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Contents for October 01, 2012

1. Marni Kotak, FF Fund recipient 2012-13, at Microscope Gallery, Brooklyn, opening Oct. 13

Microscope Gallery Presents
RAISING BABY X: The First Year
new works by Marni Kotak
October 13 to November 12, 2012
opening reception Saturday October 13, 6-9pm
Microscope Gallery is very pleased to present Raising Baby X: The First Year, a solo exhibition by Brooklyn-based artist Marni Kotak, featuring video, photography, sculpture and multimedia installation works based on a year-long performance re-contextualizing the everyday act of raising a child as performance art, through the eyes of both mother and child. The "Raising Baby X" project was launched last year at 10:17 AM, October 25th, when Kotak gave birth to her son Ajax before an audience at the gallery as part of her exhibit "The Birth of Baby X", and continues the artist's more than decade-long practice of presenting real life as the ultimate performance. Inspired by Mary Kelly's "Postpartum Document", interpreting the maternal experience as art; Catherine Opie's "Self Portrait/Nursing; and Linda Montano & Tehching Hsieh's work fusing art with everyday life, Kotak provides a unique and contemporary approach considering her infant son as an active artistic collaborator. With a critical nod to the spectacle of online social media and the sensationalism of reality TV, Kotak incorporates the actual documentation of the day-today activities and highs and lows of parenting into new artworks that transcend the highly personal to comment on such broader themes as memory; achievement; the birth to death continuum; and inability to truly capture the fleeting moments of life. In the "Little Brother" video collaboration, Kotak routinely equipped Ajax with his own spy camera to record his interactions with family and the world around him, in effect flipping the traditional power imbalance inherent in childhood documentation. Rather than a Truman Show-style approach of oversharing, as some initial press coverage of the Raising Baby X project anticipated, it is also the adults seen through the infant's perspective, often oohing and ahhing, who appear vulnerable and exposed. With a series of large-scale photo montages featuring a nursing Kotak or the baby Ajax blown up to adult-size, their bare skin "tattooed" with snapshots of the child's first holidays, Kotak continues to use the body as a site to examine how memories are embedded in the psyche. The tension between memory and experience and the complexity of the mother/child bond is evident in these striking images where one is imprinted with moments she will never forget, the other with moments he will never recall. The value in all human experience - no matter how mundane - and the way success is defined and celebrated has been a prominent concern in Kotak's works. In Raising Baby X, the subject is addressed through a photo timeline, installed throughout the gallery space, in which the child's everyday accomplishments are recognized as 'Major Performances' (including "Placenta", "First (Breast) Latch", and "First Time in the Ocean") and awarded with custom-made plaques. A huge custom-designed cake, adorned with rainbow colored balloons also stands ready to be presented to Ajax at his first birthday party, which will take place as a performance at the gallery. As with Kotak's previous performances the public will be invited to join in person for the celebration. While birth was the catalyst for Raising Baby X, the complete life cycle in all its ups and downs, is Kotak's wider focus. This is most evident in a sculpture containing, among other elements, the ashes of Kotak's father-in-law (Ajax's paternal grandfather), who died just 6 weeks after the baby's birth. In a companion piece, involving 12 small monitors displayed in a gold-leafed curio cabinet beneath a ticking clock, each playing a slideshow of an entire month's worth of baby photos, Kotak makes very clear that despite the latest technological gains, our attempts to possess our experiences through media are limited. The works of art in the exhibition were made possible, in part, by the Franklin Furnace Fund supported by Jerome Foundation; the Lambent Foundation Fund of Tides Foundation, and by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.

Marni Kotak is a Brooklyn-based performance artist who makes multimedia works in which she presents her everyday life as art. She recently received international attention in 2011 for her "Birth of Baby X" exhibition in which she gave birth to her first child as a live performance. Kotak's "Found Performances", or works based on daily activities, experiences, or accomplishments, include staged re-enactments of her own birth, attending her grandfather's funeral, losing her virginity in a blue Plymouth, and her wedding. Her works has previously exhibited at English Kills Gallery, Alice Chilton Gallery; and Fountain Art Fair Miami/NYC among others. She is a recipient of a 2012-2013 Franklin Furnace Fund award as well as a grant from the Brooklyn Arts Council. She received a BA from Bard College and an MFA from Brooklyn College. MICROSCOPE GALLERY presents the works of film, video, sound, new media and performance artists from the emerging to pioneers of their art forms. The gallery is located in Bushwick Brooklyn and opened in September of 2010.

RAISING BABY X: The First Year, new works by Marni Kotak Oct 13 to Nov 12
Opening Reception - October 13, 6-9PM
Ajax's First Birthday Party performance Saturday October 27, 3-6PM
MICROSCOPE Gallery, 4 Charles Place, Brooklyn, NY 11221
Gallery Hours: Thurs. to Mon. 1-6PM, or by appointment
Email: info@microscopegallery.com; Tel: 347.925.1433



2. j.c. lenochan, FF Fund recipient 2011-12, at Mason Gross Galleries, New Brunswick, NJ, Oct. 3, and more

Mason Gross Galleries

Decolonization: a class project
By jc lenochan

September 14 - November 13, 2012
Reception, Wednesday
September 19, 2012
5pm - 7pm

Wednesday, October 3, 2012
5pm - 6pm

"Language as culture is the collective memory bank of a people's experience in history. Culture is almost indistinguishable from the language that makes possible its genesis, growth, banking, articulation and indeed its transmission from one generation to the next." Ngugi Wa Thiongo

In his solo exhibition, Decolonization: a class project, artist jc Lenochan is challenging viewers to critically (re) consider and respond to how history has facilitated and shaped classroom pedagogy. Within his intricately adorned classroom-as-art installation Lenochan's treatment of 19th century school desks and chalkboards with references to Kenneth Clark's Civilization on how Western European society cultivated art, architecture, philosophy, science and engineering juxtaposed with quotes from Native American activist Leonard Peltier creates a cognitive dissonance that will force us to reflect on how our education system has either programmed or de-programmed our social and cultural condition.

At its core jc lenochan's practice and institutional critique are multi-layered investigations that confront otherness, cultural bias and fabrications of whiteness as the hegemonic force.

Exemplifying methodologies of Paulo Freire in a collaborative teacher-student performance piece jc Lenochan will produce his first performance work with his students from Art High School, Newark, NJ at the Mason Gross Galleries on October 3rd 5 p.m. to 7 p.m.

jc Lenochan earned a B.F.A. from the University of Oklahoma in 1993, an M.F.A. from the Mason Gross School of the Arts at Rutgers University in 1996 and he attended Skowhegan School of Painting and Sculpture in 2001. He is the recipient of the 2012 Franklin Furnace Fund, 2012 Brodsky Print and Paper Fellowship and the 2010-2011 Pollock-Krasner Award.

The Mason Gross Galleries at Civic Square, 33 Livingston Avenue, New Brunswick, NJ 08901 are open from 10 a.m. to 4 p.m. Mondays, Tuesdays, Thursdays and Fridays, 10 a.m. to 6 p.m. Wednesdays and noon to 4 p.m. Saturdays. More information is available by calling 848-932-5202 Admission is free.



3. Robert Rauschenberg, Nicole Eisenman, Martin Wong, FF Alumns, in The New York Times, Sept. 26

The New York Times
September 26, 2012
Leaving Polarization at the Door
Robert Rauschenberg, who died four years ago after a career as big-spirited and optimistic as any in postwar art, was not considered first and foremost a politically motivated artist.

But he was deeply involved in the civil rights movement, in environmentalism and in artists' rights. And in 1987, testifying before the Senate to oppose Robert H. Bork's nomination to the Supreme Court, he warned in the headline-grabbing terms of a candidate on the stump about the danger of a weakened First Amendment.

