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Contents for October 04, 2012

1. Coco Fusco, Jennifer Miller, Dread Scott, Martha Wilson, FFAlumns, at BAM's new Fisher Building, Brooklyn, October 11-13

World Premiere performances in honor of the 30th anniversary of the Next Wave Festival, featuring Coco Fusco, Jennifer Miller and Dread Scott, Franklin Furnace Alumns, selected by Martha Wilson.
October 11 at 7:30 pm Dread Scott
October 12 at 7:30 pm Jennifer Miller
October 13 at 7:30 pm Coco Fusco
Run time: 1 hour (all shows)
For complete information please visit www.BAM.org/BkBred



2. Martha Wilson, FF Alumn, will impersonate Barbara Bush to deliver Keynote Performance for Art in Odd Places Festival 2012, at Parsons New School of Design, Manhattan, October 6

Art in Odd Places 2012: MODEL, October 5 to October 15, 2012, along 14th Street, Manhattan, Avenue C to the Hudson River.

Art in Odd Places (AiOP), New York City's annual public art and performance festival, is pleased to announce its eighth and biggest season to date. Art in Odd Places 2012: MODEL will take place from October 5 to October 15, 2012, along 14th Street in Manhattan from Avenue C to the Hudson River. The festival will feature 100+ artists' projects from New York and beyond, who will apply their practice to AiOP's unconventional structure inserting art into daily life to proclaim 14th Street as the largest and longest MODEL runway in the world - the biggest festival to date.

OPENING RECEPTION: Friday, October 5, 5-8pm, Pedro Albizu Campos Plaza (Entrance on E 14th Street between Avenues B and C) Featuring a performance of Doobie Couture by Wanda Ortiz and performance-duo Uniska Wahalo Kano & Jacob Cohen plus many of this year's festival artists.

Keynote Performance: Martha Wilson as Barbara Bush, Saturday, October 6, 2012, 2-4pm, Parsons New School of Design, Kellen Auditorium, 66 Fifth Avenue.
Due to her achievements, expertise and unfaltering advocacy of public and performative art, Martha Wilson is the invited keynote performer for AiOP 2012: MODEL. Internationally recognized for her own accomplishments in arts as well as her dedication to emerging artists, she will set the tone for the AiOP'sfestival and reinforce our mission. She will perform as Barbara Bush for a mini workshop based on AiOP' "Artist-Citizen" concept. Wilson will also cover a wide variety of topics: including experimental performative methods as well as the challenges and benefits within public art forms for both artist and viewer.



3. Beverly Naidus, FF Alumn, at BC Space, Laguna Beach, CA, thru Dec. 22


Capital Crime$ is intended to reveal the enormously destructive role that money--and the power it wields--increasingly play in our culture.
Historian Thomas Frank has sounded the alarm loudly and often. In "It's a Rich Man's World," his April 2012 essay for Harper's Magazine, Frank writes, "Over the course of the past few decades, the power of concentrated money has subverted professions, destroyed small investors, wrecked the regulatory state, corrupted legislators en masse, and repeatedly put the economy through the wringer. Now it has come for our democracy itself."

Having exploited our planet and its people to amass great private profit at the expense of the public good, the fat cats of the ruling class are using their ill gotten gains to further subvert what is left of any democratic process in a blatant attempt to expand their hold on power. The evidence of Capital Crime$ is enormous and the effects are felt by all of us. If you are receiving this message, you are already aware of how desperate the situation has become.

And now we are about to endure another major election cycle. It may well be the most decisive in our lifetime, as well as one that will have a profound effect on our future. The question we asked these artists was: Do you have anything to say about this dire situation and would you like to add your voice to the debate? The response was swift and dramatic as this exhibition reveals.
There will be an opening reception for Capital Crime$ on Saturday, October 6, 2012 (one month before the election), and the exhibit will run through December 22, 2012. There will be a public reception from 3-6 PM, with a special Centenary tribute to Woody Guthrie at 4:09 PM. The event is free.

