thru March 23

ABOUT: An Exchange with Sol LeWitt
Group Exhibition curated by Regine Basha
The story of Sol LeWitt's exchanges with other artists is widely known. Though most artists engage in this process at one point or another, LeWitt seemed fully committed to it as an artistic code of conduct, a way of life.For LeWitt, the act of exchange seemed to be not only a personal gesture, but also an integral part of his conceptual practice. In addition to encouraging the circulation of artworks through a gift economy that challenged the art world's dominant economic model, LeWitt's exchanges with strangers have the same qualities of generosity, and risk, that characterized his work in general. This kind of exchange was designed to stage an encounter between two minds, outside the familiar confines of friendship.

If we consider the process of exchange as another of Sol LeWitt's instructional pieces, then the rational (or irrational) thing to do is to continue to exchange work and ideas, if only symbolically, with him.This exhibition, a curatorial project by Regine Basha, springs from a call to those who share an affinity with Sol LeWitt's legacy as a conceptual artist, to those who knew him and those who did not—to anyone who has ever wondered, "What would Sol LeWitt like?"

Cabinet and MASS MoCA: a two-part exhibition taking place at MASS MoCA ( thru March 23)
http://www.massmoca.org/event_details.php?id=582) and at the offices of Cabinet (300 Nevins Street in Brooklyn http://www.cabinetmagazine.org/events/exchange_lewitt.php) from January 20- February 19, 2011.

Hope Sandrow’s Coop LeWitt North and South were inspired by real life encounters juxtaposed to Lewitt’s conceptual practice for making art.

Two of Lewitt's India ink drawings on paper were (re)constructed into four dimensions (fourth being Time) to shelter food and nesting boxes for the Padua Rooster Shinnecock and his family flock living in my open air studio. India is thought as the Padua’s ancestral home as far back as 168 million years ago, according to recent DNA studies on fossils.

The stockade pickets used in framing Coop LeWitt North reference Colonialists practice of claiming land from Native Americans through fencing "in" domestic farm animals such as the chicken.

The look of a display case characterizes Coop LeWitt South like contemporary artists, Padua’s are now considered mainly for "exhibition purposes". Prior to industrialized farm practices, Padua chickens were renowned for their delicious eggs.

Viewers observed the construction of each Coop LeWitt (documented on digital video) as a vital part of the work (24/7, June 2007 - ongoing) via four network cameras streaming real time audio and video (pic below) sited in my open air studio. A landscape once painted by plein air painter William Merritt Chase when he lived nearby one hundred twelve years go.

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21. Babs Reingold, FF Alumn, now online

Hi All,

I received some press associated with the group show "Flesh Art".

A Q&A interview with Brendan Carroll. Check out the link.

http://www.nj.com/hudson/index.ssf/2011/01/bayonne_artist_draws_inspirati.html

And more press: Interview with the curator Jose Rodeiro

http://www.jerseycityindependent.com/2011/01/26/professor-and-curator-jose-rodeiro-discusses-new-%E2%80%98flesh-art%E2%80%99-exhibition-at-njcu/

Show dates: January 24 -- March 4, 2011

Best,

Babs Reingold
babs.rr@gmail.com
babs.rr@verizon.net
info@babsreingold.com
http://www.babsreingold.com
c-201-424-5452

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22. Sue de Beer, FF Alumn, in The New York Times, Jan. 26

The New York Times
January 26, 2011
White Paint, Chocolate, and Postmodern Ghosts
By RANDY KENNEDY
SURVEYING the row of door buzzers outside the hulking Brooklyn building where the artist Sue de Beer works, it somehow seems fitting to find a lone occupant listed on the building’s top floor, with no further explanation: "GOD."

"I don’t know who that is or what they do," Ms. de Beer said, breaking into a laugh when a reporter pointed out the small handwritten label next to the buzzer. "I’ve never really been up to that floor."

But given the nature of her work and especially her most recent creation — a lush, frankly mystical video piece called "The Ghosts" that will have its debut Thursday in an unlikely place, one of the stately period rooms at the Park Avenue Armory — it is tempting to imagine the Holy Ghost himself at work up there in an old warehouse on the Red Hook flatlands, not far from a dingy bus depot, an Ikea and a discount store called 99 Cent Dreams.

Over the last decade Ms. de Beer has built a cult following for the dark and often disturbing ways that she mixes the profane and the sacred — or at least a postmodern version of the sacred, a longing to escape the confines of ordinary consciousness for something perhaps more beautiful or true.

The exhibition at the Armory and a show of related sculpture to open Feb. 18 at the Marianne Boesky Gallery in Chelsea are the most prominent presentation of Ms. de Beer’s work in the United States since she first became known through her inclusion in the 2004 Whitney Biennial and entered many prominent public collections, like those of the Museum of Modern Art and the New Museum of Contemporary Art.

In the work for which she is best known, videos that have mined the underbelly of youth culture — a critic once described her as "the pre-eminent auteur of teen angst" — the supernatural, or at least supranormal, has never been quite so front and center as it is in "The Ghosts," which Ms. de Beer describes as a turning point, three years in the making.

