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Contents for August 07, 2012

1. Micki Watanabe Spiller, FF Alumn, received Printed Matter Award for Artists.

Printed Matter is pleased to announce the winners of our 4th annual Awards For Artists. With limited funding available to artists working in the book medium, this award is meant to offer both a bit of financial support and a bid of confidence for artists doing exemplary work in the field. Printed Matter is hugely grateful to Sikkema Jenkins Co. and Thea Westreich & Ethan Wagner for their support of the program.

Awards For Artists is adjudicated through a peer group process, with twenty artists nominating 2-3 candidates each for the award. From the finalists, a jury of three artists including AA Bronson, Chrysanne Stathacos and David Horvitz, reviewed the nominees. Five winners-Agnes Prammer, Christopher Schulz, Micki Watanabe Spiller, Beriah Wall and Ofer Wolberger-were selected for a prize of $2000 each.

The wide-ranging submissions received this year captured a glimpe into the rich state of independent publishing, with many deserving candidates among the bunch. Thanks to everyone who submitted an application-it was great to see the many wonderful book projects out there.

Agnes Prammer, born in 1984, is an artistic photographer based in Austria.
She holds degrees in Commercial Photography and Communication Design and is currently in her final year at the Academy of Fine Arts in Vienna. Her work centers on portraits within photography, text-related art and artist books.

Christopher Schulz is an art book maker known for his unconventional pictorial magazine, Pinups. He has exhibited nationally and internationally, most notably: Queer Zines (2008), Learn to Read Art: A History of Printed Matter (2009), The NY Art Book Fair (2008-2011), and BOOKIE (2011). In 2012 he worked with Visual AIDS on their Play Smart campaign, and is working on new publications to be released later this year.

Micki Watanabe Spiller's work examines the narratives of space, through sculpture as well as artist's books. Most of the past works have been one of a kind constructions, or having a very small edition of 2 to 3 objects.
Recently, Micki began a public art project at her local Laundromat. This literacy project uses art to engage the neighborhood kids with her artist book, in the form of a treasure hunt coloring book. Otherwise, she juggles her time between going to museums with her 3-year-old son, teaching and trying to get to the studio.

Ofer Wolberger lives and works in Brooklyn, NY where he publishes books under his own Horses Think Press. He received his MFA in Photography and Related Media from The School of Visual Arts in New York City in 2001. He was a finalist for The Royal Monceau Photography Prize in 2011 and his work was recently featured in a solo exhibition at the Anne R. Worrell Fine Arts Center in Bristol, Virginia. He is presently working to complete a series of 12 self-published artist books, of which Covers is the most recent.

Beriah Wall is currently resting on his laurels and restoring his health on a small island in the tropics, and pursuing a hobby of small, vague abstract paintings. Sept. 8-9, 2012, he will be participating in the Brooklyn Museum's GO community curated open studio extravaganza. The coins will continue.



2. Alyson Pou, FF Alumn, summer calendar

Dear Friends and Colleagues,

I hope this finds you well and beating the summer heat! I have been busy working on my new installation project that opens in September at Aljira a Center for Contemporary Art.

"the time of our silence is over"

A cluster of long black dresses madly spinning, collide with one another frozen in their attempt to escape. A warren of white rabbits, with large blue eyes, materializes through the walls and gathers to gaze transfixed upon the scene.

For the past few months the wonderful Chuck Shultz of Blueprint Films has been documenting the process.

I have also been awarded a fellowship at The Virginia Center for the Creative Arts where I will complete the project in August.

The installation opens on September 6th at Aljira a Center for Contemporary Art in Newark, NJ. Stay tuned for more info!

And stay in touch. I'd love to hear your summer news!

