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Contents for February 11, 2013

Richard Artschwager, FF Alumn, in memoriam

The New York Times
February 10, 2013
Richard Artschwager, Painter and Sculptor, Dies at 89

Richard Artschwager, a painter and sculptor whose witty, contradictory mixing of artistic genres made him one of the most critically admired artists to emerge in the 1960s, died early Saturday in Albany. He was 89.

His death, at a hospital, followed a recent stroke, his wife, Ann, said.

The death also followed by less than a week the closing of a career retrospective of Mr. Artschwager's work at the Whitney Museum of American Art in Manhattan, his second to be mounted there. He lived in Hudson, N.Y., in Columbia County.

At a time when most artists worked in clearly determined styles, Mr. Artschwager slyly confounded the usual categories. His most famous sculpture, "Table With Pink Tablecloth," from 1964, is something of a cross between Pop Art and a Minimalist cube by Donald Judd: a box neatly veneered with pieces of colored Formica to create the image of a wooden table with a square pink tablecloth draped on it. Mr. Artschwager went on to produce variations on the forms of chairs, tables, doors and other domestic objects in styles ranging from severely geometric to surrealistically distorted. In the late 1960s, he invented an abstract form he called a "blp," a small, black, oblong shape that he would recreate in various materials and install in unexpected places to punctuate, mysteriously, gallery and museum spaces. He also placed dozens of "blps," in the form of reliefs, stencils or decals, outside museums for viewers to go hunting for or stumble upon. Some are to be found on the elevated High Line park in Lower Manhattan near the site of the Whitney's future home.

Mr. Artschwager's paintings were often paradoxical. He painted black and white copies of found photographs - group portraits, pictures of buildings and other anonymous images - on textured Celotex panels, a common building material. Ostentatious frames made of painted wood, Formica or polished metal were usually part of the total piece.
He once said: "Sculpture is for the touch, painting is for the eye. I wanted to make a sculpture for the eye and a painting for the touch."
Richard Ernst Artschwager was born on Dec. 26, 1923, in Washington. His father, a German immigrant, was a botanist, trained at Cornell University; his mother, a Ukrainian immigrant, was an artist who studied at the Corcoran School of Art in Washington and at the National Academy of Design in New York. In 1935, the family moved to Las Cruces, N.M., a better climate for the artist's father, who had tuberculosis.

Like his father, Mr. Artschwager studied at Cornell, concentrating on mathematics and sciences, though he was deeply interested in art. Before completing his degree he was drafted into the Army in 1944 and saw combat in Europe, suffering a slight wound at the Battle of the Bulge. Afterward he was assigned to counterintelligence in Vienna, where he met and, in 1946, married his first wife, Elfriede Wejmelka. Back in the United States after the war, Mr. Artschwager completed his bachelor's degree at Cornell but soon, with his wife's strong encouragement, decided to become an artist. He moved to New York and began attending the Studio School of the painter Amédée Ozenfant, who, along with Le Corbusier Foundation in Paris, had founded a form of late Cubism called Purism.
By then the couple had a child, and Mr. Artschwager supported his family as a bank clerk and then a furniture maker.

In the early '50s he stopped making art and went into business building furniture until a fire destroyed his workshop in 1958. Resuming art making, he had his first exhibition - of paintings and watercolors of Southwestern landscapes - at the Art Directions Gallery in New York. In 1960, an exhibition of assemblages by the sculptor Mark di Suvero inspired Mr. Artschwager to begin using his woodworking skills to make his own sculpture. A year later, a photograph picked up on the street prompted him to start making paintings based on black and white photographs. A big break came when he sent, unsolicited, a note and slides to the Leo Castelli Gallery, New York's leading showcase for new art. The gallery quickly took him on for a group show that included Roy Lichtenstein, Jasper Johns and Andy Warhol. He remained with Castelli for 30 years.
It was at the Castelli gallery, in 1965, that Mr. Artschwager had the first show of work that was recognizably his own. During the ensuing decades he participated in many important international exhibitions, including the Venice Biennale and Documenta, in Kassel, Germany.

The Whitney produced its first Artschwager retrospective in 1988-89. It later traveled to San Francisco, Los Angeles, Madrid, Paris and Düsseldorf. His last solo exhibition with Gagosian Gallery was last fall at its branch in Rome featuring sculptures of pianos.
"Early and late, his work stood out for its blunt, mute weirdness," Holland Cotter wrote in The New York Times in reviewing the recent Artschwager retrospective at the Whitney. A 1963 sculpture, "Portrait II," for example, resembles a bedroom dresser with no drawers and a sheet of Formica where a mirror might be. The table in "Table Prepared in the Presence of Enemies" (1993) "looks like a low-rise guillotine," Mr. Cotter wrote.
He added: "Violence is implicit in a lot of Mr. Artschwager's art, which may be the most intriguing thing about it, the element that gives bite to what would otherwise pass for Magrittean whimsy." Mr. Artschwager's political views were less apparent. In 2003, he painted three identically framed portraits, of a blank President George W. Bush, a smiling Osama bin Laden and a grim-looking one of himself. "Each painting looks cracked, creviced and soiled, as if just dug up from rubble," Mr. Cotter observed. Mr. Artschwager was married four times, the first three marriages ending in divorce. In addition to his wife, the former Ann Sebring, he is survived by his daughters Eva Artschwager and Clara Persis Artschwager; a son, Augustus Theodore Artschwager; a sister, Margarita Kay, and a grandson.

