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Contents for July 25, 2012

1. Helène Aylon, FF Alumn, at Cornelia Street Café, Manhattan, July 31, and more

Tuesday, July 31, 6 p.m.
Book Party, Screening and reading of Helène Aylon's memoir, Whatever Is Contained Must Be Released; My Jewish Orthodox Girlhood, My Life As A Feminist Artist
Cornelia Street Cafe, 29 Cornelia Street between Bleeker and West 4th Street
Introduced by Gloria Jacobs, Director of the Feminist Press
$7 admission includes a complimentary drink

Sunday, September 9, 2 p.m.
Screening and reading of Helène Aylon's memoir, Whatever Is Contained Must Be Released; My Jewish Orthodox Girlhood, My Life As A Feminist Artist
Hudson Opera House, 327 Warren Street, Hudson, NY 12534
Introduced by Gary Schiro, Director of the Hudson Opera House
Free Admission

Wednesday, October 10, 7:30 p.m.
Screening and reading of Helène Aylon's memoir, Whatever Is Contained Must Be Released; My Jewish Orthodox Girlhood, My Life As A Feminist Artist
The Rose Art Museum, Brandeis University Campus, Waltham, Mass.
Free Admission

The memoir can be ordered through The Feminist Press, or Amazon, or MoMA or your local book store



2. Tobaron Waxman, FF Alumn, at XIX International AIDS Conference, Washington, DC, July 24-27

Tobaron Waxman
Letter from the 4th Son
XIX International AIDS Conference July 24-27 2012
Washington, DC

Dr. Ben Waxman, my late uncle, was a highly esteemed obstetrician and gynecologist in Washington D.C. He came out as gay in the mid 1970's and succumbed to AIDS in 1989. We were estranged during the 1980s. Though I did have the chance to see him before he passed away, I never got to come out to him. The title refers to the last of the four questions asked during the Passover service, from the son who does not know how to ask.

At the XIX International AIDS Conference 2012, I will be wearing a t-shirt with images of his face on the front and back, with the phrase "DID YOU KNOW MY UNCLE?" and his name, and an email contact, in a font resembling the Gran Fury ACTUP style, in hopes that someone might understand the spirit of what I'm trying to do, and maybe recognize his face and remember him. He was the Torah reader at Beit Mishpacha in DC, before they had a rabbi and were still layperson led. He was an esteemed educator and OBGYN at George Washington Hospital, and also was part of the team there performing some of the first sex reassignment surgeries. He was the first in his field to insist on sex education for medical students, and innovated multiple screen film projections in this sex-ed class. He loved the symphony and the opera, and played the harpsichord. He would have been in his 80s by now, and most of his peers are no longer alive. But I still want to ask around, not only because you never know, but also because I think that even in the asking, creative things can result. I am seeking out my uncles friends, lovers, patients or colleagues in order to gain some mentorship from him, posthumously, thru his deeds and relationships. These communications are an attempt to know him as a gay man, in my search for mentorship, and Queer lineage.

If you knew my uncle, or were his patient, or student, or socialized with him, or davened with him, please write to me. I would really appreciate it. http://tobaron.com/letter.html

Thank you,



3. Jill Scott, FF Alumn, at The Museum of Mankind, Zurich, Switzerland, August 31-March 17, 2013


Special Exhibition at Kulturama, The Museum Of Mankind in Zurich (Near Hottingerplatz - see map below)

Jill Scott presents Neuromedia: Art and Neuroscience Research in cooperation with the University of Zurich and the Institute of Cultural Studies, from the Zurich University of the Arts.

From 31. August 2012 to 17. March 2013

A Synthesis of Art and Neuroscience

Neuromedia is an exhibition by artist Jill Scott whose work merges neurobiological anatomy and physiology studies with media art. The innovative exhibition features four interactive sculptures (Somabook, The Electric Retina, "eskin" and Dermaland) involving scientific research results as well as documentary films on the scientists and involved, the artist and her work processes. The exhibition offers profound insight into the relationship between art and science. Inspired by molecular and cellular research, cinema, philosophy and human health, Neuromedia was developed while Scott was artist-in-residence at the University of Zürich from 2004 - 2012. This is the first time all these artworks are being exhibited in a science museum together. Neuromedia will allow you to discover surprizing dimensions of your own levels of human perception.

Buch und DVD / Related Publications:

"Neuromedia - Art and Science Research"

Scott, J., Stoeckli, E.(Eds.)Springer Heidelberg.

ISBN 978-3-642-30321-0


2012, 2012, IX, 160 p. 60 illus., 57 in color.

"DVD Neuromedia, 4 documentary films"

Hahne-Scott Productions, http://www.jillscott.org

Artist-in-Residence Partners:

University of Zurich:

Institute for Molecular Biology (Stephan Neuhauss, Esther Stoeckli)

Artificial Intelligence Lab (Rolf Pfeifer)

Uni-Spital (Reinhard Dummer, (Mitchel Paul Levesque)



4. Isabel Samaras, FF Alumn, summer events

Summer has been super busy and looks to continue!

Isabel Samaras' painting "Adventure Time (Get Your Hero On)" was exhibited at Comic-Con in San Diego as part of the 20th anniversary of the Cartoon Network, after which it will travel to CN headquarters with the rest of the exhibition. Curator and publisher Mark Murphy assembled a collection of world-class artists to interpret cartoon heroes spanning the network's 20 year history. Samaras' models Nico (as "Finn") and Jabba the bulldog (as "Jake") are said to be quite thrilled with the results, though we're kind of guessing a bit with Jabba.

