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Contents for June 11, 2012

1. Marina Abramovic, FF Alumn, in the Wall Street Journal, June 8

Wall Street Journal, June 8, 2012
An Artist Recalls Her Recent Present
By Andy Battaglia
Pioneering performance artist Marina Abramovic has devoted the past four decades to work that is pitched between extremes of loud and quiet, cooperation and confrontation. For one early piece in the 1970s, she rode a van around a square in Paris for 16 hours, yelling through a megaphone all the while. For another in 1988, she and her husband, the artist Ulay, walked separately from opposite ends of the Great Wall of China, then broke up when they finally met in the middle. In others she has made use of knives and guns, tacitly inviting spectators to threaten her with them.

Then there was the project that serves as the subject (and the title) for a new documentary, Matthew Akers's "Marina Abramovic: The Artist is Present," which opens at Film Forum Wednesday, before a broadcast run on HBO in July. The film surveys Ms. Abramovic's entire career with a special focus on her 2010 retrospective at MoMA, which included re-enactments of past works as well as a new project for which the now 65-year-old artist sat for three months in silent vigil with museumgoers who waited in long lines and even camped out to sit wordlessly, one by one, across from her. Many broke down in tears.

In a context less taxing than that one, the Belgrade-born artist sat down recently to talk about the film as well as her recent announcement of the Marina Abramovic Institute for the Preservation of Performance Art, a sizable new home for long-durational art, which she plans to open upstate in Hudson, N.Y., in 2014.

The performance artist and her then-husband, Ulay, perform 'Rest Energy' in 1980.

Your silent-sitting piece at MoMA seemed to be a grueling exercise. Looking back two years later, what do you take from it?

It's so emotional still that I can't even watch it. Every time I see the faces of people sitting, all these emotions come up. It's still fresh. We screened [the film] recently at MoMA, but before we showed it to a big audience I wanted to show it to the guards. There were 65 guards, and some would sit with me in their free time. Mr. Tunji, the chief guard, would come on his free day just to make sure everything was OK. He got completely emotionally involved in the piece. So many things could have gone wrong when you have that amount of public: 20,000 people were there one day, passing by.

The film offers an extremely up-close view of the entire process. Was it regrettable at any point to have granted so much access?

At 6 o'clock in the morning, the whole crew was in my place waiting with the camera for me to wake up. I wanted to kill them with my own hands. On Fridays, I would have a massage, because my body was in pain. I put my head in the hole in the massage table and the guy is on the floor, looking at my face dropping sweat on the lens. They were hard-core.

Why was it important to you to withstand it with so much else going on?

I really wanted to have the larger public understand what it means to make performance art. The only way is to give up your privacy and make an objective point of view. The filmmaker didn't believe that performance art could be transformative in the first place, and I was very happy with his skepticism. He started a complete disbeliever and turned into a big believer.

In the movie, one woman takes her clothes off to sit with you naked but is whisked away by museum guards. Did you have contact with her afterward?

No, I see so many people on the streets who came and sat with me, but I never crossed paths with her. Everything is forbidden here-it's so difficult to have a spontaneous reaction, not easy at all. To me it was very disturbing the reaction of the press about the [retrospective work re-enacted on the] sixth floor, especially one with two artists nude in the doorway and you have to cross between them. Everybody talked about nudity, erection, half-erection, pinching on the a-. It was a very vulgar reaction, and nobody saw the poetical part: that artists are the door to the museum. If there are no artists, there would not be museums.

What compelled you to develop the Marina Abramovic Institute for the Preservation of Performance Art in Hudson?

Performance art has gone through many changes and an enormous amount of misunderstanding. Every idiotic, sh- little gesture people call performance art is not. Lady Gaga is not a performance artist. Lady Gaga's meat dress-at least three artists made a meat dress before her, and nobody mentions it. I also want to educate the public on how to look at performance art. The public is educated on how to look at Rembrandt or Vermeer, how they built an image and how to read the symbols. But nobody has done that with performance.

What kind of projects do you imagine finding a home there?

One of my big dreams is to ask David Lynch to make a 365-hour movie. I also want to create a platform to work with scientists and with new technology. I had lunch a few months ago with Kim Stanley Robinson, a science-fiction writer who gave me a new book he wrote called "2312." I'm one of the characters in the book. He said, "I saw you at MoMA, and you are great for creating galactic troubles." So I am now doing performances on an asteroid near Mercury, just so you know.

Your focus is to be on "long-durational" work. Why?

The transformative energy of long-durational work is immense, for the performer doing it and the public watching it. Durational art can change your patterns of thinking and bring you more into the here and now. It's a pure experience. When you come to the institute, you have to sign a contract with me that you will stay for a minimum six hours and give me your word of honor. If you break your word of honor, that's your problem, not mine. Then, if you give me your time, I will give you an experience. It has to be a fair exchange.

A version of this article appeared June 8, 2012, on page A22 in the U.S. edition of The Wall Street Journal, with the headline: An Artist Recalls Her Recent Present.



2. Yoko Ono, FF Alumn, at University of Applied Arts, Vienna, Austria, Nov. 8-12

European League of Institutes of the Arts (ELIA) /
University of Applied Arts Vienna

12th ELIA Biennial Conference:
Art, Science and Society
8-10 November 2012

Early bird registration deadline: 30 July 2012
Final registration deadline: 26 October 2012

MuseumsQuartier Wien
Museumsplatz 1/5
A-1070 Wien, Austria


Art Questions, Art Knows, Art Matters
The European League of Institutes of the Arts (ELIA) and the University of Applied Arts Vienna are pleased to announce the 12th ELIA Biennial Conference, 8-10 November 2012.

