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Contents for November 02, 2012

1. C. Carr, FF Alumn, at St. Mark's Bookstore, Manhattan, Oct. 30


I'll be reading from my biography of David Wojnarowicz, Fire in the Belly, next Tuesday October 30 at 7 at St. Mark's Bookstore, 31 Third Ave in the East Village.

Many of you attended one of the book launch evenings in July. If you choose not to come again, please forward this to others who may have missed those events. (Also, I may have inadvertently left people off the list.)

Thank you!!
Cynthia Carr



2. Dan Kwong, FF Alumn, at Wellesley College, MA, October 31

Kwong presents a work-in-progress performance of a new solo piece, "CENTER OF THE UNIVERSE".

Jewitt Auditorium, on campus.
Wednesday, Oct. 31 (costumes welcome!)

Based on the life story of Kwong's late mother, Momo Nagano, a weaver for over 40 years, C.O.T.U. focuses on her journey as a working-class Asian American single mom against the backdrop of the 60s & 70s, when America was going through major social upheaval - the Civil Rights movement, the hippie counter-culture revolution, and the emergence of modern feminism - and how this eccentric woman navigated through it all.




3. Deborah Faye Lawrence, FF Member, at Norton Putter Gallery, Syracuse, NY, opening Nov. 10

Dear Friends,

Thirty-five of my artworks (1995-2012) have just been delivered to ARTRAGE: The Norton Putter Gallery, in Syracuse, NY
Please tell your friends in Upstate New York!

Collages by Deborah Faye Lawrence
November 10 to December 22, 2012
Opening reception Saturday, November 10, 7-9 pm
I will be in Syracuse for 5 days, teaching workshops at three universities

Here's a link to the story:




4. Warren Neidich, FF ALumn, at Goethe-Institute, Los Angeles, CA, Nov. 9-11

The Psychopatologies of Cognitive Capitalism: Part One

Hosted by Arne De Boever (ma aesthetics and politics program, calarts), Warren Neidich (the delft school of design, tu delft school of architecture), and Jason Smith (art center).
The conference begins on Friday, November 9th, 7:30 p.m. at the Goethe-Institute (5750 Wilshire Boulevard, Los Angeles) with a keynote address by Franco "Bifo" Berardi (introduced by Sylvère Lotringer) and continues on Saturday, November 10th and Sunday, November 11th beginning at 10:00 a.m. at the West Hollywood Public Library (626 N. San Vicente Boulevard, Los Angeles).

Speakers will include: Jonathan Beller, Jodi Dean, Tiziana Terranova, Patricia Pisters, and Bruce Wexler.

The Psychopathologies of Cognitive Capitalism: Part 1 will bring together philosophers/critical theorists, media theorists, scientists and artists to discuss the state of the mind and brain under the conditions of contemporary capitalism in which they have become the new focus of laboring. How do the transformed conditions of labor--more specifically the fact that so much contemporary labor is immaterial, affective, and cognitive--transform the role of emancipatory politics and education today? When cognitive labor, the work of the mind in the new economy as it participates in social media, web browsing and crowd sourcing, becomes the source of power and wealth, what effects and constraints might that have on the conditions of contemplation itself. The conference will mine the subjects of Cognitive Neuroscience, Psychiatry, Literary Studies, Economics, Politics, Sociology, Cultural Studies, Media and Art History just to name a few.

No registration is required and the public is invited for free. For additional information call Arne De Boever 646-886-5501 or Warren Neidich 917-664-4526
The Psychopathologies of Cognitive Capitalism: Part 2 will be held at the ICI-Berlin, March 8-10, 2013.



5. Lawrence Graham-Brown, FF Alumn, at BAAD, The Bronx

Lawrence Graham-Brown invites you to join him in a new experimental theatrical production at the Bronx Academy of Arts and Dance, Oct 27, 2012, show time 8:00pm, entitled:

Bare Backin N Da Bronx
Lawrence Graham-Brown transforms into an allegorical hybrid of a part avian, part Ras-human lost in Myalism, commenting on and addressing: sex/sexuality, health, censorship/liberation, caution. From the prohibition of sugary drinks, restriction of time spent in public rest rooms, HIV/AIDS and more. His performance assistants include # 1 adult film stars in the USA Hot Rod and Angyl.



6. Joan Snyder, FF Alumn, at Cristin Tierney, Manhattan, thru Dec. 8

Joan Snyder: Paper Pulp Paintings
Exhibition Dates: October 25 - December 8, 2012
Opening Reception: Thursday, October 25, 6-8pm

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 of Rutgers University 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.

Cristin Tierney
546 West 29th Street | New York, NY 10001
212.594.0550 | www.cristintierney.com | Facebook | Twitter



7. Laura McGough, FF Alumn, at University of Buffalo, NY, Nov. 10

Dear FF Friends,

If in Buffalo, please attend!

MEDIA MOBILITIES Colloquium: Surveilling the Intersection of Art, Mobile Technologies, and Ubiquitous Computing November 10, 2012 | 10am-6pm Center for the Arts University at Buffalo, North Campus Free and open to the public.

Space is limited, so registration is recommended at techne[at]buffalo[dot]edu

The Technē Institute colloquium MEDIA MOBILITIES explores the intersection of emerging mobile technologies and our social and aesthetic responses. Focusing particularly on the uses (and abuses) of surveillance and the resistant practices of "sousveillance," the artists and theorists assembled here will present and debate the use of these new technologies as they transform culture and our experience within it.

Lecture/performance by Paul Miller, aka DJ Spooky, That Subliminal Kid and featuring musicians from the UB Department of Music.

Presentations from: Jill Magid, Hasan Elahi, Stephanie Rothenberg, Teri Rueb, and Mark Shepard

A concluding roundtable for the day includes the presenting artists in discussion with Jason Farman (University of Maryland, College Park) and Elise Morrison (Yale University).

The Technē Institute is supported by the UB President's 3E Fund, the Office of the Provost, and the Dean's Office in the College of Arts and Sciences. This event is co-sponsored by the Departments of Media Study; Music; Theatre & Dance; and Visual Studies. Paul Miller is sponsored by Evil Twin Booking.