Invoking the closing of the Bauhaus only months after Hitler became chancellor of Germany in 1933, he said cultural repression was always the first, easiest and most effective means of political control. "It's a subtle move," he said, gesticulating to underscore his words, "to destroy a society."

Last week in a warehouse at 455 West 19th Street in Chelsea owned by the foundation he formed many years before his death, a political convention of sorts was taking shape that Rauschenberg undoubtedly would have loved to attend, miniature flag in hand. There were blue staters and red staters, the young and the old, 1 percenters and paycheck-to-paycheckers, straight and gay people, cowboys and Indians. Bella Abzug was there, not far from the Village People. President Obama was there, too, in sunglasses, exuding celebrity. And high on a wall across from him was an immense cardboard cutout saving space for Mitt Romney, who was expected to arrive at the last minute.

All of these delegates - in painted, sculptural, photographic, print or video form - had temporarily set aside their differences and gotten together for the show "We the People," the Robert Rauschenberg Foundation's debut as a New York exhibiting institution and its attempt to inject a little of contemporary art's voice into a presidential election cycle in which it has been largely absent.

The show, which opens on Wednesday and runs through Nov. 9, immediately sets out two of the foundation's aims: to focus mostly on work beyond that of its namesake (the exhibition includes a single Rauschenberg work, a 1970 screen print) and to establish itself as a kind of socially engaged cultural presence that Rauschenberg thought artists could, or should, be.

"Bob wasn't all that interested in just his own voice," said Christy MacLear, the foundation's director. "He was a big believer in the overall strength of artists as a community."

Many of the artists marshaled for the inaugural show, living and dead, are not often considered part of the same community. (A few haven't been heard from in quite a while.) And they are rarely even seen hanging in the same vicinity. But the idea of the show's organizers, the curator Alison Gingeras and the artist Jonathan Horowitz, was to populate the space's 2,700 square feet with works that would both embody and confound the way politicians and pollsters have micro-sliced the American electorate over the last several decades.

And so it is that a LeRoy Neiman serigraph of a Revolutionary War minuteman with his rifle resting heroically on his shoulder - Mr. Neiman's martial response to Sept. 11 - keeps company with a 1997 John Currin fantasia of two ample-bosomed women lounging in pastoral ease. And that a Norman Rockwell war bonds poster, with the message "Save Free Speech," is juxtaposed with a 1946 Ben Shahn painting of a man ambiguously holding his large hand over his mouth, borrowed from the Museum of Modern Art.

"When was the last time somebody got to install a big Botero with a gilded frame on the same wall as a Cady Noland?" Ms. Gingeras said. She looked toward a Fernando Botero family painting that telegraphed both prosperity and immigration and that hung alongside a work on rough-edged aluminum by Ms. Noland that is based on a blurred photograph of the Symbionese Liberation Army and Patty Hearst. "We followed these threads that ended up being a lot of fun," Ms. Gingeras added.

If the show feels a bit like a Social Realist tent revival with undertones of "Schoolhouse Rock!," a dash of '90s identity politics and enough figurative sculpture to populate a cocktail party (by George Segal, Duane Hanson, Alex Katz, Robert Heinecken, Rirkrit Tiravanija), that is what its curators had in mind, more or less.

"We discovered our shared fetish for Social Realism, for the kind of work it feels like you don't see around very much," said Mr. Horowitz, whose own work often takes on political issues in politically ambiguous ways. He said the first vision for the show when he and Ms. Gingeras began batting ideas around several months ago was for it to have an almost diorama quality.

In a natural-history-museum sense?

"In a cover-of-'Sgt.-Pepper's' sense," Ms. Gingeras said.

Bella Abzug (a large portrait by Alice Neel), Mr. Obama (a tiny portrait by Elizabeth Peyton) and the Village People (a photograph by Alvin Baltrop) would soon be joined by the show's largest work, a photo-realistic portrait of Mr. Romney, more than 8 feet tall and 14 feet wide, that the artist Richard Phillips was making specifically for the show, racing to finish it in time. Unlike a well-known portrait that Mr. Phillips made of George W. Bush soon after his first presidential election, which showed him grinning sheepishly, his face flanked by bright-pink slabs of color borrowed from a Donna Karan lingerie ad, this image of Mr. Romney will play it mostly straight, monumentalizing a photograph of the candidate from The Associated Press.

"It's not the biggest piece I've ever done - that goes to Deepak Chopra," Mr. Phillips said. But he added that he thought size, in this case, was especially important for a painting of a presidential candidate in the last weeks of a divisive election.

"What realism has, and what painting has in particular, is the power of slowing down all of these images that are bombarding us to a full stop, so we can look and think," he said.

Politically, the exhibition is probably not the kind that would sit comfortably in, say, Alice Walton's Crystal Bridges Museum of American Art in Bentonville, Ark. (Nicole Eisenman's "Dysfunctional Family," showing Dad hitting the bong and Mom exposing her crotch, might nix it from the outset.) But the curators said the show would be a failure - and most likely a disappointment in Rauschenberg's eyes as well - if it were read as a sanctimonious affirmation of blue-state, art-world liberalism.

"There are a lot of tentacles here, running between and among the works, and a lot of contradictions," Ms. Gingeras said. "What we wanted was for everyone - for our moms - to be able to go see it and experience it in a profound way."

[An image of a Martin Wong painting appeared in the print edition of this article]



4. Mendi and Keith Obadike, FF Alumns, autumn events

a) Our sound installation African Metropole: Sonic City Lagos at MoCADA Museum in Brooklyn. It is included in the group exhibition LOOP. It opened Sept 6th and will be up until October 7th. There is an artists' talk this Thursday Sept 6th. Location: 80 Hanson Place Brooklyn. Here is a link to the MoCADA Museum: http://mocada.org/2012/09/04/loop/
And here is more info about our piece African Metropole: http://tinyurl.com/ct2boym

b) We are talking about the book Commerce by Artists at the NY Art Book Fair with Art Metropole at MOMA PS1.

WHERE: MOMA PS1 - Gallery W
WHAT: Commerce by Artists
Art Metropole's latest publicationCommerce by Artists (edited by Luis Jacob) documents a sweeping range of artists' projects that seek to engage, rather than merely represent, the commercial world of which they are a part. This conversation with the books' contributors includes Mendi + Keith Obadike and Rainer Ganahl, who will focus on the translation that takes place when an entity moves from "here" to "there." Moderated by cheyanne turions. Presented by Art Metropole.

c) We are presenting some of our work with the organization REV at the Launch for the book Pro+agonist.
WHEN: Wednesday Oct 10th
WHERE Cooper Union?
WHAT: Performance for Pro +Agonism
Pro+agonist: The Art of Opposition is a book and set of playing cards that explore the productive possibilities of 'agonism,' or a relationship built on mutual incitement and struggle. Designed in black and blue - the colors of a good bruise - Pro+agonistbrings together writings by interdisciplinary artists, scientists, CEO's, crackpots, war strategists, psychotherapists, and philosophers who raise questions about the importance of political dissent, the function of discord in discourse, the rules of escalating conflict, the roles of parasites within systems, the ins and outs of concord and congress, and more.



5. Fiona Templeton, Sylvia Ziranek, FF Alumns, at Tate Britain, London, UK, October 5

directed by Fiona Templeton
at Tate Britain, October 5, 2012

At Late at Tate on October 5th 2012, artists' group New Work Network presents Acts of Legacy, a series of performances, films and debates exploring the influence and memory of experimental and ephemeral art practices from the late 60s to the present day. Hosted by Richard Layzell and Hunt & Darton, the evening includes work by Fiona Templeton, Jordan McKenzie, Aaron Williamson, Barby Asante, Ellie Harrison and The Saturday Arts Club. The evening runs from 6:30pm to 10:00pm.