Covering all artistic disciplines and major developments in Higher Arts Education, it will take place in the MuseumsQuartier Wien, one of the world's largest complexes for modern art and culture, situated in the very heart of the city. Hosted by the University of Applied Arts Vienna (Die Angewandte), the ELIA Biennial is the largest conference on Higher Arts Education worldwide, attracting approximately 500 arts and culture professionals worldwide.

This year Yoko Ono will be joining a number of other luminaries including VALIE EXPORT, Matthias Horx, Ute Meta Bauer, and Shady El Noshokaty.

"We meet, we share, we discuss, we celebrate, we establish new links, and sometimes we change our views."

The ELIA Biennial also features three consecutive plenary sessions called Art Questions, Art Knows, Art Matters, which will be followed by intensive table discussions. These sessions afford delegates the ideal setting to dialogue and network.

In 2012 ELIA is adding a political dimension to the programme. A resolution will be made available to conference participants in advance of the event to stimulate discussion and encourage active engagement between arts and politics.

The resolution's focus is on underlining the power of the arts and higher arts education for the whole of society beyond economic impact, once culture and creativity are given a chance to develop freely with a high degree of autonomy. It dares participants to look at higher arts education from new angles to prepare students for a different future.

Visit the ELIA Biennial online registration portal to register and join this lively discourse!
Early bird online registration will close 30 July 2012.
Final online registration will close 26 October 2012.

For further information, including a full programme, please visit the ELIA Biennial website.

Please direct all questions and enquiries to ELIA Conference Manager Barbara Revelli (barbara.revelli@elia-artschools.org) or the Conference Manager of Die Angewandte, Anja Seipenbusch (anja.seipenbusch@uni-ak.ac.at).

About ELIA
The European League of Institutes of the Arts (ELIA), based in Amsterdam, is the primary independent network organization for higher arts education. Founded in 1990, ELIA represents over 300 member institutions in 47 countries on the European and international levels. ELIA forms unique bodies of knowledge and facilitates dialogues, mobility and activities between artists, teachers, administrators, senior managers, key decision makers, and more than 300,000 students from all art disciplines. For more information on ELIA and its many initiatives visit www.elia-artschools.org or e-mail info@elia-artschools.org.

About The "Angewandte"
The University of Applied Arts Vienna, which was founded in 1867, has over 2000 students, many of whom come from abroad. Throughout its history the "Angewandte" has made a major contribution to the development of the artistic and intellectual identity of both Vienna and Austria. Moreover, today the "Angewandte" is one the world's most important universities of art with a broad range of content in the fields of Architecture, Design, Fine Arts, Media Arts, Restoration, and Art Theory. In the last years the "Angewandte" has increasingly assumed a pioneering role in many new areas of development such as transmedial and transdisciplinary art, art & science, social design, and artistic research. For more information visit www.dieangewandte.at or e-mail pr@uni-ak.ac.at.



3. Tim Miller, FF Alumn, summer newsletter

Tim Miller Summer Newsletter

Hi All,

Hope you are having (or for people on quarter system...ABOUT to have) a great summer!

Looking toward the new year I am delighted to be spending weeks at University of Colorado and Wake Forest University directing mainstage devised project. But more immediately I am excited about this performance workshop project and performance we will be doing at the humungous Assoc. for Theater in Higher Education Conf. in DC August 2-4.

This will be a really unique opportunity for a super great community of theater folk to work together. As you may know, I do a LOT of week-long performance workshop intensives in University Theater and Performance Studies programs where we create an original hour long piece FAST and then perform it publicly. Considering I have often opined that ATHE is too great of a gathering not to have a creative project like this get made DURING the conference, I am excited to get the challenge to do this ensemble performance project.

We will dive into an exploration of the heat and collision of the foundational documents that inform our society. How does the bill of sale for a slave in Virginia in 1857 collide with the Declaration of Independence and ricochet off a Marriage License for a same sex couple in Iowa in 2009? I am especially interested in relating to the big, juicy, received National Archives sense (Declaration of Idependence etc) of these documents but even more in widening the definition out to some of the more problematic and competing histories of the paper trail of our country. The women like Elizabeth Caty Stanton who rewrote the Declaration of Independence in the Seneca Fall Declaration of 1848 (mentioned by Pres Obama in the Barnard Commencement yesterday) were using these texts as a jumping off point for the beginnings of feminism. If you have never read this document it is pretty amazing!

The project will embrace a wide definition of what these foundational documents are as they become fuel for us to create an ensemble performance in a fast and furious rehearsal process that will be served hot off the griddle there on the Mall on Saturday.

We just have four rehearsals to make this happen
Thursday, August 2 -9 am - 12:15 pm and 9pm - 11p
Friday, August 3 - 11:30 am - 1:30 pm
Saturday, August 4 - 11:30 am - 3:15 pm
Performance starts at 5pm

Everybody will need to be at all of the rehearsals. We will generate solo and ensemble material really quickly in our rehearsals. I will be sending out some prompts and calls for things to be thinking about and preparing as we get closer to the conference. Each performer will need to choose a really crucial Foundational Document that speaks to your identity and personal urgency.
The National Archives Tumblr is really interesting.

A Japanese-American colleague of mine sent me an example of such a document below, a document relating to the the forced internment of Japanese-Americans and the seizing of their belongings by the US Government in 1942.

We will work fast and make a big group performance for the Mall on Saturday evening. (I am also performing my solo show LAY OF THE LAND at the Conference on Friday night.) Scary and thrilling to make a big group piece super quick for the Mall in DC . This will make for a really active and connected experience at the ATHE conf and to meet other theater folk in a wild creative context. If you have not already registered, be sure to do so right away.