David Nolan, whose Manhattan gallery has shown drawings by Mr. Artschwager, said the artist had recently exhibited new paintings and works on paper that he created on a return to New Mexico, inspired in part by the colors of the landscape there he had known so well as a boy.

William McDonald contributed reporting. This article has been revised to reflect the following correction: Correction: February 10, 2013. An earlier version of this obituary misstated the date of Mr. Artschwager's last solo exhibition with the Gagosian Gallery. It was held last fall, at its gallery in Rome, not in 2008.



1. Andrea Fraser, Robert Rauschenberg, FF Alumns, in The Village Voice, Feb. 6




2. Linda Mary Montano, FF Alumn, at SITE, Santa Fe, NM, opening Feb. 22

SITE Santa Fe. 1606 Paseo de Peralta, Santa Fe, NM 87501

Upcoming Exhibitions
February 23 - May 19, 2013

Join Us for the Public Opening
Friday, February 22, 5-7pm

Featuring a 7 hour performance by Linda Mary Montano


Linda Mary Montano: Always Creative is a concentrated exhibition of the work of American performance artist Linda Mary Montano (b. 1942). This exhibition will consider the breadth of the artist's practice through a careful selection of works from 1969-present. In a career spanning over forty years, Montano has created works in a variety of forms that explore the interaction between art and life. At the heart of her practice is the belief that the strategies employed in the creation of and engagement with art, such as focused attention, openness, and awareness, can enhance the quality of one's life, if turned toward everyday activities. Similarly, the experiences of one's life can enrich one's art. This exhibition is curated by Janet Dees, SITE's Assistant Curator, in collaboration with the artist.

Montano has created a new two-part performance work, entitled Singing My Heart Out...Singing my Heart In, which she will perform at the opening and closing of the exhibition. For this endurance performance, Montano will be stationed in front of SITE singing along to the music of Linda Ronstadt and Raka Mukherjee, encouraging audience participation. At the opening performance she will ascend once an hour for seven hours until she has reached the top of the building. At the closing, she will start at the top and descend once an hour for seven hours until she reaches the ground.

Linda Montano invites you to participate in her exhibition for the Members' Preview and the Public Opening, on Friday, February 22, 5-7pm, by wearing clothing in a color associated with one of the seven chakras outlined below:

1st Chakra- Red - Security
2nd Chakra- Orange- Life Force
3rd Chakra- Yellow- Courage
4th Chakra- Green- Compassion
5th Chakra- Blue- Communication
6th Chakra- Purple- Intuition
7th Chakra- White - Bliss



3. Jane Dickson, Lisa Kahane, FF Alumns, at Bronx Documentary Center, Feb. 16, and more

Dear Friends,
I want to invite you to 2 upcoming events I'm participating in:

Saturday, Feb 16, 7:30pm
a rare screening of CITY MAZE my 1980 short film with rap by Fab 5 Freddy with
an '80s Bronx slide show by Lisa Kahane and panel discussion about Fashion Moda with Jorge Pabon and Ed Morales

@ the Bronx Documentary Center, 614 Courtlandt Street, at 151 St. (2 blocks from the 2 or 5 trains to 3rd Ave, 149th St. stop)


Sunday, Feb 10, 7pm
NORA YORK will be performing TRIP SWITCH at the PUBLIC THEATER with a video background including my paintings. here's a breath taking preview:




4. jc lenochan, FF Alumn, at Aferro Gallery, Newark, NJ, opening Feb. 23

I have an opening installation/performance at Aferro Gallery in Newark NJ feb. 23-March 30th 2013 open 7-10 on the 23rd... thank you. jc lenochan



5. Richard Kostelanetz, FF Alumn, at McNally-Robinson, Manhattan, March 25

On Monday 25 March, 7 pm. at McNally-Robinson, 52 Prince Street, between Lafayette and Mulberry Streets, Richard Kostelanetz will present over one dozen recent books rarely, if ever, seen before, most of them extending his earlier achievements at the intersection of literature and book-art, many of them produced with the seductive new technology of "on-demand printing" and thus reasonably priced, at least for now.
Among them are Epiphanies, two vols., 1000 pages, one story to a book page, culminating thirty years of work with resonant single-sentence climax moments in otherwise nonexistent fictions.

Conceptual Fictions, an extended essay with examples about the framing of implicit narratives.

Visual Fictions, collecting pages designed more than a decade ago for his Openings and Complete Stories, along with his Leonardo and Me.

