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 28, 2012

Remy Charlip, In Memoriam

August 18, 2012
The New York Times
Remy Charlip, Dancer and Children's Author, Dies at 83

By PAUL VITELLO

Remy Charlip, a dancer, choreographer and founding member of the Merce Cunningham Dance Company who dazzled avant-garde audiences for decades before finding an even larger audience writing and illustrating children's books with titles like "Dress Up and Let's Have a Party" and "Fortunately," died on Tuesday in San Francisco. He was 83.

His death was announced by June Ekman, a dance teacher at Sarah Lawrence College, where Mr. Charlip was a founder of the children's theater program. No cause was given, though Mr. Charlip had never fully recovered from a stroke in 2005.

Mr. Charlip's half-century of work cut across a wide spectrum of art forms, aesthetic registers and audiences. He drew no particular distinctions among them. All were forms of an "internal dance," as he called it, that he liked to stage in his own and other people's minds. "Ten Imaginary Dances," one of his most popular works, consisted of 10 vignettes read aloud, which the audience was expected to imagine for itself in dance form. (In one, "Wolf Man Meets the Mechanical Dolls," "Wolf Man tries to get past a group of mechanical dolls who are all doing unison work. They ignore him. Thwarted, he captures one and takes it apart." The end.) Another of his signatures was the "airmail dance," a set of drawings depicting various dance poses. Mr. Charlip would mail them to dance companies and let them choreograph the moves themselves.

Mr. Charlip began his artistic career as a painter but became interested early on in narrative art forms, he said in a 1997 interview for a catalog of his work assembled by the Library of Congress. The two forms he settled on, dance and children's books, shared some essential elements. Both speak in a visual language for the most part, and both move through a series of scenes. "I love sequence, how one thing follows another," he said in the interview. "When you're reading to a child, he can't wait to get to the next page. 'Turn the page, turn the page!' That's because each new page is a door to another, different world." Mr. Charlip worked in both forms simultaneously, branching off into children's theater while he was at it. He danced in Cunningham's postmodern dance troupe, with scores by John Cage; at the same time, he was helping to found the Paper Bag Players, a children's theater group that specializes in improvisations on topics like bath time and homework. (The group's longtime artistic director, Judith Martin, died on July 28.)

Besides "Dress Up and Let's Have a Party" (1956) and "Mother Mother I Feel Sick" (1966), Mr. Charlip's children's books include "Arm in Arm" (1969), in which two just-married octopuses walk down the aisle "arm in arm in arm in arm in arm." While creating those books, he was also designing costumes for dark, grown-up dance pieces like "Field Dances" (1968), which began with the taped voice-over of "a young lady noting that her marriage went awry after her husband visited a prostitute," according to a review by Clive Barnes in The New York Times. "I really don't know where it all comes from," Mr. Charlip said in the Library of Congress interview. "I'm in another world - and I'm very lucky."

Abraham Remy Charlip was born in Brooklyn on Jan. 10, 1929, one of two children of Max and Sarah Charlip, both immigrants from Russia. His father was a house painter; his mother, Mr. Charlip told interviewers, ran the family grocery store and wrote poetry. He graduated from Cooper Union in 1949 with a degree in fine arts, studied dance at Juilliard and in 1950 joined the corps of dancers that became the Merce Cunningham Dance Company in 1953. He was a dancer with the company for more than a decade while also dancing and choreographing for the Living Theater and the Judson Dance Theater. Afterward he accepted a series of teaching appointments at college campuses around the country, including Sarah Lawrence, Harvard, Bates and the University of California at Santa Barbara. His survivors include two nephews, Charles and Steven Blair. Mr. Charlip won two Obie Awards, in 1965 for his work with the Paper Bag Players and in 1966 for directing "A Beautiful Day," a series of poem-plays at the Judson Poets Theater in Greenwich Village.