Performers must be or become ATHE members, register for the conference and select ____Performer in Foundational Documents Project DocumentNation Performance.

Feel free to email me and also find me on Facebook.

cheers, Tim

PS A friend sent me a document today. While Japanese-Americans were forcibly sent to internment camps during World War II, their farming equipment was left behind. The United States Department of Agriculture's (USDA) War Board decided to sell this equipment to the off to aid in food production, and internee would be reimbursed at whatever the USDA War Board deemed to be fair market value. But in this letter, Henry H. Nishizu refuses the sale. He had already committed the equipment to an "American friend" who had taken over the Japanese-owned farms and needed the equipment to run the farms, and Nishizu argues that this is far more helpful to the war effort than a sale. This letter is from the National Archives at Riverside, who are observing Asian-Pacific American Heritage Month by sharing documents from their holding relating to Asian American history. You can see more documents on their Tumblr blog: http://riversidearchives.tumblr.com/

Also the National Archives Tumblr is really interesting.

ATHE 2012 DC Conference Foundational Documents Project Performance
Call for Performers
a workshop performance devised and presented during the ATHE Conference
under the direction of Tim Miller
The Association for Theatre in Higher Education seeks performers for the upcoming
"DocumentNation" performance on the National Mall on Saturday, August 5, 2012 between 5:00 pm
and 7:00 pm.
How does the bill of sale for a slave in Virginia in 1857 collide with the Declaration of Independence and then ricochet off a Marriage License for a same sex couple in Iowa in 2009? This is the kind of question the "DocumentNation" performance project will engage as it explores what national documents mean to different communities/identities across time. Under the direction of Tim Miller, an internationally acclaimed solo performer and devised performance director, a group of volunteer performers will examine the collision of foundational documents that inform our society. Using a fast-paced workshop process, participants will create an ensemble piece and perform it on the Mall as part of ATHE's 2012 conference. This performance project offers ATHE members a unique opportunity to enhance their creative experience at the 2012 conference, while also engaging in valuable professional development.
Any individual attending ATHE's 2012 conference may volunteer to participate in the "DocumentNation" performance. This performance is one event within the larger Foundational Documents Project. Individual focus groups have also sponsored sessions on the Foundational Documents theme and these separate events are scheduled throughout the conference (see the list provided at the end of this document)
To participate, volunteers must be available to commit to rehearsals on the following days and times:
Thursday, August 2 -9 am - 12:15 pm and 9pm - 11p
Friday, August 3 - 11:30 am - 1:30 pm
Saturday, August 4 - 11:30 am - 3:15 pm
In addition, pre-conference communication with Tim Miller is expected. As part of this work, Miller will ask participants to select a founding document that speaks strongly to their sense of self. The performance itself will be on Saturday, August 5th from 5:00-7:00pm.
Performers must be or become ATHE members, register for the conference and select ____Performer in Foundational Documents Project DocumentNation Performance. Rehearsals are mandatory.
Participation is on a first come, first served basis. Performers will be listed in the Onsite Program book schedule.
Also email Tim at MillerTale@aol.com
The following focus groups are currently scheduled to present panels in the Foundational Documents Project. These may be of interest, but are not required of participants in DocumentNation:
Dramaturgy (8/3-1:45 pm); Directing (8/3-3:30 pm); Multidisciplinary Panel (Performance Studies, Religion and Theatre, Theatre and Social Change (8/2-3:15 pm); Religion and Theatre (8/3-5:15 pm); Theatre and Social Change (8/3-5:15 pm); Theory and Criticism (8/3 -7:00 pm);
Women & Theatre Program (8/4 -3:30 pm);
The "DocumentNation" event continues ATHE's effort to integrate collaborative performance opportunities into the conference experience. At the 2007 New Orleans Conference, ATHE offered members and attendees the opportunity to create performance pieces during the conference in the "Interactions" project. ATHE also offered MicroFringe events at the 2008 Denver Conference and the 2010 LA Conference, giving members and nonmembers a space to showcase their work.
More information on Tim Miller can be found at www.timmillerperformer.com/ and you can email MillerTale@aol.com



4. Ruth Hardinger, Karen Shaw, FF Alumns, at Islip Art Museum, Long Island, June 13-Sept. 1

The Garbage Barge Revisited: Art from Dross, June 13-Sept. 1, reception July 29, 1-4 pm at the Islip Art Museum, Karen Shaw, FF Alumn, Senior Curator



5. Ruth Hardinger, FF Alumn, at GCCA, Catskill, NY, opening June 16

Whale Oil to Whole Foods
Opening reception at GCCA 398 Main St. Catskill
June 16, 5-7 PM

"Whale Oil to Whole Foods" artists exploring the ecological and economic history



6. Yura Adams, FF Alumn, at John Davis Gallery, Hudson, NY, opening June 23

Yura Adams Paintings

John Davis Gallery
362 and 1/2 Warren Street, Hudson, New York
Third Floor of the Carriage House
June 21 - July 15, 2012
Reception: Saturday, June 23, 2012, 6-8 pm
The paintings of Yura Adams are primarily figurative and share with
poetry an evocation of undefined events and perception. The paintings
are full of movement with the figure set in a storm of abstract
shapes. Adams is a colorist, uses thick paint, and moves it around as
the imagery evolves. The artist states, "Painting feels deeply
engrained and something that my everyday brain cannot understand or be
in charge of." "I think, but will never be sure, that the source of my
imagery is the intense energy of nature."