Verbal Fictions, various narratives that are not visually enhanced.

Vocal Shorts, an expanded edition of his texts designed for live performance.

Openings Short Fictions, the initial sentences of otherwise nonexistent stories.

Reflections on Loving and Relationships, his aphorisms continuously on right-hand pages against drawings of men and women made by the prominent choreographer Frances Alenikoff.

Furtherest Fictions, which reprints, revised, an earlier collection of his exploration of radically alternative narrative well beyond what every other fictioner is doing.
A Universe of Sentences, his continuous selection of lines by others worth remembering, the whole representing a universe of experience.

1001 Stories Enumerated, single-sentence fictions meant to be complete in themselves.

Erotic Minimal Fictions, a variety of prose alternatives.

Fields/Arenas/Pitches/Turfs, which completes the publication of geometric poems begun thirty years ago.

1-99: A Book, another narrative composed only of numerals.

Ghostories, which are fictions created by boldfacing certain letters within a single word.

Homophones: Stories, where narratives are composed from two or more words that sound alike if spelled differently.

To & Fro &, where narrativesdepend upon turning the book's pages.

Ops & Clos, where opening and closings, each pair with its own typography, are interspersed.

English, Really English, in which he collects English words that seem incredible-over five thousand of them alphabetically in several perfectbound volumes.

What I Didn't Do, which epitomizes intellectual nonhistory as Kostelanetz's record of proposals that were never supported.

A Book of Eyes, photocopied and velobound, which explores the richly various ways that the letter between H and J appears in contemporary typography

His presentation may also include such slightly older books as Skeptical Essays (Autonomedia), his latest collection of mostly severe criticism; Three Poems (NY Quarterly), where his experiments with three strains of one-word poetry appear interspersed; Micro Fictions (Archae), a limited-edition hardback with 900 pages of Louis Bury's imaginatively designed narratives all three words and less; the reprint of his classic anthology of alternative expositions, Essaying Essays (AC Books); and maybe some others.

All these books should add to acknowledgments of Kostelanetz in critical histories of literature, poetry, fiction, and book art.

At McNally-Robinson on 25 March, Richard Kostelanetz will answer questions and gladly sign copies of these and other books authored (rather than edited) by him.
Individual entries on Richard Kostelanetz's work in several fields appear in various editions of Readers Guide to Twentieth-Century Writers, Merriam-Webster Encyclopedia of Literature, Contemporary Poets, Contemporary Novelists, Postmodern Fiction, Webster's Dictionary of American Writers, The HarperCollins Reader's Encyclopedia of American Literature, Baker's Biographical Dictionary of Musicians, Directory of American Scholars, Who's Who in America, Who's Who in the World, Who's Who in American Art, NNDB.com, Wikipedia.com, and Britannica.com, among other distinguished directories. Otherwise, he survives in New York, where he was born, unemployed and thus overworked.

Richard Kostelanetz
1051Wyckoff Ave
Ridgewood-SoHo, NY 11385-5751
646-524-3462 tel
718-559-6926 fax

Richard Kostelanetz Books on Amazon -- http://amzn.to/tblu2v
Richard Kostelanetz eBooks on Kindle -- http://amzn.to/udj8TI



6. Warren Neidich, F FALumn, at ICI Berlin, Germany, March 7-9

The Psychopathologies of
Cognitive Capitalism: Part Two
March 7-9, 2013 - ICI Berlin

Conceptualized by Warren Neidich, TU Delft School of Architecture, and hosted by The ICI Berlin, Villa Aurora, Berlin, and The Office of Artistic Occupation, Los Angeles, "The Psychopathologies of Cognitive Capitalism: Part Two will bring together an international array of philosophers, critical theorists, media theorists, art historians, architects and artists to discuss the state of the mind and brain under the conditions of contemporary capitalism, in which these cognitive apparati have become the new focus of laboring.

This symposium continues to ask many of the same questions posed in Part One held in collaboration with California Institute of the Arts and Art Center College of Design last November, but elaborates upon many of the questions left unattended. Questions such as: What is the future of mind in Cognitive Capitalism? Can a term such as Plastic Materialism describe the substantive changes in neural architectures instigated by this contingent cultural habitus? What about the Unconscious as it known to us in dreams and other implicit psychic phenomena? Is it also modified, mutated and modulated by these evolving conditions of global attention? Is there such a thing as Cognitive Communism, and does it have distinct patterns of pathological enunciation? How has the idea of the Post-Colonial mutated as a result of these conditions?

Is parametric design, which is computational and generative, an apparatus of cognitive capital? Is designed space an agent or platform in the production of subjectivity, and is parametrics complicit with its devices? Does architecture have a humane answer to its lack of empathy?; How does artistic research - the methods and practices of artistic production and the knowledge they produce - create new emancipatory possibilities in opposition to the overwhelming instrumentalization of the general intellect in Semiocapitalism?