Web: http://techneinstitute.com/media-mobilities2012/

Laura McGough
Technē Institute for Arts and Emerging Technologies lmcgough@buffalo.edu



8. Marshall Reese, Carol Wilder, FF Alumns, at The New School, Manhattan, Nov. 1

Vera List Center for Art and Politics
Political Advertisement 1952-2012: Antoni Muntadas and Marshall Reese
Film Screening & Discussion
Thursday, November 1, 2012, 6:30-8:30pm

The New School, Theresa Lang Community and Student Center
55 West 13th Street, 2nd floor
New York City
20 Years VLC => Free Admission


"Sometime in the early 1950s Madison Avenue's hucksters realized that they could sell political candidates like any other product, a throat lozenge or facial tissue."
-Steve Seid, Fifty Years of Campaign Spots (Berkeley: Pacific Film Archive, 2000)

Five days before the 2012 U.S. presidential election, artists Antoni Muntadas and Marshall Reese present a new installment of their twenty-eight-year project Political Advertisement. Launched in 1984-and in each edition updated with new campaign advertisements-the project helps determine whether things have actually changed since the early '50s when "guided by the cooing come-ons of the thirty-second TV spot, campaigns were soon reduced to photo ops, televised debates, and sound bites. Out was the whistle-stop tour and the scrappy convention, in was the instant poll and the attack ad." (Steve Seid)

Starting with Eisenhower vs. Stevenson in 1952 and extending to Obama vs. McCain in 2008 and now Obama vs. Romney, taken together, the ads depict how the image of American presidential candidates has evolved over thirteen elections, and how advertising tactics such as negative ads, soft-sell techniques and emotionalism fundamentally changed the country's electoral process. Political Advertisement includes rare-some never before seen-footage from the artists' own archives, updated during every election since 1984. Compiled and edited by Muntadas and Reese, the stream of thirty-second TV spots runs without commentary for an hour. In the discussion that follows, the artists and Professor of Media Studies Carol Wilder will discuss how the development of televised media and electoral politics have become increasingly inseparable.

Antoni Muntadas, artist and Professor of the Practice, ACT/Department of Architecture, Massachusetts Institute of Technology
Marshall Reese, artist
Carol Wilder, Professor of Media Studies and Film, The New School for Public Engagement

Organized by Vera List Center for Art and Politics.

VLC = 20 Years. Join us for a 20th-anniversary year with free admission to all VLC events. Stay tuned for more information.



9. Grace Roselli, FF Alumn, at Mayson Gallery, Manhattan, thru Nov. 11

Adult Contemporary: October 25 - November 11, 2012
Mayson Gallery is pleased to present Adult Contemporary - An exhibition conceived and organized by Lowell Boyers, Doug Henders, and Jeff Quinn - from a network of friends who have eschewed the prevailing neo/market/style du jour, in order to develop more personal/eccentric/complex practices of art that have evolved into lushly beautiful, disruptive and challenging, formal objects of desire.
The idea for this exhibition is to show art that is not being seen; Adult in content and contemporary in form, using performance, costume, painting, sculpture, photography, video and display, from artists whose sub-genre work crosses-over to create an identification with the universe, as well as unseen pleasures that heighten the senses.
This exhibition features works by Minkako Iwamura, Doug Henders, Eileen Kelly, Jonathan Podwil, Jeff Quinn, Grace Roselli, Gavin Wilson and Michael Zansky.
Please join us October 25th for an Artists reception from 6-8pm with a special performance by Eileen Kelly.
254 Broome Street
between Orchard and Ludlow




10. Tobaron Waxman, FF Alumn, at La Mutinerie, Paris, France, Oct. 30

TOPOGRAPHIXX - Trans in the Landscape, curated by Tobaron Waxman
10/30/12 La Mutinerie, Paris. 7:30PM

TOPOGRAPHIXX: Trans in the landscape - an international program of video art concerned with landscape, border, zone and territory, in a transgender spectrum.

TOPOGRAPHIXX presents a number of short films and videos which engage a variety of sites both natural and urban with political and esthetic strategies that harken back to feminist concerns with landscape, while simultaneously pushing forward into new territories of transfeminist representation. These works are in synch with my thoughts and aspirations for curation of work by trans people as well as the cultivation of a more intersectional discourse around gender, border trauma, territory and power.

TOPOGRAPHIXX - Trans in the Landscape includes works by: Barbara de Genevieve, Raafat Hattab, Rémy Huberdeau, Del La Grace Volcano, Mirha Soleil Ross, Jacolby Satterwhite, Chris Vargas, Yossi Yacov. Curated by Tobaron Waxman. A trailer and detailed descriptions of the tapes can be seen here: https://vimeo.com/41764353

La Mutinerie: Formerly Unity Bar, The Mutiny is a bar that is a festive, cultural and political. Mutiny is a place Queer and feminist and open to all, every day from 16h to 2h where you will find:
- An intersectional, feminist lending library
- Workshops, lectures, exhibitions, readings, discussions, performances, film screenings, concerts, festivals ...
-all events are free.




11. The Dark Bob, FF Alumn, releases two new CDs

The Dark Bob, FF Alumn, Two new cd's for Orchestra and Acoustic Punk/Pop, on I-Tunes and CD Baby.

Los Angeles performance art pioneer, The Dark Bob wraps up a busy season with TWO new CD's.

a. "THE SADNESS OF SUPERMAN: A Musical Melange for The Man of Steel" for Electric Bass, Orchestra and Chorus.
18 short instrumental tracks illuminate the mythology of Superman, the world's first superhero.
From whimsical whistling to thunderous Orchestral arrangements, this is a dazzling scope of musical styles used to tell the powerful tale of Superman's life, his hopes, his fears and his loves.


collection of 14 original new songs by The Dark Bob.
Performed mostly on miniature and toy instruments!
Longtime fans of The Dark Bob will revel in his signature "sincerity and silliness".
aggressive (but mostly acoustic) pop rockers to gut-wrenching tear jerkers, "Monkey Do" is a
fearless exploration of love in it's various incarnations.




