2019 | 2018 | 2017 | 2016 | 2015 | 2014 | 2013 | 2012 | 2011 | 2010 | 2009 | 2008 | 2007 | 2006 | 2005 | 2004 | 2003 | 2002

ABOUT GOINGS ON: How to subscribe and submit listings

Contents for August 01, 2012

1. Martha Wilson, FF Director, receives Specific Object 2011 Publication of the Year Award

Announcing the Specific Object 2011 Publication of the Year Award
Given to Martha Wilson for

Martha Wilson Sourcebook: 40 Years of Reconsidering Performance, Feminism, Alternative Spaces

Specific Object is pleased to announce that our judges have named Martha Wilson Sourcebook: 40 Years of Reconsidering Performance, Feminism, Alternative Spaces, by Martha Wilson and published by Independent Curators International [ICI], the Specific Object 2011 Publication of the Year.

As the book's title implies Martha Wilson Sourcebook: 40 Years of Reconsidering Performance, Feminism, Alternative Spaces is a definitive history of the evolution of, not just one woman's 40 year history in the "alternative arts" movement, but a broader contextualization of the transformation and ascent of a generation that succeeded in tuning art on a sharp, often politically motivated, shift that give rise to relational aesthetics imbibed artists.

Martha Wilson Sourcebook: 40 Years of Reconsidering Performance, Feminism, Alternative Spaces, designed by Scott Ponik, includes rare documents and excerpts of landmark publications that influenced Wilson and her approach to activism and art, not only providing the reader with insight into her own practice, but also a unique lens through which to look at the last forty years of contestations in feminism, performance, and the alternative space movement in the United States. According to Kate Fowle, Executive Director of ICI, "Reading Sourcebook is like getting to know Wilson as a curator would, providing the opportunity to spend time understanding the context through which her practice has evolved and the influences that inform its trajectory."

Specific Object's judges were unanimous in their belief that Martha Wilson Sourcebook: 40 Years of Reconsidering Performance, Feminism, Alternative Spaces defines excellence in execution from the book's title, to content, to a demonstration of what Martha Wilson has excelled at over the course of her pioneering work championing performance, feminism, and her tireless dedication to the development and advocating for alternative spaces since 1976 when she founded Franklin Furnace.

In addition to Martha Wilson Sourcebook: 40 Years of Reconsidering Performance, Feminism, Alternative Spaces, the judges also wish to acknowledge three additional outstanding publications for 2011 from the over 450 submitted titles:

Developing Patterns, an artist's book by Anna Craycroft, published by Evil Twin Books.

All I Remember, an artist's book by Elisabetta Benassi, published by Nero.

Artists' Magazines: An Alternative Space for Art, by Gwen Allen, published by The MIT Press.

About the Specific Object Publication of the Year Award
Since 2004 Specific Object has selected a Specific Object Publication of the Year. The winner of the 2004 Specific Object Publication of the Year Award was Jonathan Monk for his book Cover Version, published by Book Works U.K.; the winner for 2005 was Philippe Parreno's Fade to Black, published by mfc-Michèle Didier; 2006's award was presented to 0 TO 9 : Limited Facsimile Edition by Vito Acconci & Bernadette Mayer as part of the Ugly Duckling Presse / Lost Literature Series; 2007's award was presented to Esopus magazine; and the 2008 award winner was The Mug by Sarah Lucas and Olivier Garbay, published by Other Criteria. The 2009 winner was Orchard Spreadsheet by R.H.Quaytman, published by MER. Paper Kunsthalle. The 2010 winner was Josh Smith and Todd Amicon for A GUEST + A HOST = A GHOST : Dakis Joannou Collection.

About Specific Object
Specific Object is a gallery, bookstore and website based in New York City.

Specifically, Specific Object is an attempt to isolate distinct works of value - historically, monetarily and / or personally valuable - and show them in an isolated context without the artifice of visual confusion or clutter in hopes of allowing these works, or objects, their own place, space and time. The materials shown range from artists' publications, ephemera, prints, multiples and other editions to literature, music / audio works and unique artworks of the contemporary world.

