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Contents for December 04, 2012

1. Coco Fusco, Robbie McCauley, Guillermo Gomez Peña, FF Alumns, receive USA Fellowships

The United States Artists nonprofit today announced the next 54 artists who will receive its annual USA Fellowships, which come with unrestricted grants of $50,000 each.. The full list of artists, who hail from a wide variety of disciplines, follows below. This round of funding brings USA's total grants over its history to $17.5 million.

Visual Arts
Luis Camnitzer, USA Ford Fellow, Great Neck, NY
Coco Fusco, USA Berman Bloch Fellow, Brooklyn, NY
Theaster Gates, USA Kippy Fellow, Chicago, IL
David Hartt, USA Cruz Fellow, Chicago, IL
Edgar Heap of Birds, USA Ford Fellow, Oklahoma City, OK
William Leavitt, USA Rockefeller Fellow, Los Angeles, CA
Alison Saar, USA Jeanne and Michael Klein Fellow, Fontana, CA
Kerry Tribe, USA Simon Fellow, Los Angeles, CA

Theater Arts
Marcus Gardley, USA James Baldwin Fellow, New York, NY
Guillermo Gomez-Peña, USA Hoi Fellow, San Francisco, CA
David Henry Hwang, USA Donnelley Fellow, New York, NY
John Kelly, USA Gracie Fellow, New York, NY
Adrienne Kennedy, USA Women With Plans Fellow, Williamsburg, VA
Robbie McCauley, USA Ford Fellow, Boston, MA
Annie-B Parson, USA Ford Fellow, New York, NY

Architecture and Design
Marcelo Spina and Georgina Huljich, USA Grigor Fellows, Los Angeles, CA
Stephen Luoni, USA Ford Fellow, Fayetteville, AR
Kate Orff, USA Francie Bishop Good and David Horvitz Fellow, Forest Hills, NY
Jesse Reiser and Nanako Umemoto, USA Booth Fellows, New York, NY

Crafts and Traditional Arts
Nicholas Galanin, USA Rasmuson Fellow, Sitka, AK
Myra Mimlitsch-Gray, USA Glasgow Fellow, Stone Ridge, NY
Leon Niehues, USA Windgate Fellow, Huntsville, AR
Sibylle Peretti, USA Friends Fellow, New Orleans, LA
Rowland Ricketts, USA Friends Fellow, Bloomington, IN
Kurt Weiser, USA Windgate Fellow, Tempe, AZ

Dance
Kyle Abraham, USA Ford Fellow, New York, NY
Trisha Brown, USA Simon Fellow, New York, NY
Keith Hennessy, USA Kjenner Fellow, San Francisco, CA
Ranee Ramaswamy, USA Rolón Fellow, Minneapolis, MN
David Thomson, USA Ford Fellow, New York, NY

Literature
Adrian Castro, USA Knight Fellow, Miami, FL
Aleksandar Hemon, USA Zell Fellow, Chicago, IL
LeAnne Howe, USA Ford Fellow, Ada, OK
Micheline Aharonian Marcom, USA Rockefeller Fellow, Berkeley, CA
C.E. Morgan, USA Ford Fellow, Berea, KY
Annie Proulx, USA Ford Fellow, Saratoga, WY

Media
Rania Attieh and Daniel Garcia, USA Rockefeller Fellows, New York, NY
Margaret Brown, USA Rockefeller Fellow, Mobile, AL
Lee Isaac Chung, USA Ford Fellow, New York, NY
Jacqueline Goss, USA Rockefeller Fellow, Tivoli, NY
Barry Jenkins, USA Smith Fellow, Oakland, CA
Phil Solomon, USA Knight Fellow, Broomfield, CO
Nick van der Kolk, USA Collins Fellow, Chicago, IL

Music
Jack DeJohnette, USA Ford Fellow, Willow, NY
Colin Jacobsen and Eric Jacobsen, USA Cummings Fellows, Brooklyn, NY
Claire Lynch, USA Walker Fellow, Hermitage, TN
Joanie Madden, USA Friends Fellow, Yonkers, NY
Eugene Rodriguez, USA Oliver Fellow, Richmond, CA
Tony Trischka, USA Friends Fellow, Fairlawn, NJ
Edward White, USA Lowe Fellow, Louisville, KY

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2. Yoko Ono, FF Alumn, in The New York Times, Nov. 28

The New York Times
November 28, 2012
The World Catches Up to Yoko Ono
By JACOB BERNSTEIN

"THIS is the jacket, and you see, this is the pants," Yoko Ono was saying. "This is what I wanted to focus on. Accentuate the good bits."

It was 10:45 a.m. on a recent fall day, and Ms. Ono was sitting in the back of the trendy fashion emporium Opening Ceremony in SoHo, decked out in sunglasses and one of her trademark top hats (Issey Miyake, in case you're wondering), and showing a reporter a series of sketches she'd submitted to the design team she was working with there.

As it happened, the pants she was focused on had a hole where the crotch normally is, and the good bits to which she was referring ... well, you get the point.

Ms. Ono pointed to another sketch, this time with arrows pointing at the nipples, and directions that read: "holes to put flowers (fresh) in."

Moments later, an assistant brought over kneepads with eyes drawn on them. Why bother asking what they were designed for? Suffice it to say, Ms. Ono's target demographic does not appear to be members of the National Football League.

The newest celebrity entrant into the design game first had the idea of doing men's clothing when she fell in love with John Lennon in the 1960s. She adored the way he looked, both dressed and undressed, and was somewhat perturbed by the fact that it was almost always women who were sexually objectified by designers.

"Men were always wanting us to look good and take off everything," Ms. Ono said. "And we were never able to enjoy men's sexuality in that way."

She considered doing something about it then, only to realize that the world was not exactly in sync with her sartorial predilections.

Times, of course, changed. Women went to work in droves. Fashion boundaries blurred. Gay men and lesbians became mainstream. The male body became a Madison Avenue commodity.

And then, as she entered her 70s, Ms. Ono made friends with young fashion types who regarded her not as the woman who broke up the Beatles, but as an elder stateswoman of cool; a reminder of what New York used to be before it was taken over by hedge fund types.

So when she met Humberto Leon, a founder of Opening Ceremony, in Tokyo about three years ago, and told him that she had long dreamed of doing a men's wear line, he jumped at the chance to work with her.

"She's always been a radical," Mr. Leon said. "She pushes boundaries."

Mr. Leon's favorite pieces, for the record, are a series of garments with bells hanging off them.

"There's one that's a plexi-necklace you wear with two bells attached and it's placed where your breasts might be," he said. "And inscribed underneath it says, 'Ring for your mommy.' "

Another is a black leather belt that says "don't touch me" and has a bell near the bellybutton to ward off those who might be inclined to do just that.

"I think people are going to be really excited by them," Mr. Leon said.

Are they a little silly? Perhaps. But the collaboration comes at a time when Ms. Ono, who still lives in the Dakota on the Upper West Side, is experiencing a major renaissance on the art and culture scene.

As a visual artist, she has garnered wider appreciation. In June, a retrospective of her work was held at the Serpentine Gallery in London. During the Olympics last summer, she collaborated with Selfridges, the department store in London, on a public art installation, "Imagine Peace," that culminated with footage of John Lennon singing "Imagine" during the closing ceremony. By September, she was back in New York for a video installation in Times Square in collaboration with the Art Production Fund.

Meanwhile, Ms. Ono has been all over the news, helping to fight world hunger and bestowing her annual peace prize on Pussy Riot, the female punk group from Russia whose members were convicted of hooliganism in Moscow.