12. Vernita N'Cognita, FF Alumn, now online at thedorseypost.com

see review of Vernita N'Cognita's performance art "The Black Dress" in blog "Represent" by Dave Dorsey


text follows below:

Vernita N'Cognita's The Black Dress at Soho20

Vernita N'Cognita offered a cool and subtle performance last week, The Black Dress, at Soho20, on 27th St., a few floors down from Viridian Artists, where she presides as director. It was a departure for her, the work of a troupe, rather than a solo act, following on her successful partnership with another artist in Germany this summer for Trail of Sighs and Whispers. This time it was a simple and beautiful meditation on what is less an article of clothing and more a sort of sartorial best friend: the little black dress. (Guys have got the black t-shirt, so we kind of understand, but it isn't the same.) The black dress is the ultimate way to both disguise and reveal the female form, something that gets called upon as a woman's go-to apparel for a variety of situations, great and small, from cocktail parties to funerals. N'Cognita teamed up with DeeDee Maguire, Veronica Pena, Amanda Flowers, and Tania Sen for a performance backed by music from Charles Ditto-with a perfect, impromptu and accidental bit of Mona Lisa from Nat King Cole, rising up at the finish from some enthused attendee's iTunes playlist. It was an inspiring touch. Why clap when you can summon Nat King Cole's approval even more effectively?
"It wasn't planned, but it was perfect," she told me.

What struck me most was the elegance and beauty of her installation, which had its own coherence and integrity, a centerpiece for Soho20's other exhibits, even when no one was performing. White masks dotted a low mountain of black fabric on the floor, the dresses still ready for action, hanging at attention, hovering in the air. They were hung behind sheer fabric, attached to curtain rods, a bit like Roman banners suspended from the ceiling. The women moved in slow-motion, each absorbed in her own dream world, in N'Cognita's typical Butoh fashion, through what could have been the stations of personal life, with the spectral black dresses dangling overhead.

When I showed up to help take down the current show at Viridian Saturday, I asked her about the performance. She said that, as she was thinking about what to do, she found herself in her wardrobe and realized she'd collected about thirty black dresses over the years. (Imelda Marcos is turning over in her grave. Dresses, not shoes, Dragon Lady. Relax.)

"Every woman has one, if only for funerals or a special dress for cocktail parties, the theater, special meetings. I'm Eastern European. My grandmother, when she was older, always wore black. She was a widow and widows wore black then. That was the impetus for my performance. The group represented women of different nationalities, different ages, from their forties into their sixties. I had someone in her seventies, but she dropped out. My blond dropped out too."

The performers emerged at the start dressed in robes with slips underneath, whispering, coming through a red curtain to move between and around the dresses, a bit like sleepwalkers. They spoke words Vernita had written, quotes from Wikipedia, dreams she'd incorporated into the script, with a recorded narration playing behind it all. All of it was simply a preparation, a stage, for the act of getting dressed: summoning the magic of that particular dress, each performer in her own unique way.

"It was feminist, but it was more about a kind of essence of womanly-ness. All we did was get dressed. We picked a dress out from the pile on the floor and sometimes we kind of fought over them. I had one woman from Spain in the performance. She's going to see about having it staged in Spain. All of the woman in the show were artists, but only two had actually done performances before. We all met at the Half-King afterward, nearly 20 people, for drinks and conversation."

And, in the empty gallery, once everyone had gone, the dresses remained behind, hovering under the ceiling, ready to be worn again.



13. Moe Angelos, Marianne Weems, FF Alumn, in The Wall Street Journal, Oct. 23

The Wall Street Journal, Oct. 23, 2013
The 'Wrath' That Bridges Generations
Jay LaPrete

A scene from 'House / Divided,' the Builders Association production, which opens Wednesday at BAM.
For two decades, director Marianne Weems has been a trend-setter in the field of hi-tech multimedia theater, exploring topical subjects like Indian call centers ("Alladeen") and modern technology ("Jet Lag"). This week, her Obie Award-winning company, the Builders Association, returns to the Next Wave Festival at BAM with "House / Divided," a play about the foreclosure crisis and the 2008 recession inspired by John Steinbeck's Depression-era novel, "The Grapes of Wrath."

In long-established Builders' tradition, Ms. Weems collaborated closely with a distinguished team of writers and designers to craft a dramatic experience that includes onstage remnants of an actual foreclosed home as it winds its way from abandonment through refinance and into an uncertain future. The broken-down house is contrasted by projected and in-person testimonials of human struggle in the modern market system.

Ms. Weems and "House / Divided" writers Moe Angelos and James Gibbs spoke recently with The Wall Street Journal about their process and inspiration.

Andrew Hinderaker for The Wall Street Journal

Director of 'House / Divided' Marianne Weems

What's this play's provenance?

Ms. Weems: I was nostalgically thinking of remounting Ibsen's "Master Builder," our 1994 production, that was so analog with its primitive technology. We had just five TVs; we used tape loops to make music. I liked the metaphor of looping. The foreclosure crisis was beginning then.

There was also a house onstage in "Master Builder." How did you update it for "House /Divided"?

Mr. Gibbs: In that first production of the Builders Association, the house was taken apart and transformed onstage during the show. [In "House / Divided"] we start out with the house that becomes a character and changes over the course of the show. It's a container for ideas about housing, foreclosure, the meaning of "house"...

Ms. Weems: ...the meaning of "home." Our play "Continuous City" explored the idea of where a home resides now-"home" is in this virtual realm where there's no reason, no need, to have a physical home. Now, we return to a physical domain in suburbia where middle-class Americans were anchored, where a house has become a liability, not something that provides stability. Fortunately, we found this hulking foreclosed house in Columbus, Ohio.

Were you thinking of an actual foreclosed house from the start?

Ms. Angelos: Yes, but we thought it impractical. Then we found a developer who was using HUD money to buy and restore low-income houses. This house had been arsoned and was to be torn down. He gave it to us.

Ms. Weems: Moe went out with a saw-our iconic image from "Master Builder"-and cut up the house into parts...

Ms. Angelos: We cut through the bathtub, took out the sun porch, internal walls, a staircase...

How did you get it to Brooklyn?

Ms. Weems: We needed a 40-foot truck to transport it. Pieces of the house got reconstructed as a set; they're wheeled around to become different shapes, have different screen surfaces on them. It's a mix of this physical thing and videos projected onto it. The story's about this house. We heard phenomenal stories about foreclosures-about people living in Wal-Mart parking lots. We thought of setting it there, but this house had history. One woman had lived there for 40 years. The walls are charred from the fire. It has psychological and emotional resonance.

You're depicting the life of the house before it's even foreclosed?

Mr. Gibbs: And then it's securitized, turned into investments, sold, separated-the whole process.

Why connect it back to "The Grapes of Wrath" and the Depression-era Joads?