Additionally, three small watercolors representing historic women of rap as exotic birds are currently on display at Cotton Candy Machine in Brooklyn as part of the exhibition Tiny Trifecta. "Da Brat," "Latifah" and "Missy" will be on view as well as work by 83 other artists until August 5th. Cotton Candy Machine, 235 South 1st Street, Williamsburg, cottoncandymachine.com

Lastly Samaras, along with Kerri Stephens of Varnish Fine Art, juried the 2012 National Exhibition at ACCI Gallery in Berkeley, California. They awarded $2500 in prize money to five artists at the opening, and the exhibition will be on view through August 19th. http://www.accigallery.com/Index01.htm



5. Tehching Hsieh, Robert Rauschenberg, Martin Wong, FF Alumns, at The Menil Collection, Houston, TX, July 27-Oct. 21

The Menil Collection
July 27-October 21, 2012

The Menil Collection
1533 Sul Ross Street
Houston, Texas 77006

Whether experienced as a source of inspiration, enigmatic force, or unsettling limbo zone, silence is elusive in today's world. Inspired by John Cage's 1952 groundbreaking composition 4'33", Silence-co-organized by the Menil Collection and the University of California, Berkeley Art Museum and Pacific Film Archive-offers a thorough and stirring exploration of the exhibition's subject.

Conceived by Toby Kamps, Menil curator of modern and contemporary art, the exhibition means to "examine a few of the many attempts in which artists have employed the absence of sound or speech over the last century." These attempts, Kamps added, have embraced silence as phenomenon, metaphor, force-and as an environmental state expressed in performance. Silence can also possess and convey powerful political meaning.

Ranging from uncanny to incantatory to experiential, the broad range of works on view in the exhibition are not all without sound, but all reflect the many ways in which artists invoke silence to shape space and consciousness.

Beginning with forebears Giorgio de Chirico and René Magritte, the exhibition advances to a number of artists who came of age in the 1950s and 60s, including Robert Rauschenberg and Ad Reinhardt, and such European contemporaries as Josef Beuys and Yves Klein.

Described by Kamps as "the silent big bang" at the heart of the exhibition-Cage's 4'33" stands as perhaps the most legendary deployment of avant-garde silence. This three-part piano piece, first performed in 1952 by virtuoso David Tudor, contains no actual playing of music. It instead calls attention to the ambient sounds surrounding the audience, corroborating Cage's assertion that there is "no such thing as silence"-that the natural world is continually generating new forms of music.

Cage cited Rauschenberg's White Paintings as a prime stimulus for 4'33", calling the flat white canvases "airports for the lights, shadows, and particles." One work from that series-White Painting (Two Panel)-will be on view in the exhibition.

Among the show's paintings, sculptures, performances, sound, and video works are the iconic Box with the Sound of Its Own making by Robert Morris; a work by Bruce Nauman, Violence Violins Silence; and documentation of the performance piece One Year Performance by Tehching Hsieh.

Silence builds on selections from 20th-century masters with challenging recent work by younger artists. Mark Manders, a Dutch sculptor working in Belgium and the Netherlands, has made two new installations for the show. Silent Head on a Concrete Floor depicts a vertical slice of a head bound by straps between piano key-like wooden slats, all resting on a newspaper of the artist's invention that uses every word in the English language in random order. Another noteworthy piece is Kurt Mueller's Cenotaph, a neon-festooned Rock-Ola Legend jukebox filled with 100 CD recordings of historical, commemorative moments of silence.

Other contemporary innovators include Manon de Boer, Jennie C. Jones, Jacob Kirkegaard, Christian Marclay, Amalia Pica, Doris Salcedo, Tino Sehgal, Stephen Vitiello, and Martin Wong.

The BAM/PFA film and video component of the exhibition, "The Sounds of Silence"-developed by that institution's video curator, Steve Seid-features a selection of groundbreaking films that investigate the influence of sound on moving images and also the sometimes-intertwined sources of sound and images. The three-part film and video program includes works by 21 filmmakers, videographers, and intermedia artists, ranging from Maya Deren's Meshes of an Afternoon and Joseph Cornell's Rose Habart, abstractions by Stan Brakhage and Nam June Paik, work by video pioneer Steina, and pieces by young artists who work across genres and mediums.

Silence is accompanied by a comprehensive exhibition catalogue. Interpretive essays-by exhibition curator Toby Kamps; Steve Seid, video curator at BAM/PFA; and art historian Jenni Sorkin-exlore silence as both subject and medium. The volume also includes more than forty full-color plates and as well as comprehensive information on the exhibited works and artists.

More at www.menil.org.



6. Peter Grzybowski, FF Alumn, launches new website

Peter Grzybowski announces

Kesher V Performance Art Event new website

Kesher Performance Art Event website update

Kesher events are on Facebook now. Facebook page:

Faceboook group:



7. Graciela Cassel, FF Member, at La MaMa La Galleria, Manhattan, opening July 28

Jacqueline Bishop, Kerry-Ann Brown-Louis, Jayne Burke, Graciela Cassel, Hyejin Kim, Liz Schnore
NYU MA Studio Art Thesis Exhibition
Opening Reception: Saturday 7/28, 6-8pm
July 28 - August 4, 2012
Hours: Tues to Sat, 10:30am-6pm
La MaMA La Galleria
6E 1st Street, NYC



8. John Held, Jr., FF Alumn, now online at artpractical.com

Interview with J. H., Jr.