Yura Adams was born in Sioux City, Iowa and lives and works in Athens,
New York. She has shown as a painter and intermedia artist throughout
the United States in venues such as The New Museum in New York,
Experimental Intermedia, Franklin Furnace, New Music America, Pollock
Krasner House, The Warhol Museum as well as multiple one-person shows
at John Davis Gallery in Hudson, New York who represents her. Grants
include an individual artist NEA grant, NYFA Mark program 2009, and
Individual Artist Grant from New York State Arts Council through the
DEC Program, 2010.



7. Tobaron Waxman, FF Alumn, at Bronx Academy of Arts and Dance, June 14

TOPOGRAPHIXX - Trans in the Landscape, curated by Tobaron Waxman
Presented by:
OUT LIKE THAT! MIX NYC Queer Experimental Films
BAAD! Bronx Academy of Arts and Dance, June 14 2012, 8PM
Tickets: $5
Facebook invite: https://www.facebook.com/events/147822972018124/

"TOPOGRAPHIXX: Trans in the landscape" - an international program of video art concerned with landscape, border, zone and territory, in a transgender spectrum.
Trailer: https://vimeo.com/41764353
Press: http://www.prettyqueer.com/2012/06/08/right-to-the-city-trans-in-the-landscape/
"This programme is inspired by MTF spectrum filmmakers who have created imagery concerned with landscape. I have for a long time been interested in and an ally to activism around land claims, homelessness, and the basic human right to a self-determined context. This curation begins with two titles which each in critically different ways engage landscape, "Bidun Unwaan" by Raafat Hattab (MTF-spectrum genderqueer Palestinian in Jaffa) and "Allo Performance!" by Mirha Soleil Ross (MTF Francophone in Northern Quebec, who traces her lineage over 500 years to Jews of Portugal and Spain who were forced to convert (Anushim), and as early settlers of New France survived by mixing with Aboriginal / Autochthonous cultures and religions).
TOPOGRAPHIXX presents a number of short films and videos which engage a variety of sites both natural and urban with political and esthetic strategies that harken back to feminist concerns with landscape, while simultaneously pushing forward into new territories of transfeminist representation. These works are in synch with my thoughts and aspirations for curation of work by trans people as well as the cultivation of a more intersectional discourse around gender, border trauma, territory and power. " - Tobaron Waxman
"TOPOGRAPHIXX - Trans in the Landscape" includes works by: Barbara de Genevieve, Raafat Hattab, Rémy Huberdeau, Del La Grace Volcano, Mirha Soleil Ross, Jacolby Satterwhite, Chris Vargas, Yossi Yacov.

This project is made possible in part with public funds from the New York State Council on the Arts'
Electronic Media and Film Presentation Funds grant program, administered by The ARTS Council of the
Southern Finger Lakes (www.NYSCA.org www.eARTS.org).



8. Katya Grokhovsky FF Alumn, at Bus Projects, Melbourne, Australia, thru June 23, and more

Solo Exhibition: Katya Grokhovsky, SLOW DANCE at Bus Projects, Melbourne, Australia
June 5th-23rd, closing performance " I love U" Saturday, June 23rd 12-6pm.


Solo Performance: WHO ATE ODESSA? 8 hrs, 3-11pm,
Odessa Gallery, Fitzroy, Melbourne, Australia


Thank You!



9. Elly Clarke, FF Alumn, June newsletter

Birmingham, June 9th 2012

Dear all,

Today, the third and final chapter of BERLIN / BIRMINGHAM / BEYOND / launches at mac birmingham, with 'Lick Stix (Hot Bikini Bodies)' by Melbourne-based artist Sue Dodd. I got to know Sue, along with several of the other artists in this exhibition, during the three weeks I was in Melbourne last month, for my exhibition at Techno Park Studios, where Sue is the current artist in residence.

The 'Lick Stix' series are used in Sue Dodd's work as (hand held) kinetic sculptures, which are often videoed and reappear as projected images in live performances and music videos. The bracketed phrase refers to the headline of the tabloid magazine article from which the images were sourced. These particular Lick Stix were produced for a video never finally made. Installed in their frame, under the lights of the gallery, their holographic bikinis sparkle directly into your eyeballs. Click here for more info.

The other artists of BEYOND / are:

Jon Campbell (Melbourne) /
Kim Donaldson ( (Melbourne) /
David Helbich (Brussels) /
Nurul Huda (Singapore) /
Fiona Macdonald (Melbourne) /
Bon Mott (Melbourne) /

Music, performance and mirroring link many of the works in this collection.

As with the previous two chapters of this show, the work on display is for sale. Whoever buys it gets to choose the next piece from the pre-assembled collection to be exhibited.

On 17th July, from 19.00-21.00, I will be taking part in a discussion with artist/curator Trevor Pitt about this nine month long exhibition at mac, along with all other plot holders of the Allotment project, and as many of the artists from this three-part show as can get there (or be linked up via electronic means). Free entry, though booking appreciated, via Mac Sales - +44 (0)121 446 3232. You can also see about this event on Facebook. It would be great to see you there.

And finally, to see a review by Lisa Radford of my solo show at Techno Park Studios, click here. I am extremely grateful to all those who helped support my trip to Oz in the first place, as well as to everyone who looked me after whilst I was there. Without that, BEYOND / would have been a different show altogether!

Best wishes,





10. Eliza Ladd, FF Alumn, at Dixon Place, Manhattan, June 18

Hello you special ones.
Yes, it's an invitation to the current iteration of my solo work . . .
I would be so thrilled and honored if you came.
Fun, Entertaining, Digging Into the Depths and Soaring in the Sky. (never the same as before)
I hope to see you.