From 1998 through 2004 Platzker was the Executive Director of the non-profit institution Printed Matter, Inc. He is also the co-author, and co-curator - with Elizabeth Wyckoff - of Hard Pressed: 600 Years of Prints and Process (International Print Center New York & Hudson Hills Press, 2000); and - with Richard H. Asxom - the book and exhibition entitled Printed Stuff: Prints, Posters, and Ephemera by Claes Oldenburg: A Catalogue Raisonné 1958-1996 (Madison Art Center & Hudson Hills Press, 1997), which was awarded the George Wittenborn Award for Best Art Publication of 1997 by the Art Libraries Society of North America. Platzker has also curated exhibitions of the works of John Baldessari, Marcel Duchamp, Donald Judd, Bruce Nauman, Oldenburg, Dieter Roth, and Edward Ruscha in addition to commissioning or curating exhibitions at Printed Matter of Angelblood, Larry Clark, Erin Cosgrove, Meg Cranston, General Idea, Jenny Holzer, Reverend Jen, Allan Kaprow, Yoko Ono, Ryan McGinness, Sonic Youth, Tom Sachs, David Tremlett, Richard Tuttle and the Guerrilla Girls.

Specific Object is located at 601 West 26th Street / Floor 2M / Room M285, New York, NY 10001. Telephone (212) 242-6253.

For more information regarding Specific Object please visit its website: www.specificobject.com or email david@specificobject.com



2. Chin Chih Yang, FF Alumn, in The Wall Street Journal and on NY1 news, now online

Please follow the following link to see a report on the work of Chin Chih Yang on NY1 news, online at:



The Wall Street Journal, July 28-29, Greater New York section,
July 27, 2012, 9:45 p.m. ET
Behind the Scenes of Public Artwork
Before the Pieces Are Displayed, the Artists, Backers and City Officials Often Have to Go Through Months of Preparations

A sphere constructed of metal rings and filled with 30,000 empty soda cans will hang from a crane 20 feet above the ground outside the Queens Museum of Art this weekend, as Chin Chih Yang stages his "Kill Me or Die" performance.

Dressed in a business suit and brimmed hat, the artist will stand underneath as volunteers tug ropes attached to the 12-foot-by-12-foot sphere to open a trap door, sending cans cascading over him. An ambulance will stand nearby.

The artist Chin Chih Yang, far left, and an assistant prepare in Flushing for the 'Kill Me or Die' performance.

The performance-meant as a statement about how over-consumption damages the environment-will last an hour. The time it took to pull the whole thing off? About four years.

Mr. Yang's project is an example of the extreme logistical challenges that come with staging unusual exhibits or performances in public spaces. The artists, and the organizations that help them, often spend months performing tasks unrelated to art in order to execute their ideas. They must obtain permits, make sure insurance is in place, plan for medical emergencies, hire security, enlist developers and bureaucrats, hire construction equipment and take care of the smallest of details, like how to fill Mr. Yang's fishnet-lined sphere with all those cans.

"Thinking about the idea was not so complicated," Mr. Yang said recently. "Yet here today I see so many things I have to think about and worry about."

For his performances in Queens, which are scheduled for Saturday and Sunday, Mr. Yang spent years amassing the 30,000 cans, a number he says represents how many sodas an individual is likely to consume in a lifetime. He organized a collection drive at a school in New Jersey where he used to teach. And he bought them in bulk from can collectors who troll the Financial District for office-building recyclables.

Many of the logistics were handled by the Queens Museum, which brought the City Parks Department to the planning meetings. The department oversees the plaza in Flushing Meadows Corona Park, where Mr. Yang will stage the performance, his sphere of metal cans echoing the historic Unisphere globe from the 1964-65 World's Fair on the other side of the square.

"Having medical personnel on hand was something that was strongly urged by the Parks Department and was certainly on our minds," said David Strauss, the director of external affairs at the Queens Museum. "You never know what can happen."

The position of the crane was carefully chosen so falling cans will not damage trees. A plan was also devised to transport the crane to its spot through an area of the park not usually open to vehicles, and Mr. Yang agreed to hire 24-hour security to guard it at night. Mr. Strauss said the museum extended its regular liability insurance to cover all spectators in the plaza, while Mr. Yang will be covered by his personal insurance.