Participating Contributors Include:

Armen Avanessian
Ina Blom
Arne De Boever
Pascal Gielen
Deborah Hauptmann
Tom Holert
Sanford Kwinter
Maurizio Lazzarato
Yann Moulier Boutang
Abdul-Karim Mustapha
Matteo Pasquinelli
Alexei Penzin
Sarah Rifky
John Roberts
Hito Steyerl
Charles T. Wolfe



7. Rachel Frank, FF Alumn, at Field Projects, Manhattan, Feb. 14, and more

Hi Friends,

Please join me next Thursday, February 14th at Field Projects for Pagan Holiday.

Pagan Holiday
February 14th (Valentine's Day and Lupercalia Day)
6:00 - 8:00 pm
Field Projects
526 W 26th Street, #807

Also in the near future:

- In Search of... opens at TSA on February 22nd.

- Bed on the Floor (a sculptural collaboration with Matt Bollinger) at Zurcher Studio opens on March 13th. Details below.

Thank you for your support and hope to see you at an opening,

Rachel Frank



8. Judith Bernstein, FF Alumn, in The Brooklyn Rail, now online




9. Doug Skinner, FF Alumn, releases new publication

"Captain Cap, Volume 1" is out!

Alphonse Allais was a peerless French humorist, celebrated posthumously by the Surrealists for his elegant style and disturbing imagination. Among other things, he wrote a series of wonderful stories about his friend Albert Caperon. In Allais's hands, "Captain Cap" became an adventurer and inventor, with a disdain for bureaucracy and a heroic thirst for cocktails. He collected the Cap stories in his last book, "Captain Cap:
His Adventures, His Ideas, His Drinks," in 1902. It remains popular in France, but has never been translated into English. So, I'm doing just that, in a series of chapbooks for Black Scat Books.

The first installment, "Captain Cap Before the Electorate," contains Allais's dossier on Caperon's farcical political career. It's published in a limited edition of 125, with illustrations and introduction by the undersigned, and comes with a free Cap campaign button for the first twelve customers. You can cast that vote at www.blackscatbooks.com!

Doug Skinner



10. Guy de Cointet, FF Alumn, at Centre Pompidou, Paris, France, Feb. 20-Mar. 11

Guy de Cointet
Centre Pompidou
Tell me (exhibition)
Feb. 20 - Mar. 11, 2013

Tell me (performance)
Feb. 23, 2013 - 8.30pm
Feb. 24, 2013 - 5pm



11. Annie Lanzillotto, FF Alumn, at Bronx Museum of the Arts, Feb. 15, and more

Franklin Furnace Alum Annie Lanzillotto,
announces the publication of her memoir:
L is for Lion: an italian bronx butch freedom memoir

SUNY Press 2013
331 Pages, over 30 photos
ISBN: 978-4384-4525-0
$24.95 hardcover
Order through sunypress.edu
For events, photos, info, go to www.lisforlion.com
Save the Dates for upcoming readings:

Bronx Museum of the Arts
1040 Grand Concourse (at 165th Street)
Bronx, NY10456
I am one of several featured storytellers in "Bronx Stories."
I will be signing and selling books.

b. WEDNESDAY FEBRUARY 20, 2013 -- 2 PM
Westchester Italian Cultural Center
24 Depot Square
Tuckahoe New York 10707
Registration required; call 914- 771-8799
Free and open to the public.
First-come first-serve seating.
Handicapped accessible, use side entrance.
This is a solo event, a full reading, signing, selling, Q&A

c. WEDNESDAY MARCH 13, 2013 -- 6PM
Calandra Institute for Italian American Studies
25 West 43rd Street, 17th Floor, NY, NY 10036
Registration required: 212-642-2094
Bring picture ID as concierge sometimes requests it.
First come first served seating.
Contact for more information: rosangela.briscese@qc.cuny.edu
Free and open to the public.
This is a solo event, a full reading, signing, selling, Q&A

d. WEDNESDAY APRIL 3RD, 2013 -- 6:30 PM
Gotham Center for NYC History
CUNY Grad Center, 365 Fifth Avenue, NY NY 10016
Venue phone: 212-817-8460
(in the old B. Altman's Building on 5th Ave / 34th St)
Once inside, ask for the Martin E. Segal Theater
Contact: jmurphy@gc.cuny.edu, 212-817-8460,
Bring picture ID as concierge sometimes requests it.
First-come first-serve seating. No reservations required.
FREE and open to the public
This is a solo event, a full reading, signing, selling, Q&A



12. elin o'Hara slavick, FF Alumn, at ICP, Manhattan, March 8, and more

elin o'Hara slavick will launch her 2nd book, After Hiroshima, with an essay by James Elkins (Daylight Books, 2013) at ICP (International Center for Photography) in NYC on March 8, 6-8pm. She will present the project at Ps1 on March 10 at 4:30 pm on a panel, "Visualizing Trauma," moderated by Fred Ritchin.



