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ABOUT GOINGS ON: How to subscribe and submit listings

Contents for February 20, 2012

1. Roberta Allen, FF Alumn, in The Brooklyn Rail, February 2012

Hi to everyone,

Latest review of my novel THE DREAMING GIRL in The Brooklyn Rail:

http://www.brooklynrail.org/2012/02/books/the-dreaming-girl

From the review by Suzanne McConnell: "Allen captures with magnificent nuance the emotions and moments that go with the territory of relating. But the deeper plot unearths the girl's relationship to life itself and to the "other living things."

www.robertaallen.com
www.robertaallenart.com

(this listing appeared with an incorrect surname for Roberta Allen in the Feb. 13th 2012 edition of Goings On. Please accept my apology. Harley Spiller, ed.)

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2. Cary Peppermint, FF Alumn, at UCLA Broad Art Center, Feb. 22-26

LA Re.Play
http://www.lareplay.net/
curated by Hana Iverson, Mimi Sheller, + Jeremy Hight
Opening Reception: College Art Association Conference Convention Center, LA re.Play Hub Location, Feb 22, 5:30 - 7:30 PM
Reception: EDA Grad Art Gallery, Broad Art Center, UCLA, February 24, 6:00 - 8:00 PM

Mobilizing Los Angeles as a place in play, LA Re.Play introduces some of the leading international artists working with mobile and geo-located media today. Their works engage, subvert and recombine our perceptions of place by drawing upon elements of sense perception that are both immediately present and mediated by technology (sight, sound, narrative, affect, memory, history). This embodied engagement with hybrid experiences transforms the familiar cityscape into a textured urban fabric that is mutable, surreal, disruptive and enchanting. At the same time, it raises crucial personal and political questions about surveillance, inclusion, and (dis)connection.

The works included in the exhibition engage practices of location-based mobile art as a mode of creative coproduction and networked participation in the city. Each one depends upon its context in the public realm, and plays upon the interdependence of digital and physical experiences that activate a new sense of place and relationship to cartography. By provoking questions about the possibilities and limits of the new borders between the physical and the virtual, the real and the imaginary, the tactile and the tactical - city space and creative measure - these works reinvent a relationship to aesthetic digital objects, ideological processes and strategies for intervention.

L.A Re.Play presents opportunities to re.think, re.experience, and re.play an awareness of space and the city. Participants can experience an embodied engagement with place and, in some cases, a performance of everyday actions that reorganize our experience of space and time. Mobile media art works are at once definable and indefinable, delimited and unbounded and suspend performers and participants in a tension around co-presence and mediated interactions that defy formal modes of presentation. We hope this exhibition provides a platform and situation to reflect upon the creative collaboration between makers, participants and the broader public in the arena of mobile art.

Indeterminate Hikes +: http://ecoarttech.net/indeterminatehikes/index.html
ecoarttech: http://www.ecoarttech.net/

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3. Rafael Sánchez, FF Alumn, at MoMA, Manhattan, thru May 14

alLuPiNiT
the new york city environ mental magazine
to be part of Millennium Magazines at MoMA

Pronounced: all up in it, the new york city environ mental magazine will be part of Millennium Magazines curated by Rachael Morrison and David Senior at the Library of the Museum of Modern Art in New York.

The exhibition, which opens on February 20, is a survey of artists' magazines published since 2000. It will explore the various ways in which contemporary artists utilize the magazine format as an experimental space for the presentation of works and text.

Throughout the 20th century, the activities of groups and collectives were often codified first in the informal context of a magazine or journal; this exhibition, drawn from the holdings of the MoMA Library, follows the practice into the 21st century and represents MoMA Library's effort to document, collect and share this medium.

In Reading Room:
Founded and edited by the artists Rafael Sánchez and Kathleen White, alLuPiNiT is black and white, staple-bound 11"x8.5" xeroxed magazine. Sánchez and White joined together in 2004 when they exhibited shows of their work at Participant Inc, NYC that year. They began collaborating on on-going works often executed on the streets of New York City. They also began gathering material and taking notes on important subjects that touched their personal lives but were not getting much attention from which evolved the first issue of alLuPiNiT in 2007-8. alLuPiNiT became a 501c organization in 2009.

Reflected in the magazine's zine-style format are the artists' awareness of and a resistance to the digital information-age "glut" and an expressed need for a reliable, hands-on, production format standard to survive from generation to generation. The editorial style reflects a consciously provincial approach within a metropolitan situation. alLuPiNiT gathers and gleans material and publishes when they have the circumstances and funds for production and distributes mainly from their bookstand on Hudson Street.

alLuPiNiT
Vol. 1 untitled
Vol. 2 RATS !!!
Vol. 3 TABBOO!
Vol. 4 INDEX ( coming soon TBA )
Vol. 5 Hunter Reynolds / Survival AIDS

Millennium Magazines will be on view in the concourse / mezzanine and library reading room of the Cullman Education and Research building of the Museum of Modern Art, 4 West 54th Street, NYC, from February 20 until May 14, 2012.

Concourse entrance is free.
Library by appointment.
Panel discussion April 9.
See links below for further information.
Millennium Magazines : http://www.moma.org/visit/calendar/exhibitions/1244
MoMA Library : http://www.moma.org/learn/resources/library/
alLuPiNiT : http://allupinit-nyc.blogspot.com/
alLuPiNiT
I N V E N T O R Y & U P D A T E
http://allupinit-nyc.blogspot.com/2012/01/blog-post_31.html

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4. Claire Jeanine Satin, FF Alumn, at San Francisco Center for the Book, CA, thru May 13, and more

Claire Jeanine Satin news:

2nd Artist Residency to Venice, Italy this Spring with a solo exhibition in Maestre of my bookworks.

Published in the 2nd Edition of The Art of the Book, The National Museum of Women in the Arts, Washington,DC

Featured article: The Guild of Book Workers Newsletter

Exhibition:
"Left To Chance: The Accidental Book", San Francisco Center for the Book, opening February 17 -May 13, 2012

6th International Artist Books Exhibition Traveling: 1st venue: Scuola Internazionale di Grafica, then to Leipzig Book Fair, France, Lithuania, and other venues. Catalog will be published.

Thank you.