Gallery hours are irregular and event driven, but appointments for viewing may easily be arranged by contacting the gallery at (949) 697-5237 or bcspace@mol.net

Capital Crime$ Contributing Criminologist$
Lev Anderson Stephen Anderson Roger Armstrong Mariona Barkus Haley Blatte Glenn Brooks Jerry Burchfield* Sandra Jones Campbell Tim Carmody Bill Collins Mark Chamberlain Paul Darrow Jessica DeStephano Frank Dixon Jorg Dubin Shapard Fairey* Jeffrey Frisch Arie Galles John Gardiner Jacques Garnier Gina Genis Larry Gill Jeff Gillette Trish Harding Andrea Harris George Hermes Ray Jacobs* Eric Johnson* Rob Johnson* Lynn Kubasek Tom Lamb James Lerager Mark Leysen James Lorigan Joella March Daniel Martinez* Marshall Mayer Douglas McCulloh Vincent Mitchell Scott Moore Beverly Naidus Walter Reiss Andrew Savulich* Karen Schwager* Jorge Sicre Ken Slosberg Clayton Spada* Pat Sparkuhl Glenn Stern Jim Stone Eric Stoner Scot Sothern Darya Sohl Janice Tieken Arthur Tress Roger Van Ouytsel Lynn Weiser Andy Wing*
*Courtesy BC Space Collect



4. LAPD, FF Alumns, in Los Angeles, CA, Oct. 21-22

'Festival for All Skid Row Artists' --- October 20 and 21, 2012

The Los Angeles Poverty Department is producing the 3rd annual Festival for All Skid Row Artists on Saturday and Sunday, October 20 and 21, from 12 - 4 PM in Gladys Park, at the corner of 6th and Gladys Streets in Skid Row.

The 'Festival for All Skid Row Artists' is a weekend of live performance and visual arts created by artists who live and work on Skid Row. Reggae, rap, gospel and rock, theater, spoken word, poetry and dance will be part of this year's festival, which will take place on Saturday and Sunday October 20 and 21, and reflect the depth of artistic activity on Skid Row. In addition to the live performances on stage, Gladys Park will be hung with an exhibition of the work Skid Row visual artists. A select number of artists from outside Skid Row will participate, a reflection of the existing exchange between Skid Row artists and the greater Los Angeles arts community.

In 2009, the Animating Democracy Initiative of Americans for the Arts, released "Making a Case for Skid Row Culture: Findings from a Collaborative Inquiry by the Los Angeles Poverty Department and the Urban Institute". This study by John Malpede (Los Angeles Poverty Department) and Mario Rosario Jackson (The Urban Institute) documents the role of arts and culture in Skid Row. This study found that culture comes from the ground up in Skid Row and is often initiated by residents and resident driven initiatives. This festival is undertaken to recognize these people and initiatives and to stimulate a new way of envisioning and talking about this neighborhood.

The paper is available at www.artsusa.org/animatingdemocracy/pdf/reading_room/LAPD.pdf

The festival is moving the case for Skid Row culture forward in practice by creating a unique context that will both generate cultural participation and document it. Neighborhood artists will perform and exhibit their work and Los Angeles Poverty Department will collect digital data to create an artists' registry and an archive of artists work. We will film and photograph art, writing, song and performances of neighborhood residents in Gladys Park.

More information @ lapovertydept.org/festival2012

Los Angeles Poverty Department is a theater company comprised primarily of low income and homeless people living in those blocks of downtown Los Angeles known as Skid Row. Founded in 1985, Los Angeles Poverty Department (LAPD) creates performances and multidisciplinary artworks that connect the experience of people living in poverty to the social forces that shape their lives and communities. LAPD's works express the realities, hopes, dreams and rights of people who live and work in L.A.'s Skid Row.

'Festival for All Skid Row Artists' is produced by LA Poverty Department with partners United Coalition East Prevention Project and LAMP Community's Fine Arts Program. This year's festival is made possible by support of The James Irvine Foundation, The National Endowment for the Arts -Theater and The California Arts Council's Creating Public Value program. CAC's CPV program is supported by the National Endowment for the Arts.

Contact: John Malpede, 310-259-1038, info@lapovertydept.org



5. Frank Moore, FF Alumn, at Temescal Arts Center, Oakland, CA, Oct. 6

a ritual audience participation experience experiment

The Underground Hit!