Ms. Weems: [The 1940 film version] has wonderful Depression-era images of the Okies driving through the Dust Bowl. There's the beautiful section where their house is bulldozed. The idea of losing your home, of being out on the road, looking for a new lifestyle as banks foreclose on farms, is a great vehicle. It's such a strong iconic American story, people drop into it easily. It can be told in just a few tableau vivant moments because it's in people's blood even if they never read Steinbeck. The timeless, heart-wrenching, personal details set against the technically-driven, dry 21st-century event creates a wide spectrum.

How did the writing come together?

Mr. Gibbs: Steinbeck's novel has two alternating narrators. One deals with the Joads' story, the other talks generally about the banking system, capitalism, weather patterns. We use both the Joad story and this critical voice talking about the malfunctions of capitalism. That allows the resonances between the Great Depression and our recession and foreclosure crisis to ring through the show.

Ms. Weems: We make documentary material theatrical. These are different worlds but there are convergences. During the Lehmann crash, the Joads' house comes down-we lower the house so the two strands run on parallel tracks.

So the house is also the Joads' house?

Ms. Angelos: It's the Joads' house, the foreclosed house, about 20 different abodes, a sculptural object that stands for many different things.

And your trademark video screens?

Ms. Weems: The screen space flows back and forth, videos are projected onto the House, it's layered. We move between our financial world and the Joads' world. A real ticker tape-green at first, red after the Lehmann crash-runs around the stage, covering 2005 to 2012.

Who are the modern characters?

Mr. Gibbs: Investment managers listening to earnings calls from Bear Stearns, Lehman Bros., Goldman Sachs GS -3.17% .

Ms. Angelos: They talk about how much money they're making when our story starts.

How do you make that financial language dramatically comprehensible?

Ms. Weems: It's the most anti-theatrical language. The characters aren't theatrical either. Alan Greenspan's character uses doublespeak, a smoke-screen language that deliberately obfuscates. By adding music and visuals we create an emotional world.

Mr. Gibbs: Some foulmouthed portfolio managers advised us, "Push it further! It's way worse than you have it." So colorful trash talk is set against those dry earnings calls, juxtaposed with Steinbeck's lyrical language.

A version of this article appeared October 23, 2012, on page A26 in the U.S. edition of The Wall Street Journal, with the headline: The 'Wrath' That Bridges Generations



14. Eleanor Antin, FF Alumn, at Columbia University, Manhattan, Oct. 30, and more

Eleanor Antin
Conversations with Stalin
A performance reading in 4 parts
October 28 at the Jewish Museum, Manhattan
Oct. 30 at Columbia University School of the Arts, 7 PM
November 1st at The Brooklyn Museum, 7 pm
November 2nd, at the Whitney Museum, 7 pm

Spanning a variety of mediums including photography, video, film, performance, installation, drawing, and writing, Eleanor Antin's work has explored entrenched assumptions about gender and power. As one of the first artists to re-introduce autobiography, narrative, and performance back into the art world in the 1960s and '70s, Antin created an imaginary theater of personae and mythological characters, dramatizing contemporary personal and political narratives through a kind of historical time travel. In this performance, she reads four chapters from her coming-of-age memoir Conversations with Stalin, a no-holds-barred black comedy of growing up in New York City. This event is a four-part series of readings across the city

For more information pleae contact Eleanore Hopper at eleanore@feldmangallery.com



15. Marisa Jahn, FF Alumn, at New York Hall of Science, Flushing, Queens, thru January 13, 2013

World's Fair 2.0
Lead Artists: Stephanie Rothenberg & Marisa Jahn
Produced by: REV-, with Anjum Asharia, and youth media artists Kim Bartolome, Edvinas Pavliukoit, Boranda Diaz, Miguel Perez, Edwin Chen, Mariah Dwyer, Marco Dwyer, Jovon Gilliam, Nicco Kirkland, Winston Le, Trishna Ramsamooj, Khaleel Anderson, Georgiana Yang, Omar Nasr.

Exhibition: ReGeneration at the New York Hall of Science "
Exhibition Dates: October 27, 2012 - January 13, 2013
Opening Reception: Thursday, October 25, 6:00-9:00pm at the New York Hall of Science
Special Reception for Educators from 5:00 to 6:00pm

Produced by REV-, with lead artists Stephanie Rothenberg and Marisa Jahn, World's Fair 2.0 is an installation and interactive scavenger hunt that bridges Queens' history past and present with the questions: how did the 1939 and 1964 World's Fairs shape the region's geography and its collectively imagined future? What are the continuities between utopian visions from the past and today's vision for the future?

For our installation at NYSCI, REV- invites you to come join us as we investigate these questions. Using your cellphone or iPad, you can experience World's Fair 2.0 as an augmented reality mobile tour at locations in and around NYSCI. In the museum's cafeteria, for example, you'll encounter visions for future living, from the "liberatory" promise of the electric dishwasher heralded at the 1939 World's Fair, to the friendly-faced food service robots of today, like Snackbot and Chief Cook Robot, promoting a more automated tomorrow.

In addition, 14 teens worked with Rothenberg and Jahn, using innovations in mobile and augmented reality technology to create an interactive scavenger hunt where zombies thwart players in their time-traveling quest to explore the history of the future.

Through the installation, self-guided tour and teen-produced mobile game, World's Fair 2.0 stages interventions into the past and future, regenerating conceptual tools to interact with the present.

Support: Mozilla's Hive Learning Network NYC, Robert Bowne Foundation, MOUSE, New York Hall of Science

ReGeneration is an exhibition curated by Steve Dietz and Amanda Parkes that explores the connection of cultural vitality to sustainability, immigration, and urbanization, through the intersection of art, science and technology. Ten contemporary artists present interactive works engaging in a dialogue around cultural sustainability through critical engagement and futuristic visions reflecting on the unique history and rich cultural diversity of New York City.

REV- Advisory Board: Sunny Bates, Kadambari Baxi, Pablo Helguera, Kendal Henry, Doug Lasdon, Yael Melamede, Christiane Paul, Andrew Ross, Marcia Tanner, Cornel West, Mabel O. Wilson.

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.



16. Irina Danilova, FF Alumn, announces VOTEHERE, now online

The Quadrennial project VOTEHERE invites EVERYONE
who does not have the right to vote
to take part in electing the American president.

A vote can be placed online by November 3 at
or via e-mail to:

On November 6 a collective vote will be cast
during the election.