Performance burns up in its very performing, and is gone. Chronicles of performance may reflect only the periods of its fashionability. But in our memories it is burned in and can be brought to new life. For Fiona Templeton's Bodies of Memory, Tate Britain will be inhabited by a collective memory of many past performances, performed and spoken in passing fragments, rising and disappearing like memory itself. Participants include performers, artists, writers, curators, and people who have watched something being done. Currently to include:

Heather Ackroyd, Gina Birch, David Gale, Helena Goldwater, Dave Goulding, Anthony Howell, Yoko Ishiguro, Glenys Johnson, Lois Keidan, Joe Kelleher, Kristen Kreider, Paulina Lara, Claire MacDonald, Angeliki Margeti, Brigid McLeer, Kate Meynell, Hannah Millest, Lucy Neal, Redell Olsen, Miranda Payne, Lorena Peña, Donna Rutherford, Graeme Shaw, Steve Slater, Gary Stevens, Minna Stevens, Peter Stickland, Fiona Templeton, Howard Tong, Amikam Toren, Caroline Wilkinson, Simon Vincenzi, Sylvia Ziranek.

Fiona Templeton works in the relationship between performance and audience; language as a material; and space as both the large-scale and the intimate. She was a founding member of The Theatre of Mistakes in the 70s, and is director of the New York-London performance group The Relationship. www.therelationship.org

New Work Network has coordinated the evening, growing out of a series of 5 short films made in conjunction with Artquest, of dialogues between artists of different generations, including Fiona Templeton in conversation with Yoko Ishiguro. The films will be shown during the evening.

Late at Tate is a series of open evenings of events on the first Friday of each month, at Tate Britain, Millbank, London SW1P 4RG. Entry is free. There will be a pay bar, and visitors may also see current exhibitions including the Turner Prize and the Pre-Raphaelites. Note that the main entrance is closed for renovation and access is through The Manton entrance on Atterbury Street.




6. Barbara Rosenthal, FF Alumn, autumn events

Hi, Friends,
Thank you for following my activities.
I'd like to invite you to these new events if you're nearby in the UK, US, Canada, or online!
Warm wishes,


"Words Come Out Backwards When Spoken To Screen Left"
video in the One Minute Volume 6 Film Festival
curated by Kerry Baldry
as part of the London Underground Film Sessions.
tickets, £5.00 discount: http://www.wegottickets.com/event/182071
or at door, £6
The Horse Hospital for Underground and Avantgarde Media
Colonnade, Bloomsbury
London, UK, WC1N 1JD

"Made of Glass"
(Rosenthal Live Reading)
in Jazzoetry For Surreal Dreams
for the "Dream-poetry! Jazzoetry! Poe-music! " of the New York Surrealist Group
Also featuring: Steve Dalachinsky, Ron Kolm, Shelley Miller, Valery Oisteanu, Yuko Otomo, Jeff Wright
organized by Valery Oisteanu
Sidewalk Cafe
94 Ave A at E. 6th St
New York, NY 10009
tel: 212-473-7373)
subway: F to 2nd Ave (exit 1st Ave)

SUNDAY, SEPT 30, 12noon-10pm
"Words Come Out Backwards If Spoken To Screen Left"
video in the One Minute Volume 6 Film Festival
curated by Kerry Baldry
as part of 'One day Wonder(ment)' , screening on a pedal powered cinema
Alexandra Park
Princess Road A5103, and Demesne Road
Manchester, UK

Oct 11-Nov 4, Reception+Screeing: THURSDAY, OCT 11, 5-8 PM
(Rosenthal will be present at reception+screening)
"Space and Time"
video in the "About Time" program
curated by Aria Alamalhodaei and Tracy Lisk
as part of the Inside the Moment International Short Film Festival
presented by The ~curARTorial LAB & Crane's International Curatorial Exchange (I.C.E.)
Crane Arts
Crane Arts LLC
1400 N American Street
Philadelphia, PA 19122-3803
tel 215.232.3203

Oct 29-Nov. 13
Opening/Vernissage: Sat, Nov 3, 3-6pm
"Barbara Rosenthal-Surreal Photographs: Trapped Figures and TIny Houses"
SOLO exhibition of new color and BW photographs at the Visual Voice Gallery.
(Rosenthal will be present at the opening, and in Montreal Oct 22-Nov 17.)
Visual Voice Gallery
Édifice Belgo
rue 372 Ste-Catherine Ouest, suite 421
Montréal QC H3B 1A2
gallery tel: +1-514-878 3663
gallerist cell: +1-514- 8822889
artist cell: +1-646-541-4772
email: info@visualvoicegallery.com
station: Place-Des-Artes

Wednesday, Nov. 7, 7pm
"Existential Word Play"
SOLO video screening of photo/text/performance videos + audience discussion.
(Rosenthal will be present.)
host: Allan Diamond
Montreal Art Centre
1844 William
Montreal QC
H3J 1R5
station: George-Venier
tel: 514-667-2270

Sat, Nov 10, 6pm.
"Surreal Photo-Stories"
SOLO Video screening and Live Performance Reading WIth Projections
(Rosenthal will be present.)
Visual Voice Gallery
Édifice Belgo
rue 372 Ste-Catherine Ouest, suite 421
Montréal QC H3B 1A2
gallery tel: +1-514-878 3663
gallerist cell: +1-514- 8822889
artist cell: +1-646-541-4772
email: info@visualvoicegallery.com
station: Place-Des-Artes

Born and still living in New York, Barbara Rosenthal is a Media and Performance artist who holds a BFA (1970) and MFA (1973) in Painting. She began working in Performance/Installation in 1968, and Photography/Video in 1976. She has written and kept a Journal since childhood, and often incorporates text with her imagery. Her themes of identity, existentialism, and surrealism explore the relationship between an artist's psyche and the outer world.



7. Lawrence Graham-Brown, FF Alumn, at aljira, Newark, NJ, Oct. 5

My final project and presentation Rites of Passage/Sacred Spaces will be screened and presented at aljira A center for Contemporary Art, on Oct. 5, 2012

Rites of Passage/Sacred Spaces by Lawrence Graham-Brown

A Film Screening and Artist Book Release Party in conjunction with Newark Open Doors

Friday, October 5, 2012
8pm - 10pm

A performance based on Afro, Caribbean, and Gay Folklore.

The accompanying book features essays by: Dr. David Boxer, Director Emeritus/Chief Curator National Gallery of Jamaica and Jamaica's foremost historian; Dr. Rev. Donna Schaper, senior Minister Judson Memorial Church, NYU; Prof. Keith Morrison, Former Dean and currently Prof. of Painting and Drawing, Tyler School of Art, Temple University and Edwin Ramoran, Curator in Chief Bronx Council on the Arts.

An artist book with dust cover is available as a limited edition print with only 33 copies for purchase. The book includes original archival prints, catalog, memorabilia, a DVD, paintings, collages, signed and numbered.

Aljira, a Center for Contemporary Art
591 Broad Street, Newark, NJ 07102
p. 973 622-1600 f. 973 622-6526
info@aljira.org www.aljira.org
Gallery Hours
Wednesday-Friday, 12-6 pm
Saturday, 11 am-4 pm

Rites of Passage/Sacred Spaces by Lawrence Graham-Brown
A Film Screening and Artist Book Release Party in conjunction with Newark Open Doors
Friday, October 5, 2012
8pm - 10pm

A performance based on Afro, Caribbean, and Gay Folklore.

