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Contents for January 31, 2012

1. Angel Nevarez & Valerie Tevere, FF Alumns, at CUNY Grad Center, Manhattan, thru Feb. 18

The James Gallery
The Graduate Center,
City University of New York


Exhibition on view through Sat, Feb 18
365 Fifth Avenue between
34th and 35th Streets
New York, NY 10016

Tue–Thu 12–7pm
Fri–Sat 12–6pm

Artists: Hala Elkoussy, kuda.org, Angel Nevarez & Valerie Tevere
Curator: Katherine Carl

Shifters proposes new means of engagement with public space in cities as diverse as Guadalajara, Cairo, Novi Sad, and Austin. Like the pronouns "I, you, we," which shift depending on the person who is speaking, the title suggests relational shifts in the grammar of cities. Deploying strategies in video that range from music and fantasy to documentation, these artists' practices also operate on an intimate scale in relation to larger urban dynamics.

In Touching from a Distance, Angel Nevarez & Valerie Tevere employ music to alter the unspoken rules of conduct in public space by commissioning a mariachi band to adapt Joy Division's Transmission for performance in the Plaza of Liberation in Guadalajara. In a more fantastical vein, the rhythm of meditative narration and images of the streets and buildings of Cairo in Hala Elkoussy's videos tell stories of women in search of a sense of belonging in the city, which is continually undergoing transition. Using a documentary mode the activist artists kuda.org ruminate on the future possibilities for an abandoned military structure in their city of Novi Sad, Serbia.

Thu Feb 2, 6:30pm
Artists Dialogue: Shifters
Peter Hitchcock, English, Baruch and The Graduate Center, CUNY; artists Angel Nevarez, Art, Culture, and Technology, MIT, and Valerie Tevere, Media Culture, College of Staten Island.
Co-sponsored by Center for Place, Culture, and Politics
Wed Feb 8, 6:30pm
Soundtracks for Change
Alessandra Ciucci, Ethnomusicology, Northeastern; Licia Fiol-Matta, Latin American and Puerto Rican Studies, Lehman College.

The Amie and Tony James Gallery catalyzes research and knowledge production in contemporary art and joins the Center for the Humanities' mission to create dialogue across disciplines. Located in midtown Manhattan at the nexus of the academy, contemporary art, and the city, the James Gallery brings a range of pertinent discourses into the exhibition space through a number of innovative formats. While some exhibitions will remain on view for extended contemplation, other activities, such as performances, workshops, reading groups, roundtable discussions, salons, and screenings will have a short duration. As a space for interdisciplinary artistic and discursive activities, the gallery works with scholars, students, artists and the public to explore working methods that may lie outside usual disciplinary practices.

The Center for Humanities at the Graduate Center, CUNY, was founded in 1993 as a forum for people who take ideas seriously inside and outside the academy. Through its public programs, seminars, conferences, publications and exhibitions, the Center puts CUNY students and faculty from various disciplines into dialogue with each other as well as with prominent journalists, artists and civic leaders to promote the humanities and foster intellectual community across the city.
For more information, contact Jennifer Wilkinson
T: 212.817.2020 | E: jwilkinson@gc.cuny.edu



2. Shirin Neshat, FF Alumn, at CUNY Grad Center, Manhattan, Feb. 21

February Events in the James Gallery at the Graduate Center

Tue Feb 21, 4pm and 6:30pm
Screening and Conversation
Artists and Writers Series: Women Without Men
Shirin Neshat, artist; Shahrnush Parsipur, writer.
Co-sponsored by the Center for the Study of Women and Society and the Feminist Press

365 Fifth Avenue between
34th and 35th Streets
New York, NY 10016



3. Bonnie Ora Sherk, FF Alumn, at Santa Monica Place, CA, Jan. 28-Feb. 5

Portable Park lV - past, present, future = A Living Library
Performance Installation at Santa Monica Place, Santa Monica, CA
January 28-February 5, 2012
in conjunction with The Getty's PST Public Art & Performance Festival

Getty Website

Otis Press Release

A Living Library blog

Bonnie Ora Sherk
Founder & Director
Life Frames, Inc. & A Living Library

A Living Library with all sectors of community, incorporates local resources and transforms them to become vibrant, content-rich, ecological learning landscapes; each Branch linked to another.