13. Penny Arcade, Sarah Schulman, Bina Sharif, Jack Waters, FF Alumns, at CUNY Grad Center, Manhattan, Feb. 13

Wednesday Feb. 13th at 6:30 p.m., Penny Arcade and Steve Zehentner present our long running oral history video project The Lower East Side Biography Project "Stemming The Tide of Cultural Amnesia"
at the CUNY Graduate Center James Gallery on 34th and 5th.

Lots of video plus a dialogue about art, politics, cultural amnesia and gentrification.

at this live presentation we will present mimi biographies of Judith Malina, Carmen Pabon, Jonas Mekas, Luke Carsin, Jeanie Chan, Jayne County, Tuli Kupferberg, Sarah Schulman, Betty Dodson, Bina Sharif, Tom O'Horgan, John Vaccaro, Jack Waters, Richard Foreman, Bruce Benderson, Quentin Crisp, and performance footage of Patti Smith at Gregory Corso's Memorial.

More event details here:

LES BIO broadcasts on television in Manhattan ever Wednesday at 11 p.m. EST on Time Warner Channel 34, RCN 82, FIOS 33 and streaming live on the internet at MNN Channel One http://www.mnn.org/live/1-community-channel



14. Dynasty Handbag, FF Alumn, at The Garage, San Francisco, CA, Feb. 17

Dynasty Handbag, FF Alumn
all HANDBAG all NIGHT (for one hour)
Sunday, Feb 17th 8 PM
715 Bryant St



15. Richard Minsky, FF Alumn, at Ringling College of Art and Design, Sarasota, FL, Feb. 21

Thursday Feb. 21, 2013
6:30-7:30 pm

The Ringling College of Art and Design
Letterpress and Book Arts Center
presents an evening lecture with Richard Minsky "Material Meets Metaphor"
at the Academic Center Auditorium

With examples from over 50 years of his work, Minsky reveals the methodology that informs the materialization of metaphor. Among the subjects addressed:

How does an object appear to vibrate the space around it?
How does the effect of color on the endocrine system and the chakras stimulate the physiology and consciousness of the viewer?
What images stimulate the release of oxytocin, and what do prairie voles have to do with it?
What role does breathing play in the creative process?
Balancing object, image, and metaphor: what makes it decorative art, illustration, or "fine" art?

Directions to Ringling College of Art & Design:
Facebook event: https://www.facebook.com/events/414965191923584
Minsky website: http://minsky.com



16. Andy Warhol, Hans Haacke, Cindy Sherman, FF Alumns, at Kunsthaus Bregenz, Austria, thru April 14

Love is Colder than Capital
An Exhibition About the Value of Feelings

KUB Arena
Andy Warhol
Fifteen Minutes of Fame

February 2-April 14, 2013

Kunsthaus Bregenz
6900 Bregenz, Austria


Love is Colder than Capital
An Exhibition About the Value of Feelings
February 2-April 14, 2013

The title of the big group exhibition at the Kunsthaus Bregenz Love is Colder than Capital has been filched: it comes from the play of the same name by the controversial post-dramatic stage director René Pollesch, whose works deal with the neoliberal exploitation of the private and the personal by economic interests. More clearly than ever, the progressive dwindling of manufacturing production and the steady rise of service-oriented industries call on the emotional commitment of workers, and make feelings-purportedly genuine or merely feigned-an increasingly integral part of immaterial, commodity-like products.

Emotion, passion, care, even love, are the ostensible themes of this Bregenz exhibition. At the same time, however, this essayistically conceived show never sidesteps the tricky ambiguities of such sympathy-based concepts. One cannot always tell with the exhibited works whether the supposedly romantic idea of "true" love is at stake, or rather a variant "tainted" by economic or other social aspects. At the latest, since the end of the first decade of this century it has become increasingly difficult to draw a line between what is one's own and personal and what is public.

Against this background and the mutual interdependence of art and society, the exhibition raises questions such as: How do artists address the relation between emotion and economy? How do they reflect the ambivalence of personal and social empathy between the two poles of authenticity and staged seduction?

Many of the installations, objects, and videos were specially created for the exhibition. Major works that are already part of the canon of contemporary art, by Hans Haacke, Isa Genzken, and Cindy Sherman are also on show. Famous works by the legendary New York artist Keith Haring will constitute a historic highlight of the exhibition, works that gave expression to the relations between love, sexuality, and commerce in innovative pictorial compositions way back in the 1980s.

Participating artists: Neil Beloufa, Minerva Cuevas, Mariechen Danz, Isa Genzken, Hans Haacke, Keith Haring, Teresa Margolles, Ken Okiishi, Julika Rudelius, Yorgos Sapountzis, Cindy Sherman, Andreas Siekmann, Dirk Stewen, Pascale Marthine Tayou, Rosemarie Trockel, Cathy Wilkes.