9. Clifford Owens, Marina Abramovic, FF Alumns, in The New York Times, July 26

The New York Times
July 26, 2012
Heads, Yes. Tails, No.
AT first glance the opening and dinner at the Allegra LaViola Gallery on the Lower East Side on Wednesday night looked like any other New York art event. There were stylish people from Brooklyn and Manhattan, in dark clothing and notable shoes. Photographs lined the walls. Thematically appropriate mood music - in this case, live drums - came from a corner of the gallery. Laura Ginn, the artist being celebrated, wore a one-shoulder, one-of-a-kind dress.

There was a bit of a stench coming off it, though. Ms. Ginn's gown was made of rat pelts, 300 of them, that she had tanned and sewn together. Their tails encircled her abdomen; two rat faces met on her right shoulder. "I thought that was cute," she said, and laughed. "They're kind of kissing. I do anthropomorphize them sometimes."

Ms. Ginn, 28, has made working with animals her métier since she graduated with an M.F.A. in photography from Cranbrook Academy in Michigan in 2010. A video looping on one gallery wall showed her dismantling a deer head in the rain. A photo presented a still life of pelts drying on a rack in her shower. And at this dinner the centerpieces, such as they were, were small piles of rat bones - a tiny section of rib here, a spine there. "They're all from the rats you are enjoying," Ms. Ginn said, as people sat down to eat at tables covered with faded American flags. The opening of her exhibition, "Tomorrow We Will Feast Again on What We Catch," centered on a multicourse meal in which the main ingredients, and aesthetic stars, were rats. The show runs until Aug. 3. Those easily queased should stop reading here.

Twenty people, mostly friends of Ms. Ginn or the gallery owner, Ms. LaViola, nibbled on goat cheese bruschetta topped with rat leg tenderloin, and rat-pork terrine encircled with beef fat, prepared by a chef after much trial and error with his proteins. The rats were shipped from a United States Department of Agriculture-approved West Coast processor that supplies pet owners with humanely killed, individually flash-frozen rodents, in classifications ranging from "jumbo" to "fuzzy." Seventy five rats were skinned and cooked - and broiled and smoked and grilled - for the dinner, and most guests paid $100 each to attend, signing a liability waiver, some not entirely willingly.

"If I see an entire carcass, I might throw up," said Clifford Owens, a performance artist. Mr. Owens, who had an exhibition at MoMA PS1 this spring, invoked the daredevil spirit of the performance artist Marina Abramovic, to get himself through the evening. "This is about risk," he said. But even people with ample gross-out experience were put off. Curtiss Calleo, a founder of the adventure-eating club the Gastronauts, who has eaten wild yak and goat brains, wrote on Twitter of his trepidation about ingesting rats. Timothy Hutchings, an artist and video editor who said he'd once worked in an animal sanctuary feeding dead rats to alligators, copped to some squeamishness.

Fear was not the issue. "I like rats," he said. "They're friendly. You can train them. They have personalities." For Ms. Ginn skinning and eating rats represents the survivalist instincts she likes to explore in her work. "To have these sorts of skills, it's very empowering," she said. "It makes me feel like I have more control over my world."
Contemplating urban wildlife in New York naturally led her to rats. "I could've gone pigeon," she allowed. But, she added, "I think people are a little more comfortable with pigeon, and I wanted to put people outside of their comfort zone."

It was her challenge too: Ms. Ginn was a vegetarian until she decided to do this project last year; her first meat in 16 years was fried rat. "We had it with kind of a spicy dipping sauce," she said. How'd it taste? "Strange. I didn't have a good frame of reference." (Her appetite for irony is robust, though: While she was skinning animals at home, she worked as a pet-sitter.)

Ms. Ginn fed people rats for the first time two weeks ago, at the Atlanta Contemporary Art Center, where guests learned to skin rodents, and then ate them, barbecued on skewers and as rat tacos. "We drank a lot of moonshine," said Stuart Horodner, the center's artistic director, who also attended the New York dinner. "That helped."

For New Yorkers, though, rats - skulking around their daily lives, ferreting through garbage, seemingly unpoisonable - occupy a different psychic space than they might elsewhere: the embodiment of gothic urban horror.

"When I get in the subway going home and the rats are scurrying around, I'll be thinking, 'I ate your distant cousin,' " Mr. Owens said. Ms. LaViola, dressed in a vintage gown decorated with rat skins, said the appeal of the event was its ephemeralness and communality. She has done other offbeat dinners at her gallery, including one with live chickens (for performance only) and a hydraulic table, and another where dessert included snail caviar. To keep people engaged at Wednesday's dinner, she poured wine (a California chardonnay and a Spanish Grenache) liberally, and discouraged photographing food.

Conversation turned naturally to industrial farming and apocalyptic scenes. A yoga teacher wondered aloud about the nutritional value of her meal. Rodents and their relatives are, of course, eaten all over the world: guinea pig in Latin America (and parts of Queens); nutria, a giant invasive rodent, in Louisiana, where the state's control efforts include offering a $4 bounty for each nutria tail; muskrat and squirrel across Appalachia; and rats in at least a few restaurants in China. Without their skin, they look similar to rabbits, said Yuri Hart, the chef for the dinner.