Mr. Yang is one of many artists who utilize outdoor spaces around the city as a canvas. (One of the more famous in recent memory was Christo, who installed 7,500 orange canvas gates throughout Central Park in 2005.) Several nonprofit organizations help fund or facilitate these projects, including the Brooklyn-based Franklin Furnace, which awarded Mr. Yang a $6,000 grant for "Kill Me or Die" and whose director, Martha Wilson, is helping to plan the performance.

Another leading group is the Public Art Fund, which is working on "Discovering Columbus," set to open Sept. 20 in Columbus Circle. The exhibit, by Japanese artist Tatzu Nishi, involves building a typical contemporary living room around the statue of Christopher Columbus, which sits on a column six stories above the ground. The room will be supported by scaffolding installed up the length of the column. Staircases will be open to the public, and passersby will be able to climb up to "visit" Columbus in his living room.

"When will you ever have a chance to come face to face with Columbus?" said Nicholas Baume, the director and chief curator of the Public Art Fund.

The Tishman Construction Corp., the fund's partner, is managing the construction side. "We have been in conversation with the Parks Department, the Buildings Department, transportation, police, fire-everybody who needs to be informed and give approval," Mr. Baume said, adding that the city will take advantage of the scaffolding to restore the statue.

Mr. Baume declined to say how much the exhibit will cost, but the group said fundraising has been under way for a year and 75% of the money has been raised from corporate sponsors, with the rest coming from individuals and foundations. Also, the Department of Cultural Affairs has allocated about $1 million for the conservation of the monument. (Mr. Yang's budget for "Kill Me or Die" is $10,000, which he hopes to cover with grants and private donations.)

Mr. Baume ticked off questions that organizers of the Columbus Circle exhibit have wrestled with: "How will people get their tickets? How many people will we be able to admit? Where will people assemble to enter? How many security staff will be in attendance? How long should people be able to stay?"

Even design decisions by Mr. Nishi, who is working with Bloomingdale's to furnish the living room, are affected by the location. "He's thinking about rugs and lighting and pictures on the wall-every last detail of colors, fabrics and textures," Mr. Baume said. "Of course, we have constraints. It has to be fabric that will take constant use, and it has to be fire rated-all the things you need to do with any public facility."

Nato Thompson, the chief curator of Creative Time, another nonprofit that helps artists stage public works, said support from the city government is essential. "If the city doesn't have a pro-arts policy or if there isn't pressure from the top to go easy on us in terms of permits, it won't happen," he said. "I have people in other cities asking, 'How do you get that done?'"
Public art promoters say the effort is worth it.

"It offers contemporary artists an immediacy that they don't get in more traditional settings," Mr. Baume said. "Artists find it very invigorating."

For Mr. Yang, the "Kill Me or Die" performance is a chance to connect with the public on an issue he feels strongly about. "They ask me as an artist, why am I doing this, why come to see my art?"
His answer: "I don't want them to look at it because it's beautiful or interesting, and to go home and maybe for one hour be excited, or one day, or for a week, and then forget everything they saw," he said. "I want that after they see my art, they will try like me to do something, to instigate change right away."

A version of this article appeared July 28, 2012, on page A24 in the U.S. edition of The Wall Street Journal, with the headline: Behind the Scenes of Public Artwork.



3. Robert Wilson, FF Alumn, in The Wall Street Journal, July 30, 2012

The Wall Street Journal
July 29, 2012, 9:12 p.m. ET
Performance Art Makes a 'Bang' at Benefit

WATER MILL-It's no fun having a rainy summer weekend in the Hamptons. There are so few weekends in the summer to begin with-who wants to have one rained on? And what do you do with the house guests? It is a problem and a conundrum, actually.

Like everything else out here, the charity circuit is often predicated on the outdoors. At no function is this more the case than Robert Wilson's annual benefit for the Watermill center, an incubation laboratory for art. On the last Saturday in July, Mr. Wilson, perhaps best known for his purposely eccentric, overtly theatrical productions like Philip Glass's "Einstein on the Beach," creates a menagerie of environmental performances with a group of invited artists. Nearly all of these make use of a path in the forest. Many involve body paint, mud, nudity and hair extensions.

The theme at this year's benefit was "The Big Bang," which could have referred to the outpouring from the skies that occurred just as Mr. Wilson's event, which raised $1,550,000 began.

The taciturn Mr. Wilson, who likes to sustain an air of mystery, only smiled at the suggestion that the weather could be positively perceived as part of the evening's performance.

