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Contents for December 02, 2011

1. Diana Heise, FF Alumn, receives Fulbright Fellowship

hello wonderful friends and family!

After securing medical clearance from the US State Department, it is my great pleasure to announce that I have been awarded a Fulbright Fellowship in the Creative and Performing Arts. With this honor, I will be living on the isle of Mauritius in the Indian Ocean for most of next year, making artworks that celebrate healing, peace-making and stories of resilience.

I invite you to follow along with me.

To find out more about FreeForm please follow my blog at Diana's Virtual Tape

Also, I am currently in need of camera and computer equipment.
Any financial or in-kind donations would be greatly appreciated: Donate to FreeForm!

I look forward to sharing this expedition with you!

big hug, Diana

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2. Phyllis Bulkin Lehrer, FF Alumn, at Westwood Gallery, Manhattan, Dec. 9

"Animation as Artistic Practice" moderated by Phyllis Bulkin Lehrer with fellow panel members Gregory Barsamian, Emily Hubley , George Griffin, Holly Daggers and Jeff Scher

Artist Talk on Art December 9th 2011 6:00 to 8:30 p.m.
at the Westwood Gallery, 568 Broadway at Prince.. NYC

"Animation as Artistic Practice" moderated by Phyllis Bulkin Lehrer with fellow panel members Gregory Barsamian, Emily Hubley , George Griffin, Holly Daggers and Jeff Scher

Iconic art making often forces or at least encourages the art maker / practitioner to define their outcome in terms acceptable to the community of observers in which they are thrust.. Unless of course the work stays in the studio.. Animation as a fine art endeavour has a rich heritage and there are many wonderful artists who practice the form , some of whom are on this panel. The history of museum and gallery fine art exhibits that include animated moving images is however a bit thin especially in the United States. That has recently begun to change somewhat , perhaps due to the emergence of a few high profile international artist partitioners on the art world scene. How the practice of creating perceptual movement with two and three dimensional imagery impacts the practice of art making is a dialogue that as an an artist/animator I believe needs to be addressed so that the process is demystified and the works of art produced can have a firmer presence in the public sphere.

The artists on this panel who will all show examples of their work and comment on the subject come from diverse backgrounds to the practice of animation as an element of fine art.

George Griffin is an historic American experimental animator who has produced a marvellous body of cutting edge animated artwork and forged the way for the current generation of emerging artists who are delving into the realm of the plastic moving image. He has won many awards and is an expert in all aspect of the discourse.
Emily Hubley is the daughter of pioneer animators John and Faith Hubley . She carries on their esteemed tradition with her own distinctive creative approach to animation. Her beautiful films are quirky and insightful . They embody the notion of animation as art.

Gregory Barsamian is a sculptor and animator, a rare and amazing combination. The works he creates are in a class by themselves. Often monumental, they bring the element of persistence of vision to a concrete and tangible form that illuminates and gives dynamic meaning to the idea of motion.

Holly Daggers an expert in the VJ world , is an artist who uses digital animation to produce immersive seductive imagery that creates addictive projection environments. She often collaborates with new music and sound artists ( as well as dancers), creating a sensory experience not easily forgotten.

Jeff Scher an artist and educator , makes wonderful animated works that explore the ordinary world and allow the observer an opportunity to experience movement on a singular and contemplative plane.

Phyllis Bulkin Lehrer is an artist/animator who made animated films and performance art works in the eighties, paused in the 90's and reinvented her animation practice in the 2000's digital realm. She creates installations and works with dancers often using the new media software platform of max/msp/jitter. She is exploring the mix of 2 and 3 d animation with real time interaction.

Artist Talk on Art December 9th 2011 6:00 to 8:30 p.m.
panel begins at 7:00... doors open for reception at 6..
Admission $7 with $3 for seniors and students
at the Westwood Gallery, 568 Broadway at Prince.. NYC
more info at http://www.atoa.org/

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3. Jim Costanzo, FF Alumn, at Eidia House, Brooklyn, Dec. 3

PLATO'S CAVE

Presenting: Jim Costanzo & the Aaron Burr Society An EIDIA HOUSE project November 5 to December 3, 2011 Closing Reception Saturday 4-6pm

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

EIDIA House Studio announces its continuing exhibition initiative, PLATO'S CAVE. The eleventh artist in the series, Jim Costanzo and the Aaron Burr Society creates an installation entitled: Transgendered Ideology.

For PLATO'S CAVE, EIDIA House founders Paul Lamarre and Melissa P. Wolf curate invited fellow artists who create installations and accompanying editions for the underground space; PLATO'S CAVE. EIDIA House Studio boldly states that it does not function as an art gallery, but collaborates with the artist to create provocation in art forms, keeping within an ongoing discipline of aesthetic research.

Transgendered Ideology signifies the restoration of the Female Deity symbolized by a 'transgender' moose with randomly placed utters and antlers as rendered via linoleum cut prints. The Aaron Burr Society's Transgendered Ideology marks the launch of the New Moose Party modeled after the 1912 Progressive Party turned Bull Moose Party (only with less testosterone and more brains).

Jim Costanzo is an artist living in Brooklyn, New York and teaching at Pratt Institute. His conceptually based artwork include: video, foto, performance, multiples, installation and social media. He has exhibited in the Whitney Biennial, Muse Reina Sophia, the National Museum of Spain, The New Museum of Contemporary Art, New York, the Chicago Museum of Contemporary Art, Mediamatic in Amsterdam, Judson Memorial Church, and New York City's White Box. He was a founding member of REPOhistory, an artist collective whose public work addresses class, race, gender and sexuality.

