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Contents for February 20, 2013

Dina von Zweck, FF Alumn, in memoriam

Dina von Zweck (1933-2012) is remembered in the following Valentine for her by Kenneth E. King

"But poems are human realities; it is not enough to resort to 'impressions' in order to explain them. They must be lived in their poetic immensity."
Gaston Bachelard, The Poetics of Space

Multimedia artist and award-winning author Dina von Zweck, an eminently accomplished poet, preferred working under the radar.

She left a treasure trove of collected writings, but her poetry-a rare and exciting discovery-provides the stargate and portal to her novels and stage plays.

Her poems have appeared in literary magazines, and in several chapbooks, others were issued in private editions. In recent years, many, to my delight, regularly popped up in my computer inbox.

Dina worked as the Director of Publishing at CBS Inc. between 1972, and 1985 and as a consultant in 1986 where she produced thirty-one commercial books, but she had just as much difficulty finding publishers for her own work as any other writer.

While at CBS, she co-authored two non-fiction books, American Victorian (Harper & Row, 1984, excerpted in House Beautiful), and Venus Unbound (Simon & Schuster, 1989), about women's psychology.

Her novel, Dominga, El Rio Hablando, was a finalist for the Willa Catha Fictionwriting Award in 1991, and was made possible by a Gulf & Western writer's grant. In 2000, her book Celebrity won that award. Her feature film script Death & Diamonds won first prize in the NY International Film Festival, and her stage play Virgin won first prize in the TRU Playwriting Contest in 1999.

Among her sixteen plays are Tokyo Rose, William Burroughs @ The Automat, Glass House and The White Parrot, as well as Squirm: 6 One-Act Plays.

As a poet, she had a unique edge on producing short, startling, sharply focused and quizzically nuanced imagistic poems that captured what lay just beyond the known and imaginable. By juxtaposing nature's mysteries with urban happenstance, and conflating chance encounters with astronomical star scapes in tangential counterpoint to mythical beings, they yield surreptitious secrets.

Dedicated writing should be a brain stretch. Meditating on her work in a two-column layout is an invitation to synchronize an interlinear fission.

Poets always have something unexpected up their sleeves and are able to put together what you might never imagine to make the unlikeliest and surprising connections. Silly Putty non sequiturs, fractured metaphors, and a madcap juggle of juxtaposed tropes make whimsical leaps of logic that can suddenly make more sense than sense.

A trope is a figure of speech, but bards are able to turn metaphors into APPS. Poets resemble magicians-they prestidigitate appearances, and materialize gems out of a hat or thin air that then turn themselves inside out and disappear. -Poets have an uncanny one-upmanship on disappearing.

Poetry telegraphs constellations of signs, images, ideas, connections, correlatives, vectors, and meanings. It digs into the crevices, the interstices of impressions and the dendrites connecting their bundled associations, pulls back the curtain of perception, dispenses oblique messages, and thereby reveals essences.

A poem condenses experience and encrypts being by creating an agile ontological shorthand. "How much philosophers would learn, if they would consent to read the poets!" (Gaston Bachelard)

Poetry, the supreme art of transparency and reflection, depends upon the interval-the spaces and interludes between words, phrases-even the letters of words-because assonance and alliteration trigger unexpected associations. Dina reached for the source-code.

Interlinear is intrasynaptic, too-the hotspots that light up in the brain while processing a poem's interprecessionary signage.

Borrowing Merleau-Ponty's phrase, poetry produces the "forceps of attention." (Notice, too, the short distance between forceps and concepts-concepts 'deliver' ideas!)

Words are magical, their uncanny power of being allusively persuasive interlaced with elusive tropes move the symbolic beyond the semiotic-like glinting kaleidoscopic beams whose crisscrossing vectors merge the real and unreal.

Nature's mysteries and enigmas enchanted her, as did realism bisected by mythic transpositions, which became sparkling currency in her hand.

Dina's trademark structural feint, guaranteed to produce genuine surprise, were often the last two lines of her poems, which often exploded with unpremeditated invention. -Not quite like O. Henry's short stories with trick endings, Dina knew how to turn the couplet around on itself to recalibrate everything that had preceded it. How she did this remains a mystery.

Her later collection of poems included The History of Words and Peppermint Candy and Other Poems. Her recent novels were Mica's Brain and Flim Flam (written in 2007 and 2008, published in 2011 by White Deer Books), before she embarked on writing libretti for several operas.

Flim Flam is an intrigue about painting and art forgery; Mica's Brain begins with a terrorist incident at MOMA that causes Mica to relive a past life with Franz Anton Mesmer, and a future life in Tokyo; one passage presciently foretold Fukushima.

Sound is implicit, tacit and subliminal in the configurative matrices of the written word, and perhaps that's why Dina began writing operas-to amplify the fluid stream of vocalization and its sonic possibilities.

The first, FLUDD-Virtual Polar Icecap Meltdown (2008), was written in conjunction with the United Nations Climate Change Conference in Copenhagen. An excerpt, Tattooed Ghosts, was scored for interactive audio and sung by composer Kristin Norderval with projected video décor and computer animations by Katherine Liberovskaya. It premiered at Greenwich House, NYC, on October 29, 2010.

FLUDD is a long eclectic tone poem scripted to create a conceptual oratorio, and contains all the ingredients for a multimedia Internet opera.

FLUDD sonorously excavates the mysteries, artifacts, revenants and journals of explorers that were lost in the depths of the North Pole and weaves together Eskimo chants, language and folklore to resurrect this buried past in an urgent outpouring, an authororatorial "flood of waters that releases the Arctic's profound secrets."