You are invited:

on est déshabillé, a comedy about death
written, created and performed by Eliza Ladd

Monday June 18 at 7:30
Dixon Place, 161A Chrystie St. b/w Rivington and Delancey

Tickets at www.dixonplace.org
Join a woman and her stick - part warrior part creature part housewife - on an absurd adventure
born out of Rock-and-Roll and teetering toward Clown.

I hope you can come.

(also showing that night Dina Seiden, "Pet Your Pathologies in D-Minor")

When emotional wilderness meets stage presence, timing meets music, and sounds meet vibration, then you meet Eliza: sparkling theatricality.
Giovanni Fusetti, Master Clown

Ladd, who channels a galumphy woman carrying a big stick, draped in tragic Frederick's of Hollywood bargain bin and knee pads down to high-heeled slippers with marabou poofs, steals my heart.
Chris Dohse, know your own bone

Eliza Ladd kept me on the edge of my seat as she shifted from being a shaman to a Brooklyn kvetch to a crooner belting out a raw song from the depths. The miracle is that it all fit together like a gourmet meal.
Karen Bernard, New Dance Alliance

Eliza Ladd



11. Annie Lanzillotto, FF Alumn, at Free Library of Philadelphia, PA, June 19

Franklin Furnace alum Annie Lanzillotto will read Tuesday, June 19th at 6:15 PM, at the Fumo Family Branch, Free Library of Philadelphia, 2437 South Broad Street (Broad & Porter), Philadelphia 19148, 215-685-1758. Annie's poem "My Grandmother's Hand" was awarded 2nd place in the Sixth Annual John and Rose and Petracca and Family Award, from Philadelphia Poets journal. Annie invites anyone in Philadelphia to the reading. Award presentation by Nathalie Anderson, Poet and Professor at Swarthmore College, judge for the awards. First Place: Marsha Kroll, "Clamming" Second Place: Annie Rachele Lanzillotto, "My Grandmother's Hands", Third Place: Mariacristina Natalia Bertoli, "Tangerine-Hearted Lover." This event is free and open to the public. Refreshments will be served.



12. Vernita Nemec, FF Alumn, at Viridian Artists Gallery, Manhattan, thru June 23

"Director's Choice:

From Virtual To Actual"

"Director's Choice" Artists from our
22nd International Juried Competition
Curated by Vernita Nemec
June 5-23, 2012
Opening Reception
Thursday, June 7, 6-8PM

Viridian Artists is pleased to present " Director's Choice: From Virtual To Actual ", the art of artists from the powerpoint presentation that occurred during our 22nd International Juried Competition. The gallery is located at 548 West 28th Street, also accessible from 547 W 27th Street. Curated by Vernita Nemec, the gallery director, the exhibit will extend from June 5-23, 2012 with an opening reception Thursday, June 7, 6-8PM.

The title of the show originates from the fact that these artworks were previously shown virtually in a power point presentation during the Juried exhibition last season. The gallery director felt the images to be worthy of their own exhibition and hence, the actual works have been brought now together in their physicality. That change from virtual to actual becomes the theme of the show.
Each of these artists has hers or his own personal obsession that serves as the starting point always present in the artistic search for ways in which to transform inner investigations into reality. The results of transforming these realities into art, remains open to each viewer's interpretation and becomes another translation of the virtual into the actual.

Although these artists were not "winners" of Viridian's 22nd International Juried Competition juried by Elisabeth Sussman of the Whitney Museum, Vernita Nemec, the gallery director of Viridian felt the art of these artists to be as uniquely interesting as some of those chosen by the Whitney Curator. And as we all know, professional opinions vary widely regarding what is the "best" art, for in the end it is a question of taste, even in the eye of the professional. And one of Viridian's missions is to provide meaningful exposure to under-known artists.

Included in this exhibition are artworks of all media by the following artists:
Jacqueline Ehle Inglefield - Katherine Walton - Kim Seieroe - Eric Whitman - Margery Freeman Appelbaum - Mark Schmidt - David Yendes - Suzanne Morlock - Melissa Shelly - Joyce Litting Schutter - Patrick Luber - Kinuko Imai Hoffman - Suprina - Carolyn Applegate - Byron Lacy - Joan Giordano - Eileen Starr Moderbacher

Viridian Artists Gallery
Gallery hours:
Tuesday through Saturday 12 - 6 PM
For further information please contact
Vernita Nemec, Gallery Director at
212-414-4040 or viridianartistsinc@gmail.com
or view the gallery website: www.viridianartists.com

(c)2012 Viridian Artists, Inc. | 548 West 28th St #, NY NY 10001



13. Nina Kuo, FF Alumn, at Crossing Art, Flushing, Queens, opening June 16

G O I N G G R E E N II E X H I B I T ---- Crossing Art -Flushing , Queens NYC --- www.crossingart.com near #7 Train stop Sat reception Sat June 16 ---3 -5 pm

Crossing Art Gallery to Aug. 14
136-17 39th Avenue (Btwn. Main St & 138th St)
Ground Floor
Flushing, NY 11354

www. Lorin Roser.rawcity.com



14. Ken Butler, Lisa Levy, Larry Walczak, FF Alumns, at The Last Art Fair, Brooklyn, June 16-17

On Saturday & Sunday of June 16th & 17th the NORTHSIDE FESTIVAL (of Williamsburg, Bklyn) will present THE LAST ART FAIR at 143 North 7th St. (betwn Bedford & Berry) from noon to 6pm. A cross between a contemporary arts fair and a traditional Brooklyn stoop sale THE LAST ART FAIR will feature artwork by noted Northside artists as CARLA GANNIS, PETER FOX, DAVID KRAMER, SONO OSATO, LORI ELLISON & many others. Performances by Lisa Levy, Coco Dolle, Ken Butler, Capt. Ronzo & others. Special sale prices and both unframed & framed artworks available. Curated & organized by Larry Walczak, for more info call 718-362-9813 or go to www.eyewashart.com



15. Kara Lynch, FF Alumn, in Germany, June 15-September

Hi friends and family

just wanted to pass along the information for an upcoming show this month. It's in Germany -- a bit off the beaten path -- but I'm really excited about showing elements of Invisible and glad to be a part of this great project. attached is the poster for the show and more info available at :


it's up from june 15 thru september so if you know folks in germany or have plans to go to documenta etc this summer, check it out.