Best,

Claire

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5. Shea Gordon Festoff, FF Alumn, at University of Missouri, Kansas City Women's Center, MO, opening March 1

Shea Gordon Festoff's project "The Dead Sea Casino" will be part of the exhibition, "Vanguards and Visionaries", which is being sponsored by the University of Missouri Kansas City Women's Center in honor of its 40th anniversary.
Leedy Voulkos Art Center
2012 Baltimore
Kansas City MO 64105

For more information please email umkc-womens-center@umkc.edu
Opening reception Thursday, March 1, 2012 from 5:30 PM to 7:30 PM (Central Time)

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6. Jordan Crandall, FF Alumn, at Eyebeam, Manhattan, Feb. 25

JORDAN CRANDALL
UNMANNED
Feb 25, 2012 4:00-6:00PM
Eyebeam Center for Art + Technology
540 W 21st St. New York, NY 10011
212.937.6580
free admission

Jordan Crandall's Unmanned is a work of "philosophical theater": a blend of performance art, political allegory, philosophical speculation, and intimate reverie that explores the changing nature of masculinity in the face of automated technologies of war. Jordan conducts a series of monologues in the guise of seven different characters, supplemented with stage action, video, and sound. Each character is an archetype of masculine identity struggling with its own agency and role in the field of deployment -- historically the most complex issue in the field of military endeavor.

The action takes place in the desert borderlands of the American Southwest and revolves around the crash of a drone into a surburban backyard. The crash is investigated through the agency of a detective who attempts to discover its cause -- the place where the fault resides. Along with a trucker/cowboy who searches for drone crashes along the borderzone, he helps orient the performance away from the failure itself and instead, toward its productive power. The crash becomes a destabilizing force that dislodges conventional associations and reorganizes the field of awareness. With actors rendered newly mobile, all kinds of novel players enter the scene, and a new ontological framework begins to take shape.

more info: http://eyebeam.org/events/unmanned

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7. Elana Katz, FF Alumn, at Smartloft, Berlin, Germany, opening Feb. 22

SMARTLOFT apt& art announces:
Time Capsule
Curated by Thomas Arnold and kate hers.
Opening: 22 Feb 2012, 6-9pm
Exhibition: 23 Feb-9 Sept 2012

SMARTLOFT apt& art
Chorinerstr. 7
10119 Berlin
www.smartloft.de
info@smartloft.de

Artists:
Ivan Bošković
Alexine Chanel
Woori Cho and Patrick Jambon
Chan Sook Choi
Carson Grubaugh
Dan Hudson
Elana Katz
Gwen MacGregor
Rachel Simkover
Latefa Wiersch

www.elana-katz.com

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8. Linda Stein, FF Alumn, at Sinclair Community College, Dayton, OH, thru March 7, and more

Linda Stein in Solo Exhibition/Performance/Lecture

The Fluidity of Gender:
Sculpture by Linda Stein

Feb 8 - Mar 7, 2012
Burnell R. Roberts Triangle Gallery
Building 13
Sinclair Community College
Dayton, OH 45402

Thursday, Feb 23
7pm-9pm: Gallery Reception
with student 10-minute SteinGIG
Interpretive Performances
at 7:15pm & 7:45pm.
Artist will be present.

Friday, Feb 24
10:20am-11:15am: Keynote Address by
Linda Stein for REACH 2012 Conference
(Building 12) Click here for lecture abstract.
1-2pm: Informal Interactive talk with Linda Stein at the Triangle Gallery (Building 13).

Gallery Hours: Mon - Thurs 8 am - 8 pm,
Fri 8 am - 5 pm, Sat 8 am - 3 pm

Lecture

Salander/Blomkvist:
Challenging Stereotypes in
The Girl With the Dragon Tattoo-and Beyond
Stein discussion
Wednesday, Feb 22, 2012, 8pm-9:30pm

113 McGregor Hall
Antioch College
1 Morgan Place
Yellow Springs, OH 45387

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9. Alan Moore, FF Alumn, in New York City, Feb. 23-27

hi Friends,
Just to let you know, this event is kicking off next week.
We are all very excited to be in New York!
please forward to those you think might be interested...
best,
/awm

SCHEDULE -- pasted, RTF attached, and at http://sqek.squat.net/?page_id=2

Squatting Europe Collective, New York City, February 23-27, 2012
a. Press release
b. Reception, Thursday 2/23 at ABC No Rio, 7-10pm
c. AAG sessions, Friday 2/24 at Hilton Hotel, 2nd floor Nassau Room
d. Saturday, February 25th, afternoon/evening - Public presentation: "Squatting in Europe: Prospects and Perspectives" at Living Theatre, 5-7pm; ends sharp; drinks afterwards at The Suffolk, Clemente Soto Velez Cultural Center
e. Sunday, February 26th - brunch meeting at 16 Beaver Group 12-4pm // meet with O4O group at 7pm
f. Monday, February 27th - Public meetings with activists TBA // Presentation at CUNY-GC 6:30-8:30pm
g. SQEK "Living Library" at Interference Archive, Brooklyn
h. AAG session description (theoretical questions around militant research)

Squatting Europe Kollective Convenes in New York City

For the first time ever, a group of activist researchers from the European squatting movement are gathering in New York City. They will make public appearances to speak about the decades-old movement of squatting and building occupations in their respective countries.

The tradition of political squatting is moving from the shadows into the light. With the world-wide rise of the Occupy movement, the deep reservoir of experience within the movements of political squatting have become suddenly significant.

Generations of activists have participated in occupations of vacant buildings in Europe, beginning in the 1970s. The best known early success was the famous "free city" of Christiania in Copenhagen. But every major city in Europe has experienced some version of politicized squatting, most recently in the form of social centers.

The members of SQEK - Squatting Europe Collective - have gathered for special sessions at the Association of Amerian Geographers' annual convention February 24. A public discussion, meetings, film and graphic arts exhibition are among the other activities planned for the meeting, Scheduled activities for SQEK 2012 New York City:

Reception, Thursday 2/23 at ABC No Rio, 7-10pm
Thursday, February 23rd 7-10 pm - Reception for visiting researchers and activists
poster show of "House Magic" zine about squats and social centers
ABC No Rio cultural center
156 Rivington Street
Loisaida, NYC // abcnorio.org

AAG sessions, Friday 2/24 at Hilton Hotel
Squatting and Social Centers: Resistance and Production of Critical Spaces I
(5 sessions, 8am-6:20pm) in Nassau A, Second Floor, Hilton NY
Note: Single session costs a lot of money, but you can probably sneak into this room which we have all day. Look like you belong there; it will be a radical egghead party...