4. Yvonne Rainer, FF Alumn, at Kunsthaus Bregenz, Austria, Feb. 4-April 9

Yvonne Rainer
Space, Body, Language
4 Feb – 9 Apr 2012
Kunsthaus Bregenz
6900 Bregenz
KUB Performance Yvonne Rainer
Spiraling Down | Assisted Living: Good Sports 2
Cooperation Vorarlberger Landestheater
Wednesday, February 1, 2012, 8pm
Venue: Vorarlberger Landestheater, Grosses Haus, Kornmarktplatz, 6900 Bregenz

With Yvonne Rainer, who was born in San Francisco in 1934, the Kunsthaus Bregenz is presenting in collaboration with the Museum Ludwig in Cologne and the Getty Research Institute, Los Angeles, an internationally leading choreographer, dancer, and film-maker. Already at the beginning of the 1960s, Yvonne Rainer surprised the New York art and dance scene with choreographies in which she succeeded impressively in developing a completely new fascinating language characterized not least of all by the introduction of everyday gestures and actions into modern dance.

Ten years later, Yvonne Rainer took leave of the stage to make feature films that united fiction and reality as well as the personal and the private with a way of directing specific to her. Apart from their character as documents of the times, political topics such as racism, autobiographical aspects, and feminist questions render her seven films made between 1972 and 1996 as outstanding exemplars of 20th century film history.
Already at the beginning of her career, she was, both personally and professionally, constantly in close contact with artists of whom some, such as Carl Andre, Robert Morris, and Robert Rauschenberg, became involved as actors or in some other way in her dance pieces.

Since 2000, Yvonne Rainer has been choreographing again, drawing on elements of pop culture, sport, general dance history, and her own works.

Even though Yvonne Rainer has had film retrospectives in institutions such as the Museum of Modern Art in New York and the London Tate Modern, and her influence on the visual arts, especially among the younger generation, cannot be overestimated, up until now there has been no large comprehensive exhibition in Europe that has undertaken to ascribe to this complex oeuvre its significance for art history and to come to terms with its current relevance. The exhibition curated by Yilmaz Dziewior and Barbara Engelbach in Bregenz and Cologne (April 28 to July 29, 2012) will change this.

KUB Arena
Enduring Value?
Cooperation >springerin<
4 Feb – 9 Apr 2012
With Yto Barrada, Alice Creischer, Josef Dabernig, Katrina Daschner, Andreas Fogarasi, Claire Fontaine, Sanja Ivekovic, Julius Koller, Jiri Kovanda, Dorit Margreiter, Ulrike Müller, Andreas Pawlik, Mathias Poledna, Florian Pumhösl, Walid Raad, Jochen Schmith, Andreas Siekmann, Mladen Stilinovic, Kamen Stoyanov, Milica Tomic, and an exhibtion architecture by Johannes Porsch
Concepts such as "changing values" or "the decline in values," normally in relation to the corruption or erosion of traditional values, are much talked about nowadays. At the same time, material goods and increasingly all-embracing individualistic values seem to be becoming more important than ever. How is this development reflected in the sphere of art? What new positions, erosions, and breaks with the past have come about in the past ten to fifteen years? What visible factors pertaining to value and validity have established themselves in conjunction with what more or less valid articulable factors? What ideas of value, transient or enduring, are inscribed in such different art-related formats as exhibitions, works, discourse, or media such as journals and magazines? In the framework of a collaboration between springerin and the KUB Arena concurrent with the production of the journal's spring 2012 number, a project-oriented presentation will be developed on the ground floor of the Kunsthaus Bregenz. Central issues here are questions about the durability and "shelf-life" of art and cultural appreciation and the different productive and distributive modes of exhibitions and magazines. A complete overview of springerin publications to be presented in the KUB Arena and a jointly conceived program of events are further core areas of the project "Enduring Value?".
Curators: Christa Benzer, Eva Birkenstock, Yilmaz Dziewior, Christian Höller, Hedwig Saxenhuber, Georg Schöllhammer
For further information: www.kunsthaus-bregenz.at



5. Susan Joy Share, FF Alumn, at Kenai Peninsula College, Soldotna, AK, February 7-March 2

Kenai Peninsula College - Gary L. Freeburg Gallery
Feb 7- March 2, 2012
Reception and Artist’s talk: Closing of the Books
with Susan Joy Share
Friday, March 2, 5PM
Gallery hours: Monday through Thursday, 8:30am to 7:30pm
Friday, from 8:00am to 5:00pm.
Kenai Peninsula College . 156 College Road . Soldotna, AK 99669
for info: 907-262-0330 . http://www.kpc.alaska.edu/KRC/maps/



6. Mitzi Humphrey, FF Alumn, at art6 Gallery, Richmond, VA, opening Feb. 3

FF Alumn Mitzi Humphrey will be featured along with Henrietta Near, Lloyd C. Chaser, Jack Morris, and David Newman in “Noir,” an exhibition of prints, drawings, and photographs in black and white, opening with a reception Friday, February 3, 5-9 pm at art6 Gallery, 6 East Broad Street, Richmond, Virginia 23219. The exhibition ends Saturday, February 26, 12-4.