KUB Arena
Andy Warhol
Fifteen Minutes of Fame
February 2-April 14, 2013

Andy Warhol (1928-1987) is one of the most influential 20th-century artists whose impact is still with us today. With his technique of serial silkscreen printing in the 1960s he turned the work of art into the perfect mass product, opening the art world to celebrity culture and relativizing the border between high art and mass art as no other artist has done.

"I'm really jealous of everybody who's got their own show on television. I want a show of my own." In the late 1970s, this self-confessed TV addict's plans took on shape. Following the founding of his magazine Interview in 1969, his first foray into the media world, Warhol devoted himself between 1979 and 1987 to the ultimate mass medium, producing 42 of his own television programs. His first series, the ten-part TV journal Fashion (1979-80) restricted itself to the fashion world, but in his subsequent programs Andy Warhol's TV (1980-83) and Fifteen Minutes (1985-87) broadcast by MTV, he brought on an impressive range of stars from fashion, music, film, art, and the gay scene: from members of The Factory, drag queens, Grace Jones, Debbie Harry, Paloma Picasso, Cindy Sherman, Keith Haring, and David Hockney to the fashion designer Kansai Yamamoto and film directors such as John Waters. The programs created a new principle. Translating a celebrity and lifestyle magazine into TV format, they gave insight into Warhol's inimitable interviewing strategy and his cult of the surface.

Andy Warhol-Fifteen Minutes of Fame will present a representative selection from this less known complex of Warhol's works. The exhibition title is based on Warhol's famous remark of 1968: "In the future, everybody will be world-famous for fifteen minutes." Etienne Descloux and Oda Pälmke of the Berlin architectural practice PE-P will be designing a special exhibition architecture.

For further information: www.kunsthaus-bregenz.at



17. Frank Moore, FF Alumn, now online at http://vimeo.com/24667293

Frank Moore, FF Alumn, now online at http://vimeo.com/24667293



18. Lawrence Weiner, FF Alumn, at Andrea Rosen Gallery 2, Manhattan,

thru March 23, 2013

Andrea Rosen Gallery 2
544 West 24th Street
New York, NY 10011


Andrea Rosen Gallery is thrilled to announce a highly unique exhibition that joins in conversation works by Jacob Kassay, Olivier Mosset and Lawrence Weiner. Presented at our new Gallery 2 location, which is dedicated to content-driven, experimental and historical exhibitions, this project is the outcome of a rare gathering and communication between these three artists.

Crafting significant dialogues and unexpected relationships between historical artists and those of a younger generation is a defining aspect of Andrea Rosen's Gallery 2 program, which seeks to broaden our basis of visual reference and education. The focal point of the exhibition is a shared installation comprising a single yellow wall painting by Olivier Mosset upon which a new painting by Jacob Kassay-the irregular shape of which is defined by the repurposing of canvas scraps from other projects---and Lawrence Weiner's A 36" X 36" removal to the lathing or support wall of plaster or wallboard from a wall (1968), from the collection of the Museum of Modern Art, New York, are hung.

On one hand, the installation may be considered as a formalist exercise -- a three-layer relief that, when viewed from afar, appears to be a flattened image. On the other, the combination of the works, in relation to each other and within the gallery setting, inspires new revelations about those works and the relationship between the artists. "A yellow wall is a yellow wall, but I like that it is questioned by its situation (the gallery) and the works of other artists whom I respect," remarks Mosset. The exchange between these three artists not only addresses conceptual abstraction and the significance of space; presence and absence; it develops new affiliations between works that reference the hand, material and process.

Additional paintings by Jacob Kassay and Olivier Mosset are included in the exhibition.

Jacob Kassay was born in 1984 Lewiston, NY. He received his BFA from State University of New York at Buffalo and now lives and works Los Angeles. A solo exhibition of new works by the artist is on view through February 16, 2013 at The Kitchen, New York. Other recent solo shows include Art: Concept, Paris; Protocinema, Istanbul; and The Power Station, Dallas (catalogue).

Olivier Mosset was born in 1944 in Bern, Switzerland. He lives and works in Tucson, Arizona and New York, New York. He was a founding member of the BMPT group in Paris in the 1960s, along with Daniel Buren, Michel Parmentier, and Niele Toroni. Mosset has participated in exhibitions spanning the Fifth Biennial of Paris at the Museum of Modern Art in Paris in 1967 to the Whitney Biennial in 2008.