All Best,



3. Julie Tolentino, FF Alumn, in Manila, Philippines, Aug. 25-Sept. 25

Tolentino Projects include two new works (performance and sculpture) debuting in Manila, Philippines

YOU HAVE SO MUCH - Tolentino devised a performance for local visual artist, Maya Munoz; performance remnant visible throughout the show's duration


Queerer Than Thou (2012); wire, acupuncture needles, butterflies, beetles

Aug 25-Sept 25, 2012
Girl Boy Bakla Tomboy curated by Eva McGovern MANILA CONTEMPORARY Whitespace, 2314 Chino Roces Avenue Pasong Tamo Extension, Makati City

Tel +63 2 576 5024
Mobile +63 917 8982655


Gallery hours
Tue-Sat, 11am-7pm; Sun 11am-4pm
Closed on Mondays and public holidays



4. Barbara Kruger, FF Alumn, in The Wall Street Journal, August 3

The Wall Street Journal
An Artist Has Her Say-All Over a Museum's Lobby and Store

When artist Barbara Kruger has something to say, she tends to use 12-foot-tall letters.

See a time-lapse video of a room-wrapping installation by Barbara Kruger that opens Aug. 20, 2012, at the Hirshhorn Museum in D.C.

The 67-year-old Ms. Kruger, who is based in New York, has earned a reputation over the past three decades for pasting aphorisms about power and consumerism atop black-and-white photographs in combinations that are equally wry and wince-inducing. An early example from 1987 shows a hand holding up a card that reads, "I Shop Therefore I Am." More recently, she's created videos and wrapped entire rooms in pithy texts that splay across floors and squeeze above doorways.

Now, Ms. Kruger is headed to Washington, where her latest installation, "Belief+Doubt," has taken over just about every surface in the lower lobby of the Hirshhorn Museum and Sculpture Garden. The work, which covers 6,700 square feet of surface area, has been printed onto wallpaper-like sheets in her signature colors of red, black and white. The vinyl portions on the floor will be mopped daily to get rid of shoe scuffs. The exhibition goes on public view Aug. 20 and will stay up for about three years.

The artist has made playful use of the architecture: On the strip of wall above the descending escalator, riders will see "Don't Look Down on Anyone." Across the threshold of the museum's new store will be the phrase, "Plenty Should Be Enough."

The museum store's checkerboard floor also reads like a shopper's lament, with squares that read, "Hoard It," "Crave It," "Break It" and "Return It." Assistant curator Melissa Ho said this last suggestion initially raised some eyebrows with officials at Smithsonian Enterprises, which oversees the Hirshhorn's gift shop, but Ms. Ho said she reassured them. "I said, 'Don't you think she's funny?' "

Collectors seem to think so: Last fall, one paid Christie's a record $902,500 for her 1985 photo of a ventriloquist's dummy, "Untitled (When I Hear the Word Culture I Take Out My Checkbook)."

Humor has long played a role in Ms. Kruger's work-she has placed smiley faces above the lobby's restroom doors-but her style favors satire. That's partly why Hirshhorn director Richard Koshalek said he thought of her two years ago when he was angling to transform the lower lobby. "With Congress steps away from us on the Mall, we have to find ways to engage with the powers of this city," Mr. Koshalek said. "We shouldn't hide from it."

Ms. Kruger said she didn't set out to lobby for any particular political party; indeed, both sides will likely find phrases that sum up their Capitol Hill sentiments. One patch of floor beside an elevator reads, "Admit Nothing. Blame Everyone." Another stretch of wall reads, "Whose Power? Whose Values?" The point, she said, is to provoke people to question themselves, and others. "At election time, questions come in handy, right?" she said.

Write to Kelly Crow at kelly.crow@wsj.com

A version of this article appeared August 2, 2012, on page D7 in the U.S. edition of The Wall Street Journal, with the headline: An Artist Has Her Say-All Over A Museum's Lobby and Store.



5. Lawrence Graham-Brown, FF Alumn, at Jamaicafestival, London, England, thru August 12, and more

I am delighted to inform you that my work will be included in the Contemporary Art Jamaicafestival 2012 London in Stratford London, England in the Olympic village! July 27-Aug 12, 2012

I am happy to announce I have been featured in Hesla Inprint located in Helsinki, Finland here is the link http://www.hesainprint.com/performance-performanssi/8104/rites-of-passagesacred-spaces and getting great responses!

Thanks for those who came out on July 22, 2012 at the Judson Memorial Church where I was guest Liturgist for those who missed the sermon by Scholar and Senior Minister Donna Schaper, here is the link... http://www.judson.org/sermons/view/250 The entire sermon was based on a past performance I did on Easter Sunday using question of Christ. " Have I been here so long time with you yet thou hast not known me?"