Costanzo is the founding director of the Aaron Burr Society. The Society is an absurdist, conceptual artwork operating in the public sphere, building on the revolutionary traditions of the Early Modernists, Situationalist and Fluxes movements. However, though absurdist in nature, the Aaron Burr Society takes great pride in the accuracy of the information that is presented to The People. The goal is a progressive, sustainable re-imagining of the American Dream-universally. Costanzo's Plato's Cave edition Avatars of the New Moose Party consists of 20 linoleum block prints of a 'transgender' moose, printed on handmade hemp paper. Each print is uniquely colored and dusted with metallic gold pigments, signed and dated.

http://aaronburrsociety.org

Directions EIDIA House Plato's Cave 14 Dunham Place, Basement Left (street level doors) Williamsburg Brooklyn, NY 11211
14 Dunham Place is only 1 block long, and located at the base of the Williamsburg Bridge, 1/2 block from Kent Avenue between Broadway and South 6th Street. (4 blocks west from Peter Luger restaurant on Broadway.) Trains: the L train, first stop from Manhattan in Brooklyn at Bedford stop, walk (about
15 minutes) toward Williamsburg Bridge.
The J & M trains: first stop from Manhattan over Williamsburg Bridge, Marcy stop, walk west down Broadway toward the East River.
Bus: B62 drops you at Driggs Ave & Broadway walk to river & Q59 drops you at Wythe Ave and Williamsburg Bridge, (see: www.mta.info/nyct/maps/busbkln.pdf ) To visit the Plato's Cave installation, Wednesday through Saturday, 1 to 6 pm. Or for special appointment, please contact Melissa Wolf, 646 945 3830 or email to eidiahouse@earthlink.net.

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4. Gabriel Martinez, FF Alumn, at Asian Arts Initiative, Philadelphia, opening Dec. 2

Artists reflect on 30 years of the AIDS pandemic
Curated by David Acosta
December 2, 2011 - January 27, 2012
Presented by Asian Arts Initiative in collaboration with Casa de Duende
ARTISTS:
George Apotsos
Laura Bamford
Craig Bruns
Tree Byers
Nannette Clark
Tay Cha
Ronald Corbin
Susan DiPronio
Jonas dos Santos
Harvey Finkle
Ralfka Gonzalez
Ed Hall
Link Harper
Theodore A. Harris
H.D. Ivey
Albo Jeavons
Peter Lien
Gabriel Martinez
Kwaku Osei
Chanthaphone Rajavong
Marta Sanchez
Zoe Strauss
Jombi Supastar
WITNESS

Asian Arts Initiative
1219 Vine Street, Philadelphia, PA 19107
Gallery Hours: Tuesday-Friday, 12-6pm
215.557.0455 or www.asianartsinitiative.org
WITNESS
December 2, 2011 - January 27, 2012
Asian Arts Initiative
1219 Vine Street, Philadelphia, PA
Opening Reception
Friday December 2, 2011
5:30 p.m. to 8:00 p.m.
Closing Reception
Featuring a performance by SHOUT! writing workshop participants, led by artist Susan DiPronio
Wednesday January 25, 2011
7:00 p.m. to 9:00 p.m.
Witness invites a wide range of artists to reflect on and respond to AIDS and its impact on their art, their lives and their communities. The artists included represent a diverse gathering of voices across, race, age, gender, and sexual orientation. Witness calls artists to reengage themselves and their communities in remembering, honoring and imagining a world in which AIDS has transformed our past, impacts our present, and will to shape our future.
Witness is presented by Asian Arts Initiative
in collaboration with Casa de Duende.
Learn more about Casa de Duende by
visiting www.casadeduende.com.
Witness is made possible with support from Kidz Partners, Health Partners' plan for children. Asian Arts Initiative's visual arts programming is supported in part by a grant from The Andy Warhol Foundation for the Visual Arts.

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5. Ruth Hardinger, FF Alumn, at Kentler International Drawing Space, thru Dec. 10, and more

The Kentler Flatfiles @21, Kentler International Drawing Space, Nov 12 - Dec 10, 2011.

Holiday Salon, Lesley Heller Workspace, Dec 4 - Dec 7

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6. Julie Cummings Sengle, Gregory Sholette, FF Alumns, at Henry Street Settlement, Manhattan, Dec. 4

My favorite OWS child, the Arts & Labor group, is now almost 2 months old. Are you sick of hearing about it yet? If not, come to our first "teach-in" -- a conversation and presentation with Gregory Sholette, Andrew Hemingway, members of our group and you this Sunday, December 4th at 1PM, at Abrons Art Center. Warning: we use sparkle fingers.
Julie

Arts & Labor Teach-in
Map UnavailableDate/Time
Date(s) - 4 Dec 2011
1:00 PM - 4:00 PM

Location
Henry Street Settlement
Abrons Art Center

Teach-In

Occupy Wall Street Arts & Labor Teach-In with Andrew Hemingway, Gregory Sholette, and a special appearance from LOVE's Purple Dinosaur

The phenomenal growth of the Occupy movement in recent months has brought new momentum to longstanding discussions of the relationship between art, labor and capitalism. The teach-in will be a platform to discuss two important historical precedents to our current situation: artist-workers under the New Deal, the Federal Art Programs (1933-43), and the Art Workers Coalition (1969-1971). What are the connections, parallels, and differences between these three historical moments? As we organize in the present, what can we learn from the successes, failures, and unfinished projects of the past? In turn, how might contemporary developments help us to rethink established generational narratives?

In addition, we will be screening an action video from the feminist video collective LOVE (Lesbians Organized for Video Experience)* featuring a big purple paper mache dinosaur that was wheeled into the streets and to the Museum of Natural History, in a protest demanding that feminists be hired, and that a non-patriarchal view of history be represented by the museum (1973).

This event is part of an ongoing series of educational initiatives and direct actions organized by the Occupy Wall Street Arts & Labor group.