Lawrence Weiner was born in 1942 in the Bronx, New York and lives and works in New York and Amsterdam. He is one of the central figures in the formation of conceptual art in the 1960s and has exhibited at the Los Angeles Museum of Contemporary Art (2008); Whitney Museum of American Art (2007); Kunstmuseum Wolfsburg (2000); the Museum Ludwig, Cologne (1995); the Walker Art Center, Minneapolis (1994); the Hirshhorn Museum and Sculpture Garden (1990); and the Smithsonian Institution, Washington, D.C. (1990). He has participated in Documenta V (1972), VI (1977), and VII (1982), as well as the 2005 Venice Biennale, and the Biennale Sao Paolo in 2006. Among his many honors are National Endowment for the Arts Fellowships (1976 and 1983), a Guggenheim Fellowship (1994), Wolfgang Hahn Prize (1995), and a Skowhegan Medal for Painting/Conceptual Art (1999).
About Gallery 2

Andrea Rosen conceived Gallery 2 in 1999 as a liberating arena in which to consider new ideas and create parallel perspectives to the Gallery's primary program, and as a means of fulfilling the Gallery's responsibility to broaden visual references and education for its audience. An inspiring and highly important part of the Gallery's exhibition program, Gallery 2 was formerly located adjacent to the main gallery at the 525 West 24th Street location, prior to the recent opening of separate Gallery 2 space at 544 West 24th Street. Gallery 2 has developed a reputation for significant historical exhibitions, presenting first-time, one-person shows, and shedding light on lesser known aspects of prominent artists' practices. Many of the shows conceived in Gallery 2 have gone on to have other lives in other exhibitions and institutions. The program affords the Gallery the opportunity to work with young artists who might not otherwise not have the opportunity to show within the primary space as well as esteemed independent curators and art historians. Andrea Rosen Gallery has been built on the ideals of what it means to represent a specific group of artists over a very long period of time, but it has also come to realize that infusing the gallery with one-time projects enhances the vocabulary, meaning, and impact of the gallery's agenda.

For images and press information please contact Jessica Eckert at j.eckert@rosengallery.com or Michelle Finocchi at michelle@michellefinocchi.com



19. Dan Graham, Michael Smith, FF Alumns, at Participant, Inc., Manhattan, Feb. 14

Andy Kauffman's 99Cent Tour
At Participant, Inc.
253 E. Houston St.
New York City

Dan Graham and Michael Smith in conversation about Andy Kauffman
Thursday Feb. 14, 6:30 pm



20. Michael Smith, FF Alumn, at SUNY Old Westbury, Feb. 11-March 20

Brought into Being:
Performativity and Formative Performance

February 11, 2013 - March 20, 2013

Curated by Robert Gero

My Barbarian, John Bock, Daniel Bozhkov, Mary Ellen Carroll,
Allora & Calzadilla, Marcel Duchamp, Claire Fontaine,
Marie Karlberg, Jorge Pardo, Michael Smith, Rirkrit Tiravanija

Performance and reception Wednesday, February 27th, 2013, 4:30 -7:30pm
Curator's Talk: Monday, March 4th, 2013, 4: 30 pm

The Amelie A. Wallace Gallery at SUNY College at Old Westbury is pleased to announce a new exhibition, Brought Into Being: Performativity and Formative Performance, curated by Professor Robert Gero, new faculty member of the Visual Arts Program of the College.

The exhibition highlights the complexity inherent in performativity and performance and endeavors to establish distinctions between them conceptually and materially. It includes works created for the exhibition by Rirkrit Tiravanija, Daniel Bozhkov Marie Karlberg, and Jorge Pardo, as well as works by Claire Fontaine, John Bock, My Barbarian, Michael Smith, Allora & Calzadilla, Mary Ellen Carroll, and Marcel Duchamp.

"It is important to distinguish performance from performativity: the former presumes a subject, but the latter contests the very notion of the subject" Judith Butler

"Performance will be to the 20th and 21st centuries what discipline was to the 18th and 19th, that is, an onto-historical formation of power and knowledge" Jon McKenzie

Performativity and its roots are topics one encounters almost daily in the world of contemporary art and its discourses. They are invoked regularly in radically ways with seemingly multiple meanings. Clearly not reducible to an attribute or quality of performance, performativity has become a methodological approach.

One of the ambitions of this exhibition is to highlight the complexity of the concepts of performativity, the performative, and performance, and then to begin an inquiry that delineates the distinctions between these concepts and to work towards needed new definitions, or at least improved understanding.

A second ambition is to evidence how performance has come to pervade every aspect of our cultural fabric. Extending beyond theatrical performances, performance art, rituals, and festivals, it may be applied to all human practices that are now both seen and judged as 'performed'. As a social category, it functions as a metaphor, an analytical tool, and an evaluative metric for all social and cultural phenomena.

A few historical notes will serve to set the historical and theoretical coordinates. Philosopher J.L. Austin in his Harvard lectures of 1954 coins the term "performative" to refer to words that do rather than describe. The classic example being, "I now pronounce you man and wife." Here the performative constitutes the very act that it performs, in other words, saying is doing, not merely representing. Some years later, Influenced by Austin and Derrida, Judith Butler developed the concept of performativity to address how subjectivity, identity, and gender are constructed. She argued that what is critical is iterability, the performing repetition of social conventions (norms, codes, or contracts). For Butler, performativity cannot be understood outside the process of repetition. Further, this repetition is not performed by a subject, it is rather how the subject, identity, and gender are constituted. According to Butler, performativity also possesses the potential to "open the signifiers to new meanings and new possibilities for political resignification."