"I know what it means to be hungry," Ms. Ono told Rolling Stone last week, at a benefit for WhyHunger at the Hard Rock Cafe in Times Square. "In the Second World War, I was a little girl. I was evacuated in my country. We were very hungry. I just don't want the children to have that experience."

And on Wednesday, the Library of Congress announced that it was releasing dozens of interviews between former Capital Records president Joe Smith and music luminaries, including ones with Ms. Ono where she candidly discussed the split of the Beatles and claimed it was actually Ringo Starr, who initiated the breakup of the group. (Those interviews comes after a recent interview Paul McCartney gave in which he, too, said Ms. Ono had nothing to do with the band's demise).

Ms. Ono has also become a frequent presence on the social circuit in New York, attending fund-raisers and fashion parties, like the one for the debut of Lady Gaga's fragrance at the Guggenheim Museum in September.

The petite poly-hyphenate even started a capsule jewelry collection for Swarovski, a collaboration that was celebrated at a Fashion Week party attended by Julianne Moore and Elizabeth Olsen.

Not bad, given that Ms. Ono is just months away from her 80th birthday.

As she tells it, she is simply doing what she's always done, trying to stay active and make the world a better place. And as her friends tell it, there's no better time. The unrest in the Middle East, the economic downturn in Europe and the political challenges here at home, they say, have made people more receptive to her simple, unironic message about loving one another and doing your part to bring about social change.

"I think her message of peace is resonant right now," said Catherine Morris, the curator at the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum, where Ms. Ono was honored recently. "Her longstanding commitment to political activism gives her credence."

Doreen Remen, a founder of the Art Production Fund, agreed. "As things get more and more chaotic and we are being pushed to the brink when we have to make a decision and be responsible for our own actions, her work speaks to that," she said. "It's a road map."

And, as it turns out, Ms. Ono is nowhere near taking a break.

For one, she and her son, Sean Lennon, who is 37, recently started Artists Against Fracking, a group opposed to that method of drilling for natural gas. In typical form, Ms. Ono's message has an apocalyptic edge.

"Basically, if we don't do something about it, we're all going to die," she said.

For another, Ms. Ono is finishing an album. It will be an eclectic offering, with "blues, rock 'n' roll, heavy rock, light rock, all different styles," Ms. Ono said.

It, too, is a collaboration with her son, which Ms. Ono relished both because she thinks he is an extraordinary talent ("I'm very lucky as a mother because I didn't know when I impregnated him and he came out in the world that I was getting a good musician for my albums") and because she saw him as having a vastly superior command of "modern technology."

Ms. Ono heard from people who said she shouldn't work with him, that it's the worst thing you can do as a parent. But she was undeterred.

"It's a nice way to meet up with your son," she said. "Because it's getting to a point where, after 30, they have their own lives."

Putting him on the payroll, Ms. Ono seemed to be saying, was a pretty good way to get her phone calls returned. Moreover, at the end of the day, Ms. Ono said, her son always knows who the boss is: "Of course, me. Excuse me?"

This article has been revised to reflect the following correction:

Correction: November 29, 2012
An earlier version of this article misspelled Doreen Remen's surname. It is Doreen Remen, not Ramen.

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3. Agnes Denes, FF Alumn, in The New York Times, Nov. 28

The New York Times
November 28, 2012
Stretching Her Creativity as Far as Possible
By CAROL KINO

AS a child in Budapest in the 1930s Agnes Denes decided she would be a poet, but history got in the way. She and her parents survived the Nazi occupation of Hungary, moved to Sweden after the war and then to the United States a few years later, when she was in her teens. Along the way "I lost my language because we traveled so much," Ms. Denes, 81, said in a recent interview. So she became a visual artist instead.

"The creativity had to come out in some way," she said. "It blurted itself out in a visual form."

After marrying at least once (she prefers not to discuss her personal past) and having a son, Ms. Denes began building a career as a painter. But she soon found the medium too limiting. "What bothered me mostly was the edge of the canvas," she said in her heavily accented English. "I always wanted to go beyond it. I always had more to say."

In the late '60s she broke away from painting completely and soon turned to a wide variety of other mediums, taking on an ever-expanding universe of interests and ideas. In 1968, for example, she created what some believe to be the first ecologically conscious earthwork, "Rice/ Tree/Burial," a performance piece that involved planting rice seeds in a field in upstate New York, chaining surrounding trees and burying a time capsule filled with copies of her haiku. "It was about communication with the earth," Ms. Denes said, "and communicating with the future."

And at around the same time she embarked on more precise and formally oriented body of work, which she called Visual Philosophy - diagrammatic drawings inspired by her interest in mathematics, philosophy and symbolic logic. "It would be very hard on people to look at stern mathematical concepts," Ms. Denes said, explaining that she had studied each discipline closely to make the work. "But I make them so beautiful that you are taken in by the beauty. And while you're taken in by the beauty, I got you to think."

Leslie Tonkonow, her primary dealer, said that from the start "Agnes distinguished herself in terms of the breadth of subjects that she was exploring and the imaginative way she was doing it, and the fact that her work was incredibly cerebral and intellectually driven but, at the same time, incredibly aesthetic."

"It's difficult to get your head around all the things she's done," Ms. Tonkonow added. "I do honestly think that's why she hasn't been a household name."

Which is not to say she hasn't earned ardent supporters, including Agnes Gund, the philanthropist and president emerita of the Museum of Modern Art, who has steadily collected her drawings for years. Some are now in the Modern's collection; she is also in the collections of the National Gallery of Art in Washington, the Whitney Museum of American Art and many other museums around the world, and has been commissioned to make public art in cities as far-flung as Melbourne, Australia, and Ylöjärvi, Finland.

But now her work, in all its variety, is being introduced to new audiences in shows on both coasts of the United States, "Sculptures of the Mind: 1968 to Now," a solo exhibition at Ms. Tonkonow's gallery in Chelsea (through Jan. 19), and "Agnes Denes: Body Prints, Philosophical Drawings and Map Projections: 1969-1978," at the Santa Monica Museum of Art (through Dec. 22).

The Santa Monica show focuses on Ms. Denes's diagrammatic drawings and map projections, in which she tweaks earth science by reimagining the planet in fanciful shapes like a snail's shell, a pyramid and a hot dog. Also on view are her body prints of 1970-71, made by coating her own breasts and her former husband's penis with fingerprint ink and using them as stamps to suggest globes and forests, as if to imply how the intimate can evoke the universal.

The Chelsea show, meanwhile, offers documentation from "Rice/Tree/Burial," which Ms. Denes re-enacted on a grander scale in 1977-79, as well as other earthworks. One group of rarely seen photographs documents her first major public piece, "Wheatfield - A Confrontation," commissioned by the Public Art Fund in 1982, for which she planted and harvested two acres of wheat on the landfill that now holds Battery Park City. Positioned below the World Trade Center and facing the Statue of Liberty, the field was a statement that "represented the ideals of this country, and money," Ms. Denes said, as well as "mismanagement, the use of the land, the misuse of the land, and world hunger."

The show also has examples of philosophical drawings and a triangular wall relief conceived in 1987 that Ms. Denes finally realized this year, as well as a 1969 installation made with cremated human remains and some fascinating early Lucite sculptures whose parts she carved, bent, electroplated and wired herself. "Honey, I experimented with dozens of different things," she said at the opening. "That's how I did everything."

What ties it all together is Ms. Denes's insistence on marrying ambitious intellectual ideas with exquisite formal execution. In contrast to many of her conceptual and land-art peers, she has always been deeply involved with drawing. That's what first hooked Gary Garrels, the senior curator of painting and sculpture at the San Francisco Museum of Modern Art, who has followed her work since 1980. "That's what she always talks about: How do you give visual form to ideas?" he said. "Her drawing in that regard is really, really exceptional. There's an elegance and a kind of succinctness. It's a beautiful distillation."