8:00 AM - 9:40 AM - Participants: Miguel A. Martinez (University Complutense of Madrid/CSOA Casablanca) and Lucy Finchett-Maddock (University of Exeter), Pierpaolo Mudu (University of Rome/Forte Prenestino), Hans Pruijt (Erasmus Universiteit, Rotterdam), Loredana Guerrieri (Osservatorio Di Genere, Istituto Storico Della Resistenza, Macerata, Italy), Matthias Bernt (Leibniz Institute for Regional Development and Structural Planning, Leipzig)

10:00 AM - 11:40 AM - Participants: Linus Owens (Middlebury College, Vermont), Nathan Eisenstadt (Bristol University), Giovanni Piazza with Valentina Genovese (University of Catania), Alessia Marini (University of Rome, La Sapienza), Matthias Bernt

2:40 PM - 2:20 PM - Participants:Elisabeth Lorenzi (UNED Universidad Nacional de Educación a Distancia), Amy Starecheski (CUNY City University of New York, Graduate Center, New York), Thomas Aguilera (Sciences Po, Paris), Andrea Aureli (St. John's University, Rome), Matthias Bernt

2:40 PM - 4:20 PM Panel session; Participants: Justus Uitermark (Erasmus University, Rotterdam); Maria Rodó de Zárate (UAB Universitat Autònoma de Barcelona); Giovanni Piazza; Miguel A. Martinez; Thomas Aguilera; Amy Starecheski; Hans Pruijt; Andrea Aureli; Eliot Tretter (University of Texas, Austin)

4:40 PM - 6:20 - Mark Purcell (University of Washington, Seattle); Eli Meyerhoff (University of Minnesota); Pierpaolo Mudu; Lucy Finchett-Maddock; Nathan Eisenstadt; Alessia Marini; Loredana Guerrieri; Elisabeth Lorenzi; Salvatore Engel-DiMauro (SUNY State University of New York, New Paltz)

Saturday, February 25th - SQEK internal meeting 9am-12pm - City University of New York, Graduate Center student lounge, 34th St. & 5th Ave., 5th floor (tentatively confirmed)

Saturday, February 25th, afternoon/evening - Public presentation: "Squatting in Europe: Prospects and Perspectives" (Living Theatre, 21 Clinton St half a block below Houston Street, 5-7pm; ends on the dot of 7pm); drinks afterwards at The Suffolk, Clemente Soto Velez Cultural Center, southwest corner Suffolk and Rivington

Public presentation by members of the Squatting Europe Collective (SQEK)
"Squatting in Europe: Prospects and Perspectives"
A roundtable with the members of SQEK

Generations of activists have participated in occupations of vacant buildings in Europe, beginning in the 1970s. The best known early success was the famous "free city" of Christiania in an abandoned military base in Copenhagen. By now nearly every major city in Europe has experienced some version of politicized squatting. Often this takes the form of the social center, occupations of large buildings which are organized to provide cultural, political and social services, usually for free.

For the first time ever, a group of activist researchers from the European squatting movement are gathering in New York City. They will make public appearances to speak about the decades-old movement of squatting and building occupations in their respective countries.

The tradition of political squatting is moving from the shadows into the light. With the world-wide rise of the Occupy movement, the deep reservoir of experience within the movements of political squatting have become suddenly significant.

Confirmed participants in a roundtable public presentation are: Miguel Martinez, Elisabeth Lorenzi (Madrid, Spain), Hans Pruijt (Rotterdam, Netherlands), Gianni Piazza (Sicily), Eliseo Fucolti (Rome, Italy), Thomas Aguilera (Paris, France), Lucy Finchett-Maddock (United Kingdom), Lynn Owens, Tina Steiger (Copenhagen/USA), Alan W. Moore (Madrid/USA)

Sunday, February 26th - Public meetings with activists
noon-4pm - brunch and afternoon session at 16 Beaver Group, 16 Beaver St., Wall St. area (tentatively confirmed)
7pm - Catholic Worker auditorium (55 East Third St.) - a round table, "talking turkey" with activists of O4O (Organizing for Occupation)


7. Monday, February 27th - meetings with activists (to be scheduled)

6:30pm-8:30p - Public discussion at CUNY Graduate Center, northeast corner 34th St. & 5th Ave. - Room C201 ("concourse" level, i.e. basement; capacity 40)
SQEK "Living Library" at Interference Archive, Brooklyn, continuing throughout the weekend
131 8th St. #4. Brooklyn, NY 11215 (Gowanus) 2 blocks from the F/G/R trains (4th ave. and 9th st.)

AAG session description
Association of American Geographers Annual Meeting 2012 // Friday, 24 February, 2012
"Squatting and Social Centers: Resistance and Production of Critical Spaces" (5 sessions, 8am-6:20pm)
The aim of this session is to bring together different perspectives concerned with the experience of squatting as practice of resistance and space of political engagement. Specifically, the session will focus upon, and solicit papers on five main themes:
a) Long and medium term structural factors that make squatting possible (or constrain it)
b) Analysis of "conflicts" and "dynamics."
c) Social Centers/Squats' networks, politics and culture
d) Empirical case-studies and comparative perspectives to squatting
e) Novel theoretical, cross-disciplinary and empirical approaches for the study of squatting
Several questions are relevant and worth discussing:
- what different kinds of experiences of "political" squatting exist?
- what kind of political, or post-political, labels meaningfully describe coalitions and solidarity between social networks resisting various forms of neoliberalism?
- how can academics facilitating such spaces?
- what kind of alliance can be built between squatters and political parties, trade unions, environmental activists, peasant movements?
- how is the LGBT movement involved with squatting?
- how do legalization and institutionalization affect squatting?
- are social centers utopic? heterotopic? or...
- how do modalities like Critical Mass, music and art events and demonstrations function in social centers?
- what is the relation between the physical space of the social center, and the cyberspace of the hacklab?
- what are the relations between squatting, community gardens and alternative systems of food production?
Anticipated Attendance: 50 // Sponsorships: Socialist and Critical Geography Specialty Group
Political Geography Specialty Group

Alan W. Moore
en Madrid

"Art Gangs: Protest and Counterculture in New York City" (from Autonomedia)
"House Magic: Bureau of Foreign Correspondence" blog at
http://occuprop.blogspot.com & PDF zines online

mail: c/ General Pardiñas 24, 6° Int. Cent. // Madrid, Spain 28001
00 34 914 314 624

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10. Yvonne Rainer, FF Alumn, at Dia:Beacon, NY, Feb. 25-26, and more

Yvonne Rainer
Performance Series at Dia:Beacon
Saturday and Sunday, February 25 and 26, 2012
12 pm and 2 pm
Sunday, May 13, 2012
1 pm and 3 pm
Dia:Beacon
3 Beekman Street
Beacon, NY 12508
www.diaart.org/rainer

Dia Art Foundation is pleased to present dance works by renowned avant-garde choreographer and filmmaker Yvonne Rainer at Dia:Beacon, Riggio Galleries, in Beacon, New York. Dia's retrospective will celebrate the depth of Rainer's contributions to dance and will feature her earliest works of choreography from the 1960s-including both iconic and lesser-known pieces-and three compositions created within the last twelve years.
As co-founding member of Judson Dance Theater, Yvonne Rainer produced groundbreaking works that echoed ideas of time, space, and seriality that were being explored in the field of visual art at the time. Throughout the 1960s, Rainer and the other Judson choreographers-including Trisha Brown, Lucinda Childs, and Steve Paxton, among others-developed a new vocabulary for dance that built upon nonexpressive techniques and chance procedures, while also incorporating task-oriented movements that brought attention to the physicality of the body.

