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Contents for January 17, 2013

1. Franklin Furnace to be featured in next episode of "The Carrie Diaries"

"The Carrie Diaries," the prequel to "Sex and the City," premiered on Monday. The next episode, on Monday, January 21, will feature opening credits of images of Franklin Furnace Alumns, as well as announcement cards from 1985 performance art events held at 112 Franklin Street. The idea is that Carrie Bradshaw is visiting Franklin Furnace in TriBeCa to see a performance art presentation! Please tune in at 8:00 PM Eastern and Pacific time, 7:00 Central time, on the CW network (Channel 11 in New York) to check it out.



2. Martha Wilson, FF Alumn, at Pitzer College Art Galleries, Los Angeles, CA, opening Jan. 26

Martha Wilson
January 26 - March 22, 2013

Nichols Gallery, Pitzer College Art Galleries

Opening Reception: Saturday, January 26, 2013, 2 - 4 p.m. at Nichols Gallery

Barbara Bush on LA><ART by Martha Wilson
Pitzer College Art Galleries in collaboration with LA><ART
2640 S. La Cienega, Los Angeles, CA 90034
Thursday, January 24, 2013 at 6:30 p.m.

Artist Lecture: Wednesday, March 13 at 10 a.m. in Broad Center Performance Space, Pitzer College

We'll Think of a Title When We Meet AKA LA-London Lab
Conversation with Martha Wilson, Suzanne Lacy, Cheri Gaulke and Leslie Labowitz-Starus, moderated by Dr. Alexandra Juhasz, Pitzer College professor of media studies.
Pitzer College Art Galleries in collaboration with Otis Public Practice at the 18th Street Arts Center in Santa Monica
1657 18th Street, Santa Monica, CA 90404
Wednesday, March 13, 2013 at 7 p.m.

Martha Wilson is an Independent Curators International (ICI) traveling exhibition with an added collaborative component that allows each venue to further develop the show's thesis in consultation with the artist. This collaborative model lets the hosting institution focus on different aspects of the exhibition through selection and emphasis of individual works, specific thematic content and collateral programming.

Martha Wilson is a pioneering feminist artist and gallery director. For the past four decades, she has created innovative photographic and video works that explore her female subjectivity through role-playing, costume transformation and "invasions" of other people's personas.

Martha Wilson mines the various experimental practices, writings and shifting perspectives to explore current attitudes toward feminism, activism and collaborative practice. This exhibition includes conceptually-based performance, photo-texts and video as well as selected projects from 30 years of Franklin Furnace, an artist-run space that Wilson founded to challenge institutional norms and champion the exploration and promotion of artists' books, installation art, and video and performance art.

Wilson's career began in Nova Scotia in the early 1970s. Her work first began to garner wide-spread attention after Lucy Lippard contextualized Wilson's pieces within the parameters of conceptual practice and other women artists. In 1974, Wilson moved to New York City where her provocative appearances and works gained national recognition-Judy Chicago once denounced her for "irresponsible demagoguery." Wilson has also been regarded by many as prefiguring some of Judith Butler's ideas on gender perfomativity through her practice. More recently, she was described by art critic Holland Cotter as one of "the half-dozen most important people for art in downtown Manhattan in the 1970s."

In 1976, Wilson founded and then directed Franklin Furnace, where artists Jenny Holzer, Claes Oldenburg, Robert Wilson, William Wegman and hundreds of others first premiered their work. In 1981, Wilson continued her collaborative tradition when she hosted a gathering in New York of feminist performance artists from Los Angeles and London-a group that included Leslie Labowitz, Linda Nishio, Martha Rosler, Rose Finn-Kelsey, Sonia Knox and Carlyle Reedy-and staged a series of performances titled LA-London Lab. Franklin Furnace continues its nearly four decades of programming today, preserving and advocating avant-garde art by providing exhibition space, publishing periodicals and printing artist books.

Martha Wilson is organized by Independent Curators International (ICI), New York, and was initiated by guest curator Peter Dykhuis. The exhibition, tour, and the accompanying publication Martha Wilson Sourcebook are made possible in part by grants from the National Endowment for the Arts, The Andy Warhol Foundation for the Visual Arts, The Horace W. Goldsmith Foundation, The Cowles Charitable Trust, and by the generous support of the ICI Board of Trustees.

About the Artist
Martha Wilson has created innovative photographic and video works for more than four decades. She began making these videos and photo/text works in the early 1970s when she was studying in Halifax, Nova Scotia, and further developed her performative and video-based practice after moving in 1974 to New York City where she gained attention across the US for her provocative appearances and works. Early in her career, the art critic and curator Lucy Lippard contextualized Wilson's pieces within the parameters of conceptual practice and other women artists. In 1976, Wilson founded and then directed Franklin Furnace, an artist-run space that championed the exploration and promotion of artists' books, installation art, and video and performance art, further challenging institutional norms, the roles artists played within visual arts organizations and expectations about what constituted acceptable art mediums. Over her long career, Wilson has been written into and out of art history according to the theories and convictions of the time. She has been regarded by many as prefiguring some of Judith Butler's ideas on gender perfomativity through her practice and is considered one of the most innovative creative forces in the New York art world of the 1970s.

About the Curator
Peter Dykhuis is director/curator of the Dalhousie Art Gallery in Halifax, Nova Scotia. Dykhuis is the former director of the Anna Leonowens Gallery at the Nova Scotia College of Art and Design and served as a guest curator for the Art Gallery of Nova Scotia. His most recent exhibitions were Exalted Beings: Animal Relationships, Douglas Walker: Other Worlds and Giving Notice: Words on Walls.



3. Disband, FF Alumns, at Pennsylvania Academy of the Fine Arts, Philadelphia, Jan. 17

PAFA kicks off 2013 with popular "PAFA After Dark" series
January 17, February 21, March 21

The Pennsylvania Academy of the Fine Arts (PAFA) begins the new year with three PAFA After Dark events on January 17, February 21, and March 21, from 6 to 9 p.m. each night.

PAFA After Dark offers guests an opportunity to enjoy evenings of fun, flavor, and friendship, while experiencing the museum's gorgeous galleries under the provocative blanket of night. Programming for the January and March installments of PAFA After Dark will be in conjunction with The Female Gaze: Women Artists Making Their World exhibition, on view through April 7. The February event, meanwhile, will give guests a chance to explore the Furness-designed Historic Landmark Building in a new, up-close way.
Admission is $10 advance; $15 at the door (based on availability); Free for PAFA members. To reserve tickets, visit www.pafa.org/afterdark or call 215-972-2077.

Thursday, January 17
6 - 9 p.m. Samuel M.V. Hamilton Building
Art is a powerful vehicle for responding to contemporary issues and events, and this night of talks and performances gives the artist in The Female Gaze: Women Artists Making Their World a chance to speak their minds. Go on a "Personal is Political" scavenger hunt, screen short videos of some of the most provocative artists in the exhibition, and design a campaign button for yourself. We'll be joined by DisBand, an all-female, all-artist musical group for a reunion performance, and feature a talk by Philadelphia-based artist, community activist, and PAFA alumna, Sarah McEneaney (whose work is on view in The Female Gaze).

Thursday, February 21
6 - 9 p.m. Historic Landmark Building
For one night only, we're letting the public in on some of our best-kept secrets. Join us for this unusual night of demonstrations and entertainment when the museum installs its collection in new ways. We will examine historic objects and paintings under UV lights and X-ray, reveal the backs of canvases to see what little presents their artists left behind, and have interactive mini exhibitions you can curate yourself. Hear directly from museum conservators, curators, and educators about PAFA's most unusual objects, and go on tours about the role of frames in art exhibitions.

Thursday, March 21
6 - 9 p.m. Samuel M.V. Hamilton Building
For Women's History Month, we're bringing artists and wordsmiths together to celebrate the rich history of women in the arts. Play speed scrabble over cocktails, listen to the musical stylings of Suzette Ortiz and her band, and lend your words to our over-sized concrete poem interactive. Joined by poets from the Mezzo Cammin Women Poets Timeline Project and the Philly Youth Poetry Movement, we'll have poetry readings throughout the night as well as the Timeline's signature event - the women poets roll call.

PAFA After Dark: May 2
Details to follow.
Founded in 1805, the Pennsylvania Academy of the Fine Arts (PAFA) is America's first school of fine arts and museum. A recipient of the 2005 National Medal of Arts presented by the President of the United States, PAFA is a recognized leader in fine arts education. Nearly every major American artist has taught, studied, or exhibited at the Academy. The institution's world-class collection of American art continues to grow and provides what only a few other art institutions in the world offer: the rare combination of an outstanding museum and an extraordinary faculty known for its commitment to students and for the stature and quality of its artistic work.

Press Contacts:
Heike Rass / hrass@pafa.org / 215.972.2031
Silvana Pop / spop@pafa.org / 215.972.2106



4. Marisa Jahn, FF Alumn, at Amphitheater at Film Society Lincoln Center, Manhattan, Jan. 29

JAN 29: REV- at Lincoln Center // NYC
Tuesday, January 29 at 7pm | Amphitheater at Film Society Lincoln Center | Free, but RSVP required

Don't miss the first StoryCode forum of the year, where Marisa Jahn will share the process behind diverse media arts projects, including perennial favorites El Bibliobandido and 10 sec 1 bayt, along with upcoming works like LullaBOOM! (part two of our public art + nanny hotline). StoryCode is a community hub, lab and creative consultancy for emerging and established cross-platform and immersive storytellers.



5. Doug Beube, Karen Shaw, FF Alumns, at Lehman College Art Gallery, The Bronx, Feb. 5-May 11

Contemporary Cartographies
February 5 - May 11, 2013
Reception: Monday, March 18, 2013, 6 - 8pm

Kevin Van Aelst, Isabel Barbuzza, Doug Beube, Gail Biederman, Margaret Cusack, Sage Dawson, Lisa Corinne Davis, Dalia Elsayed, Charley Friedman, Wopo Holup, Meridith McNeal, Steven Millar, Simonetta Moro, Paula Scher, Karen Shaw, and Dannielle Tegeder

The exhibition will include a group of contemporary artists who uses the language and imagery of maps to communicate an array of ideas. Artists in this exhibition work in various styles, adapting, manipulating, and inventing maps to giving them new meanings. Some of them use fictional narratives and create imaginary cartographies; others conceive a work that updates the new geopolitical orders. Still others approach the map aesthetically or as material in itself. Humor too plays an important role in defining these borders. Curated by Susan Hoeltzel and Yuneikys Villalonga.