The combination of aesthetics and intellect was apparent on a recent tour of Ms. Denes's SoHo studio, where she showed off (among many other things) a 1994 series of prints depicting lyrically torqued pyramids that appeared to float in space. Made with colored ink to which she had applied gold and silver dust, a process of her own invention, the delicate shapes sparkled and changed their hues as one walked around them. (These seductive drawings also turned out to be, Ms. Denes said quite seriously, designs for "future cities that we need to live in when the weather changes.")

Yet while Ms. Denes has spent much energy introducing sensual beauty into her work, her own personal environment is almost ascetic. The loft, where she has lived since 1980, has a few cozy touches, like lace curtains and a curiosity cabinet filled with decorative china, but it is also freezing cold. And the only way to walk across the space is through a narrow path delineated by carefully wrapped stacks of her work.

Before moving there, Ms. Denes said, "I had a beautiful living situation," in an apartment full of antiques. She gave it up to live in her studio, she added, because "I wanted to roll out of bed to make art."

Today she still has the same urge. Sitting at her kitchen table in the tiny portion of the loft that is her living space, she talked avidly about some of her plans and projects, from the realistic to the fantastical: completing an amphitheater shaped like a nautilus for a community college in Connecticut; creating more forests to preserve endangered plant species (she has already realized two such projects); building a group of elaborate time capsules that she'd hoped to bury in Antarctica before the polar caps started melting; or designing more "self-contained, self-supporting city dwellings" to protect the human race from the weather. "I feel so much love and compassion for humanity," she said, "and I feel so sorry for us, the problems the world is having."

But even if she's no longer hemmed in by the edge of the canvas, Ms. Denes remains frustrated by limitations. "There's a lot of things that I want to do that I didn't get to do yet," she said. "I feel so restricted at being caught in my lifetime."

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4. Penny Arcade, FF Alumn, now online at https://vimeo.com/54692324 and more

From Penny Arcade Work In Progress Denial of Death

About The Co-optation of Jack Smith

Please Don't tell me it is Appropriation..It's Called Stealing!

https://vimeo.com/54692324

and

Penny Arcade on VILE ARTS BLOG
http://vilearts.blogspot.co.uk/2012/11/penny-arcade-comes-to-albany.html

http://vilearts.blogspot.co.uk/2012/11/penny-arcade-part-1.html

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5. Peter Grzybowski, FF Alumn, at Galeria Otwarts Pravownia, Kraków, Poland, Dec, 6, and more

PETER GRZYBOWSKI
December activities in Poland

Passage
performance
Thursday, December 6, 2012, 7 pm

Galeria Otwarta Pracownia
Dietla 11, Kraków
http://www.otwartapracownia.com

and

It ain't the First Rodeo
performance
Friday, December 14, 6 pm
part of
Independent Pictures
International Art Show, December 14 - January 25
Opening: December 14, 2012, 6 PM
artwork in the show

Galeria Zejscie
Pedagogical University
Mazowiecka 43, Kraków
http://www.ap.krakow.pl/

http://grzybowski.org

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6. Guy de Cointet, FF Alumn, at Fundación/Colección Jumex, Ecatepec, México, thru Feb. 24, 2013

Guy de Cointet: Tempo Rubato
December 3, 2012-February 24, 2013

Fundación/Colección Jumex
Vía Morelos 272,
Col. Santa María Tulpetlac
Ecatepec, México

www.lacoleccionjumex.org

After discussing the Italians' skill of performing with their hands while they're talking as if improvising on a melody, Rosa and Butch-the main characters in Guy de Cointet and Robert Wilhite's Iglu-converse about what they understand by tempo rubato. In their exchange, the musical term that refers to the expressive and rhythmic freedom of the performer who shapes music by introducing variations to the tempo of the original score, is now a matter of performative speech. This very sense of practiced spontaneity in the production of meaning is what gives substance to Guy de Cointet's synesthetic practice, whose associations of shapes, words, and body language manage to undermine the social values and cultural codes that administer our day-to-day lives.

The exhibition Guy de Cointet: Tempo Rubato includes a wide range of works: from the first encrypted drawings and books, to the later monologues, set designs and theatrical productions inspired by the current events of his time, mass media, and popular culture. Growing up in a military family, de Cointet had a marked fascination for the encrypted languages used during World War II, and the everyday dynamics generated around them, that he further associated with the manipulative character of the media.

Finding inspiration in such diverse territories as domestic conversations, Mexican soap operas, literary passages and pre-Columbian codices, de Cointet conceived, over the years, a series of situations in the form of graphics and performable texts that, like lost or misplaced moments, manage to escape the routine of daily life. In these situations, words generate images that become narratives without a plot. These narratives-in-the-making are deployed in space as characters activate objects, and as the identity of these objects shifts, making them acquire a life of their own that manages to unsettle and transcend the ordinary.

This exhibition, unprecedented in Mexico, represents not only an occasion for the work to travel to a territory that was familiar to the artist, but it provides viewers with the opportunity to delve into a seldom-explored terrain, one where painting, sculpture, storytelling and performance intermingle -and one that has gained new resonance, perhaps responding to the need to conceive different methods of recounting oft-told stories, stories in which art may now turn into an indispensable prop to deal with everyday life.

Exhibition curated by Magalí Arriola.

About Fundación/Colección Jumex
Fundación/Colección Jumex was created in 2001 to promote production, advance research, and encourage critical thinking about contemporary art at an international level. Today it has become one of the most important contemporary art collections in Latin America. Through its exhibitions and extensive grant and scholarship programs, Fundación/Colección Jumex works to generate innovative research and curatorial proposals to stimulate reflection about contemporary art worldwide, and encourage the creation of new institutional models for the support of arts and culture. Based in Ecatepec (in the outskirts of Mexico City), where it has a gallery and an extensive library specialized in contemporary art, Fundación/Colección Jumex will be opening a new multidisciplinary space in Mexico City in 2013. The new 4,000-square-meter building, designed by British architect David Chipperfield, will greatly increase its exhibition space and bring this important artistic and bibliographic resource to a wider audience.

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7. Fiona Templeton, FF Alumn, at Roulette, Brooklyn, Dec. 13-14

THE MEDEAD in concert
written & directed by Fiona Templeton
music by Samita Sinha
at Roulette, Brooklyn
8pm December 13 & 14, 2012

This premiering collaborative musical version of the 6-play epic The Medead fuses Templeton's multivocal poetic fireworks with Sinha's soaring vocals and instrumentation, layering ancient and future soundscapes. 10 years in the making, The Medead ranges across history and the subconscious to excavate the multi-viewpoint reverberations of a myth - of east and west, of a woman's power - to "sing a skin of language over the invisible".

With Anna Kohler, Clarinda MacLow, Graziella Rossi, Dawn Saito, Valda Setterfield and Stephanie Silver, all as Medea; Peter Sciscioli as Orpheus, Andrew Zimmerman as Theseus, Adam Collignon as Jason, and Whitney V Hunter as the 4 Fathers.

General Admission: $15; Members/Students/Seniors: $10 LINK TO BUY TICKETS: https://app.ticketturtle.com/index.php?show=29174

ROULETTE Concerts are held at
509 Atlantic Ave (On the corner of Atlantic & 3rd Aves) DOWNTOWN BROOKLYN (near BAM) 2, 3, 4, 5, C, G, D, M, N, R, B & Q trains and the LIRR LINK FOR DIRECTIONS: http://roulette.org/getting-there/

ROULETTE IS ACCESSIBLE BY WHEELCHAIR.
The performance is 2/12-3 hours, with an interval.