Though repelled by the pelts, Mr. Hart, who has cooked for many of Ms. LaViola's events, was dedicated, eating rats (and turkey sandwiches) for five days. He braved jokes - "What will you pair it with, trash?" - as he planned his menu, full of Greenmarket produce, going over his $400 budget. Given that his prep area was a graffiti-covered light alley behind the gallery, Mr. Hart earned some chef bragging points that night; the diners gave him a standing ovation. He said he was proud of his nose-to-tail approach even though, after many cooking attempts, the gristly tails were deemed inedible.

Not so the other parts. "Do you want me to open his jaw back up?" asked the yoga teacher, Robin Michalak, pointing to the crispy head topping her dessert, French toast with smoked rat.

There were a lot of little rat legs, complete with clawed feet, left over after that course. By consensus the favorite dish was the entree of rat two ways, braised and grilled. Mr. Calleo compared it to squirrel, noting that it had a gamy, pungent aftertaste that was distinctly "small and furry."

Across the table Mr. Hutchings gnawed on a rat bone, pronouncing it delicious. The dinner delivered on its once-in-a-lifetime promise. "I don't care about it as art," he said. "I care about it as something that makes me a more interesting human being."
Recipe: Rat Braise Developed by Yuri Hart
15 whole rats, skinned and gutted, tails removed
Salt and pepper 6 tablespoons of extra-virgin olive oil
4 medium white Spanish onions, chopped
3 stalks celery, chopped
1 carrot, peeled and chopped
5 sprigs fresh thyme
3 bay leaves
2 sprigs fresh rosemary
1 bottle red wine
1 cinnamon stick
Zest of one orange
1 head of garlic cut in half down the center vertically, not peeled 1 pint blueberries
2 quarts chicken stock
2 cups veal glacé
Red wine vinegar to taste.
a. Lightly season rats on one side with salt and pepper and sear on both sides in 3 tablespoons of extra-virgin olive oil until lightly browned using an oven-safe rondeau or braising pan large enough to comfortably fit without crowding. Transfer rats to a 5-by-8-inch molded edge sheet pan
b. Add onions, celery and carrot to the rondeau or braising pan and sweat, about 5 minutes. Add thyme, bay leaves and rosemary and sweat until aromatic.
c. Deglaze the pan with wine, add cinnamon, orange zest, garlic and blueberries. Reduce by 3/4.
d. Add rats back into the pot along with any drippings. Add chicken stock and veal glacé and bring to a boil. Return to a simmer, cover with a lid or foil and place in a 330-degree oven and cook for about 90 minutes or until meat is tender.
e. Let meat cool in liquid until it is easy to handle, and then transfer to sheet pan.
f. Strain liquid and reduce until 3/4 to 1 cup remains.
g. Pick the rat meat and discard all bones. Once liquid is reduced, mix 1/4 cup to a 1/2 cup into meat until just moistened (you do not want a lot of liquid), and season with salt, pepper and red wine vinegar.
h. Line the sheet pan with plastic wrap, with the wrap extending over the edges. Pack meat onto the sheet pan and fold the plastic over so it completely covers meat. Refrigerate overnight to set.
i. Unmold the meat while still cold and cut into 20 portions. Heat a sauté pan with 3 tablespoons of extra-virgin olive oil. Sear one side of the meat until golden brown, transfer to an oven at 350 degrees until hot all the way through. For sauce, reduce remaining liquid from meat by 1/2 until it is the consistency of syrup. Serve with a full-bodied cabernet sauvignon.
Yield: 20 servings.



10. John Baldessari, Barbara Kruger, Ed Ruscha, FF Alumns, in The New York Times, July 22

The New York Times
July 22, 2012
A Los Angeles Museum on Life-Support
Maybe two out of three isn't bad. Los Angeles has gotten two quite effective museum directors from New York. Ann Philbin went from the Drawing Center to head the Hammer Museum. Michael Govan went from the Dia Art Foundation to become director of the Los Angeles County Museum of Art. Both seem to be doing swimmingly.

But a much rougher time is being had by the third, Jeffrey Deitch, who closed his SoHo gallery in the spring of 2010 to become director of the Museum of Contemporary Art, an institution with an enviable curatorial record but historically plagued by financial problems. Criticism about his tenure has been constant, but has intensified over the last three and a half weeks in the wake of the departure under pressure of Paul Schimmel, the museum's brilliant, headstrong chief curator, after a vote by the trustees. The chemistry between the two men was known to be troubled.
Even more disturbing than Mr. Schimmel's leaving after 22 years was news that his position would not be filled and that the museum would rely more on freelance curators. Around the same time there was increasing talk in both the press and the art world of Mr. Deitch's problems in fund-raising.

And then came word that an exhibition about art and disco was in development. Complaints escalated that Mr. Deitch was emphasizing populist entertainment and glitz at the expense of the scholarly rigor associated with Mr. Schimmel. The next week or so brought the resignations of all four artist-trustees: John Baldessari, Catherine Opie, Barbara Kruger and Ed Ruscha.
The museum, which counted artists among its most active founders, has always had them on its board. In a sense their loss was as shocking as anything that came before, because it signaled in the extreme a loss of faith on the part of artists. Mr. Deitch's tenure as director has so far been a disappointment even to the people who thought it was a feasible idea in the first place, of whom I was one.
I considered it "a brilliant stroke," I wrote at the time, calling it an example of a museum thinking outside the box, and also an appropriately desperate measure for desperate times. The museum had come close to collapse in 2008 after drawing its endowment down to $5 million (it was once around $40 million), and there was talk of selling the collection or merging with the Los Angeles County Museum of Art. That threat was averted by the real estate developer and cultural philanthropist Eli Broad, a founding trustee of the museum, who returned to the museum's board after a 15-year hiatus and donated a $30 million bailout, and then had a big hand in Mr. Deitch's appointment.