7. Lynn Book, FF Alumn, at SPACES, Cleveland, OH, Feb. 3, and more

Book & Decker performing The Phaedra Escapes @
International Society for Improvised Music
February 17, 2012 / Friday, 3 pm

Also performing "more notes on desire" with Kevin Norton
February 17, 2012 / Friday, 5:30 pm

William Patterson University, Wayne NJ



Audio works, performance video and scores for the exhibition
Headphones: Listen Up!
The Front Gallery
February 11 – March 3, 2012
Curated by Valerie Brodar
New Orleans, LA


audio works also @

The Vault
Cleveland, OH
February 3, 2012

Lynn Book

Associate Director, Creativity
Program of Innovation, Creativity and Entrepreneurship
Senior Lecturer, Department of Theatre and Dance

"It was never my intention to design a geodesic dome. I wanted to discover the principles at work in our universe. I could have ended up with a pair of flying slippers." ~ R. Buckminster Fuller

Wake Forest University, PO Box 7264
Winston-Salem, NC 27106-7264

tel: 336-758-3383 fax: 336-758-5668
e-mail: bookl@wfu.edu or creativity@wfu.edu

Faculty, Transart Institute
Berlin / New York



8. Sarah Canright, FF Alumn, at Courtyard Gallery, Univ. Texas, Austin, opening Feb. 2

Watercolors by Sarah Canright Opens at Courtyard Gallery

The Courtyard Gallery features the artwork of faculty and alumni of the Department of Art and Art History in the College of Fine Arts. Senior Lecturer Sarah Canright’s Watercolors, a collection of delicate works on paper, will be on exhibition from Feb. 2 thru April 20. There will be a reception for the exhibition Feb. 2. Gallery admission is free and open to the public.

Exhibition: Feb. 2 thru April 2
Reception: Thursday, Feb. 2, 4-6 p.m.
Where: The Courtyard Gallery is on the second level of the AT&T Executive Education and Conference Center, 1900 University Ave. The exhibition space is adjacent to the courtyard.

Background: Sarah Canright received a B.F.A. in painting at the Art Institute of Chicago. Canright was included in the 1974 Whitney Biennial and had solo exhibitions at the Pam Adler Gallery and Franklin Furnace. She has been awarded three National Endowment for the Arts grants and has held numerous teaching positions before coming to The University of Texas at Austin in 1982. Most recently, Canright had a solo exhibition at the CUE Art Foundation in New York (Fall 2011).

All of the works in the Courtyard Gallery exhibitions are for sale through the gift shop. The Courtyard Gallery is a result of a collaborative effort between the Office of the Vice President for Employee and Campus Services and the College of Fine Arts. There will be three faculty and alumni exhibitions a year in this space curated by Jade Walker, director of the Visual Arts Center at The University of Texas at Austin. For more information, contact: You You Xia, College of Fine Arts, 512-471-1108; Leslie Lyon, College of Fine Arts, 512-475-7033



9. Adrianne Wortzel, FF Alumn, launches new website at adriannewortzel.com

A new website for artist Adrianne Wortzel has been launched with comprehensive materials on past, present and future works, inclusive of telerobotic projects, performance works, videos and writings. http://adriannewortzel.com
Webdesign by Crystal Butler



10. Jenny Holzer, Shirin Neshat, Lawrence Weiner, FF Alumns, in the Wall Street Journal, January 27

Text from The Wall Street Journal, WSJ Magazine, January 27, 2012
This Woman Is Changing The Way We See Art
by Marshall Heymann

While most people amble around Art Basel Miami Beach paying more attention to who else is there than to the art on the fair's walls, Anne Pasternak flies through the crowded halls in an unassuming denim dress and silver flip-flops to match her silver painted nails, taking in as much as she possibly can. "I'm not a fair person," says the president and artistic director of Creative Time, a public arts organization based in New York City. But she's there partly because the rest of the art world is, and partly for the purpose of self-education. More than once Pasternak notes that Creative Time, which has built an impressive reputation for commissioning and supporting projects that hope to engage average Americans with art, was the first to give an artist on display—Doug Aitken, Vik Muniz and the Iranian video artist Shirin Neshat, among them—a shot at a big public show.