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


Saturday, October 6, 2012

511 48th Street
Oakland, CA 94609-2058

For more information
Call: 510-526-7858

2012 Dates!


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

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

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

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

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

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

Downloadable poster here:




6. Helen Varley Jamieson, Adriene Jenik, Alan Sondheim, FF Alumn, online at www.cyposium.net, October 12

CyPosium celebrates cyberformance

An online symposium on 12 October 2012 will celebrate and discuss the field of cyberformance - live, online performance - that has evolved over the last two decades.

The CyPosium aims to create a space for artists, researchers and interested participants to discuss the field of cyberformance, referring to and remembering past works. The programme includes nine presentations and an introduction, and facilitated discussion sessions. Some of the pioneers of online performance will discuss live internet works created in chatrooms during the mid-1990s, alongside artists currently working in a variety of purpose-built cyberformance platforms.

The number and quality of proposals received made the selection process challenging, but this was also an affirmation of the timeliness of this event. There is now a considerable body of work, research and critical thinking in this field, and a desire amongst practitioners to share and discuss their experiences with their peers.

The CyPosium will open with an introduction by Maria Chatzichristodoulou, who is a cultural practitioner and digital performance scholar at the University of Hull (UK). There will then be three blocks, each consisting of three presentations followed by a facilitated discussion with the online audience, and breaks between each of the blocks. The CyPosium will begin at 15.00 GMT on Friday 12 October and finish at about 2am GMT; the complete schedule is available on the CyPosium web site. The CyPosium is free to attend and will be accessible via a standard internet connection and web browser.

For more information, visit www.cyposium.net or email info@cyposium.net

Cyberformance? Digital or Networked Performance? Cybertheaters? Or Virtual Theatres? ... or all of the above?: Maria Chatzichristodoulou

Block 1
Wirefire: A Complete History of Love in the Wires (parts 17-24): Auriea Harvey and Michaël Samyn We Have Always Been Avatars, and Avatars Must Die: Alan Sondheim More/Less Than a Cyberfession: A few theoretical short-(cir)cu(i)ts from Learn to hear through the lies of your eyes: Miljana Perić

Block 2
ATHEMOO and NetSeduction: Censorship and The Art of Sexting Before Cell Phones: Stephen A. Schrum HEAD SHOT! Performative Interventions in Mixed Realities: Joseph DeLappe So far, and yet, so close: Lessons from Telematic Improvisation: Adriene Jenik

Block 3
Re-Calling Home!: ActiveLayers Ethernet Orchestra: Networked Intercultural Improvisation: Roger Mills Transmittance - a telematic performance: Maja Delak and Luka Prinčić

The cyposium is organised by Annie Abrahams, Christina Papagiannouli, Francesco Buonaiuto, Helen Varley Jamieson, Katarina DJ Urosevic, Martin Eisenbarth, Nathalie Fougeras, Suzon Fuks and Vicki Smith.

helen varley jamieson: creative catalyst



7. Kathy Brew, FF Alumn, at Tribeca Cinemas, Manhattan, Oct. 18-21

Festival features more than twenty-five films from eleven countries, public programs,
and an architectural driving tour of Lower Manhattan.
October 18-21, 2012, Tribeca Cinemas
54 Varick Street, New York City

Now in its fourth season, the acclaimed Architecture & Design Film Festival, the nation's largest film festival devoted to the subject, returns to Tribeca Cinemas, in New York City, from October 18 to 21, 2012. The four-day Festival includes a diverse line-up of more than twenty-five films from eleven countries, accompanied by lively discussions with filmmakers, architects, designers, and industry leaders. Tickets go on sale October 1 at the Tribeca Cinemas box office and at www.adfilmfest.com. The films in this year's Festival consider a range of topics, including contemporary and historic visionary architects, the creative design process, architecture as cultural emissary, the creation of the High Line, and modernist architecture on the East and West Coasts, among other subjects. The Festival features two world premieres, two U.S. premieres, and numerous films shown in New York City for the first time. Festival Founder and Director Kyle Bergman states, "There is a natural connection between film and architecture: Designing a building and making a film both require a balance between art and science, both tell stories and both are labors of love. Moreover, the ability of film to convey threedimensional space and objects makes it an ideal form for the exploration of architecture and design."

