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Contents for May 16, 2011
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1. Jayoung Yoon, FF Fund Recipient 2010-11, at Center for Performance Research, Brooklyn, June 5
2. Reid Farrington, FF Fund recipient 2010-11, at 3LD Art & Technology Center, Manhattan, June 7
3. Meow Meow, Lance Horne, FF Alumns, at Apollo Theatre, London, UK, June 23-25
4. John Jesurun, FF Alumn, at Austrian Cultural Forum, Manhattan, May 12, and more
5. Tim Miller, FF Alumn, Fall 2011 events
6. Stefanie Trojan, FF Alumn, at Festival Vahax Valottaa, Pori, Finland, May 18, 20
7. Frank Moore, Toni Sant, Martha Wilson, FF Alumns, now online at timesofmalta.com
8. Susan Bee, FF ALumn, at A.I.R. Gallery, Brooklyn, opening May 26
9. Lawrence Weiner, FF Alumn, at Witte de With, Rotterdam, The Netherlands, thru August 7
10. John Fleck, FF Alumn, in LA Times, May 15, and more
11. Daniel Joseph Martinez, FF Alumn, in new New Museum publication
12. Betty Tompkins, FF Alumn, at Galerie Caratsch, Zurich, Switzerland, thru July 29
13. Isabel Samaras, FF Alumn, at Corey Helford, Culver City, CA, opening May 21
14. Ken Friedman, FF Alumn, releases free digital edition of The Fluxus Reader
15. Richard Prince, Robin Tewes, at Adam Baumgold, Manhattan, opening May 17
16. Annie Sprinkle, Elizabeth Stevens, FF Alumns, at Center for Sex and Culture, San Francisco, CA, June 17-19
17. Irina Danilova, Barbara Rosenthal, Martha Wilson, FF Alumns, at Set Gallery, Brooklyn, thru June 26
18. LuLu LoLo, FF Member, at NY Public Library, City Island, Bronx, May 21
19. Shelly Mars, FF Alumn, at The Tank Theater, Manhattan, May 21, and more
20. Bob Goldberg, FF Alumn, at Jan Bailey Memorial Garden, Brooklyn, May 21

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1. Jayoung Yoon, FF Fund Recipient 2010-11, at Center for Performance Research, Brooklyn, June 5

A Performance / installation by Jayoung Yoon
'Breathing'

Sunday June 5, 2011 at 8PM
Center for Performance Research
361 Manhattan Avenue, Unit 1, Brooklyn, NY 11211
Free and open to the public

This performance / installation visualizes the act of cleansing the memories through a combination of motion and breathing.

Twenty-four clear vessels are arranged at equal intervals in a circle and placed on white sumi ink paper. Each vessel is filled with clean water, and is contaminated by black ink throughout the performance. The performer circles counter-clockwise, to symbolically undo time, and attempts to purify the water.

Jayoung Yoon is interested in suggesting the human condition through a discipline of patient meditative actions, and silence. The performance symbolizes an abandonment of ego in time, and the discovery of Being, through which the artist offers simple gestures such as breathing to enter into the present moment.

Ms. Yoon has been developing this work during the UteHaus performance interdisciplinary group's one-week residency at the Marina Abramović Studio for Performance Art, New York.

Jayoung Yoon was born in Seoul, Korea. Her work, which varies in format from performance to video, photography, and installation, deals with the perception of being present. She has performed and exhibited in numerous solo and group shows internationally, including the Museum of New Art, Detroit; The Delaware Center for the Contemporary Arts, Wilmington; The Jersey City Museum; Peter Norton Symphony Space, New York; SCOPE, Miami; LEM Gallery, Buenos Aires, Argentina; and The Post Theater, Seoul, South Korea.

This performance/variable media art work was made possible, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council. Major support of the Franklin Furnace Fund was provided in 2010-11 by the Lambent Foundation Fund of Tides Foundation, and Jerome Foundation.

For more information visit:
www.jayoungart.com
www.franklinfurnace.org
www.cprnyc.org

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2. Reid Farrington, FF Fund recipient 2010-11, at 3LD Art & Technology Center, Manhattan, June 7

Foxy Films and 3LD Art & Technology Center Present
A Reading of
THE DAVID PROJECT
Created and Directed by Reid Farrington

Tuesday, June 7, 8pm

New York, NY — Foxy Films and 3LD Art & Technology Center are proud to present the first public reading of Reid Farrington’s latest work in progress, THE DAVID PROJECT. THE DAVID PROJECT is one of the first projects in the new 3LD/3D+ program at 3LD funded by the Rockefeller Foundation Cultural Innovation Fund.

Mr. Farrington, formerly a video designer for The Wooster Group, creates original multimedia theater pieces that merge film, performance, and installation art. His recent work includes Dickens: The Unparalleled Necromancer, Gin & "It," and The Passion Project.

THE DAVID PROJECT (formerly known as Marks On Time) is an inventive biography of Michelangelo’s iconic "David" statue. The narrative weaves together landmark moments in the lives of biblical hero King David, Renaissance polymath Michelangelo Buonarroti, and Dr. Marc Levoy, creator of the Stanford University Digital Michelangelo Project.

THE DAVID PROJECT will ultimately be a half-hour three-channel video/audio installation of Michelangelo sculpting "David" interspersed with scenes involving King David and Professor Levoy, who pioneered the technology of 3D scanning. THE DAVID PROJECT connects the story of the King of Judea to contemporary 3D digital animation and the carving of Michelangelo’s giant statue to the giant task of digitally preserving one of the most important works of art in history.

In the finished work, 3D holographs of the slab of stone from which "David" emerged, and of King David, Michelangelo, and Levoy will be viewable from all sides. Audiences will listen to the film through wireless headphones, circling the video sculpture as they would the "David" itself and watching "the Giant," as Michelangelo called the block of marble, slowly transform into the statue.

This preliminary reading of THE DAVID PROJECT is an opportunity for Mr. Farrington and his creative team to assess the script with the help of a live audience and make additional revisions for an anticipated premiere of THE DAVID PROJECT sometime in late 2012.

At the reading, the Stage Manager will be played by Laura K. Nicoll, King David by John Forkner, Michelangelo by Vaneik Echeverria, and Marc Levoy by Richard Toth. Stage directions will be read by Sara Farrington.

This performance/variable media artwork was made possible, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council. Major support of the Franklin Furnace Fund was provided in 2010-11 by the Lambent Foundation Fund of Tides Foundation and Jerome Foundation.

For reservations, please RSVP to j.reid.farrington@gmail.com
For directions to 3LD, please visit: http://www.3ldnyc.org/map.shtml
Video trailer for THE DAVID PROJECT at: http://vimeo.com/11991350
More info at: http://reidfarrington.com/
Contact:
Reid Farrington
646-339-2122
j.reid.farrington@gmail.com

About Reid Farrington
Reid is a new media artist, director, and designer based in New York City. Currently, he is a resident artist at the Abrons Art Center/Henry Street Settlement where he is running an educational program developing the video elements for his next project Dickens: The Unparalleled Necromancer, a variation on Charles Dickens’ A Christmas Carol. His directorial debut was The Passion Project, which premiered at the PS/K2 festival in Copenhagen, Denmark in November 2007. Gin & "It," his second theater piece, premiered at the Wexner Center for the Arts in March 2010. He has been an associate member of The Wooster Group since 2001, and was in residence from 2001 to 2008. He designed video and created hardware and software systems for the integration of video and sound for six of the internationally renowned company’s productions: To You, the Birdie!, Brace Up!, Poor Theater, House/Lights, Who’s Your Dada?!, and Hamlet. He has toured internationally with his work and five of The Wooster Group’s productions to Copenhagen, Moscow, Paris, Berlin, Istanbul, Amsterdam, Melbourne, Brussels, Athens, Vancouver, and Columbus, OH. He has held creative residencies at the Wexner Center for the Arts, Eyebeam Art and Technology Center, the 3LD Art & Technology Center, and Abrons Art Center/Henry Street Settlement. The New York State Council on the Arts, The Greenwall Foundation, New York Foundation for the Arts, the Experimental Television Center, Jerome Foundation and The Franklin Furnace Fund have funded his work.