Please Join me at Lawn School Tompkins Square Park, NY August 16, 2012, apart of the Nurture Art series " Strange Makings" Curated by Ed Woodham http://lawnschool.net/lawnschool_classschedule.html where I will be in a group presenting work 7-9pm



6. Vito Acconci, Sherman Fleming, David Hammons, Homer Jackson, Rashaad Newsome, Yoko Ono, Clifford Owens, Lorraine O'Grady, Howardena Pindell, Adrian Piper, Pope.L, Dread Scott, now online at artvoicesmagazine.com


Am I Black Enough for You?
August 2012 Written by A.M. Weaver

Performance art in America is currently experiencing a renaissance, from the NY Performa series featuring the work of iona rozeal brown and Clifford Owens' solo exhibition at MoMA PS1 (both in late 2011), to Wilmer Wilson IV's performances at Volta and the Conner Contemporary Gallery in Washington, D.C. The Internet is abuzz with videos by Tameka Norris and Jayson Musson, aka Hennessey Youngman, just to name a few. A recent video of a performance by Jacolby Satterwhite, who juxtaposes his body and that of animated automatons against futuristic camp sets and nature, was recently on display at the Studio Museum in Harlem. Black artists are using all media beyond painting and sculpture to present their ideas and issues.

Let's backtrack a little and explore the work of the '70s in comparison to the work being produced today. Certainly ritualized movement and gesture take the lead in this discussion, in addition to race issues. During this era there was the resurgence of exploring African cultural practices and ideology. Artists, intellectuals, and the black community in general attempted to reconstruct real and romanticized connections to Africa - in other words, a spiritual quest to identify lost roots. Along with these spiritual assertions evident in the visual arts, performance art, dance, and theatre, there was a political force via the Black Power movement and the Black Panthers that fostered a unification of the black populace to embrace their uniqueness. A thrust toward self-sufficiency within communities served to counteract centuries of stereotypes perpetuated by the white mainstream that were, in some instances, internalized. In an era of Civil Rights agendas, when the perceived goal was assimilation, these movements served to elevate the consciousness of black people.

Since the days of Frederick Douglass and Martin Delany there has been the coexistence of sentiments of dual directives - one being assimilation and the other cultural independence. The dynamic of these directives has played out generationally, e.g. Dubois and Washington, Martin Luther King and Malcolm X, President Obama and Richard Wright. And in today's cultural sphere, a plethora of artists turn to installation and performance to make statements reflective of the paradox of being black in America.
Homer Jackson, AffirmActions is a promo still from Affirmative Actions: A Variety Show, 1991

There is a resurgence of interest in the art of Ben Patterson, the only black member of Fluxus, and his investigations in sound - the black John Cage. Adrian Piper, prominently featured in the annals of Conceptual Art, is known for her early performances of quotidian and interactive acts, which are legendary. One of the few black artists to devote an entire career to performance art is Sherman Fleming of Washington D.C., active since the early '70s. The acclaimed William Pope L, who literally took to the streets by crawling to create his art, recently made his directorial debut with the film Reenactor. David Hammons, Senga Nengudi, and Maren Hassinger, in addition to creating installations and sculpture, first collaborated in performance pieces. Of significance is Ceremony for Freeway Fets, 1979, a ritual in which Nengudi, the embodiment of a force/spirit, unites the male and female energies personified by Hammons and Hassinger, respectively. Recently, I had the opportunity to see an early film short by Camille Billops from approximately 1971. It had more in common with performance art than with any other genre and featured Billops, Bennie Andrews, and Vivian Brown, in tandem with several cohorts. The actors, in response to Billops' sculpture, loosely constructed a story about a black Christ.

Howardena Pindell and Lorraine O'Grady, handled by gallerist Linda Goode Bryant in the early '80s, created performances. Young White and 21, the singular video performance work by Pindell, and Miss Black Bourgeoisie by O'Grady were historical documents of the era, including social political commentary on being black and female. Of note is the work of artist Joyce Scott and actress Kay Lawal, who in 1986 established the Thunder Thigh Revue. Their raucous, satirical, and poignant performances addressed the full-figured black female body in diverse manifestations, from the personification of Saarjit Baartman to an Afro-Asian fan dance.