Presenter Biographies
Andrew Hemingway taught Art History at University College London from 1987 to 2010. Since 1990 his research has focused primarily on U.S. art and culture, with particular reference to the period c. 1900-1955. A concern with the history of the left and of workers' movements in the twentieth century resulted in his 2002 book Artists on the Left: American Artists and the Communist Movement, 1926-1956 (Yale University Press, and in the edited volume Marxism and the History of Art: From William Morris to the New Left (Pluto Press 2006). In 2002, he initiated the seminar 'Marxism and the Interpretation of Culture' at the Institute of Historical Research (University of London, School of Advanced Study), and was active in the organizing group until 2010. He has also co-organized two major international conferences held at UCL: 'Cold War Culture' (with Adrian Forty, 1994) and 'Marxism and the Visual Arts Now' (with Matthew Beaumont, Esther Leslie and John Roberts, 2002). His latest book, The Mysticism of Money: Precisionist Painting and Machine Age America, will appear with Periscope Press later this year.

Gregory Sholette is a New York-based artist, writer, and founding member of REPOhistory (1989-2000) and Political Art Documentation/Distribution (PAD/D: 1980-1988). His recent publications include Dark Matter: Art and Politics in an Age of Enterprise Culture (Pluto Press, Nov. 2010); Collectivism After Modernism: The Art of Social Imagination after 1945, with Blake Stimson (University of Minnesota, 2007), The Interventionists: A Users Manual for the Creative Disruption of Everyday Life, with Nato Thompson (MassMoCA/MIT Press, 2004, 2006, 2008). Sholette is an Assistant Professor of Sculpture at Queens College: City University of New York (CUNY).

j u l i e c u m m i n g s s e n g l e

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7. RENO, FF Alumn, on Broadway, Manhattan, Dec. 2-3

Creative artists & performers occupy Broadway and commence an all-night performance in an undisclosed bonus plaza.

RENO 11P-1A FRI-SAT 12/2 to 12/3

EVENT: OCCUPY BROADWAY (theatre/shopping district) with a 24-hour performance.
WHEN: 24 HOURS From December 2nd starting at 6pm until December 3rd at 6pm WHERE: Times Square by the red stairs, between 46th and 47th streets, along 7th Ave, NY, NY SHHH!: location released at 6pm: occupybroadway.net, @OccupyWallStNYC, #OccupyBroadway

NEW YORK, NY (December, 2011) - On December 2, 2011 New York artists will introduce tourists and New Yorkers going to Broadway shows or shopping themselves into debt to the idea of occupation as CREATIVE resistance with non-stop free performances. We will set up in a privately owned public space (POPS) near Times Square, turning once blandified space into a space for cultural production.

"The city created privately owned public spaces for the people, in exchange for bonus height and bulk in these spaces," notes Benjamin Shepard, co-author of The Beach Beneath the Streets. "As State Judge Stallman made clear last week, the people have a right to be in these spaces 24 hours a day."

In recent weeks, we have seen a push to tramp on our rights to public assembly, public space and by extension democracy itself. In response, we join a global struggle using occupation as a form of creative resistance. Occupations are spreading around the world and around New York City, even UPTOWN! Bloomberg Beware, you take our park, Now Liberty Park is everywhere! In a time when downtown theaters are rapidly losing their spaces, being turned into high-end fashion stores, Occupy Broadway is a symbolic attempt to regain the space of theatre as an accessible, popular art form, bringing it back to where it all started - in a public space, for the common citizen. We are using public space to create a more colorful image of what our streets could look like, with public performances, art, and music. Through this movement, New York re-imagines itself as a work of art, rather than a retail shopping mall. With capitalism gone mad, foreclosures increasing, and bank crises consuming whole communities, we are signaling through the flames that there is another way of living. Join us.

Occupy public space. Reclaim democracy. Enjoy the show. We're all part of the show!
Get off the sidelines and break through the fourth wall.

With Over 70 Acts! including: The Working Groups of OWS, Mike Daisey, The Civilians, HERE Arts Center, Jenny Romaine and Great Small Works, The Foundry Theatre, The Church of Stop Shopping, Rude Mechanical Orchestra, NY Labor Chorus, The Yes Men, Ayo Jackson, April Yvette Thompson, The Living Theater, Bread and Puppet Theater, Tony Torn, Carlo Alban, Urban Research Theatre, Yolanda Kay, The Big Bank- A Musical, Rocha Dance Theater, Reno and Penny Arcade

Sign our Manifesto online here: http://www.change.org/petitions/mayor-bloomberg-and-the-citizens-of-new-york-city-join-the-creative-resistance-occupy-broadway

Contacts: Benjamin Shepard 917.586.7952
Monica Hunken and Benjamin Cerf 917.215.0163
(c)2011 Reno Co. | 38 N Moore St., NYC 10013

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8. Alvin Eng, FF Alumn, at Bruce Mitchell Room, Manhattan, Dec. 14

Dear Friends,

I would like to invite you to a staged reading of "Three Trees" on Wed., Dec. 14, at 7 PM in the Bruce Mitchell Room, 520 8th Ave., between 36th & 37th Streets in Manhattan. The reading is a presentation of Pan Asian Repertory Theatre's New Play Development Lab.

"Three Trees" is an historical drama that explores the unique relationship between sculptor Alberto Giacometti and his muse-model, Japanese existential philosopher, Isaku Yanaihara. The play takes place in 1950s Paris. The Dec. 14 reading will be directed by Kaipo Schwab, and we have an excellent cast of Stephen Park, Randolph Curtis Rand, Sandy York and Patrick Melville.

If you're free, I hope you can join us. Pan Asian's Holiday Party follows the reading! More info. is available at alvineng.com and on the attached PDF flyer. Space is limited, please RSVP.

Finally, most of you know that Wendy and I conducted a Fulbright Theatre/U.S. Studies residency in Hong Kong last summer. BMCC, one of the colleges where I teach, has posted a video interview about the residency on YouTube. If you get a moment, please check it out: http://www.youtube.com/watch?v=5P4_t6EnsZs

Until we next meet, be well.