Survival, the planet's severely threatened ecosystem, and species in upheaval revive virtually through the healing incantation of poetic reverie.

Conceived as a 'TransGenre' work, the text collages and superposes historic diaries, letters, news clips, dialogue, myth, and song with narrative elements, dramatic interludes laced with lyrical poetry and interfused with the structural signposts of novel, stage play, film script and memoir.

Two other operas were in progress: Infinity, based on the life and work of Giordano Bruno (2009), and Real Next Wave, inspired by Occupy Wall Street.

Dina lived downtown near City Hall, and when Occupy Wall Street happened in October, 2011, she grabbed her walker and digital camera and daily ventured the streets to take reams of unusual photos, a collage of which was displayed in Occupy the Wall: A Poster Show at the AC Institute Art Gallery on West 27th Street, NYC, in December 2011.

The photographs in toto will reside at the Smithsonian (National Museum of Natural History). Real Next Wave, currently in production, will combine the sung libretto with her projected photographs.

For years Dina went to a weekly theater improvisation group to challenge on-the-spot strategizing and keep a step ahead of word game dialogues, and for years she also participated in a weekly dance improv jam, where we met.

She read everything, was highly informed, loved theater and movies, was a diehard New Yorker, went everywhere. She had even hung out with Andy Warhol and the Studio 54 crowd which she chronicled in yet-to-be revealed journals!

A poet exceeds identity and biography. Like Gertrude Stein's Everybody's Autobiography, Dina's life was an in-progress transpersonal frission lived curiously amongst the electrical tangents and elemental traceries of her poems, and camouflaged with carefully nuanced detours and deflections.

The presupposition of course is that an autobiography tells us what we can know about someone's life, rather than what we cannot not know, hence poetic necessity.

Her poems vibrate with the immediacy of snapshots-and capture what an aperture couldn't. When she acquired her digital camera she added shutterbugging to her repertoire.

When Occupy Wall street occurred, I started receiving streams of photos in my inbox, and kidded her that she was becoming the movement's Walker Evans, capturing the crazy-quilt assemblage of anarchistic images emboldened by its wildly colorful, restless and rebellious zeitgeist.

She was captivated by the unusually powerful energy of Zucotti Park that broadcast the aspirations of impossible convictions worldwide. In one photo, a phalanx of police officers is shown marching directly toward her!

The interlinear is apropos of how vectors work across cross-purposes-since poetry jumps the gap between word and image (both sonic and visual), and hovers in the spaces between a poem's internal structure, thereby synergizing signs and ideas in the mind's eye.

We both admired Gaston Bachelard's books about poetry and were devotees of E.E. Cummings. Dina spoke often about William Carlos Williams-who also used the most economical and abbreviated means to distill the delivery and heighten the impact of poetic resonance.

Poetry embedded in prose was another enigma that we discussed, so I urged Dina to read Virginia Woolf's The Waves.

One of the consummate writers also indebted to Woolf, who Dina used to meet at actor Michael Higgins' dinner parties during the 1960s in Stuyvesant Town-Peter Cooper Village, was the incomparable Marguerite Young, whose monumentally ambitious, two volume "lost masterpiece" Miss MacIntosh, My Darling, may be the penultimate American prose poem. Poetry conscripts devious ontological camouflages.

Always curious, Dina, too, was a voracious reader, and she turned me on to many authors such as Patrick McGrath, Cornell Woolrich, Roberto Bolano (in the summer of 2009 we read his three-volume 2066), César Aira, Juan Goytisolo, and Jeanette Witherson, for starters.

During the summer of 2008, while at her cottage in the Berkshires, I sent Dina Victor Hugo's Les Miserables because she hadn't read it. If you're going to read one novel before you leave this planet, this is the one!

I sent her Journey Through the Ice Age and Dawn of Art: The Chauvet Cave because we were both enthralled by the mysteries of ancient cave art.

I knew she'd enjoy Leonard Schlain's prodigious The Alphabet Versus the Goddess: the Conflict between Word and Image because we often talked about merging poem and painting, word and icon as the Internet does.

In 2012 for an Emily Harvey Foundation exhibition in Venice, she created Venezia Remixed, an accordion-shaped book that combined her drawings with a collage of her Venice poems, both handwritten and in typeface. The poems had been composed there while on a 2010 foundation fellowship.

I also sent her Susanne Langer's second volume of Mind: An Essay on Human Feeling, specifically for Chapter 17, on language (she read the whole volume of course); essays from Merleau-Ponty's The Prose of the World, one of my favorite books for the philosopher's sheer poetic prowess, and because of her interest in esthetic conundrums; also Theodore Dreiser's The Color of a Great City, containing marvelous miniature thumbnail sketches of early 20th Century New York City. Simpatico obsessives-the horizon itself was a book, reminiscent of Maurice Blanchot's The Book to Come.

The magical potencies of words evoke multidimensional confluences. We'd visit the Metropolitan Museum of Art several times a year to stretch eye and mind and constantly returned to Manet's amazing 1867 painting The Funeral, a stark unfinished canvas of the Montparnasse Cemetery that consecrates Baudelaire's final destination while it ingeniously prefigured abstraction after painting had been liberated by photography. Perhaps the first truly modernist painting, it was genuinely prophetic-decades ahead of gestalt psychology and Rorschach diagnostics.