The accompanying catalog features essays by: Dr. David Boxer, Director Emeritus/Chief Curator National Gallery of Jamaica and Jamaica's foremost historian; Dr. Rev. Donna Schaper, senior Minister Judson Memorial Church, NYU; Prof. Keith Morrison, Former Dean and currently Prof. of Painting and Drawing, Tyler School of Art, Temple University and Edwin Ramoran, Curator in Chief Bronx Council on the Arts.

An artist book with dust cover is available as a limited edition print with only 33 copies for purchase.

The book includes original archival prints, catalog, memorabilia, a DVD, paintings, collages, signed and numbered.

Gallery Hours
Wednesday-Friday, 12-6 pm
Saturday, 11 am-4 pm

Aljira's operations and programs are made possible, in part, by the New Jersey State Council on the Arts/Department of State, a Partner Agency of the National Endowment for the Arts, the New Jersey Cultural Trust, The Kenneth Aidekman Family Foundation, Berger Organization, Bank of America, The Geraldine R. Dodge Foundation, Edison Properties The Fidelco Group, Genova, Burns, Giantomasi and Webster Attorneys at Law, Hyde and Watson Foundation, Joan Mitchell Foundation, Lambent Foundation, MCJ Amelior Foundation, National Endowment for the Arts, Newark Downtown District, PNC Bank, The Prudential Foundation, PSE&G Foundation, SGA Group, State Farm Insurance, Tides Foundation, The Turrell Fund, The Andy Warhol Foundation for the Visual Arts; and individual contributors to our Annual Fund.
(c) Aljira, Inc. 2012.



8. Jed Miner, FF Intern alumn, at A Gathering of the Tribes, Manhattan, Oct. 11

"Mouth of the Mind" Performance and Exhibit by Jed Miner
and Viola Mondello at A Gathering of the Tribes, New York City
Musical Performance with LCM (little climbing monkeys)
and BlueGreenGold
October 11th, 6-10pm
Venue: A Gathering of the Tribes

About Jed Miner
Jed Miner was born in Manhattan in 1975 and is based in Boston where he co-directs artists' Retreat with Performance Artist Laurel Kirtz at Fort 92 in Roxbury. Jed works with home-brew audio feedback circuits and sound poetry to create interactive performances using the audience as performers. Graphical music scores are used based on the mathematical relationships between language and various invented measurement systems. The audience and gallery space become one instrument, a giant speech apparatus interpreting fluid motion and wave mechanics into fragments and parts of speech.

"A Mouth of the Mind" is an investigation into the materials which comprise language and give it form. Force, Vibrations and Space are superimposed from the human body onto the space of the Gallery to create a sound environment. Each room is a reflection of how we view ourselves through the act of being a vocal instrument in our daily lives. From the timeless passage of air through our lungs, to the restrictions and hesitations of our vocal cords and onwards to the cultural jamming and massaging of the tongue, teeth and lips. Speech itself becomes a metaphor for how we process basic information into advanced code systems.




9. Stephanie Brody-Lederman, Carl Andre, Robert Barry, Buster Cleveland, Ray Johnson, Sol LeWitt, Ed Ruscha, Richard Serra, Joel Shapiro and Lawrence Weiner, FF Alumns, at Zimmerli Art Museum, New Brunswick, NJ, thru January 6, 2013

Drawings, prints, and artist's books
from the Sally and Wynn Kramarsky Collection
Zimmerli Art Museum

Rutgers, The State University of New Jersey
71 Hamilton Street, New Brunswick, NJ

September 4, 2012 - January 6, 2013

Art=Text=Art was organized in 2011 by the University of Richmond Museums, Virginia, and was curated by N. Elizabeth Schlatter, Deputy Director & Curator of Exhibitions, University Museums, with Rachel Nackman, Curator, Kramarsky Collection.

The exhibition, which has been expanded to include 37 additional works, is organized for the Zimmerli Art Museum by Marilyn Symmes, Director, Morse Research Center for Graphic Arts & Curator of Prints and Drawings.

William Anastasi
Carl Andre
Alice Aycock
Frank Badur
Jill Baroff
Robert Barry
Kry Bastian
Suzanne Bocanegra
Mel Bochner
Dove Bradshaw
Stephanie Brody-Lederman
Trisha Brown
Buster Cleveland
Russell Crotty
Annabel Daou
Stephen Dean
Elena del Rivero
Donald Evans
Dan Flavin
John Fraser
Jane Hammond
Susanna Harwood Rubin
Nancy Haynes
Christine Hiebert
Jasper Johns
Ray Johnson
Bronlyn Jones
Jon Laxdal
Ann Ledy
Sol LeWitt
K. McGill Loftus
Mark Lombardi
Stefana McClure
Mary McDonnell
Deborah Nehmad
Jill O'Bryan
Gloria Ortiz-Hernández
Raphael Rubinstein
Ed Ruscha
Karen Schiff
Richard Serra
Joel Shapiro
Sara Sosnowy
Molly Springfield
Allyson Strafella
Lenore Tawney
Cy Twombly
John Waters
Lawrence Weiner



10. Magie Dominic, FF Alumn, publication now available on Kindle

Magie Dominic's memoir, THE QUEEN OF PEACE ROOM, is now available on Kindle.

The book examines Newfoundland in the 1940s and 1950s and New York in the 1960s;
her confrontations with violence, the devastating loss of friends to AIDS
and the relationship between life and art.



11. Andrea Fraser, FF Alumn, at Corcoran College of Art and Design, Jan. 24, 2013

Corcoran College of Art + Design
2012-2013 Visiting Artists Program
September 24, 2012-March 25, 2013

Corcoran Gallery of Art and College of Art + Design
Frances and Armand Hammer Auditorium
500 Seventeenth Street NW, Washington, D.C. 20006


Through Visiting Artists at the Corcoran, the Corcoran College of Art + Design extends the roster of its dynamic faculty by arranging for appearances by professionals from around the world who have achieved excellence in their fields. Coming from the art and design worlds as well as literature, journalism, culture, entertainment, and fashion, these visiting artists enrich the Corcoran community with fresh perspectives and intensive interactions with students and faculty.

Unless otherwise noted, Visiting Artist lectures take place at 7pm in the Frances and Armand Hammer Auditorium and are 6 USD for students, 10 USD for Corcoran members and 12 USD for the public. For more information on the series, visit www.corcoran.edu/va.

Monday, September 24
Visiting Professor Thierry de Duve
In this lecture, Visiting Professor Thierry de Duve's examines the four concepts or specifications of the word "art": art in general, art as such, art altogether, and art itself. De Duve is an art historian and theorist currently serving as a fellow at the National Gallery of Art's Center for the Advanced Study of Visual Art.

Thursday, October 18
Visiting Artist Charlotte Dumas
During this lecture, Charlotte Dumas reveals how she works to capture her evocative formal portraits of animals. She also discusses the making of her newest body of work, portraits of the majestic burial horses of Arlington National Cemetery, featured in her NOW at the Corcoran exhibition, Charlotte Dumas: Anima (on view through October 28).

Thursday, November 8
Newman Distinguished Visiting Artist Lecturer in Photography: Taryn Simon
Taryn Simon produced A Living Man Declared Dead and Other Chapters I-XVIII over a four-year period, during which she traveled around the world researching and recording bloodlines and their related stories. The exhibition is on view at the Corcoran November 10, 2012-February 12, 2013.

The Arnold Newman Distinguished Visiting Lecture in Photography is generously funded by the Arnold and Augusta Newman Foundation in memory of Arnold Newman, who had a long-standing relationship with the Corcoran and curator Philip Brookman.