Praise for Gin & "It"
"The interplay between the live and film actors is an elegant kind of dance. It’s a marvelous technical feat."
— The New York Times
"A surplus of gorgeous, improbable stage pictures." — The Village Voice
"Combining technical prowess and cheeky humor, Farrington creates a spooky interspace between past and present, film and flesh." — The New Yorker
"Director Reid Farrington, whose work as video designer for the Wooster Group has similarly yielded critique through homage, has here crafted an evening that both delights and warns." — Backstage

"One of the more original experiments in projection design." — Lighting & Sound America

Praise for The Passion Project
"What beauty there is in Mr. Farrington’s work. Like Dreyer’s film, it is both luminous and cruel."
— The New York Times
"It was magical, and sinister, and strange — one of the most satisfying theatrical experiences I’ve had in ages. We are seduced by the grandeur of the original even as Farrington shatters it." — WNYC Culturists blog

"The Passion Project should not be watched, it should be entered into. After all, it is an act of devotion."
— Time Out New York

About 3LD Art & Technology Center
3LD Art & Technology Center is a community-oriented and artist-run production development studio for emerging and established artists and organizations that create large-scale experimental artworks of all kinds. The facility is owned and operated by and is the home of 3-Legged Dog Media and Theater Group. Since opening in 2006, we have hosted more than 650 artists a year from 23 countries through our 3LD Residency Program, offering artists a unique experience with 24/7 access to equipment, flexible space and expert knowledge, as well as the desperately needed time to fully realize their visions in 6 to 20 week long residencies. If New York City is to remain at the forefront of artistic innovation and experimentation, then its artists must have the means to create cutting-edge work.

About 3LD / 3D+
3LD/3D+ is a new program at 3LD Art & Technology Center aimed at creating a new international production, touring and distribution structure for experimental artwork. This structure will create an international live touring circuit. Productions will be filmed in high definition (HD) and three-dimensional (3D) video and vetted for other secondary intellectual property. These productions and secondary properties will be distributed through an international network of digital & 3D movie theaters, cable and satellite channels and video-on-demand services and other digital platforms. The project received a start up grant from the prestigious Rockefeller Foundation Cultural Innovation Fund for 2011-2012 and is in the process of finalizing partnerships with several major international producing and tour partners. Current secondary market partners include Cosmomedia America and Tendu TV.

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3. Meow Meow, Lance Horne, FF Alumns, at Apollo Theatre, London, UK, June 23-25

The information below is reprinted from www.Broadwayworld.com

Cabaret Star Meow Meow to Perform at Apollo Theatre, June 23 - 25

Meow-Meow-20010101

Cabaret star, international singing sensation and post-modern showgirl, Meow Meow, acclaimed for her current performance in The Umbrellas of Cherbourg, returns to the stage with her solo West End debut, Meow Meow In Concert for three nights only on 23, 24 and 25 June, with a press performance on the 23 June. Presented by Nica Burns in association with the Soho Theatre, Meow Meow In Concert has musical direction by her frequent collaborator, Emmy Award winning Lance Horne.

Sequins and satire, original chansons apocalyptiques, witty wicked Weimar, 1930's Shanghai showtunes, 60's French pop, Brel, Brecht, Casal, Kitt, Radiohead revisioned, Punk and Dolly Parton! Music. Politics. Mayhem. Magnificence.

If you were scintillated at Soho, marvelled at the Maitresse in Cherbourg or captivated by the chaotic diva in La Clique then allow the crowd-surfing queen of song ,"the sequinned sex-bomb waiting to detonate" to dazzle you with her unique brand of kamikaze cabaret that has hypnotised, inspired, and terrified audiences worldwide!

Meow Meow is a renowned cabaret artist and before her role in the West End production of The Umbrellas of Cherbourg, had a sell out run at Soho Theatre with her show Meow Meow Beyond Glamour: The Absinthe Tour and won the 2010 Edinburgh International Festival Fringe Prize for Feline Intimate. She has also performed regularly as guest artist in La Clique and La Soiree. Specialising in kamikaze cabaret and performance art exotica, her solo shows, curated by David Bowie, Pina Bausch and Mikhail Baryshnikov amongst others, have been seen across Europe and the US. The Sydney Opera House has presented several seasons of her works and recently commissioned her original music theatre piece Vamp! . In New York she has performed at Lincoln Center, Joe's Pub and the Carnegie Hall curated the "Berlin in Lights" series at Neue Galerie. . She has had extended seasons at the home of German cabaret, Bar Jeder Vernunft in Berlin. In collaborations she has worked with John Cameron Mitchell (Hedwig, Shortbus) toured the US with Amanda Palmer, The Dresden Dolls and written and recorded the album ‘Here Kitty Kitty ...The Lost sessions' with Pink Martini's Thomas M Lauderdale due for release in 2011.

Her current eclectic artistry also includes premiering the Schönberg Ensemble's Schubert/Schumann revisioning "Wunderschön" in Australia with the orchestra of the National Academy of Music, Cocteau's "Le Bel Indifferent " for the Greenwich Music Festival US and work in development for the Edinburgh International Festival .Her awards include several Australian Green Room Awards, the Sydney Theatre Critics Award and the New York Franklin Furnace Performance Art Award, as well as being named one of the top ten cabaret performers by Time Out New York, and one of the best performers of 2010 by The New Yorker.

Lance Horne is an award winning composer as well as writer, singer and performer. As a musical director he has worked with artists including Alan Cumming, Justin Bond, Michael Urie, Becki Newton and Amanda Palmer and as a performer, artists including Ricki Lake, Cheyenne Jackson, Sandra Bernhart, Jake Shears and Lea DeLaria. His writing covers genres from musical theatre to rock, classical stage to film scores and award winning work for television. His awards include a 2008 Daytime Emmy Award for Best Original Song (Chemistry: One Life to Live), 2010 Bistro for Best Album (Alan Cumming), 2006 Jonathan Larson Award (composer-lyricist) and multiple ASCAP Young Composer/Member Awards.

LISTINGS INFORMATION Meow Meow In Concert
Dates: 23, 24, 25 June
Press night: 23 June at 8pm
Performances: Thursday, Friday, Saturday at 8pm
Ticket prices: £10, £15, £25 plus concessions
Address: Apollo Theatre, Shaftesbury Ave,
London, W1D 7EZ
Box Office: 0844 482 9671
Website: www.nimaxtheatres.com
Read more: http://westend.broadwayworld.com/article/Cabaret-Star-Meow-Meow-to-Perform-at-Apollo-Theatre-June-23-25-20110510#ixzz1M3nkGhJ3

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4. John Jesurun, FF Alumn, at Austrian Cultural Forum, Manhattan, May 12, and more

The following information is reprinted from:
The New Yorker
Goings On About Town
Night Life
May 16, 2011

AUSTRIAN CULTURAL FORUM
11 E. 52nd St. (212-319-5300)—May 12: Dan Kaufman (an occasional contributor to this magazine) and his band, Barbez—which includes the vibraphone and marimba player Danny Tunick—perform songs from their album "Force of Light," which interprets the spare but powerful work of the Romanian Jewish poet Paul Celan. Video projections by John Jesurun will accompany the performance.