Yvonne Rainer demonstrates Dia's ongoing commitment to presenting experimental performance and dance at Dia:Beacon through new commissions and retrospectives of historical works. Previous presentations include Robert Whitman's Prune Flat and Light Touch (2003); Joan Jonas's The Shape, the Scent, the Feel of Things (2005-6); Merce Cunningham Dance Company (2007-9); Trisha Brown Dance Company (2009-10); and most recently Robert Whitman's Passport and MoonRain (both 2011).

PROGRAM SCHEDULE

Saturday and Sunday, February 25 and 26, 2012
12 pm and 2 pm
Three Satie Spoons (1961)
Three Seascapes (1962)
Spiraling Down (2008)

Sunday, May 13, 2012
1 pm and 3 pm
We Shall Run (1963)
Trio A (1966)
Chair/Pillow (1969)
Assisted Living: Good Sports 2 (2011)

FUNDING
This program is made possible by Yoko Ono and Dia's Commissioning Committee: Jill and Peter Kraus, Leslie and Mac McQuown, Genny and Selmo Nissenbaum, and Liz Gerring Radke and Kirk August Radke.

YVONNE RAINER
Yvonne Rainer was born in San Francisco in 1934. She trained as a dancer in New York at the Martha Graham Dance School and the Merce Cunningham Dance Company and began to choreograph in 1960. She was a founding member of Judson Dance Theater, a movement that began in 1962 and proved to be a vital force in redefining dance for the following decades. Starting in 1968, Rainer began to integrate short films into her live performances and, by 1975, had made a complete transition to filmmaking. She has since completed seven experimental feature films, and, in 1997, retrospectives of Rainer's films were held at the San Francisco Museum of Modern Art and the Film Society of Lincoln Center in New York City.

In 2000, Rainer returned to dance after a 30-year hiatus with a commission by the Baryshnikov Dance Foundation for the White Oak Dance Project titled, After Many a Summer Dies the Swan (2000). Most recently, she choreographed AG Indexical, with a Little Help from H.M. (2006), a reinterpretation of George Balanchine's Agon; RoS Indexical (2007), after Vaslav Nijinsky's Rite of Spring; and Spiraling Down (2008), a meditation on soccer, aging, and war. In 2010, Yvonne Rainer: Dance and Film, the first major European survey of Rainer's work was presented at the Tramway in Glasgow, Scotland. Rainer is the recipient of numerous awards, including two Guggenheim Fellowships (1969, 1988), three Rockefeller Fellowships (1988, 1990, and 1996), a MacArthur Fellowship (1990-95), and a Wexner Prize (1995). She currently lives and works in California and New York.
A premiere collection of Yvonne Rainer's poetry, Poems, is newly released by Badlands Unlimited (2011). For more information, visit www.badlandsunlimited.com.

DIA ART FOUNDATION
A nonprofit institution founded in 1974, Dia Art Foundation is renowned for initiating, supporting, presenting, and preserving art projects. Dia:Beacon, Riggio Galleries, opened in May 2003 in Beacon, New York, on the banks of the Hudson River as the home for Dia's distinguished collection of art from the 1960s to the present. The museum, which occupies a former Nabisco printing factory, features major installations of works by a focused group of some of the most significant artists of the last half century, as well as special exhibitions, new commissions, and diverse public and education programs. Dia:Chelsea is located on West 22nd Street in the heart of New York City's gallery district which it helped to pioneer. Currently open for artist lectures and readings, Dia is developing plans to expand its presence in Chelsea.

Dia also maintains long-term, site-specific projects. These include Walter De Maria's The New York Earth Room (1977) and The Broken Kilometer (1979), Max Neuhaus's Times Square (1977), Joseph Beuys's 7000 Eichen (7000 Oaks) (1988), and Dan Flavin's untitled (1996), in Manhattan; The Dan Flavin Art Institute, in Bridgehampton, New York; De Maria's Vertical Earth Kilometer (1977), in Kassel, Germany; Robert Smithson's Spiral Jetty (1970), in the Great Salt Lake, Utah; and De Maria's The Lightning Field (1977), in Quemado, New Mexico. For additional information, visit www.diaart.org.

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11. Liliana Porter, FF Alumn, at Galeria La Caja Negra, Madrid, Spain, Feb. 17

Liliana Porter "Disguise": Book presentation and print series exhibition at Galeria La Caja Negra, Madrid, Spain. February 17, 2012

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12. LAPD, FF Alumns, at UCEPP Community Space, Los Angeles, CA, Feb. 20

The Los Angeles Poverty Department is hosting a reading and talk by Jeff Dietrich of the Los Angeles Catholic Worker, about his new book:
Broken and Shared: Food, Dignity, and the Poor on Los Angeles Skid Row
The event will take place on Skid Row at the UCEPP Community Space, 800 E. 6th St, from 7 to 9 pm on Monday February 20. The event is produced by LA Poverty Department and is part of WALK THE TALK a project that combines performance, visual art and conversation about people and groups that have made community on Skid Row.

The essays that make up Broken and Shared were originally published bi-monthly over a forty year period in the newspaper of the Los Angeles Catholic Worker, The Catholic Agitator. Collected together for the first time in this book, these essays constitute Jeff Dietrich's witness to poverty on Los Angeles' Skid Row. The vast scope of Jeff Dietrich's essays introduces the reader to a world like no other. These essays combine the stories of poor women and men with a record of the author's civil disobedience, with a chronicle of the city's attitude of depraved indifference when it comes to the treatment of its poor, with a day-to-day history of the rapidly changing landscape that is downtown Los Angeles. The arguments and analyses in this book are predicated on singular and radical readings of the Biblical texts in counterpoint with a varied and rich array of philosophical, literary, and critical ideas. Through the lens of Jeff Dietrich's perspective and rooted in his life of self-imposed poverty, this book is both a prescription for change and an inspiration for how we might find ways to live more meaningful lives because we know the importance of caring for those who have nothing to offer but themselves.