From the mid-'90s to the present, a new generation of artists emerged in performance art. For instance, the work of Lyle Ashton Harris and Thomas Allen Harris combined queer cultural motifs with lessons gleaned from antiquity. They revisit ritualized simulated ceremonies in their 1998 Alchemy series, where painted and highly costumed bodies abound, alluding to Yoruba cosmologies.

Jacolby Satterwhite and Wilmer Wilson owe much to Sherman Fleming's aesthetic, which emphasized the sparingly clad quasi-nude body as a tool to explore endurance. While Satterwhite vogues and gesticulates in elaborately animated and natural sets, Wilson constructs activities such as covering his body with inflated paper bags, only to burst them and cut them away from his body to reveal his nude physique. Wilson's From My Paper Bag Colored Heart, 2012, wrestles with the color code within the black community, where being lighter or darker than a paper bag, historically, served as an indicator of class status.

Why is this genre so expedient for so many at this time? For Satterwhite and Owens it is a principal field, while for others it is merely a facet of their artmaking. Xaviera Simmons sees photography as performative and infuses her practice with video works based on the reenactment of famous works, such as Yoko Ono's Cut Piece, 1965, and Vito Acconci's more obscure 1960s directives encapsulated in Person A Envelops Person B, 2009. Simmons' influences, from Buddhism to landscape painting, vary widely. Many of her stills are situated in landscapes. Whether in blackface or in little red riding hood garb, Simmons tries to recontextualize images, gestures, and inferences based on Western history. She appropriates forms and in her performance work attempts to isolate the gesture and create meditative spaces; however, rather than being reflective, these works register enactments in real time.

iona rozeal brown (lowercase at the artist's request) recently veered into the performance realm in her piece battle of yestermore, presented at Performa 2011 in New York City. This work was the height of theatricality, combining vogueing dance forms with hip-hop and freeform dance. The costumes and makeup of the characters that populate the land of Hez were exaggerations of traditional Japanese Kabuki garb and given a funky urban twist replete with bedazzling platform Dr. Martin sneaks. All the action was punctuated with an ethereal soundtrack. As a debut into the performance art realm, this work was a resounding success. Will brown continue this trajectory into the performance world? We anxiously await the next installment, which true to her recent explorations in paint of a mythological world, may be live reenactments of this spiraling tale between the forces of good and evil.

Owen's work is confrontational, sensuous, and/or transgressive. The black male image is an issue that is loosely addressed; however, the question is whether he transcends associated labels. In many instances, Owens takes great risks in his work by performing nude; many of his black contemporaries, particularly women, are not inclined to engage nudity; Xaviera does so in her photographs, but only in blackface or with the face obscured as in Landscape (2 Women), 2007.

Satterwhite flirts with the neutered body postured outside the industrialized space of cities and the gallery's white cube, juxtaposing it against a fantastical sphere or nature itself. Heavily costumed, he transforms his body in Rectifying Desire, 2011, courting transgendered fantasies where erect prosthetic breasts emit and spray colorful fluids across the forested landscape. Satterwhite considers his current work to be collaborations with his mother, using her drawings and writings as springboards for his imagery. This may be the way a son validates himself by attempting to construct, in part, the purview of his mother which he may never truly approximate; his vision is too overpowering.
Homer Jackson, Empty Arms 1 & 2 are stills from live performance of Empty Arms at HallWalls Arts Center in Buffalo. 1995

Rashaad Newsome made his debut in the American art mainstream via the presentation of Rashaad Newsome: Jasmine, Dawn, and Aaliyah in the 2010 Whitney Biennial. His access to gay underground cultural practices and ability to reframe them in the context of performance art is nothing less then brilliant. This 2010 piece features transsexuals dressed in scant black costumes against a white background. Left to speculate on the gender of the performers and the display of physical acumen, Newsome constructs interplay of tension and entertainment. In Shade Compositions, 2009, Newsome takes vernacular language and attitude associated with women from the "hood" adapted by black queer culture, and creates an orchestrated sound piece. Initially collecting a group of women of various hues, a play on the title of the work, Newsome serves as conductor, directing the nuances, articulations, gestures, and sounds of the performers in an explosive choral cacophony. Oh yeah, what is shade? It means serving attitude, judging or insulting someone indirectly. Sucking one's teeth or an "uh-hun" delivered with just the right inflection can do this.