All my best,
Alvin
212.962.4465
(Please note: my 718 mobile phone number will soon be a thing of the past)

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9. Elly Clarke, FF Alumn, at Trove, Birmingham, UK, opening Dec. 8

Birmingham, November 2011
Dear Friends,
Twelve months on from its last showing in New York and nearly a year now of my living in Birmingham (with pretty frequent trips back to Berlin!) I am very happy to be able to invite you to the opening of WUNDERKAMMER at the amazing venue that is TROVE in the Jewelry Quarter in Birmingham. Opening on Thursday 8th December, (with A Slide Show by.. Andy Field at 6.30pm) this is the first time this increasingly well-travelled exhibition has been shown in the UK.
More info follows. It would be truly brilliant to see you there.
With very best wishes,
Elly

CLARKE GALLERY presents:
WUNDERKAMMER at TROVE

Private view: 6-8.30pm Thursday 8th December 2011 with A Slide Show by... Andy Field at 6.30pm

Exhibition then open on specific days & by appointment until 30th December
12 months on from its last presentation at Franklin Furnace in New York, Clarke Gallery is honoured to unpack the contents of WUNDERKAMMER once again, this time at TROVE in Birmingham, UK.

Translating as Cabinet of Curiosities, WUNDERKAMMER is a travelling show of sixteen small works by artists from Germany, the UK, Canada and the USA that grows and changes as it goes. Incorporating sculpture, photography, painting, (a new) 'smart phone-dependent art' (piece by Daniel Sailsbury) and a live presentation of "A Slide Show by... Andy Field" on the opening night, this is the forth stop WUNDERKAMMER has made. Starting out at Clarke Gallery in Berlin the exhibition then travelled to Eastern Edge in St. John's, Newfoundland, Canada and Franklin Furnace in New York. For this presentation at TROVE, works by two additional artists are introduced: New York-based Columbian artist Juan Bethancurth (who I met during the last exhibition in NYC) and British Birmingham based artist Daniel Sailsbury.

Works were selected that not only would fit within the confines of a hand-luggage size Wunderkammer but which also referenced story telling, dealt with the idea of the archive or that were traces of or ephemera from an event or a larger piece. The text for the type-written labels was provided by each artist.
WUNDERKAMMER is the first Clarke Gallery exhibition to have travelled beyond the confines of my Berlin apartment, where Clarke Gallery started up. After two years of hosting exhibitions in my space (involving, at different times, sculpture in my bed, performance in my bathroom, video installation in the kitchen, slide shows in my living room; art objects nestling amongst my personal things) - it felt right to branch out and bring the mobility that we as individuals today enjoy, to the gallery. Now, having lived in Birmingham for a year and with plans to find a more permanent setting for Clarke Gallery in the West Midlands, it is a great honour to bring this suitcase of work to TROVE. And also, for the first time, for the exhibition to have so much space to breathe. As well as to be able to remain there for a few weeks.

Artists of WUNDERKAMMER in Birmingham are: Juan Bethancurth, Jessica Brouder, Elly Clarke, Julian Eicke, Liz Fletcher, Alexander Heaton, Sophia New and Dan Belasco / plan b, Terry Piercey, Daniel Sailsbury, Christian Sievers, Vajra Spook, Anna-Myga Kasten, E. Louise Wachler, Kym Ward and Andrea Winkler.
All work is for sale. Sales will make room for new work to be accommodated by artists from each place visited and, crucially, help fund its ongoing journey.

TROVE is an independent contemporary art gallery in Birmingham. For the past two years it has been located in a heritage site in Newhall Square. Its history includes being the original Science and Industry Museum of Birmingham and, prior to that, the Elkington Factory, where metal plating and Parkesine plastic were invented. Directed by Charlie Levine, TROVE works mainly with heritage sites and exciting artists at any stage of their careers. Over the past 12 months TROVE has been keen to offer opportunities to new partners in order to create a thriving and diverse arts venue. Partners include Birmingham Architects Association, Fierce Festival, mac birmingham, Birmingham Jazz Festival, Crowd6, Birmingham Institute of Art and Design and Minnie Weisz Studio.

TROVE at The Old Science Museum, 144 Newhall Street, Birmingham, B3 1RZ // trove.org.uk // mail@trove.org.uk
Next CLARKE GALLERY exhibition is The Mobility Project, which, with the generous support of Arts Council England, is, along with all her artists, travelling in January to The Meter Room in Coventry, opening on 19th with artist talks on Saturday 21st.
www.clarkegallery.de // mail@clarkegallery.de // facebook.com/clarkegallery

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10. Zackary Drucker, FF Alumn, at Luis de Jesus, LA, opening Dec. 10

HELLO FRIENDS FROM COAST 2 COAST-Hope to see you if you're in LA : ) xoxo Z
LUIS DE JESUS LOS ANGELES proudly presents

ZACKARY DRUCKER & AMOS MAC

Distance is where the heart is, home is where you hang your heart

DECEMBER 10, 2010 - JANUARY 21, 2012

Artists Reception: Saturday, December 10, 6-9 PM

Luis De Jesus Los Angeles is thrilled to announce an exhibition of new photographs by ZACKARY DRUCKER and AMOS MAC, titled"Distance is where the heart is, home is where you hang your heart", opening Saturday, December 10, 2011, through January 21, 2012. An artists' reception will be held on Saturday, December 10, from 6-9 PM.

"Distance is where the heart is, home is where you hang your heart" is an intimate collaboration between two near-strangers--Zackary Drucker, the LA-based photographer, performance and video artist, and Amos Mac--the creator and publisher of Original Plumbing. Executed over a long, snowed-in Christmas weekend at Drucker's childhood home in Syracuse, New York, the images combine elements of personal history, performance documentation, and exhibitionism. The resulting intervention is also an experiment in cross-identity representation; a dialogue between Mac, a trans man, and Drucker, a trans woman. The exhibition marks the official release of this unique suite of 25 limited-edition photographs, a number of which appear in the first issue of Mac's new publication, Translady Fanzine.