The 2012 Architecture & Design Film Festival opens with the world premiere of Design is One: Lella & Massimo Vignelli, a retrospective of the work and relationship of these two seminal figures, directed by Roberto Guerra and Kathy Brew. Also on opening night, the Festival screens the U.S. premiere of 16 Acres, directed by Richard Hankin. Presented in collaboration with the Municipal Art Society, the film, which tells the dramatic story of the development of plans for rebuilding of the World Trade Center site, will be shown in the Allen Room, in the Time Warner Center, in midtown Manhattan. It will also be shown at Tribeca Cinemas on Friday, October 19, and Sunday, October 21.

Festival films, which are screened in both of the theaters at Tribeca Cinemas, are organized into programs that run about ninety minutes. Most programs will be screened twice during the Festival, and many will be followed by discussions with filmmakers and others.

Related Programs
In addition to four days of films, on Saturday and Sunday October 20 and 21, the Festival will present four panel discussions with design leaders, critics, and filmmakers, including: Massimo 2 Vignelli; Charles Renfro, architect and principal of Diller Scofidio + Renfro; Rick Bell, director of the Center for Architecture, New York City; Suzanne Stephens, Senior Deputy Editor, Architectural Record; Jane Loeffler, author of The Architecture of Diplomacy: Building America's Embassies; and Jord den Hollender, architect and director of Mission Statements: The Architecture of Dutch Diplomacy. A schedule of public programs is forthcoming. In addition, Audi, the Festival's automotive sponsor, will offer a half-hour driving tour of Lower Manhattan in the new Audi A8. The tours have been designed by the Municipal Art Society of New York (MAS), and MAS docents will accompany each one. Reservations are required and are on a first come, first served basis. Tours may be booked at www.adfilmfest.com.

In addition to Audi, the Architecture & Design Film Festival is grateful for the support of its sponsors, including Sciame, Scavolini, Resource Furniture, Waterworks, Poltrona Frau, Sicis, Lladro, Flor, and Kartell. ADFF's media sponsors are Elle Décor and Architectural Record. Architectural firm sponsors include Ennead Architects, KPF, and Kevin Kennon Architects. Other sponsors include The James Hotel, AIANY, Archtober, Municipal Art Society of New York, Open House New York, The Noguchi Museum, Kingdom of the Netherlands, The General Consulate of Israel, and Jeanne Collins & Associates, LLC.

General admission tickets per program are $14; AIA members $11; students with valid ID $8. Beginning October 1, tickets can be purchased at the Tribeca Cinemas Box office, at 54 Varick Street, and online at www.adfilmfest.com.

Media Contacts: For additional information, contact Jeanne Collins Associates, LLC,
New York City: info@jcollinsassociates.com, 1-646-486-7050.



8. Kanene Holder, FF Alumn, at Union Square, Manhattan, Oct. 8-15

Performance Artist Kanene Ayo Holder is having an AmericanJustice fashion show!
On October 8, 12, 13, 15 from 6-8pm. I would like everyone who has ever been denied justice in America- student debt, high bank fees, foreclosure, racially profiled, bad schooling, gentrified, brutalized by the police, denied civil liberties, etc to come out and walk the runway and tell AmericanJustice your AmericanDreams and AmericanNightmares.

The performance ($earching for American Justice: The Pursuit of Happiness) will take place on the big steps of Union Square (14th street & Broadway across from Whole Foods). I encourage participants to create t-shirts, and fashions that address the issues of justice MISSING in America during election2012 and beyond.

The artist Kanene Ayo Holder was stopped, questioned, and frisked for walking out of her luxury rental building too fast in Harlem back in 2002. She was followed by an unmarked navy blue van and cornered as the doors slid open to reveal NYPD officers who forced her to provide ID and answer questions for 20 minutes in the rain. She's also taught in and attended decrepit NYC public schools.

$earching forAmerican Justice: The Pursuit of Happiness will be an artistic response to all forms of injustice in America and that America perpetuates around the world.