Up to 30% of the USA population, including illegal or
permanent residents and teens, depend on US politics without the right to vote.
USA is still the apple of the eye for the rest of the world.

VOTEHERE is an art project, emphasizing the diversity of population of
the United States of America and the globalization of world politics.

It is a metaphor for the power of the individual vote.



17. Liz Magic Laser, FF Alumn, at The Armory Show, NY, March 7-10, 2013

We are pleased to announced that Liz Magic Laser has been chosen as The Armory Show's commissioned artist for the 2013 edition.

Known for her participatory and performative works, Laser will turn an interactive market research strategy into a work of art, staging a series of focus groups composed of collectors, curators, art professionals and journalists, to determine the production of two limited edition artworks and paraphernalia associated with her Armory Show Commission. She will work alongside David Guinan of Polemic Media and focus group moderator Ben Allen of Labrador Agency.

History of The Armory Show Artist Commission
The Armory Show introduced its annual artist commission in 2002 with Karen Kilimnik. Since then, Barnaby Furnas (2003), Lisa Ruyter (2004), Jockum Nordström (2005), John Wesley (2006), Pipilotti Rist (2007), Mary Heilmann and John Waters (2008), Ewan Gibbs (2009), Susan Collis (2010), Gabriel Kuri (2011) and Theaster Gates (2012) have also contributed to the visual identity of the fair. In 2006, The Armory Show began publishing an annual series of limited editions by its commissioned artists to benefit the Pat Hearn and Colin de Land Cancer Foundation and The Museum of Modern Art.

Liz Magic Laser
Liz Magic Laser lives and works in New York City. She is a graduate of the Whitney Museum Independent Study Program and Columbia University's MFA program. Laser is the recipient of awards and grants from the New York Foundation for the Arts Fellowship, The Franklin Furnace Fund for Performance Art and Lower Manhattan Cultural Council. Her work has been exhibited internationally at venues including Mälmo Konsthall, Mälmo, Sweden (2012); The Studio Museum in Harlem, New York (2012); the Moscow Museum of Modern Art (2012); the Performa 11 Biennial, New York (2011); MoMA PS 1, New York (2010); Artisterium, Tbilisi, Georgia (2009); the Prague Biennale 4, Czech Republic (2009); Derek Eller Gallery, New York (2012); Various Small Fires, Los Angeles (2012); The Pace Gallery, New York (2011); and Casey Kaplan, New York (2011). Liz Magic Laser is her real name from birth.

The Armory Show
The Armory Show is a leading international contemporary and modern art fair with exceptional connections with American collectors, Museums Groups and the broader public. Each March selected international and American galleries present key artworks of the 20th and 21st centuries, in the fair's central Manhattan location at the city's historic Piers. In the last fifteen years, the fair has become an international institution combining a selection of the world's leading galleries with an exceptional program of arts events and exhibitions throughout New York during the celebrated Armory Arts Week.

2013 Fair Show Dates
March 7--10, 2013
Piers 92 & 94
Twelfth Avenue at 55th Street
New York City

Opening Hours
Wednesday, March 6 -- VIP Preview for invited guests
Thursday, March 7 -- Sunday, March 10, Noon to 7:00pm

Recent press: Artforum, Artinfo, The New York Observer

Derek Eller Gallery
615 West 27th Street
New York, NY 10001
T 212.206.6411
F 212.206.6977



18. Janet Henry, FF Alumn, at 408 W. 25th Street, Manhattan, Nov. 15-18


Start your holiday shopping early and get one-of-kind, hand crafted jewelry, boxes, tree and room decorations coated with pigmented cement and greeting cards.

Also on sale will be an alternative to a purse or a hand bag that can be worn on the wrist as a bracelet; small drawings and unique, mixed media works-on-paper; and ink drawings and etchings cloaked in beeswax and inspired by the natural world.

Featuring: Robin Holder, Janet Henry, Marva Huston, Lucia Minervini, Gilda Pervin, Rejin Leys

408 West 25th Street, New York, NY Between 9th & 10th Avenue, 3rd Floor Walk-up, Buzzer #12

Thursday & Friday Nov. 15th & 16th 6 -8 p.m.
Saturday & Sunday Nov. 17th & 18th 12 - 6 p.m.

RSVP: holidayexhibitionsale@gmail.com



19. Frank Moore, FF Alumn, at Temescal Arts Center, Oakland, CA, Nov. 3

a ritual audience participation experience experiment

The Long-Running 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, November 3, 2012

511 48th Street
Oakland, CA 94609-2058

For more information
Call: 510-526-7858

2012 Dates!


"Lauded and controversial shaman performance artist Frank Moore ... will be sure to baffle your mind. Moore will attempt to reimagine human emotion through the use of musicians, actors, dancers, and members of the audience.
It's experimental performance art at its most experimental."
George McIntire, San Francisco Bay Guardian

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

"One of the country's most controversial and profound artists." Kotori Magazine

"...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

Resisting "the easy and superficial descriptions..., Moore's work challenges the consensus view more strongly in ways less acceptable than...angry tirades and bitter attacks on consumer culture." Chicago New City

"Transformative..." Moore "is thwarting nature in an astonishing manner, and is fusing art, ritual and religion in ways the Eurocentric world has only dim memories of. Espousing a kind of paganism without bite and aggression, Frank Moore is indeed worth watching." High Performance Magazine

"...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

"We came, we saw, we read local performance artist-provocateur Frank Moore's poem...
experience the joys of unsettled discomfort..." - Kimberly Chun, SF Chronicle

Downloadable poster here:




20. Claes Oldenburg, FF Alumn, at Guggenheim Bilbao, Spain, thru Feb. 17, 2013

Claes Oldenburg: The Sixties
October 30, 2012-February 17, 2013

Guggenheim Bilbao
Abandoibarra Hiribidea, 2
48009 Bilbao, Spain


Curated by Achim Hodchdörfer, Curator of the Museum Moderner Kunst Stiftung Ludwig Wien (mumok).

Co-organized by mumok Vienna and the Guggenheim Museum Bilbao, Claes Oldenburg: The Sixties is the largest show to date dedicated to the path-breaking, emblematic, early work of the 1960s by Claes Oldenburg (Stockholm, Sweden, 1929), one of the most influential artists since the 1950s. The presentation in Bilbao has been made possible thanks to the generous sponsorship of Fundación BBVA, and with support from the Terra Foundation for American Art.