I didn't buy the idea that someone from the gallery world cannot cross over into the museum sphere or that advanced degrees in art history are essential, and I still don't. It was certainly not beyond the realm of possibility that given Mr. Deitch's wide art world experience he could have met the challenge of a big museum. But instead of redefining himself in a bid to do that, he seems to have redefined the job.
Rather than encourage and cultivate curators much the way an art dealer encourages and cultivates artists, he has frequently chosen to assume the role of curator himself, when he wasn't commissioning celebrities to do it. He started with an exhibition devoted to photographs and other artworks by the actor Dennis Hopper organized by Julian Schnabel, then staged an off-site show about James Dean organized by James Franco. His 2011 "Art in the Streets" exhibition, although better received by critics and very well-attended, didn't help establish a serious tone. And it included several artists whom Mr. Deitch had represented as an art dealer - at-best a sloppy-looking overlap between his former role as a dealer and his current one as a custodian of a public institution.

For all his missteps, though, it is much too simplistic to blame Mr. Deitch alone for the air of crisis that now surrounds the museum. He has certainly hurt its image and he has failed to make much of a dent in its more urgent financial problems. But he did not create those. They preceded him by many years and are part of a tortuous history with many players. The museum has long been financially fragile; its board has rarely provided the kind of financial support that an institution of its quality requires and deserves. It continues not to, which brings us back to Mr. Broad.

His bailout of the museum four years ago gave him a dominance on the board that caused some trustees to leave and suggested to many people the possibility that his bailout might someday morph into a takeover that would merge the museum's exemplary collection of art with his own, more predictable, market-driven one. It didn't help that within months of Mr. Deitch's appointment Mr. Broad finalized plans to build his own museum across the street from the Museum of Contemporary Art, now scheduled to open within a year or two.

Given Mr. Broad's fraught history with other Los Angeles museums, his denials about taking over this one remain hard to trust. In an interview in The Los Angeles Times he said, "If I wanted to do that, why would I have saved MOCA?" But he hasn't so much saved it as staved off its demise, and without more money either from him or other trustees, the place is more or less on life-support. (It is interesting to note that its $14.3 million budget for the fiscal year 2011 is a little below the $16 million of the Hammer, a museum with roughly one-quarter its gallery space. And yet, while the Museum of Contemporary Art's staff has been whittled down to a skeletal 45, the Hammer has 95.)

Meanwhile a recent Los Angeles Times op-ed piece by Mr. Broad contributed to a widespread and unhelpful binary view of the situation, calling the museum's great exhibitions of the past "insular" and Mr. Deitch's vision "populist," a gross simplification and misrepresentation on both counts. Mr. Broad also cited attendance as a sign of a show's success, a very limited idea of the cultural benefits of museums to say the least.

Whether or not Mr. Deitch was the best person for the job now seems largely moot. He is the one who said yes, who showed up and has thrown himself into what may actually be a kind of mission impossible, with or without his many errors in judgment. At this point he, Mr. Broad and the other trustees only have one another. They have got to make it work. The main way for this to happen is for the other board members to step up to the plate and give enough money to counterbalance Mr. Broad's contributions and his views. You can't have a one-person board any more than you can have a one-person museum.

For his part Mr. Deitch has to become a real museum director. He has to stop organizing exhibitions - in part to create more of a firewall between his new job and his previous identity. He has to hone his fund-raising skills and hire and cultivate curators, including, as The Los Angeles Times said in an editorial on Friday, a new chief curator - which of course will take money.

And although one can be grateful for the wake-up call delivered by the departures of the four artist-trustees, artists need to reassert themselves in the life of this museum. They have the numbers and the clout to make a difference. Above all they have the vision. The Los Angeles cultural world cannot turn its back on an institution that has been so central to its stature as one of the world's greatest art capitals.



11. Spalding Gray, Richard Serra, FF Alumns, in The New York Times, July 26

July 25, 2012
When SoHo Was Young
The Early Years (1970-1974)
By Jessamyn Fiore
Illustrated. 197 pages. Radius Books/David Zwirner. $50.
As a species of literature, art gallery exhibition catalogs usually fall into one of three categories, none of them good. There's the perfunctory. There's the expensively vacuous, the kind that Marc Spiegler, a director of Art Basel, has described as simply another rite in commercial art's "elaborate validation ritual."

And then there's the nonexistent, which is too often the case. In early 2011, when the David Zwirner gallery in Chelsea organized a fascinating show about the history of the archetypal '70s alternative art space 112 Greene Street, it certainly seemed as if any attendant publication would end up in the third category: it didn't arrive in time for the exhibition, and more than a year passed with rumors that it was in the works.