Please come out and support. Here is a brief list of some ways you can participate and you might want to
customizes or wear with your original designed t-shirts or check other suggestions below:

"We The People" or The 99%: victims of AJ of various ages, nationalities and genders. Not star-struck by AJ, they are committed to systemic change and are willing participants in her "game" of dice to teach her a lesson about democracy and dreams deferred. They eventually cure her blindness. They WEAR t-shirts with messages about injustice.

Rich People or The 1%: Fancy dressed lovers of AJ. They are an uber-rich frenetically patriotic Tea Party.

Paparazzi for Peace: Show up with a CAMERA to take pictures of the wanna be celebrity AJ

Detectives: dressed as Sherlock Holmes with magnifying glasses, trench coats and wanted posters, walk around searching for American Justice.

If you'd like more information, or just wanna let me know you are coming through feel free to email me at

Please visit www.searchingforaj.com for more information
This is a performance for the Art in Odd Places Festival



9. Joan Snyder, FF Member, at Cristin Tierney, Manhattan, opening Oct. 25

Joan Snyder: Paper Pulp Paintings
October 25th through December 8th, 2012.
Exhibition Opening: Thursday, October 25th, 2012, 6:00 till 8:00 pm.
Exhibition Dates: Thursday, October 25th through Saturday, December 8th, 2012.

Cristin Tierney is pleased to present Joan Snyder: Paper Pulp Paintings, opening October 25th and on view through December 8th, 2012. The artist will be present at the opening reception.

For this exhibition Joan Snyder collaborated with Anne McKeown, Master Papermaker at the Brodsky Center for Innovative Editions. Together they produced a new body of work in an unusual medium consisting of cotton, abaca, and linen paper pulp. After mixing gallons of multicolored pulp fibers, Snyder scoops out the wet pigmented pulp from vats and spreads it onto a prepared base layer. She applies multiple layers, occasionally pinching the less saturated pulp into shapes on the surface. Fabric pieces, dried rose buds, herbs and sticks are also added as the piece develops. The work is then removed from the vat of water and allowed to air dry.

The resulting pieces have unabashedly beautiful, complex surfaces. Like a Melon Field, with its undulating form and its shades of lime and periwinkle, evokes the feeling of sunlight stretching across an actual field of melons. These latest works are a natural extension of Snyder's varied painting and printmaking practices, and connections to the history of modern and expressionist painting abound. Monet's brush strokes, de Kooning's colors, and the emotive force of Van Gogh and Kiefer all come to mind, yet Snyder's paintings are unique in both approach and intent.

Joan Snyder first gained public attention in the early 1970s with her gestural and elegant abstract "stroke paintings." These paintings were included in the 1973 Whitney Biennial and the 1975 Corcoran Biennial, and were the basis of her first solo shows in New York City and San Francisco. Often referred to as an autobiographical or confessional artist, her paintings are essentially narratives of both personal and communal experiences. Through a fiercely individual approach and persistent experimentation with technique and materials, Snyder has extended the expressive potential of abstract painting and inspired generations of emerging artists.

Born April 16, 1940 in Highland Park, New Jersey, Snyder received her A.B. from Douglass College, New Brunswick, New Jersey, in 1962 and her M.F.A. from Rutgers University in 1966. Snyder was a recipient of a National Endowment for the Arts Fellowship in 1974 and a John Simon Guggenheim Memorial Fellowship in 1983. In 2007, Snyder received a MacArthur Fellowship. Snyder's work is in many public collections including the Metropolitan Museum of Art, the Museum of Modern Art, the Jewish Museum, the Guggenheim, the High Museum of Art and the Phillips Collection. In 2005, the Jewish Museum in New York City presented a 35-year survey of her work. Abrams Books published a monograph, Joan Snyder, in conjunction with the exhibition with an introduction by Norman Kleeblatt and essays by Hayden Herrera and Jenni Sorkin. In 2011, Dancing With The Dark: Joan Snyder Prints 1963-2010, a traveling retrospective of Snyder's prints, opened at the Zimmerli Art Museum in New Jersey. The exhibition is currently on view at its fourth venue, the University of New Mexico Art Museum, in Albuquerque, and is accompanied by a catalogue with essays by Faye Hirsch and Curator Marilyn Symmes.

For more information, please contact Valerie Altahawi at valerie@cristintierney.com or at 212.594.0550.