Gallery hours: Tuesday - Saturday, 10 am to 4 pm
Lehman College Art Gallery
250 Bedford Park Boulevard West * Bronx, N.Y. 10468-1589
tel. 718-960-8731 fax 718-960-6991




6. Paul McMahon, FF Alumn, at Works of Art, Manhattan, Jan. 23

i'll play on jan 23 at James Siena's gallery space

SOMETIMES...Works of Art, 83 Canal St. at 7:30
The show on the walls at that time will be by Aura Rosenberg.


Paul McMahon



7. Julie Ault, Disband, FF Alumns, at White Columns, Manhattan, thru Feb. 23


Yuji Agematsu
Julie Ault / James Benning
Lutz Bacher
Martin Beck
Kaucyila Brooke
Moyra Davey
Fat Lava / Nicolas Trembley
Peter Fend
Liam Gillick and Henry Bond
David Grubbs and Susan Howe
Lawrence Abu Hamdan
Alex Israel
Gareth James
Rockwell Kent
Alexander Kluge
Chris Kraus
Zoe Leonard
Sam Lewitt
Tan Lin
Chris Marker
Bjarne Melgaard
Alice Neel
Henrik Olesen
Alfred T. Palmer
Sam Pulitzer and Bill Hayden
Sabine Reitmaier
Helke Sander
Amy Sillman
Jason Simon
Harry Smith
January 10 - February 23 / 2013
Tuesday - Saturday / Noon - 6pm

320 West 13th Street
(Enter on Horatio Street)
New York, NY 10014



8. Gregory Sholette, Dread Scott, FF Alumns, at Pori Art Museum, Finland, opening February 1

It's the Political Economy, Stupid
Curated by Oliver Ressler & Gregory Sholette

Pori Art Museum, Pori, Finland
01 February - 26 May 2013, Wing, MEDIApoint
Opening: Friday 01 February 2013 at 18.00
opening performance by Flo6x8

Curator and Artist Talks: Friday 01 February 2013 at 12.00
Oliver Ressler and artists from Flo6x8 will be present, free admission

Participating Artists:
Filippo Berta (IT), Julia Christensen (US), Field Work (DK), Yevgeniy Fiks, Olga Kopenkina & Alexandra Lerman (US), Flo6x8 (ES), Melanie Gilligan (CA), Jan Peter Hammer (DE), Alicia Herrero (AR), Institute For Wishful Thinking (US), Sherry Millner & Ernie Larsen (US), lafur lafsson (IS) & Libia Castro (ES), Isa Rosenberger (AT), Dread Scott (US), Superflex (DK), Zanny Begg (AU) & Oliver Ressler (AT)

Additional program has been scheduled, on the occasion of the exhibition:
Kiasma Theatre, Helsinki: Workshop Oliver Ressler: Alternative Economics, Alternative Societies, 28 January 10-16.00 and 29 January at 10-13.00, advance enrolment
Lecture and book launch Oliver Ressler: Take The Square, 29 January at 15.00, free admission
Oliver Ressler will present the exhibition and the publication It's the Political Economy, Stupid: The Global Financial Crisis in Art and Theory published by Pluto Press (UK) and Pori Art Museum

Pori Art Museum lecture series: Lecture Oliver Ressler: Spatial Occupations, 30 January 2013 at 18.30 Pori Art Museum, lecture hall, free admission

It's the Political Economy, Stupid
Curated by Oliver Ressler & Gregory Sholette

Globalization, privatization, flexible work schedules, deregulated markets; 30 years of neoliberal capitalism has driven most of the world's governments to partly or wholly abandon their previous role as arbitrators between the security of the majority and the profiteering of the corporate sector. It comes as no surprise therefore that when problems in the US real estate and financial sectors resulted in a global financial crisis starting in 2008, governments all over the world pumped trillions of dollars into banks and insurance companies, essentially creating the largest transfer ever of capital into the private sector. One argument often cited for this unprecedented action was that many of these transnational corporations were "too big to fail." Still, despite these enormous expenditures millions of people soon lost their homes and livelihood, and the economic and social damage has not yet ended. The cost of these bailouts is staggering. States borrowed capital to rescue financial institutions resulting in growing national debt and virtual insolvency for some countries. Managing these budget deficits might have been possible if wealthy transnational corporations were forced to assist the economy, but neoliberal governments instead chose to introduce belt-tightening programs that radically reduce public services and social welfare. Needless to say, these austerity measures do not necessarily reflect the will of the majority, and increasing voter apathy is one serious side effect of such top-down decision-making.

Today, we are facing a catastrophe of capitalism that has also become a major crisis for representative democracy. The very idea of the modern nation state is in jeopardy as the deterritorialized flow of finance capital melts down all that was solid into raw material for market speculation and bio-political asset mining. It is the social order itself, and the very notion of governance with its archaic promise of security and happiness that has become another kind of modern ruin. Theorist Slavoj Žižek puts it this way, "the central task of the ruling ideology in the present crises is to impose a narrative which will place the blame for the meltdown not on the global capitalist system as such, but on secondary and contingent deviations (overly lax legal regulations, the corruption of big financial institutions, and so on)." [1]

It's the Political Economy, Stupid [2] brings together a group of superlative artists who focus on the current crisis in a sustained and critical manner. Rather than acquiesce to our current calamity this exhibition asks if it is not time to push back against the disciplinary dictates of the capitalist logic and, as if by some artistic sorcery, launch a rescue of the very notion of the social itself.

[1] Slavoj Žižek, First as Tragedy, Then as Farce. Verso Books, London/New York 2009, p. 19
[2] The title It's the Political Economy, Stupid is a re-phrasing by Slavoj Žižek of the phrase "It's the economy, stupid", a widely circulated phrase used during Bill Clinton's successful 1992 presidential campaign against incumbent President George Bush Senior.

The exhibition It's the Political Economy, Stupid launched a preview exhibition at Open Space in Vienna (2011), continued at Austrian Cultural Forum in New York and Centre of Contemporary Art in Thessaloniki (both 2012).
The show at Pori Art Museum is carried out in co-operation with Austrian Embassy (Helsinki).
The workshop Alternative Economics, Alternative Societies is carried out in co-operation with Reality Research Center, Kiasma Theatre and Austrian Embassy (Helsinki).

The new publication It´s the Political Economy, Stupid: The Global Financial Crisis in Art and Theory published by Pluto Press (UK) and Pori Art Museum is available here.



9. John Baldessari, FF Alumn, in Los Angeles, CA, January 2013

Produced by ForYourArt, the public art component of Arts Matter, kicked off by Barbara Kruger in October, continues with the work of artist John Baldessari. His project titled Learn To Dream, Aprende A Soñar launches today, and now appears on twelve buses, along with 48 other media assets including billboards, bus shelters, and other types of outdoor media throughout Los Angeles for the next four weeks.

Learn To Dream, Aprende A Soñar is the second flight of original works of art by world-renowned artists produced by ForYourArt for Arts Matter, a first of its kind, citywide public art exhibition and fundraising campaign to support arts and creativity in the nation's second largest public school system.

Presented by the Los Angeles Fund for Public Education (LA Fund) and the Los Angeles Unified School District (LAUSD), Arts Matter addresses the importance of arts education in Los Angeles public schools, the "creative capital of the world."

Baldessari's bus artwork, with its yellow and black design, turns Los Angeles Metro buses into "school buses." Baldessari's work provokes contemplation about what is and is not working in education today and challenges us to plan for a better future. His bilingual text, rendered in the artist's hand, inspires thinking and dialogue among and about Los Angeles's diverse audiences.

"Here in the world's creative capital we need to ensure all of our students receive a comprehensive, integrated arts education," stated Megan Chernin, founding Chair and CEO of the Los Angeles Fund for Public Education. "Los Angeles cannot take the creative economy for granted. Major LA employers like Mattel, a worldwide leader in hiring creative people, are joining this campaign because they understand the direct connection between arts integration in the classroom and a thriving creative workforce."

"John Baldessari's project brings art to the public with multiple access points for diverse audiences. As the buses move throughout Los Angeles, we are reminded that society's values are communicated and learned via public space and shared movement," said ForYourArt founder Bettina Korek.

About John Baldessari
For more than five decades, Baldessari has created thousands of works that demonstrate-and, in many cases, combine-the narrative potential of images and the associative power of language within the boundaries of the work of art.

Baldessari has been the subject of numerous retrospective exhibitions, those organized by the New Museum, New York, in 1981; the Instituto Valenciano de Arte Moderno, Valencia, Spain, in 1989; the Museum of Contemporary Art, Los Angeles, in 1990; Cornerhouse, Manchester, UK, in 1995; the Museum Moderner Kunst Stiftung Ludwig, Vienna, and Kunsthaus Graz, in 2005; and Tate Modern, London, and the Los Angeles County Museum of Art, in 2009.

About Arts Matter
Arts Matter is an unprecedented campaign to revitalize arts education in the nation's second largest school district. The campaign brings together the world's leading artists and thought leaders to drive public awareness for the critical role of arts education in public schools. Please visit www.lafund.org/#arts-matter for more information.

About the Los Angeles Fund for Public Education
The Los Angeles Fund for Public Education (LA Fund) is a philanthropic organization dedicated to driving positive change in the Los Angeles Unified School District (LAUSD). It invests in innovative, results-oriented programs designed to ensure every student in the nation's second largest school system has a chance to succeed. For more information, please visit www.lafund.org.

About ForYourArt
By engaging artists and different facets of the art world in innovative arts collaborations and public art initiatives, ForYourArt works to realize the potential of the imagination to shape our future. For more information, please visit www.foryourart.com.

Press Contact
Justin Conner, FITZ & CO: 212-627-1455 x233 / justin@fitzandco.com



10. Stephanie Brody Lederman, FF Alumn, at Espace des Femmes, Paris, France, thru Feb. 2

Elles métamorphosent le Livre I

Livres objets d'art uniques peints, sculptés, détournés, bibliothèques, installations,de Femmes-artistes internationales.