Then we'd stand before a companion Manet titled Fishing, rife with subtly disturbing visual conundrums. We'd try to inventory all the enigmatic pictorial incongruities laden with surreal paradoxes, then marvel and riff about their strange alignments and near-concealment.

-Poetry, too, paints with words to play with appearances, and appearances' double reflections.

Dina insisted she didn't write her poems, they just "came down"-from somewhere-as if she were merely taking dictation. When I tried to query her about this, she'd stonewall me.

I know about writing from dictation, but I wanted to pull the curtain aside! When we'd sit together at the Met and go over some of her poems, then she'd gladly talk about her experiences and was forthcoming about her insider associations.

And she did work on her poems, mainly by changing a single word here and there and rigorously checking the internal meter, because I'd get corrected versions, and once or twice an actual diagram of the handwritten original, with diacritical marks, like a musical score.

Generous and inspiring, she was a mentor and muse to many writers. She taught workshops at the Open Center, as well as in her living room. She was one of the very best editors who could quickly zero in on your intent, rectify your blind spot and clarify your syntax.

She edited two of my novels and many essays and surprised me every time with her shrewd insights. She said she spent twelve hours in bed editing one of my pieces, demolishing, then polishing, its flaws.

Dina was brought up Catholic, lived at the Judson Church youth hostel in Greenwich Village, met and married her husband there, raised three children, later went through Jungian analysis, kept extensive dream journals, studied Tibetan Buddhism with Chogyam Trungpa and Kalu Rinpoche, and hung out at Robert Wilson's Byrd Hoffman loft in the early 1970s. Dina was always cutting-edge.

She was also a visual artist who made drawings, paintings and collages. One of my favorites was a collaged postcard she sent me that I titled Visitation of the Cows. Wittily overlaid over a photograph of a field of grazing bovines are squiggly hand-inked insect-like trails alongside miniature inserts of mythic deities hovering in the sky and around the margins like an apparitional cloud or medieval displacements-including a lost Madonna holding a demented monkey-like aberration. Quaint irony!

Dina was intrigued by the intelligence of the insect and animal realms and with the spectra of life forms. She confided her unnerving experience of witnessing a UFO hovering over the trees above her cottage in the Berkshires in the middle of the night that she tracked through two different windows. What was baffling was the light it emitted-instead of a beam, the ray was interrupted and broken, like a dotted line.

The last photo she went me was of herself at a Chelsea book party dressed in a sprightly print jacket and wearing a dark blue baseball cap with a large red logo emblazoned with the word VIBES, holding forth Todd James' newly released Yield to Temptation. I wrote her that she was ready for the cover of Newsweek, only they just went out of business!

Dina von Zweck was actually a baroness (Mica's Brain was dedicated to the memory of her father, Baron Rudolf Zweck von und zu Zweckenberg), but she never let on about it much. We used to kid about The Baroness, as if she were another person, a character, alter ego, even her nemesis.

The Baroness was an obsessive fashion plate who sent me books she shouldn't have. So she had to be periodically banished to some remote island, but always escaped and returned. Flamboyant, excessive, exhibitionistic-everything Dina wasn't-this was our private joke.

The Baroness was always lurking, usually at Staples copying excerpts from books I had to know about immediately, which would arrive dutifully in the mail. Books were our passion, the shared quest of undercover bibliophiles.

How many times did HRH Baroness go to Housing Works (used books), when you'll never guess which title fell off the shelf! The Baroness attracted synchronicity like a magnet.

Poetry also serves as a supplement, tonic, and soul food. And given the fact that our food chain is increasingly compromised, word chains that compress and distill the world's connectivity are all the more nourishing. We shared our knowledge of real supplements as well-Neuro Optimizer, D-Ribose, Niacin (William Burroughs turned her on to it), Ubiquinol, Magnesium Phosphate (excellent for cramps and spasms), Oil of Oregano, Carnosine, etc.

Dina had an insatiable wide-ranging curiosity and her poetry activates and simulates a sense of timelessness, captures essences, transcends identity, and entertains mystery.

Poetry refreshes like the Angel of the Presence on the Temperance Tarot card poised over a crystal clear pool: "I drink from the waters..."

To celebrate what turned out to be her last birthday, we met at the Metropolitan Museum of Art three days afterwards on October 19, 2012. As was our habit, we always enjoyed sitting on the buffed wooden benches in the middle of the cool expansive second floor Assurbanipal gallery that housed the ancient panoramic bas relief stone panels of majestically noble winged beings anchored augustly in pre-Egyptian profile.

Asking her where she thought those winged images came from-they preceded Christian iconography by at least five thousand years-she looked at me with a pointedly bemused expression for asking an unanswerable question.

Poetry also celebrates the mystery of the voice and thus the bilocation of time and place. One of her last works, XANADU: Marco Polo, Kublai Khan & the Chinese Princess (2010-2011), fuses tone poem and novella, conflating history, fantasy and folklore. With deft and delightfully daffy humor, the persona of Khan's shrewd and crafty parrot steals the show to upstage the narrative. When this feisty avian conjuror is held hostage by pirates, he turns the tables on them, casts them in a play and bosses them around!

The parrot functions like an alter ego or its metaphor. Because of their uncanny ability to imitate and caricature the human voice, they're devious agents of high irony, bemusement and hyperbole.