His most successful book, "Fortunately" (1964), is about a boy's journey to happiness through a series of mishaps - he is fortunately invited to a party, which unfortunately is scheduled far away; fortunately given an airplane, which unfortunately crashes, hurling him fortunately toward a haystack, which unfortunately has an upside-down pitchfork sticking out of it, and so on. It is perennially popular with toddlers. The book was in print continuously for more than 30 years. Mr. Charlip called it "a rambunctious dance" through space, about a boy "flying, falling in space, diving in water, swimming, running, digging" to reach a destination despite all obstacles. Those words echoed thoughts he expressed about dance in 1977 in an interview with The Times. "It's one of the hardest things to do - to be free enough to dance, to move around," he said. "Look at all those dancers - Isadora throwing away her corset, shoes and bra; Merce giving up stories and Graham going into whatever she calls it, that darkness of the inner soul; Nureyev leaping over the wall. Dancing is still about freedom."

and

Remy Charlip's papers had been inventoried by John Held, Jr., FF Alumn, who wrote the following essay, published here for the first time, on Charlip's variated life as principal male dancer for Merce Cunningham, award winning children's book author and illustrator, collaborator with the Living Theater, present at Cage's "first happening" at Black Mountain College in 1952.

http://www.sfaqonline.com/2012/08/19/remy-charlip-the-art-of-being-an-artist/

TOP

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

1. Rachel Frank, FF Alumn, at Kunsthalle Galapagos, Brooklyn, thru Sept. 9, and more

Creative Nonfiction

Work by:
Liene Bosque
Rachel Frank
Jack Henry
Cesar Chavez Lechowick
Elissa Levy
Julia Oldham
Becky Suss
Leah Wolff
Ashley Zangle

Curated by:
Adam Fowler
James Moore
Naomi Reis
Jacob Rhodes
Hannah Smith Allen
Benjamin Sutton
Pete Watts
August 23rd - September 9th
Kunsthalle Galapagos
16 Main St. (corner of Water St.)
DUMBO
Brooklyn, NY

F train to York St.
A/C trains to High St.-Brooklyn Bridge

http://kunsthallegalapagos.com/

and

Also, if you find yourself in Memphis, Tennessee or Peru, Nebraska I also have work in several other group shows:

A Shadow Side
Features drawings by nine artists whose work navigates the liminal plane between the familiar and the unnamed.
Curated by Josh Anderson

Jordan Acker Anderson, Rachel Frank, Travis Head, Danny Jauregui, Jeremy Lee, Philip Millier, Ben Moore, Pete Schulte, Ryan Steadfest

August 20th - September 20th
Peru State College Art Gallery
A.V. Larson Building
Peru, Nebraska

and

In Search of....
This exhibition investigates a particular set of emerging and established contemporary visual artists whose practices are examined together within the contexts of fringe exploration, science fiction, mythology, alternative histories and other forms of creative speculation.

Curated by Dustin Dennis, Amanda Lechner and Chris Ulivo
With a catalog essay by Stephen Tateishi

Works by:
Mark Shetabi, Ryan Mrozowski, David Humphrey, Amanda Lechner, Mike Peter Smith, Ross Sawyers, Sean McCarthy, Jackie Hoving, Frank Heath, Dustin Dennis, Phil Whitman, Matt Bollinger, Rachel Frank, Brian Zegeer, Carl Baratta, Christopher Ulivo, Erin Harmon and Leah Beeferman

September 6th - October 12th, 2012
Opening Reception September 7th, 2012
Clough-Hanson Gallery at Rhodes College in Memphis, TN

http://www.rachelfrank.com

TOP

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

2. Emma Amos, Clifford Owens, FF Alumns, in The Wall Street Journal, April 22

The Wall Street Journal
August 22, 2012
Harlem's Renaissance Man
In an effort to broaden his legacy, artists unite in a tribute to Romare Bearden

By KIMBERLY CHOU

To mark a century since the birth of Romare Bearden, the artist and writer deeply involved with the founding of the Studio Museum in Harlem, the uptown institution assembled a year-long tribute to showcase the breadth and depth of his influence. Launched last fall, "The Bearden Project" features work by 100 contemporary artists, inspired by or made in response to Bearden, shown in three exhibitions at the museum. The pieces include painting, photography, sculpture and video, though the majority are in Bearden's best-known medium of collage. The third and final installment of the exhibition series opened Aug. 16 and runs through Oct. 21 in the Studio Museum's lower-level gallery.

Bearden (1911-88) was born in Charlotte, N.C., and settled shortly thereafter with his parents in Harlem, where he would live and work for the rest of his life. A cultural renaissance man, he studied art and art history (for a time with German expatriate painter George Grosz at the Art Students League), but also philosophy at the Sorbonne. He also worked as a songwriter and a caseworker for the Department of Social Services. But it was his work as an artist and activist who pushed to establish a home in the art world for other black artists that cemented his legacy.