The most obvious (and perhaps juvenile) incarnation of the theme was an enormous sculpture of a sex toy by Paul McCarthy that welcomed guests into Mr. Wilson's strange, absurd and often hilarious wonderland. Art-world entrepreneur Lisa Anastos joked that she planned to take the piece home.

No one goes to this party expecting anything ordinary. And for a $500 ticket just for cocktails, you get what you pay for.

"And the rain makes it better," said one young woman to her companion.

"I don't know, does it?" her companion responded.

It definitely put a damper on things: The woman writhing around in a mud pit; the naked ladies painted head-to-toe in reds and blues playing in a band; the large pink furry wall in the shape of a strange dog with oversize grooming tools; the man with a polka-dot globe on his head moving soulfully in an oversize slingshot; the individuals in strange animé costumes, navigating their way between the waiters passing out lobster-mango skewers and the guests who were eating them.

Leah Lane, the 13-year-old daughter of the theater producers Stewart Lane and Bonnie Comely, was dressed in one of those costumes. She spent a week this summer and last interning at the Watermill Center.

"It beats the hell out of last year when she was covered in hair," much like Cousin It from "The Addams Family," said Ms. Comley.

"Excuse me," said her daughter, "I have to get back to work."

"She's been here all week working on a giant jellyfish," said Ms. Comley of her daughter. "She's had a blast. It's better than camp. And it's good because she has a little pinch of cynicism about the whole thing."

It is hard not to have a pinch of cynicism about a party where a silent auction item is a photograph of the host (i.e. Mr. Wilson) and the bidding starts at $4,500. (Option: Buy it now for $8,000!) But as fleeting-and occasionally ridiculous-as some of the work Mr. Wilson shows can be, it can also stick with you.

"Something is happening," said Emily Kaplan, a film executive who is starting an almond-milk business in Los Angeles. She watched as in the rain, a group of shirtless men helped put a metal suit on a woman, adding magnets upon magnets. Then they began throwing heaps of scrap metal on her, and encouraged guests to throw from a pile of nails. "Go ahead, throw them," a shirtless man said. We tried it-it made our hands hurt. Even a pregnant woman got into the act.

"Wow, this is hectic," said Florian Wojewodzki, who raises capital for private equity.

"I really don't think this is OK," Ms. Kaplan chimed in.

"You know she's working through her grocery list in her head. 'I have to get cucumbers and tomatoes," said James Wyman, who works in capital markets.

"No, she's going, 'This is art. This is art. This is art,'" said Ms. Kaplan.

There was something very Christopher Nolan's Batman-meets-Shirley Jackson's "The Lottery" about the whole thing. Needless to say, it was intense. After everyone had moved on to other things, one of which was heading in to the dinner tent, the 37-year-old Brazilian artist behind the work, Paula Garcia, was greeted with hugs by some friends.

"I've been doing research with magnets for a long time," said Ms. Garcia, who had several bruises on her body from the nails and the scrap metal being thrown at her. "I want to explore invisible and visual forces, to show their power."

"It's about light and weight and life, about intensity more than it is about violence," she said. "Contemporary life molds to the body, but this work is about risk. I never know what's going to happen."

Ms. Garcia, who just moved from São Paulo to Williamsburg, used an expletive to describe the difficulty of performing work.

"It's hard," she said. "But now I'm going to party."

Write to Marshall Heyman at marshall.heyman@wsj.com

A version of this article appeared July 30, 2012, on page A19 in the U.S. edition of The Wall Street Journal, with the headline: Performance Art Makes a 'Bang' at Benefit.