Here, in abbreviated sketch form, we have the groundwork for an art practice whose stress is on process, participant, event, and execution, the emphasis being on the investigation of cultural action and production.

Performance by Daniel Bozhkov is scheduled for Wednesday, February 27th, 2013, 4:30pm. A curator's talk is scheduled for Monday, March 4th, 2013 at 4:30pm. The exhibition remains on view through March 20, 2013. Gallery hours are Mondays and Thursdays between 12pm and 5pm, and by appointment.

For directions to the College, see the link here. For a map, please click here.

For further information about the exhibition, please contact Gallery Director Hyewon Yi at yih@oldwestbury.edu. Please visit our gallery Facebook page or follow us on Twitter.

Amelie A. Wallace Gallery, Campus Center, Main Level, SUNY College at Old Westbury
Route 107, Old Westbury, New York 11568 tel: 516.876.3056/2709, 646.421.5863 fax: 516.876.4984. www.oldwestbury.edu.
e-mail: yih@oldwestbury.edu. amelieawallacegallery@gmail.com.



21. Jacki Apple, FF Alumn, at College Art Association Conference, Manhattan, Feb. 13

Jacki Apple, Professor at Art Center College of Design, is chairing ARTspace panel session DESIGN AS INTERMEDIA PRACTICE
at the CAA Conference in NYC on Wednesday, February 13, 2013 from 2:30 PM -5 PM.
in the ARTspace room - Murray Hill Suite, 2nd Floor, Hilton Hotel

Annie Chu, Principal - Chu+Gooding Architects, Professor of Interior Architecture, Woodbury University
Kati Rubinyi, AIA, Executive Director, Civic Projects Foundation
Nobuho Nagasawa, Artist, Professor, State University of New York, Stony Brook University
Ini Archibong, Founder, Design by INI
Joe Doucet, Founder/Design Director, Joe Doucet Studio

Now more than a decade into the 21st century we are at one of those historical transitions when the old definitions of cultural practices no longer seem to accurately describe the future as it becomes the present. The boundaries between what we call art, design, craft, architecture, fashion, environments, communications and technology have blurred. New hybrids have emerged out of mutating disciplines, and creative collaborations. Thus we need to develop a different way to talk about the interface between material culture, social culture, and the environment.

This session will attempt to examine what we create and produce, and how it impacts the social, political, and economic landscape on both a local and a global scale. I have invited five people whose art and design practices address these issues in very different ways. They represent diverse esthetic and social concerns, disciplines and cultural backgrounds.

The format is designed for a more dynamic exchange, thus Panelists will have 10 minutes each to introduce their core philosophy and their practice, to be followed by an hour and a half round table discussion and will include audience participation.

ARTspace is open to the public and FREE, so please join us and bring your colleagues in the field.



22. Charles Dennis, FF Alumn, at The Flea Theater, Manhattan, April 8-14

We are please to invite you to the
at The Flea Theater on April 8-14, 2013
41 White Street (between Broadway & Church Streets)

New Dance Alliance presents the 27th Annual Performance Mix, a weeklong festival with twenty-five outside-the-box performance and video dance artists. Some highlights: we will feature full-length performances by International Artists in Residence Mayday/Melanie Demers presenting Goodbye as seen at the Festival Transamerique in Montreal; from France, the compagnie à contre poil du sens/Matthieu Hocquemillers' Bonne Nouvelles; picking up from last year's festival, Valerie Striar's newly completed work Marguerite and Robert, part 2 (New York City); a sneak peek at Karen Bernard's Suspending and Other Tricks; and many other performance artists on the move from near and far - Robert Tyree ( Portland, Oregon); Michael Samama, Oren Barnoy, Special Projects/Melinda Ring, and Maverick Dance Experience (New York City); video artists Charles Dennis (New York City) and Livia Daza Paris (Quebec); and a closing performance of Rhythm and Schmooze hosted by Jane Goldberg with tap aficionados Roxane Butterfly, Cheryl Johnson and Michela Marino Lerman.



23. Nicolás Dumit Estévez, FF Alumn, book launch, Madrid, Spain, Feb. 16

Book Launch in Madrid, Spain, as part of Just Mad contemporary art fair

Conversaciones Sobre Arte, Política y Sociedad [Conversations on Art, Politics, and Society]

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

Saturday, February 16th, 4:30 PM
Madrid, Spain
For directions:



24. Claire Jeanine Satin, FF Alumn, in Dania Beach, FL

of artist CLAIRE JEANINE SATIN is open and welcomes visitors by appointment
101 SW 1st Street Dania Beach, Florida 33004 (954) 923-9117 clairesatin@gmail.com

Exhibited at Palm Beach International Art Fair January 24-28, 2013 with ARTVITAM, Paris/Miami



25. Nancy Buchanan, FF Alumn, at Redcat, Los Angeles, CA, Feb. 11

Nancy Buchanan screening work at REDCAT, Los Angeles, Monday, Feb. 11, 8:30 pm.



Goings On is compiled weekly by Harley Spiller