Fiona Templeton
The Relationship
www.therelationship.org

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8. Anahi Caceres, FF Alumn, now online

Hola, los invito a ver la edicion de Página 12 para mi muestra en el Museo Caraffa de Córdoba un abrazo Anahí

http://issuu.com/anahi_caceres/docs/anahi_caceres?mode=window&backgr

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9. Betty Tompkins, FF Alumn, at Art Basel, Miami Beach, FL, Dec. 6-9

If you are in Miami next week for the fairs, i will have work in two places.

ART BASEL MIAMI BEACH. Galerie Rodolphe Janssen. Booth K09
Thursday, Dec 6 to Saturday, Dec 8, 12noon to 8pm
Sunday, Dec 9, 2012, 12noon to 6pm

With works by:
Wim Delvoye - Jürgen Drescher - Justin Lieberman - Chris Martin - Adam McEwen - Sam Moyer - Sam Samore - Betty Tompkins

http://www.artbaselmiamibeachonline.com/index.php5id=1387761&fid=cf4e944b78c68d31e1615c340eecf420&offset=0&highlight=betty%20tompkins&bc_id=c3236ec3476f96452021f84dfcfdefc0&compact=0&path=Home&Action=showProduct

THE M BUILDING. Venus Over Manhattan. Penthouse.
http://venusovermanhattan.com/upcoming

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10. Kiki Smith, FF Alumn, in WSJ Magazine, Nov. 29

WSJ Magazine
PARTNERSHIP
November 29, 2012, 5:08 p.m. ET

A Tale of Two Sisters
Though fiercely independent in their careers, artists Kiki and Seton Smith's bohemian childhood-and shared country house-bind them together

By PENELOPE ROWLANDS

FROM THE OUTSIDE, THE HOUSE in which the artists Kiki and Seton Smith were raised resembled all the other rambling Victorians in South Orange, New Jersey. But inside, an entirely different aesthetic prevailed: Abstract Expressionist paintings by family friends and frequent visitors like Mark Rothko, Jackson Pollock and Barnett Newman were positioned beside Minimalist sculptures by the sisters' father, Tony Smith, who was both a celebrated art theorist and something of a homebody. Their mother, Jane, was an actor and opera singer. Meals at the Smith home tended to draw a lively crowd.

Three talented young daughters-all teenagers in the 1960s and early '70s-were deeply influenced by this rarefied air. Chiara, known as Kiki, was drawn to traditional crafts, while Seton, one year younger, was a budding visual artist. Seton's twin, Beatrice, loved the theater, like her mother. After her untimely death from AIDS in 1988, the surviving sisters became even more tight-knit.

Today the Smith women live within a few blocks of each other on Manhattan's Lower East Side and share a weekend home in upstate New York. Their relationship might seem prone to sibling competition, but in reality there are few traces of rivalry. The stark differences between the sisters' work may explain why. Blonde and ethereal, Seton, a photographer, is the quieter force. Her images are inquiries into space, architecture, landscape and the medium photography-entirely devoid of human subjects. By contrast, the body is an enduring motif in Kiki's work, which is considered part of the feminist canon. Kiki has been an internationally famous artist since her first show at New York's Museum of Modern Art ("Projects 24: Kiki Smith") in the '90s. She exudes confidence and authority, working across a variety of media, most famously in sculpture.

This fall, an exhibit at Germany's Kunsthalle Bielefeld-timed to celebrate the centennial of Tony Smith's birth-brought together the clan's disparate work. Though far from South Orange, it was a perfect homage to this deeply visual family, one that prizes instinct and impulse above formal education. No matter the medium, the Smith sisters communicate in the language of art.
Seton on Kiki

PEOPLE SAY THAT KIKI AND I LOOK SIMILAR, that they can tell we're sisters. We understand each other's language. We grew up in the house in New Jersey where our father had grown up. The interior was extremely sparse, except for a couple of Abstract Expressionist paintings. Kiki has always said-and there's a lot of truth in it-that she and I are connected to the house we grew up in by a piece of string.

My father had a big studio in a part of the house that was once a gym. We knew that our father was well known-even if it was only in the tiny art world. And we didn't know much beyond Abstract Expressionism. I didn't know about Andrew Wyeth, for example, until I went to college. I knew della Francesca, da Vinci, Matisse and Bonnard. I didn't know much else.

When Kiki was a teenager she started making art, but it was more craft-oriented. Our work was completely different from the start. My work is about moving around in space, navigating space. Kiki approaches things about our childhood in a more symbolic, figurative way. She started out making crafts, but it's evolved into something more complex.

For a long time Kiki and I lived near each other. Then I left to live in Paris. Kiki became famous after I moved to France, starting with her first show at MoMA. The world was in sync with what Kiki was doing at the time. She has enormous energy and interest and was working in a sociopolitical way, so in a sense her becoming famous was just a natural thing. After I returned to New York, I bought Kiki's old loft. I had a bit of being "Kiki's sister" when I got back, but I also had my own life.

""After I returned to New York,I bought Kiki's old loft. I had a bit of being 'Kiki's sister' when I got back, but I also had my own life.""

House museums are an enthusiasm we share. I've photographed a lot of them, and Kiki is very interested in decorative arts. She's really fascinated by how things are made and just knows volumes about different metals, glazes and glass.

The interesting thing about family members is that it's a very long dialogue. When we drive up to the country together, we cover a lot of territory. We talk about each other's work; there aren't many people in life you get to do that with. Kiki is exposed to a lot of people. She's coming and going all the time. She has different information about the world. We're very close, and yet we have our own lives.
Kiki on Seton

MANY PEOPLE DON'T HAVE RELATIONSHIPS to their siblings in adulthood, or they have superficial ones. It's sort of unfashionable, particularly in America, to be close to your family. It doesn't fit the upper-middle-class version of what life should be like-that you move away from your hometown and your family. There's this idea that families are stifling. To me, that's perverse.

Since we got our house upstate-it's Dutch, and dates from 1690-we often spend weekends together. The place affords us a relationship to landscape and nature, which is important in our work. We visit historical houses a lot and take pictures. When we go into Hudson, New York-the town near the house-people don't know our relationship. If you're lovers it's much easier. If you say you're sisters, it has this spinstery 19th-century feel to it.

In our family there wasn't anything else besides art. Nothing else in the world existed. My father never spoke about going to a movie or listening to music, other than my mother's singing. I didn't start to be an artist myself until I was 24. Seton knew all along. I wanted to be a craftsperson, but then I didn't know what to do, so I became an artist.

My father's sculptures were big and Seton always had that scale. Some of Seton's architectural work relates to our father's interest in architecture and his particular way of living in space-like the fact that we had no furniture in our house. We grew up in the house my father had been born in and maybe his mother, too. There were parts of it that were like death wings, with objects left over from my father's parents and grandparents.

""People don't know our relationship.If you're lovers, it's much easier. If you say you're sisters, it has this spinstery 19th-century feel to it.""

Our parents didn't focus on education; they always said, "Oh, we thought you'd find yourself and your own interests." So we had very little education. Still, Seton is more intellectual. She's more rigorously engaged mentally, more culturally engaged. She goes to the theater, films and lectures.

It's really special when you share history with people and are in the same field. We come from a background where it's completely natural for someone to devote their life to a vision. It's an unsaid vision, one that's constantly moving and falling apart, and sometimes there are really still periods. Artists live in unknown spaces and give themselves over to following something unknown. I see that in Seton's work and in mine.
-Edited from Penelope Rowland's interviews with Kiki and Seton Smith.