Sophie ALLARD, Denise AUBERTIN, Danielle AVEZARD, Jacqueline BADORD, Mary-Lise BEAUSIRE, BISTRA, Ute BEST, Liliane-Eve BRENDEL,
Stéphanie BRODY-LEDERMAN, Bernadette CHENE, Ag'ni CHRONOPOULOS, Marinette CUECO, Catherine DANZE, Marie-Line DEBLIQUY, Chantal DELAVAL,Marie-Jo de LOISNE d'AUMALE, Brigitte de RAINVILLERS, Margaretha DUBACH,Jacqueline DUBOST-GARIN, Isabel ECHARRI, Chary GOYENECHE,

10 janvier - 2 février, du mardi au samedi de 14h à 19h

Éditions - Librairie - Galerie - Espace des femmes
35 rue Jacob, 75006 Paris



11. Agnes Denes, FF Alumn, in Artforum, January 2013, and more


WHEN AGNES DENES planted and harvested almost one thousand pounds of wheat in what is now New York's Battery Park City, the action- and the astonishing photographs showing the World Trade Center and the Statue of Liberty looming over the endless golden grain cemented her reputation as an unconventional land artist and envi­ronmental visionary. In becoming her signature piece, however, Wheatfield - A Confrontation,1982, has also somewhat obscured the complexity of her long career. From the literally germinal work of eco-art Rice/Tree/Burial,1968-79, through her more recent plans for the reclamation and renewal of the Netherlands' Waterline (a fifty-mile string of fortifications dating to the seventeenth century), Denes has demonstrated a powerful commitment to the environment. But just as intrinsic to her practice is an exploration of the interplay between manifestation and concept, instance and system, including the representational and diagrammatic structures of math and science, which, as she shows, have their own lyricism. Her environmental works can't really be understood apart from the two-dimensional works, especially her drawings. Concurrent exhibitions of Denes's work at Leslie Tonkonow Artworks + Projects in New York and the Santa Monica Museum of Art this past autumn, in addition to her inclusion in the Brooklyn Museum's recent "Materializing 'Six Years': Lucy R. Lippard and the Emer­gence of Conceptual Art," may help bring the full range of her practice to light. Curated by Jeffrey Uslip, the Santa Monica Museum's "Agnes Denes: Body Prints, Philosophical Drawings, and Map Projections, 1969-1978" brought together a noteworthy variety of Denes's works on paper- a facet of her production often overlooked despite its critical role in her work, to say nothing of the sheer impressiveness of her draftsmanship. Sans Wheat­field, the concise exhibition worked toward a declassification of Denes as primarily a Land artist. This is an overdue correction for an artist whose approach favors the subversion of categorical thinking in a ll its forms. Most of the works are on graph paper. Lee Lozano used the same support in the early 1970s for her scarily revealing lab reports of the soul, and in Denes's graph­ paper works, too, the clinical, gridded backdrop is in ten­sion with persona l, funny, and often-startlingly for those familiar only with her better-known works-off-color iconography. An early-'70s group of body prints (incidentally concurrent with David Hammons's great early body prints) are especially bawdy. Still Life #1 and Still Life #2, both 1970, each showcase eight individual breast imprints in black ink with five cock prints poking nosily into their force field. Two other works show veritable police lineups of erect clicks. One, Napoleonic Series II: Investigation of World Rulers-Some More Napoleons Overlooking the Elba, 1971, lines up phallic forms in pathetically descending order, presumably inversely proportional to the size of their owners' complexes. One doesn't immediately think of Denes when men­tally ticking off female artists whose early-'70s work actively dealt with sexual politics. But the combination of abstract science with the corporeal is quintessential for her. When, in Design of the Universe, 1971, she pairs a lone breast print with a rendering of a globe (with nipple and North Pole wittily occupying the same location and surface area of their respective curvatures), she intertwines the human body- that irrational, illogical thing- with the inexorable laws guiding it and the representational systems defining it. The show demonstrates how geometry and architectural modeling have driven Denes's drawing style since the early days of her practice. In Isometric Systems in Isotropic Space: Map Projections- The Pyramid (The World from Below), 1978, the planet, with its identifiable land masses, is hypothesized as a pyramid instead of a globe. Such pyramidal forms pervade her imagery, linking ancient past and sci-fi future. The map drawings can have a proto-CAD stiffness about them, yet the bizarrely gorgeous rendering of continents floating within the tubular form of a hot dog ( Isometric Systems in Isotropic Space: Map Projections - The Hot Dog, 1976) is more evidence of the artist's wit. Is the work Denes's link between American hegemony and the future advent of a thoroughly processed and culturally Americanized planet? An intuitive, astral logic is also evidenced in the "philosophical drawings," which graph such phenomena as energy, time, space, evolution, and truth, plotting them as infinitely malleable, nonlinear continuums. It's not surprising that Denes's emergence onto a greater institutional stage has been a slow process. Her early work was perhaps too prescient (especially her pio­neering vision of Land art not as monument but as renewal) and eccentric; in addition, scientifically inclined female Conceptualists eager to poke fun at male power weren't exactly carving out an easy path to acclaim. Regardless of whether Uslip's modest exhibition raises Denes to the stature she deserves, it showed her from a significantly different angle. In any case, what was per­ haps ahead of its time in Denes's early work now feels acutely timely. In 1970, she wrote that her art is a response to an environment rife with misinformation, misconceptions, misinterpretations, and delusions: "Transmission and reception are distorted or blocked, while all exchanges are dangling. . . themselves perhaps false and illusory." The universe that Denes maps and charts is intimately personal, but it's also very much ours. NICK STILLMANIS A WRITER AND CRITIC LIVING IN NEW ORLEANS.


The WEEK December 21, 2012 Exhibit of the week: Agnes Denes: Sculptures of the MindÑ1968 to Now Leslie Tonkonow Artworks + Projects, New York, through Jan. 19 Agnes Denes deserves to be given her own full-scale museum retrospective, said Ken Johnson in The New York Times. This exhibition at the Leslie Tonkonow gallery is a nice introduction, but it only hints at how far and wide the 81-year-old artist has ventured in her work. Back in the mid-1960s, when it seemed that there was no room for consequential innovation in painting and sculpture, this Budapest-born, New York-based innovator had a singular response. Robert Smithson and Michael Heizer packed off to remote locations to create herculean earth sculptures. Another group went inward to explore landscapes of the mind. Denes did both and quite effectively, to judge by the evidence here. Documentary photographs must stand in for her large environmental works, but there are enough precision-executed smaller works to suggest how much ground she's covered just by following her own fascination with mortality and infinity. Denes excels at using the intimate to evoke the universal, said Carol Kino, also in the Times. Human Dust, from 1969, puts actual cremated human remains on a pedestal to show us where every life is heading. Nearby, fascinating Plexiglas sculptures use mirrors and repetition to suggest the possibility of escape from finite existence. Clear across the country, a simultaneous show in Santa Monica, Calif., is featuring the body prints Denes made in 1970Ð71. For that series, she coated her own breasts and her former husband's penis with fingerprint ink, using them as stamps to create images that resemble globes or forests. Too easy a provo-cation? Hanging nearby are Denes's detailed, hand-drawn map projections, which reimagine what Earth would look like if it were shaped like a pyramid, or a snails shell, or a hot dog. Denes remains best known for seminal Land Art pieces, said Kara Rooney in The Brooklyn Rail. She is arguably the pioneer of eco-conscious work that incorporates actual life cycles. For Wheatfield Confrontation (1982), she turned a $4.5 billion piece of property near New York's World Trade Center into a wheatfield, from which was harvested some 1,000 pounds of grain. A comment on misplaced priorities even then, the piece was also a stunning visual statement, said Gabrielle Selz in HuffingtonPost.com. Another work that's documented here, Tree Mountain (1992Ð96), features 11,000 trees planted in an intricate pattern on and around a man- made peak in Finland. Its a work whose life span is unknown, from an artist who doesn't allow boundaries to be finite. Her sculptures move beyond the concrete, to a place of open-ended free reign.


FINE ART | By Peter Plagens
Coloring In Lines of Humanity
Agnes Denes: Sculptures Of the Mind: 1968 to Now

FINE ART | By Peter Plagens
Coloring In Lines of Humanity
Agnes Denes: Sculptures Of the Mind: 1968 to Now
Leslie Tonkonow 535 W. 22nd St., (212) 255-8450 Through Jan. 19
Most of the Conceptual art- ists who burst dryly upon the scene in the 1960s were im- pure. Their conceptualism was usually joined at the hip to something much more mate- rial-wall drawings in the case of Sol LeWitt, veritable word- murals with Lawrence Weiner, and object-photo-text installations with Joseph Kosuth. But the wildly variegated, thoroughly material work of Agnes Denes (b. 1931 in Hungary) makes them all look positively puritanical.
This exhibition coincides with the 30th anniversary of her signature political piece, "Wheatfield-A Confrontation": two acres of wheat planted and harvested on the landfill in Lower Manhattan that resulted from the excavation to construct the World Trade Center. The work- whose point was what Ms. Denes called the "misuse" of land-is recalled in this show by photographs. A kind of companion piece, "Tree Mountain" (1992-96), a spiral pattern of 11,000 fir trees climbing a man-made mountain in Finland is present in a schematic drawing and beautiful photograph.
That's the more intelligible side of Ms. Denes, who also goes in for combining psychology, symbolic logic and even neon in a continuing series of diagrammatic works about improving human interaction called "The Human Argument." This portion of her oeuvre, even her supporters admit, is a bit difficult for someone not schooled in philosophy to parse. Which leads the viewer to ponder a further question: What kind of actual social re- form can be effected by arcane art that speaks mostly, if not exclusively, to the art world?



12. Mark Berghash, FF Alumn, launches new website www.markberghash.com

Mark Berghash has been making conceptual and classical photographic portraits for 33 years and his work can be found in major museums and private collections in the U.S. and abroad. He has created a new website showing his various portrait projects including, ASPECTS OF THE TRUE SELF, RELATIONSHIPS, IN AND OUT OF FOCUS, TWIN SELVES, I'S CLOSED I'S OPEN, and LEGACY/REFLECTIONS.
For more information, or to schedule a studio visit, feel free to contact him at:



13. Peggy Shaw, FF Alumn, in The New York Times, Jan. 13

The New York Times
Theater Review
A Deadpan Look at Life Before and After a Stroke
'Ruff,' Peggy Shaw's New Solo Show
Published: January 13, 2013

"I found myself praying," Peggy Shaw says in her new solo show "Ruff," recalling the day she suffered a stroke. It seemed the natural thing to do, since she had already fallen to her knees. "If you get me through this I will stop wearing suits," she remembers thinking. "I will get married. I will pay market rent in Manhattan. I will not wear skinny jeans. I'll take antidepressants."

Such are the deals the desperate are willing to make in moments of crisis, although to get the joke you probably need to know that Ms. Shaw, an Obie-winning lesbian performer and writer, is a habitual suit wearer and dedicated bohemian. In "Ruff," written with her longtime collaborator Lois Weaver, who also directs, Ms. Shaw ruminates on life before and after her "ischemic infarction," investigating the workings of her mind and memory in an impressionistic monologue that's engaging, admirably unsentimental and often very funny indeed.