Critics say:
"The world looks brighter for rarities like Jeff Dietrich."
-Wole Soyinka, Nobel Laureate and President's Marymount Professor in Residence, Loyola Marymount University

"Jeff's life-giving text held me enchanted, page after page, hours on end. I was at the mercy of magister... a verbal magician, who is also, gift beyond price, a friend."
-Daniel Berrigan, S.J., Activist and Poet

"Jeff writes with self-deprecating humor and extraordinary insight, confronting his fears, and confirming his faith."
-Martin Sheen, Activist and Actor

"This is a one of a kind primer on the life of this courageous man, his community and the newspaper he forged."
-Joanne Kennedy, Managing Editor, The Catholic Worker

"Each issue of the Agitator contains a new surprise of ways in which anger, ennobled by grace can be sweet."
-Ivan Illich, Philosopher and Social Critic

"You and the LA Catholic Worker bring light in this dark time for justice and peace."
-Rabbi Leonard L. Beerman, Founder of Leo Baeck Temple

"Jeff Dietrich's work is both authentic and important."
-Jacques Ellul, Philosopher and Theologian

Contact: John Malpede
310-259-1038
info@lapovertydept.org

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13. Nina Kuo, FF Alumn, at Cheryl McGinnis Gallery, Manhattan, thru March 10

Hi Art Connoiseurs- Like you all- been busy - cheers for a Wild Year

Cheryl McGinnis Gallery - 466 Washington, NYC
(1 blk South of Canal)

Quad Video by L. Roser
and big paintings too -

Drop by if ya want to see some Art --NinaKuo

exhibit goes til 3/10

www.ninakuo.rawcity.net

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14. Stacy Scibelli, FF Alumn, at Boston Center for the Arts, MA, Feb. 25, and more

Made with Love with Stacy Scibelli
PART OF THE ARTIST RESIDENCY PROGRAM AT THE BCA
Wear art, learn to pickle and make your own shoes in FREE workshops!
INTERACTIVE ARTIST TALK
Meet the artist and try on her "work"
Saturday, February 25 | 2 - 4:30 pm
PICKLING WORKSHOP *
Saturday, April 21 | 2 - 4 pm
WEARABLE ART WORKSHOP *
Thursday, May 17 | 6 - 8 pm
SHOE-MAKING & SHINING
AND OPEN STUDIO
Saturday, June 9 | Drop in - 1 - 4 pm
*Registration required. Spaces limited. Contact Cynthia Woo at cwoo@bcaonline.org or 617.429.1119.
Box Office | 617.933.8600
Phone | 617.426.5000
Fax | 617.426.5336
Email | info@bcaonline.org
Boston Center for the Arts
539 Tremont Street
Boston, Massachusetts 02116

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15. Marina Abramović, FF Alumn, in Canadian Art Reel Artists Film Festival, Toronto, Feb. 22-26, and more

Marina Abramović:
The Artist is Present
&
Rebecca Horn
Moon Mirror Journey

at the Canadian Art Reel Artists Film Festival
Toronto, Canada

February 22-26, 2012

Sean Kelly is pleased to announce that the ninth annual Canadian Art Reel Artists Film Festival (RAFF) will feature both Marina Abramović: The Artist is Present and Rebecca Horn's Moon Mirror Journey. The focus of this year's festival is revolutionary artists. The festival runs from February 22-26, 2012, at the TIFF Bell Lightbox in Toronto, Canada.

For its opening night on Wednesday, February 22nd, RAFF will host the Canadian premiere of Marina Abramović: The Artist is Present. In addition to providing unprecedented access to Abramović's preparation for her retrospective at the MoMA, the film weaves archival footage of the artist's early works together with interviews with MoMA PS1 Director and MoMA Chief Curator at Large Klaus Biesenbach; Whitney Museum of American Art curator Chrissie Iles; and performance artist and Abramović's early partner and creative collaborator Ulay, to name a few. The screening will be introduced by Ann Webb the Executive Director of the Canadian Art Foundation. The artist, director and producers will be present.

On Saturday, February 25th, RAFF will host the Canadian premiere of Rebecca Horn's Moon Mirror Journey (2011). Directed and narrated by the artist herself, the film is, in her words, "a sufi's journey" through some of her most compelling, site-specific large-scale installations and exhibitions, including the Concert for Buchenwald (1999) and the Spiriti di Madreperla installation in Naples (2000). The film features interviews with critic and curator Stephen Madoff and philosopher Boris Groys as well as music by Hayden Chisholm. The screening will be introduced by Paulette Phillips, professor at OCAD University in Toronto.

For further information on the festival and to purchase tickets, please visit the Reel Artists Film Festival Website: http://www.canadianart.ca/microsites/REELARTISTS/

REEL ARTISTS FILM FESTIVAL
Canadian Art Foundation
215 Spadina Ave Suite 320
Toronto, ON M5T 2C7

and from The New York Times, February 16, 2012, 11:58 am
Marina Abramović Turns to Rem Koolhaas to Design New Performance Art Center
By Robin Pogebrin

The artist Marina Abramovic has selected the architect Rem Koolhaas's firm, OMA, to design her new performance art center in upstate New York.
The deal, reported by Vulture.com on Wednesday, calls for the firm to transform a former tennis center in Hudson, N.Y., into the Center for the Preservation of Performance Art, a space devoted to pieces that may last several hours or even several days. Ms. Abramović revealed the $8 million project on Tuesday night to a group of art collectors at a panel at Manhattan's Core Club. Ms. Abramović bought the site four years ago to turn it into a museum and theater, but other projects forced her to put it on hold.

Because the museum will be devoted to marathon performance art, it will feature customized chairs complete with wheels, dining tables and lamps. People who fall asleep will be rolled into a special sleeping area - considered part of the performance - and rolled back when they awaken.

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16. Nicole Eisenman, FF Alumn, in The New York Times, Feb. 16

The New York Times
February 16, 2012
Biennial Tweaks Its Boundaries
By CAROL VOGEL

It has never happened before, and it will be another six years before the New York contemporary art planets align the same way again: Two sprawling contemporary surveys - the New Museum's second-ever Triennial, which opened Wednesday, and the Whitney Museum of American Art's 76th Biennial, opening March 1 - will be on view simultaneously.

Given that different curators inevitably have different views, and that these two institutions also have distinct missions, it's not surprising that they have come up with very different takes on the art of the moment. The New Museum has cast its net internationally, while the Whitney, being dedicated to American art, will be a bit more homegrown, although the biennial will include artists born elsewhere who happen to live and work here. Only one artist - the Los Angeles-based Wu Tsang, who identifies himself as "transfeminine" and "transguy" and who mixes art and politics in performances, filmmaking and installations - will be included in both shows.

The New Museum's exhibition has been given a title, "The Ungovernables," inspired by the 1976 student uprisings in South Africa, a term that, as its curator Eungie Joo put it, "could refer to an organized resistance," and that suggests a show defined by political commentary from a group of artists who are mostly in their 20s and 30s.