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11. Richard Alpert, FF Alumn, launches new website, www.richardalpertartist.com

My website is now up and running.
The address is: www.richardalpertartist.com
Thanks and have a great holiday season.
Richard Alpert

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12. Cynthia Carr, FF Alumn, at LGBT Center, Manhattan, Dec. 11, and more

Dear Friends --
As far as I know, these are my last two events. Please forward to anyone you know who may be interested. And THANK YOU for all the support!
Best,
Cynthia Carr

PRESENTATION AT NEW YORK'S LGBT CENTER
Tuesday, December 11, 2012 at 6:30 PM
I will show about 60 images, many not included in Fire in the Belly, illustrating how David's work developed-but with special emphasis on his relationship with photographer Peter Hujar. For example, every image incorporating the Hujar stencil will be shown along with a few Hujar photos of David's work at the piers.

The Lesbian, Gay, Bisexual and Transgender Community Center
208 West 13th Street (between 7th and 8th Avenues)
Admission $10 (but no one is turned away)
http://www.gaycenter.org/node/8390

and

PANEL AT ELECTRONIC ARTS INTERMIX
Thursday, December 13, 2012 at 6:30 PM
``David Wojnarowicz: Motion Rhythms'' with Doug Bressler (3Teens Kill 4), Tommy Turner (Where Evil Dwells and other films), Brent Philips (media specialist at Fales Library) - moderated by EAI's Rebecca Cleman. Centering around the rarely screened Beautiful People (1987) and a working soundtrack for A Fire in My Belly (1986-87), the event will focus on an under-recognized aspect of Wojnarowicz's films and art: his plans and preparations for soundtracks.

Electronic Arts Intermix (EAI)
535 West 22nd Street, 5th floor
Admission $ 7.00 / Students $ 5.00
RSVP: rsvp@eai.org

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12. Rebecca Migdal, FF Alumn, at Bank Street Bookstore, Manhattan, Dec. 9, 16, 21

Dear Friends,

Announcing a Maya 2012 Save the Rainforest event series that includes codex comics-making workshops for kids, and a book event for Rebecca's illustrated book Ana and the Calabash, which focuses on Maya land rights. The series will culminate with a Gala Chocolate Tasting on December 21, the Maya Calendar "End of the World". We are already getting press interest in the event and expect it to be well-attended. Please share this announcement with friends and family, and read on for more info!

Warm Regards,
Rebecca Migdal and Andy Laties

In the rainforest of the tiny country of Belize, irresponsible development threatens the fragile ecology, and the livelihood and way of life of Maya chocolate farmers. Also endangered: miles of unexplored ruins and precious artifacts, and the second largest barrier reef in the world.

Join Bank Street Bookstore's own Rebecca Migdal in witnessing the struggle of these Maya communities to protect their rainforest home, and learn about the making of the concertina-comic Ana and the Calabash, the story of a young Maya girl who bravely challenges a bulldozer that is destroying her family's farm.

December 9 and 16 (Sundays) at 2 pm: Kids of all ages will learn about the fascinating history of the Mayas, the rainforest where they live and farm, and the delicious chocolate that they have grown for thousands of years. We will draw pictures, write stories and make "codex" comics to tell the world about preserving the rainforest for the future, during two arts and crafts events at Bank Street Bookstore.

December 21 (Friday) at 4:30 pm: Come to the Gala and show your support for the planet's future while enjoying superb hand-crafted Belizean chocolates.
Organic chocolate tasting
Book signing for the new color edition of Ana and the Calabash
Screenings of the animated film of Ana and the Calabash, and original films of the Maya in Belize,
Children's art and zine exhibition
Fundraiser for the Toledo Alcalde Association's efforts to protect the rainforest

Interested? Intrigued? Below you'll find more detailed information about the reasons for this event and why it's important to act now.

The compelling reason for the event series is that it has come to our attention that exploratory oil drilling will shortly commence in the rainforest in Toledo, Belize and that there has not been an adequate Environmental Impact Assessment from the company, US Capital Energy.

This project stems from contacts made during our two trips to Belize in 2008 when we spoke with indigenous rights activists in the Toledo district, where a particularly robust group of Maya chocolate farmers were successfully fighting for the right to have a say in the development of their ancestral land. These farmers grow crops sustainably in harmony with Nature using the "milpa" system, which combines low-impact crop rotation with the cultivation of arboreal shade-grown food crops like cacao within the rainforest itself.

An analysis by ELAW (the Environmental Law Alliance Worldwide) of the Environmental Impact Statement filed by US Capital Energy (lawyers at the Indian Law Resource Center believe this to be a "front" for a major American Oil co) related to their proposed exploratory drilling in the rainforest in southern Belize is useful in understanding just how much negligence the company is going to be allowed to get away with if nobody stops them. The drilling has been approved and will take place in a National Forest and on ancestral Maya lands, that are extremely fragile ecosystems and adjacent to the second largest barrier reef in the world.

Suffice it to say that US Capital Energy and its government cronies used every tactic in the book to shove through approval of the drilling. The EIA was pathetically inadequate, offering no comprehensive scientific assessment of environmental impacts to vulnerable or threatened species, ignoring the impacts of waste disposal, and providing no bond or assurances of mitigation in case of a catastrophic accident. A single copy of the report was deposited in the Punta Gorda library (indigenous Maya most affected by the plan live in remote villages with little or no bus service to the city) and then the community meeting was announced only to cronies and their supporters. Community leaders and activists who tried to attend the meeting and voice concerns had their mics turned off and were escorted from the premises.

Our partner on this project, Cristina Coc, is a courageous and beautiful Maya woman, the sister-in-law of Julian Cho, an environmental activist and high school English teacher who was assassinated in 1998 after he successfully put an end to illegal clear-cutting of the rainforest by foreign developers. Cristina was the inspiration for Ana and the Calabash and the comic was created at her behest.

It's an amazing project and we are very excited to be working on it, and we hope that by raising awareness of the issue and providing a global network of "witnesses" we can pressure the Belize Government to at least enforce existing laws, and prevent the kind of devastation that occurred to indigenous communities in Ecuador when oil extraction resulted in permanent environmental destruction and caused a host of deaths.

Thanks for reading, and we hope to see you at the event. If you can't come, but want to help, contact us. We will be creating a catalog of premiums available to donors. We want everyone to be able to buy delicious Maya chocolate (and/or the book Ana and the Calabash!) and save the rainforest.

80 Race Street | Holyoke MA 01040

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13. Julie Tolentino, FF Alumn, at USC, Los Angeles, CA, December 5

Julie Tolentino
Visiting Artist Lecture
Organized by
iMAP - Media Arts and Practice

Wednesday, 12/5/12
4-6pm
University of Southern California
Room SCB 104, School of Cinematic Arts

Julie Tolentino will show and discuss her work. Tolentino's solo practice
engages the body as archive via contemporary movement, duration, site, and installation-making infused by a myriad of experiences including professional dancer, caregiver, AIDS activist, proprietor of 12 year queer performance and dance venue: the Clit Club and Tattooed Love Child, practitioner of aquatic bodywork/somatic movement and identifies as an artist mentor/instigator in her teaching practice.