"It was important," said Studio Museum assistant curator Lauren Hayes, who organized the exhibition, "to have a large group of artists at all different ranges in their careers, to think about what Bearden's influence has been on people who were his colleagues and friends and these younger people who studied his work in school."

To that end, included among the 100 participating artists is Emma Amos, a contemporary of Bearden and a member of his art collective, Spiral, as well as younger, emerging artists like Lorna Williams and Noah Davis. For "The Bearden Project," the Studio Museum sent each artist sheets of 22-by-30-inch paper and asked them to make collages. Some tethered their responses to specific Bearden works. Iona Rozeal Brown's mixed-media collage, "(we've) harshed the ancestors' mellow (after Sunset Limited)," takes the lines and shapes of Bearden's 1975 collage "Sunset Limited" and transfers them from fields to ocean waves.

While the majority of the artists met the museum's invitation head on, some eschewed the sheets or chose to send older pieces that resonated with Bearden's themes. William Cordova and Leslie Hewitt-alumni of the Studio Museum's artist-in-residency program, as are about half the participants-submitted a collage they made together in 2006, which is now on view. Keisha Scarville's "Passports" is a continuation of another project of hers, involving collage work and a passport photograph of her father as a teenager. In small, separate frames, the headshots are seen covered in pearly seed beads, or with rice, or with a cartoonish painted-on red pout. One of Ms. Scarville's early references for the project, Ms. Hayes said, was Bearden.

"As curators we can say it's clear to us that Bearden had an influence on people's work," Ms. Hayes said. "But to actually hear the artists in their statements and to see it in all these different works has been one of the most exciting things about this whole exhibition."

"The Bearden Project" also includes artists whose signature work isn't easily shown in a conventional gallery exhibition-like Clifford Owens, who works in photography, video and performance art. For this show, he created a collage of images from photographic contact sheets used in his performance piece, "Photographs With an Audience."

"Bearden's work is a kind of visual African-American history that I was very interested in," said Mr. Owens. "It goes back to Bearden's interest in social documentary photography and raising a certain kind of awareness."

Beyond a shared social interest, Mr. Owens said exploring the artist's medium was revelatory in other ways. "It slowed me down but also freed me up," he said, referring to collage versus his usual performance work. "The process of making collage-why he put so much time and effort into everything he made was not just [because it was time-consuming], but he had to be sure what he was saying about black people."

Perhaps most important, the exhibition furthers a goal that champions of Bearden have long sought: a greater recognition of the artist in the pages of art history-not just African-American art history or New York history.

"One of the things we have tried to do with the centennial, the point that we've tried to get across, is Bearden's enormous influence-placing him as a master of the 20th century firmly in art history," said Diedra Harris-Kelley, the co-director of the Bearden Foundation. "It's a wonderful way to spread the influence of Bearden and also talk about how relevant his work still is. These artists are still mining his work for ideas in their own work."

Write to Kimberly Chou at kimberly.chou@wsj.com

A version of this article appeared August 21, 2012, on page A17 in the U.S. edition of The Wall Street Journal, with the headline: Harlem's Renaissance Man.

TOP

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

3. Dynasty Handbag, FF Alumn, at Riverside Studios, London, UK, thru Sept. 8, and more

August 24 - September 8
Troilus and Cressida in London
http://festival.london2012.com/events/9000961462

and

September 25
video screening at Dirty Looks
White Columns 320 West 13th Street , NYC

September 26
DH performance at OUR HIT PARADE
Joe's Pub, NYC

dynastyhandbag.com
facebook.com/dynastyhandbag
twitter.com/dynastyhandbag

TOP

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

4. David Khang, FF Alumn, at CSA Space, Vancouver, Canada, opening Sept. 6, and more

David Khang, FF Alumn, will present two concurrent solo exhibitions,
where he melds his dual education in art and dentistry.
Beautox Me 2012, CSA Space, Vancouver
Opening: September 6, 6 - 9pm
Beautox Me takes the faces of actors as the canvas for cosmetic / artistic intervention. In the age of High Definition media, actors who desire a younger appearance were selectively recruited for botox facial injections administered by Khang. The actors posed for 'before' and 'after' video shoots while reciting highly emotive and affective scripts. The two channels are shown side-by-side on LED screens, to highlight the subtlly differentiated visual cues caused by the botox-induced muscle paralysis.
Amelogenesis Imperfecta (How Deep is The Skin of Teeth?) 2012, grunt gallery, Vancouver