Wary of the ever-expanding ecosystem of collectors, magazine editors, curators, museum directors, donors, hipsters, advisers and all of their various hangers-on, Pasternak says she's tried not to join the art world establishment. Instead, she's played by her own rules, supporting large-scale projects that others would deem too risky, wading through a bureaucratic network that's murkier than mud.

"I like a challenge, and I'll almost never do something I've done before," she says. Not only has she transformed a boutique organization into a multimillion-dollar juggernaut whose every move is monitored by other public institutions around the country, but Pasternak and Creative Time have thrived even as federal funding for the arts continues to be slashed year after year. Her most powerful asset has been her opinionated, and often contrarian, voice.

Seeing a few of Nick Cave's sculptures as she tours the fair, Pasternak says, "I think his earlier work was more raw." On a Gerhard Richter painting: "When you see a Richter, you think, 'That guy can f—ing paint.'" Of pieces by the California-born Fred Tomaselli: "Look at the colors and the scale. I'm a huge fan." Of a big tree by Ai Weiwei: "It'd be a great outdoor piece, but you have to find out if the artist is OK with it getting weathered and attacked by bird poop." Of the sculpture of a skull with burning incense by the Brazilian artist Tiago Carneiro da Cunha: "Sometimes you can't tell if it's really good or it's really bad." Of art in general: "You always pay attention to the artists other artists love."

Pasternak, 47, joined Creative Time in 1994, when, she says, it was "like a 25-year-old start-up." The organization was founded in the early '70s when Manhattan was on the verge of bankruptcy. The three women who started the program, Susan Henshaw Jones, Anita Contini and Karin Bacon, believed that artists could reanimate life in Lower New York, taking over vacant storefronts in the Wall Street area.

After a few years, they expanded into public spaces and the landfill that's now known as the World Financial Center. By the time Pasternak arrived, Creative Time's yearly budget was $375,000 and her position was "the one full-time employee." (She studied art history at the University of Massachusetts Amherst and Hunter College in New York City before attempting to produce public art projects out of her own downtown loft.) Today she oversees 17 employees and an annual budget of $3 million.

As the economy remains in a slump and national funding for the arts has continued to lessen, the type of projects that Creative Time supports has become an especially hot-button issue. Should the city, for instance, continue to help fund a $150,000 installation—as it did in 2010 when Pasternak worked with the California-born Paul Ramirez Jonas to give out keys that unlocked secret sites around the five boroughs—when the budget for public schools is set to shrink by $301 million next year?

Pasternak says yes: "Our mission and values have never changed. It's important to give artists the opportunities to experiment, to push and grow. Public spaces are for free expression, and artists matter in society and they should be weighing in on how we live." (Because Creative Time pays the artist a professional fee as well as for the total production of a new work and a presenting fee, the average budget for a project runs between $100,000 and $150,000. Some, such as Aitken's 2007 "Sleepwalkers," for which the artist projected eight billboard-size moving images of people strolling the streets at night on the facade of the Museum of Modern Art, cost twice as much.) Creative Time remains a "progressive," "social-driven" organization, one that Pasternak says "very intentionally tries to navigate the playful and the political, the radical and the mainstream."

Her fearless conviction and knack for private fund-raising—at a recent annual gala, an homage to the '80s nightclub AREA, Pasternak and several of her board members created a choreographed black-and-white music video for the LMFAO song "Shots"—have led other cities across the country to start modeling their own public arts organizations on Creative Time. "Anne has a laser focus in getting projects off the ground," says Amanda Burden, director of the New York City Department of City Planning. "But she does it through this charm and sexy wit and this incredible exuberance. She's irresistible."
In the past decade, Creative Time has commissioned Takashi Murakami to make three inflatable sculptures and two floor sculptures and exhibited them in Grand Central Terminal. "Clouds," by Muniz, involved a skywriter drawing a series of clouds over the Manhattan skyline. Artist Marilyn Minter curated MTV's outdoor billboards in Times Square. For Creative Time's first national project, New York artist Paul Chan staged a site-specific production of "Waiting for Godot" in post-Katrina New Orleans. Close to 6,000 people attended five performances. "Anne risked parachuting into New Orleans when the city needed more than art. They needed water and electricity," Chan says. "People were still waiting for those things, but she wasn't afraid. She saw it as an opportunity to think about what public art can be."