Sponsored by SCA Graduate Council and GSG Graduate Student Government

http://imap.usc.edu
http://julietolentino.com

micha cárdenas
PhD Student, Media Arts and Practice, University of Southern California
Provost Fellow, University of Southern California

New Directions Scholar, USC Center for Feminist Research

MFA, Visual Arts, University of California, San Diego

Author, The Transreal: Political Aesthetics of Crossing Realities, http://amzn.to/x8iJcY

blog: http://transreal.org

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14. Michelle Handelman, Julie Tolentino, FF Alumns, at Untitled Art Fair, Miami, FL, Dec. 5-9

PARTICIPANT, Inc. at "UNTITLED Art Fair"
PARTICIPANT is proud to participate in the new UNTITLED Art Fair organized and curated by Oscar Lopez-Chahoud. This art fair is held directly on the sands of Miami Beach in a beautifully designed tent on the beach at 12th St. PARTICIPANT will show work by: Ron Athey, Robert Boyd, John Brattin, Ellen Cantor, Johanna Constantine, Vaginal Davis, James Fotopoulos, Michelle Handelman, Lovett/Codagnone, Kembra Pfahler, Luther Price, Diana Puntar, Julie Tolentino, Conrad Ventur.
December 5 - 9
South Beach at 12th Street and Ocean Drive
Miami, FL 33139
Public Hours
Wednesday December 5 11 am - 7 pm
Thursday, December 6 11 am - 7 pm
Friday, December 7 11 am - 7 pm
Saturday, December 8 11 am - 7 pm
Sunday, December 9 11 am - 6 pm

VIP Private Preview & Vernissage
Monday, December 3, 6 - 9 pm

For a complimentary VIP pass, register online here.

For more information about UNTITLED, visit www.art-untitled.com.

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15. Ame Gilbert, Sarah Safford, FF Alumns, at Old Stone House, Brooklyn, Dec. 6

BROOKLYN READING WORKS
at the old stone house
"The best place to chase fiction with a little history."
-Conde Nast Traveler

Contact:
Louise Crawford
louise_crawford@yahoo.com
718-288-4290
brooklynreadingworks.com

FEAST! WRITERS ON FOOD

AT THE OLD STONE HOUSE IN PARK SLOPE

Thursday, December 6 at 8PM

A Benefit For a Local Food Pantry
Brooklyn Reading Works presents:

Feast! Writers on Food
curated by Ame Gilbert

A benefit for a local food pantry

December 6 at 8PM

The Old Stone House

336 Third Street in Park Slope
Between 4th and 5th Avenues
Suggested donation for this special event is $10, which includes wine and refreshments
718-768-3195 or 718-288-4290

We are proud to present Feast! an annual event celebrating writers who write about food as subject matter, as memory, as metaphor, and as trigger for sensorial and delicious writing.

This year we have a stellar group of writers: Molly O'Neill, Sara Kate Gillingham-Ryan, Zarela Martinez, Sarah Safford and Ame Gilbert.

Foodie alert: This is a WOW and must-see event. Please come to listen and nibble because there will be succulent writing and tasty food.

AND: it's a benefit for a local food pantry!!

Bios of the participating writers in alphabetical order:

Sara Kate Gillingham-Ryan is a food writer in New York City. She is the founding editor of Apartment Therapy's The Kitchn (www.thekitchn.com) and the author of two cookbooks, The Greyston Bakery Cookbook: More Than 80 Recipes to Inspire the Way You Cook and Live (Rodale, 2007) and Good Food To Share: Recipes for Entertaining with Family and Friends. (Weldon-Owen, 2011)/ Sara Kate has written nationally syndicated food articles for Tribune Media and done writing and recipe development work for Bon Appétit, Food & Wine, House Beautiful, O, the Oprah Magazine, Muscle & Fitness, the Wall Street Journal, the Washington Post, Saveur, and Ladies Home Journal. She has appeared on several television shows including the Martha Stewart Show and Live with Regis & Kelly. Once upon a time she wished to be a poet and now finds that poetry in food.

Zarela Martinez was born in the Sonoran border town of Agua Prieta. She is a renowned cultural interpreter between Mexico and the United States through the medium of food. Since 1987 her eponymous "Zarela" has set standards of authenticity among New York Mexican restaurants. A sought-after speaker and consultant for major corporations, she also wrote the pioneering cookbooks Food from My Heart, The Food and Life of Oaxaca, and Zarela's Veracruz, the last published in conjunction with her public television series ¡Zarela! La Cocina Veracruzana. It was there that Zarela became familiar with Afro- Mexican cooking where peanuts as a major ingredient Her website www.zarela.com is an invaluable resource for lovers of Mexican food and culture and her how-to videos on basic Mexican cooking techniques and flavor principles featured on www.youtube.comare fun and informative.

Molly O'Neill is the author of the memoir Mostly True: Family, Food and Baseball and four cookbooks including The New York Cookbook and One Big Table. A longtime columnist with the New York Times Magazine, she was the host of the PBS series Great Food and edited the Library of America's American Food Writing. O'Neill founded the first web-based multimedia company dedicated to food in 1999 and founded Cook N Scribble, the online classroom, resource and community for food writers last year.

Sarah Safford is a teacher, dancer and lyricist who has recently been writing songs for musical theater. For the past two years she was a member of the BMI Musical Theater Workshop and in her spare time she plays ukulele with the Angel Band Jam. She has cheerfully performed thematic songs at many communaltable events.

Ame Gilbert (curator) ping pongs between art and food and every now and then stops to writes about it. She is the author of the unpublished cookbook cake, meat, soup and has had stories published in Gastronomica and in Food, Culture & Society. Ame curates for the Umami Food and Art Festival- a biennial performance festival in NYC. She is co-founder of communaltable, putting together theme based salon-style meals in the city and upstate NY. Ame has taught Food is Art, a studio art class at Parson's School of Design, as well as 'literacy by way of cooking' in an afterschool program in the Bronx. Currently, deeply underemployed, she has been volunteering, cooking for people who lost their homes during hurricane Sandy.

EXPERIENCE Brooklyn Reading Works, the reading series that has been called "The best place to chase fiction with a bit of history" by Conde Nast Traveler. "Once a month you can hear writers discuss themes ranging from Make Mine a Double on women and drinking to books by war veterans."

BRW is a fun and entertaining literary night out in a neighborhood devoted to books.

The Old Stone House
336 Third Street
Brooklyn, NY 11215
718-768-3195

BRW 2012-2013 SEASON
September 20, 2012: Young Writers Night (poetry, fiction and song) curated by Hannah Frishberg introduced by Tina Chang. This event is a Brooklyn Book Festival Book End event.

October 18, 2012: Poetry: A Cure for the Common curated by Patrick Smith

November 15, 2012: Writing War: Fiction, Memoir, Poetry by Vets featuring Anthony Swofford author of Jarhead and Hotels, Hospitals and Jails and others. Curated by Peter Catapano of the New York Times.