"Do I look like a Peggy to you?" Ms. Shaw asks at one point. No, that perky name suggests a bouncy young thing with pigtails and pompoms. Ms. Shaw, 68, has a bristly brush of gray hair and wears a peak-lapel black jacket and skinny tie. She idolizes Marlon Brando, and has often been told she looks like Sean Penn. ("I always say he looks like me," she cracks.)

Standing on a wide strip of green material that scrolls up against the back wall of Dixon Place to become a video screen, Ms. Shaw recounts her experience in the burly, tough-guy voice of a minor Mafioso. She certainly doesn't sound like a Peggy either.

"Ruff," presented by Dixon Place as part of P.S. 122's Coil Festival, doesn't have a strong narrative through line. Video images of a backup band are intermittently projected onto the green screen, and the show has the rough-edged feel of a stand-up routine or rock 'n' roll show more than a carefully sculptured monologue. In her husky voice Ms. Shaw actually sings a couple of songs, including Jacques Brel's "Jacky."

The looseness reflects Ms. Shaw's new reality. There are dark spots in her mind now, blanks in her memory, and the leapfrogging in her show reflects the disorienting experience she's come through. Tidy and completely cogent this 75-minute monologue may not be, but it is rich in the kind of insight that only an artist of Ms. Shaw's age and experience can bring.

Although she sometimes reads the text from three video monitors surrounding her onstage, for the most part Ms. Shaw seems to have physically recovered from her illness. She says at one point that she lists to the left - but then she always has. And those strange lights she sometimes sees, in the shape of grapes, tend to disappear when she has a couple of glasses of wine.

Reflecting on her experience, she is never maudlin and almost always amusing. "I went into the hospital as a woman who gets mistaken for a man," she recounts. "But it seems I came out of the hospital as a straight white man, 'cause half my brain was missing.' "

Ouch! But that's about as inflammatory as "Ruff" ever gets. The show's light touch never falters, and Ms. Shaw's delivery maintains its deadpan edge even when she's lamenting the loss of cherished memories and the frustrating sensation of not even knowing what was lost. As a tongue-in-cheek public service, she leads us through the government's official list of indications that you are having a stroke: a matter of closing your eyes and trying to touch your finger to your nose, or saying a certain phrase while holding your tongue. This lecture is embedded seamlessly, and somehow aptly, within her version of the "Hokey Pokey."

By Peggy Shaw and Lois Weaver; performed by Ms. Shaw; directed by Ms. Weaver; music and sound by Vivian Stoll; movement consultant, Stormy Brandenberger; set and media design by Matt Delbridge; lighting and video by Lori E. Seid; produced by Tracy Gentles; assistant director, Louis King; production manager, Jo Palmer. A Performance Space 122 and Out North Contemporary Art House production, presented by P.S.122 and Dixon Place, as part of P.S. 122's Coil Festival. At Dixon Place, 161A Chrystie Street, between Rivington and Delancey Streets, Lower East Side; (212) 811-4111; ps122.org/coil. Through Jan. 19. Running time: 1 hour 15 minutes.
This article has been revised to reflect the following correction:
Correction: January 13, 2013
An earlier version of this review misstated the name of the theater where "Ruff" is being performed. It is at Dixon Place, not Performance Space 122.



14. Lynn Cazabon, FF Alumn, at Georgetown University, Washington, DC, opening January 31

Solo exhibition and lecture by Lynn Cazabon at Georgetown University

Jan 31 - April 14, 2013
Spagnuolo Art Gallery & Regent's Hall
1221 36th Street NW, Washington, DC 20057

Lecture: Thurs Jan 31, 4pm, Walsh Black Box Theatre
Opening reception: Thurs Jan 31, 5-7pm, Spagnuolo Art Gallery

Uncultivated is an ongoing public art project consisting of geo-referenced photographs, a website, commercial displays, and pigment ink jet prints representing wild plants within urban landscapes over an extended period of time. Each printed image in the project is displayed with a QR code, which when scanned with a mobile device connects to its corresponding webpage containing detailed information on all the plants found in the image, their location, and the date it was taken. The public displays are designed to deepen awareness of the immediate surroundings of the viewer by displaying a photograph taken in close proximity. Started in Baltimore, MD in late 2010, the project has grown to include other cities, including Chicago, IL, New Orleans, LA, Brooklyn, NY and most recently, Washington, D.C. For the Georgetown exhibition, Cazabon photographed the landscape of the campus over a six-month period, focusing specifically on wild plants. Thirteen of these images were selected and added to the ongoing Uncultivated database and six were printed as large banners for display in Georgetown's new science building Regent's Hall. In the Spagnuolo Gallery, prints from other parts of the project will be on display.

Lynn Cazabon



15. China Blue, FF Alumn, at AC Institute, Manhattan, opening Jan. 31

AC Institute
547 W. 27th St. #210
New York, NY 10001

Join us Thursday, January 31, 6-8pm

For the opening Reception of

China Blue: Photini (Biomimetic Fireflies)

Photinus Biomimetricus

On View January 31 - March 16, 2013
China Blue is an artist who captures the tenor of our times by transforming common electronic waste into biomimetic artwork with an environmental focus that also sings. In Firefly Tree, one of her works shown at AC Institute, she translates the firefly's rhythmic signaling pattern into sound (the Firefly Chorus) and light (blinking LEDs). Today fireflies are threatened due to habitat encroachment and light pollution, making memories of fireflies more precious as the illumination of the cities and towns overwhelm their delicate mating light show.

The rhythmic pattern of the firefly calls is a significant component of the Firefly Tree. This pattern is featured by the data sonification of the Firefly Chorus and the data visualization controlling the LED's blinking rate. This dual reference underscores the biomimetic nature of the work both visually and acoustically while providing an original and imaginative way of simultaneously injecting both form and content.

Firefly Tree was Nominated 2012 Best Monographic Museum Show, Nationally by the International Association of Art Critics, and Awarded 2012 Rhode Island State Council on the Arts Fellowship in New Genres. The work was also reviewed by Ed Rubin in Sculpture Magazine's November 2012 issue.

China Blue is a two time NASA/RI Space Grant recipient a RISCA Fellowship, New Genres recipient and an internationally exhibiting artist who was the first person to record the Eiffel Tower in Paris, France and NASA's Vertical Gun in Moffitt Field, CA. She represented the US at OPEN XI, Venice, Italy an exhibition held in conjunction with the Architecture Biennale. Reviews of her work have been published in the New York Times, Art in America, Art Forum, artCritical and Sculpture magazine to name a few. She has been interviewed by France 3 (TV), for the film "Com-mu-nity" produced by the Architecture Institute of America and was the featured artist for the 2006 annual meeting of the Acoustic Society of America. She has been an invited speaker at Harvard, Yale, MIT, Berkelee School of Music, Reed College and Brown University and an adjunct professor and Fellow at Brown University. She is the Founder and Executive Director of The Engine Institute, Inc. (www.theengineinstitute.org) a non-profit dedicated to promoting the nexus of art, science and technology.




16. Nicolás Dumit Estévez, FF Alumn, at Libreria Beta C/Sierpes, Sevilla, Spain, Jan. 24

Book Launch: Conversations on Art, Politics, and Society

Thursday, January 24. 7:30 pm

Juan-Ramn Barbancho ed. with Diana Larrea, Jesús Palomino, C Arte90, Nicolás Dumit Estévez, scar Fernández, Isidro Lpez-Aparicio, Carmen F. Sigler, Angie Bonino, Beth Moysés, Nekane Aramburu and Avelino Sala.

Launch moderated by Dr. Antonio Molina Flores, Ph.D., author and Professor of Aesthetics, University of Sevilla.

Libreria Beta C/Sierpes, 25, Sevilla, Spain, 41001



17. Blaise Tobia, FF Alumn, at Amos Eno Gallery, Brooklyn, thru Feb. 2

Resilient Suspension

Kinuko Imai Hoffman, Jane Sangerman, Brett Charles Thompson, Blaise Tobia

January 9 - February 2, 2013

Amos Eno Gallery is pleased to present Resilient Suspension, a four-person exhibition of recent painting, mixed media, and photography. The exhibition title refers to the dynamic push and pull of color and form in each artist's work and the free movement they capture within still imagery.

Kinuko Imai Hoffman explores her personal interpretations of daily life through harmonious mixed media assemblages. Hoffman was previously trained in traditional Chinese brush painting and she is influenced by the beauty and serenity of Japanese culture. Hoffman developed her strong traditional painting technique in China, before establishing her assemblages in New York Exhibitions.

Jane Sangerman's mixed media works on paper involve a rigorous layering and subtracting of material in order to explore space and time. Sangerman finds inspiration from the streets of New York City, often incorporating found objects such as mesh, rusted metal, and roofing shingles. Sangerman has had exhibitions throughout the United States and her work is included many public collections.

Brett Charles Thompson's most recent paintings are vivid geometric fields depicting a wide range of color systems, interlocking structures, and modular spaces. The work is based on a divided grid, which acts as a preliminary map, setting a stage for the paintings to unfold. Thompson has exhibited in New York and Oregon and has done commissions by numerous private collections.

Blaise Tobiacreates large prints that are visually striking and depict the real world in metaphorically provocative ways. In the "Catastrophes" series, Tobia has taken small, everyday objects and enlarged them greatly, while his direct scanning process gives them a very tangible feeling of presence. Tobia has participated in extensive national and international solo and group exhibitions.

Amos Eno Gallery | 111 Front Street Suite 202, Brooklyn, NY 11201 | 718.237.3001 | Wed Thru Sat 12-6 | AmosEno.org



18. Doug Beube, FF Alumn, at Dartmouth College, Hanover, NH, thru March 10

TINY (an exhibition of work less than ten inches square)

January 15-March 10, 2013
Strauss Gallery
Hopkins Center
Dartmouth College

Doug Beube
James Bohary
James Engelbart
Betsey Garand
Craig Hood
Natalie Hunter
Clint Jukkala
Sana Musasama
Matthew Northridge
Victor Pesce
Torin Porter
Stephanie Wolff

Studio Art Exhibition Program
HB 6081 Dartmouth College
Hanover, New Hampshire 03755

Gallery hours:
Tuesday-Saturday 12:30-10:00pm
Sunday 12:30-5:30 pm
Closed Mondays and Holidays



19. Nao Bustamante, Dynasty Handbag, Neal Medlyn, Carmelita Tropicana, at Red Lotus Room, Brooklyn, February 2

Weirdo Night Hurricane Sandy Benefit Show

Ladies and Gentlemen and everyone else, this is going to be a most spactackular event. A dream lineup. Just like when the US created that basketball team in the 90s that murdered all the competition in the olympics. It's gonna be UNFAIR!!! Totally destroying all other Saturday night events in the tristate area!

check out this line up oh my god!!