Monday, November 26
Visiting Artist Enoc Perez
Enoc Perez's lushly figured paintings of modernist buildings at once exploit and question the seductions of architecture as well as painting itself. The NOW at the Corcoran exhibition Enoc Perez: Utopia (November 10, 2012-February 10, 2013) presents two new bodies of work, one focusing on the Marina Towers in Chicago and the other a commissioned painting of the Watergate in Washington, D.C. On this evening, Enoc Perez appears in dialogue with Sarah Newman, curator of contemporary art at the Corcoran, to discuss his inspirations and process.

Monday, January 28
Visiting Artist Andrea Fraser
Andrea Fraser's work has been identified with performance, video, project-based art, context art, and institutional critique. She was a founding member of the feminist performance group, The V-Girls (1986-1996); the project-based artist initiative Parasite (1997-1998); and the cooperative art gallery Orchard (2005-2008). Fraser is Professor of New Genres at UCLA's Department of Art and visiting faculty at the Whitney Independent Study Program.

Monday, March 25
Visiting Artist Simon Reynolds
Simon Reynolds is the author of seven books about music and pop culture, including Retromania: Pop Culture's Addiction to Its Own Past (Faber & Faber, 2011) and Rip It Up and Start Again: Postpunk 1978-84 (Faber & Faber, 2005). Simon started his journalistic career in 1986 as a staff writer for the British weekly music paper Melody Maker and then went on to freelance for magazines including New York Times, Spin, Village Voice, Rolling Stone, Artforum, The Wire, The Guardian, The Observer, Slate, and Frieze.



12. Reverend Billy, FF Alumn, in The New York Times, Sept. 28

The New York Times
September 28, 2012
For Brooklyn's New Arena, Day 1 Brings Hip-Hop Fans and Protests

After nine years as the focal point of a pitched confrontation over urban development, power and basketball, the Barclays Center in Brooklyn began its first day of life on Friday with the hip-hop superstar Jay-Z performing at a sold-out concert while activists outside the arena reminded attendees of the unfulfilled promises of the center's developer.

Under weeping, sun-starved skies, the surrounding streets were animated from early morning. Curiosity-seekers without tickets staked out viewing spots in hopes of glimpsing notables and to bear witness to a milestone.

"We thought Beyoncé was going to come out the side," said Josie Mignone, 68, a lifelong Brooklyn resident who walked over to the center with her husband from their nearby apartment 11 hours before the start of the concert. After making a few detours to weigh bargains at some stores, they planted themselves in the Starbucks on the arena's ground floor and had some free samples.

"This is a big event for us Brooklyn people," Ms. Mignone said.

By early afternoon, dozens of workers were filing through a back door, many of them reporting for their first day of a new job.

There had been a frenzied push to complete the arena in time for this night, and even hours before the doors opened, hurried preparations were still going on. Ladders were evident everywhere, as workers scrambled up them to fiddle with light fixtures. Other workers were carting in big steel racks filled with bottles of red wine and high-priced vodkas. Larry Banks, 19, from Ridgewood, Queens, arrived to do janitorial work, probably restroom duty, still unsure of the assignment.

"It's history right here," he said. "And I'm working, keeping it together."

Dozens of opponents staged protests throughout the day. At dusk, thousands arrived to see the show - to hear a superstar rapper who grew up in a Brooklyn housing project. Many wore T-shirts and caps that suggested the new arena's role in invigorating pride in this borough.

Then there was Daphne Carr, 34, uncomfortably straddling two worlds. She slept outside the arena on Thursday night and held a sign: "Brooklyn Sold but We Ain't Buying." But unlike other protesters who have sworn never to enter the Barclays Center for an event, she acknowledged with a shrug that she was attending Jay-Z's concert on Saturday.

"It makes me complicit in a world of evil," she said. "I know that."

But she said she got tickets free and was a quiet connoisseur of Jay-Z's music.

This was more than an inaugural concert. It was also a demarcation point in a searing battle that took on the contours of a morality play.

The long-delayed $1 billion arena - which as the home of the transplanted Brooklyn Nets returns a major-league sports team to Brooklyn for the first time in more than half a century - has become a metaphor for the trials of change in an already changing borough.

More than 14,000 fans representing a broad assemblage of people funneled into the center. At the insistence of Jay-Z, nearly half of the tickets were priced at $29.50, plus fees, while choice seats sold on the resale market for thousands of dollars. The true upper end were the 11 superluxurious floor-level suites, known as the Vault, which lease for $550,000 a year, with a three-year minimum contract.

The developer Bruce C. Ratner watched from one luxury suite, while Mikhail Prokohorov, the Russian billionaire who owns the Nets, occupied his own suite. Most of the Nets players attended, many of them at the invitation of Deron Williams, the star point guard, who has a luxury suite as well.

The arena left little free of corporate sponsorship. There were phone-charging booths from MetroPCS and entrances named for Geico and EmblemHealth. Women in gowns handed out $5 gift certificates to the Foxwoods casino.

As the 8 p.m. concert time came, lines outside the main entrance were still hundreds deep, as entry was slowed by everyone's passage through metal detectors. The start of the concert was delayed while a D.J. entertained the crowd.

The crowd was growing fidgety as the lights finally dimmed at almost 9:45. A slide show recounted aspects of Brooklyn's history, including the Brooklyn Bridge, the Beastie Boys, Ebbets Field and finally the Brooklyn Nets. Jay-Z took the stage in a white Nets hat and a black Nets jersey - No. 4, with "Carter," his actual last name, across the back. Before a projection of city projects, he said, "Today is a celebration, a celebration of the place where I'm from. When I say, 'Is Brooklyn in the house,' I want to hear everybody. Is Brooklyn in the house?" The crowd roared.

Meanwhile, many residents of the surrounding neighborhoods of Park Slope, Prospect Heights, Fort Greene and Boerum Hill remained apprehensive about the arena's opening.

The swooping glass-and-rusted-steel structure, at the intersection of Atlantic and Flatbush Avenues in the heart of New York's most populous borough, is the first element of a proposed $4.9 billion, heavily taxpayer-subsidized Atlantic Yards development, the biggest ever tried in Brooklyn. The project is designed to squeeze 15 housing towers and a possible hotel or commercial building onto a 22-acre plot, adding thousands of permanent jobs and affordable housing units.

Yet none of the other buildings have risen, and many concerns persist about them and the levers used along the way by Mr. Ratner and his Forest City Ratner Companies.

Forest City Ratner, which also built the headquarters of The New York Times in Midtown, imagines completion of the project may span 25 years, far more than its original 10-year estimate. Groundbreaking on the first residential tower is scheduled for December.

After so much queasiness and competing prophecies of just what it will mean to put a big arena on this Brooklyn plot, the concert was the first chance to see how it works. Would the traffic be impossible? Would the food satisfy the borough's increasingly exacting standards? Would drunken fans wake up sleeping families and their dogs? Would enough people come?

But before any of those questions could be answered, the protests - a staple of the construction zone for years - went on.

The protests outside the center throughout Friday were, for the most part, modest in size and often included farce as a means of expression. They involved a news conference beneath the entrance canopy, sermons, bits of street theater and coordinated Twitter posts.

The demonstrators, some of whom slept on the street the night before, rarely numbered more than 50.

Several women, done up in outlandish wigs, rhinestone jewelry and garish sunglasses, wore sandwich boards that said: "Billionaires for Barclays. Who's in Your Pocket?"

The activist performer Reverend Billy of the Church of Stop Shopping appeared in a white suit, white boots and clerical collar and lamented that "Bruce Ratner figures" are destroying neighborhoods around the world.