Copyright 2012 Dow Jones & Company, Inc. All Rights Reserved



4. Billy X. Curmano, FF Alumn, subject of new catalogue raisonné, and more

We are happy to present the first catalogue raisonné about the American artist Billy X. Curmano:

Mark Pezinger Verlag - Vienna

ART WORKS USA 27979 County Road 17 Winona, MN 55987
Ring: 507.452.1598 billyx.net@gmail.com


Mark Pezinger Verlag announces the publication and European release of Billy X. Curmano Futurism's Bastard Son at Kunstverein Kassel parallel to the international art exposition Documenta in Kassel, Germany, August 8, 2012. The U.S. release is scheduled for the New York Art Book Fair, Museum of Modern Art, P.S. 1, Long Island City, September 27, 2012. Curmano will perform at both receptions

During the life of an artist countless photos are taken, numerous videos are shot and plenty of text is written. In the case of a performance artist this material is even more extensive and also more important, because it provides witness to past events. Futurism's Bastard Son documents selected major and minor works spanning several decades of output from this very eccentric Italian-American artist, who in addition to producing traditional objects has been buried alive, swam the length of the Mississippi River and often performs for cows and other under-served audiences in what is sometimes referred to as Performance or Live Art. Art historians often place the birth of this form with the Italian Futurists.

The World Wide Web allowed artist publisher Thomas Geiger and graphic designer Astrid Semme free access to Curmano's archives. With his cooperation, a transatlantic collaboration evolved and resulted in Billy X. Curmano Futurism's Bastard Son. It tells of an artist's life as art in 128 pages with text from multiple sources and 164 black and white images. The text was culled from the artist's own writings and project plans, lyrics, video transcriptions, reviews, articles and exhibition catalogs. The volume is letter sized with stitched binding and French flaps on both covers. An artist's edition of fifty copies includes a signed and numbered artist-altered world map from Swimming the Mississippi.

He's the only human being in recorded history to claim the distinction of swimming the entire length of the Mississippi River. He was buried alive for three days in a much ballyhooed effort to bring art to the spirit world that included a New Orleans-style funeral complete with Christlike resurrection. He once imprisoned himself in a tiger cage to protest the inhumane treatment of POWs in Vietnam. Maverick? Eccentric? Full-blown madman? Billy X. Curmano will be delighted to let you decide. - Mary Beth Crain, LA Weekly, 1999

Editing: Billy X. Curmano, Thomas Geiger, Astrid Seme
Graphic Design: Astrid Seme
Language: English
22 Ã- 28 cm, 128 p., stitched binding, edition: 500, 24 ‚¬
Paper: Munken Lynx
Cover: 300 grams Pages: 115 grams
Artist edition: 50 / 500, includes a drawing by the artist

further information

In honour of this occasion we would like invite you to our exhibition at the Kasseler Kunstverein where Billy X. Curmano performs during the opening night:

Mark Pezinger Verlag
reading disorders thinking out loud
Kasseler Kunstverein
August 8th - 20th

August 8th, 8pm: Live Performance by Billy X. Curmano
August 10th, 8pm: Discussion with Billy X. Curmano, Astrid Seme, and Thomas Geiger about Futurism's Bastard Son and the double-edged relation between performance art and its documentation.

For further information:

24 Euros (plus shipping) from Mark Pezinger Verlag - Vienna

30 Dollars US (plus shipping) also available after US release from Art Works USA Winona



5. Erica Van Horn and Simon Cutts, FF Alumns, at Site Gallery, Aug. 11-Sept. 8

Erica Van Horn and Simon Cutts in PRINT IT, Coracle Press
1989-2012, at the SITE GALLERY 11 August-8 September 2012,
Sheffield, England

"Don't ever be intimidated by the disdain or disinterest of the world. Get yourself some type, get yourself some paper, and PRINT IT." Charles Olson

The exhibition and surrounding activities are inspired by the pioneering work of Coracle Press which has collaborated with artists and poets from Susan Howe to Richard Tuttle, Hamish Fulton and Thomas Joshua Cooper.

Coracle has worked to expand the creative possibilities of publishing. The Site Gallery exhibition draws its title from Charles Olson's call to Do It Yourself action. The exhibition includes a workshop series, residency space for artist collective COPY and a pop-up international bookshop featuring experimental publishers worldwide.



6. Sonya Rapoport, FF Alumn, announces new monograph

Pairing of Polarities: The Life and Art of Sonya Rapoport, edited by Terri Cohn, published by Heyday, an independent, nonprofit publisher and unique cultural institution.

From dresser-top objects to shoes, the female body to Egyptian mythology, Sonya Rapoport's pioneering artwork integrates the everyday, emotional, and mystical with science and technology. To Rapoport, a geological survey map and the topography of the human soul are equally creative, and the Internet is a web of relationships "spun by the mother".