December 6, 2012: Feast: Writers on Food. An annual benefit for a local food pantry curated by Ame Gilbert

January 17, 2013: The Truth and Publishing curated by John Guidry (Truth and Rocket Science). A panel discussion about the future of writers, agents, editors and publishers

February 28, 2013: New Plays by Brooklyn Playwrights curated by Rosemary Moore

March 14, 2013: Voices from the East: In the Year of the Snake curated by Sophia Romero (The Shiksa from Manila). An annual celebration of Asian and Asian-American authors

May 9, 2013: 7th Annual Edgy Moms curated by Louise Crawford and Sophia Romero

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16. Carey Lovelace, FF Alumn, at La MaMa, E.T.C., Manhattan, Dec. 14-16

HONOUR, by Dipti Mehta, directed by Terry Berliner. One-person show
about a child prostitute in Mumbai, includes traditional Indian music
and dance. Friday, December 14, and Saturday, December 15, 7:30pm;
Sunday, December 16, 2:30pm. La MaMa E.T.C., First Floor Theatre, 74A
East 4th Street, New York 10003. Box office: (212) 475-7710,
http://lamama.org/first-floor-theatre/honour/. Followed by talk-back
about sex trafficking. Tickets: $18 (student/senior $13)

Contact: Evan Ross Katz
loosechangeproductionsinc@gmail.com
http://loosechangeproductions.org
Ph 212.566.2929

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17. Elana Katz, FF Alumn, at Contemporary Institute of Art and Thought, Berlin, Germany, Dec. 8

Dear friends,
I will be presenting a new and rather experimental performance work next Saturday (December 8th) in collaboration with artist Lisa Stertz, at C.I.A.&T. (Contemporary Institute of Art and Thought Berlin).
All info is below. Would love to see you there.
My best,
Elana

AUF MEIN SHEITEL
by KATZ + STERTZ

Performance: Saturday 8. December 2012, 7pm
Exhibition: 13 - 16 December, 4-7pm
& by appointment: 0178.1494336 or 0163.8972830

Contemporary Institute for Art and Thought
Zossenerstraße 34, Berlin
Map: http://goo.gl/maps/hRvkL

AUF MEIN SHEITEL is a collaborative 2-part set of performances that examine the intersection of the languages German and Yiddish, and associated cultural/ religious customs. Yiddish, the Jewish language of Ashkenazi Jews of Eastern Europe, is a linguistic mixture of German and Hebrew (with select slavic influences), and orally bares a marked resemblance to German. Jewish-American artist Elana Katz and German artist Lisa Stertz work together in related performances that attempt to access, explore, and comment upon the parallels and discrepancies between these two languages and an associated cultural practice, from a distinctly outsider perspective. The "Sheitel" (the Yiddish word for the wig that a religious Jewish woman wears after marriage), and "Scheitel", (the German word for the part in one's hair or the crown of one's head) will be a foundational starting point for this performative critical dialogue.

Elana Katz is an artist working primarily in the mediums of performance and photography, whose most recent work focuses on consciousness of time and historical perception. Working often from this historical basis, Katz's work confronts cultural conventions, critically examines the complexity that lies within contradictions, and thus aims to create an experience of unlearning the assumed. Her recent grants have included the DAAD Graduate Studies Grant (2010) and the Franklin Furnace Fund for Performance Art (2011). She has recently exhibited/performed at the Marina Abramovic Studio at Location One of New York, USA (2011) Content @ Museum of Contemporary Art Tokyo, Japan (2011), Musée Royaux des Beaux Arts de Belgique, Belgium (2011), and the Freies Museum Berlin, Germany (2012).
http://www.elana-katz.com/

Lisa Stertz is a performance artist whose primary focus is centered upon the question of corporal existence. Her solo series SLOW PIECES and her video performance SEHNSUCHT opened her actual field of research called voluntary restraints. She plays with the relation of limitations and possibilities of which a body consists, as seen in the dialectic of physical shape and constructed will. Stertz presented her work at LOCALIZE - das Heimatfestival in Potsdam (2008-2011), Philosophy on Stage III in Vienna (2011) and at grüntaler9 -- a space towards the performative in Berlin (2011/12).
http://lllss.tumblr.com/

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18. Vernita Nemec, FF Alumn, at Viridian, Manhattan, thru December 15

"Picture Perfect: Director's Choice"
"Director's Choice" Images from our 2nd International Juried Photo Competition
Curated by Vernita Nemec
November 27th to December 15th, 2012
opening reception Thursday November 29th, 6-8PM

Juliette Argent . Stephanie Aust . Susan Barnett . Mimi Botscheller . Deborah Cahn . Tina Carter . Cynthia Fleury . Amanda Gahan . Ken Greene . Joshua Greenberg . Susan Evans Grove . Barbara Habenstreit . Teri Havens . Joshua Hobson . Gisa Indenbaum . Thomas Jackson . Lynne Johnson . Ashley Jones . DeeDee Maguire

Viridian Artists is pleased to present "Picture Perfect: Director's Choice", an exhibition of photographically based art to occur November 27th to December 15th, 2012 at 548 West 28th Street, also accessible from 547 W 27th Street. There will be a reception Thursday, November 29th, 6-8PM.

Although these artists/photographers were not "winners" of Viridian's 2nd International Juried Photo Competition juried by Jennifer Blessing from the Guggenheim Museum, Vernita Nemec, Viridian's gallery director, felt the images of these nineteen photographers to be as uniquely interesting as some of those chosen by the Guggenheim Curator. Professional opinions vary widely regarding what is the "best" art, but in the end, thinking people realize it is a question of taste even in the eye of the professional.

One of Viridian's missions is to provide meaningful exposure to under known artists. Shown in a power point presentation during the Juried exhibition last season, Viridian's director felt these images to be worthy of their own exhibition and hence we are pleased to bring the actual works together now in this second Picture Perfect Exhibition. Each of these artists has their own personal obsession in their search for images in reality to record, capture or alter and then transform into their own reality.

Water inspires two of these photographers. For Amanda Gahan the water and sand of the Florida beaches are important parts of her history though she now lives far away. "In "Challenge in Comfort" I attempt to find comfort in one element of my history: water. By performing everyday, mundane tasks underwater, I allow the water to surround me in its comfort, but in the same way that it comforts me, it challenges me with its suffocating, anti-gravitation aspects."

Tina Carter grew up with Narragansett Bay in her back yard. Since then, water and the ocean are her ultimate target, particularly the unrestrained, unrefined passion of the Pacific Northwest coast. Color, her first discovery in photography makes her see the ocean, and how it speaks to the land, in vivid color. "The ocean washes color into my world."

Culture and other creative arts inspire Mimi Botscheller and Juliette Argent.

Mimi Botscheller's inspiration is the songs of William Blake. She is drawn to Blake through a sense that there is a thread of commonality between her own perception and Blake's awareness of the illusions of existence. His songs inspired her to create a narrative image of a contemporary parallel universe.

Juliette Argent's interest lies in the trans-aesthetic state of contemporary visual culture and the fusion of reality and fiction in our image saturated world. Staging a pseudo commercial photo-shoot, Argent has an archetypal female model skillfully made-up, then subjected to an extreme everyday situation causing the fragile cosmetics to disintegrate and destroy the surface illusion. She then photographs the model to highlight the absurdity of the perfected airbrushed images seen in cosmetic advertising.

A number of these photographers record America as it, often to emphasize the contrast to what once was. Cynthia Fleury's Vintage Car Graveyard is one of a series of images done in Quinn, South Dakota. The once thriving town of Quinn was doomed to become a ghost town when Interstate 90 bypassed Quinn in favor of neighboring Wall. This lineup of vintage cars and trucks was captured on a calm cloudy day that added to the atmosphere of this nearly desolate town of 44 inhabitants not far from the Badlands.

Teri Havens' image was taken in Slab City, a squatters' community located on a desolate swath of southern California's Sonoran Desert wedged between the Salton Sea and an active bombing range where she lived part-time for three years. Slab City is a collection of fiercely independent, utterly original individuals. Cast out of, or just drifting away from, the "American Dream," they come here seeking freedom from rules, rent, and the assaults of a society often unsympathetic to the underclass.

Barbara Habenstreit's photo was taken at the annual Coney Island Mermaid Parade in June 2011. She spotted some religious messengers who were trying to spread God's word to this crowd of "sinners" on Mermaid Avenue but no one seemed to pay the slightest attention to them, except for her, photographing them.