The curators behind this year's biennial - Elisabeth Sussman, a longtime Whitney curator, and Jay Sanders, a former director of the Greene Naftali Gallery in Chelsea and an independent curator - said they purposely stayed away from any one theme, and while politics is obliquely addressed in some works, both see the contemporary art world today as too multifaceted to distill.

"We wanted to be incredibly open," Ms. Sussman said, over lunch at Untitled, the Whitney's restaurant, one recent afternoon. "We didn't care if an artist had been in a biennial before. We wanted to show all different sorts of art." The result is a group that includes seasoned practitioners like Robert Gober, Mike Kelley and Nicole Eisenman along with several younger, emerging artists whom few people will probably recognize. The age range is broad too, from artists in their late 20s to some in their 70s.

In other ways this biennial is modest. Whereas in past years it burst out of the Whitney's Madison Avenue home, spilling into Central Park and the Park Avenue Armory, this time, as in 2010, it will be contained within the museum. The number of artists on view has shrunk from the 100 who were included in the 2006 exhibition - flusher times - to about half that number this year. "We were reacting against biennials where too much was crammed into the galleries so that no artist was shown to their best advantage," Mr. Sanders said. "We tended to hold back and only pick things that really spoke to us."

While the curators were careful to represent a spectrum of visual-art mediums - painting, sculpture, installation, video - there is new emphasis on the performing arts this year: dance, theater, music, film. For the first time the museum has removed most of the walls on its fourth floor, transforming it into a 6,000-square-foot space for performances. "By putting it on a dedicated floor it is front and center," Mr. Sanders said. "It's going to be the largest dance floor in New York after the Park Avenue Armory."

Films, meanwhile, will be shown in timed screenings in a gallery on the second floor. These moves are a means "of getting away from little black spaces with film and video or performances within the galleries," he added. "That had gotten tedious to us." An assortment of high-profile figures like the choreographer Michael Clark, the theater director Richard Maxwell and the filmmakers Werner Herzog and Frederick Wiseman will be represented, along with a selection of younger and emerging talents.

Visitors beware: While the public can watch performers rehearsing during the day while the biennial is on, tickets are required for many of the events. (They can be bought on the museum's Web site.) "Our ideal viewer is going to come seven or eight times," Mr. Sanders said. "We are treating this as though it is a performing arts center."

In the main galleries, however, there are paintings, sculptures, installations and videos. "We tried to break away from what had become a formula of a lot of rooms filled with one-artist exhibitions that often resembled a commercial art fair instead of museum exhibitions," Ms. Sussman said.

For now most of the visible advance work is being done by visual artists, who, along with art handlers and curators, are in the middle of the installation, a floor-by-floor process that is expected to take some three to four weeks.

This week the action was taking place on the third floor, where the first thing visitors will see as they step off the elevator will be two doors with old-fashioned brass knobs. Behind them Nick Mauss, a New York conceptual artist who has shown at Greene Naftali, has recreated a room by Christian Bérard - an artist, illustrator and set designer working in Paris during the 1930s and '40s - that still exists today at the Guerlain Institute in Paris. Featuring trompe-l'oeil paneling that Mr. Mauss has cut out and appliqued in velvet and ribbons, the room is a period piece of sorts that he has paired with a group of works from the Whitney's own collection, including a painting by Marsden Hartley, photographs by Warhol and Gary Winogrand and a lithograph by Ellsworth Kelly.

Mr. Mauss isn't the only artist looking backward. Nearby are four contemporary canvases inspired by Poussin's seminal 17th-century depictions of "The Four Seasons," only here they are hung on glass panels in the round, the work of the German-born artist Jutta Koether.

More old-fashioned still are examples of the textile-based artist Elaine Reichek's embroidery on linen, inspired by mythological motifs. Then there is an installation by Tom Thayer that will include collages, animations and delicate cutouts of human figures and storks so ephemeral one expects them to fly around the galleries by themselves in the night. "It's my utopia," Mr. Thayer said, as he worked on his installation the other afternoon.

Mike Kelley fans will see one of the last works he created before he died at 57, apparently by suicide, this month. On view will be videos that are part of his "Mobile Homestead," a full-scale model of the suburban house in Detroit where he grew up. "It's all about public art and the city of Detroit, its collapse and eventual gentrification," Mr. Sanders said.

The symbiotic relationship between fashion and art has been prevalent for a while now, and the biennial will include photographs by K8 Hardy, a feminist artist who will also stage a fashion show on the museum's fourth floor, pairing it with work by Oscar Tuazon, an artist known for his architectural sculptures. His pieces will start out in the museum's lobby but eventually be moved to become the runway for Ms. Hardy's fashion show.

The current vogue for abstraction, both in painting and sculpture, has not been forgotten. Two San Francisco artists will share the same gallery space on the third floor, Andrew Masullo with his small vibrantly colored canvases, and Vincent Fecteau with a group of sculptures made from cement, gypsum and clay.

And of course it wouldn't be a Whitney biennial without at least one outlandish installation. This year it's by Dawn Kasper, a Los Angeles artist who has literally moved into the museum. "Basically everything I own is here," Ms. Kasper said the other afternoon, wearing blue jeans, a hoodie and wool cap and standing in the middle of a chaotic space on the third floor containing her bed, piles of clothes and stacks of books: "Blade Runner," "Simply Vegetarian," "One Hundred Years of Solitude," to name a few. Some of her own photographs and collages were propped along the perimeter of the space, her "nomadic studio," as she calls it. Throughout the biennial, Ms. Kasper plans to make collages and drawings - part real-life studio practice, part performance. While the museum won't let her actually spend the night there, she said she planned to "take lots of naps."

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17. Cindy Sherman, FF Alumn, in The New York Times, February 16

The New York Times
February 16, 2012
Cindy Sherman Unmasked
By CAROL VOGEL

CINDY SHERMAN was looking for inspiration at the Spence Chapin Thrift Shop on the Upper East Side last month when she eyed a satin wedding dress. An elaborate confection, it had hand-sewn seed pearls forming flowers cascading down the front and dozens of tiny satin-covered buttons in the back from which the train gently hung like a Victorian bustle.

"It's Arnold Scaasi," the saleswoman said, as Ms. Sherman made a beeline for the dress. Unzipping the back the clerk showed off a row of labels, one with the year it was made - 1992 - and another with the name of the bride-to-be. "It has never been worn," she added. As the story goes, when the gown was finished, the bride decided she didn't like it.

Ms. Sherman appeared skeptical. Is this really what happened, or is the story just the cover for a jilted bride? One begged to know more.