Read more http://www.newyorker.com/arts/events/nightlife/2011/05/16/110516goni_GOAT_nightlife#ixzz1M3oX6LHG

and

The New Yorker
Arts & Culture
Events
Goings On About Town
Dance
May 16, 2011

SUSAN RETHORST
The appealingly unconventional "Retro(intro)spective" that Danspace Project has organized for the choreographer began with a movie night, and although the actual performances don’t begin until next month, this week’s open rehearsals provide a rarer experience. On the first night, Rethorst is in charge, but on the following evenings she lets other artists—Melinda Ring, then John Jesurun—"wreck" her work-in-progress, and change it as they see fit. Rubbernecking is encouraged. (St. Mark’s Church In-the-Bowery, Second Ave. at 10th St. 866-811-4111. May 12-14 at 6.)

Read more:
http://www.newyorker.com/arts/events/dance/2011/05/16/110516goda_GOAT_dance#ixzz1M3oksdb9

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5. Tim Miller, FF Alumn, Fall 2011 events

TIM MILLER NEWS...FALL PREVIEW and COMMENCEMENT ESSAY!

Hi Everybody!

As the performing and academic year winds down I want to shout out to everyone graduating this May- June. Here is my Queer Commencement essay I wrote for the Advocate a couple of years ago. Also below.

http://www.advocate.com/Arts_and_Entertainment/Books/Queer_Commencement/

What a busy Winter-Spring! Back from residencies at Victory Gardens Theater in Chicago, LSU, Penn State, Harvard, Univ N Carolina School of the Arts, JMU, UVA (my nephew Jason just got accepted there) and Grinnell College in Iowa!

I am totally looking forward to the coming months when I will do performances and residencies at PS 122 in NYC, the Colony Theatre in Miami, Southern Illinois University, Austin Peay State University in TN, SMU and Lamar University in TX and many other stops near you!

Just back from NYC . Working with my emerging queer performer mentees and for PS 122 benefit gala where I got an award as PS 122 co-founder. (Wild set at PS 122 gala where Rufus Wainwright, Sandra Bernhard and Justin Bond sang together!) I will be performing on the same bill as the three emerging queer performers I have been mentoring these last months. They have all recently graduated from college and this has been a great way to launch them toward their NYC writer/performer debuts! Come by June 11 and see us all perform at PS 122.

best, Tim

Queer Commencement
http://www.advocate.com/Arts_and_Entertainment/Books/Queer_Commencement/
by TIM MILLER

When I am not busy crafting my Nobel Prize and Academy Award acceptance speeches, I often take a moment to conjure the commencement address I would inspiringly deliver to the LGBTQIA graduating students at Queer U to mark this juicy time of year of poignant endings and new beginnings. The commencement anthems are sung! The graduation caps are flung! The celebratory shots are slung! What can I possibly say to these fierce and inspiring artist-citizens I get to work with at all my college performance gigs?

Should I channel Larry Kramer … "KEROSENE WORKS BETTER THAN PERFUME!" Hmm, that’s a bit too incendiary.

Or maybe go all literary and highfalutin … "Perhaps the great gay Greek poet C.P. Cavafy said it best… 'He who hopes to grow in spirit will have to transcend obedience and respect.'" That’ll make them head for the exits.

If you are going to steal, you should always steal from the best: our great, gay President Lincoln. "One score and 19 years ago, our queer forefathers and mothers at Stonewall etc." Wait a second, Lincoln knew that the people you speak to already have done the heavy lifting; you just have to look to them and the words will follow.

I perform at around 25 colleges every year, where I do my wildly queer solo shows. I also lead intensive performance workshops with the local crew of students, and these get cobbled together into ensemble pieces of the narratives of their lives and then performed on campus. Through my shows and the workshops I do in both the reddest of red and the bluest of blue states, I get a pretty interesting camera angle on the fierce and feisty state of 18- to 22-year-old LGBT Americans.

As I gird my loins -- or at least manage to do my laundry -- and crazily pack my luggage for my big commencement address at Queer U, I would call out to my queer animal guides -- I am a native Californian, after all! In my imagination I see the animal mascots of all the institutions of higher learning where I work gathering to help me. Just as the mice and birds in Cinderella’s Disney garret pimp her up for the ball, I visualize the University of Minnesota’s Goldy Gopher toothily encouraging me to chew boldly at the truth, Southern Methodist University’s Texas Mustang helping me trample down self-doubt, Wisconsin’s Bucky Badger -- the sexiest of all the mascots because he has been seriously working out and is wearing no pants! -- fluffing me to help face the horrors of changing planes in Dallas or Dulles!

As I step up to the stage, covered with enough polyester rainbow bunting to circle the earth, I realize for inspiration I need only look to at the public performances of some of the queer students that came out of the workshops I did this last academic year. These young artists performed so boldly while witnessed by their communities in sardine-packed student unions and theaters. Their stories, their texts, their imagination offer all the inspiration and challenge that any commencement address should be chock-full of.

I would point to the courage of Travis Acreman in his performance at SMU in Dallas daring to acknowledge and fiercely claim the target on his back that he shares with every gay American. I think of Megan Lenihan at University of Nebraska’s Lied Center for the Performing Arts reading a letter where she comes out to her parents with her parents in the audience and later their family hug that would thaw even Bush’s icy heart. I would remember Sentell Harper at Arizona State exploring his identity as a young black gay man and Robert Galloway at Davidson College in North Carolina rejecting being seen only as the gay clown, forever Jack to Will and Grace. I would invoke Colin Wait and Allison Witham, who explored the edgy borders of gay boy sex and the joyous heart rhythm of dyke desire as undergrads on the University of Minnesota campus.

All of these performances by these queer citizens of our troubled country offer fierce avenues of hope, desire, and open-eyed courage far stronger than any possible commencement address I might concoct. Perhaps with their example and artistry -- along with me doing my bit assisted by Bucky Badger in his humpy half-naked glory -- there may just be more than a little hope for our country.

Tim Miller is a solo performer and the author of 1001 Beds: Performances, Essays and Travels, published personally by Bucky Badger at the University of Wisconsin Press. Get a copy!
http://www.amazon.com/gp/product/0299216942/sr=8-1/qid=1142957127/ref=sr_1_1/103-0241494-4217438?%5Fencoding=UTF8

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6. Stefanie Trojan, FF Alumn, at Festival Vahax Valottaa, Pori, Finland, May 18, 20

Performance
Stefanie Trojan
May 18th and 20th
At Bepop shopping mall, Pori, Finland
As part of the Festival Vähäx valottaa

Vähäx valottaa -children and youth fotofestival May 13th to June 12th 2011 in Pori, Finland. Pori Centre for Children’s Culture – The Network of Children’s Culture in Satakunta Region is hosting Vähäx valottaa -children and youth fotofestival May 13th to June 12th 2011 in Pori. The festival consists of photography exhibitions made by children and youth, workshops and a conference on copyright and authorship of photographs. The exhibitions are made in different workshops all over Finland during the summer and autumn 2010. The exhibitions will make Pori a huge gallery for photo exhibitions.