"Thrifty Center" is one image from a larger body of work by Ashley M. Jones. This collection of images attempts to accurately document the current state of a once thriving area of downtown Savannah, the MLK corridor. The artist has spent much time observing and researching this particular community, then photographing with a 4x5 large format camera to convey a sense of truth and accuracy as well as a sincere concern for that community. Thomas Jackson is interested in reflecting the mood and feeling of our era and strives to make relevant, memorable American images that make people think and invites viewers to create their own narrative.

Others in this exhibit attempt to translate their environment as a reflection of themselves. Joshua Hobson feels his image making plays many roles in his life. One is the roles is organizational, allowing him to use his photography as an exercise in compartmentalizing the world, particularly in response to a strange environment. He feels that through his photography, he "creates visual quotations of the world that (he) encounters daily and the world as (he) wishes it to be."

DeeDee Maguire always wondered how it felt to resemble a parent or a sibling. Initially, her self-portrait photography was a means to explore identity. Eventually, the images grew to form a visual diary recording what happened and how she felt at a certain time, at a particular place in her life. This self-taught photographic journey began in 1978 and continues today.

Many of these artists are primarily concerned with the abstraction of their imagery. Deborah Cahn began with art quilts, moved on to mixed-media collage, and developed a serious interest in photography as the result of using photographs in collages. "I love abstract pattern and texture rather than representational images, so I compose my photographs to eliminate hints of the subject's identity."

Ken Greene, Joshua Greenberg and Lynne Johnson are intent on abstracting nature while Susan Evan Grove does the same with reflections. Ken Greene makes abstract images out of scenes that most would shoot as a fall "postcard" shot. Living in the Great Smoky Mountains with the abundance of beautiful imagery, he focuses on imagery that doesn't seem like a nature subject at first glance, but clearly is upon further inspection. Joshua Greenberg's photo-based abstract prints combine the elements of photography with digital processing to produce a new composition. The objective is an image with its own sense of abstraction and movement, based on and retaining elements of the original photograph, in this case, representing the color, texture, and complexity of rain-washed landscape.

During her frequent walks, hikes and skis, Lynne Johnson studies the light and shadows on and about the rocks, trees and bushes. She is especially intrigued by the discovery of things not immediately identifiable that suggest something else. On second thought, the artist felt that perhaps "Cut Log in Snow" should be titled "Bangs".

Susan Evans Grove's vision travels along the surface of automobiles. She takes straight shots of a reflection in a car's exterior, sometimes from the interior of the car, names them after the make of the car they are shot from and then prints on metal to simulate the experience she had recording the image.

Stephanie Aust's image "Horrible Things" with its dark shadows hints at a past one wants to forget & Susan Barnett's series of portraits of people in t-shirts with their faces not visible conveys the essence of the person through the message on their backs.

This exhibit of photography exemplifies the potential alternatives of conveying reality whether the artist does little more than record a moment in time or searches for the extremes of their message at the edges of reality.

Gallery hours: Tuesday through Saturday, 12 - 6 p.m.

For further information please contact Vernita Nemec, Gallery Director
at 212.414.4040 or viridianartistsinc@gmail.com
or view the gallery website: www.viridianartists.com
917-655-4473

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19. Jeff Lankov at NYU, Manhattan, Dec. 9

JEFF LANKOV: LOOPS, WAVES & IMPRESSIONS:
PIANO WORKS BY JOHN ADAMS AND CLAUDE DEBUSSY

VENUE: NEW YORK UNIVERSITY'S BLACK BOX THEATRE
ADDRESS: 82 WASHINGTON SQUARE EAST, NEW YORK CITY, 10012
DATE: SUNDAY, DECEMBER 9, 8 PM
ADMISSION: FREE

New-music pianst Jeff Lankov, whose playing has been described as "alternately ferocious and sensitive," (New York Times), has been hailed as "a fearless musician" (Dallas Morning News). Lankov will perform the complete solo piano works of John Adams, rarely heard on the same program, along with the second book of Préludes by Claude Debussy in a solo piano recital entitled Loops, Waves & Impressions.

Adams' early minimalist works Phrygian Gates and China Gates, and most recent piano work, American Berserk, span 25 years, providing a glimpse into Adams' drastically evolving style. Several of the Préludes of Claude Debussy have been described as some of the earliest pieces to utilize minimalist techniques. Actress Jan Pessano will present readings to accompany Debussy's Impressionistic masterpieces.

Jeff Lankov is a pianist specializing in contemporary American music, particularly as it relates to the synthesis of classical and popular forms. He has been described as "a pianist of great passion and verve" (Portland Tribune) and "a master of concert programming" (Ft. Worth Star Telegram).
###
For more information about this event, please call Jeff Lankov at 917-655-4473 or email to Jeff@JeffLankov.com. Visit JeffLankov.com for full bio, detailed copy, and downloadable jpeg photos.

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20. Jenny Polak, FF Alumn, at Northwestern University, Evanston, IL, Dec. 4

Northwestern University's Kaplan Institute for the Humanities and Department of Art Theory and Practice present:
Artist in Residence Jenny Polak
Open Studio Reception
"Commemoration: a Prison Unbuilt"
Tuesday, December 4th, 2012
4:30-6:00 pm, remarks at 5:00 pm
AIR Studio, Kresge 1-410
Evanston Campus, Northwestern University
Refreshments will be served. This event is free and open to the public.
For information please contact jp@jennypolak.com

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21. Laura Parnes, FF Alumn, at MoMA, Manhattan, Dec. 17

MoMA
Modern Mondays, Dec 17, 2012, 7PM. An Evening with Laura Parnes
Pictured: Chloe Bass and Stephanie Vella

http://www.moma.org/visit/calendar/film_screenings/16799

Brooklyn-based artist Laura Parnes blurs the lines between narrative film and video art, storytelling conventions and experimentation. This evening's program centers on her recent cross-platform digital film County Down (2012), in which an epidemic of psychosis among the adults in a gated community coincides with a teenage girl's invention of a designer drug. Mirroring rave culture and the unbridled optimism surrounding technology during the 1990s, County Down presents a society so obsessed with novelty and consumerism that it euphorically embraces its own destruction. Program approx. 90 min.

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22. Sarah Mattes, FF Intern Alumn, at 8 Pell Street, Manhattan, thru Dec. 9

Greasy Pink
Curated by Donald Cameron
8 Pell St. (West of Bowery)
http://goo.gl/maps/ZEJEU

Opening reception: Thursday, November 29, 6-9pm
November 29 - December 9, 2012
Open noon-5pm and by appointment
(312 206 4241)

Artists:
Ivin Ballen
Zachary Bruder
Donald Cameron
Leah Dixon
Erin Lee Jones
Kassie Teng
Sarah Mattes
Bryan Osburn
Lauren Seiden
Mark Sengbush

Sarah Owens Mattes
sarahmattesstudio.com
201.452.5141

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23. Tobaron Waxman, FF Alumn, at Central European University, Budapest, Hungary, Dec. 30

TOPOGRAPHIXX: Trans in the landscape - a video curation by Tobaron Waxman Public event • By Human RightS Initiative (HRSI)

Friday, December 30, 17:30
Central European University, Nador 13, Room 001 Budapest, Hungary

Human RightS Initiative (HRSI), Ryan Tracy (Ryanna Gacy, CEU GENS MA), faculty of CEU Gender Studies, and the CEU LGBTQIA community group, in spite of funding denied by Student Union, are happy to present Tobaron Waxman and his curated workshop-screening, "TOPOGRAPHIXX: Trans in the Landscape," to CEU on Friday, Nov. 30, 5:30 PM in Nador 13, 001.

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." (TW)

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 Facebook invitation: https://www.facebook.com/events/369366263153619/

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Goings On is compiled weekly by Harley Spiller