That tantalizing sense of mystery and uneasiness are similar emotions viewers feel when they see one of Ms. Sherman's elliptical photographs. Over the course of her remarkable 35-year career she has transformed herself into hundreds of different personas: the movie star, the valley girl, the angry housewife, the frustrated socialite, the Renaissance courtesan, the menacing clown, even the Roman god Bacchus. Some are closely cropped images; in others she is set against a backdrop that, as Ms. Sherman describes it, "are clues that tell a story."

"None of the characters are me," she explained, sipping a soda at a cafe near the shop that afternoon. "They're everything but me. If it seems too close to me, it's rejected."

On this unseasonably warm afternoon Ms. Sherman, 58, had bicycled from her apartment in Lower Manhattan to discuss her landmark retrospective at the Museum of Modern Art, which opens Feb. 26 and includes more than 170 photographs. Wearing no makeup, with leggings and sneakers and a tweed hat that carefully concealed her crash helmet, she looked totally inconspicuous, hardly the celebrated artist whose fans include Lady Gaga; Elton John, who collects her work; and Madonna, who sponsored a show of Ms. Sherman's "Untitled Film Stills," at the Museum of Modern Art in 1997.

Petite, with strawberry-blonde hair that falls to her shoulders, she is nothing like the larger-than-life characters she portrays in her self-portraits. Soft-spoken and friendly, she is very much a girl's girl who can as easily giggle about men, movies and makeup as she can discuss literature and art.

With its array of high-end used clothing stores, this neighborhood has proved a rich hunting ground for Ms. Sherman. It was here along Third Avenue that she found the perfect designer clothes for her "society portraits," a 2008 series of photographs depicting Botoxed, over-made-up, often unhappy women of a certain age.

Even as she prepares for her retrospective - her first in the United States in nearly 14 years - she is pushing herself to try something new. Lately she's been thinking about creating a family portrait where she would play every member.

"She's undoubtedly one of the most influential artists of our time," said Eva Respini, associate curator of photography at MoMA, who has spent the last two years organizing Ms. Sherman's retrospective. "She is always addressing issues at the heart of our visual culture. In this world of celebrity makeovers, reality TV and YouTube, here is an artist whose different modes of representation seem truer now than when they were made."

Philippe Ségalot, a Manhattan dealer who bought his first work by Ms. Sherman for his own collection in the '80s, said: "I've always been amazed how she could take what seems like such a simple idea and keep reinventing it. Cindy is one of the few artists who has been consistently great throughout her entire career."

Raised in the 1950s, among the first artists to come of age in the era of television and mass media, Ms. Sherman is part of the "pictures generation," making works that combine Pop and Conceptualism.

She was first noticed in the '70s thanks to her "Untitled Film Stills," fictional portraits inspired by movies and girlie magazines. She and artists like Barbara Kruger, Sherrie Levine, Louise Lawler and Laurie Simmons were examining female archetypes and gender issues in a way no one had before. But it wasn't until 1981, when she made her "Centerfolds," a series of portraits inspired by photographs in Playboy - but with the women clothed and conveying a complicated range of emotions - that her career really took off.

"That was when museums first began to acquire her work," said Janelle Reiring, a co-founder of Metro Pictures, the Chelsea gallery. "It was a big turning point."

Peter Schjeldahl, the art critic for The New Yorker, who calls Ms. Sherman "his favorite American artist of the last 40 years," remembers the day he walked into Metro Pictures to see the "Centerfolds." He was so bowled over, he ran out to the nearest pay phone.

"I immediately called the two publications I wrote for only to discover that they had already assigned reviews," he recalled. "I had to write something that day, and it turned out to be a check."
Mr. Schjeldahl bought a photograph for $900, paying in monthly $100 installments.

By 1982 Ms. Sherman was the subject of an exhibition at the Stedelijk Museum in Amsterdam and included in Documenta 7 in Kassel, Germany as well as the Venice Biennale. Five years later she had a traveling retrospective that was at the Whitney Museum of American Art. And in 1995 she received a MacArthur grant.

Her "Untitled Film Stills," for which she purposely developed the film in hotter-than-normal chemicals to make them look cracked, cheap and grainy, like promotional giveaways, are now considered landmarks of late-20th-century art. (In 1995 MoMA purchased a set for a reported $1 million, an enormous price at the time.) But scores of other images from her long career have endured too, despite the proliferation of digital photography and Photoshop.

"The contradictory and complex readings of her work reinforces its ongoing relevance to multiple audiences," Ms. Respini said. "More than ever, identity is malleable and fluid, and her photographs confirm this." For Ms. Reiring the key to Ms. Sherman's success is that she "doesn't tell you what to think," she said. "Her work is so rich in meaning that everyone can develop their own ideas. Everyone sees something different." While she generally works in series, she has steadfastly refused to give titles to her photographs because she wants viewers to draw their own conclusions. Ms. Reiring said it was either the gallery or critics or the public who have named her series.

Commercially she is often credited with taking photography out of a ghetto and putting it on the same firm fine-art footing as painting and sculpture. In May 2011 Mr. Ségalot, bidding on behalf of a client, bought a 1981 image in which she posed as a teenage girl. For six months it was the most expensive photograph sold at auction, bringing $3.9 million at Christie's.

Growing up in Huntington Beach, on Long Island, where her father worked as an engineer for Grumman Aircraft, and her mother taught in public schools, she recalls liking to dress up "probably more than other kids."

"There are pictures of me dressed up as an old lady," Ms. Sherman said, sitting in her studio on the edge of SoHo one afternoon. "I was more interested in being different from other little girls who would dress up as princesses or fairies or a pretty witch. I would be the ugly old witch or the monster."

She started painting in college at the State University of Buffalo. "I was good at copying things, but I didn't really have ideas of what I wanted to do with painting," she said. "That was when I thought, 'Why am I wasting my time elaborately copying things when I could use a camera?' "

One of her first assignments in a photography class was to confront something that was hard for her. "I took a series of myself naked in front of the camera," she said. "I did a couple of these series, and that was when I started using myself, but at the same time, not as an art practice, just for therapy or something. I would transform my face with makeup into various characters just to pass the time."

She was dating the artist Robert Longo, and he suggested that she document herself in these costumes. And after the two moved to New York in 1977, Ms. Sherman would often show up places in costume.

On and off for more than a decade, starting in 1985, she removed herself from her pictures. One series depicts macabre still lifes of vomit, blood and moldy food; another captures anatomically correct medical body parts in bizarre poses. She has said she created many of these tougher images during difficult periods in her life, like when she was angry about several male artists whose careers seemed to take off more easily than hers, or when she was in the middle of a divorce from the French video artist Michel Auder, ending their 15-year marriage.