In several of Dina's works she referenced the post-human. At first I thought this might mean the virtual crossroads or AI, but she insisted not so. In 2009, we read and discussed Baudrillard. Poetry was hardly simulation, but could reflect and/or engage what transcended itself. Contemplating what was beyond life or that would follow or usurp it might be a brave confrontation and survival strategy for the planet's intractable environmental problems.

Even after the book is completed and the cover is closed, the poem (the life) goes on resonating in inexplicable ways...

Below is some of Dina's poetry:

The History of Words
Affection has tough provenance,
and art mutters, "About time".
Amazed to be noticed, spirit
recites the Rosary & 12 Indulgences.

Got a ticket to ride fate?
You can put your head
down here in my lap for
the time it takes to arrive.

A poem creeps out of
bundles of grain like
a spider. Its first
word is spinning. And

the next words fly off,
never to be caught.
Say something good
will come of dancing together.

Jump In

Everyone wants to be a
writer...maybe even me.

First summer's heat in
"Whan that Aprille
with his shoures sote..." brings
Chaucer to mind. And Eliot's
"April is the cruelest month..."

An interlinear translation of
"The somer passeth..." never
can do justice to the gathered
flowers, some white and some
red...and Emelge, she gadereth
floures, party whyte and rede,
to make a garland for hir
head. And like an angel, she
sang away the great tower, so
thick and strong, sang it into
oblivion. And the prisoner
Palamon escape into the
enchanted beauty of Chaucer's voice.

Fresshe beautee sleeth me
sudegney...slays me suddenly,
he says. Suddenly as May coming
on with perfect felicity. In a
morwe of May, Emelge was
fairer than the lilie
upon its stalke grene.

I was there at daybreak to
read she had risen and
was already dressed,
For May wol have
no slogardye a-night.
That season pricks
every gentle heart,
wakes us to our blood and stories.

As far as Eliot goes, he
had the right idea with Let
us go then, you and I, when the
evening is spread out against
the sky like a patient etherizezd
upon a table... We were modern
then, full of machinery and
gears to make clockwork tell
the right time...and aero-
space ideas to tell which
way the wind is blowing.

Nowadays, everyone wants to
be a writer...but who can step into
the words "she hadde passed many a
strange streeme," like the good Wife of Bath.

Maybe me, looking into brackish waters,
listening for silver-finned creatures singing
like Mermaids, each-to-each.

Eliot's poetic time was measured
out in coffee spoons. Our
time is immeasurable and post-human,
strung together with data,
a necklace of skulls on Kali.

(c. February 2012)

FLUDD (excerpt)

FLUDD: there are 3 stories
here...5 stories here...or
an infinity of fragments
made of myth and the bones
of whales & walruses...irovy
narwhal tusk...ringed
seal, bearded seal, harp
seal & hooded seal. Whale,
fox, reindeer. Polar bear
drowning in ice-pack melting,
short ears tufted white, bear buoyant
in water, endless stamina
finally ending, ended
...drowning with others.

Stories here made of explorers'
bags...horsemeat & pony hoosh,
a fine Theolite telescope. Melt
uncovers pemmican stew-fry
and the long stretch between
cairns, the spirit lamp
and mittens frozen as new,
unfreezing as artifact and history.

FLUDD: the magic & mystery
of the Arctic-but is it
a bravura dance...or an
overtly political act-of-contrition...

REAL NEXT WAVE (excerpt)

O my America
sitting with your laptops open
clicking news into your soft brain
watching skies for alien species
reaching for a rifle, what's that noise?
sending email and digits gathering data
texting post-human heartbeats to each other

America, you have to choose,
right or wrong, dive into
a universe without wires.
Tongues are hanging out of
palates, anxious for an answer.
Hit reply now.

After Whitman's telegraph
wires humming the usual
routine and everyday objects
like the anvil and the panes of
windows...we are still
wired here, invisible and
short-term---while the source code
goes on to infinity, spiraling forever
among stars & moons & planets,
making an awful racket, colliding.

Give us this day. Bless
the sheep and shepherds aplenty,
yearning to breathe free. The rent is
due wherever you live, and each worker
works to pay it. Good enough! As for
the future, give me your hand and
see my frame of mind.

I sing a song of the
rabble crowd as it congregates,
enlarges, folds and re-folds,
dragging the day with
it, behind shouting and
raising cardboard signs,
there is another action
like the flick of the
wrist a magician makes
with the reveal. Suddenly
it's a trick I'm learning
to do with a camera, catching
what one says to another,
what is learned by
common good...or bad...what is
meant by particles of light
descending, herding thoughts of
outrage. And stretching
them out to stars forever-after.
Look up!

I sing into anger and
wonder. Can anyone blame me,
inside the raging mob shouting
the story of why we're here on
earth? Shouting into this opera
with its themes and
protesters and hints of revolution.

Yes, light descends and hoards
our souls, works humans greater and
sadder than they were yesterday.

America, you have chosen your
heartlines, from sea to shining
sea, purple mountains, beauty's
majesty& and my country's agonies.

Sudden Sight

Faun is piebald at the edge of
the road, ears perked-up
and alert to danger. I'm
driving to the dump. Honda
full of paper/plastic/glass
bottles. Recyclables from
opening up the summer
house. Ghosts are everywhere,
in the stitches of jeans, indigo
dye, rolled-up cuffs...in a

glitter-sweater purchased for a
wedding, never-attended, the groom
shot Ms. Bride-to-Be to
death and took himself along...

in a fairytale lilac-lavender
shawl, meant for evenings
in cool air, listening to The
Miraculous Mandarin, an orchestra
of swoops & swopes at Tanglewood.