Of significance here is the work of Dread Scott, a multimedia artist whose political radar is highly tuned to societal injustices. From racism, the penal system, to the flawed economy, Scott uses his performance works as forms of protest. His motto is: revolutionary art to propel history forward. In 2010, he performed Money to Burn, in which he literally burned money and offered passersby the opportunity to do the same in the New York Wall Street district, approximately a year before the Occupy Wall Street movement began. Needless to say, police intervened twenty-five minutes into the performance, bringing it to an abrupt halt. Burning money is considered taboo and Scott's subversive act on a micro level demonstrates the literally vanishing billions in the stock market.

The post-black issues resound in and around the conceptual underpinnings of work by some of the younger artists. While many of the younger artists attempt to subvert stereotypes by flaunting or using signifiers, such as the abject black body, performing quotidian or symbolic acts or minstrelsy, others are reconstructing their own realities, whether mythological, queer, or intrapersonal. Owens asserts, "[I am] interested in what was not being presented in the work of many black artists active in the '70s." His concerns revisit, in some instances, the issue of body politics indicative of works by white artists of the '60s and '70s including Chris Burden, Joseph Beuys, Marina Abramovic, and feminist artists such as Carolee Schneemann and Karen Finley.

Will we ever be able to present the blackbody, particularly the nude, without it being charged with racially identified signifiers? Probably not, and therein lies its power. So when Owens undulates and writhes under the sheets in his video, Infidelity, 2000, exposing limbs and torso at various intervals; or touches his groin, massaging the kimchi in his pants while donning a Korean mask in Kimchi Fried

Rice and Beer, Part II, 2002, what registers immediately is that this is a black body. In response to these respective sensual and transgressive acts, the audience is challenged and compelled or not to sift through their own psychosexual and political baggage to read the performance as body and actions period. It is evident that Owens's work is not geared toward a black audience but one that is at best mixed. The Kara Walker score submitted for his MoMa PS1 series, which instructs him to kiss a female audience member, has much more controversial implications if the woman is white in contrast to black.
iona rozeal brown, KAE, Still from the performance "battle of yestermore", 2011

Of all the performance artists interviewed, Homer Jackson, active from 1982 to 2003, was the only one to raise the issue of audience. Rich in black vernacular and coded terms, his work presents clear points of reference for black audiences to consider. In Affirmative Actions-A Variety Show, 1991, Jackson directly solicits participation. Viewers were interviewed and asked upon entry to fill out job applications. His work Three Willies, 1997, investigated the lives of three generations of black men, addressing pertinent issues confronted by each age group from birth to old age. These multimedia works, executed with humor and dramatic moments, were not without satire and parody. Homer is interested in being a storyteller - his stories and ours.

Engaged with the art marketplace, ready to assume their positions as art stars, this younger group of artists are in fact willing to take a critical look at their work and those of their peers, recognizing that they are merely a part of an extensive history of black performative practices. Although we have limited this discussion to performance artists trained in visual art, American audiences and to some extent those abroad are familiar with performance art by blacks that draw from theatre, dance, music, and the spoken word.

Ntozake Shange's For Colored Girls Who Have Considered Suicide When the Rainbow Is Enough, 1975, changed American theatre forever. Sunra's Arkestra and the Art Ensemble of Chicago could be considered examples of African retention in the Diaspora where music, dance, and spectacle are part of a cultural reality. And Blondell Cummings, long associated with modern dance culture, continued and expanded on a vocabulary influenced by Yvonne Rainer in her historic 1981 work Chicken Soup. Of course there were the entertainers such as Josephine Baker and Grace Jones, who in their heyday capitalized on the sexualized image of the black female body: their vocabularies extended from the exotic to dominatrix. Yes, they were tenacious in their willingness to explore and exploit diverse sexual references. These are just a few of the performers that have radicalized various genres in American art and culture over the last sixty years.