With his ironic and sharp witted representations of everyday objects from the 1960s, Oldenburg made a huge contribution to renovating the North American art scene, and is a major figure in performance art, installation art and Pop Art. However, his multifaceted body of work goes much further. He has also had a profound influence on art in public spaces with his monumental large-scale projects in numerous major cities worldwide, created in partnership with Coosje van Bruggen.

One central point of reference in Oldenburg's oeuvre is the industrially produced object-the object as commodity, which in ever new metamorphoses of media and form becomes a conveyer of culture and symbol of the imagination, desires, and obsessions of the capitalist world.

The Guggenheim Museum Bilbao will showcase a magnificent selection of nearly 300 works on Museum's second floor galleries. The exhibition will begin with the installation The Street and its graffiti-inspired depictions of modern life in the big city, and continue to the famous consumer articles of The Store and to the spectacular everyday objects of the "modern home."

The exhibition also dedicates a section to Oldenburg's early designs for public spaces around the world and to his emblematic Mouse Museum, a walk-in miniature museum in the form of a Geometric Mouse, for which Oldenburg has collected 381 objects since the late 1950s.

Lastly, owing to the Claes Oldenburg's close collaboration on the project, the exhibit will also include a series of works that have rarely or never before been seen: drawings, photographs and films by the artist himself, and especially notebook pages that offer unique insights into the witty thought processes of the artist.

Sponsored by Fundación BBVA.



21. Linda Montano, FF Alumn, at Jack, Brooklyn, Nov. 17

Contact: Alec Duffy at 646-734-8985 or aduffy@jackny.org
Celebrated performance artist Linda Mary Montano leads an interactive experience followed by a 12-hour lock-in for selected participants.
Ticketing info: $5, to benefit JACK's teen programs. No advanced reservations available.

For more info: www.jackny.org.
Location: JACK, 505 1/2 Waverly Ave. between Fulton and Atlantic, Clinton Hill, Brooklyn. C or G train to Clinton-Washington

Interactive Artist Talk/Performance by Linda Mary Montano, Alec Duffy and the 7 Glandettes, followed by a 12-hour lock-in with selected participants
Saturday, Nov. 17, 2012
Tickets: $5, to benefit JACK's teen programs (no advanced purchase available)
(Press invited for 8 pm event. JACK is open to inquiries about covering the lock-in)
Join groundbreaking performance artist Linda Mary Montano , Alec Duffy and the 7 GLANDETTES for an interactive performance experience at JACK, the new arts space in Clinton Hill, Brooklyn. The evening will feature a talk/performance by Montano, which will include a screening of Mark Shaw's video, Linda Mary Montano Celebrates Mother Teresa's 100th Birthday at the Empire State Building, documenting Montano's 2010 public performance as Mother Teresa with four "guardians" (Andrea Dominquez, Miss Toni Silver, Zhen Heinmann and Leah Aron). A 12-hour lock-in will follow, for which Montano has selected seven participants from a pool of applicants. The group will stay the night together, with Montano leading participants in a workshop, as well as eating and resting.
Linda Mary Montano is a pioneer in performance art. Since the 1960's, she has explored how artistic ritual, often staged as individual interactions or collaborative workshops, can be used to enhance a person's daily life, to create the opportunity for attentional spiritual energy states, to encourage inner silence and to alter the cessation of art/life boundaries. Montano's work can be viewed at www.lindamontano.com, as well on her blog and on YouTube.
JACK is a new arts venue in Clinton Hill, Brooklyn, with a mission to provide radical access to the arts by presenting adventurous performance work and by involving as many members of the surrounding community as possible in the art we create. Theater-maker Alec Duffy is the Artistic Director of JACK and OBIE-winning theater company Hoi Polloi is the resident company. www.jackny.org.
This event is the first in JACK's Heroes Series, in which artists who have influenced the space are invited to present work at JACK. Future events in the series are currently in development.



22. Willie Cole, Leon Golub, Guerrilla Girls, FF Alumns, at John Jay College, Manhattan, opening Nov. 7

Art Prints and Human Rights

Curated by Bill Pangburn & Thalia Vrachopoulos

JOHN JAY COLLEGE OF CRIMINAL JUSTICE, City of New York University, proudly presents the exhibition Expressing the Social Conscience: Art Prints and Human Rights curated by Thalia Vrachopoulos and Bill Pangburn, from October 29th-December 14th, 2012 with an opening reception on Wednesday, November 7th, 2012 from 5:30-7:30 PM.

The objective of this show is to feature fine arts prints dealing with issues of human rights in order to demonstrate the rich variegation of the medium but also to convey the immediacy of their social message. uman rights issues are the most appropriate of themes for this medium because the print has been historically used to reach the greatest number of people and its development is linked to the rise of the middle classes. This has been the case with Ukiyo-e Japanese prints in the Yoshiwara district that depicted performers, and actors, as well as geishas and sumo wrestlers. It was also the case in Holland as seen in the prints of Rembrandt van Rijn whose objective was to disseminate Christian values to the masses by making prints cheap and affordable to the masses. In the United States of the thirties we saw a proliferation of posters and prints igniting the fires of many a union rally or political event as well as protest against racism and inequity.

The print artists featured in the show address social problems and concerns from women's to civil rights, to political and cultural issues prevailing in contemporary societies globally. A good example is Leon Golub, an artist who represents the classic political art through his unique representation of apartheid or Jacob Lawrence through his depiction of struggles for freedom. Despina Meimaroglou deals with issues that are of great social magnitude such as inter-border trafficking of boys and girls sold into prostitution, the senselessness of killing, and the devastation and aftermath of conflict. Willie Cole uses his iron stamping to channel the exploitation of the black population (his mother ironed clothes to make a living) into an aesthetic expression, whereas the Guerilla Girls address women's rights through the perspective of the art world. Others, such as Ralph Fassanella, Philip Reisman and Paul Marcus, create etchings that deal with the working classes, the unions and labor.

The print is the most democratic medium capable of reaching the largest amount of people and affecting the most change. It is the intent of this show to impact viewers through its content but also through its medium which in itself is of social relevance.

The Gallery at John Jay College is located on the corner of 59th Street and 11th Avenue in Manhattan. The Gallery is free and open to the public Mon - Fri, 1 - 5pm.