16. Dynasty Handbag, FF Alumn, at Human Resources, Los Angeles, CA, June 15

Los Angeles premier of
Eternal Quadrangle
Friday, June 15th, 2012

Dynasty Handbag new video work! AND live performance following screening.

Eternal Quadrangle
This latest green screen adventure finds Dynasty Handbag on a dating game show where she must choose between 4 contestants vying for a spot in her vast cosmic emptiness. The bachelors are: an aggressively ambitious professional golfer, a hard-luck stray dog, a disembodied brain, and, of course, the grim reaper himself. All have attractive qualities and perhaps sustainable methodologies for dealing with life, but must she choose just one? And why are these her only choices?


Anna Oxygen with Cloud Eye Control
Tanya Haden

Human Resources
410 Cottage Home St in Chinatown, 90012
9 pm



17. Sonya Rapoport, FF Alumn, Bancroft Library selectee, and ART & SHADOWS article

Sonya Rapoport's interview by Richard Candida Smith for the Bancroft Library Oral History Department, University of California, Berkeley, has been selected to be the interview of the month. This selection has been made in honor of Richard Candida Smith upon his retirement as Director of its Oral History Department. http://digitalassets.lib.berkeley.edu/roho/ucb/text/rapoport_sonya.pdf
Meredith Tromble, recent recipient of an Andy Warhol grant, has written an article in her ART & SHADOW S blog about Sonya Rapoport's art work. Please view:

Size Matters: Sonya Rapoport
Our scale-our size in proportion to our environment-is something most of us don't think about. After we're grown, our size is a given; such a constant factor that we don't notice how it underpins a sense of self, or wonder why that sense of self only emerges when a body is at a certain size. Perhaps, in a biology course, we consider briefly that we started at microscopic scale. Maybe, in a walk by the ocean, we get a taste of self as a tiny impulse within an immense life force. But mostly the span in which we know ourselves is the familiar "middle ground," constructed by the distances our adult bodies can see, walk, and reach



18. Nicolas Dumit Estevez, FF Alumn, at Funcaion Chirivella Soriano, Valencia, Spain, thru Sept. 9

El elogio de la locura. Cuando los compromisos devienen en imágenes
June 8th - September 9, 2012

Fundación Chirivella Soriano. Valencia.
Valeriola 13
46001 Valencia;
Telephone: +34 96 338 12 15

Juan-Ramón Barbancho en la que participan:


1. Angie Bonino

2. Regina José Galindo

3. Shahram Entekhabi

4. Nicolás Dumit Estévez

5. Alex Francés

6. Ute Jürss

7. Adrian Paci

8. Christoph Draeger

9. Marisa González

10. Andrés Senra

11. Teresa Serrano

12. Beth Moysés



19. Betty Beaumont, FF Alumn, at Bibliotheca Alexandrina, Egypt, June 9- 14

Betty Beaumont to participate in Ancient Alexandria: Greco-Egyptian Birthplace of the Western Mind, an upcoming international scholarly conference to be held in the Bibliotheca Alexandrina in Alexandria, Egypt, from June 9th to June 14th 2012. This is the first international cultural event and conference held in Alexandria, the most influential center of culture and esoteric wisdom in antiquity and the authentic birthplace of the Western Mind. International speakers and scholars will be participating. http://www.esotericquest.org/egypt/presenters#cb

Beaumont, an internationally recognized artist, has been living and working in downtown New York since 1973. She has produced thoughtful and provocative work in a variety of media including photography, installations, public interventions and new media. Her work challenges global social awareness as well as socioeconomic and ecologic practices. Beaumont has had over 150 solo and group exhibitions and her work has been shown extensively in New York and Europe. She has taught at the University of California at Berkeley, New York University, and at Columbia University in the Graduate School of Architecture.

Beaumont plans to exhibit the A Night in Alexandria...video projection, Interactive Alexandria, an online media work and a series of 160 images that present the physical installation A Night in Alexandria...The Rainforest...Whose Histories Are They Anyway? This venue will present the entire series together for the first time. The physical installation was previously shown at MoMA PS1 and at The Hudson River Museum.

Beaumont's Alexandria project consists of 30 running feet of shelving stacked high with a library ladder leaning against the shelving. On the shelves are charred remnants of 160 books that Beaumont has treated and burned in a delicately controlled process. These books are those of societal knowledge, heritage, information, dictionaries and encyclopedias. Their bindings are splayed flat, blooming in their burnt state as organic growth, fluted like mushrooms on the forest floor. They sit in their shelf place as specimen while an LED relates a 16-minute script of the destruction of DNA in the rain forest.

Alexandria was for seven hundred years the greatest center of learning and culture in the ancient world. Its legendary library and museum made it possible for many of the history's greatest philosophers, scholars and scientists to flourish. The newly designed recently built Bibliotheca Alexandrina on the site of the ancient library is an ideal presentation venue for Beaumont's Alexandria... series as the site is a profound inspiration for this body of work. This moment in Alexandria promises to be a profound experience as The New Egypt is emerging.