Keeping normative culture on the periphery, "Distance is where the heart is, home is where you hang your heart" explores the relationship between spectacle and voyeur as uniquely removed from the trappings of representational asymmetry. Veering between classically sleek fashion editorials to the sexed-up fetishism of Pierre Molinere, the site-specific body works of Ana Mendieta, and the transgressive body-as-target performances of Chris Burden, the photo essay imagines a stratagem where difference is grated into a fine dust settling over the ruins of normativity. Devoid of traditional male-female power dynamics, Mac and Drucker's mutual bond and kinship as trans people results in a visual free-for-all that plays with sexuality, female subjection, power, wealth, vulnerability, victimization, family, comfort, safety, secrets--a perfect balance of voyeur and aesthete.

Drawing from feminist and queer theoretical discourse, Zackary Drucker's work addresses sexual exploitation, transgender representation, and drag performance in order to explore relationships that facilitate queer/counter-cultural lineage. Interested in obliterating language obstacles, pulverizing identity disorders and revealing dark subconscious layers of outsider agency, her work reinvents and redistributes traditionally-held binary formulas and power relationships between spectacle and voyeur, dominator and subjugated, and the domesticated and exoticized.

Zackary Drucker earned an MFA from the California Institute of the Arts in 2007 and a BFA from the School of Visual Arts in 2005. She has performed and exhibited her work internationally in venues including the 54th Venice Biennale; Curtat Tunnel, Lausanne, Switzerland; L.u.c.c.a. Museum of Contemporary Art, Lucca, IT; Centre Georges Pompidou, Paris; Hammer Museum, Los Angeles; REDCAT and LACE, Los Angeles; Yerba Buena Center for the Arts, San Francisco, CA; Deitch Projects and Leo Koenig Inc. Projekte, New York; Steve Turner Contemporary, Los Angeles; and Jerome Zodo, Milan; among others.

Amos Mac is the creator, editor in chief, photographer and publisher of Original Plumbing, a celebrated female-to-male trans quarterly that was named Best Zine of 2010 in the San Francisco Bay Guardian's yearly readers' poll. Mac's voyeuristic, snap-shot styled photographs have been exhibited at galleries and events internationally, and his work has been published extensively in magazines, books, newspapers, and ad campaigns. Amos Mac holds a BS in Liberal Arts from The New School in New York City, where he lives and works.

For further information, please contact the Gallery at 310-838-6000, or email gallery@luisdejesus.com.

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11. Jerri Allyn, FF Alumn, at Otis College of Art and Design, West Los Angeles, Dec. 3

Dear Friends,

Jerri Allyn and I will be leading a gallery tour this Saturday 12/3 at 11am at Otis College of Art and Design in West Los Angeles. We will be representing The Waitresses and Sisters Of Survival collectives which both have installations in the exhibition. I hope to see you there!

"Doin' It in Public: Feminism and Art at the Woman's Building" is part of the Getty's Pacific Standard Time initiative including over 60 cultural institutions in Southern California.
See the Otis website for more information:

http://www.otis.edu/public_programs/ben_maltz_gallery/womansbuilding.html

Otis has published two books which I co-authored and designed about these performance art collectives. The books will be available at the gallery tour.

See these website blogs for more information.
http://thewaitresses.wordpress.com/
http://thesistersofsurvival.wordpress.com/

Anne Gauldin
agauldin@gfdzn.com

Jerri Allyn
Artist / Educator / Consultant
310. 963. 8118
allynjerri@gmail.com

"It is not our differences that divide us, it is our inability to recognize, accept and celebrate those differences." Audre Lorde

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12. Stuart Sherman, FF Alumn, new publication launch at Printed Matter, Manhattan, Dec. 2

Printed Matter is pleased to announce a launch for Beginningless Thought/Endless Seeing: The Works of Stuart Sherman on Friday, December 2nd, 6-8 PM. The publication is presented by The Estate of Stuart Sherman, in collaboration with New York University's Department of Art and Art Professions and 80WSE Galleries, the NYU Humanities Initiative, and The Fales Library. Printed Matter is located at 195 Tenth Avenue, New York, at 22nd Street.

Beginningless Thought/Endless Seeing is a fully illustrated color catalog documenting the acclaimed 2009 retrospective exhibition of the artist Stuart Sherman curated by John Hagan, Yolanda Hawkins, and John Matturri. It is the first and only monograph of Sherman's work, surveying the wide spectrum of media that constituted the entirety of the artist's creative practice including performance, writing, drawing, collage, sculpture and film.

The publication includes contributions from Mark Bradford, Stefan Brecht, Robin Deacon, S.K. Duff, John Hagan, Yolanda Hawkins, Babette Mangolte, John Matturri, Linda G. Schulze, Tripod Depot, and was designed by Julian Bittiner.

The exhibition Beginningless Thought/Endless Seeing was organized by Jonathan Berger in conjunction with the exhibition Stuart Sherman: Nothing Up My Sleeve, presented at Participant Inc. Gallery in 2009.

Beginningless Thought/Endless Seeing: The Works of Stuart Sherman is available at the Printed Matter storefront or online here

About Stuart Sherman:
Stuart Sherman, one of the most protean of the American avant-garde artists who rose to prominence in the late 1960s and early 1970s, developed his own unique style across various media, the impact of which continues to resonate a decade after his death. He devoted a large amount of his time to the creation of performances he called "spectacles" which often took the form of small tabletop performances. These performances involved the manipulation of both familiar and unfamiliar everyday objects atop one or more folding TV dinner tables. Performed by a poker-faced Sherman, the spectacle performances sit in a uniquely hybrid space that moves between references to various genres including comedy, magic, musicals, minimalism, surrealism, opera, three-card monte games, Fluxus, and vaudeville. While the spectacle performances were generally miniature in scale they were certainly not miniature in ambition, exploring with great wit topics such as time, language, mortality, eroticism, and personal identity. Through these performances he crafted a unique identity both as creator and performer.

Although Stuart Sherman is perhaps best known for his object spectacles as well as for his films (currently being restored by the Museum of Modern Art) and videos (available through Electronic Arts Intermix), the 2009 exhibition presented a much broader view of his artistic achievements through documentation of his large-scale theatrical productions, sculptural proposals, daily collages from the 1990s, and poetry. Exhibited for the first time was an extraordinary series of ideographic and language-based drawings executed in the 1970s, which provide the immediate context for spectacle performances.