But it has never been far outside the frame. The adolescent bedrooms that so often serve as the centerpieces of her creations, cluttered with posters and guitars and packs of cigarettes, have seemed at times like existential anterooms, where the occupants await some kind of apotheosis with the help of love or drugs or other mechanisms for escape.

Like, for instance, the sensory deprivation tank in which Ms. de Beer spent many dark, quiet hours when she lived in Berlin, with a pyramid above it for energy-channeling. ("It was kind of hokey," she said.) Or the hypnotists she began to visit there and in New York, who informed the creation of the central character in "The Ghosts," a hollow-cheeked hypnotist convincingly played by a fellow artist, Jutta Koether, a painter and musician.

"What I wanted was some kind of a nonverbal, non-narrative experience outside myself, something like a state of total belief without having to articulate a belief system," Ms. de Beer, 37, said in a recent interview in her studio, where she shot much of the new video in small rooms with the windows blacked out. "But I don’t know if I ever got there."

The new 30-minute two-screen video grew out of a period of desperation in her life, after a year in which she made no art at all. At that time, in 2007, she was traveling almost nonstop, mostly between Berlin, where she lived for several years, and New York, where she is now an assistant professor at New York University.

"I was burned out to the point where I just couldn’t do anything creative, and so I actually kind of gave up, and it was liberating," said Ms. de Beer, who, despite the Stygian nature of her fascinations, is engaging and open in person, exuding a kind of rock-geek cool.

In the winter of her bad year, the sun would set in Berlin before 4 in the afternoon, she said. She started venturing out only at night, riding the U-Bahn subway trains alone with a notebook, trying to write. Then for two months she locked herself in a room with only a desk, a chair and a blanket, rarely coming out.

When she did, she had written the basic script for "The Ghosts," which follows three characters — a young woman, a record-store clerk and a money manager (played by Jon Spencer, singer and guitarist for the Jon Spencer Blues Explosion, whom Ms. de Beer persuaded to act for the first time) — as they seek the help of the hypnotist to deal with loss and longing.

In doing so, they conjure up ghosts — frightening-looking ones, who owe a visual debt to Ms. de Beer’s long fascination with horror films and, lately, to the particularly bloody 1970s Italian subgenre known as giallo. The ghosts seem to be challenging the viewer to decide whether they are mere memories or phantasms of a more substantial sort — or whether, in the end, it really matters.

In her early years Ms. de Beer was often identified among the practitioners of a death-haunted, neo-Gothic strain of contemporary art that emerged after 9/11, a list that included Banks Violette and David Altmejd. But the new work, while playing with those expectations, owes a lot more to Proust than to Poe, as a wrenching examination of memory and the ways it shapes identity.

"I think that over the last several years she’s developed a signature style and voice that’s all her own," said Lauren Ross, the curator and director of arts programs for the High Line and a former chief curator at White Columns, who has followed Ms. de Beer’s work. "It’s always seemed to me that she is after a certain kind of character, one constantly in danger of losing control of the self. I think she’s very interested in how thin that line is."

She added: "I’ve always found her work to be extremely unsettling, It’s always taken me out of my comfort zone."
Doreen Remen, one of the founders of the Art Production Fund, the nonprofit organization that is bringing the video to the Armory with the help of Sotheby’s, the event’s sponsor, said the fund was interested in helping stage a video project in New York partly because "video has the ability to bridge a kind of audience gap that exists in contemporary art."

"And," she added, "I think that with this work, Sue is playing more with the conventions of movie entertainment in a way that is going to grab people, even though it’s not a conventional movie by any means."

Because of great difficulty finding production money for the video in 2008 as the economy plunged, Ms. de Beer’s ghosts were whipped up mostly on the cheap, using naked actresses spray-painted white, head to toe, and chocolate sauce for the blood that oozes from the mouth of one of them, all of it transformed later in the editing room, where she spent months shaping two terabyte hard drives full of footage.

"I was doing all this research on how to make a ghost on essentially a two-dollar budget without making it look just laughably hilarious," she said.
Her sets, which have always worn their high-school-play artificiality proudly, in this case really needed to do so because of budget concerns. A few helpers built a late ’70s Trans Am from wood — complete with the phoenix hood decal known in its day as the screaming chicken — spending little money except on a certain smokeable substance to make the experience more enjoyable. The only real splurge, Ms. de Beer said, was hiring a cat trainer and a large white Persian cat named Snoebell, indulging a visual fascination she finds hard to explain. (Snoebell also appeared in a 2009 video.)

Ms. de Beer met Mr. Spencer through the members of a German band called the Cobra Killers. He said he became involved partly because she described the project as a horror film and he is a fan of the genre. But during the shooting, which he squeezed into an exhausting Australian tour schedule, he was unsure at times what he had gotten himself into.