Opening: September 6, 7-10pm
Amelogenesis Imperfecta (How Deep is The Skin of Teeth?) is an experimental biological project that fuses the disciplines of art and dentistry, conducted during a 6-month residency at SymbioticA Centre of Excellence in Biological Arts, University of Western Australia, Perth. By borrowing techniques, technologies, and biomaterials from dental science, Khang explored the possibiities of growing enamel from stem cells, to produce what are in effect 'enamel sculptures.' While the project failed in its objective of growing enamel, the enamel-producing cells were seeded onto glass slides, which became a 'canvass' covered in cells, upon which images were drawn with a laser under high magnification.
A critical essay by NYC/LA-based curator KJ Baysa will accompany the two exhibitions.

www.davidkhang.com

TOP

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

5. Buzz Spector, FF Alumn, at Fort Gondo, St. Louis, MO, Sept. 14, and more

Hi all!

I'll be reading recent experimental writing at the opening of season 2 of the Fort Gondo Poetry Series, St. Louis. The event takes place Friday, September 14, from 7:00 to 9:00. Reading with me will be Monica de la Torre (senior editor of BOMB) and Wayne Miller (editor of Pleiades: a Journal of New Writing). Fort Gondo is located at 3151 Cherokee Street, St. Louis, MO 63118.

Also, the Grunwald Gallery of Art at Indiana University is organizing a show of my book installations, opening Friday, October 19. It will include reconstructions of six of my stacked found book structures of the 1980s, plus large-format Polaroid works documenting other work with book arrangements. There will be a catalogue with an essay by Kyle Schesinger.

I'll be in New York at the end of September for a book signing for BUZZWORDS at the N.Y. Art Book Fair. Since my interview with Ira Wool, first published in the FF Flue, leads off the volume, I hope that some of you might drop by.

Warmly,

Buzz

TOP

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

6. Adele Ursone, FF Member, at Turtle Gallery, Deer Island, ME, thru Oct. 13

To continue the celebration of our 30th year in business, the Turtle Gallery presents:
Continuing Connections Group Show of Turtle Gallery Artists

Route 15 just North of Deer Isle village center, Maine.

http://theturtlegallery.com/home.html

TOP

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

7. Tehching Hsieh, FF Alumn, in Sao Paulo Biennale, Brazil, Sept. 7-Dec. 9

Tehching Hsieh

São Paulo Biennial
São Paulo, Brazil
September 7 - December 9, 2012
Sean Kelly announces that Tehching Hsieh's seminal work, One Year Performance 1980-1981, will be featured in the 30th São Paulo Biennial. The biennal, titled The Imminence of Poetics, is curated by Luis Pérez-Oramas (chief curator), André Severo and Tobi Maier (associate curators) and Isabella Villanueva (curatorial assistant). It will be on view from September 7th through December 9th, 2012.

One Year Performance 1980-1981 will be presented as a large-scale installation including documentary photographs and ephemeral material from the important early performance, in which Hsieh punched a time card every hour on the hour during the course of one year. For the performance, Hsieh took a still shot of himself from a 16mm movie camera every hour after punching the time clock; as the resulting film progresses through the individual frames, the viewer experiences a time-lapse sequence of the artist over the course of the year. It is the first time that this seminal and large work is presented in Brazil and South America.

For more information on the exhibition, please visit the São Paulo Biennial website.

For all inquiries, please contact Maureen Bray at the gallery (212.239.1181) at maureen@skny.com.

TOP

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

8. Stacy Scibelli, FF Alumn, at chashama, Manhattan, Sept. 8-10 and 14-16

MADE WITH LOVE and SUIT YOURSELF performance at chashama space - 266 W.37th Street, New York, NY Sept. 8-10 and Sept 14-16 Opening MADE WITH LOVE: Sunday Sept. 9, 5pm-7pm Viewing Times:
MADE WITH LOVE
Sat Sept. 8: 12:00pm - 4:00pm
Sun Sept 9: 12:00pm - 8:00pm
Mon Sept 10: 12:00pm - 3:00pm
SUIT YOURSELF performance and MADE WITH LOVE Fri Sept 14: 12:00 - 9:00pm Sat Sept 15: 12:00pm - 9:00pm Sun Sept 16: 12:00pm - 7:00pm