The title of the exhibition and publication Beginningless Thought/Endless Seeing was taken from a class syllabus Sherman taught, and defines his work and the nature of his process. In combining these disparate and largely unknown materials for the first time this exhibition and publication highlight the various manifestations of his endless thinking, the richness and depth of his artistry across genre boundaries, and the philosophical themes that informed his artistic identity and personal identity, in equal measure.

Printed Matter, Inc.
Printed Matter, Inc. is an independent 501(c)3 non-profit organization founded in 1976 by artists and art workers with the mission to foster the appreciation, dissemination, and understanding of artists' books and other artists' publications.

Support
Printed Matter, Inc. has received support, in part, through grants from the National Endowment for the Arts, the New York State Council on the Arts, the New York City Department of Cultural Affairs, The Morris B. and Edith S. Cartin Family Foundation, the Foundation for Contemporary Arts, Erste Foundation, Furthermore: a program of the J.M. Kaplan Fund, The Gesso Foundation, The Horace W. Goldsmith Foundation, the Schoenstadt Family Foundation, Shapco Printing, Inc., the Andy Warhol Foundation for the Visual Arts, and individuals worldwide.

www.nyartbookfair.com
www.printedmatter.org

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13. Bill Gordh, FF Alumn, new publication launch, at St. Regis, Manhattan, Dec. 3, and more

To celebrate the publication of the first volume of Thornwillow's new seven-book series, the seven towers of wonder we will be hosting launch parties in both New York and Washington, D.C.new york: Saturday, the 3rd of December, 11:00 am washington, dc: Saturday, the 10th of December, 2:00 pm. Please join us to hear Author and master storyteller Bill Gordh and see the work of Illustrator John Hutton. In New York, In Washington, D.C., or both at thornwillow at the st. Regis fifth avenue & fifty-fifth streetnew york cityR.s.v.p. (212) 980-0738 rsvpny@thornwillow.comandthornwillow at the st. regis923 sixteenth & k street, nwwashington, dcR.s.v.p. (202) 552-4742 rsvpdc@thornwillow.comYou are invited to bring a favorite children's book to donate to Everybody Wins, a non-profit committed to supporting students' paths to better futures by fostering within them an interest in reading. When you read to a child, everybody wins! everybodywinsny.org everybodywinsdc.org

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14. Ericka Beckman, FF Alumn, now online

Hi-
I had a show in switzerland that recently ended. I wanted to send you the link since many of you weren't in switzerland to catch it.

http://www.contemporaryartdaily.com/2011/11/ericka-beckman-at-1m3/

Best, Ericka Beckman

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15. Stefanie Trojan, FF Alumn, at Grimmuseum, Berlin, Germany, Dec. 2-4

EXTENSION SERIES 12 - Stefanie Trojan - johnico alias: Johannes L. Schröder - GRIMMUSEUM BERLIN
Grimmuseum Berlin, Fichtestr. 2 Berlin, presents:

EXTENSION SERIES 12
curated by Andrés Galeano

Stefanie Trojan (DE) - johnicon alias: Johannes L. Schröder (DE)

Performances: 1.12. 19:30h (3€ Entrance)
Documentation: 2-4.12.
Lecture: 4.12. 18:30 Lose aus Vase by johnicon alias: Johannes L. Schröder

Extension Series 12 aims to open a high-contrast dialogue and reflection between the subtle performance work of Stefanie Trojan, usually based on the interaction with the audience and the play with the situation, and the exhibition of part of the performances photo archive of johnicon alias: Johannes L. Schröder.

Jonhicon will display a selection of photos of performances by Paul McCarthy, Tatsumi Orimoto, Chris Burden, Guillermo Gómez-Peña, Nezaket Ekici, John Bock and many others that he took in the last three decades, and will face the question of documenting and archiving performances, performing his personal "archive" through some re-doings and performance-lectures.

As a counterpoint, Stefanie Trojan´s performance will embody essential features of the medium, like site-specificity, ephemerality, immateriality and unmediated co-presence. Thanks to her minimal and sharp infiltration in the social situation and her body-to-body actions, Trojan´s work will confront radically a performance experienced in flesh with the experience of its mediated documentation shown by johnicon alias Johannes L. Schröder.

Dr. Johannes L. Schröder is based in Hamburg. His freelance research has backgrounds in art-history and visual arts and focuses on Futurism and Performance Art. He actually is concerned with the recycling of his archive into objects, performances and installations like "Relic-Lounge". A prototype of it was realized during the www.performancefestival.de at Salzau and lead to "Architexture" (PerformanceResearch, Vol. 11, No. 3). Schröder is also member of the board of Einstellungsraum (www.einstellungsraum.de) and co-editor of the "journal oriental"( www.amokkoma.eu.)
Ever since johnicon alias Johannes Lothar Schröder began doing research on performance-art around 1979 he has also photographed them. A couple of the pictures made it into magazines, books and catalogues and some also on covers of High Performance, Los Angeles #29,1985; AMOKKOMA, Kiel; Kunstforum intl., Köln; Kataloge: 80 Langton Street, San Francisco 1985; Blende und Traumzeit, Kiel 1992, McCarthy: Brain Box Dream Box, Eindhoven 2004.His photography was also exhibited in artshows at Schwäbisch-Hall (Städtische Galerie) in Hamburg (Galerie Jans) and this year in Utrecht (CBKU).