MALIK GAINES (My Barbarian)

plus, dance along to top 40s best videos with VIDEYOKE!

dj ingepop

and video delights by DIRTY LOOKS!

All proceeds will be donated to Occupy Sandy. We need to do our part!

Red Lotus Room
893 Bergen St, Crown Heights, Brooklyn
$20 8PM - till your panties drop




20. Joe Lewis, FF Alumn, at The Phatory, Manhattan, opening Feb. 2

The Phatory is pleased to announce Secuan exhibition of works by Joe Lewis, which runs from February 2nd to March 9th, 2013 with an opening reception on Saturday, February 2nd, from 6-8:00.
For his first solo show at The Phatory, Joe Lewis explores through a series of textile works the ways in which our citizenry is beheld and expunged in the name of security. Ignited by the discovery of a political cartoon by Herb Block entitled "National Security Blanket," depicting Richard Nixon wrapped in the American flag. Lewis began to explore the ways in which various incarnations of the flag have been galvanized by significant moments in US history. Concurrently be began researching official government documents only to find that many were redacted to such an extent that they appeared more artistic patchworks than sources of textual information. Stepping back to take a broader view, Lewis noted that the buildings in which these documents are housed - alleged bastions of intelligence and security - are similarly anonymous and opaque, emanating an indirect gaze with the ultimate power to observe and negate. Through the transformation of these found documents and images into art objects, Lewis challenges the viewer to appreciate the skill that it takes to render such topics into convincing catch phrases and illusions, and to ask how securely can one sleep under these blanketed statements.
(c)2013 The Phatory, LLC, All Rights Reserved. . info@phatory.com . 212.777.7922 . 618 East 9th Street, New York, NY 10009-5226



21. Arturo Lindsay, FF Alumn, at Chastain Arts Center and Gallery, Atlanta, GA, thru March 22

Arturo Lindsay Portraits of Yemaya thru March 22 at Chastain Arts Center and Gallery, Atlanta GA http://ocaatlanta.com/chastain-arts-center



22. Katya Grokhovsky, FF Intern Alumn, receives Australia Council for the Arts ArtStart Grant, and more

Katya Grokhovsky, FF alum, receives an Australia Council for the Arts ArtStart Grant and a Partial Fellowship to be an Artist in Residence at NARS (New York Residency & Studios Foundation) International Artist Program in 2013.


She will be showing a new performance The (Lovely) Immigrant in two parts in New York in January:

January 17th, 8-10pm, Part 1
@ Performance Anxiety, CultureFix, New York

January 20th, 7- 9pm, Part 2
@ Animamus Art Salon, home of Miao Jiaxin, New York


Thank you,




23. Adrianne Wortzel, FF Alumn, at Holden Luntz Gallery, Palm Beach, FL, January 18-February 12

Photographers Redefining Reality

Teun Hocks, Sandy Skoglund, Adrianne Wortzel, Kimiko Yoshida

Wortzel will exhibit new tangible works, including "Elmo Warrior Bronzed", "ELMO ROCCO, Polymath" in print book, as well as new "book" objects of wood with aluminum prints and tassel bookmarks.

January 18 through February 12, 2013

Artist's Talk by Adrianne Wortzel, 10 a.m. to 11 a.m.
Saturday January 19

Holden Luntz Gallery
332 Worth Avenue
Palm Beach, Florida 33480


ELMO ROCCO book available for preview and purchase at http://www.blurb.com/bookstore/detail/3951779




24. Vernita Nemec, FF Alumn, at Soho20 Chelsea Gallery, Manhattan, opening Jan. 17

Dear Friends,
Come see a couple of my "Dick Drawings" in "Se lec tion" along with the art of 19 other outstanding artists!

Vernita Nemec AKA N'Cognita
547 West 27th St. Suite 301
NEW YORK, NY 10001
T. 212.367.8994
F. 212.367.8984

also, coming January 15 at Viridian Artists:
"Disconnected Realities"
Viridian Affiliate Artists
January 15th to February 2, 2013
Opening reception Thursday January 17th, 6-8PM
William Atkins, Joshua Greenberg, Renee Kahn, Elvira Lantenhammer,Jeffrey Melzack, Vernita N'Cognita, Lauren Purje, Michael Rippl, Sheila Smith,Katherine Ellinger Smith, Meredeth Turshen
Chelsea, NYC: Viridian Artists is pleased to present "Disconnected Realities" an exhibition of outstanding art by eleven artists who are part of the Affiliate program at the gallery. The exhibit will continue from January 15 to February 2, 2013, at 548 West 28th Street, also accessible from 547 W 27th Street on the 6th floor. There will be an opening reception Thursday January 17, 6-8PM. The Viridian Artists Affiliate program is a special gallery program that is an important aspect of Viridian's mission to expand exhibition opportunities for outstanding contemporary artists. All art could be said to be the expression of an inner reality or a re-interpretation that each artist presents as their reality. In this exhibition, however, each artist has created a new reality, inspired or not by another, but disconnected and personal to their own view of life today, tomorrow and yesterday.
Vernita N'Cognita's artmaking is concerned with translating inner realities into installations, performances, photographs, monoprints and m/m collages. Through her visual and performance art, she creates a visual autobiography addressing issues of relationship, loss and self-actualization reflecting the complexities and nuances of her 21st century life. These images are from a series using body, dress and leaf prints combined with collage.




25. Susana Cook, FF Alumn, at Hemispheric Institute's Encuentro, Sao Paulo, Brazil, Jan. 12-19

Susana Cook will be the Master of Ceremonies of the Trasnocheo, the late night cabaret
at the Hemispheric Institute's Encuentro in Sao Paulo, Brazil.


Thank you!



26. Billy X. Curmano, FF Alumn, now online

InClimate: A Thought Per Day:

For one year - beginning January 1, 2013, I will attempt to post one observation, useful tip or thought per day on or about climate change to the World Wide Web as a catalyst for an open, democratized dialog with possible solutions to the catastrophic problems we face as our world changes.

Please join the conversation.

http://www.billyx.net/blog.html and/or https://twitter.com/BillyXC

Billy X.




27. Elly Clarke, FF Intern Alumn, at Trove, Birmingham, UK, opening Jan. 22, and more

Dear Friends, Family & Colleagues,

I enclose info about a forthcoming exhibition, Band/Ties, in which I am presenting a part of The George Richmond Portrait Project - for the first time in the UK. This exhibition, premiered at WIP Konsthall Stockholm last month is curated by Charlie Levine & Suvi Lehtinen.

The opening is on Tuesday 22nd. The show then runs until 20th Feb. Because the gallery is housed within the school of art, opening hours are restricted to Monday-Friday 10-5pm - weekend opening times are unfortunately not possible.
Band / Ties at Trove
by Kassie Fleet
Trove's newest exhibition for 2013, Band / Ties, sees two Birmingham based artists, Elly Clarke and Caitlin Griffiths, and two Stockholm based artists, Bjorn Karlsson and Hanna Ljungh, come together for an exhibition that focuses on relationships.
It looks at the relationships with people, places, families and communities. The artists involved explore where it is they belong, looking at where they're from, or the communities they're involved in and aims to forge links between the cities and between the artistic communities of these places. The natural connections and overlaps are made within all the works and new opportunities develop.
Cross-overs, connections, ties and links can expose themselves at random moments. Relationships can be born out of incidental meetings.
The curators Charlie Levine (UK) and Suvi Lehtinen (Sweden) also met at a random moment during the summer through a mutual friend and curatorial partner, and this is when the idea of the exhibition was born.
The exhibition took place in Stockholm in December and will launch on January 23rd at 5pm till 7pm at Trove in Birmingham and run Monday - Friday until 20th February.

Multi venue exhibition FRAME_birmingham also runs until 17th Feb. So please do come to Brum if you're not already here. It would be fab to see you!

Best wishes,




28. Bogdan Perzynski, FF Member, at Dallas Contemporary, TX, opening Jan. 19

dallas contemporary
161 Glass Street
Dallas Texas 75207
United States of America
+214 821 2522

Six Texas-based Artists explore the region through cinematic metaphor.
19 JANUARY - 31 MARCH 2013 .
SATURDAY 19 JANUARY 2013 . 21.00 - 24.00 (9.00 - MIDNIGHT) .
Dallas Contemporary announces LOS AMERICANOS, a video exhibition with newly commissioned projects by six Texas-based artists installed inside the museum and at sites in the community. The exhibition opens 19
JANUARY 2013 - 31 MARCH 2013 with an OPENING CELEBRATION: SATURDAY 19 JANUARY 2013 21.00 - 24.00 (9.00 -MIDNIGHT). Commissioning sponsor for this exhibition is BlueLabel.net. An interactive, digital catalogue will be published in conjunction with BlueLabel.

LOS AMERICANOS is a six chaptered reflection on the influences of cinema in Texas. Curated by Dallas Contemporary's Director, PETER DOROSHENKO, the exhibition will feature the work of MOREHSHIN ALLAHYARI (Dallas), JOSHUA BIENKO (College Station), CHIVAS CLEM (Paris), HILLARY HOLSONBACK (Dallas), BOGDAN PERZYNSKI (Austin), and JASON REED (Eagle Pass).
Each artist will create his or her own chapter examining everyday life in Texas in the past, present or future. has been commissioned to create his or her own independent project examining Texas in the past, present, or future. Inspired by the larger than life cinema history of the region, Los Americanos will explore the ephemeral, through various cinema metaphors on identity, travel and culture. Los Americanos will be installed inside and outside of the Dallas Contemporary
"Los Americanos is an exhibition about a movie that has no beginning and no ending, it is about the present moment. In fact, the film will never be made, the artists will create unique vignettes that will
form the core of the larger mental package", states Dallas Contemporary director, Peter Doroshenko.

Bogdan Perzynski is professor and co-founder of the Transmedia Area at the University of Texas-Austin's Department of Studio Art and Art History. He was trained in law at the University of Adam Mickiewicz, in Poznan, Poland and in architecture and fine arts at the University of Fine Arts in Poznan. His research and teaching address art's interdisciplinary character, including the philosophies of communicative action, social pragmatism, and individual invention. Perzynski experiments with video, interactive code, computer vision and physical interaction with architectural settings. His work has been exhibited across the globe in Brazil, China, Germany, Greece, Israel, the Netherlands, New Zealand, Poland, Thailand, and the United States.