Perhaps most famously, on March 11, 2002, Creative Time built the "Tribute in Light" at the World Financial Center to honor the victims of 9/11. Two beams of light shot seemingly miles into the sky, mirroring the footprint of the Twin Towers. That project, says Pasternak, was the "hardest thing [I've] ever pulled off. Tensions were really high, and ultimately the team wasn't really harmonious. And the art world was skeptical of artists doing anything after 9/11." The project was far from a failure. It made the cover of every local newspaper, was shot by most news networks and remains one of the most poignant memorials of 9/11. "We fail when nobody pays attention," she says.
This spring it will be hard to avoid the collaborative work of Creative Time and Tom Sachs. Between May and June, the mixed-media artist will take over the Park Avenue Armory to create an enormous installation about Mars, a follow-up to his 2007 moon mission at Gagosian—bringing to light questions of existence, the impossible and infinity. Creative Time expects an attendance of 75,000. "We hope to engage an understanding of where we've come from, where we're at right now and where we might go," Pasternak says. "Ultimately, that's what great art does."
“You have to remember that our work is socially progressive. Am I going to turn to Vuitton and get them involved with the 'Waterboard Thrill Ride' at Coney Island? Probably not.”

As Creative Time continues to soar under Pasternak's stewardship, the director has become an increasingly prominent player on the New York power scene. For a woman who considers herself, and even takes pride in being, very much an outsider—"Most of my friends are artists," she says—it's an interesting predicament. She has close relationships with many of the organization's board members, including Phil Aarons, the founding partner of Millennium Partners, and the voracious art collector Beth Rudin DeWoody.

Yet Pasternak lives in the East Village, pretty far from the uptown blue-chip art crowd, with her husband, artist Mike Starn, and 18-year-old daughter, Paris 99, named, in part, for Agent 99 in "Get Smart." ("When she was growing up, every year I'd tell her teachers, 'Yes, her middle name is really 99,'" Pasternak says.)

"I'm candid," she says. "It gets me into trouble, but I'm not really worried about that. I believe this country would be better if we had far less unemployment. I believe a little fairness could go a long way." At Art Basel, a collector warned her to stop Facebooking about Occupy Wall Street, because she would lose donors. "And I felt like saying, 'You don't know anything about my donors,' " she says. "My donors believe in free expression, and they're much smarter than that. Yeah, we take risks, and you have to have that very special supporter who understands the world a bit."

After all, many of the works that Creative Time does are controversial. A recent "dining experience" created with Upper East Side restaurant Park Avenue Autumn, for instance, involved the artist Michael Rakowitz purchasing dinner plates on eBay that once belonged to Saddam Hussein. At the end of the project, the Iraqi government requested they be returned. "It was actually the perfect conclusion," says Pasternak.
Pasternak has even been careful about collaborating with and seeking funding from fashion brands, which has become the art-world norm. "You have to remember that some of our work is very socially progressive," she says. "Am I going to turn to Vuitton and have them get involved with the 'Waterboard Thrill Ride' at Coney Island [by artist Steve Powers, in 2008]? I don't think so."

Presumably, she could have taken an easier path in life with a cushier job in the commercial sector, but that just isn't her style. When she was younger, Pasternak says she used to be "freaked out" about the divide between herself, a self-described "nonprofit girl," and Centurion Card–wielding collectors. "Now I don't care. I learned a long time ago I can't bother with what other people have. It's not my reality. I don't care that I can't get my hair cut more than two or three times a year, or that I could pay for my daughter's education with a Bob Gober drawing of a sink I could have had at the Paula Cooper Gallery for $800. I've chosen meaning and happiness over profit. More people are excited and passionate about art in the world, and I feel it. I feel it really quite deeply."
A few feet-blistering hours later, after covering most of the convention hall, Pasternak stops at the Printed Matter outpost to buy some reading material. She brings several Lawrence Weiner books to the counter, and the clerk throws in a few free Sandy Plotnikoff postcards. While just inside the fair, three editions of a sexually aggressive pink silicone sculpture by Los Angeles artist Paul McCarthy called "White Snow Dwarf (Bashful)" go for $950,000 each, Pasternak's loot rings up at $509. She opens her wallet and takes out a green AmEx. "Since I can't afford to buy art," she says, "I buy art books."