Stefanie Trojan graduated 2003 with the diploma as a Masterstudent of Asta Gröting at the Academy of Fine Arts in Munich. Since 2000 she did various performances in- and outdoors for example at the Kunstmuseum Stuttgart, Museum Folkwang, Essen, Arp Museum, Bahnhof Rolandseck, Remagen, Gerhard Marcks Haus, Bremen , Hof van Busleyden, Mechelen (BE), Kunsthalle Basel (CH), De Appel Amsterdam (NL), Marta Herford, PS1,New York (USA), Kunsthalle Bielefeld, Lothringer 13, städtische Kunsthalle München and at the Kunstbau/Lenbachhaus München.
She received Awards and Grants like a Residency at the Cité of Paris, or the DAAD for New York and the Franklin Furnace Fund for Performance with a Artist in Residency at the Parsons School of Design, New York, or the Debutantenpreis of the State Ministry of Bavaria and other Residencies in Lemgo and Halle.
"I am not producing images. I work with the experience.
In times where everything is shiny, fast and loosing itself I try to focus on the spaces between humanity.
My observations are leading into site specific performances.
Some parts of the performances seem to be familiar, quiet normal but there are those small displacements that make us inert and perplex.
We would like to react correct. But what is right and what is wrong. Mainly when we are acting in our daily routines and codes sometimes their meaning is external to us or we do not know it any more.
When are we free enough to be different?
I try to extend the idea of performance while passing the action over to the observer. His or her reaction completes my work."
www.stefanietrojan.de

About the Lecture & redoings: "L o s e a u s V a s e" by johnicon alias: Johannes L. Schröder


4.12. 18:30 - Entrance free
Hardly does an art depend more on photography and video than performance-art. You can even say that performance-art became what we know about it today by lens-based media. That makes a symbiosis, which however is divergent from other symbiotic art forms like opera and theatre. They are linked to architecture, as the same word indicates the building, where you go to attend theatrical performances. Performance art has no specific place or architecture and rarely is there a repertoire, it is seen just by a small number of visitors in various spaces. That is why a general reception of the transitory and ephemeral activities is based almost exclusively on photography and time-based media, which make it feasible to realize the phenomenology and historicity of performances.

andrés galeano
+49 (0)16091642041
www.andresgaleano.eu
www.grimmuseum.com
www.mpa-b.org

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16. Pablo Helguera, FF Alumn, launches new book

Dear Friends,
I am happy to inform you of my new book, Education for Socially Engaged Art.
best
Pablo

Information about the book can be found here:
http://pablohelguera.net/2011/11/education-for-socially-engaged-art-2011/

Education for Socially Engaged Art is the first "Materials and Techniques" book for the emerging field of social practice. Written with a pragmatic, hands-on approach for university-level readers and those interested in real-life application of the theories and ideas around socially engaged art. The book, emphasizing the use of pedagogical strategies to address issues around social practice, addresses topics such as documentation, community engagement, dialogue and conversation, amongst many others.

The book was published by Jorge Pinto Books in 2011 and can be acquired online.
An interview on the subject can be found here:
http://www.artpractical.com/feature/interview_with_pablo_helguera/

"For too long Social Practice has been the notoriously flimsy flipside of market-based contemporary art: a world of hand-wringing practitioners easily satisfied with the feeling of 'doing good' in a community, and unaware that their quasi-activist, anti-formalist positions in fact have a long artistic heritage and can be critically dissected using the tools of art and theatre history. Helguera's spunky primer promises to offer a much-needed critical compass for those adrift in the expanded social field."

-Claire Bishop, Professor of Contemporary Art and Exhibition History, CUNY, and author ofArtificial Hells: Participatory Art and the Politics of Spectatorship

"This is an extremely timely and thoughtful reference book. Drawn from empirical and extensive experience and research, it provides a curriculum and framework for thinking about the complexity of socially engaged practices. Locating the methodologies of this work in between disciplines, Helguera draws on histories of performance, pedagogy, sociology, ethnography, linguistics, community and public practices. Rather than propose a system he exposes the temporalities necessary to make these situations possible and resonant. This is a tool that will allow us to consider the difficulties of making socially engaged art and move closer to finding a language through which we can represent and discuss its impact."

-Sally Tallant, Artistic Director, Liverpool Biennial

"Helguera has produced a highly readable book that absolutely needs to be in the back pocket of anyone interested in teaching or learning about socially engaged art"

-Tom Finkelpearl, Director of the Queens Museum, New York, and author of Dialogues in Public Art

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17. Liz Magic Laser, Shirin Neshat, FF Alumns, in The New York Times, Nov. 25

So Big, Performa Now Misses the Point
By ROBERTA SMITH
Performa 11, the visual art performance biennial, has come and gone, completing its sprawling three-week marathon with an awards ceremony on Monday. It left me feeling once more grateful for its artistic largesse and revelations, if a bit more dazed and confused than usual.

Founded in 2005 by the performance-art historian turned impresario RoseLee Goldberg, Performa is by definition a mutable beast, different each time out, and each time stuffed with events of a highly diverse character. Two big questions seemed to haunt this year's version.

First, has it gotten too big? I would say yes. Ms. Goldberg has said she founded the biennial because she was tired of seeing performance art relegated to the fringe of museum biennials. And, admittedly, it was not small to begin with. But Performa, which has gone from 80 events crammed into 16 days in 2005, to 130 packed into 21 now, has gotten so large that no matter how much you prioritize and plan, much of it is marginalized because you just can't get there.

The second question, more complex, is, has it lost its focus on performance art, or more precisely on "visual art performance"? The answer may depend on which of the several possible Performas you saw. I stuck to the commissions, seeing 12 of the 13 events that Performa produced on its own or in collaboration with other organizations, figuring they best represented its ambition and character. Going by these, I would say that a recommitment to performance art is in order, along with an added effort to find newness in the genre. There were only two truly stand-out events this year: Liz Magic Laser's "I Feel Your Pain" and Ragnar Kjartansson's "Bliss," the winner of Performa's inaugural $10,000 Malcolm McLaren Award. There should have been more.

According to its news release, the "research theme" - whatever that means - of Performa 11 was "Language, Translation and Misinformation." In this spirit, commissions made use of works by Samuel Beckett, Tennessee Williams, Ingmar Bergman and Mozart. But more plebian material was also used: television interviews with politicians, the intimate Internet sexting between a pair of online-only lovers, and the stories implied by a series of snapshots of weddings discovered on a cellphone in a New York taxi.