"Things were always a little vague, even sometimes the address where I was supposed to show up," he said. "I don’t know if she was doing this to increase my sense of disorientation, to keep me in the dark. But I guess if she was, in some ways it kind of worked. It was a strange experience all around."

Ms. de Beer, who doesn’t like to use trained actors in her works, said she was drawn to Mr. Spencer mostly because of his weathered voice and "world-weary face" and was pleased with the character he helped bring to life, a businessman who seems to be trying to exorcise a lost love by summoning her from the dead only so that he can leave her, repaying her for abandoning him. (The dreamlike dialogue in the video was written by Alissa Bennett, who has collaborated with Ms. de Beer before, and by Ms. Koether.)

Ms. de Beer said during the interview in her studio one blustery afternoon that the video was "really very personal for me, partly because I had benched myself."
"When I finished with the initial script, it felt very important to me to make it," she said.
Growing up in a rambling Victorian house with a widow’s walk in Salem, Mass., which still exudes an air of its witchy past, she felt that mysticism was a kind of birthright, and it has been a more prominent element of her work in recent years. A 2006 video, "The Quickening," set in a cartoon-ish Puritan New England, delved into the spiritual seeking of the French novelist Joris-Karl Huysmans and quoted from the sermon "Sinners in the Hands of an Angry God," putting the Jonathan Edwards warhorse to work in probably the strangest context it has ever found itself. Ms. de Beer has also borrowed from the dark, violent post-religious mysticism of the novelist Dennis Cooper. (From his novel "Period," used in a 2005 de Beer video: "I could open the other dimension right now if I wanted. Or I could stay here with you. I’m kind of like a god.")

But Ms. de Beer said that her fascination with ghosts is in one sense simply about finding a way to explore how we all must deal with the past and with loss as we grow older, a struggle that finds a metaphor in the artistic process itself.

"As an artist, you shed all these objects which were the ‘you’ back in the moment when you made them," she said. "And then you go back and hardly recognize them and feel like the person who made them wasn’t you but someone else, like a sister or something. And you wonder ‘What was she like?’ "

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23. RENO, FF Alumn, at Dixon Place, Feb. 7

JEFFREY THE BANKER SAYS
GO SEE:
"Money Talks w. Citizen Reno"
(and guest Wall St. Insider)
MONDAY
Feb. 7 @ 7:30pm
Dixon Place
161 Chrystie St. (just N of Delancey)
212 219-0736
citizenreno.com
http://www.dixonplace.org/index2.html
http://nymag.com/arts/all/approvalmatrix/63394/

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24. James Prez, FF Alumn, at Brooklyn Public Library, Leonard Branch, thru Mar. 31

"A Bookture Grows in Brooklyn"
Prints and sculptures by James Prez
February 1 thru March 31. 2100

Brooklyn Public Library
Leonard Branch
81 Devoe St. at Leonard St.
Brooklyn, NY 11211
718-485-3365

Sunday: closed
Monday: 1:00PM-8:00PM
Tuesday: 10:00AM-6:00PM
Wednesday: 1:00PM-6:00PM
Thursday: 1:00PM-6:00PM
Friday: 10:00AM-6:00PM
Saturday: closed

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25. Carolee Schneemann, FF Alumn, at MoMA, Manhattan, and more

Carolee Schneemann
Museum of Modern Art
11 West 53rd Street New York, NY 10019
On Line: Drawing Through the Twentieth Century
FINAL WEEKS - CLOSES February 7, 2011
"Up To And Including Her Limits" installation
http://www.moma.org/visit/calendar/exhibitions/971
Pictures by Women: A History of Modern Photography
May 7, 2010–March 21, 2011
http://www.moma.org/visit/calendar/exhibitions/1041

COLLEGE ART ASSOCIATION 2011 ANNUAL CONFERENCE, NYC
http://conference.collegeart.org/2011/
All 3 events FREE entrance
WCA Panel – "Live Space: Women, Art & Activism" – Thursday, February 10th 12:30-2pm
Elizabeth Streb, Paula Rendino Zaentz & CS
Hilton Hotel 1335 Avenue of the Americas; Rendezvous Trianon, 3rd floor

University of Illinois "Distinguished Alumni Award" – Thursday, February 10th 5:30-7:30pm
Sheraton Hotel 811 7th Avenue, Central Park West Room, 2nd Floor
Women’s Caucus for Art Lifetime Achievement Award – Saturday, February 12th 6-7:30pm
Hilton Hotel 1335 Avenue of the Americas; Beekman and Sutton Parlor, 2nd Floor
http://www.nationalwca.org/awards/currentLAA.html
Correspondence Course:

An Epistolary History of Carolee Schneemann and Her Circle
Edited by Kristine Stiles
Duke University Press – November 2010
http://www.dukeupress.edu/Catalog/ViewProduct.php?productid=17266

Reading, Book Signing & Film Showing – Thursday, March 24th 6pm
Nasher Art Museum, Duke University

Henry Art Gallery (Seattle, WA) Forthcoming Retrospective Fall 2011
(From the Dorsky Museum of Art – New Paltz, NY)

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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

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