About 6:30, a small group of protesters spied Marty Markowitz, the Brooklyn borough president, heading toward a side entrance. They chased him down the block shouting, "You can't negotiate with a monopolist!"

In reaction to the protesters, Joe DePlasco, a spokesman for Mr. Ratner, said, "We are 100 percent committed to the affordable housing, jobs and other benefits of Atlantic Yards and welcome those who were against them at the start to work with us to achieve them going forward."
Jay-Z, who will perform eight concerts to open the Barclays Center, has left his imprint throughout the project. He has leveraged his tiny stake in the Brooklyn Nets and the arena into an outsize presence as one of the public faces of the project, including helping design the team's insignia and uniforms. He also owns an upscale club called 40/40 inside the center.

The Nets are the center's principal tenant, the first major sports team in Brooklyn since the Dodgers broke the borough's heart by leaving for the West Coast in 1957. On Oct. 15, the Nets will play their initial preseason game at the 18,200-seat arena, and on Nov. 1, they will take to the court to start the basketball season against the Knicks, from the borough next door.

Some of those who came by for a look on Friday were already revisiting their team allegiances. Niema Saunders, who lives 10 minutes away, pushed her daughter, Sierra, past the building in a stroller. A Knicks fan, she said proximity had forced a re-evaluation. "It's finally finished," she said in explaining her intention to root for the Nets. "And it's closer."

Marcus Bruny, 24, a security guard from Canarsie, was unconflicted. He arrived for the concert wearing a Nets jersey, Nets jacket and Nets hat. "It's only right," he said. "I'm going hard for Brooklyn, that's where I'm from."

To get a sense of the center's impact, Stephen Levin, a city councilman, patrolled the blocks around the arena with constituents as concertgoers arrived. In the hours before the doors opened, though, traffic on the main avenues did not seem unusually heavy. One fan who drove to the arena said he had no trouble parking four blocks away.

At one point, a Columbia University class on urban design collected outside the front entrance to contemplate the stew of issues the new building raised.

Local businesses near the center, any number of which have gravitated to the area recently, were keen on attracting the extra passers-by for themselves.

At the Italian restaurant Va Beh', an extra worker had been recruited for the evening to prepare pasta. The place expected to remain open as late as 1 a.m., two hours later than customary.

A neighbor, Yayo's Latin Cuisine, planned on an even longer night, because of a different concern. It operates a small parking lot across the street for its customers.

"Even friends are going to come here and say, 'I'll have dinner, leave my car there, go to the Barclays Center,' " said Robert Garcia, the manager. "That's not going to happen."

Mr. Garcia said the restaurant had assigned two bouncers to guard the lot.

Reporting was contributed by Howard Beck, Joseph Berger, Sam Dolnick, Matt Flegenheimer and Michael M. Grynbaum.



13. Rob Andrews, FF Alumn, at E:MF4, Brooklyn, Oct. 7

Family and Friends,

October 7
Goodbye Blue Monday

8.45 pm
E:MF4 (experimental music festival)
1087 Broadway

Collapsing time in Search of the Miraculous: Vampire Song

Vampire Song is the second piece in the collaboration between Rishika Mehrishi and Rob Andrews. Their work together is about time and distance and the impossible veil between senses and void.

We have stretched ourselves to consider what is outside of time. That time is the great contingency. The slow knife. The shield. That time is a condition. A taunt. A sickness.

There are blinking lights.

These vampires want the void, and even though it is an extinct language, they seek each other and take from each other and lean on each other's cold deathless shapes. The void is the taint-the word that they hiss without sound. They sit on the bench to pause on the infinite, wrapped in a cold, architecturally illimitable dependence.



14. Laura Parnes, FF Alumn, at MoMA PS1, Long Island City, Queens, Oct.14

Sunday Sessions ˆ Sunday, Oct 14, 2012 , 2-6. Ten Ways of Doing Time starts at 3:30.
Hosted by Lia Gangitano with the premiere of James Fotopoulos and Laura Parnes' video Ten Ways of Doing Time and performances by CANDIDATE and BEAUT

World Premiere
James Fotopoulos and Laura Parnes
Ten Ways of Doing Time, 2012 1 hour, 53 minutes

In James Fotopoulos and Laura Parnes‚ Ten Ways of Doing Time, prison drama and science fiction motifs are fused to create an experimental narrative in which scientists research on prisoners attempting to create psychotic warriors for the army. The sprawling chapter-based project, both irreverent and outrageous, begins with a formally based structure then explodes into controlled states of anarchy. Starring Jim Fletcher and Stephanie Vella. Original soundtrack by Marcia Bassett. Music by Skullflower, Zaimph and hototogisu.



15. Toni Sant, FF Alumn, now online at Leoalmanac.org

Franklin Furnace & the Spirit of the Avant-Garde: A History of the Future by Toni Sant - Book Review by Maria Chatzichristodoulou now available in the Leonardo Electronic Almanac:


Further reviews are expected in the coming months. Previous reviews linked at http://www.tonisant.com/ff

Dr Toni Sant
Director of Research
School of Arts and New Media
University of Hull - Scarborough Campus
Filey Road, Scarborough - YO11 3AZ
Email: t.sant@hull.ac.uk



16. Jerome Covington, FF Intern Alumn, now online at iTunes.com

Shadows of the Fall
by Jerome Covington

As the final installment of 2012's multi-album work, "The Year in Sound and Magic", "Shadows of the Fall" brings the 3-part work to a shimmering, effervescent close. While there are still moments of dissonance and tension here, the overall mood is one of peaceful resolution: we have been through the dark times of "Animism in the Digital Age" and traversed the stygian, twisting passageways of "Runic Telemetry". Now the shadows of Autumn take on an iridescent glow in the splendid light of the harvest moon.

Take a moment to listen to the samples on iTunes, Amazon and other digital stores. And please go ahead and purchase the album there if you would like to add your support to this project.

Thanks for Listening,



17. Marisa Jahn, Mendi+Keith, FF Alumns, at The Cooper Union, Manhattan, Oct. 10

REV and The Cooper Union: 'Pro+agonism' with Cornel West and others

Pro+agonist: The Art of Opposition

Join Cornel West, Graham Burnett, Saskia Bos, Jill Magid, Carl DiSalvo, McKenzie Wark, Mendi+Keith, Cristina Goberna and Urtzi Grau, Anjum Asharia, and Marisa Jahn for an event rife with pleasurable and productive friction.

Building off of a highly agonistic public symposium presented by the Walker Art Center and Northern Lights.mn in Spring 2012, Pro+agonist prompts discord in discourse, cultural collisions, and other varieties of strategic scraping. Participants will emerge with a greater appreciation for duking it out and taking it to the streets.

Wednesday, October 10th, 2012 (7 pm)
The Great Hall at The Cooper Union
7 East 7th Street New York, NY 10003

Opening Remarks
Saskia Bos, Curator, Art Historian, and Critical Theorist; Dean of The School of Art at The Cooper Union Marisa Jahn, Artist/Activist, Editor of 'Pro+Agonist,' and Executive Director of REV-

Agonistic Activities
McKenzie Wark, new media theorist
Jill Magid, artist, writer
Mendi+Keith Obadike, Artists/poets
Carl DiSalvo, author of 'Adversarial Design' (MIT Press, 2012) Marisa Jahn and Anjum Asharia, artists/activists, writers (REV-) Cristina Goberna and Urtzi Grau, Principals, Fake Industries Architectural Agonism

Keynote Conversation
Cornel West, scholar, author, and activist D. Graham Burnett, author and scholar

Book signing

More Info: www.rev-it.org, hello@rev-it.org, 917-902-5396

The mission of the School of Art of The Cooper Union is to educate artists in the broadest sense, both as creative practitioners engaged with a wide range of disciplines in the visual arts and as enlightened citizens of the world who are prepared to question and transform society. Central to the school's philosophy is the advancement of the artist's role in relation to the prevailing forms and institutions of cultural production.