If a book had never materialized it would have been, in a way, wholly in keeping with the spirit of the subject. Founded in 1970 in an old rag-salvaging factory in a decrepit downtown neighborhood only then becoming known as SoHo, 112 Greene Street had no formal opening. It had no official name, other than its address, or 112 Workshop, which it was sometimes called. Almost any artist willing to install and dismantle his or her own work was welcome. Technically, some of the work made or shown there was for sale, but the majority of it disappeared, either because it was meant to or because no one had the slightest idea what to do with it outside of its hothouse hatchery.

During the space's first year Bill Beckley created an anarchic piece of post-minimalism in which a plank bed was suspended beneath a rooster cage, with a live rooster inside. The installation wasn't just for show; the idea was that the bed would be slept in.

"An artist who shall remain nameless decided at this time to dye a pile of rope with a toxic substance, and in the wonderful spirit that was 112, dumped it beside my rooster piece," Mr. Beckley recalled. "The rooster first stumbled in circles and then fell, poisoned by the toxic fumes. I feel guilty to this day."

That reminiscence, and hundreds of others, have been gathered in "112 Greene Street: The Early Years (1970-1974)," the exhibition catalog that is finally seeing the light of day, published by David Zwirner and Radius Books. And it turns out that all the time it took to create the book was put to admirable use.

Given the outsize influence 112 Greene has had not only on art making but also on art spaces, alternative and otherwise, over the last four decades, it is stunning how little has been published about its history. The only substantial book fully devoted to the space, issued in 1981, is long out of print, and used copies sell for more than $100.

"The Early Years," compiled by Jessamyn Fiore, the curator of the Zwirner exhibition, is a healthy start toward a fuller accounting, an oral history of the space told through the informal, hyper-articulate, at times hilariously surreal voices of 19 artists who worked in or around 112 Greene, including notables like Vito Acconci and Mary Heilmann.

The six-story, cast-iron-facade building was owned by Jeffrey Lew, who bought it with Rachel Wood, his wife at the time, as their home and studio. Many artists who gathered there had been cast upon the unpeopled shores of SoHo by the cultural tidal waves of 1968. Gordon Matta-Clark, who helped Mr. Lew open the ground floor and basement as an art gallery, was an architect who had been studying French literature at the Sorbonne. Richard Nonas was an anthropologist who came to art after working in the Mexican desert. Willoughby Sharp had been imbibing Meyer Schapiro's Marxist modernism at Columbia.
As Mr. Lew told Avalanche magazine in 1971: "I'm doing this because it's time for action and for clear thinking. There was once a time for being chaotic and letting yourself completely freak out. Now I just don't feel that way, I feel like getting it together." Getting it together, however, meant creating an art gallery that, judged even by the standards of its day, bordered on lunacy, a place that defiantly refused to let itself be defined. Dance and performance were as important as object making, and women played a central role, at a time when they were still vastly underrepresented in the art world at large.
Sharp videotaped himself while living for three weeks inside a small box. Matta-Clark grew a cherry tree in the basement, with lights. Richard Serra and Spalding Gray collaborated on a video piece. Holes were cut (or jackhammered) through the floors for art's sake. The place was dirty, dark, smelly and splintery and remembered by everyone involved as a paradise almost too good to believe.

"It was all part of another way of thinking," Alan Saret, who was also instrumental in forming the space, told Ms. Fiore. "An ideal thinking, if you would, a utopian kind of thinking."

Ms. Fiore - a playwright and the daughter of Jane Crawford, Matta-Clark's widow, who manages his estate - has done a nice job resurrecting the riotous spirit of the era, allowing the participants to tell stories that circle, overlap and sometimes contradict one another. You find yourself wishing only that she had taken a year or two more, to dig even deeper, partly because the history of the space is also a wonderfully fine-grained portrait of 1970s New York and of an American cultural landscape in the act of fracturing beyond all recognition.

What killed the space in its original form was not its excesses or perennial lack of money, to hear Mr. Lew tell it. It was money itself - in the form of grants, given by well-meaning people - and the act of accepting it meant the excesses could never be quite as spontaneous again. "As soon as I got the first government grant," he said, "they wanted to know who I was showing and what I was doing." He became less involved after 1974, gave up control of the building in 1976, and 112 Greene eventually became the nonprofit gallery White Columns, now on West 13th Street.

The only real surprise among those there at the beginning was that it lasted in its undomesticated form as long as it did. "112 Greene Street was, to borrow Isaiah Berlin's terms, both a freedom 'to' and a freedom 'from,' " Mr. Beckley said. "Both a positive and a negative liberty. That balance is difficult to maintain even for a moment's passing, let alone an era."



12. Patty Chang, Kate Gilmore, Barbara Hammer, Jenny Polak, Dread Scott, FF Alumns, receive New York Foundation for the Arts Fellowships 2012

The New York Foundation for the Arts (NYFA), the nation's largest provider of funding, information and services to individual artists, this year awarded 95 NYFA Fellows and 16 Finalists - all of whom were chosen from among over 4,317 applicants in five categories - including Fiction; Folk/Traditional Arts; Interdisciplinary Work; Painting; and Video/Film. The Fellows were selected by peer panels, which were assembled with representatives from each artistic discipline.
NYFA's 2012 Artists' Fellowships are administered by NYFA with leadership support from the New York State Council on the Arts, a State agency. Additional support is provided by the New York City Department of Cultural Affairs, Deutsche Bank Americas Foundation, The Lily Auchincloss Foundation, the Milton & Sally Avery Arts Foundation, and one anonymous donor.