For complete text with images please visit: http://online.wsj.com/article/SB10001424052970204542404577157282375129876.html#ixzz1l3T9n6oI



11. Donald Daedalus, FF Alumn, at Wing Luke Museum, Seattle, WA, opening Feb. 9

Asian American Arcade
On display February 10 to June 17, 2012
George Tsutakawa Art Gallery
Come play! Asian American Arcade follows video games out of the arcades and into an art exhibition, where visitors will discover the creative power of this addictive, interactive medium. See video games and related artworks that explore questions of identity and community, imagination and learning, and the power of play in our lives.
Thursday, February 9, 6-8pm
6-7pm Special preview for Museum Members and invited guests. Light refreshments will be served. RSVP to lshaiken@wingluke.org or (206) 623-5124 x107.
7-8pm Open to the public, free admission, no RSVP required.



12. Alina and Jeff Bliumis, Irina Danilova, FF Alumns, at SET Gallery, Brooklyn, Feb. 5

Dear friends,

It is the last week of the exhibition "Foreign Bodies" at SET, where there is a rare opportunity to see all 6 braids from my collection "Meaning of Life", along with my other works and works of Yevgeniya Baras, Alina and Jeff Bliumis,
and vydavy sindikat.

SET Gallery is open on Friday, Saturday and Sunday, 1-6 pm, or by appointment (please call 9176215941)

De-Installation Party on Sunday, February 5, 6-8pm.

Hiram and I will be at the gallery on Saturday and Sunday.

Hope you can come.




13. Peter Grzybowski, FF Alumn, at Lambert Fine Arts, Manhattan, Feb. 5

Peter Grzybowski
as part of

another fun-filled afternoon of FusionArts action art
Super Bowl Sunday, February 5, 2012
3:00 PM - 6:00 PM

Featured are:
Shalom Neuman, The Unbearables, Carrie Beehan
Peter Grzybowski, Brett Zweiman, Kika von Klück and Shawn Butler

Hosted by
Lambert Fine Arts
57 Stanton Street
New York, NY 10002
(212) 353-2787 / http://www.LambertFineArts.com




14. LuLu LoLo, FF Alumn, at Flux Factory, Long Island City, opening Feb. 3

LuLu LoLo Banquet for America at Flux Factory Feb, 3,9,11, 7 12 Special Events
LuLu LoLo performing as "The Gentleman Maître d' Mayor"
Opening Reception: Friday, February 3rd, 7pm+
Special Flux Thursday: Thursday, February 9th, 8-11:30pm
Cabaret Extravaganza: Saturday, February 11, 7-10pm
Closing Banquet: Sunday, February 12, 6-9p

Flux Factory is pleased to announce Banquet for America, an experimental utopian village centered around a banquet table. Our artist-built town-within-a-gallery will be complete with a theater, specialized shops, and more; come experience a village equipped with bakers, jewelers, barbers, puppeteers, and smørrebrød-makers! Artists will inhabit the space for the duration of the show, sleeping, eating, and living with each other in structures made from reclaimed materials within gallery. We have a dynamic group of puppeteers, performance artists, and conceptual artists, and the whole experience will shift and grow as the show goes on. We will have three big banquets during the run of the show, with cabaret nights following the feasting.

The preparation of food and ritual of communal eating has been enormously formative in shaping American culture. Banquet for America will explore food as a way to gain a deeper awareness of oneself within a larger community, beyond sustenance. Additionally, the exhibition is a response to the decline of the traditional town structure in the face of box stores, malls, and chain restaurants. These structures attempt to replace the commercial enterprises of the traditional downtown district, and in doing so, subvert the viability of family-owned businesses. Such changes are more visible in small towns, where transformation is more tangible, but are of vital importance to the larger economy and the fabric of the nation.

Banquet for America will include four special event nights: an opening reception with Jean Barberis & Mark Krawczuk on February 3rd, Flux Thursday on February 9th, a cabaret night on February 11th, and a closing banquet with Giustina Surbone on February 12th.

While the opening, Flux Thursday, and cabaret night will both be open to public, we will be taking reservations for the closing event. Seating is extremely limited, and tickets are $35 per person. Please rsvp to Georgia@fluxfactory.org.

On February 11th, the Invisible Kitchen will present The Master of Prayer, a puppet allegory, followed by glittering musical performances by Homo Hasidus, Kagero, and The Ruffian Arms.

Participating artists include Adam Ende; Adrian Owen, Ian Montgomery, & Jason Eppink; Alison Ward; Andy Ralph; Angela Washko; Georgia Muenster; Giustina Surbone; Hector Canonge; Jean Barberis & Mark Krawczuk; Jesper Aabille; Kerry Cox; LuLu LoLo; Stephanie Avery; and Veronica Dougherty. Curated by Alison Ward and Georgia Muenster.