Dallas Contemporary is a non-collecting art museum presenting new and challenging ideas from regional, national and international artists. The institution is committed to engaging the public through exhibitions, lectures, educational programs and events. Dallas Contemporary is wheelchair accessible.
11.00 - 18.00 (11.00 AM - 6.00 PM)
12.00 - 17.00 (12.00 PM - 5.00 PM)
OPEN UNTIL 20.00 (8.00 PM)

contact: Erin Cluley, Exhibitions and Public Relations Manager
+214 821 2522 erin.cluley@dallascontemporary.org



29. Neal Medlyn, Elaine Tin Nyo, FF Alumns, receive Creative Capital 2013 grants

Creative Capital announces its 2013 project grants in the categories of Emerging Fields, Literature and the Performing Arts, representing a total of 46 funded projects by 66 artists hailing from 17 states and Puerto Rico. The 2013 grantees were selected through an open-call, three-phase application process from a pool of more than 2,700 applicants. Creative Capital's investment in each project includes up to $50,000 in direct financial support (disbursed at key points over the life of each project), plus more than $40,000 in advisory services, making our total 2013 investment more than $4,140,000.

Emerging Fields
Traditionally, Creative Capital's Emerging Fields projects have centered on pushing the boundaries of technology. This year technology is embedded in most of the 17 funded projects, but is not the subject of the work. Instead, many are issue-focused, dealing with the environment, food, immigration, incarceration and urbanism, among others. Specifics include: a media artist who will build projectors from discarded e-waste; a public performance event planned and executed with a community in San Juan, Puerto Rico; a series of immersive dining experiences set in future worlds; and a multimedia exploration of state-sponsored human rights atrocities.

The 2013 awards in Emerging Fields are as follows:
Juan William Chávez, St. Louis, MO Julia Christensen, Oberlin, OH Design 99 (Mitch Cope & Gina Reichert), Detroit, MI Fallen Fruit (David Burns, Matias Viegener & Austin Young), Los Angeles, CA Ghana ThinkTank (John Ewing, Maria del Carmen Montoya & Christopher Robbins), Roxbury, MA Nick Hallett & Shana Moulton, Ridgewood, NY Natalie Jeremijenko, New York, NY Maryam Keshavarz & Roya Rastegar, Los Angeles, CA Ali Momeni, Pittsburgh, PA Laurie Jo Reynolds, Chicago, IL Susan Robb, Seattle, WA Chemi Rosado-Seijo, San Juan, PR Steve Rowell, Los Angeles, CA Gregory Sale, Phoenix, AZ Miriam Simun, New York, NY Elaine Tin Nyo, New York, NY Quintan Ana Wikswo, Los Angeles, CA

Performing Arts
The funded projects in Performing Arts cover a broad range of sub-disciplines, including dance (both formal and experimental), theater, puppetry, musical theater, experimental music, multimedia performance and performance art. Each represents a catalytic moment for the artists-a "leap" forward in their practice. Specifics include: an interactive hip-hop performance exploring the relationship between art, science and social justice; a music-theater work about failed superpowers; and a site-specific performance that offers an elegy for the disappearing wetlands of southern Louisiana.

The 2013 awards in Performing Arts are as follows:
Kyle Abraham, Brooklyn, NY Luciana achugar, Brooklyn, NY Jesse Bonnell, Brooklyn, NY Taylor Ho Bynum, New Haven, CT Wally Cardona, Brooklyn, NY Jace Clayton, Brooklyn, NY Complex Movements (Carlos Garcia, Invincible, Wesley Taylor & Waajeed), Detroit, MI Corey Dargel, Brooklyn, NY Degenerate Art Ensemble (Joshua Kohl & Haruko Nishimura), Seattle, WA DD Dorvillier, New York, NY Faye Driscoll, Brooklyn, NY Michelle Ellsworth, Boulder, CO Trajal Harrell, New York, NY Emily Johnson, Minneapolis, MN Dohee Lee, Oakland, CA Miwa Matreyek, Los Angeles, CA Neal Medlyn, Brooklyn, NY Mondo Bizarro (Millicent Johnnie, Sean LaRocca & Nick Slie), New Orleans, LA Queen GodIs & Makeda Thomas, Brooklyn, NY The TEAM (Jessica Almasy, Rachel Chavkin, Matt Hubbs & Libby King), Brooklyn, NY Arturo Vidich & Daniel Wendlek, Brooklyn, NY Wakka Wakka Productions (Gabrielle Brechner, Kirjan Waage & Gwendolyn Warnock), Brooklyn, NY Holcombe Waller, Portland, OR



30. Barbara Rosenthal, FF Alumn, announces winter 2013 events

Hi, Friends,
HAPPY NEW YEAR!! Thank you for following my work.
Please come join me at these new events if you're nearby in NY, LONDON, PARIS, BERLIN, PRAGUE, or online!
Warm wishes,
Barbara Rosenthal

EVENTS video, performance + photography JAN / FEB:

SATURDAY, JAN. 12, 8pm
"Barbara Rosenthal-Video Mini-Retrospective: Existential Word Play"
+ live discussion
A landmark survey of image/text/performance video shorts 1976-2012 by one of the world's most eccentric artists. A rare treat: her last NY video retrospective was at The Kitchen in 1988, and she's made many more gems since then! "Rosenthal's work is incessantly personal, even naked, with an emphasis on language realized through stories, puns, songs, names and confessions." -- Manohla Dargis, The Village Voice
Including: "Lettering Too Big", "Secret Of Life", "Nancy and Sluggo", "A Boy and His Father Butcher a Deer", "Boggle", "Paths To Follow", "Words Come Out Backwards", "Quotation from Paul Gauguin, "This Is A", "Dog Recognition", "Postcards", "Rules", "Space and Time", "World View", "Names and Faces", "Siddhartha", "Black and Silent", "Whispering Confession", "Secret Codes", "Push Me", "Burp Talk", "Daily News", "News To Fit The Family", "I Have a New York Accent", "Lying Diary/Provocation Cards", "Semaphore Poems", "News Wall", "Nonsense Conversation", "Society", "How Much Does the Monkey Remember", "Feet Handoff", "Pregnancy Dreams", and "Handwriting Analysis."
Host: Tom Jarmusch
Millenium Film Workshop
66 East 4th St., Basement
New York, NY 10003
+1 (212) 673-0090
subway: F to 2nd Ave (exit 2nd Ave)

SAT/SUN, FEB 1/2 12-4 pm
I'll be there Saturday, Feb 2, 12-4, with pub party after.
"Words Come Out Backwards When Spoken To Screen Left"
video in the One Minute Volume 6 Film Festival
curated by Kerry Baldry
Furtherfield Gallery
McKenzie Pavilion
Finsbury Park, London, N4 2NQ
+44 (0) 208 802 2827
Tube: Manor House or Finsbury Park
The Finsbury, 336 Green Lanes, London N4 1BY (Manor House Tube)
My London cell phone: +44.075.357.3380
(cash bar)

MON, FEB 4, 2-4pm
"Barbara Rosenthal--Existential Interact, Paris 2013"
Solo, interactive street performance with Button Pins and Provocation Cards in English and French. 2-4pm. Party nearby 4-6pm.
Performance interactive rue avec goupilles de bouton et de Provocation des cartes en anglais et en français. 14:00-16:00. Parti à proximité 16:00-18:00.
Curator: Nico Derné
Trocadero Plaza, backdropped by Eiffel Tower (any weather) (tous les temps)
Esplenade du Trocadéro, Paris, France, 75116
metro: Trocadéro
(cash bar)
+33 (0)1 45 86 62 42, +44.075.357.3380

d) BERLIN - video
TUES, 12Feb, 20:00h
"Barbara Rosenthal -- Postcards and Other Video Shorts
A half-hour program of 10 of my short-shorts. Some new, some classics. And I'll be there to talk afterward.
Boddinale Film Festival
Boddinstr. 60
U7 Rathaus Neukölln
(free entry; cash bar)

e). BERLIN - photo
Exhibition: 14-28 FEB
Th, Fri, Sat 1-6, and by appointment
Do, Frei, Sam 13:00-18:00 und nach Vereinbarung,
Vernissage: DONNERSTAG, 14 Feb, 19:00h
Elsa and I will be there. Elsa und ich werden.
"Interior Space: Photographs by Barbara Rosenthal and Elsa Thorp"
A two-person show of photographs that depict architectural interiors as extensions of the artists' interior minds.
studio baustelle
Berthelsdorfer Str. 11, 12043 Berlin (Neukölln)
+49(0)1512.669.4548 ; +49(0)1512.695.6281

CALL or text AFTER FEB 7, BERLIN CELL: +49(0)1512.669.4548



Review of "Surreal Photography: Trapped Figures and Tiny Houses" solo photography show, Visual Voice Gallery, Montreal, Nov. 2012: http://www.thebelgoreport.com/2012/11/looking-inside-the-uncanny-world-of-barbara-rosenthals-photographs/,

Born and still living most of the year in New York, Barbara Rosenthal is a Media and Performance artist and writer who produces idiosyncratic combinations of words, communicative sounds, gestures, and pictures. Her artist's books of fiction, commentary, and photography are in the collections of MoMA, Whitney, Tate, and Berlin Kunstbibliotek. She has made over 100 photography, text, and performance-based video shorts. In 2009 and 2010, she represented the the United States in Performance Art and Text-Based Art at Tina B: Prague Contemporary Art Festival. She began working in Performance/Installation in 1968, and Photography/Video in 1976. She has kept a Journal since childhood, and often combines writing with her imagery. Her themes of identity, existentialism, and surrealism explore the relationship between an artist's psyche and the outer world.



31. Anna O'Sullivan, FF Alumn, curator for Irish Pavillion @ Venice Bienale

Ireland's Arts Council announced that artist Richard Mosse has been selected for the Irish pavilion at the Venice Biennale. He will present an eight-channel video installation about the Democratic Republic of Congo.

Mr. Mosse, who is represented in New York by Jack Shainman Gallery, was chosen by Ireland's curator for the 2013 Biennale, Anna O'Sullivan, director of the Butler Gallery in Kilkenny.



32. screaMachine, FF Alumn, at BAX, Brooklyn, Jan. 18-19

Join me and BAX | Brooklyn Arts Exchange to consider the current state of art-making and politics...

Works of Outrage from 2008-2012
curated by Jesse Phillips-Fein
presented as a part of the 2012/13 PERFORMANCE & DISCUSSION SERIES

January 18th-19th, 2013 @ 8:00pm
hosted by Shanté Paradigm
featuring work by #ajmia American Justice Missing in Action, Aurin Squire, Betty T. Kao, Chris Tyler, Jesse Phillips-Fein, Matt Sheridan, Michael Milligan, Movement of the People Dance Company, santiago venegas, Sara Lyons, and screaMachine

Directly engage the artists as they reveal their creative process.