The theme of the Festival is movement, affection and great emotions. The main aim of the Festival is to offer a possibility for children and youth to be active and creative.

http://www.sakulaku.fi/fotofestival/eng/

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7. Frank Moore, Toni Sant, Martha Wilson, FF Alumns, now online at timesofmalta.com

TimesofMalta.com
Tuesday, May 10, 2011, 09:40 , by
Charles Xuereb
A web-based live art story
Franklin Furnace And The Spirit Of The Avant-Garde: A History Of The Future
by Toni Sant
Intellect Bristol in the UK and the Chicago University Press pp184
ISBN 978-184150-371-4
One early April evening at the Museum of Fine Arts in Valletta a handsome audience of artists and art lovers had the unusual opportunity of attending the world launch of Toni Sant’s new book which comprehensively relates the history of a remarkable American organisation called Franklin − after its famous location at 112 Franklin Street, New York – Furnace, referring to its role as a lively melting pot of avant-garde art since 1976.

Maltese listeners and viewers remember Toni Sant, whom I had the pleasure of introducing to broadcasting in Malta a number of years ago, as a forward-looking creative artist communicating in his − still evident in writing − innovative style of presenting the unknown, be it education, analysis or just fun. Local Eurovision fans also regularly follow his musical expertise.

He has a knack at capturing an audience as he did at the Fine Arts where artist Vince Briffa, head of the Digital Art Department at the university, Sandro Debono, the museum curator, and yours truly were invited by the author to bounce off the various challenging art themes present in the publication to an interactive audience.

Dr Sant, who could be considered as the prime exponent of internet art in Malta, is now director of research at the University of Hull’s School of Arts and New Media in Scarborough in the UK after a number of years studying in the US, where he used to lecture about performance and new media at New York University.

Of course he also lectures in his home country at the University of Malta.
The author takes us on a virtual tour of this amazing arts furnace guided by Martha Wilson, the founder-director who takes pride in her organisation’s mission of making "the world safe for avant-garde art".

Franklin Furnace seized the opportunity to develop its very existence from a physical gallery cum centre for artists, who were not being supported by existing artistic institutions, to createthe Franklin Furnace Fund for Performance Art allowing emerging artists to produce major works in New York. It also initiated the Sequential Art for Kids on its tenth birthday.

A number of bizarre circumstances accompanied the Furnace in the next 10 years, including a series of unfortunate institutional mishaps which eventually contributed to its very survival when in 1997 FF launched its website www.franklinfurnace.org with the prime focus on giving access to freedom of expression and a broader audience for emerging artists through new media. Some events in the second decade, however, did bring about the acquisition of FF’s collection of artists’ books – the largest in the US – by the Museum of Modern Art and the enviable presence of Andy Warhol as one of its directors just before he died in 1987.

From its first netcasting season, featuring 10 artists in 1998, to its move to the Brooklyn Academy of Music district in 2004, the Furnace reached a very high point when it was entrusted to digitise and publish on internet records of performances, installations, exhibits and other events produced by the organisation through a generous grant from the National Endowment for the Humanities in 2006. Only two years ago FF launched its online version of the Franklin Furnace database.

The author lists an amazing timeline of high-profile artistic institutions and authorities that, over the years, supported the unique enabling role of this furnace in the world of avant-garde art.

Besides a long conversation with Martha Wilson the author also collects other exponents’ input in the first part of his book. Over three engaging chapters in the second part Toni Sant deals with broadcasting artists’ ideas, the virtually-live role of today’s artists’ interactive messages, as well as the preservation of the frequently elusive avant-garde art.

As a media person myself I am mostly drawn to the debate on broadcasting artists’ ideas. In chapter three the author follows various artists’ successful moves from paper to internet, asserting that this electronic tool is the latest and best medium for an artist. He cites artist Frank Moore who loves the internet as it provides thousands of viewers while counter-balancing with another artist, Phillpot, who laments on cheapness and numbers: these do not necessarily guarantee public access or public interest. Franklin Furnace’s intimacy with its experience of art is seen through its attraction to the masses.

It is difficult to appreciate an artist’s work/s via internet without first having access to his/her electronic artists’ book, which, in simplest terms, could be described as a web-based live performance art project. Toni Sant sums it up: electronic artists’ books, unlike paintings or sculptures in a gallery or museum where they are displayed almost like untouchable holy relics, give the reader or viewer a very open-ended opportunity to interpret meanings from the work.

After all, as the author points out, even Michel Foucault in The Archeology of Knowledge admits that the frontiers of a book are never clean-cut because of references to other books, texts and sentences; it is a "node within a network". Avant-garde artists believe that if an idea can be kept alive between originator and beholder it has a higher level of interactivity.

Chapter four debates the very "liveness" of virtual art. The author holds that once a performance is saved, recorded or documented "it becomes something other than (live) performance".

He believes FF has been addressing the paradox of digital live art by questioning and doing it at the same time.
Chapter five stresses the need to preserve the avant-garde through digital cataloguing. Acknowledging the FF’s mission to make event archives access-ible to the public, the author opines that it is artists themselves who should strive to perpetuate the living memory of their works, possibly also by networking, as FF does, in order to survive in a continuously changing environment.

This book is an agent provocateur for any digital art lover or indeed anyone with an artistic message on the internet.

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8. Susan Bee, FF ALumn, at A.I.R. Gallery, Brooklyn, opening May 26

Susan Bee
Recalculating: New Paintings

May 25-June 19, 2011
Opening Reception: Thursday, May 26, 6-8 pm
A.I.R. Gallery, 111 Front Street, #228, in DUMBO, Brooklyn
GALLERY HOURS: Wed-Sun, 11AM - 6PM

Digital preview:
thirty-seven new paintings now on-line

Press release

FOR MORE INFORMATION
contact gallery director Kat Griefen
212.255.6651 | info@airgallery.org
www.airgallery.org
Susan Bee's Website

Directions to A.I.R.:
F Train to York Street, A/C to High Street

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9. Lawrence Weiner, FF Alumn, at Witte de With, Rotterdam, The Netherlands, thru August 7

Witte de With
Center for Contemporary Art
Witte de Withstraat 50
3012 BR Rotterdam
The Netherlands
www.wdw.nl

Witte de With is pleased to present two events in May: The opening of the group exhibition The End of Money and the first two lectures in the series To Tell The Truth.

THE END OF MONEY
Group exhibition
22 May–7 August 2011

Opening
Saturday 21 May 2011 (6 to 9 pm)
Performance by Goldin+Senneby at 7 pm

Film Screening
Sunday 26 June 2011 (12 to 6 pm)

The End of Money is a group exhibition about time and value. Bringing together works by a host of international artists, this exhibition reflects upon the fears, hopes, and expectations associated with the end of money and its ominous consequence: the dissolution of an absolute standard of value.

What limits does the economy impose on our collective imagination, and how is the collective imagination responsible for the current economy? The End of Money focuses on the multiple relationships that could and those that should exist between culture and economy. Informing this curatorial project is the utopian notion that, in a world without money—a world where money has been factored out of the collective memory, other suppressed forms of value may emerge, leading to another social bond and a different relationship to time.