Tuesday through Saturday, 10:00 am till 6:00 pm
546 West 29th Street, New York, NY 10001
212.594.0550 | www.cristintierney.com
Cristin Tierney Gallery | 546 West 29th Street | New York | NY | 10001



10. Erica Van Horn, FF Alumn, at Southbank Centre, London, UK, Nov. 7

part - song
reading and writing from Coracle
Yoko Terauchi John Bevis Les Coleman Cralan Kelder
Elizabeth James Erica Van Horn Harry Gilonis Colin Sackett
Simon Cutts
7 November 2012, 8:00pm
Free but space is limited. To book your place email specialedition@poetrylibrary.org.uk



11. Cary Peppermint, Beverly Naidus, FF Alumns, at Parsons The New School for Design, Manhattan, thru Dec. 15

Art Environment Action!
September 28 - December 15, 2012

As part of Art Environment Action!, Cary will be leading a series of workshops and urban hiking excursions, October 16-28, as part of his Indeterminate Hikes+ project and basecamp.exe installation: http://www.sjdcparsons.org/aea/schedule/category/nadir-peppermint/

About basecamp.exe and Indeterminate Hikes+: basecamp.exe is an urban campsite in update and an ongoing participatory lab for hikers exploring the wilderness of NYC's Village neighborhood. A meeting place, a platform for dialogue, and a recharging station, basecamp.exe invites participants to contribute to its development through interactive observation and study of the diverse ecological landscape of twenty-first century life. For the duration of their weeklong workshop, ecoarttech founders, Leila and Cary, will facilitate daily excursions into the environment surrounding the Sheila C. Johnson Design Center with their mobile app Indeterminate Hikes+ (IH+), available on Android/iPhone.

Art, Environment, Action! is a creative teaching laboratory and environmental "artshop." Bringing together artists, designers, architects, dancers, chefs, and scientists who work at the intersections of art, pedagogy, and ecology, it invites the public to join them to transform and activate the gallery. Designed as a "toybox" of possibilities, the program relies on participation. Visitors may engage through workshops, off-site explorations, walks, movement, radio, dialogue, and interactive exchanges, encouraging their active participation as makers and thinkers.

Artists in residence who are leading workshops include Beehive Design Collective, Cotard Syndicate (Toby Heys, Stefani Bardin, and Siddharth Ramakrishnan), Beatriz da Costa, Leila Nadir + Cary Peppermint/Ecoarttech, Futurefarmers, Michael Mandiberg in collaboration with Wikipedia Illustrated/Galia Offri and Mushon Zer-Aviv, Jennifer Monson and Kate Cahill, Beverly Naidus, OPENrestaurant with Jerome Waag, Public Laboratory for Open Technology and Science, Red76, Stephanie Rothenberg (REV-), Jill Sigman/thinkdance, Tattfoo Tan, and Trade School. Art, Environment, Action! is curated by Radhika Subramaniam. For a full program and to sign up for workshops, visit www.SJDCParsons.org.



12. Mira Schor, FF Alumn, at College Art Association, Manhattan, Feb. 15, 2013

I'm pleased to share this announcement from the College Art Association:

The painter and writer Mira Schor and the sculptor and multimedia artist Janine Antoni will participate in the Annual Artists' Interviews, taking place in ARTspace during the 2013 Annual Conference in New York. This session will be the thirteenth installment of the popular series, which features two major practicing artists in back-to-back interviews. The talks will be held on Friday, February 15, 2013, from 2:30 to 5:00 PM at the Hilton in New York. Stuart Horodner, artistic director of the Atlanta Contemporary Art Center in Georgia, will interview Schor. Klaus Ottmann, director of the Center for the Study of Modern Art and curator at large at the Phillips Collection in Washington, DC, will interview Antoni.


CAA full profile on Mira Schor:

In previous years, artists interviewed have included FF Alumns Robert Irwin, Hans Haacke, Yoko Ono, Shirin Neshat, Ann Hamilton, Krzysztof Wodiczko - and Mary Kelly.