20. Sanja Ivekovic, FF Alumn, at Musée d'Art Moderne Grand-Duc Jean, Luxembourg, thru Sept. 16

Mudam Luxembourg

Sanja Iveković
Waiting for the Revolution
2 June-16 September 2012

Mudam Luxembourg
Musée d'Art Moderne Grand-Duc Jean
3, Park Dräi Eechelen
L-1499 Luxembourg

T + 352 45 37 85-1
F + 352 45 37 85-400


As a central figure in the Croatian art scene, Sanja Iveković has been developing since the early 1970s a committed, engagé oeuvre, informed by concerns to do with the issues of gender, identity, and memory. She belongs to a generation of artists known by the name of Nova Umjetnička Praksa (New Art Practice), which, in post-1968 Yugoslavia, freed itself from the state power and strove to decompartmentalize the art arena, opening it up to new disciplines and questions grappling directly with society. Echoing her own "minority" position as a woman artist in a society which she describes as patriarchal, her early photomontages and videos, which include Tragedy of a Venus (1975), Bitter Life (1975-76) and Make Up-Make Down (1978), are interested in the representations of woman conveyed by the media, and by the mechanisms which construct identity, between private life and public sphere.

In her more recent works, marked in particular by the changes occurring since the fall of the Berlin Wall in 1989 and the dismantling of Yugoslavia during the 1990s, Iveković extends these concerns to questions dealing with the construction of collective memory and the writing of history. Several projects presented in the exhibition thus have to do with hidden areas of history and society, such as the anti-fascist resistance in Yugoslavia (Gen XX [1997-2001]), the extermination of the Romani and Sinti populations by the Nazi regime (Rohrbach Living Memorial [2005]) and the massacre of demonstrators during the popular uprisings of May 1980 in Gwangju (On the Barricades [2010]). Since 2000, Iveković has also been producing projects in the public space, in which the notion of commemoration makes way for that of "living memory," thus calling the very idea of monuments into question.

The exhibition Waiting for the Revolution, held a decade after the presentation in the public space of Luxembourg of the project Lady Rosa of Luxembourg (2001), which triggered an unprecedented controversy in the country, brings together a broad selection of works produced between 1975 and today. It is organized around two directions: a first group of works highlights the place occupied by the issues of the monument and collective memory in Iveković's practice, while a second group, combining in particular her first series of photomontages with recent works using similar montage procedures, is concerned with the question of gender and the mechanisms of representation. Iveković has also devised a new project for the public space, Freiheit ist... (2012), which echoes the stances that Lady Rosa of Luxembourg had given rise to in 2001. The whole sheds light on the way in which Iveković's oeuvre, throughout her career, has been constructed in response to "states of emergency": "I do not hand over answers but ask questions instead," she says.

Sanja Iveković was born in 1949 in Zagreb, where she lives and works.

The exhibition is accompanied by the book Lady Rosa of Luxembourg, published by Mudam and Casino Luxembourg.
Interview with Sanja Iveković by Christophe Gallois.
Texts by Enrico Lunghi and Bojana Pejić.
Launch: June 2012
Reserve a copy at boutique@mudam.lu

This exhibition is part of MONO, an original cross-border initiative by fifteen modern and contemporary art venues in Luxembourg, France, and Germany. Between 1 June and 2 September 2012, the collaborating venues will simultaneously present solo exhibitions by contemporary artists. www.mono2012.eu

For more information on Sanja Iveković's exhibition Waiting for the Revolution and Mudam, please go to www.mudam.lu.

Press contact: T +352 45 37 85 633 / presse@mudam.lu



21. Judith Sloan, FF Alumn, at Joe's Pub, Manhattan, June 13

FF Alum
Judith Sloan presents EarSay Voices June 13th, 7:30 PM Joe's Pub

Stories of migration, culture and soul, to Benefit EarSay's Transforming Trauma Into Art program and development YO Miss!
an evening of music, theatre, and poetry for those who know what it's like to live on the edge!
for tickets Tickets $15 advance, $20 at door
For more information: EarSay

If you can't attend please consider making a donation so we can buy more tickets for immigrant youth to come to the performance: http://www.crowdrise.com/earsayvoices/fundraiser/earsayinc

Performances by Judith Sloan, MiWi LaLupa (from Red Baraat), Bridget Kelso, EarSay Youth Voices from the International High School, & Queens College Choir with excerpt from 1001 Voices, a symphony by Frank London, Judith Sloan & Warren Lehrer. Honoring Viper Records for their support of EarSay's immigrant youth voices programs.

Judith Sloan, actor, writer, radio producer, hosts a performance including stories of recently arrived teenagers, immigrants and refugees who migrated to the borough of Queens NY, the new Ellis Island. Performance excerpts from Warren Lehrer and Judith Sloan's Crossing the BLVD, a celebration of resilient, prismatic character - in search of home. Sloan performs excerpts from her developing work YO MISS! Teaching Inside the Cultural Divide. Featured artists performing excerpts from various EarSay projects include: actor/teaching artist Bridget Kelso performing excerpts from her solo show, musician MiWi LaLupa a.k.a. Michael Williams (from Red Baraat), members of the Queens College Choir performing excerpts from Frank London, Warren Lehrer and Judith Sloan's 1001 Voices: A symphony for Queens, and immigrant youth from EarSay Voices arts program, Transforming Trauma Into Art.