I picture wearing all my
discards to the dump and taking
off everything right there
and then...tossing them into
a bin marked, "Danger.
Do not approach moving machinery
unless accompanied by your Doppelgänger"

or Other Self, the One who knows
strangeness is a fact of life.

Naked, I would dare my Double
to respond, to clothe me, "Woman
Wholly Clothed With Fire," as Blake did.

"Nice day," the Dump Master says.

"Going to be hot." I know
it's true as I throw real-life
costumes in the GOODWILL container.

Ghosts are displeased to see me
clothed in only a poem about
a deer in sudden-sight. But I'm content.

On the way home, our faun
is hidden in slanted light,
embroidered into flaxen earth
...safe in the place itself, aflame.

Franklin Furnace member Kenneth King is the author of Writing in Motion: Body-Language-Technology (Wesleyan University Press), most of which can be accessed at Google Books (http://books.google.com), and the novel Bring on the Phantoms (Club Lighthouse Publishing). 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, Movement Research Performance Journal, PLJ/Performing Arts Journal, Semiotext(e), Film Culture, Dance Magazine, Ballet Review, and in the anthologies Merce Cunningham: Dancing in Space and Time, Footnotes: Six Choreographers Inscribe the Page, Text-Sound Texts, and Further Steps 2: Fourteen Choreographers on What's the R.A.G.E. in Modern Dance.



1. Mira Schor, FF Alumn, now online in Artforum, February 2013, and more

In print February 2013

"Productive Anonymity," appears in the February issue of the Brooklyn Rail in the ArtSeen section on art with the theme of "Alternatives" guest edited by arts activist and New York Times art critic Martha Schwendener.

Mira Schor on the art critics Robert Hughes and Hilton Kramer in the current February edition of Artforum, in the print issue and online:



2. Yoko Ono, FF Alumn, at Schirn Kunsthalle, Frankfurt, Germany, thru May 12

Schirn Kunsthalle Frankfurt
Yoko Ono
Half-A-Wind Show. A Retrospective
February 15-May 12, 2013

Schirn Kunsthalle Frankfurt
Römerberg, D-60311 Frankfurt
Tuesday, Friday-Sunday 10-7pm;
Wednesday, Thursday 10-10pm

T +49-(0)69 29 98 82-0
F +49-(0)69 29 98 82-240

Facebook / Twitter
Yoko Ono is one of the most influential artists of our time. In honor of the 80th birthday of the artist, who was born in Tokyo on February 18, 1933, the Schirn Kunsthalle Frankfurt is presenting an extensive retrospective from February 15 to May 12, 2013. The exhibition will feature a comprehensive survey of the multifaceted universe of this extraordinary artist, who is regarded as a pioneer of early conceptual, film and performance art as well as a key figure in the world of music, the peace movement and feminism, who continues to play an influential role in current developments in art. Some 200 objects, films, spatial installations, photographs, drawings and textual pieces as well as a special music room will shed light on the diverse media landscape of Ono's art and the central themes of her oeuvre. The retrospective devotes particular attention to Yoko Ono's works from the 1960s and 1970s. It features, among other exhibits, such groundbreaking works as the Instructions for Paintings, first exhibited in 1961 and 1962; the performance Cut Piece (1964); and her book Grapefruit, published in 1964. Yoko Ono has also developed a new work-the installation and performance Moving Mountains-specifically for the exhibition in Frankfurt.

Yoko Ono. Half-A-Wind Show. A Retrospective-the title of which refers to an exhibition of Ono's art at the Lisson Gallery in London in 1967-will also feature several installations from the 1990s to the present alongside many important earlier works by Yoko Ono. One such relatively recent work is Balance Piece (1997), for which the artist wrote the corresponding instruction in 1958. For Water Event, which is also exhibited in Frankfurt, Ono invited other artists to provide containers which she can then fill with water (or imaginary water). Other such cooperative actions include Wish Tree, which is presented in the foyer of the Schirn, as well as actions carried out in the city of Frankfurt, in which large billboards call upon viewers to DREAM, TOUCH or FEEL. The installation Morning Beams (1996/97) will be presented in the rotunda of the Schirn. In this work, ropes suspended from high above the floor symbolize rays of sunlight.

Yoko Ono, who was born in Japan and spent her childhood in both Japan and the U.S., is regarded as one of the pioneers of Conceptual Art. In 1952, she became the first woman ever admitted to Gakushūin University in Tokyo as a student of philosophy. She went on shortly thereafter to study composition and creative writing in the United States. Later on, she moved to New York, where she became a protagonist in the avant-garde scene associated with such musicians as John Cage, Fluxus founder George Maciunas, and the filmmaker Jonas Mekas. Having helped pave the way for the socially critical art of the 1960s, Yoko Ono quickly attained recognition as an artist who played an instrumental role in the birth and formal development of performance and conceptual art. Later, in collaboration with her husband John Lennon, with whom she took part in numerous sessions and musical projects until his violent death, Ono herself advanced to the status of a world-famous pop legend and continues to work on music projects under various pseudonyms even today. Yoko Ono has also demonstrated her commitment to environmental protection, peace, and human rights in numerous public actions.

Director: Max Hollein. Curator: Dr. Ingrid Pfeiffer.
Press contact: Axel Braun (head Press/Public Relations), T (+49-69) 29 98 82-153 / F (+49-69) 29 98 82-240 / presse@schirn.de / www.schirn.de (texts, images, and films for download under PRESS).