Since 2000, REV- has engineered imaginative approaches to advancing cultural equity. We do so through constituency-led campaigns for social justice, youth media arts, research & development, and activities that trammel the boundaries between the printed word and public sphere. We are artists, advocates, media makers, low-wage workers, immigrants, and youth working to spark the public imagination and accelerate social change. www.rev-it.org

Book Title: Pro+agonist: The Art of Opposition
Co-presented by: Walker Art Center, Northern Lights.mn, and REV-
Editor/Designer: Marisa Jahn
Book Contributors:
Cornel West, scholar, activist + D. Graham Burnett, scholar, writer Carl DiSalvo, design theorist Jean-Francois Lyotard, theorist of postmodernity Chantal Mouffe, author of 'The Return of the Political' and co-author with Ernesto Laclau of 'Hegemony and Socialist Strategy: Towards a Radical Democratic Politics'; John Seely Brown, entrepreneur Colson Whitehead, Pulitzer finalist and author of 'The Intuitionist'
and 'Sag Harbor''
Anjum Asharia, artist/writer
Warren Sack, new media artist
Steve Shada, artist/activist
Mark Shepard, artist/theorist
Doris Sommer, author of 'Bilingual Aesthetics'; McKenzie Wark, author of 'Hacker Manifesto' and 'Gamer Theory.'

'Pro+agonist: The Art of Opposition' is a book and set of playing cards that explore the productive possibilities of 'agonism,' or a relationship built on mutual incitement and struggle. Designed in black and blue - the colors of a good bruise - 'Pro+agonist' brings together writings by interdisciplinary artists, scientists, CEO's, crackpots, war strategists, psychotherapists, and philosophers who raise questions about the importance of political dissent, the function of discord in discourse, the rules of escalating conflict, the roles of parasites within systems, the ins and outs of concord and congress, and more. The book's introduction, written as a disagreement between a cast of fictional characters, is (arguably) more stimulating than if it were written from a single, unified perspective. Readers will emerge with a greater appreciation for duking it out and taking it to the streets.

p.s. - There's a half-inch hole running through the center of both the book and the playing cards so that you can peek through, frame the Other, and keep them with you as you read along.


A native Texan, Anjum Asharia studied philosophy at Wellesley College, where she hosted a weekly radio show at the campus station, WZLY. She has previously worked with the Boston Center for Refugee Health and Human Rights, and the Family Literacy Involvement Program at the Children's Museum of Houston. She is a Program Associate with REV-.

D. Graham Burnett writes widely about nature, history, visual culture, and science. An editor at Cabinet magazine, based in Brooklyn, and a professor at Princeton University, he is the author of five books:
Masters of All They Surveyed (on the history of cartography); Descartes and the Hyperbolic Quest (on optics and metaphysics); A Trial By Jury (the memoir of a murder trial);Trying Leviathan (on changing ideas of natural order); and The Sounding of the Whale (on the cultural and scientific importance of cetaceans). In 2010, he co-curated "The Slice: Cutting to See" at the Architectural Association, and his video collaboration with Lisa Young (Free Fall:
The Life and Times of Bud "Crosshairs" MacGinitie) recently screened at the Wellcome Collection in London. Burnett is associated with The Order of the Third Bird.

Carl DiSalvo is an assistant professor in the Digital Media program at the Georgia Institute of Technology, where he runs the Public Design Workshop-a research studio for social design. His research draws together design, the humanities, and science and technology studies to increase public engagement with technology, and analyze the social and political uses of digital media. His book Adversarial Design (2012), explores how design does the work of agonism through computational objects and systems. In the summer of 2012, he will be co-directing the Kitchen Laboratory workshop at the Walker Art Center as part of the Open Field program.

Cristina Goberna is a principal of Fake Industries Architectural Agonism. She graduated from the School of Architecture of Sevilla in 2001, and from the Independent Study Program at The Museum of Contemporary Art of Barcelona in 2006. As a Fulbright Fellow she was awarded a MS in Advance Architectural Design, an Advance Architectural Research Certificate by Columbia University, and is currently a PhD candidate in the School of Architecture of Barcelona. Her work has been exhibited internationally and her projects and writings have been published widely. She was a member of the committee and jury of the Architectural League of New York 2010 Young Architects Prize and she is currently a visiting scholar at the NYU Institute of Fine Arts, the curator and coordinator of Van Alen Books, a new center specialized in Architectural publications at Van Alen Institute and an Adjunct Assistant Professor at Columbia University.

Urtzi Grau is a principal of Fake Industries Architectural Agonism. He graduated from the School of Architecture of Barcelona in 2000, was awarded Master of Science in Advanced Architectural Design by the Graduate School of Architecture Planning and Preservation, Columbia University in 2004, and is currently completing his Ph.D. at Princeton University School of Architecture on the 1970's urban renewal of Barcelona. His work and writings have been published in different international journals as 306090, Architect's Newspaper, Domus, Pasajes de Arquitectura y Critica, Pidgin, Volume, Via Arquitectura or Visions.

Marisa Jahn is an artist, writer, and Executive Director of REV-. She has edited three books about culture and politics-Recipes for an
Encounter,Byproduct: on the Excess of Embedded Art Practices, and
Pro+agonist: The Art of Opposition. She was a 2007-9 MIT
artist-in-residence, a community organizer with groups like the Urban Justice Center, and was recognized by UNESCO as a lead educator. Her work has been presented at The White House, IDEO New York, the Museum of Modern Art, San Francisco Museum of Modern Art, New Museum, MIT Museum, The Power Plant, ICA Philadelphia, and more. marisajahn.com

Jill Magid seeks intimate relations with impersonal structures. She is intrigued by hidden information, being public as a condition for existence, and intimacy in relation to power and observation. Magid received her Master of Science in Visual Studies at the Massachusetts Institute of Technology and her Bachelor of Fine Arts from Cornell University. She was an artist-in-residence at the Rijksakademie van Beeldende Kunsten, Amsterdam from 2000-2. Magid has had solo exhibitions at various institutions around the world including Tate Modern, London; Whitney Museum of American Art; Berkeley Museum of Art, California; Tate Liverpool; the Stedelijk Museum Bureau Amsterdam; Yvon Lambert, Paris and New York; Gagosian Gallery, New York; The Centre D'Arte Santa Monica, Barcelona, and Stroom, Netherlands. Magid is the author of four novellas. She is an adjunct professor at Cooper Union, and lives and works in Brooklyn, NY.

Cornel West, a Fellow of the American Academy since 1999, is Class of
1943 University Professor at Princeton University. He graduated Magna Cum Laude from Harvard in three years, and obtained his M.A. and Ph.D.
in Philosophy at Princeton. He has taught at Union Theological Seminary, Yale, Harvard, and the University of Paris. He has written nineteen books, and edited thirteen books. He is best known for his classic Race Matters, Democracy Matters, and his new memoir, Brother
West: Living and Loving Out Loud. He appears frequently on the Bill Maher Show, Colbert Report, CNN, and C-Span, as well as on his dear Brother, Tavis Smiley's PBS TV show. West has a passion to communicate to a vast variety of publics in order to keep alive the legacy of Martin Luther King, Jr.-a legacy of telling the truth and bearing witness to love and justice.