SUIT YOURSELF performance:
For three days, from Friday Sept 14 until Sun Sept 16, the artist will make each article of clothing that she will wear for the duration of the performance. Each garment will be constructed in the space at chashama 266 W. 37th Street during open hours. Garments and undergarments constructed on day one, will be worn on day two and on display on day three. Audience members are free to interact and discuss this endeavor with the artist while she is working. This project addresses the industry of fashion and garment construction as well as the scope of labor and material that these industries utilize.
This short term performance is a small scale sample version of this project to be executed for a longer period of time, no less than three months and not to exceed one year (not affiliated with chashama) at some point in the future.

MADE WITH LOVE:
Made With Love, is a series of 300 unique, hand made garments that are ambiguous and mysterious in their intended use. Participants choose how each garment is worn and document their interpretation in a photo booth. The piece hinges on the innovation and expression of the audience. The practice of adorning the body is a basic utilitarian need and and a vehicle for social and cultural expression. Fashion articulates who we are-the intrinsic manifestation of art and life colliding. I am interested in using fabric to suggest or mimic aspects of fashion, allowing me to address the idiosyncratic need to materialize expression. By creating a hybrid of art, craft, and handmade garments, I accentuate the minute creative ventures that are performed everyday - decisions that sculpt individual existence. These are the unsung masterpieces that are executed while we navigate through life. The shape and palette of an outfit, flavor profiles of a meal, the composition of a room - these discretionary arrangements are inadvertently similar to the artistic process. This daily curatorial experience within a network of objects in the environment resonates with the concepts characteristic of consistent with the concepts characteristic of my work.

Bio:
Stacy Scibelli is an artist and designer living and working in New York and Boston MA. Stacy is a Program Coordinator and Lecturer at Rutgers University and an adjunct faculty professor of Fashion Design at Mount Ida College in Newton and Newbury College in Brookline. She has several years experience working in the costume and fashion industry and therefore her work has become primarily wearable and interactive sculpture. Recently, Stacy participated in an Artist in Residence program at the Boston Center for the Arts. She is a recipient of an Assets for Artists grant through Mass MOCA, a Franklin Furnace Grant in New York City, and a project grant from Possible Futures in Atlanta GA. Please visit www.stacyascibelli.com for images of Stacy's work and additional information or visit her at Chashama Art Space at 266 W. 37th Street from Sept 8-10 and 14-16 or the DUMBO Arts Festival Sept. 28-30.

TOP

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

9. Rob Van Erve, FF Member, at Accola Griefen Gallery, Manhattan, opening Sept. 6

ACCOLA GRIEFEN GALLERY is pleased to present Rob van Erve's solo exhibition, Operae Pretium Est, which opens with a reception on September 6th from 6pm to 8pm and will be on view through October 13, 2012.

For Operae Pretium Est, Rob van Erve transforms the gallery with a monumental golden staircase, a group of sculptures (one that bisects the gallery wall), and a series of works on paper. As is the case for all of van Erve's work, the exhibition involves the mining of other disciplines including literature, music and theatre.

Luminous, undulating surfaces and lush fabrics make up an architectural installation that is almost impossibly balanced between structural simplicity and feats of engineering. Van Erve requires the viewer to ascend and then descend a flight of steps and to gaze through carved out openings in the gallery wall, taking a journey full of romantic "notions" of both the tangible and the intangible variety. The mixed media works on paper add a somewhat narrative thread, as the artist has incorporated altered gelatin silver prints and negatives from throughout his career. These pieces are at once bizarre and evocative, situated somewhere between the starry-eyed and the star-crossed.

Rob van Erve has shown internationally at the Taipei Fine Arts Museum; the Kao Yuan Art Center, Kaohsiung, Taiwan; Avant-Garde Documenta II, Taipei, Taiwan; Gallerie De Verschijning, Netherlands; and Nederlands Textielmuseum as well as extensively in New York at Staff Gallery, the Islip Art Museum, The American Academy of Arts and Letters, Gallery 128, Trans Hudson Gallery and the Sears-Peyton Gallery, among others. His work has been discussed in The New York Times, The New Yorker, Art in America, Sculpture Magazine and White Hot Magazine. Rob van Erve received an M.F.A. from the Academy for Art and Education, Tilburg, the Netherlands and an MFA from Ohio State University. He was born in Tilburg and lives and works in Brooklyn, New York.