3. David Hammons, Kazuko Miyamoto, FF Alumns, at gallery 128, Manhattan, thru March 2

gallery onetwentyeight
128 Rivington Street, New York, NY 10002
212-674-0244 www.galleryonetwentyeight.org
7 Artists
February 13 - March 2, 2013
Opening reception: Wed. Feb 13, 6-8 pm
Gallery Hours: Wed - Sat 1-7, Sun 1-5

This exhibition brings together 7 diverse artists
David Hammons - flag
Judy Linn - photographs
Hedy Melvin - imagery transformed
Kazuko Miyamoto - installation: work in progress
Michael Ottersen - paintings
Thousand Pictures - mixed media sculpture, tapestry, video, wall piece
Yuko Takasu - bean sprout photographs



4. Michelle Stuart, FF Alumn, at University of Nottingham, UK, thru April 14

Drawn from Nature
Traveling exhibit:
Djanogly Art Gallery and Museum
University of Nottingham, Nottingham UK

February 15th to April 14
Spanning the period from the late 1960's to the present day, the exhibition encompasses a
varied range of media, while highlighting Stuart's major contribution to the practice of drawing.

A book will be published by Hatje Cantz to accompany the exhibit to the Parrish Art Museum, WaterMill , NY and the Santa Barbara Art Museum, Santa Barbara ,CA




5. Paul McMahon, FF Alumn, at Golden Notebook, Woodstock, NY, Feb. 23

paul mcmahon will be signing PROJECT INC. REVISITED at the Golden Notebook in Woodstock Feb 23 at 6 pm. the book is published by Churner and Churner.



6. Judith Sloan, FF Alumn, at Lower East Side Tenement Museum, Feb. 19

Judith Sloan FF Alumn
Performs with immigrant youth at The Lower East Side Tenement Museum, Manhattan, Feb. 19
6:30 PM. FREE and Open to the Public
103 Orchard Street, NYC near Delancy
p: 212-982-8420

Crossing the BLVD: strangers, neighbors, aliens in a new America
Multi-media performance followed by discussion with LGBT immigrant youth.

As immigration policy is hotly debated around the country in terms of national and cultural security, Crossing the BLVD: strangers, neighbors, aliens in a new America presents the very human stories of why immigrants and refugees have migrated to the U.S. and what their experiences have been since they came here pre- and post- 9/11. Judith Sloan performs excerpts from Crossing the BLVD and leads a panel of students from EarSay Youth Voices partnership with the International High School at LaGuardia Community College in conversation on immigration policies that shape attitudes toward diversity, immigration, LGBT rights. Youth include Rene Jaquez, Dailyn Desparadrel, Dan Pepito & Katherine Tabares.

"Crossing the BLVD is a whirlwind tour and love poem of what has often been called the most racially and ethnically diverse county in America. In the tradition of the playwright Anna Deavere Smith, Ms. Sloan performs "Crossing the BLVD" adopting the personae (and respectfully mimicking the accents) of the varied immigrants whose stories are in the book... The New York Times, City Room Blog, Sewell Chan

For more info: http://www.earsay.org/



7. Bogdan Perzyński, FF Member, at Dallas Contemporary, Texas, thru March 31

"LOS AMERICANOS, " group video exhibition
19 JANUARY - 31 MARCH 2013
Participating Artists:

Inspired by the larger than life cinema history of Texas, Los Americanos explores the ephemeral through various cinema metaphors for identity, history and culture. Each artist has created his or her own independent project examining everyday life in Texas - past, present or future. The vignettes address a range of topics, including visual rhetoric and psycho-geography, astrological facts and fiction, the contrast between life and film, self-portraiture and cultural archetypes. Together, the chapters coalesce into a film without a linear narrative and become a meditation on the present moment. There is no beginning or end to Los Americanos, just movement forward.

The exhibition is accompanied by an interactive, digital catalogue, published and sponsored in conjunction with BlueLabel (London. England).

Tuesday - Saturday
11.00 - 18.00 (11.00 am - 6.00 pm)
12.00 - 17.00 (12.00 pm - 5.00 pm)
First Thursday of the month
Open until 20.00 (8.00 pm)

For further information:



8. Terry Berkowitz, Ken Friedman, Geoffrey Hendricks, Dick Higgins, Susan Hiller, Joan Jonas, George Maciunas, Yoko Ono, Nam June Paik, Bogdan Perzyński, Lawrence Weiner, Krzysztof Wodiczko, FF ALumns, at Museum of Contemporary Art, Kraków, Poland, thru April 28

Bogdan Perzyński's "Film," and "Projection 2," is presented in a comprehensive group exhibition Beyond Corrupted Eye. Gallery Akumulatory 2, 1972-1990. The exhibition travels from Zachęta National Gallery, Warsaw, Poland and re-opens at the MUSEUM OF CONTEMPORAY ART (MOCAK) in Kraków.

Group exhibition

Museum of Contemporary Art in Kraków
ul. Lipowa 4
30-702 KRAKÓW

FEBRUARY 15 -APRIL 28, 2013

This exhibition, previously shown at the Zachęta National Gallery in Warsaw, attempts to present the history of Akumulatory 2 Gallery in Poznań - a place that for the eighteen years of its activity provided a non-commercial exhibition space for artists from all over the world. Throughout, Akumulatory 2 Gallery was an important spot on the map of artistic Poland.