Denise Burrell-Stinson (New York)
Alexandra Chasin (Kings)
Kiera Coffee (Kings)
Susan Daitch (Kings)
B.G. Firmani (New York)
Scott Geiger (New York)
Melinda Goodman (New York)
Susan Karwoska (Kings)
Mary La Chapelle (Westchester)
Catherine Lacey (Kings)
Caron Levis (Kings)
Sara Lippmann (Kings)
Minju Pak (Kings)
Bob Proehl (Tompkins)
Thaddeus Rutkowski (New York) - Gregory Millard Fellow
Amanda Stern (Kings)
Allison Thompson (Kings)
Arlaina Tibensky (New York)

Liana Finck (New York)
Amy Halloran (Rensselaer)
Teddy Wayne (New York)

Sarah Dohrmann (Kings)
David Heatley (Queens)
Robert Lopez (Kings)
Ranbir Sidhu (Kings)
Laurie Weeks (New Paltz)

Folk/Traditional Arts
Colleen Cleveland (Warren)
Hongyi He (Queens) - Gregory Millard Fellow
Vit Horejs (New York) - Robert Sterling Clark Visual Arts Space Award
Julian Kytasty (New York)
Jagannath Lairenjam (Queens)
Malia Mahi-Badis (New York)
Marcos Napa-Ormeno (Bronx) - Gregory Millard Fellow
Kesler Pierre (Kings)
Alhaji Papa Susso (Bronx)
Guowei Wang (New York)

Michael Alpert (New York)
Bonnie Gale (Chenango)
Vongku PAK (Kings)

Arthur Flowers (Onondaga)
Elena Martínez (Bronx)
Ellen McHale (Schenectady)
Pete Rushefsky (New York)
Nivedita ShivRaj (Queens)

Interdisciplinary Work
Wafaa Bilal (New York)
Xavier Cha (Kings)
Patty Chang (Kings) - Deutsche Bank Americas Foundation Award, FF Alumn
Ping Chong (New York)
Zachary Fabri (Kings)
Kate Gilmore (New York), FF Alumn
Joseph Keckler (Kings)
Liz Magic Laser (New York)
Alma Leiva (Kings)
Jodie Lyn-Kee-Chow (Queens)
Erica Magrey (Kings)
Glendalys Medina (Bronx)
Jason Mitcham (Queens)
Shana Moulton (Queens)
Jenny Polak (Kings), FF Alumn
Andrea Ray (New York)
Dread Scott (Kings), FF Alumn

Blake Carrington (Kings)
Jacob Margolin/Nicholas Vaughn (collaboration) (Washington)
Jeff Stark (Kings)

Danielle Abrams (Kings), FF Alumn
Man Bartlett (New York)
Brendan Fernandes (New York)
Mollie McKinley (Dutchess)
Saya Woolfalk (New York)

Thordis Adalsteinsdottir (New York)
Angela Basile (Dutchess)
Trudy Benson (Kings)
Michael Berryhill (New York)
Mariella Bisson (Ulster)
Elizabeth Bonaventura (Greene)
Robert Bordo (Columbia)
Rosanna Bruno (Kings)
Louis Cameron (Kings)
Rebecca Chamberlain (Kings)
Michael Cline (Queens)
Vince Contarino (Kings)
Ian Davis (Ulster)
Molly Dilworth (Kings) - Lily Auchincloss Foundation Fellow
Scott Daniel Ellison (New York)
Micah Ganske (New York)
Jen Harris (Columbia)
Emily Hass (New York)
Ridley Howard (Kings)
Todd Knopke (Kings)
Tim Lokiec (Kings)
Chris Martin (Kings)
Christian Maychack (Kings)
Bradley McCallum/Jacqueline Tarry (collaboration) (Kings)
Daniel Rich (Kings)
David Schirm (Genesee)
Roxa Smith (New York)
Corinne Ulmann (Kings)
Nichole van Beek (Kings)
William Villalongo (New York)
Wendy White (New York)
Deborah Zlotsky (Albany)

Richard Briggs (Kings)
Franklin Evans (New York)
Tim Okamura (New York)

Kris Chatterson (New York)
Christina Toro (Dutchess)
Sarah McCoubrey (Onondaga)
Shaun El C Leonardo (Queens), FF Alumn
Meghan Gordon (New York)

Tara Autovino (Kings)
Orit Ben-Shitrit (Kings)
Prashant Bhargava (Kings)
Mari Jaye Blanchard (Kings) - Gregory Millard Fellow
Shirley Bruno (Kings)
Jose Carlos Casado (Queens)
Todd Chandler (Kings)
Ivan Cortazar (Queens)
Michael Gitlin (Dutchess)
Barbara Hammer (New York), FF Alumn
Phillip Hastings (Chautauqua)
Oded Hirsch (Queens)
Marie Losier (New York)
Sterz (Monroe)
Terence Nance (Kings)
Kimberly Reed (New York)
Pawel Wojtasik (Kings)

Michael Dominic (Queens)
Eteam (collaboration) (Queens)
Hedia Maron (New York)

Yorgo Alexopoulos (New York)
Sandra Gibson (New York)
Lisa Crafts (New York)
Michelle Handelman (Kings), FF Alumn
Julie Casper Roth (Albany)



13. Nicolas Dumit Estevez, Pablo Helguera, FF Alumns, at EFA Project Space, Manhattan, July 27

"Tales of Becoming": A Closing Event for Cultural Transference

Friday, July 27, 6:30-8:30pm
At EFA Project Space, 323 West 39th Street, 2nd Floor (between 8th and 9th aves.) in Manhattan

EFA Project Space will host a closing event for its current exhibition Cultural Transference. The event will consist of two presentations under the heading "Tales of Becoming," featuring a screening of Nicolas Dumit Estevez's baptism which is documented in his project Born Again: A Lebanese-Dominican Dominican York is Born Again as a Bronxite, and a performative reading by Pablo Helguera, and actress Laura Lona, from "The Boy Inside the Letter" (2008), a diary written during his first four years in the United States, after moving from Mexico City to Chicago for art school.