For more information please contact the curators:
Dr. Thalia Vrachopoulos, tvrachopoulos@jjay.cuny.edu or call 646.344.9009
Bill Pangburn, bpangburn@jjay.cuny.edu or call 212.691.7978

About John Jay College of Criminal Justice: An international leader in educating for justice, John Jay College of Criminal Justice of The City University of New York offers a rich liberal arts and professional studies curriculum to upwards of 15,000 undergraduate and graduate students from more than 135 nations. In teaching, scholarship and research, the College approaches justice as an applied art and science in service to society and as an ongoing conversation about fundamental human desires for fairness, equality and the rule of law. For more information, visit www.jjay.cuny.edu.



23. Papo Colo, Sherman Fleming,Wayne Hodge, Shaun El C. Leonardo, Lorraine O'Grady, Clifford Owens, Adrian Piper, William Pope.L, Rammellzee, Sur Rodney (Sur), Dread Scott, Xaviera Simmons, and Danny Tisdale, FF Alumns, at Contemporary Arts Museum Houston, TX, opening Nov. 17

Radical Presence: Black Performance in Contemporary Art
November 17, 2012-February 15, 2013

Contemporary Arts Museum Houston
5216 Montrose Blvd.
Houston, TX 77006
Always fresh, always free.

T 713 284 8250


The Contemporary Arts Museum Houston is pleased to present Radical Presence: Black Performance in Contemporary Art, the first comprehensive survey of performance art by black artists working from the perspective of the visual arts. While black performance has been largely contextualized as an extension of theater, visual artists have integrated performance into their work for over five decades, generating a repository of performance work that has gone largely unrecognized until now. Radical Presence provides a critical framework to discuss the history of black performance traditions within the visual arts beginning with the "happenings" of the early 1960s, throughout the 1980s, and into the contemporary practices of a new generation of artists.

The exhibition will feature work by three generations of artists including Terry Adkins, Papo Colo, Jean-Ulrick Désert, Theaster Gates, Sherman Fleming, Trenton Doyle Hancock, Maren Hassinger, Wayne Hodge, Satch Hoyt, Shaun El C. Leonardo, Kalup Linzy, Dave McKenzie, Senga Nengudi, Lorraine O'Grady, Clifford Owens, Tameka Norris, Benjamin Patterson, Adrian Piper, William Pope.L, Rammellzee, Sur Rodney (Sur), Dread Scott, Xaviera Simmons, Danny Tisdale, Hennessy Youngman, and Carrie Mae Weems, among others. Radical Presence will feature video and photo documentation of performances, performance installations, ephemera and objects created through actions. In addition, the exhibition will feature live performances scheduled throughout the run of the exhibition including performances by Hassinger, Linzy, Pope.L, Leonardo, Nengudi, Norris, and Owens, among many others.

The history of performance art as a manifestation of radical shifts in social thought and artistic practice is well documented in publications like Performance: Live Art Since 1960 (1998) by Roselee Goldberg, and her seminal book from 1979, Performance: Live Art 1909 to the Present. Performance art practices in Latin America were also eloquently documented in the 2008 exhibition Arte ≠ Vida: Actions by Artists of the Americas, 1960-2000 at El Museo del Barrio, New York. Ironically, given the rich history of performance and its prevalence in black artistic practices since the 1960s, this tradition has largely gone unexamined save for a handful of publications including the exhibition catalogue Art as a Verb (1988) by Leslie King Hammond and Lowery Stokes Sims.

To date, little scholarship exists that chronicles the rise and persistence of black performance traditions emerging from the framework of the visual arts. While the works created by these artists have previously been contextualized in terms of associations and movements ranging from Fluxus to Conceptual Art to the blanketed arena of contemporary art practice, in Radical Presence they will be presented along a trajectory providing general audiences and scholars alike, a critical understanding of the significance and persistence of black performance as a stand-alone practice. Radical Presence is curated by Valerie Cassel Oliver, Senior Curator at CAMH.

The fully illustrated catalogue that accompanies the exhibition Radical Presence: Black Performance in Contemporary Art reflects the breadth and scope of the contributions of black artists to the field of performance art practice over the last 50+ years. The publication includes an essay by exhibition curator Valerie Cassel Oliver, as well as contributions by Franklin Sirmans, Department Head and Curator of Contemporary Art, Los Angeles County Museum of Art; Naomi Beckwith, Curator, Museum of Contemporary Art, Chicago; Yona Backer, Founding Partner, Third Streaming, New York; Tavia Nyong'o, Associate Professor of Performance Studies, New York University; and photographer/performance artist Clifford Owens. The catalogue also includes a chronology of black performance art since 1960, an exhibition checklist, color reproductions of featured works, and artists' biographies and bibliographies.



24. Robin Tewes, FF Alumn, at Adam Baumgold Gallery, Manhattan, opening Nov. 9

Remote Control

RECEPTION: Fri., Nov. 9, 6-8pm


60 East 66th Street, New York, NY 10065
Tues. - Sat. 11-5:30pm



25. David Medalla, Adam Nankervis, FF Alumns, at DAC, Brooklyn, opening Nov. 9

In the wake of the storm, please join us for the opening reception of A Wake on Friday, November 9 from 6 - 9 PM. Raise a glass of champagne with us to toast the artists, curators and - most imporantly - the spirit and resilience of our community.

We urge you to support all of DUMBO's art community, small businesses and residents. Check with the DUMBO Improvement District at dumbo.is for more ways to assist..

A Wake: Still Lives and Moving Images is an exhibition of international video art meditating on death, destruction and dying. The 17 video works in "A Wake" bring the still into motion, and the motion into emotion. Originally presented at Momentum Gallery in Berlin, "A Wake" exists within the tradition of inviting the dead to a party with the living, a gallery crowded with the conversations of flickering ghosts. "A Wake" is curated by Leo Kuelbs, Adam Nankervis and Rachel Rits-Volloch.

Osvaldo Budet
Annika Eriksson
Yishay Garbasz and Nikola Lutz
Anna Bella Geiger
Stephan Halter
Jarik Jongman
Betty Leirner
David Medalla
Tracey Moffatt
Fiona Pardington
Paul Rascheja
Alain Resnais
Jan Svankmajer

"A Wake: Still Lives, Moving Images" is presented by:
Leo Kuelbs Collection and Momentum Berlin.
Special thanks to Brett Murphy for equipment support.