The works included in The End of Money range from reflections on the arbitrary ways in which value is ascribed to things to explorations of the absolute loss of representative value. Some of the featured works highlight time, which is a persistent corollary of money in our efficiency-obsessed culture.

Artists
Alexander Apostol; Pierre Bismuth; Peter Fischli & David Weiss; Zachary Formwalt; Goldin+Senneby; Hadley+Maxwell; Toril Johannessen; Vishal Jugdeo; Agnieszka Kurant; Matts Leiderstam; Maha Maamoun; Christodoulos Panayiotou; Lili Reynaud-Dewar; Tomas Saraceno; Tonel; Vangelis Vlahos; and Lawrence Weiner.

Curated by
Juan A. Gaitán; assisted by Amira Gad.

Publication
To accompany the exhibition, a digital publication will be made available for free download via www.wdw.nl in July 2011 and will feature texts by: Dessislava Dimova, Donatien Grau, Dieter Roelstraete, and Carolina Sanin.

Tours
Every Wednesday and Sunday, 3 pm: tours for individuals in English or Dutch. Free excluding exhibition entry price. No reservation necessary.
Tours are available for groups of 10 to 15 people. reservations@wdw.nl

Education
Witte de With Education offers 'art confrontations,' interactive tours for schools and universities. reservations@wdw.nl

Supported by
OCA, Pro Helvetia: Swiss Arts Council, Cypriot Ministry of Education & Culture. With thanks to the Fonds BKVB.

Also at Witte de With:

TO TELL THE TRUTH

On two Wednesday evenings in May, members of Witte de With's programming team will set forth their ideas about cultural politics and the public role of Witte de With.

The lectures will be broadcast live via Witte de With's ustream channel.

Wednesday 18 May, 7 pm
THE DANGER OF MEDIOCRITY
by Nicolaus Schafhausen - Director of Witte de With

Wednesday 25 May, 7 pm
THE EMPTY CENTER
by Monika Szewczyk - Witte de With's Head of Publications

To Tell The Truthwill continue in the fall with lectures by the curatorial team: "What is Right and What is Left" by Juan A. Gaitan; "Upstairs, Downstairs" by Zoe Gray and "Please" by Anne-Claire Schmitz.

Location: Auditorium, Witte de With
Language: English
Entry: Free.

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10. John Fleck, FF Alumn, in LA Weekly, May 12

John Fleck is appearing in his new one-man show, "Mad Women," at the Skylight Theatre in Los Feliz through May 29. (Gina Ferazzi / Los Angeles Times)

By Reed Johnson, Los Angeles Times

May 15, 2011

The onetime 'NEA 4' member, whose one-man show 'Mad Women' is emotionally revealing, sees odd parallels between his life and that of Judy Garland.

John Fleck is rehearsing in a tiny Los Feliz theater, and he's utterly naked.

Not naked like he was in the Reagan era, when he was leaping onto Silver Lake bars, dropping his drawers and belting out "There's No Penis Like Show Penis" to a roomful of rough-trade guys and spiky-haired punkettes.

Related
Culture Monster: The L.A. Times arts blog STORY: Culture Monster: The L.A. Times arts blog

Or naked in the way that made Fleck and his fellow performance artists Karen Finley, Tim Miller and Holly Hughes (a.k.a. "The NEA 4") into Public Enemy No. 1 in the eyes of Jesse Helms and other wardens of public morality, sparking a 1990s culture-war skirmish involving the National Endowment for the Arts.

He's not even naked in the ho-hum, non-transgressive style that now pervades mainstream pop culture, where Fleck has put in regular appearances in such family-friendly and almost-family-friendly fare as "Star Trek: Enterprise," "Carnivale" and "Weeds."

In Fleck's latest one-man show, "Mad Women," which he conceived, wrote and is performing at the Skylight Theatre, the nakedness is mainly of the emotional variety, and it's putting the actor in touch with two people who helped propel his outlandish, and improbably accomplished, career: his parents. His carpenter father, Fleck says, was a handsome, charismatic "big ol' macho guy" who wanted his son to be successful with money and women. His mother, a homemaker, loved movies and show tunes, and stuck by her son when the old man went on one of his alcohol-abetted rages.

"I had one of the longest-running roles in childhood history, of the perfect son," Fleck says during a rehearsal break. "I was an altar boy. Never did anything wrong. And because I did that, [my dad] hated me even more, because that was not what he wanted. He wanted a bad-boy kind of thing. But then I discovered David Bowie and Lou Reed. And I got out of the house, went to Europe, by myself. I'd never been out of Cleveland. That changed my … life."

If parts of his life and his polymorphously perverse art are the stuff of legal history, Fleck sees an odd parallel with the history, and histrionics, of another performer: Judy Garland. In "Mad Women," Fleck awakens the demons of drug abuse and marital dysfunction that tortured Garland late in life, and transformed the ardent, fresh-faced young heroine of "The Wizard of Oz" and "Meet Me in St. Louis" into a Hollywood martyr-monster.

"Mad Women" jump-cuts between one of Garland's last live concert performances as a haunted, slurry-voiced, tragicomic figure, surrounded by an adoring throng of "men in tight pants" (Fleck's phrase) and Fleck's own anxious theatrical coming-out party as a 9-year-old boy at an Ohio kiddie talent show. Dancing, vamping, spewing motor-mouthed monologues, mugging in mirrors and emitting high-pitched operatic shrieks, Fleck fashions a psychological burlesque show that channels Garland's ghost while rekindling affectionate, traumatic memories of his Alzheimer's-racked mother, Josephine, who died several years ago and appears in spectral video projections.

Fleck's well aware that, for some people, the mere words "Judy Garland" will conjure visions of "another bad drag thing." But he hopes his show about the legendary diva, rampaging onstage and backstage at the Cocoanut Grove, may untangle some of the unhealthy ties that bind a performer to an audience, or a dysfunctional parent to a needy child.

"I almost see her as like this mythological Greek goddess, all-consuming, all life-giving," Fleck says of Garland.

"It's almost like a mythological journey of self-discovery," he continues. "You've just got to … define yourself, not let other people define you."

Ric Montejano, the show's director, says that his longtime friend is "digging in real deep" with "Mad Women."

"This piece is probably one of the most vulnerable pieces that he's ever done," Montejano says. "He's not just a showman. He's got a lot of heart under everything he does."

For a man accused by the Washington establishment of committing acts of cultural terrorism, Fleck in person comes across as strikingly sweet-natured and boyishly eager to please. Tall and trim, thanks to a daily regimen of exercise and yoga, he moves with the manic grace of a silent-screen clown. In relatively calmer moments, his rubbery, handsome features (think Dustin Hoffman crossed with Geoffrey Rush) resolve themselves into a default expression of benign amusement.

The oldest boy among six children (a seventh died in childhood), Fleck was raised in a blue-collar, Roman Catholic Cleveland household. At Cleveland State University he majored in business for two years "until I flunked trigonometry three times." In 1973, trailing a girlfriend, he drove cross-country to California to attend the American Academy of Dramatic Arts, and found his life's purpose in performance.

Among colleagues, Fleck's congeniality and professionalism have made him a much in-demand collaborator, as his credit list shows. He has performed in many of the area's leading theaters, among them the Old Globe, South Coast Repertory and Evidence Room.

He has scaled Shakespearean comedy (Bottom in a 1995 production of "A Midsummer Night's Dream" at the Grove Theatre Center in Garden Grove), and Greek classics. A couple of years ago, he lent his inspired lunacy to Culture Clash's cartoon-revisionist take on Aristophanes' "Peace" at the Getty Villa.