McKenzie Wark is the author of The Beach Beneath the Street, Gamer Theory, A Hacker Manifesto, and various other things. He is Associate Professor of Media and Culture at the Eugene Lang College, The New School for Liberal Arts, New York.



18. Bob Goldberg, FF Alumn, at Old Stone House, Brooklyn, Oct. 6

The Famous Accordion Orchestra wraps up its 2012 World Tour of Brooklyn with a performance at the
Old Stone House in Park Slope, as part of the First Annual Kings County Fiber Festival.

Saturday, October 6, 2012
3:00 PM
Old Stone House/JJ Byrne Park
3rd Street and 5th Avenue

Admission is Free

Bob Goldberg, Genevieve Leloup, Mark Nathanson, Melissa Elledge, Rachel Swaner: accordions
Greg Burrows: percussion



19. Michael Paul Britto, Zachary Fabri, Kanene Holder, Marie Christine Katz, FF Alumns, in Art in Odd Places Festival, Manhattan, Oct. 5-15


The Swiss artist Marie Christine Katz will be participating in the 8th annual Art in Odd Places festival

Guest Lead Curated by Edwin Ramoran. Joined by Guest Curators: Raquel de Anda, Christine Licata, Shaun J. Wright; Curatorial Coordinator, Lyra Monteiro; Curatorial Assistants, Claire H. Demere and John Wenrich.
Festival Producer, Sarah Brozna
Founder/Director, Ed Woodham

Art in Odd Places (AiOP) presents visual and performance art in unexpected public spaces. This October 5-15, 2012, AiOP will pursue the theme MODEL over 100 participating artists-our largest festival yet! Converting Manhattan's 14th Street from Avenue C to the Hudson River into a two-mile runway, AiOP 2012: MODEL will present transformative ideas, wearable visions of positive change, and walking theories, while working to expand preconceived notions of public space and art.

Let's take a walk...I need you

October 5-11 throughout the day, the artist will invite the public to learn to knit and help her create two dresses, while walking the length of 14th Street.
Friday, October 12, group walk starting at 6:30pm departing from Union Square south walking west along 14th Street.
Sunday, October 14, group walk starting at 11am, departing from Union Square south walking east along 14th Street.
To be part of the walk from a distance please follow https://twitter.com/mcayer
http://letstakeawalkmc.blogspot.com/ http://www.myfavoritegrandmother.com/
October 13 &15 throughout the day, the artist will display the remains of the costumes from the walks at various points on 14th Street.

Marie Christine Katz



20. Erica Van Horn and Simon Cutts, FF Alumns, at Shandy Hall, Yorkshire, UK, thru Oct. 14

Erica Van Horn and Simon Cutts
Coracle Publications 1989-2012

SHANDY HALL, Coxwold, York, Yorkshire, GB
16-September-14 October 2012

For over 35 years, Coracle Press has worked closely with local and international artists and poets to make books, bookshops, galleries and installations, small and large scale.
This exhibition presents seminal book works, publications and other allied works from the last two decades of Coracle's production, works which were printed or bound in Norfolk.

Shandy Hall is a museum housing collections relating to the author Laurence Sterne. The historic hall and outbuildings are set in two acres of beautiful gardens.

Printed in Norfolk is organized by Helen Mitchell and RGAP www.printedinnorfolk.org.uk



21. Jim Johnson, FF Alumn, at Abecedarian Gallery, Denver, CO, opening Oct. 5

Abecedarian Gallery
910 Santa Fe, #101
Denver, CO 80204
Gallery Hours:
Thursdays & Fridays, 1-6pm
Saturdays noon-4pm
Alicia Bailey
720.282.4052 or 303.340.2110
Exhibition dates October 5 - November 10, 2012
Exhibition title: Jim Johnson • Folios and Other Open Books
Exhibition opening: October 5, 6-8pm (during the Art District on Santa Fe's First Friday Artwalk)
Reception for Jim Johnson: October 19, 6-8pm

The career of Jim Johnson is one of diversity of approach with specificity of purpose. Trained as a painter, early in his career he began to experiment with new media such as video, collage, photocopies, correspondence art and books. From his first exposure to the international Concrete Poetry movement in the late sixties, Jim's work has consistently moved in the direction of discovery and away from expression.

He has created numerous one-of-a-kind books as well as limited and open editions, a selection of which is on display in the Reading Room this fall. The exhibit includes a selection of books using the versatile folio format. Jim works with the versatility of the folio, the notion that each collection of folios (or 'book') exists as both multiple sheets and a single object. He treats the form as a collection that can be read in sequence or disassembled and viewed or framed together or individually.

Other books in the exhibition are unbound, boxed or loose pages in envelopes that can be displayed in any number of ways. Several of his books are available as free online PDF files or are available on demand from SPOD publishers such as www.lulu.com or his own site www.discopie.com, and www.printedmatter.org

Jim was a member of the Painting and Drawing faculty of the Department of Art & Art History at the University of Colorado at Boulder since 1970. He developed the department's Integrated Media and Computer Imaging programs and was instrumental in developing the Center for Arts, Media and Performance for the ATLAS Institute and served as it's first Director.

Visitors to the Denver Art Museum have likely seen his book/installation, A Thousand Words is in the Denver Art Museum's Permanent Collection.

Abecedarian will host an informal talk and reception for Jim on October 19, from 6-8pm.body



22. Martha Wilson, FF Alumn, in The Philadelphia Inquirer, Sept. 30, and online

The Philadelphia Inquirer, Sept. 30

Summing her up

A pioneering feminist performance and conceptual artist of the early 1970s, Martha Wilson seemingly gave up her brilliant career when she founded Franklin Furnace in 1976 to collect and support the production of artists' books and periodicals. As the TriBeCa-based nonprofit's director, she also curated exhibitions of installation art and performance art for the next three decades. (Franklin Furnace Archive Inc. is now a "virtual institution" that uses its website, www.franklinfurnace.org, as its public face.) Still, Wilson's occasional satirical performances as Nancy Reagan, Barbara Bush, and Tipper Gore hinted at a future re-engagement with her art.

Sure enough, she is suddenly everywhere. She's joined the ranks of the pedigreed New York gallery PPOW, where she had a solo show of early and recent staged photographs in 2011. Since last year, she also has been the subject of Martha Wilson: Staging the Self, a traveling show curated by Peter Dykhuis with Independent Curators International (ICI) that is now at Arcadia University Art Gallery.

Wilson's place in the art firmament has never been easy to assess, but this retrospective look at her work as an artist and an advocate for others' avant-garde efforts argues that the two constitute a whole career in art.

It also makes the point that Wilson began creating her early photographs and videos of herself - making facial expressions of moods for the camera and posing as various female and male characters well before Cindy Sherman started her role-playing - while living far from the mainstream art world in Halifax, where she was teaching at the Nova Scotia College of Art and Design. (She was born in Philadelphia in 1947 and graduated from the George School.)

To create his whole, Dykhuis proposed that he show Wilson's early Halifax-based work; films of her collaborative performances with the New York all-female punk group DISBAND; and videos of her impersonations of Ronald Reagan, George W. Bush, and AL Gore, alongside film and other documentation of 30 Franklin Furnace projects by various artists - one per year from 1976 through 2006 - of her choosing.

The result is a rich, multifaceted portrait of Wilson that finally makes sense of her art and her life: She's the consummate collaborator, even, when necessary, with herself.

Arcadia University Art Gallery, 450 S. Easton Rd., Glenside. 10 a.m. to 5 p.m. Tuesdays and Wednesdays, 10 to 8 Thursdays, 10 to 3 Fridays, 12 to 4 p.m. Saturdays and Sundays. Through Nov. 4.



Goings On is compiled weekly by Harley Spiller