Preview works-in-progress and give your impressions in a moderated post-performance discussion. The curators, either alumni or current Artists In Residence, bring the kind of diversity of thought, research, interest, and aesthetics we look forward to and celebrate.

From Obama to Occupy: Works of Outrage from 2008-2012 is a sequel to the 2009 hit show,Requiem for W, Overture for O: Works of Conscience from 2000-2008. This event marked the end of the Bush era by celebrating how artists responded to the policies of the Bush Administration while encouraging continued action towards justice. The pieces move beyond simply bashing President Bush and heralding President-elect Obama. Instead, they provided reflection on how we survived, commemoration for those who didn't, critical thought about the role of artists in activism, and information about how to become involved in local organizations that are working on issues of social justice.

Even before we knew the outcome of the 2012 election, there was a vital need to reflect on how artists had responded to Obama and the political events of the past four years. By looking at what artists have created, we gain a new frame for understanding the unique challenges for political debate and presidential critique brought on by Obama's first term. Obama's election highlighted racial discourse in various ways: contentious debates about a "post-racial society", racist attacks by the Right, conflicting and ambivalent responses from the Left, and the differing emotions, expectations, achievements, and disappointments that his term has had for white people and people of color. From Obama to Occupy: Works of Outrage from 2008-2012 generates a space for art to be a powerful platform to engage deeply with the contradictions and questions that Obama's presidency has raised.

Tickets: $15 General | $8 Low-Income
Tickets will be available one month before the performance.



33. Karen Finley, FF Alumn, at Coagula Curatorial, Los Angeles, CA, opening Jan. 19

Karen Finley "Sext Me If You Can"
Opens JANUARY 19 at Coagula Curatorial

Karen Finley's Sext Me If You Can, opens JANUARY 19 in the basement gallery of Coagula Curatorial, featuring the artwork created by Finley during her recent performance in Coagula Curatorial's booth at the Miami Project Art Fair.

Sext Me If You Can is a display of painted images that were "sexted" to Finley during a 2 day duration. Sext Me If You Can blurs traditional distinctions of intimacy, which become obsolete under the specter of technology and power relationships are in flux when freedom and control are stored on a microchip. Finley brings the process of art-making back into performance art, by boldy returning to the act of painting and the artist's commitment to studio practice to the center of this technologically-enabled social intervention.

Sext Me If You Can opens January 19 and runs thru February 9.

7PM - 11PM




34. Michel Auder, FF Alumn, at Office Baroque Gallery, Antwerp, Belgium, opening Jan. 17

Upcoming exhibition
Michel Auder
Clown Eggs
18 January - 16 February 2013
Please join us for the opening preview Thursday 17 January from 17.00 thru 19.30

The exhibition is the first individual exhibition by Michel Auder at Office Baroque Gallery. An opening reception for the artist will be held on Thursday January 17 from 17.00 thru 19.30.
Michel Auder is a French photographer and filmmaker. For Auder's first exhibition at Office Baroque, a series of phone pictures will be shown alongside new monumental video work. The photographs were taken during 2012 with Auder's cell phone. They pair autobiographical, intensely personal images of Auder's surroundings, with art historical genres (Still Life, Memento, ...) in a dark, but often playful and humorous manner.

Auder's approach to photography and video evolves out of the politics of May '68. As a witness to both sides of the cultural matrix, Auder counter-poises the political and the social in his work. Formative influences include Antonioni Bergman Pasolini. For the last forty years Auder has used video as a means to, and extension of, his experience of the world. Auder's tapes are documents of a life obsessively viewed through the camera lens. The camera is both the tool and a subject. It records and documents, operating like an eye; watching, following, committing fragmentary items of interest to a vast bank of images. Yet it also structures interaction, encouraging forms of mimesis that draw upon traditions in representation and performance, staying mindful of its links to a heritage in painting, photography and cinema. Auder's presence as the creator of video diaries is subtly felt through manipulated television segments, his characteristically poetic style of editing, and in his audio tracks, a mixture of live sound and music often taped from the radio.

Michel Auder will be the subject of a solo exhibition at Culturgest in Portugal entitled Portrait of Michel Auder. The exhibition will focus on his incursions into fiction with a highly autobiographical slant, as well as on videos based on the filming of television images and others constructed through a loose association of images, which involve modes of visual thinking that come very close to poetry. Portrait of Michel Auder is part of a collaboration with Kunsthalle Basel, where an individual exhibition of Michel Auder will take place in June 2013.

For any images or further information please email Louis-Philippe Van Eeckhoutte at louis-philippe@officebaroque.com. For al press inquiries please contact press@officebaroque.com.

Upcoming exhibitions at Office Baroque
Michel Auder
18 January - 16 February 2013
Notes on Neo-Camp
24 February - 20 April 2013

Upcoming art fair
Art Rotterdam
7 - 10 February 2013
Office Baroque Gallery
Lange Kievitstraat 48
2018 Antwerpen, Belgium
+32 484 599 228



35. Stanya Kahn, FF Alumn, at University of British Columbia, Canada, Jan. 17

University of British Columbia (UBC)
Stanya Kahn,
Distinguished Visiting Artist
Department of Art History, Visual Art & Theory
Distinguished Visiting Artist Program

Arms Are Overrated, an Artist's Talk by Stanya Kahn
January 17, 2013, 6pm
Room 102 Lasserre Building

University of British Columbia (UBC)
403 - 6333 Memorial Road

Vancouver, British Columbia



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Stanya Kahn is an interdisciplinary artist working primarily in video, with a practice that includes performance, writing, sound design, drawing, animation and digital media. Kahn's hybrid media practice borrows from pop vernacular, documentary tropes, improvisation, comedy and experimental film/video praxis in its re-working of signs, function and meanings in narrativity. The work often inhabits spaces between fiction and document and stems from an extensive background in live performance. Integrating the scripted with the candid, Kahn addresses issues like agency, power, trauma and the uses and failings of language.

In addition to her solo work, she has been in collaborative teams with artist Harry Dodge and with the performance company CORE. Her solo and collaborative works have shown in numerous venues nationally and internationally including the Whitney Biennial (2008); the California Biennial (2010); The Museum of Modern Art, New York; MOCA, Los Angeles; The Getty Center, Los Angeles; the Hammer Museum, Los Angeles; the Sundance Film Festival; Migrating Forms Film Festival; the Center for Art and Media, Karlsrühe; PS1 Contemporary Art Center, New York; Contemporary Center for Art,Vilnius, Lithuania; MIT, Cambridge; ICA, Philadelphia; Kunstalle Bonn; The Brooklyn Museum; Hayward Gallery, London; Susanne Vielmetter, Los Angeles; and Elizabeth Dee Gallery, New York, among many others. Recently solo shows include the New Museum in New York, and currently on view at Cornerhouse in Manchester is a survey of her solo works from 2008 to the present with an accompanying book. Kahn is a 2012 Guggenheim Fellow in Film/Video.

The Distinguished Visiting Artist Program brings senior practicing artists to the Department to lead an intensive seminar, participate in graduate student critiques and assist MFA students in the development of their work and early professional career.

Past visiting artists include:
Rebecca Belmore / Liesbeth Bik and Jos van der Pol / Mark Boulos / David Claerbout / Maria Eichhorn / Andrea Fraser / Melanie Gilligan / Dan Graham / Brian Jungen / Mary Kelly / Michael Krebber / Scott Lyall / Ken Lum / Josephine Pryde / Jeanne Randolph / Stefan Romer / Cheyney Thompson / Kerry Tribe / Francesco Vezzoli / Ian Wallace / Li Yifan

The Distinguished Visiting Artist Program is made possible by the generous support of the Rennie Collection. All events are free and open to the public.

The Department of Art History, Visual Art and Theory (AHVAT) aims to foster critical and reflexive thinking within an inclusive and supportive environment.

The Masters of Fine Arts Program in Visual Art is a highly competitive graduate program and one that has an enviable international reputation. MFA students participate in an intensive weekly studio seminar that is also a forum for critical discussions about leading issues in contemporary art and cultural theory. Students take additional academic coursework to enrich their particular focus and may work in any area of contemporary art production and related interdisciplinary form. The MFA in Studio Art degree is awarded after 26 months and the successful completion of all course work, critiques, roundtables, major paper and a final exhibition.



36. Kenneth King, FF Member, announces new publication

Foreign intrigue and sexual politics collide in Bring on the Phantoms, a mind-blowing, information-packed conspiracy/thriller/LGBT novel that exposes the predicament of the blackmailed NJ Governor, a glamorous and witty transsexual cabaret star, and an unrelenting investigative reporter who explode the secrets and mysteries behind 9/11. Don't you think it's time to find out the real inside story?

NJ's Governor, Kevin MacCreedy, is caught up in snowballing corruption scandals and impending 9/11 litigations, since both NY and NJ are joint owners of the World Trade Center property whose politics have become a landmine.

At the center of the novel, like the eye of a tornado, is Margarita LaLouche, a foxy, gorgeous transsexual performer and the Governor's personal friend. LaLouche has known her journalist friend Paul Russo since high school when she was a he, and together they move through an exclusive and explosive clandestine backstage political labyrinth. Never underestimate the power of sex for brokering salvation!

The Governor's situation is further compromised because, against overwhelming public opposition, he has hired an Israeli national as his Homeland Security Director, and although married, his same-sex relationship with Josh Loeb will lead to blackmail. Sexspionage will force his resignation.

The novel transports the reader through a backstage conspiratorial labyrinth and with Chutzpah and humor unmasks the devious smokescreens that cloak the defining event of our era to reconcile its untold story. Fiction completes truth.

Bring on the Phantoms contains two dances, too, one at PS 122 in Manhattan's East Village when the Governor shows up in a media blitz with his entourage and State Troopers to see LaLouche raise the roof in a 9/11 multimedia dance spectacle, and an another dance for the novel's curtain call.

"This is an interesting and topical political thriller, and I enjoyed its hardboiled qualities." Jonathan Galassi, President and Publisher, Farrar, Straus & Giroux

"Kenneth King's writing is inimitable... poetic, surprising, energizing, intricate, wry, resonant and marvelously full of word wit." Sally Banes, Terpsichore in Sneakers

Bring on the Phantoms can be purchased directly from Club Lighthouse Publishing: www.clublighthousepublishing.com

The direct Link is

Kenneth King is the author of Writing in Motion: Body-Language-Technology published by Wesleyan University Press, most of which can be accessed at Google Books (<http://books.google.com>).