The goal, according to that release, was to "investigate the use of language in the field of performance by visual artists versus that of theater actors." This seems a little redundant, given that Performa takes place in New York and is surrounded by theaters full of actors; the contrast is already there. The phrase's blandness suggests something Ms. Goldberg made up when she realized how many of her main events were tending toward conventional theater.
In retrospect, the words reflect both the problems that plagued Performa 11 and its strange contrapuntal energy. Namely its commissions, at least, formed a kind of argument about what is and is not performance art, or, more specifically, what constitutes a particular kind of performance art that is implied by the term "visual art performance."

The argument was in many ways between events in which actors followed scripts, and events in which things proceeded in a much less predictable, more open-ended fashion. In these instances there was little if any theatrical illusion or separation of audience and performers, resulting in a greater sense of process and reality. Although they had patches of tedium, these events also offered moments, sometimes quite brief, of exhilarating vulnerability and openness, the sense of something coming together before your very eyes. Visual art performance may be, above all, a form of Process Art.

Every event I saw had a redeeming thrill or two, but that didn't make it performance art. Much of it was standard theater. This included "Happy Days in the Art World," the opening-night play by the Scandinavian art team Elmgreen & Dragset. Inspired by Beckett's "Waiting for Godot," it was a trifle larded with art world in-jokes but brightened by the fine acting of Joseph Fiennes and Charles Edwards.

Simon Fujiwara's "Boy Who Cried Wolf" had the immensely appealing Mr. Fujiwara himself at its center and an intriguing tapestry of narratives, including one built around those wedding pictures. But basically it pushed Spalding Gray's autobiographical monologues back toward conventional theater.

"Overruled," a play by Shoja Azari and Berhang Azari, directed by the Iranian video-installation artist Shirin Neshat, which centered on the blasphemy trial of a 10th-century mystic, was a rather simplistic polemical harangue - bad Brecht was my first thought - despite the heart-rending singing of the expatriate Iranian musician Mohsen Namjoo.

And "The Battle of Yestermore," a lively first-time performance work by the artist Iona Rozeal Brown, translated her gangsta-geisha portrait paintings into real life while showcasing her brilliant skills as a D.J. and mixologist. But this tale of monsters and princesses spiced by voguing and break dancing felt like an Off Off Broadway hit waiting to happen.

Similarly, I loved watching the amazing Kristin Anna Valtysdottir lead a team of Icelandic musicians, along with Aono Jikken Ensemble, in providing the music, dialogue and sound effects for Guy Maddin's 1989 cult classic, "Tales From the Gimli Hospital." But the polish and precision, the perfect dovetailing of moving image and live sound, seemed in some ways the opposite of performance art.
In fact, all of these events seemed too canned or framed to qualify as performance art, or at least as "visual art performance." The so-called fourth wall of theater seemed very much in place.

On the other hand, several works that evinced more in the way of unpredictability, process and close brushes with real life had déjà vu problems, mustering a kind of old-time performance-art disjointedness, even when bits of new technology were involved. You often felt you were seeing works in progress, although there are worse things than emerging from an event wondering, "What was that?" and having it stick in your mind for days.

This was the case with Ming Wong's "Persona Performa." Based on Bergman's film "Persona," and incorporating video installation, dance and live projections, it teetered fascinatingly between reality and art, but was also overly indebted to the 1970s work of Dan Graham and Trisha Brown.

In the fitful "Put a Song in Your Thing," the artist Frances Stark ruminated, mostly in words typed onto a screen, on the difficulty of making art, and sexted with her Internet lover, repeatedly donning and shedding an elaborate dress in the shape of a rotary-dial telephone. Finally, wearing little but a net bodysuit, she erupted into the latest athletic, suggestive form of club dancing, called daggering, with a handsome D.J. named Skerrit Bwoy, achieving something that felt shockingly real and risqué.

The results were similarly erratic when the video artist Laurel Nakadate teamed up with the versatile actor James Franco for "Three Performances in Search of Tennessee," a concoction that swirled uneasily around "The Glass Menagerie," with a combination of séance, karaoke auditions and improvised readings from the script.

Among the commissions I saw, Performa 11's most genuinely transformative moments came in the final week. In a series of skits that turned exchanges between television anchors and political figures - including the likes of Glenn Beck, Sarah Palin and the Clintons - into hilariously charged personal encounters, Ms. Laser's "I Feel Your Pain" brought audience, performers and camera crews together in what felt like a new kind of space. The actors performed seated in, or moving through, the audience, but their images were also projected on the theater's big screen, along with those of many audience members. Especially in the first of the two performances, the sense of conspiratorial participation was intoxicating.

Five days later Mr. Kjartansson's "Bliss" turned a snippet of Mozart at his most sublime into a work of endurance art. Basically, Mr. Kjartansson had a group of professional opera singers in period costume, accompanied by a small orchestra, repeat for 12 hours the denouement of "The Marriage of Figaro," in which the Countess forgives the rascal Count with a brief aria, repeated by the entire cast, that is, in itself, a form of divine redemption.

You expected this daffy, dazzling, infinitely touching thing to unravel and degenerate as drinks and snacks were passed around, rest breaks were taken, and voices noticeably weakened. And yet fall apart it did not. Under the vigorous baton of the somewhat obstreperous David Thor Jonsson, a jazz musician and frequent Kjartansson collaborator, and led by the seasoned tenor Kristjan Johannsson, who, as the Count, never left the stage, day turned to night, and art, or at least Mozart, triumphed over the encroaching chaos of life. Once again the audience, the performers, the ingeniously recycled material and the space itself merged into something that felt new and whole, something that was being created with our help, as we watched.

Let's hope that the next Performa will trim its sails, tighten its focus and deliver moments like these at a higher rate than its immediate predecessor.

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Goings On is compiled weekly by Harley Spiller