Rapoport combines her formal training as a painter and her clear bent toward mathematical thinking with audience participation and Web-based media, always pushing boundaries and creating meaningful relationships across seemingly unrelated fields. Her work has been shown internationally, including as part of traveling exhibitions sponsored by the US Information Service and the National Endowment for the Arts.

In honor of Rapoport's tremendous contributions and accomplishments, twelve noted scholars, scientists and art historians have come together to discuss her work. The result is a book that is at once a tribute and an illuminating exploration of the creative process itself. recent events include exhibitions at the Kala Art Institute (Berkeley, CA), Mills College Art Museum(Oakland, CA). and Stanford University (Palo Alto, CA).



7. Susan Newmark, FF Alumn, at the Cambridge School, Weston, MA, opening Sept. 7

Susan Newmark is in a group exhibition entitled Strange Glue: Collage at 100 at The Thompson Gallery at the Cambridge School (45 Georgian Road) in Weston, Mass.,11 miles from Boston. The opening reception is Friday, September 7 from 4-7pm. The exhibition which has 100 artists, will continue through November 20 and will be followed by two other collage shows. The director of the Gallery is a collage artist and has been working on this series for a year and is now planning for it to travel.



8. Frank Moore, FF Alumn, at Temescal Art Center, Oakland, CA, Aug. 4

a ritual audience participation experience experiment

The Underground Hit!

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


Saturday, August 4, 2012

511 48th Street
Oakland, CA 94609-2058

For more information
Call: 510-526-7858

2012 Dates!


"Frank Moore, a genius explorer of the frontiers of human affection."

"...He's wonderful and hilarious and knows exactly what it's all about and has earned my undying respect. What he's doing is impossible, and he knows it. That's good art...." L.A. Weekly

"...one of the U.S.'s most controversial performance artists,...." P-Form Magazine

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

"Surely wonderful and mind-goosing experience." L.A. Reader

"(Frank Moore is) the king of eroticism." Mike Trachel

Downloadable poster here:




9. Donna Henes, FF Alumn, in The New York Post, July 26, and more

Mama Donna Henes in the NY Post: http://www.nypost.com/p/entertainment/the_list_exorcists_dmERGxJUYqy3zvfo7DZ33J/1

and on Mob Wives: http://donnahenes.net/pages/ser_mob-wives-vid.shtml




10. R. Sikoryak, FF Alumn, at Soloway, Brooklyn, Aug. 3

Friday, August 3rd

Soloway is pleased to host the latest CAROUSEL, a long running series of Cartoon Slide Shows and other projected pictures, created and presented by a wide array of writers, cartoonists, and other characters. Hosted by R. Sikoryak.

This episode features:
Gabrielle Bell
Emily Flake
Myla Goldberg & Jason Little
Danny Hellman
Matthew Thurber
and R.S.

348 South 4th Street. Brooklyn, NY 11211

Gabrielle Bell's latest, best, most exciting new book, The Voyeurs, is due in stores this month!

Emily Flake is an award winning illustrator, cartoonist and writer. Her work has appeared in Time, The New Yorker, The New York Times, The Globe and Mail, Forbes, The Nation, and many, many other publications.

Novelist Myla Goldberg is the author of The False Friend, Wickett's Remedy, and Bee Season. She also plays banjo and accordion in the art-punk band The Walking Hellos.

Jason Little is the author of the "Bee" graphic novels Motel Art Improvement Service and Shutterbug Follies. He is presently at work on the third volume, entitled The Night Seminar.

Danny Hellman is a cartoonist and illustrator and the editor of the anthologies Typhon and Legal Action Comics.

Matthew Thurber is the author of 1-800-MICE and the web comic INFOMANIACS.

R. Sikoryak is the author of Masterpiece Comics and has hosted Carousel for over a decade.
For more info: http://carouselslideshow.com/



11. Joan Belmar, FF Member, summer events 2012

Dear Art Enthusiasts,
First at all, I hope you are having a wonderful summer. I also want to thank you for your support in the last years.
This year has been an exciting one for my career. I am updating you with past, current and coming events.

Stay cool!