His large body of solo pieces, with multiple-entendre, calculatedly provocative titles like "A Snowball's Chance in Hell," have taken Fleck around the country. He has been seen on screens big ("Falling Down," "Waterworld"), small ("NYPD Blue," "Seinfeld") and medium (video installations by artist Bill Viola at the Getty, the Tate Museum and the Guggenheim).

But theater remains Fleck's overriding passion, and lately, he says, he has been "starved for it." He oozes gratitude for his Skylight gig, which was developed under the auspices of the Katselas Theatre Company's INKubator new-work development series. He'd love to be doing even more stage work.

"I am practicing my theatrical stuff, but I'm not doing plays," he laments. "But my instrument is ready! Hello, Taper, or any of those people out there, hello! But they never call me in for any auditions. Oh — I didn't say that! I'm sorry, Michael Ritchie!"

Fleck may be destined, or doomed, to be best remembered for the uproar that resulted when the National Endowment for the Arts, under pressure from conservative politicians and pundits who complained that the government was sponsoring obscene art, pulled grants to Fleck and his three fellow performers, who then sued the NEA.

The NEA eventually paid financial compensation to Fleck and the other three performers. Although he concedes that some performance art can be "bad and pretentious," Fleck maintains that the NEA 4 were "morally and spiritually inclined artists digging for the truth — which can get dirty when you're exploding the old entrenched cultural, religious and sexual stereotypes."

Yet Fleck's notoriety proved beneficial. Television offers started rolling in, and, as he jokes in "Mad Women," like Garland he began to specialize in playing freaks and misfits. "After the NEA 4 thing, all of a sudden I got labeled 'gay performance artist.' I'd never been labeled before. Karen Finley was the 'yam-smearing feminist whatever.' And it's funny, I started working a lot after that, in gay roles. But hey, that's fine. I did them with as much dignity as I could."

Today, Fleck maintains a successful dual career, hopscotching from avant-garde performance work and solo shows to indie film roles and an upcoming repeat stint as an FBI agent, of all things, on Showtime's "Weeds." Happily involved in a four-year relationship — "he's a real person, not a performer" — he appears to have found a peace of mind that eluded the mad woman in the mirror at the Skylight.

A few weeks ago, Fleck went to one of his favorite spots in the world, Joshua Tree, alone, to write, think and gawk at the wildflowers. When he dies, Fleck wants his ashes to be scattered there.

"Really, I feel God out there," he says. "I love it, just the silence. You know, I've got a chatty brain."

reed.johnson@latimes.com

Copyright © 2011, Los Angeles Times

and

- thought I'd give a honk. LA Weekly says....

NEW REVIEW GO MAD WOMEN

Known for his mastery of the intimate, character-driven performance, John Fleck does not disappoint in this offbeat, yet strangely heartfelt solo show. It consists of dramatic portraits of two women, iconic diva Judy Garland and Fleck's own mother, who died from Alzheimer's-related issues some time ago. At the start of the show, Fleck bursts through a stage door and launches into a lip-sync of portions of one of Judy Garland's final performances -- her famous turn at the Cocoanut Grove, where she interrupted her performance to bawl incoherent, self-hating, drug-laced insanity. From there, the story drifts into Fleck's memories of his own beloved mother, as she slowly lost her mind and entered a world of dreams. At first, it's unclear what the two stories can possibly have to do with each other, but as Fleck's haunting storytelling unfolds, the parallel themes coalesce into a simultaneously funny and melancholy meditation on the nature of insanity, dreams and, incidentally, the creative spirit. At one point, Garland's rambling actually subtly shifts into Fleck's mother's unearthly monologue, and we find ourselves unsure which woman we're actually listening to. In director Ric Montejano's breezy, seemingly simple staging, Fleck almost convinces us that's he's just hanging out with us and telling a story. However, the intimacy is deceptive and the adroit performance gracefully dances through powerful issues with emotionally truthfulness. Many performers try to "do" Garland in their show, but Fleck is less interested in impersonating the singer (this isn't a drag show, except arguably for one short sequence toward the end) as he is in trying to touch on her deeper meaning. Eyes a-bugging and tongue a-waggling, Fleck himself mugs joyfully, peppering the show with ad libs and unexpected asides to particular members of the audience, but he's utterly on point when hitting precisely effective, emotionally charged notes. Skylight Theatre -- Skylab, 1816 N. Vermont Ave., Los Feliz; Fri.-Sat., 8 p.m.; Sun., 7 p.m.; thru May 29. katselastheatre.com. (Paul Birchall)

john
www.johnfleck.net

http://www.laweekly.com/2011-05-12/calendar/mad-women/

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11. Daniel Joseph Martinez, FF Alumn, in new New Museum publication

New Museum

Rethinking Contemporary Art and Multicultural Education
newmuseumstore.org
For over a decade, the New Museum’s preeminent publication Contemporary Art and Multicultural Education has served as the guide to multicultural art education, connecting everyday experience, social critique, and creative expression with classroom learning. The much-anticipated Rethinking Contemporary Art and Multicultural Education continues to provide an accessible and practical tool for teachers, while offering new art, essays, and content to account for transitions and changes in both the fields of art and education. A beautifully illustrated collaboration of over 100 artists, writers, curators, and educators from in and around the contemporary art world, this volume offers thoughtful and innovative materials that challenge the normative practices of arts education and traditional art history. Rethinking Contemporary Art and Multicultural Education builds upon the pedagogy of the original publication to present new possibilities and modes of understanding art and culture, and their relationships to students and ourselves. This fully revised second edition, published by the New Museum and Routledge, provides new theoretical and practical resources for educators and students everywhere, including:

Educators' perspectives on contemporary art, multicultural education, and teaching in today’s classroom. Full-color reproductions and writings on over fifty contemporary artists and their works, plus an additional 150 black-and-white images throughout

Lesson plans for using art to explore topical issues such as activism and democracy, local and global conflict, and history and historicism

A companion website offering over 250 color reproductions of artwork from the book, a glossary of terms, and links to the New Museum and G:Class websites

Artists included in the book: Shaina Anand, Edgar Arceneaux, Andrea Bowers, Mark Bradford, Ginger Brooks Takahashi, Center for Land Use Reinterpretation, Nikhil Chopra, Abraham Cruzvillegas, Hasan Elahi, Cao Fei, Urs Fischer, Carlos Garaicoa, Shilpa Gupta, Daniel Guzmán, Rachel Harrison, Sharon Hayes, Susan Hefuna, Jonathan Hernández, Leslie Hewitt, Huang Yong Ping, Runa Islam, Emily Jacir, Michael Joo, Lauren Kelley, Margaret Kilgallen, An-My Lê, Glenn Ligon, Daniel Joseph Martinez, Barry McGee, Dave McKenzie, Julie Mehretu, Wangechi Mutu, Rivane Neuenschwander, Noguchi Rika, Catherine Opie, Clifford Owens, Elizabeth Peyton, Annie Pootoogook, Walid Raad, Michael Rakowitz, Pedro Reyes, Rigo 23, Lara Schnitger, Lisa Sigal, Taryn Simon, Lorna Simpson, Jeff Sonhouse, SUPERFLEX, Sarah Sze, Rirkrit Tiravanija, Danh Vo, Kara Walker, Nari Ward, Kehinde Wiley, Haegue Yang, Yin Xiuzhen, and Artur Żmijewski.