13. Susan Hiller, FF Alumn, at San Diego State University, CA, Oct. 6-Dec. 6

Susan Hiller
Psi Girls
6 October-6 December 2012

University Art Gallery
San Diego State University

Susan Hiller: Psi Girls will be presented at the University Art Gallery of San Diego State University from October 6 through December 6, 2012. Susan Hiller and John C. Welchman will be in conversation on Friday, October 6 at 6pm. A reception for the artist will follow from 7:30 to 9pm. The exhibition, conversation and reception are free and open to the public.

Describing her work as "paraconceptual," American-born, London-based artist Susan Hiller combines modalities of conceptual art practice with investigations of paranormal phenomena. Her career-long interest in extra-sensory perception, telepathy, dream states and near-death experiences is evident throughout her media-diverse oeuvre. The influence of the inexplicable on the everyday finds particular expression in Psi Girls, a five-screen video installation comprising color-altered clips from five popular films of the 1970s, '80s and '90s. The mesmerizing sequences feature young girls and teenage women affecting inanimate objects through telekinesis and visual concentration. The resulting montage of cinematic imagery, unified by a single, pulsating soundtrack, focuses attention on the uncanny and unnerving power of female adolescents. As the title characters of Psi Girls exercise mind over matter to defy the supposed limitations of the physical world, so are they enabled by their intellect, imagination and desire to challenge the gender-based prejudice that persists in contemporary society.

Susan Hiller: Psi Girls is organized by Tina Yapelli, director of the University Art Gallery at San Diego State University. The exhibition and special events are sponsored by the School of Art, Design and Art History; the College of Professional Studies and Fine Arts; and the fund for Instructionally Related Activities. Additional support is provided by the San Diego State University Art Council.

John C. Welchman is professor of art history, theory and criticism in the Visual Arts Department at the University of California, San Diego; founding director of the Mike Kelley Foundation for the Arts; and advisor for the Rijksakademie van Beeldende Kunsten, Amsterdam.

Special events: Friday, 6 October, 6-9pm

Conversation with Susan Hiller and John C. Welchman: 6pm, Hardy Tower 140

Reception for the artist: 7:30-9pm, University Art Gallery

Hours: Mon-Thu & Sat, 12-4pm
Closed November 22-25 for Thanksgiving

The exhibition and special events are free and open to the public.

Contact: Tina Yapelli, 619 594 4941 / tyapelli@mail.sdsu.edu



14. Harry Dodge, Karen Finley, Eileen Myles, Robert Mapplethorpe, Andres Serrano, Annie Sprinkle, FF Alumns, in The New York Times, October 4

Maggie Nelson on the Limitations of Shock
Harry Dodge Maggie Nelson.

Over the past two weeks in this space, readers, critics and artists have been asking whether art can still shock. But what's so great about shock, anyway? In her book "The Art of Cruelty: A Reckoning," published last year to wide acclaim, the critic Maggie Nelson examined the "shock and awe" doctrine that has governed so much of the last century's art, arguing that it has too often let artists off the hook for the less than edifying reactions their work may provoke.

In a recent e-mail conversation, Ms. Nelson, who teaches at California Institute of the Arts, talked about the difference between criticism and moralism, women's ways of shocking, and a few things that have made her own jaw drop - in a good way. These are excerpts from the conversation.

Q. Your book questions the idea that art, by representing the cruelties of the world, can (to quote the film director Michael Haneke) "rape the viewer into independence." What's wrong with this "shock and awe" doctrine?

A. I find this doctrine dreadful because I'm not an ends-justify-the-means person. That is to say: if there's a kind of worthwhile independence brought about by a rape, even if a figurative one, you can count me out. Haneke is speaking metaphorically, but metaphors matter.

I like it when artists face up to the unmanageable effects of their work, rather than try to hide those unmanageable effects behind comments like, "My work isn't cruel - it's the world that's cruel." I don't need artists to be moralizers or physicians. I'd rather that we admit that depicting shocking, violent or cruel behaviors always provokes difficult questions about voyeurism, sadism, masochism and titillation, and that those provocations cannot always stay under the artist's control.

Q. Andres Serrano's "Piss Christ," the 1987 photograph that helped lead to a campaign to shut down the National Endowment for the Arts, returned to a New York gallery last week, and some public moralists tried to stage a rerun of the culture wars. But you argue that in the decades since then, the question of whether images can lead to injury has been posed most often by "art's trashy cousin, mass media." What has changed?