None of these images have been as commercially successful as her "Untitled Film Stills," or the "history portraits." The history series (1989-90) were shots of her dressed as characters from old masters like Titian, Holbein and Caravaggio.

She works alone in her commodious floor-through studio that houses her costumes, props and equipment. Women's wigs dot window sills, and there are shelves of wax doll's heads and body parts from medical mannequins. It is here that she becomes the subject, the photographer, the director, the makeup artist and the costume stylist.

"Whenever I tried to hire people or use friends or family, even if I paid them, I felt like I had to entertain them," she said. "When I'm working alone, I can push myself. And I don't complain."

In recent years technology has changed her work. Before digital cameras "I would do the character, set everything up. take a roll of film, get out of character, take the makeup off and go to the lab and wait a few hours for the film to be developed," she said. "Then I'd look at the film and realize something didn't work out. And I'd have to redo everything myself. Now I can continue working and tweak it as I'm going."

In the MoMA show there will be images that are new to American audiences in which she has digitally altered her face. "I didn't use any makeup," she said. "It was all slight subtle changes with Photoshop to make each character look different."

In some her eyes are bigger and spread apart; in others she has reshaped her chin or plumped her cheeks. "It's horrifying how easy it to make changes," she said.

Recently she has been thinking big, producing murals printed on a kind of contact paper. She got the idea, she said, after seeing how "a number of male artists would get invited to do a show somewhere, and they'd just fill up an entire wall of painting that is just this gigantic thing."

She added: "I was thinking how pretentious that is. It made me realize not too many women artists think that way."

As visitors get off the escalator at MoMA, they will be enveloped in 18-foot-tall images of Ms. Sherman standing amid a bucolic black-and-white setting that she shot in Central Park. "It's like walking into Cindyland," Ms. Respini said on a recent afternoon as she was overseeing workers applying the contact paper to the museum's walls.

There Ms. Sherman emerges in yet another mind-boggling array of characters: a circus juggler; a woman clad in a body suit with pointy bosoms, nipples and pubic hair (discovered in a Tokyo department store); an aging woman in a long red dress.

"You think you may know them," Ms. Respini said. "But in fact the more you look at them, the more complex and darker they seem. The same could be said of Cindy. How can such a mild-mannered, nice woman have such a wicked imagination that keeps inventing these fantastical characters over and over again?"

This article has been revised to reflect the following correction:
Correction: February 16, 2012
An earlier version of this article misstated the height of images of the artist Cindy Sherman that are installed at the Museum of Modern Art as part of a new retrospective of her work. They are 18 feet tall, not eight.

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18. James Casebere, FF Alumn, at Walker Art Center, Minneapolis, MN, Feb. 25-May 27

James Casebere
&
Leandro Erlich in

Lifelike

at the Walker Art Center
Minneapolis, Minnesota

February 25 -
May 27, 2012

James Casebere in conversation
February 25, 2012 at 2pm
Sean Kelly is pleased to announce that works by James Casebere and Leandro Erlich will be featured in Lifelike, an exhibition at the Walker Art Center in Minneapolis, Minnesota. The exhibition, which is curated by Siri Engberg, highlights an international selection of artists whose practices engage commonplace objects and situations to create effects that are startlingly realistic, often playful and sometimes surreal. Lifelike opens on February 25th and will be on view through May 27, 2012. A Walker-produced catalogue accompanies the exhibition.

Lifelike features artists who use scale, unusual materials and sly contextual devices to reveal the manner in which their subjects' "authenticity" is manufactured. The works featured focus on handmade, labor-intensive practices rather than using technological enhancements, thus transforming the ordinary into beguiling objects, imbued with an arresting sense of humanity, narrative and metaphor. The exhibition includes Leandro Erlich's Subway (2010) and James Casebere's Landscape with Houses (Dutchess County, NY) #8 (2010), pictured above. Lifelike is scheduled to travel to the New Orleans Museum of Art, Museum of Contemporary Art, San Diego and the Blanton Museum of Art of the University of Texas at Austin.

On the occasion of the opening of Lifelike, James Casebere will be speaking at the Walker, engaging with exhibition curator Siri Engberg and Michael Duncan, the Los Angeles-based critic, independent curator and corresponding editor for Art in America, for a conversation about the role of the real in contemporary art. The event will take place on February 25, 2012 at 2pm at the Walker Cinema. For further information on the talk and to purchase tickets, please visit the event listing on the Walker Art Center website.

For further information on the exhibition, please visit the Walker Art Center website.

For press inquiries, please contact Maureen Bray at the gallery (212.239.1181) at maureen@skny.com. For all other inquiries, please contact Cécile Panzieri at the gallery (212.239.1181) or at cecile@skny.com.

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19. Mitzi Humphrey, FF Alumn, at art6 Galler, Richmond, VA, March 2-31

FF alumn Mitzi Humphrey will be exhibiting in and co-curating the exhibition Van Gogh's Ghost Paintings: Artists' Responses at art6 Gallery, Richmond, Virginia, March 2 - 31.

Vincent van Gogh composed only two paintings from the life of Christ during his lifetime. No one but the artist has ever seen those works, as he destroyed both. One was a day scene and one a night scene of Jesus in Gethsemane, the Mount of Olives. Van Gogh used the text in the Gospel of Luke 22:39-46, and describes his works in lettters that can be found at vangoghletters.org (letters 637, 685, 698). Art6 invites artists in all media to submit works that seek to re-construct the lost paintings or respond to the act of creation and destruction. Work should be delivered to Art6 Gallery, 6 East Broad Street, in Richmond, VA on Sunday Feb. 26, 2012, from noon to 4 p.m. The show will continue through the month of March with the opening on First Friday, March 2. For a registration form or further details, e-mail risaunders@aol.com or cedwards@vcu.edu The show will be curated by Mitzi Humphrey and Ronna Saunders.

Dr. Cliff Edwards, who proposed this show, has taught at Virginia Commonwealth University since 1975, and is a professor in its School of World Studies. His education spans East and West. He earned his Ph.D. degree from Northwestern University in Comparative Religion. He did graduate work at Strasbourg University in France,. Neuchatel University in Switzerland, Hebrew Union School of Archaeology in Jerusalem, and Daitokuji Zen Monastery in Fyoto, Japan. Among his books are two works on Japanese haiku, and three books on the spiritual search of Vincent van Gogh. In March, Dr. Edwards will also present a lecture on the theme of the Van Gogh exhibition for the most recent in The Pinkney Near Memorial Lectures in Art History series, originated and moderated by Mitzi Humphrey in memory of Pinkney Near, the first chief curator of the Virginia Museum of Fine Arts.

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Goings On is compiled weekly by Harley Spiller