Contact: Gabriel Einsohn, Communications Director

press@newmuseum.org

54.95 USD
Members: 49.46 USD
Available at the New Museum Store
newmuseumstore.org

Publication Support

Rethinking Contemporary Art and Multicultural Education is sponsored by Deutsche Bank.

The publication is also made possible by a generous grant from Agnes Gund. Generous endowment support is provided by The Keith Haring Foundation School and Youth Programs Fund, the Rockefeller Brothers Fund, the Skadden, Arps Education Programs Fund, and the William Randolph Hearst Endowed Fund for Education Programs at the New Museum. Additional endowment support provided by the JPMorgan Chase Professional Development Workshop Program for Teachers. Additional program support is made possible by The Bloomingdale's Fund of the Macy's Foundation, Con Edison, the May and Samuel Rudin Family Foundation, the New York City Department of Cultural Affairs, and the New York State Council on the Arts.

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12. Betty Tompkins, FF Alumn, at Galerie Caratsch, Zurich, Switzerland, thru July 29

BETTY TOMPKINS
SEX WORKS
MAY 20 - JULY 29, 2011

Waldmannstrasse 8 CH-8001 Zurich Tue-Fri 10.00 - 18.00
T +41 44 272 5000 F +41 44 272 5001 info@galeriecaratsch.com
http://www.galeriecaratsch.com/

http://www.bettytompkins.com/

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13. Isabel Samaras, FF Alumn, at Corey Helford, Culver City, CA, opening May 21

San Francisco artist Isabel Samaras’ highly-anticipated exhibition "Heavy Gretel" will debut in a special salon at Corey Helford Gallery. Witty, mysterious, and tender narratives that are classical in technique and pop in content, Samaras’ paintings connect childhood themes with modern day icons. For "Heavy Gretel", her clever visual storytelling is populated with birds, raccoons and elk as well as delightful hidden meanings where a honey badger represents Grandmaster Flash and a chicken bone becomes a lucky charm. For this body of work Samaras’ process takes a new direction, employing a more organic, intuitive approach to her imagery as well as dark backgrounds to illuminate her captivating subjects.

Open to the public, the reception for "Heavy Gretel" will take place on Saturday, May 21 from 7 to 10pm and the show will be on view until June 8, 2011.

Corey Helford Gallery
8522 Washington Boulevard
Culver City, CA 90232 a
T: 310-287-2340
www.coreyhelfordgallery.com
Open Tuesday - Saturday, Noon to 6:00pm

Press and Media Inquiries
Angelique Groh
angelique@charmschoolcie

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14. Ken Friedman, FF Alumn, releases free digital edition of The Fluxus Reader

The Fluxus Reader has been out of print for many years now. In the run-up to 2012, I've been getting requests for copies -- I don't have any, and I don't know anyone who does. It's clearly been a desirable book for some time. Owen Smith told me that he was already seeing used copies at $300 a few years back. Today, I did an Amazon search for used copies, and I found prices running from $449 up to $2,500! (The expensive copy seems to have a drawing in it, but even the "cheap" copies cost too much.)

For a while, now I've wanted to make a free digital edition available, but the small typeface has made it difficult to get a clean copy. Rebecca Parker, manager of the Research Bank here at the Swinburne University library has gone to an expert outside service to prepare, digitize, and proof The Fluxus Reader. The digital copy is now available for download at:

http://hdl.handle.net/1959.3/42234

Download times are swift over the next, but the complete book runs 36MB. To make it easy for those who only wish one chapter, Ms. Parker has also prepared a single PDF for each chapter for use as stand-alone texts. To preserve the coherence and continuity of the book, Rebecca set each chapter up with the front matter for the entire book.

The book is an open access edition, configured for full search and accessible for copy and paste for scholars or students who wish to quote from the book. All details and pages are identical with the print edition. The PDF files are set to print out on a full-page format for easy reading.

In my contract with the publisher, I kept the copyright of the book as editor. In making the digital edition of the Fluxus Reader available, I do so granting full permission for use in any format or medium.

Please help me to share this information and let people know they are welcome to distribute the URL, or to copy the book. Any library that wishes to add the Fluxus Reader to its digital resources collection is free to do so.

Warm wishes,

Ken

Professor Ken Friedman, PhD, DSc (hc), FDRS | University Distinguished Professor | Dean, Faculty of Design | Swinburne University of Technology | Melbourne, Australia | kenfriedman@groupwise.swin.edu.au | Ph: +61 3 9214 6078 | Faculty www.swinburne.edu.au/design

Fluxus and the Essential Questions of Life | University of Chicago Press | http://www.press.uchicago.edu/presssite/metadata.epl?isbn=9780226033594

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15. Richard Prince, Robin Tewes, at Adam Baumgold, Manhattan, opening May 17

ART ON ART

MAY 17 - JUNE 25, 2011
RECEPTION: TUES., MAY 17 6-8PM

Adam Baumgold Gallery 60 East 66th street

Chris Ware
Richard Prince
Rafael Ferrer
Tom Wesselmann
Deborah Kass
Robin Tewes
Mark Kostabi
William Powhida
Marilyn Minter
Jasper Johns
Tom Burckhardt
George Deem
Joe Brainard
Duncan Hannah
Dan Fischer
Simon Linke
Saul Steinberg
John Wesley
Andrew Grassie
Adam Dant
Molly Springfield
John Clem Clarke
Amer Kobaslija
And Others

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16. Annie Sprinkle, Elizabeth Stevens, FF Alumns, at Center for Sex and Culture, San Francisco, CA, June 17-19

Annie Sprinkle & Elizabeth Stephens present
Ecosex Manifesto Art Exhibit & Ecosex Symposium ll
At the Center for Sex and Culture,
San Francisco, Ca.
In Collaboration with Femina Potens Gallery
June 17-19

Visit the artist’s new web site with all the info: www.SexEcology.org

What’s an ecosexual? Why are skinny-dipping, tree-hugging and mysophila so pleasurable? Where is the e-spot? Can the budding ecosexual movement help save the world? Who are the ecosexuals? These are some of the questions that will be discussed at the Ecosex Symposium II-- a public forum where art meets theory meets practice meets activistism.

The organizers of these events are Annie Sprinkle, Ph.D., a feminist-porn-star and artist, turned "SexEcologist," and Elizabeth Stephens, a UCSC art professor and environmental activist. The two women explain, "As a strategy to create a more mutual and sustainable relationship with our abused and exploited planet, we are switching the metaphor from the Earth as mother, to Earth as lover." They will kick off the Symposium ll weekend with their "Ecosex Manifesto," an art exhibit with new collages, their ecosex wedding videos and ephemera, photographs, and a wall text with their manifesto. The artists got a cultural equity grant from the San Francisco Arts Commission to help make it all possible.

Many aspects of this budding new sexual movement will be explored by artists, theoreticians, practicioners, and environmental activists. Plus there will be an open forum for participants to share their work and thoughts.

Stephens and Sprinkle are very serious about ecosex as an environmental activist strategy. Their aim is to make the "environmental movement a little more sexy, fun and diverse."