During 1972-1990, 195 presentations (exhibitions, performances, actions, musical activities and lectures) were organized in Akumulatory 2 Gallery. The gallery had a quasi-institutional status, lacking as it did any institutional backup and being obliged to exhibit in ever-changing venues. The materials compiled for the present exhibition and the publication that accompanies it provide an insight into art practices which developed outside the official art circles, within the complex zone of artistic strategies implemented despite artists' being forced to function within the restrictive status quo of soc-realism.

The eponymous 'incorruptible eye' refers both to the act of perception and to visibility. On the one hand, it refers to perception which does not cave in to ideological pressure and commercial temptations; on the other, to the distortion of what is deemed visible and what has been relegated to the realm of the invisible.
The documentation compiled for the exhibition and the catalogue is largely based on hitherto unpublished material, making possible a new, in-depth study of the history presented.

Participating Artists:
Joanna Adamczewska, Eric Andersen, Angelo de Aquino, Lone Arendal, Imre Bak, Eduard Bal, Philippa Beale, Andrzej Bereziański, Terry Berkowitz, Tony Bevan, John Blake, Włodzimierz Borowski, János Brendel, Leszek Brogowski, Wojciech Bruszewski, Victor Burgin, Henri Chopin, Carlfriedrich Claus, COUM Transmissions, Michael Craig-Martin, Maria (Mariola) Dąbrowska, Andrzej Dłużniewski, Andrew Dutkewych, Janusz Dziubak, Jerzy Fedorowicz, Joel Fisher, Fluxus (A-Yo, George Brecht, Dick Higgins, Joe Jones, George Maciunas, Yoko Ono, Nam June Paik, Paul Sharits, Ben Vautier, Robert Watts), Ken Friedman, Wolfgang Fuchs, Adam Garnek, Mariusz Gill, Raimund Girke, Nat Goodden, Trevor Gould, Tom J. Gramse, Izabella Gustowska, Gerard Hemsworth, Geoffrey Hendricks, Dick Higgins, Susan Hiller, John Hilliard, Douglas Huebler, Tatsuo Ikeda, Jeff Instone, Jacek Jagielski, Sven-Åke Johansson, Joan Jonas, Kirsten Justensen, Margrit Kahl, Tadeusz Kalinowski, Jerzy Kałucki, Koji Kamoji, Kanal 2, Hiroshi Kawathu, Alicja Kępińska, Robin Klassnik, Akira Komoto, Jerzy Kopeć, Andrzej Kostołowski, Jarosław Kozłowski, Mariusz Kruk, László Lakner, Rolf Langebartels, Ólafur Lárusson, Richard Long, Jerzy Ludwiński, Hanna Łuczak, George Maciunas, Zbigniew Makarewicz, Peter Mandrup (Peter Mandrup Hansen), Joan Mathews, Yutaka Matsuzawa, Danuta Mączak, Barry McCallion, Ian McKeever, Yukiyoshi Moriya, Ian Murray, Avis Newman, Helmut Nickels, Ann Noël, Wojciech Olejniczak, Susan Ormerod, Tomasz Osiński, Andrzej Partum, Sef Peeters, Bogdan Perzyński, The Play, Mikołaj Poliński, Ludmiła Popiel-Fedorowicz, Michael Porter, Piotr Postaremczak, Maria Anna Potocka, Pamela Robertson-Pearce, Jerzy Rosołowicz, Reiner Ruthenbeck, Toshinori Saito, Galerie S:t Petri, Barbara Schmidt-Heins i Gabriele Schmidt-Heins, Peter Jörg Splettstösser, Helmut Streich, Sudurgata 7, Kishio Suga, Piotr Szyhalski, Feliks Szyszko, Petr Štembera, Amikam Toren, Francesc Torres, Endre Tót, David Troostwyk, Andrzej Turowski, Jacek Tylicki, Janos Urban, Jií Valoch, Tadeusz Walter, Franz Erhard Walther, Lawrence Weiner, Andrzej Wielgosz, Emmett Williams, Richard Wilson, Tomasz Wilmański, Dorotheé von Windheim, Krzysztof Wodiczko

Curators: Bożena Czubak, Jarosław Kozłowski
Exhibition coordinator: Katarzyna Wąs

For further information:



9. Peter Downsbrough, FF Alumn, at Centre d'Art Contemporani de Barcelona, Spain, opening Feb. 22

February 22 - May 19, 2013
Fabra i Coats
Centre d'Art Contemporani de Barcelona
c/ Sant Adrià, 20
08030 Barcelona

Press conference
Thursday February 21, 12:30 pm (in presence of the artist)

Thursday February 21, 7:30 pm

Opening hours
February 22 - May 19, 2013
Tuesday - Saturday 12am - 8pm
Sundays and Feastdays 11am - 3pm
Closed on Mondays

Entrance: Free

Fabra i Coats - Centre d'Art Contemporani de Barcelona
in coproduction with deSingel - international arts campus, Antwerp

Moritz Küng

On this occasion, two new catalogues will be available:

Peter Downsbrough - The Book(s) Addendum (2013)
Providing a commented overview of his first 85 books published between 1972 and 2011
80 pages, color, 45 illustrations
Text: Moritz Küng (English), part of the edition includes a supplement in Catalan and Spanish
Publisher Hatje-Cantz, Ostfildern & Berlin
in collaboration with Fabra i Coats - Centre d'Art Contemporani de Barcelona
€ 18 / ISBN: 978-3-7757-3586-5