Flux Factory 39-31 29th Street, Long Island City, NY 11101.



15. Barbara Hammer, Emily Roysdon, FF Alumns, at Tate Modern, London, UK, February 3-26

Barbara Hammer
The Fearless Frame
3–26 February 2012
Tate Modern
Starr Auditorium
London SE1 9TG
Barbara Hammer (born 1939) is a pivotal figure in American experimental film. An acclaimed pioneer of queer cinema, her prolific output includes the earliest avant-garde films that openly address lesbian life and sexuality. Her work remains of fundamental importance for a new generation of artists exploring new voices and new modes of experimenting with the moving image.

This major survey of Hammer's work will be launched with the premiere of her new short film, Maya Deren's Sink (2011), a tribute to Hammer's longstanding fascination with Deren. The month-long series also includes screenings of early, rarely seen Super 8 films, a free evening of expanded cinema performances in the Turbine Hall, an evening in response to Hammer's work curated by artist Emily Roysdon featuring Chris Vargas and Greg Youmans, and several events presenting artists and speakers drawn from across Europe and North America, who testify to the creative community Hammer has inspired.
Hammer will be present at each screening, and the programme will be punctuated with films, presentations and interventions by friends, colleagues, and filmmakers whom she considers crucial cultural allies, including Scott Miller Berry, Stan Brakhage, Gina Carducci, Shirley Clarke, Maya Deren, Cecilia Dougherty, John Greyson, Emma Hedditch, William E. Jones, Elisabeth Lebovici, Emily Mode, Gunvor Nelson, Liz Rosenfeld, Kjerstin Rossi, Emily Roysdon, Chick Strand, Chris Vargas, Andrea Weiss, Chris Welsby, Greg Youmans and more.

Hammer states: 'As an experimental filmmaker and lesbian feminist, I have advocated that radical content deserves radical form.' She has fearlessly pursued innovation from her earliest experiments with sexuality and feminist identity in the 1960s and 1970s to her stunning perceptual and optical printing experiments during the 1980s and the documentaries she continues to make that unearth secret histories and give voice to those traditionally without one. Her films have transformed the screen into an active and experimental field that powerfully brings together images and the bodies they represent.
Curated by Stuart Comer and Barbara Hammer
Supported by Maja Hoffmann / LUMA Foundation
Programme One
Maya Deren and Me
Friday 3 February 2012, 19.00
Programme Two
Hammer Super 8
Saturday 4 February 2012, 19.00
Programme Three
For An Active Cinema
Sunday 5 February 2012, 17.00
Programme Four
Hammer Expanded
Sunday 5 February 2012, 19.00
Turbine Hall
Programme Five
Thursday 9 February 2012, 18.30
Programme Six
Fragile Light
Friday 10 February 2012, 19.00
Programme Seven
Shattering the Mirror Stage
Saturday 11 February 2012, 19.00
Programme Eight
Seeing with a Horse's Eye
Sunday 12 February 2012, 17.00
Programme Nine
The Goddess Zeitgeist
Tuesday 14 February 2012, 18.30
Programme Ten
Life in the '80s: Struggles in Conservative Times
Wednesday 15 February 2012, 18.30
Programme Eleven
Hidden Histories
Friday 17 February 2012, 19.00
Programme Twelve
Barbara Hammer Study Day: Performative Lectures and Dialogues
Saturday 18 February 2012, 12.00-17.00
Programme Thirteen
Land and Water
Saturday 18 February 2012, 19.00
Programme Fourteen
Devotion: A Film About Ogawa Productions
Sunday 19 February 2012, 14.00
Programme Fifteen
The Scopophiliac Audience
Sunday 19 February 2012, 17.00
Programme Sixteen
Breaking the Law: Barbara Hammer and William E. Jones
Friday 24 February 2012, 19.00
Programme Seventeen
Superdyke Meets Madame X Meets Falling in Love With Chris and Greg
Conceived by Emily Roysdon
Saturday 25 February 2011, 19.00
Programme Eighteen
Out in South Africa
Sunday 26 February 2012, 14.00
Programme Nineteen
For Florrie
Sunday 26 February 2012, 17.00

Box Office: 020 7887 8888



16. Frank Moore, FF Alumn, at Temescal Arts Center, Oakland, CA, Feb. 4

do you dare to be in experiments in experience/participation performance?
The Underground Hit!
Frank Moore, world-known shaman performance artist, will conduct improvised passions of musicians, actors, dancers, and audience members in a laboratory setting to create altered realities of fusion beyond taboos. Bring your passions and musical instruments and your senses of adventure and humor. Other than that, ADMISSION IS FREE! (But donations are encouraged.)