EarSay's Youth program Transforming Trauma Into Art is an initiative born out of EarSay's partnership with the International High School at LaGuardia Community College where many students come from war- and conflict-zones. This program is specifically designed for teenagers who recently migrated to the United States. As an antidote to war and polarization, the program encourages a depth of scholarship and storytelling that shapes the experience of the participants. It gives them the tools to make connections between cultures, shed light on the complexity and humanity of each individual, and deepen what it means to be part of a global community.
Video Excerpts: from the Brian Lehrer show WNYC,
Short Doc on EarSay You Tube

"You don't know my struggle, you haven't a clue," proclaimed Sandup Sherpa, from Nepal, who had just dazzled the class with his break dancing. Stephanie's family fled machete-wielding attackers during a 2004 coup. Hadeel's father was shot in the face in Baghdad because he worked as a translator for the United States military. Sandup's father, a legislator, was targeted for assassination by Maoist rebels and now lives in Elmhurst, Queens, selling cellphones. Leading the recent rehearsal at the International High School at LaGuardia Community College was Judith Sloan... As she helps the students compose the performance, she is also coming full circle with a new work of her own. "Yo Miss!," which she performs with musical collaborators, re-enacts and riffs on her experiences teaching teenagers from myriad worlds: refugee camps, struggling neighborhoods, prisons. It is a performance about performances, a story containing many stories. And suddenly, "Yo Miss!" has another mission: To raise money to keep the story going. The New York Times, Anne Barnard



22. Barbara Hammer, FF Alumn,a t MAK Center for Art and Architecture, Los Angeles, CA, thru Sept. 22

Barbara Hammer, FF Alum at MAK Center for Art and Architecture, Los Angeles
with Sonia Leimer & Stephanie Taylor
Mackey Garage Top (Space International, 2010)
(c) Space International, Inc.
Please Join Us
for the Inaugural Exhibition of
Garage Exchange Vienna - Los Angeles

Bend a Bow
Sonia Leimer & Stephanie Taylor with Barbara Hammer

Exhibition: June 9 - September 22, 2012
Open Fridays and Saturdays, 11 AM-6 PM

Opening Reception: Friday, June 8, 2012, 7-9 PM
Opening remarks
H.E. Claudia Schmied, Austrian Federal Minister for Education, Arts and Culture
On the exhibition
Christoph Thun-Hohenstein, Director MAK Vienna
Kimberli Meyer, Director MAK Center Los Angeles

Mackey Garage Top
MAK Center for Art and Architecture
1137 S. Cochran Avenue
Los Angeles, CA 90019

Admission to the exhibition is free

About Garage Exchange Vienna - Los Angeles
The MAK Center for Art and Architecture's programming is guided by the imperative to promote dialogue and question boundaries, be they geographic or disciplinary. Key to this mission is the Artists and Architects-in-Residence program, which embodies these ideas by bringing international, early career practitioners to Los Angeles. In order to expand the cultural exchange at the core of the residency program, the MAK Center has initiated a new, biannual exhibition series, Garage Exchange Vienna - Los Angeles, which invites Austrian and Vienna-based alumni residents to collaborate with L.A. artists and architects of their choosing at the Garage Top at the Mackey Apartments.

The first exhibition, Bend a Bow, was created by former resident Sonia Leimer in collaboration with artist Stephanie Taylor with the goal of investigating the layered dynamics of narrative and its construction. Because they felt her work resonated with theirs, the artists invited acclaimed avant-garde filmmaker Barbara Hammerto include her film Bent Time as part of the installation.

More about Bend a Bow
Sonia Leimer presents a sculpture made of breakaway glass, the fragile material used in movies to portray a shattering window. She appreciates it not only for its curious texture and reflectivity, but also for the temporal quality implicit in its use. The sculpture divides the Garage Top space but also visually connects different parts of the room. The exhibition space is altered physically and via our expectations for its material, narrative time is encompassed as well.

Bend a Bow also features a series of photographs, entitled British Portraits, documenting Stephanie Taylor's 2011 installation Rosángela, a piece that incorporated crates, objects and sound. Created for the LACMA On-Site A is for Zebra exhibition, the piece constitutes an alphabet made of objects that sound like letters. The photos are arranged to create "portraits" of a phrase or name in a sort of still life. Transforming sound and rhyme into the visual, Taylor recontextualizes her work and reminds the viewer that meaning is often determined by the lens one looks through.

In Bent Time (1983), Barbara Hammer pursues a theory introduced in physics positing that as light rays curve, time does too. Beginning inside an atom accelerator, the film travels to various "high energy" locales in the U.S., including Chaco Canyon, the Ohio Valley Mounds, the Golden Gate and Brooklyn Bridges, and beyond. Attracted to this theory by her personal belief in time as continual and circular, Hammer brings yet another twist on space and narrative to the exhibition.

Bend a Bow is accompanied by an illustrated catalogue published by the MAK Center. It includes an introduction by MAK Center Director Kimberli Meyer, a discussion among the three artists, and sections on each artist's work. It will be available on-site, and at the MAK Center bookstore.

This exhibition is made possible by the Austrian Federal Ministry for Education, Arts and Culture.

The MAK Center for Art & Architecture at the Schindler House is principally located at 835 N. Kings Road in West Hollywood. Public hours are Wednesday through Sunday, 11 AM-6 PM. Regular admission is $7/$17 with the guidebook,Schindler By MAK; students and seniors, $6/$16 with book; free for Friends of the MAK Center and on Fridays, 4-6 PM. Parking is available at the public structure at the northeast corner of Kings Road and Santa Monica Boulevard.

For further information, please visit MAKCenter.org or call (323) 651-1510

Barbara Hammer
55 Bethune Street #523H
New York, NY 10014
212 645 9077
Jeu de Paume Retrospective June 12- July 4, 2012



Goings On is compiled weekly by Harley Spiller