This emerging dialogue pertaining to black performance art is taking a strong foothold within mainstream contemporary institutions; a major exhibit is in the works featuring the ephemera, objects, and videos of some thirty artists at the Contemporary Arts Museum Houston. According to senior curator Valerie Cassel, who just finished a retrospective on Fluxus artist Ben Patterson, the show Radical Presence is a survey exhibit that is merely the tip of the iceberg in black performance art traditions. She and Owens have collaborated on a publication, Anthology, that will hit the newsstands September 2012.



7. Neal Medlyn, FF Alumn, at Gawker Media Rooftop, Manhattan, Sept. 5
12-13 Season Launch Party
September 5 @ 6:30pm
at Gawker Media Rooftop, SoHo
From start to finish the evening's social convergence of artists, PS122 staff, and friends will be infused by singular performative and non-performative events of the unexpected, absurd, and often coy nature curated and featuring
Get Modern on Me aka GMOM aka Neal Medlyn, Adrienne Truscott & friends.

Special thanks to our Season Launch Committee Kate Bornstein, Enrico Ciotti, Sherry Dobbin, Michelle Stern, Morgan von Prelle Pecelli, Philip Alnswick-Tobias
and artist tickets sponsor William Llynch
Tickets >>
$30 in advance / $35 at the door
Online / 212-352-3101
All tickets include open bar and hors d' oeuvres
Performances made possible in part with support from the Mertz Gilmore Foundation.
Hospitality sponsors: Wine tasting with Terra Fossil, Food from VBar St. Marks, with beer lovingly provided by Brooklyn Brewery.



8. Daniel Georges and Rumiko Tsuda, FF Alumns, in Go Brooklyn open studios, September 8-9, and more

I have a sundial sculpture on the Riverview Lawn in Brooklyn Bridge Park, Brooklyn at the base of the Manhattan Bridge (Enter at the end of Main St.) from August 1 through September 15, and Rumi and I will be participating in GoBrooklyn open studios (https://www.gobrooklynart.org/participate) on September 8 and 9, 2012 organized by the Brooklyn Museum. Please stop by if you have a chance.

"Perpetual Energy" 30th ANNUAL OUTDOOR SCULPTURE EXHIBITION AT Brooklyn Bridge Park, August 1 - September 15, 2012 Opening Reception Saturday Aug. 4, 1-5 pm

Daniel Georges

225 South 1st Street
Brooklyn, NY 11211



9. Joseph Nechvatal, FF Alumn, now online

Joseph Nechvatal interview has been published in the Summer-Fall issue of the Mexican contemporary art & theory journal dr^k http://drik.mx/p1.html - with video html http://vimeo.com/46594974



10. Scott McCarney, FF Alumn, summer news

Summer salutations.
ScottMcCarney.blogspot.com has been updated with Summer news:
A review and installation photos of Reversing the Catastrophe of Fixed Meaning
A link to the talk Keith and I gave at the State Library of Queensland in June
Thanks for clicking.



11. Barbara Hammer, FF Alumn, at Summerhall, Edinburgh, Scotland, Aug. 25

The Fringe Festival, Summerhall in Edinburgh, Scotland

Barbara Hammer: Incorporating 'The Lesbian Museum' and 'The Hidden Hammer'
Speaker: Barbara Hammer
25 August, 2012

Venue: Red Lecture Theatre
Age Group: 14+
Start time: 15.00
Duration: 90 mins

Co curated with Jeremy Fernanado, Jean Baudrillard Fellow at the European Graduate School and Fellow of Tembusu College at The National University of Singapore.

Fresh from retrospectives at the Tate , MoMA and Jeu De Paume, the acclaimed pioneer of queer cinema Barbara Hammer speaks at Summerhall on the body of work that has made her an internationally celebrated artist and feminist. A key figure in American experimental film, she is credited with producing the earliest avant-garde films that openly address lesbian life and sexuality. She has made up to 80 films to date and continues to exhibit as a visual and performance artist Her work remains fundamentally influential to contemporary artists exploring daring and experimental thought and film.