Past events
The World Bank. About Change.Curated by Marina Galvani Washington,DC.
Washington Project for the Arts 2012 Art Auction. Curator: Cathleen Murnane Reis. Washington, DC.
Musee deTapisseries, Le Temps De L'eau Aix-en-Provence, France
The Children's Hospital. IN THE MIX: ABSTRACT ARTISTS Curated by Jarvis Dubois. Washington DC.
Sky Real State. Art Buzz. Capitoll Hill .DC
Covington and Burling / Adah Rose Gallery. Mei mei Chang & Joan Belmar. Washington DC

Current Exhibitions
Top of the World "Art on Top: A Sondheim Show" . Baltimore, MD
Capital One Art Program. "Time, Change, and Movement: The Art of Joan Belmar" (Solo). Mclean VA.

Charles Krause Reporting Fine Arts. Joan Belmar. From There to Here / Paintings. (Solo) DC (Mid-Sept)
Katzen Arts Center. American University. Courage Unmasked. Washington, DC. (Sept)
Joan Hisaoka Art Gallery. Art Advisory. Group Show. Washington DC (Sept)
Stevenson University. Prints. Curated by Diane DiSalvo MD (October )
Transformer Auction 2012. Corcoran Gallery of Art. Washington DC. (Nov)
Sram pArt Project. New York City. (Dec)



12. Gulsen Calik, FF Alumn, at PS Project Space, Manhattan, opening Aug. 2

The Hullaballoo Collective's Summer Show is just about to begin. The opening is on Thursday, 6 - 9 pm. My works are "The Museum of Heart" and "Contradictory Dictums". I hope you can come! Gulsen Calik

PS Project Space
Joie de Vivre
Hullaballoo Collective

548 West 28th Street, suite 328
August 3rd - 19th 2012
Tuesday - Saturday 11am - 6pm, Sunday by appointment

Opening reception: August 2, 6-9pm

PS Project Space presents Joie de Vivre, a group exhibition featuring artwork from the Hullaballoo Collective, an eclectic New York City-based group of artists. Hullaballoo Collective first exhibited in the March 2012 Fountain Art Fair at the legendary 69th Regiment Armory, the site of the original 1913 Armory Show in which modern art was first publicly presented in the United States.

Seeking Joie de Vivre is a theme in our daily lives as visual artists. Embracing joy, inclusiveness, and unity, while respecting artistic diversity is our collective "work in progress." Hullaballoo Collective artists create work using varied ways of seeing and making; the viewer is then invited to seek connections, associations, unexpected dialogues and individual discoveries in this artistic diversity.

In the past the Salon des Refusés and the Society of Independent Artists helped provide footing for the emerging avant-garde in art by creating opportunities for the public to see their members' work. With the same scrappy energy the Hullaballoo Collective creates its own exhibitions, bringing a blast of fresh work with every showing. Joie de Vivre will feature paintings, prints and sculpture hung salon style, curated cooperatively by the artists in the collective. We exhibit together to celebrate life. We, the Hullaballoo Collective, have taken a leap and offer the summer-in-Chelsea-audience the opportunity to come and see what the Hullaballoo is all about.

Ellen Alt, Cecilia André, Sharon Appel, Marianne Barcellona, Fran Beallor, Richard Brachman, Gulsen Calik, Pamela Casper, Ursula Clark, Barbara Coleman, Yvette Cohen, Colleen Deery, Molly DiGrazia, John Erianne, Patricia Fabricant, Robin Feld, Elaine Forrest, Robin Gaynes-Bachman, Beth Giacummo, Theresa Greenberg, Norma Greenwood, Bette Klegon Halby, Sarah Haviland, Aimee Hertog, Eileen Hoffman, Sandra Indig, JORDAN!(tm), Robin M Jordan, Bernard Klevickas, Melissa Kraft, Liz-N-Val, Barbara Lubliner, Janie Milstein, Adrienne Moumin, Nancy Nikkal, Nancy Oliveri, Walter O'Neill, Cade Pemberton, Elisa Pritzker, Jeffrey Allen Price, Peggi Pugh, Jacqueline Rada, Julie Scott, Joyce Silver, Regina Silvers, Cigdem Tankut, Linda Tharp, Shira Toren, Grazia Vita

Contact: Bernard Klevickas (bklevickas@mac.com) 718 306-2945
website: http://hullaballoocollective.org/
images available upon request



13. Mark Tribe, FF Alumn, at Yossi Milo Gallery, Manhattan, opening Aug. 2


Two of my new landscape photos are in a group show at Yossi Milo Gallery in Chelsea from August 2 through August 31, 2012.