For more information contact Kat Griefen at info@accolagriefen.com or call 646-532-3488.

Kat Griefen
ACCOLA GRIEFEN GALLERY
547 West 27th Street Suite #634
New York NY 10001
646 532 3488
kat@accolagriefen.com
accolagriefen.com

TOP

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

10. David Medalla, Adam Nankervis, FF Alumns, at Galeria BARO, Sao Paulo, Brazil, Sept. 2

David Medalla and Adam Nankervis will give a participatory performance entitled 'Homage to Clarice Lispector' at Galeria BARO in Sao Paulo, Brazil, on September 2, 2012, at 8 p.m.
Clarice Lispector is one of the giants of Brazilian literature. While she was still alive, towards the last quarter of the previous century, a literary historian wrote of her :
'Clarice Lispector is as beautiful as Marlene Dietrich and her writing is as good as that of Virginia Woolf'.
Reading that comment, Clarice Lispector admitted that she was 'as beautiful as Marlene Dietrich but she had never read Virginia Woolf'.
The participatory performance by David Medalla and Adam Nankervis will have for its primary theme that remark by Clarice Lispector. They will invite women in Brazil to read translations into Portuguese of selections from Virginia Woolf's book 'A Room of One's Own' to the 'Ghost of Clarice Lispector'. In reply, there will be recitations of passages about beauty from Clarice Lispector's 'Chronicles' and other writings.
The fragments from the writings of Virginia Woolf and Clarice Lispector will be woven into an impromptu dance by David Medalla and Adam Nankervis.
The complementary theme of David Medalla and Adam Nankervis' performance
is inspired by Clarice Lispector's book entitled 'The Hour of the Star'.
In 2010, David Medalla and Adam Nankervis gave an exhibition at Galeria Baro in Sao Paulo entitled 'So Pulo' - their tri-fold homage to Brazilian artists Lygia Clark, Lygia Pape and Helio Oiticica. The exhibition featured large-scale enviromental and participatory installations by Medalla and Nankervis, individual art works by Clark, Pape and Oiticica, and a beautiful video made by Renata Padovan of a live event by Medalla and Nankervis on behalf of the Mondrian Fan Club whereby they raised the letter "A" festooned with silk tulips above the magnificent Iguazu Falls.
The exhibition by Medalla and Nankervis at Galeria Baro in 2010 was received with great acclaim in Brazil and by those who came from abroad to attend the Sao Paulo Biennial that year. Their many admirers in Brazil are looking forward to their next visit there.

TOP

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

11. Irina Danilova, FF Alumn, at Moscow National Center for Contemporary Art, Russia, August 31

Dear Friends,

My next quadrennial "Shaving Performance / 20 Years After" will be at
Moscow National Center for Contemporary Art, (ul. Zoologicheskaya 13)
on August 31st, at 10pm.

20 years ago, on August 31, 1992 my first public Shaving performance,
"Tonsure to USA" was just before my departure from Moscow.

I harvest my hair, cutting it every 4 years on the same day for a
collection of braids "The Meaning of Life". Braid number 7 will be cut for
that collection on August 31st at NCCA.

Hair presents a continuous time of our life. This project started
in 1984 with the symbolic cutting of my hair when I was leaving my
native city, Kharkov, for Moscow. Kharkov time was over and Moscow
time was about to start.

DaDa artists first dragged life into art and vice verso. In some sense
both realists and impressionists started working with life as well but
with paint and brushes. DaDa artists first started to use life objects
and create situations. Fluxus artists for the first time
conceptualized life events, bringing them into an art context. At the
end of the 70's and the beginning of the 80's of the 20th century,
such artists as Tehching Hsieh and Linda Montano started to create
their own life events and situations; following their conceptual
projects. They started conceptually altering their lives.

An interesting fact about "ShavingPerformance" - it started on its own
in the Soviet Union during heavy information blockade,
approximately at the same time (Linda Montano's
Chakra project started in late 1984), and at least a decade before I
first heard about Tehching Hsieh or Linda Montano.

Performance is free and open to public.