A. There's a lot out there that can shock - in high art, on TV, on the news - and then there's the Internet, where you can find nearly anything you want (or don't want) to see with a few clicks of a mouse. It never makes much sense to me when people say, "Nothing's shocking," because shock isn't about content as much as it is about context.

More importantly, images don't typically leap into causing outrage or shock on their own. Whether it's "Piss Christ" or "Innocence of Muslims," certain forces are hard at work circulating the offending agent and fanning the flames. Even back in the bad old days of the culture wars, outrage over "Piss Christ" (or over Robert Mapplethorpe, or Karen Finley, etc.) was ginned up by particular politicians to serve specific political goals that way preceded Serrano's urge to submerge a crucifix in his urine.

Q. In the book you talk about your dismay at the marketing of the torture-porn movie "Captivity," and also at the "Tipper-Gore-esque" voice you imagine yourself voicing your complaints in. Do debates over censorship and free speech tend to cloud our perceptions of the issues you raise?

A. I think it's pretty clear from my book that I am a big First Amendment supporter, and I rarely, if ever, think censorship is the answer. But you're right, I was trying to make the point that sometimes the "should it be permitted" conversation mows over the more subtle conversations that can unfold when you start off assuming an ample right to free expression. With "Captivity," I was not interested in whether such movies should be made, but rather in how "free speech" intersects with corporate interests and public space. Billboard campaigns make that tension clear, in that billboards appear to occupy the so-called public sphere but are very clearly bought and sold by private parties.

Q. At the end of the book you mention a long list of artists whose work "dismantles, boycotts, ignores, destroys, takes liberty with or at least pokes fun at" the idea that shock leads to enlightenment. Most of the artists on your list are women. Have women found a different, more fruitful route to shock?

A. I'd love to claim for my putative gender a claim on more fruitful art making, but I don't think such a generalization could stand. I will say, however, that men have had the run of the board for hundreds of years now in terms of art history, so we've seen and heard a lot of what they have to say. I don't know any women who would nominate the nine-minute rape scene in the 2002 movie "Irreversible" as an avant-garde tour de force - the whole sex/violence thing may remain horrifying, but it is not novel.

The shock of work by certain female artists often lies in their capacity to say things the culture has a hard time hearing or hasn't yet heard. (Think of Jesse Helms, who could only perceive Karen Finley as "that chocolate-smeared woman"; that her self-smearing was in part a protest against women being treated like excrement was lost on him.) My favorite work by certain women (and men, and everyone in-between) often makes my mouth drop open - not from being offended, but out of wonder: you can say that? you can do that?

Q. What have you encountered recently that made your mouth drop open that way?

A. Lee Miller's 1930 prints of breasts on plates ("Untitled (Severed Breast from Radical Mastectomy)"); she stole the breasts from a hospital after a friend's surgery! Carolee Schneemann's "Infinity Kisses," which captures a multiyear, erotic engagement Schneemann had with various cats.

Michelle Tea's blog "Getting Pregnant with Michelle Tea,", in which Tea gamely ponders the vicissitudes of her discharge and orders black-market Clomid from Mexico, amongst other things. Dodie Bellamy's "The Buddhist," which graphically describes having sex as a middle-aged woman, perhaps one of the final frontiers. Eileen Myles's catalog (in "The Inferno") of various vaginas she's encountered over the years - a piece Myles says even Vice magazine initially had cold feet about publishing. Kara Walker's psychosexual fantasia against the backdrop of American slavery. The tender brutality in the work of Harry Dodge. All of Luther Price. The benevolent audacity of Annie Sprinkle and C A Conrad.

Q. Are there any shock artists you find particularly overrated?

A. Probably most. Truth be told, I'm not much into shock. While writing this book, people kept telling me about the most God-awful things, and so it's kind of a relief to have stopped the flow. I agree with John Waters when he says, "It's easy to shock, but it's much harder to surprise with wit." While some of the work I've mentioned above may strike others as shocking, to me, it's mostly just smart, original people expressing blessedly fresh truths.



Goings On is compiled weekly by Harley Spiller