The opening reception is on Thursday, August 2, from 6-8pm.

Yossi Milo Gallery is 245 Tenth Avenue, between 24th and 25th Streets, in New York City.

Hope to see you at the opening,


The Skin We're In
Yossi Milo Gallery is pleased to present The Skin We're In, a group exhibition featuring the work of Lindsay Lawson, João Enxuto & Erica Love, Stephen Prina, Jon Rafman and Mark Tribe. The exhibition will be on view from August 2 through August 31, with an opening reception on August 2 from 6:00 - 8:00PM.

In his 1859 essay presaging the stereograph craze, Oliver Wendell Holmes wrote that, "Every conceivable object of Nature and Art will soon scale off its surface for us..." This mid-19th century fantasy about ubiquitous images has been realized in the Internet's networked picture archive. The artists in this exhibition directly reference works made in the 20th century, and reconstitute the art-historical canon into new, present day-forms.

For A. Trio, Lindsay Lawson studied the movements of Yvonne Rainer's Trio A by watching the YouTube video of its definitive 1978 film documentation. Lawson then invited a dancer to learn Trio A from the video and to perform it in unison with a video projection of the Rainer piece. The viewer sees both the original performance, the new performance, and the shadow of the dancer on the projection moving as one.

In Stephen Prina's Untitled/Exquisite Corpse: The Complete Paintings of Manet (2012), black cord and brass pins outline the margins of absent paintings by the great early Modernist. Like a tab or an internet browser bookmark, these voids are a virtual reminder that these paintings exist somewhere in material form. Untitled/Exquisite Corpse: The Complete Paintings of Manet will be exhibited alongside a work from the ongoing cycle Exquisite Corpse: The Complete Paintings of Manet, in which Prina indexically draws from the complete oeuvre of Eduard Manet and reinterprets each piece in ink washes on rag paper. This series, which he began in 1988, is based on the Penguin Classics of World Art catalog entitled The Complete Paintings of Manet, which was published in 1967.

Opposites engage and contend in Jon Rafman's Brand New Paint Job (2010). In the BNPJ project, ordinary objects become infused with historically celebrated works of art. Each piece in the series is a deliberation between a consumer object or everyday environment and a canonized painting, the formal result of the meeting of a three-dimensional object and a two-dimensional image. Walking the receding line between art and design, Franz Kline Starbucks and the Juan Gris Reading Room are not simply more examples of the blurring of the distinction between high and low culture. Rafman suggests that history is ultimately wrapped around and involved in whatever we do.

Mark Tribe's photographs of landscapes found in combat video games tie the conventions of Western landscape painting with the aesthetics of contemporary military fantasy. These works, which resemble Hudson River School paintings, reveal a new way of capturing and creating beauty while blurring the lines between the real and the virtual.

João Enxuto & Erica Loves' Anonymous Paintings (2011- ) are inkjet prints on fabric that serve as surrogates for paintings exhibited in the collections of major museums. These images are derived from screen captures of Google Art Project's virtual "walk-throughs" of art museums where paintings have been blurred because of copyright restrictions. In the process of transferring digital files into three- dimensional inkjet paintings a rudimentary stereoscopic effect applied during web browsing is transferred to the finished pieces. Anaglyphic red and cyan glasses may be worn to perceive the finished paintings as atmospheric 3D compositions. For this exhibition, Enxuto and Love are showing versions of paintings from the Frick Collection which form a counter-archive of open source abstraction.

For more information or press requests for The Skin We're In, please contact Elana Rubinfeld, elana@yossimilo.com, or 212 414 0370.



14. Joni Mabe, FF Alumn, at 37th Chattahoochee Mountain Fair, Sept. 15

Joni Mabe the Elvis Babe presents: World Champion Elvis Tribute Artist -David Lee, with special guest: The Voice of Conway and The Stylings of Reba, 37th Chattahoochee Mountain Fair, September 15, 2012, Clarkesville, Georgia, 7 PM.
Loudermilk Boarding House Museum, Director
271 Foreacre St.
Cornelia, GA 30531-6359



Goings On is compiled weekly by Harley Spiller