Curator: Natalia Goncharova

http://www.ncca.ru

TOP

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

12. Bogdan Perzyński, FF Member, at Saarlandsiche Galerie Europaisches Kunstforum, Berlin, Germany, thru Sept. 16, and more

Dear Friends,

I am pleased to inform you that the show Virtual Borders - travelling lightly. Station II, opens on August 23, 2012, 7:00 p.m. in the Saarländische Galerie Europäisches Kunstforum in Berlin, Germany. The exhibition will continue through September 16, 2012.

Kathrin Becker, the director of the Video-Forum of Neuer Berliner Kunstverein, is the speaker and introduce the exhibition at the opening.

and

I would like to inform you about my participation in a historical exhibition entitled Nieprzekupne Oko. Galeria Akumulatory 2. 1972-1990, in Zacheta National Gallery of Art, Warsaw, Poland.
The exhibition opens on September 14th and continues through November 23rd, 2012. This exhibition will be presented with a large and comprehensive catalogue of all the openings and lectures, and is prepared by Bozena Czubak and Jaroslaw Kozlowski.
http://www.zacheta.art.pl/article/view/928/nieprzekupne-oko-galeria-akumulatory-2-1972-1990
http://www.zacheta.art.pl/en/article/view/928/beyond-corrupted-eye-akumulatory-2-gallery-1972-1990

best,
Bogdan Perzyński

TOP

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

13. Arielle Falk, FF Alumn, at BRIC Rotunda Gallery, Brooklyn, opening Sept. 12

Arielle Falk, FF Alumn, will have work included in "8 Artists Making Sculpture", the 5th Annual Registry Exhibition, opening Sept. 12 from 7-9 pm, and continuing thru Oct. 27, 2012. For complete information please visit bricartsmedia.org/contemporary-art

TOP

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

14. Doug Beube, FF Alumn, in GO Open Studio, Brooklyn, Sept. 8-9

Friends,

On Sept 8th & 9th I'm participating in GO Open Studio, please visit me as well as 1,825 other artists in the borough. Casting a ballot for your favorite artist is encouraged. The guidelines to participate in this 'uniquely democratic experiment,' is highly flawed but let's not go there. Selected artists, (whomever gets the most votes and has 'family' members living in the area) have a better chance of receiving a studio visit from the Brooklyn Museum curators. So, just for that weekend, be my unconditional 'family', swing by to see what's on the studio table or cut away on the floor. In the past I've had open studios, without the 'voting booth' concept, which have always been fun plus, I'll have beer when you arrive just to entice you to venture into Fort Greene. I'll also be selling my monograph, Doug Beube: Breaking the Codex, at a discounted price of $50.00, plus shipping if applicable.

I live near all subways, Atlantic/Pacific, Nevins, DeKalb, Lafayette and Fulton St (in Bklyn), BAM is around the corner and down the block is Brooklyn Tech High School on the east side of the street. After voting for at least five studios you might go to one of the many great restaurants in the area.

Looking forward to seeing you.

Doug

For an overview of how the voting process works please go to, www.gobrooklynart.org and to register to vote go to, https://www.gobrooklynart.org/register/voter

Doug Beube
69 Fort Greene Pl.
Brooklyn, NY
11217-1203
718-834-8432 (h)
917-757-5758 (m)
dougbeube.com

TOP

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

15. Ida Applebroog, Doug Ashford, REPOhistory, Krzysztof Wodiczko, FF Alumns, at Cooper Union School of Art, Manhattan, Sept. 4-Oct. 13

The Cooper Union School of Art
Ruptures: Forms of Public Address
September 4-October 13, 2012

Reception: Wednesday, September 12, 6-8pm

The Cooper Union School of Art
41 Cooper Gallery
41 Cooper Square, Lower Level 1
New York City, NY 10003
Hours: Tue-Sat 11-6pm

www.cooper.edu/ruptures

The School of Art at The Cooper Union is pleased to announce an upcoming exhibition and event that explores politically vital issues surrounding public space and speech.

Participating artists:
Ida Applebroog, Doug Ashford, Mircea Cantor, Theo Ellsworth & Caleb Monroe, Ganzeer, Igor Grubić, Sharon Hayes, Iman Issa, Will Kwan, Antoni Muntadas, REPOcommons, REPOhistory, Rirkrit Tiravanija, Lincoln Tobier, Liu Wei and Krzysztof Wodiczko

The past year has witnessed a wave of global civil unrest in which demonstrators have used their bodies to physically block or impede the flow of traffic and capital in city streets and public squares. At the risk of harm, imprisonment, or death, people have disturbed the organizing conditions of urban public life through a collective celebration of defiance. Some of these disruptions have produced a space for creative actions within the public sphere, making a claim about democracy drastically different from the guarantees upheld by traditional liberal constitutions.