"A Wake" is on view at DAC Nov. 9-25, 2012, Thur.-Sat. 12-6 and Sun. 12-5. (Closed Thanksgiving Day, Nov. 22)



26. Alicia Grullon, FF Alumn, now online at www.percentforgreen.aliciagrullon.com

Dear friends and colleagues,

After a rough night of wind and rain, I decided to launch the next phase of my "Becoming Green in the Bronx" project. This next phase focuses on passing a Percent for Green bill. Please visit this site, let me know what you think, and take action. I will post on social sites like FB, Twitter, etc. You may see it twice. Within the next coming months, I will keep you posted of events. Other projects will follow.

Hope all is well. If you're in NYC and out of power, give me a shout out if you can. I will cook you a meal if needed.

All my best,
Alicia Grullon




27. Sherman Fleming, FF Alumn, now online at http://vimeo.com/52364952


Sherman Fleming



28. Simon Cutts, Erica Van Horn, FF Alumn, at Saison Poetry Library, UK, thru Dec. 2


Please join us for the opening soirée
The Saison Poetry Library
Thursday 1st November, 7-9pm
RSVP specialedition@poetrylibrary.org.uk
The exhibition continues until 2nd December,
open Tuesday - Sunday 11-8pm

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 that were printed or bound in Norfolk.

Printed in Norfolk is being funded by the National Lottery through Arts Council England, Henry Moore Foundation, The Elephant Trust and Norfolk County Council.

Special Edition event, Part-Song: A Gathering of Coracle Writing and Reading,
7 November 8pm. To book a place email specialedition@poetrylibrary.org.uk.
Readers include John Bevis, Colin Sackett, Cralan Kelder, Les Coleman, Simon Cutts, Erica Van Horn, Yoko Terauchi, Elizabeth James, and Harry Gilonis.



29. Sarah Mattes, FF Intern Alumn, at Clifford Art Gallery, Hamilton, NY, thru Nov. 20

External Original
October 31 - November 20
curated by Sarah Mattes

Michael Berryhill, Strauss Bourque - Lafrance, David Gilbert, Kate Gilmore, Elisa Lendvay, Hanna Sandin, Molly Smith, Luke Stettner , Patricia Treib, Carmen Winant, Tamara Zahaykevich

Clifford Art Gallery
Colgate University
101 Little Hall
Hamilton NY



30. John Cage, Robert Rauschenberg, FF Alumns, in The New York Times, Oct. 30

The New York Times
October 30, 2012
Serendipitous Matchmaking of Art and Movement

PHILADELPHIA - "Dancing Around the Bride," a new exhibition at the Philadelphia Museum of Art, assembles work by Jasper Johns, Robert Rauschenberg, John Cage and Merce Cunningham. The idea makes perfect sense. There used to be an organization that did such combining all the time. It was called the Merce Cunningham Dance Company.

That company - in which Johns, Rauschenberg and Cage all served official roles at various times - no longer exists. (It disbanded at the end of 2011, two years after Cunningham died.) But former members of the troupe are participating in "Dancing Around the Bride," periodically giving Cunningham's work the bodily form it requires, in shortened versions of what Cunningham called Events: fragments of dances recombined in an order traditionally determined by throwing dice.

The Philadelphia Events are organized by the dancer Daniel Squire. He didn't dance at the two preview performances on Saturday, but he did walk around the gallery, carrying umbrellas, as Rauschenberg did during the first Cunningham Event in 1964. The half-hour of material that Mr. Squire selected, in a different order for each show, sampled four decades of work.

"Dancing Around the Bride" emphasizes the influence of a fifth, older artist: Marcel Duchamp. The Cunningham dancers do not dance around Duchamp's work "The Bride Stripped Bare by Her Bachelors, Even (The Large Glass)." That piece resides in another part of the museum. But they do dance, on a white platform, underneath the inflatable plastic boxes that Johns imprinted with images from "The Large Glass" for Cunningham's "Walkaround Time" (1968).

The chairs and bicycle wheels that Rauschenberg (in homage to Duchamp's "readymade" of 1913) put together for Cunningham's "Travelogue" (1977) sit to one side of the platform. On the opposite wall hangs Rauschenberg's "Express," a 1963 collage that incorporates a photograph of Cunningham dancers, their bodies bent like bows, in "Aeon" (1961).

The context brings out Cunningham's radical use of time and space. (Steps on one side provide seats for audience members, but the performances may be viewed from any angle.) When Brandon Collwes performed a solo from "Second Hand" (1970) in one corner of the stage, Emma Desjardins and Melissa Toogood took over the rest of the platform area with a near-unison duet from "Aeon." As the horizontal S shapes of their arms compressed, accordion fashion, into vertical ones, it was as if the man and the two women were moving in different time frames, different dimensions.

Yet compared with the exhibition's other works, Cunningham's dances look much more classical. Many of the body images in Saturday's performances might have been borrowed from Degas's representations of ballet, a few rooms away. Cunningham movement is classicism stripped bare.

And for all the fracturing of continuity caused by chance-based composition and arrangement, the relationships among the dancers aren't just abstractly spatial or temporal, but human as well. Saturday's performances, for instance, juxtaposed two kinds of male-female duets. In one (from the 1980 "Duets"), the man served the woman, a dynamic colored by the hint of satisfaction in Ms. Toogood's smile. In the other (from the 1982 "Trails"), there was both companionship and independence in the frequent clasping and unclasping of hands, and in the way that Ms. Desjardins paused to regard a jumping Mr. Collwes.

The exhibition's continuing soundscape, by Philippe Parreno, provides more serendipity: a succession of music by Cage, spoken commentary about Duchamp, birdcalls and traffic noises, syncing differently with the dancing every time. A Disklavier piano playing itself evokes spirits of the dead, but better yet are the recordings of the dancers' footfalls that issue from speakers beneath the stage. These rhythms are some of the best clues to how a Cunningham dance holds together.

During Saturday's first Event, the footfalls sounded during the duets, like a memory of previous dancers in those roles. During the second, the footfalls arrived after the dancers had left the stage, a bit of Cage-ian music by Cunningham (via Mr. Parreno) that underlined which artist's work was most in danger of disappearing.

"Dancing Around the Bride" events continue through Jan. 21 at the Philadelphia Museum of Art, 2600 Benjamin Franklin Parkway; (215) 763-8100, philamuseum.org.



Goings On is compiled weekly by Harley Spiller