Saturday, February 4, 2012

511 48th Street
Oakland, CA 94609-2058

For more information
Call: 510-526-7858
2012 Dates!
“Frank Moore, a genius explorer of the frontiers of human affection.” www.reddit.com
"...He's wonderful and hilarious and knows exactly what it's all about and has earned my undying respect. What he's doing is impossible, and he knows it. That's good art...." L.A. Weekly
“Merging improv, erotica, entertainment, religion and ritual, Frank Moore – self-styled shaman, world-renowned disabled performance artist, and 2008 presidential candidate ...." – East Bay Express

"If performance art has a radical edge, it has to be Frank Moore." Cleveland Edition

"Surely wonderful and mind-goosing experience." L.A. Reader
Downloadable poster here:



17. Tim Miller, FF Alumn, winter 2011-12 tour schedule

TIM MILLER 2012 UPDATE Winter Newsletter and Tour Schedule...U of MN Report

"Tim Miller sings that song of the self which interrogates, with explosive, exploding, subversive joy and freedom, the constitution and borderlines of selfhood. You think you don't need to hear such singing? You do! You must!”

Tony Kushner, author of Angels in America

Hi Folks!

I just had a really amazing residency at the University of Minnesota working with a group of fantastic undergrads, grad students and faculty to make a performance looking at the Minnesota Hate Amendment that will write anti-gay bigotry into their Constitution. The performance of the workshop piece was packed at school and generated lots of energy and engagement foir the fight ahead with the MN Constitution on the chopping block. I am at the beginning of a really interesting few months of activity, performing and social engagement! (How can I do otherwise when we have two states...North Carolina and Minnesota...preparing to write homophobia into their State Constitutions!

I will be doing performance residencies in both MN and NC at University of Minnesota and Univ of North Carolina School of the Arts this winter to take on these nasty amendments.
Let's have MN be the first state in the US to defeat one of these nasty bigoted moves!

I will also a performance intensive at Highways Performance Space in L.A. Feb 6-11
and a big Philadelphia presence with performances and workshops at InterAct Theater of Lay of the Land in April followed by a residency at Villanova University.

Very excited to announce in 2012 I will be spending many weeks in Boulder at University of Colorado to direct a devised original ensemble performance for their season. Will be great to be in Boulder for 4 weeks and get a chance to work more intensively with students!

Jan 9-15 Univ of Minnesota
Jan 13-14 Open Eye Theatre, Minneapolis
Feb 6-11 Highways Performance Space, Los Anegeles
Feb 21 USC
March 7 Denver University
March 8-9 University of Colorado
March 19-24 University of North Carolina School of the Arts
April 5 California Institute of the Arts
April 9-15 Philadelphia InterAct theater
April 17 Muhlenberg College
April 16-21 Villanova University

The ongoing tour of LAY OF THE LAND to theaters in Minneapolis and Philadelphia
is really exciting to me. LAY OF THE LAND only feels more timely in its engagement of marriage equality and the tipping point we are reaching around gay civil rights in this country. Very much the piece I would want to be doing at this juicy time as this issue races all over the country from NY to Minnesota Great review in L.A. TIMES!

"Miller's LAY OF THE LAND enters territory as exhilarating as it is meaningful. Miller lays out his unapologetically renegade viewpoint with exemplary economy and sardonic humor. Marriage equality is the thematic undercurrent against which reminiscences of various activist and performance landmarks coalesce into something larger than the sum of their considerable parts. The final apotheosis stands high in Miller's canon, which, together with the overarching relevance, makes "Lay of the Land" a vivid, must-see achievement."

David Nichols, The Los Angeles Times

a video trailer for LAY OF THE LAND!

Lovely HUGE review in Chicago Tribune.

"Lean, personal and deceptively canny...the reason LAY OF THE LAND endears is that Mr. Miller is not only self-aware, but is also the rare self-involved, political performance artist whom you wouldn’t mind being stuck sitting next to on a subway train."

Super smart and informed piece by Michael Feingold in Village Voice on LAY OF THE LAND and LET THEM EAT CAKE

Great interview in SF Chronicle.

cheers, Tim



Goings On is compiled weekly by Harley Spiller