His writings have appeared in The Paris Review, The Chicago Review, Hotel Amerika, /nor (New Ohio Review), Art & Cinema, Topoi: An International Review of Philosophy, Shantih: The Literature of Soho, Movement Research Performance Journal, PLJ/Performing Arts Journal, Semiotext(e), Film Culture, Soho Weekly News, Gay and Lesbian Journal Worldwide, Dance Magazine, File, eddy, Ballet Review, Panache, and in the anthologies Footnotes: Six Choreographers Inscribe the Page, Merce Cunningham: Dancing in Space and Time, The Young American Writers, The New American Arts, Text-Sound Texts, Further Steps: Fifteen Choreographers on Modern Dance, Further Steps 2: Fourteen Choreographers on What's the R.A.G.E. in Modern Dance, and The New American Cinema.

King also has a history as a multimedia dance artist who has performed throughout the US and in Europe. He has received fellowships from the John Simon Guggenheim Memorial Foundation and National Endowment for the Arts, and was awarded a "Bessie" New York Performance Award for/Sustained Achievement, which he declined to protest the Iraq War. He has taught in numerous universities and colleges and has appeared in the films of Andy Warhol, Jonas Mekas, Gregory Markopoulos, Michael Blackwood, and in Robyn Brentano and Andrew Horn's movie Space City. He is a graduate of Antioch College and lives in New York City.



37. Eleanor Antin, FF Alumn, at The Jewish Museum, Manhattan, Jan. 28, and more
Eleanor Antin
Conversations with Stalin
A reading performance in four parts

Ronald Feldman Gallery
31 Mercer Street, New York, New York 10013
T 212 226 3232
F 212 941 1536


Eleanor Antin grew up in the heart of New York in the early days of the Cold War. Her family of first-generation Jewish immigrants was headed by her crazy, bohemian, Stalinist mother, who kept the family in a state of chaos with her desperate attempts to rescue a series of failing hotels in the Catskills, while casting off a boring husband, in her search for culture and meaning in the new world. The dysfunctional family would set the tone of young Elly's childhood and teen years, fueling her desperate, endearing, and often hilarious quests for art, self, revolution and sex. Through it all, Comrade Stalin remains her imaginary confidant, helping her in his own inimitable way by fucking everything up. And while Elly's idealist vision of him eventually crumbles, he would also be a loving father figure during a dark time.

Eleanor Antin's coming-of-age memoir Conversations with Stalin is a smart, no-holds-barred, black comedy in the picaresque coming-of-age tradition of Holden Caulfield, Huck Finn, Little Orphan Annie and the irrepressible Dorothy on the road to Oz.

Antin is now bringing her new memoir directly to the public through a series of performance readings in museums, art spaces and universities around the country. Conversations with Stalin will also be published by Green Integer Press.

In New York, Antin will present a single performative event in four parts. She will be reading the entire memoir Conversations with Stalin over a single week, with four consecutive chapters read at each of four sites. This will allow the memoir to be experienced from beginning to end in the city where it all happened. Even though she has lived and worked in Southern California for many years, there is a part of her that never left home. In a sense, mid-20th century New York remains the shtetl of her dreams, buried in time but never far away. As usual in Antin's work, stories tumble out of stories as they crack her up, freak her out, surprise her, but always amuse her even when they lie to her. Antin's stand up, punchy and inventive style allows the audience to enjoy any or all of the unique readings whether they attend one or attend all four.

Monday morning at 11:30am, January 28th at the Jewish Museum

Tuesday evening at 6pm, January 29th at the Ronald Feldman Gallery

Thursday evening at 7pm, January 31st at the Brooklyn Museum

Friday evening at 6:30pm, February 1st, at the Whitney Museum

As one of the first artists to re-introduce autobiography, narrative, and performance back into the art world during the late '60s and '70s, Eleanor Antin created an imaginary theatre of personae and mythological characters, dramatizing contemporary personal and political narratives through a kind of historical time travel. From the iconic lives of her three personas (King, Ballerina, and Nurse) to the ancient world as a filter to understand our own world, Antin has been in the forefront of the post-modern adventure.

For more information, contact Eleanore Hopper at (212) 226-3232 or eleanore@feldmangallery.com.

Eleanor Antin works in a variety of media, including photography, video, film, performance, installation, drawing and writing. She has had many one-woman exhibitions, including the Museum of Modern Art, the Whitney Museum and a major retrospective at the Los Angeles County Museum of Art. Her works are in many collections around the world including the Beaubourg, Tate Modern, MOMA, the Whitney, the Art Institute of Chicago, and the Loeb Family Foundation. She has performed around the world including the Venice Biennale, Documenta 12, and the Sydney Opera House. Her cult feature film The Man Without a World (1991) was screened at many festivals, among them Berlin, USA, London, and San Francisco Jewish and had art-house commercial distribution. She is represented by Ronald Feldman Fine Arts, New York City. Her many awards include an Honorary Doctorate from the School of the Art Institute of Chicago (2009) and a Lifetime Achievement award from the Woman's Caucus of the College Art Association (2006). Antin is an emeritus professor of Visual Arts at the University of California at San Diego.



38. SKART, Tom Trusky, Micki Watanabe Spiller, FF Alumns, at The Center for Book Arts, opening Jan. 18.

Opening Reception for
The Center for Book Arts Winter Exhibitions
Friday, January 18, 2013 6-8pm
28 W. 27th St., 3rd Floor, New York, NY
Subway: N/R to 28th St, or F to 23rd St
Admission: Free

The opening reception for the winter exhibitions at the Center for Book Arts is Friday, January 18, 2013 at 6pm. Admission to the Center's galleries is free and open to the public.

Brother, Can You Spare a Stack?
Organized by Yulia Tikhonova

Brother, Can You Spare a Stack? presents thirteen important socially engaged and performative art projects that adopt, as a model for their interventions, the symbolic and practical role of the Library and the Librarian. Working outside conventional gallery settings, and deeply committed to serving and inspiring local communities, they pursue a shared vision of the Library as a force for social change.

Small and mobile, these projects resist the limitations of a controlled, highly organized system that governs our society. The artists in this exhibit employ their own hands-on craft skills to respond to the current state of the public library system. They design and build from scratch, using the Library as model, to create an interactive field. In these libraries, there is an exchange that goes beyond the conventional checking-in-and-out of books, one that includes conversation, discussion and group activities. Hence, the artists' libraries have been enthusiastically welcomed by communities that have previously lacked these more personal and generous forms of exchange.

The exhibit borrows its title from one of the best-known American songs of the Great Depression. These mobile and interactive projects challenge old-fashioned library stereotypes - calling on them to "lend their stacks" to these alternative models. They insert themselves into the most unexpected situations and spaces, in this case libraries, to propose social and cultural improvement.

The exhibition includes: Arlen Austin and Jason Boughton; Brett Bloom and Bonnie Fortune; Stephen Boyer; BroLab (Rahul Alexander, Jonathan Brand, Adam Brent, Ryan Roa, and Travis LeRoy Southworth); Valentina Curandi and Nathaniel Katz; Finishing School with Christy Thomas; Anna Lise Jensen and Michael Wilson; Jen Kennedy and Liz Linden; The K.I.D.S. with Word Up Collective, Eyelevel BQE, Launchpad, NURTUREart, Weeksville Heritage Center, and individual partners, as well as with Emcee C.M., Master of None; Annabel Other; Reanimation Library; The Sketchbook Project; and Micki Watanabe Spiller.
The exhibition will be accompanied by a catalogue.

Also on view:
Featured Artist Projects:
Tomie Arai: Tales from Home
Tomie Arai is a public artist who designs community-based projects that explore the relationship between art and history. Collaborating with historians, writers, curators, architects, activists and community residents, she creates works of art that present multiple perspectives and points of view. Through the use of family stories, shared memories and archival photographs, Tomie constructs pages of 'living' history that reflect the layered and complex narratives that give meaning to the spaces we live in.

The pieces in this Featured Artists exhibition include large silkscreened monoprints and artist books made of wood and found objects. Through these constructions, Tomie explores the ways the printed image can transform the functionality of the materials we find in our environment.

Candace Hicks: Fabrications
As an ardent reader, Hicks naturally gravitates toward creating books and printing. Most of her projects take the form of books or series of prints as each represents an inquiry or sustained reflection on a given subject. Taking note of coincidences is akin to the kind of observation a landscape or portrait artist practices. Her observations take the form of hand-stitched texts that she calls Common Threads. Sewing every line, letter, and illustration in the books enhances their status as objects. By laboring over a composition book, painstakingly recreating it by hand, Hicks has found a way to express the insignificant as potentially philosophical. Just as a landscape or portrait painter's observations allow them to reproduce a version of reality; her scrutiny of repetition creates a narrative that navigates fictional universes.
Her latest project, String Theory: Understanding Coincidence in the Multiverse undertakes to explain coincidence through science. String Theory is her first attempt to form a hypothesis about the meanings and rules that govern coincidence. Part pseudo-scientific humor, part genuine awe at the complexity of the cosmos, String Theory is an embroidered book in three volumes in which the text and images are entirely rendered in thread. In conjunction with her books is a new series of prints, Compositions. She resolves the abstract patterns on the covers of cheap composition books into representational images. Fabrications connects pattern seeking and coincidence with work that deals with memory and observations from reading.
Permanent Collection Spotlight: An Ode to Libraries

To complement the main gallery exhibition, artworks that repurpose library systems and materials from the Center's Collection will be on display. Featuring artwork by Bureau for Open Culture; Dexter Sinister; Stephen Gan, Cecilia Dean, and James Kaliardos; Bruce McLean, SKART, Tom Trusky, Sam Winston, among others.

All exhibitions are on view through March 30, 2013.
Visit our website for up-to-date details: www.centerforbookarts.org

The Center for Book Arts is committed to exploring and cultivating contemporary aesthetic interpretations of the book as an art object, while invigorating traditional artistic practices of the art of the book. The Center seeks to facilitate communication between the book arts community and the larger spheres of contemporary art and literature through exhibitions, classes, public programming, literary presentations, opportunities for artists and writers, publications, and collecting. Founded in 1974, the Center for Book Arts was the first organization of its kind in the nation.

Support for the Center for Book Arts' Visual Arts Program is provided in part by the Andy Warhol Foundation for the Visual Arts, the National Endowment for the Arts, The New York State Council on the Arts, with the support of Andrew Cuomo and the New York State Legislature, and the New York City Department of Cultural Affairs in partnership with the City Council.
Special thanks to Build It Green NYC! for their in-kind donation of materials used both in the Bronx and at the Center for Book Arts. Support for BroLab provided in part by BRAC and NYPL. Support for Curandi/Katz provided in part by nctm e l'arte, and the Canada Council for the Arts.

Sarah Nicholls
Program Manager
The Center for Book Arts
28 W. 27th Street 3rd floor
New York, NY 10001



Goings On is compiled weekly by Harley Spiller