Friday, June 17
7:00-9:30 ECOSEX MANIFESTO ART EXHIBIT OPENING &
ECOSEX SYMPOSIUM RECEPTION (Free)

Saturday, June 18.
ECOSEX SYMPOSIUM 11 ($35. No one turned away for lack of funds.)
10:30 AM to 10:45 PM
Sunday, June 1910:00-1:30
For More info Contact: Center for Sex & Culture 415-902-2071
Femina Potens Press: Malia Schaefer feminapotenspress@gmail.com
Or email Annie Sprinkle annie@anniesprinkle.org
Or email Elizabeth Stephens: bethstephens@me.com
Press Photos are available at http://loveartlab.org/press-gallery.php

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17. Irina Danilova, Barbara Rosenthal, Martha Wilson, FF Alumns, at Set Gallery, Brooklyn, thru June 26

Dear Artists,
SET Gallery is pleased to present The Interview, an international curatorial project that represents a group of artists of diverse backgrounds, who work in a variety of styles and medias. The only binding event is the interview initiated by the curators.

It is a continuation of conversations with artists, a visualization of project-based networking. It offers a visual and experiential representation of the intricate relationships between artists and their own personal, social and cultural histories.

The show is open from May 11 - June 26 and the reception is on May 14, 5-9pm.
The Interview presents: artworks by Rick Klauber (Brooklyn, NY), Sam Cady (Friendship, Maine), Valeriy Ayzenberg (Moscow, Russia), Gail Nathan (The Bronx, NY), Zoya Trofimova (Cleveland, OH), Vladimir Danilov (Sudak, Ukraine) and Mark Polyakov (NYC, NY); along with works that reflect the phenomenology of aging, a theme suggested by the curators, by Peter Malone (Staten Island, NY), Martha Wilson (Brookyn, NY), Angelo Riviello (Campagna, Italy) and Barbara Rosenthal (NYC);

and works by Fritzie Brown (NYC, NY), Konstantin K.Kuzminsky (Lordville, NY), Alberto Bursztyn (Brooklyn, NY) that were produced during the interview itself or inspired by it.
SET Gallery is located at 287 3rd Ave. in Brooklyn, between Carroll and President Streets, R train Union Street station.
For any inquiries about this exhibition, please contact Irina: 917-6215941

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18. LuLu LoLo, FF Member, at NY Public Library, City Island, Bronx, May 21
Saturday, May 21, 2011 2:00 PM
NY Public Library Branch at City Island, Bronx NY
A Free performance:
SOLILOQUY FOR A SEAMSTRESS:
THE TRIANGLE SHIRTWAIST FACTORY FIRE
written and performed by LuLu LoLo
In this one-person play LuLu portrays the young seamstress Sarafina Saracino who shares drudgery and dreams with her little sister Teresina unaware they are about to perish in the Triangle Shirtwaist Factory fire; their Italian immigrant mother; and a young reporter William Gunn Shepherd who witnessed the fire and speaks of the infamous trail that acquitted the factory owners of any blame for the tragedy.

City Island Library (718) 885-1703
320 City Island Avenue (between Bay & Fordham Sts.)
Bronx, NY 1046
LuLu LoLo
www.lululolo.com

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19. Shelly Mars, FF Alumn, at The Tank Theater, Manhattan, May 21, and more

Shelly Mars as Dr.Ghislaine’s Pussait during the Gay Wars Festival!
Saturday, May 21 @ 7pm // The Tank Theater
354 West 45th Street
New York, NY 10036

The Homo Bonobo Project is the latest creation of world famous performance artist, drag performer and homo about town, Shelly Mars. Playing a Belgian feminist anthropologist named Dr. Ghislaine Pussait, Shelly will hilariously present the very real research Shelly went to Congo to do with the Bonobo apes, one of the most endangered and some might say queer creatures left on this planet.

Pitched between scholarship and absurdism, Dr. Pussait has forged ahead with her very worthy mission to prove a link between the social activities of urban homosexuals with their forgotten cousins the bonobo ape. By showing the scientific link between these jungle and subcultural urban communities, Dr. Pussait blurs the line that has until now divided all human and non-human animal kind. So you can see that Dr. Pussait has serious work to do, and she wants to come to your academic or cultural institution to get it done! With her scientific data in tow, Pussait will pose inspiring questions for all those thinkers and doers involved in the productions of queer theory, animal studies, the history of science, performance studies, as well as cultural anthropology.Pussait is concerned about the problems in Congo. The Bonobo are not only little understood, they are endangered. Studying them has put pressure on their habitat. But it also is paradoxically the best way to protect them from human predators, and from the environmental crisis that extends into the jungles of Congo, a nation still suffering after the ravages of colonialism. Dr. Pussait’s initially organized and confident presentation breaks down as it hilariously reveals the complex ethics involved in modern scientific field research on sexuality. The Human bonobo project will challenge students to question whether liberal notions of sexuality are transferrable across time zones, continents, societies, and species. Further, is there any way we can even study sexually with out imposing our own ideas of what’s good and proper, and — most importantly — our own secret desires?

And

If you miss the Homo Bonobo Project this Sat, May 21 at the Tank Theatre part of the Gay Wars Festival, and you want to do something fun and late night, drop by Bulldyke Chronicles at Dixon Place Theatre 161 Chrystie st. with your host Shelly Mars and Kirby the bulldog. Great line up of talent: Dan Fishback, MIcia Mosely, Luscious Von Dykester, and LeRoi Prince

This serious of performance has been going strong for over a year now so please join in the fun.

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20. Bob Goldberg, FF Alumn, at Jan Bailey Memorial Garden, Brooklyn, May 21

The Famous Accordion Orchestra continues its 2011 World Tour of Brooklyn Gardens

Saturday May 21 3:00 PM

Jane Bailey Memorial Garden
Fort Greene/Clinton Hill

327-329 Greene Avenue between Franklin and Classon Aves, Brooklyn

Free admission.

Bob Goldberg
Genevieve Leloup
Mark Nathanson
Melissa Elledge
Rachel Swaner
Greg Burrows (percussion)

"This performance is sponsored, in part, by the Greater New York Arts Development Fund of the New York City Department of Cultural Affairs, administered by the Brooklyn Arts Council, Inc. (BAC)."

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22. Roberta Allen, Richard Nonas, Lawrence Weiner, FF Alumns, at Convent of Saint Cecilia, Brooklyn, thru May 22

my brand new art installation--my first in 30 years!!!!--at the abandoned convent of Saint Cecila in Brooklyn with artists Lawrence Weiner, Richard Nonas from my John Weber Gallery days in the 1970s, and many more.

A PLACE TO WHICH WE CAN COME

an exhibition at the abandoned Convent of Saint Cecilia

viewing hours: Monday, May 17 thru Sunday, May 22, 12:00 - 6:00 PM and by appointment
performance by Molissa Fenley and Dancers: Sunday, May 22

Saint Cecilia’s Convent is located at 21 Monitor Street in Brooklyn, New York 11222.

Train: L to Graham, walk along Graham Avenue (toward the BQE), crossing Conselyea Street, Skillman Avenue, Jackson Street, Withers Street, Frost Street and Richardson Street. Turn right on Richardson Street and left on Monitor Street. The Convent is mid-block, up a set of ten steps.

Car from Manhattan: Williamsburg Bridge to I-278E (becomes BQE), exit 33 for Humboldt Street toward McGuinness Boulevard, slight left at Humboldt Street, first right onto Meeker Avenue, second right onto Monitor Street.

All best,
Roberta
www.robertaallen.com

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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
Michael Katchen, Senior Archivist
Harley Spiller, Administrator
Judith L. Woodward, Financial Manager
Eben Shapiro, Program Coordinator
Jenny Korns, Webmaster
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