The reception will begin at 6:30pm, the screening and performance will begin at 7pm. For additional information about the closing reception, please email projectspace@efanyc.org.

You may also visit http://www.efanyc.org/upcoming-events/2012/7/18/tales-of-becoming.html



14. Bob Goldberg, FF Alumn, at Tenri Cultural Institute, Manhattan, July 29

Next Sunday, July 29, at 7:00 PM, the Famous Accordion Orchestra will be appearing at

Moderated/Curated by Dr. William Schimmel


For our part, we will be premiering a set of Bob Marley tunes, arranged for the occasion.
The Famous Accordion Orchestra is: Bob Goldberg, Genevieve Leloup, Mark Nathanson, Melissa Elledge, Rachel Swaner, accordions; Greg Burrows, percussion.

Also performing: David First, Will Holshouser, Rocco Jerry, Doug Makofka, Robert Young McMahan, Mr. Fukui, Mami Okada, Martina Li, Erica Mancini, Ingrid Kvale, Brian Dewan and Dr. Schimmel.

The seminars run from Friday the 27th through Sunday the 29th, and feature performances and workshops with outstanding and unusual accordion artists. Melissa will be playing in the Sunday afternoon workshops.
Tenri Cultural Institute
43A w 13 st
NYC ("the village")

for more:

Positive Vibration!



15. Dieter Roth, FF Alumn, at The Fruitmarket Gallery, Edinburgh, Scotland, Aug. 2-Oct. 14

The Fruitmarket Gallery

Dieter Roth Diaries
2 August-14 October 2012

The Fruitmarket Gallery
45 Market Street, Edinburgh, EH1 1DF
Open seven days. Always free.
Hours: Mon-Sat 11-6pm, Sun 12-5pm

Extended Edinburgh Art Festival hours:
2-26 August 10-7pm, 7 days


The Fruitmarket Gallery is proud to present this exhibition of the work of Dieter Roth (1930-1998), one of late-twentieth-century art's major figures. Roth was an artist of astonishing breadth and diversity, producing books, graphics, drawings, paintings, sculptures, assemblages, and installation works involving video, sounds, and recordings. He was also a composer, musician, poet, and writer. Art and life for Roth flowed readily into each other, and much of the material for his artistic output came from his everyday life.

This exhibition is the first to focus on the theme of the diary in Roth's work. Roth kept a diary throughout his life, and saw all art-making as a form of diary keeping. His diaries were a space to record appointments, addresses, lists, and deadlines but also ideas, drawings, photographs, and poems. They teem with graphic exuberance, and proved a rich source for his work. The Fruitmarket Gallery is fortunate in being able to show Roth's diaries to the public for the first time, as well as the hand-produced, photocopied 'copybooks' he made from them to sell to favoured collectors and friends, and two major installation works.

Many of Roth's major works can be understood as kinds of diaries. In the mid-1970s, he attempted to record a year of his life through rubbish, collecting, and preserving all rubbish less than one or two sixteenths of an inch thick. The resulting work, Flat Waste, celebrates and subverts the ordering principle of the diary. Solo Scenes, a vast video diary, records the last year of Roth's life on 128 video monitors.

Although Roth died in 1998, his work remains of interest to artists and audiences alike. He has a particular connection to Edinburgh, having been part of Richard Demarco's exhibition Strategy: Get Arts at the 1970 International Festival. This will be the first time his work has been seen in Scotland since.

The Fruitmarket Gallery has produced a major new publication to accompany the exhibition. The book includes essays by Fiona Bradley; artist Andrea Büttner; and writer and curator Sarah Lowndes. It also includes new texts by Björn Roth, the artist's son and long-time collaborator and Jan Voss, who worked with Roth on his book projects, as well as a selection of interviews with Roth, translated into English for this publication. The book also reproduces pages of Roth's diaries for the first time, alongside images of installation works which relate closely to the theme of the diary.

'An awfully dreadfully fearful drain he fell down into, wriggling there, at the bottom, in his wet pants'*: Dieter Roth and Art History
Thursday 4 October, 6-8pm

Art historians Deborah Lewer (University of Glasgow), Luke Skrebowski (University of Cambridge), John-Paul Stonard (Courtauld Institute of Art, London), curator Daniel Herrmann (Whitechapel Gallery, London), and writer Sarah Lowndes (Glasgow School of Art) examine Roth's place in relation to art making in the twentieth century and his legacy for artists now.
*The title of the seminar is extracted from an 'autobiography' that Dieter Roth included in the book he made with Richard Hamilton, COLLABORATIONS OF CH. ROTHAM in 1977.

Booking is recommended.
To book your place call T 0131 226 8181 or email bookshop@fruitmarket.co.uk.



Goings On is compiled weekly by Harley Spiller