12. Evelyn Eller, FF Alumn, at Center for Book Arts, Manhattan, thru Sept. 22, and more

Evelyn Eller - FF Alumn
My Artist's Book is on view in the Exhibition "Tell Me How You REALLY Feel at the Center for Book Arts in NY from July11 to September 22, 2012.
My Book "Past, Future" is included in 1000 Artists Books published in 2012 by Rockport Publishers.
Reproductions of two of my collages are in the Queens College Journal of Jewish Studies Spring 2012 Edition: Volume XIV



13. Doug Skinner, FF Alumn, at Jalopy Theater, Brooklyn, Aug. 19

The Ullage Group presents its twelfth enjoyable event: The Ullage Group Film Festival, Volume One. Attend, and you will see a selection of brief, rare, and unusual films. We will project onto a screen some of the experimental films John Keel made in the '60s. We will show short subjects by Doug Skinner, Anthony Matt, Morgan Miller, and Russ Johnson. Lisa Hirschfield and Mark Newgarden will air a few rarities from their collections. And you can sit in the dark, nurse a drink, and pass judgment on it all. It's on Sunday, August 19, 3 pm, at the Jalopy Theater, 315 Columbia St., Brooklyn. It costs our usual pittance, $5. Directions to Jalopy are at jalopy.biz.



14. James Casebere, FF Alumn, at Edinburgh Art Festival, Scotlan, thru Oct. 28

James Casebere
Callum Innes

in the Edinburgh Art Festival

James Casebere
Home and Other Fictions
at Stills
Edinburgh, Scotland
through October 28, 2012

Callum Innes
The Regent Bridge
Edinburgh, Scotland
August 2012
Sean Kelly announces that both James Casebere and Callum Innes will have work on view as part of the Edinburgh Art Festival.

James Casebere is the subject of a solo exhibition at Stills - Scotland's Centre for Photography. The exhibition, Home and Other Fictions, is the first solo exhibition of works by James Casebere in Scotland. Home and Other Fictions spans over thirty years of the artist's practice and includes works from Life Stories, a series started in 1976, and works from 2003 - Dorm Room, Garage and Turning Hallway - which will be shown for the first time in the UK with the more recent, critically acclaimed Landscape with Houses series. The exhibition will be on view through October 28, 2012.

For further information on Home and Other Fictions, please visit the Stills website.

As part of the Edinburgh Art Festival, Callum Innes will debut his first public art piece, The Regent Bridge. Working for the first time with light and in conjunction with architect and lighting artist Gavin Fraser of FOTO-MA Lighting Architects, Innes designed an intervention which floods a dark tunnel on Calton Road with color and light to reveal the magnificent architecture of Edinburgh's historic Regent Bridge above. For the month of August, 24 hours daily, the tunnel will be awash with a deliberately random order of colored light, revealing and lifting the giant curve of the tunnel's arch.

For further information on The Regent Bridge, please visit the Edinburgh Art Festival's website.



15. Jim Constanzo, FF Alumn, at Tompkins Square Park, Manhattan, Aug. 11-12

The Society is performing this weekend at the 24th Anniversary Celebration of the Tompkins Square Police Riot along with historic and contemporary Punk banks. There will be tables distributing literature and art from various radical and anarchist groups including World War 3. For last year's anniversary I brought my still and talked about the Whiskey Rebellion.
This weekend I'll present new performances developed by the Society over the last year and will also promote programs and actions for S17, the one-year anniversary of Occupy Wall Street. Any and all member of OWS are invited to participate and perform. I realize that this is a bit late but the extension of the Society's invitation to OWS was just extended last night when I told them I would promote S17.
This is a link to last year's performance, go to the next link for more fotos
Saturday & Sunday 2 to 6pm
Aaron Burr Society from 4 to 6pm
Tompkins Square
East Village of Manhattan
7th to 10th Street between Avenues A and B
look for the temporary stage close to 7th Street, you'll be able to hear the music a mile away



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Goings On is compiled weekly by Harley Spiller



Goings On is compiled weekly by Harley Spiller