Curated by Saskia Bos and Steven Lam, Ruptures: Forms of Public Address is a group exhibition which considers the emancipatory potential of these radical gestures, specifically focusing on how demonstrations and artistic practice are not isolated nor disconnected, but share a similar language of resistance.

The exhibition expands on the discourse surrounding communication and public address investigating art's role in catalyzing dissensus and difference through a varied approach to speaking and making. It explores the different ways in which artists have brought these issues into their work, ranging from a filmed march involving mirrors as picket signs to choreographic re-enactments of right wing clashes and the distribution of protest signs and pamphlets used in the streets of Cairo.

Situated within the context of the upcoming US elections and the one-year anniversary of the Occupy movement, the exhibition explores the promise and fragility of fearless speech in the aftermath of the 2011 demonstrations, which have erupted across the world in city streets, university campuses, and urban centers. Ruptures pays tribute to the democratic potential of these global movements, while also exploring the risk, dangers, and disassembly of public speech and the subsequent closure of public space.

"A riot is the language of the unheard": an exercise in unrestrained speech
Saturday, October 6, 4pm
The Rose Auditorium, The Cooper Union, 41 Cooper Square

Taking its cue from a quote from a 1968 speech about injustice and freedom by Dr. Martin Luther King, this public event engages in the use of the voice in imagining collective and political speech through short readings by artists, scholars, writers, poets, musicians and speakers. Envisioned as a "rough cut" anthology of live subversive speech acts, "A riot is the language of the unheard" is an experimental tribute to parrhesia, or defiant speech.

Contact and directions:
artschool@cooper.edu
Gallery entrance on Third Avenue and E 7th Street, NYC
Subways: Astor Place (6), 8th Street (N, R)

For more information on events and exhibitions at The Cooper Union click here.

This exhibition has been generously supported by the National Endowment for the Arts and the George Campbell Jr. Annual Exhibition Fund.

TOP

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

16. Penny Arcade, FF Alumn, at Old Vic Tunnels, London, UK, Sept. 1

Since June 22nd Penny Arcade's Sex and Censorship show Bitch!Dyke!Faghag!Whore! has had 32 performances and 32 standing ovations

5 star reviews and audiences that return with everyone they know. We have 6 performances left on our contract at Old Vic Tunnels and I realized I hadn't posted to my online art community Franklin Furnace

On Sept 1st our closing show we are hosting a post show benefit party for Pussy Riot ongoing legal defense and in support of the much oppressed USSR LBGT community . Putin's courts have outlawed Gay Pride Marches for the next 100 years!

At 9:30 pm Saturday September 1st please join me, my extraordinary dancers, Viv Albertine of The Slits, Gina Birch and Ana Da Silva of The Raincoats, Jude Rawlins of The Subterraians, DJ extraordinaire Mark Moore for a true queer punk feminist glam evening! Tix for show and party L15 Tix for just the benefit L10

The Queers and Their Friends Between Revolutions!

Get Wid US!

https://mail.google.com/mail/?shva=1#search/leigh/1395926f2864ebb6

Old Vic Tunnels

easy way to find us

Waterloo Station go to Platform 1 exit turn right and it is a 3 minute walk to stage door and box office!!

TOP

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

17. Helène Aylon, FF Alumn, Fall calendar

Helène Aylon
Fall Readings/Screenings 2012

Sunday, September 9, 2 p.m.
Hudson Opera House
327 Warren Street, Hudson, NY 12534

Wednesday, October 10, 7:30 p.m.
Rose Art Museum
Brandeis University, Waltham, MA

Thursday, October 25, 7:30 p.m.
Rockland County JCC
450 West Nyack Road, West Nyack, NY 10994

Friday, November 9, noon
JCC San Diego, La Jolla, CA

TBA - Joint reading with Flora Biddle

To order: visit the Museum of Modern Art bookstore, the NY Jewish Museum,
Contemporary Jewish Museum/San Francisco,
The Feminist Press, or Amazon.com

TOP

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Goings On is compiled weekly by Harley Spiller