Peter Downsbrough - The Book(s) (2011)
Providing a commented update of his most recent 15 books
332 pages, duotone, 322 illustrations
Texts: Moritz Küng, Ira G. Wool (English)
Publisher Hatje-Cantz, Ostfildern & Berlin
in collaboration with deSingel, international arts campus, Antwerp
€ 30 / ISBN 978-3-7757-2833-1

Special events
Three events will be organized to complete this exceptional overview (see below)
Watching Peter Downsbrough's Films (March 7, 2013, 7 pm)
Discussing Peter Downsbrough's Books (April 12, 2013, 7pm)
Listening to Peter Downsbrough's Audio-Works (May 9, 2013, 7pm)

Press contact & image request
Institut de Cultura de Barcelona
Palau de la Virreina, La Rambla, 99
08002 Barcelona
T. (+34) 933 161 069

Peter Downsbrough (1940, New Brunswick, N.J., U.S.A., based in Brussels) has made since 1968 one hundred and one books. The exhibition THE BOOK(S) 1968-2013 offers for the first time in Spain an extensive overview of this impressive component of his oeuvre.

Peter Downsbrough belongs to that first generation of artists-including colleagues such as Robert Barry, Sol LeWitt, and Lawrence Weiner in New York and John Baldessari, Ed Ruscha, and Allan Ruppersberg from California-who use the book as a means for presenting their work. From the beginning he accords the word, and also the book, an objectlike, spatial, if not sculptural, quality. Consequently, one could even consider that he approaches the book as the ultimate exhibition space, in which he continuously regroups reflections, images, associations, compositions, and proportions. Indeed, Peter Downsbrough refers to the book as a volume, a space within which to work. Generally, the haptic and compositorial starting point of his books could come across as quite rigid, sparse, and distant, but looking at the entire group of publications instead of at a single one reveals a particular virtuoso and rich interaction with this basic matter.

With his very first two books, Notes on Location (written in 1968 and published in 1972, as well republished in 2012) and Notes on Location II (published in 1973), he laid out the basis for a particularly consistent research, which in the meantime spans over forty-five years, focusing mainly on the status of location and on the implication of locating something in relation to space and time. Already on the first page of the first book, Peter Downsbrough explicitly refers to these parameters by putting first the indication of time (9 a.m.) and place (800ʹ asl). In retrospect this first note within his work can be considered as a gauge: the day in 1968 when he started writing the manuscript at nine in the morning in a place situated 800 feet (about 244 meters) above sea level, a reference to where he was at the time, in his studio in Etna, New Hampshire.

The most frequently appearing formal tools are words-nouns such as altitude, place, line, structure, zone; adjectives such as locative, horizontal, static, vertical; verbs such as locate, post, reset; adverbs such as here, now, up; prepositions such as as, to-and horizontal or vertical lines and arrows. He subsequently expanded this vocabulary with grids, diagonals, technical plans, cuttings, photographs, punctuation marks, geographical maps, sketches, altered postcards, and film stills, which he still endlessly combines in ever-changing configurations.

The exhibition provides a comprehensive overview of this impressive production of books, presenting them in eighteen large vitrines under glass with separate copies for browsing and thirty short films on monitor. In addition, Peter Downsbrough conceived for this occasion three new works in relation to the exhibition space.

Exhibited works
101 books in 18 vitrines (160 x 70 x 75 cm / 220 x 70 x 75 cm), of which 30 books are filmed and viewed on 10 monitors, and 20 books displayed as desc copies:

A CALAIS (1994, no. 42); ADJUST (1996, no. 50); AFTER (2012, no. 96); AND (1977, no. 18); AND] (2010, no. 85); AND HERE (2005, no. 71); AND HERE A PLACE TO BE (2011, no. 93); AND HERE AS (2002, no. 64); AND NOW (1983, no. 23); AND THEN THEY WERE (1985, no. 26); A PLACE - (1977, no. 16); A PLACE - BARCELONA (2012, no. 99); A PLACE - DÜSSELDORF (1977, no. 14); A PLACE - NEW YORK (1977, no. 15); A PLACE - PARIS (2012, no. 94); A PLACE - WIEN (2011, no. 91); AROUND (1978, no. 19); A SET (1981, no. 21); AS (1999, no. 60); (AS) (2003, no. 65); AS SET (2011, no. 92); AS TO PLACE (1978, no. 20); A TALE OF THE SPACE BETWEEN (1998, no. 58); BESIDE (1976, no. 11); BOOKS - BÜCHER (1993, no. 40); BUT (2011, no. 88); BUT THEN (2012, no. 95); CUT (1994, no. 44); DEDANS (1995, no. 47); DENSITIES (1996, no. 51); EN PLACE (2002, no. 63); ET/C (2005, no. 72); FACTOR (1998, no. 57); FOR RENT (1990, no. 32); FRAME[ D (2006, no. 73); GROUP (2012, no. 97); HAUPTSTRASSE 37 (1998, no. 59); IN FRONT (1975, no. 07); IN / OUT (1976, no. 09); IN PASSING (1982, no. 22); IN PLACE (1977, no. 17); INSIDE (1994, no. 41); INTERIEUR (2006, no. 76); LE/LA (1995, no. 48); LINK (2013, no. 100); MANY (2004, no. 70); MÜNCHEN (1991, no. 36); NEAR / PRES (1995, no. 46); NOTE [D (2011, no. 90); NOTES (2006, no. 75); NOTES ON LOCATION (1972, no. 01); NOTES ON LOCATION II (1973, no. 02); NOTICE (1985, no. 27); NOT YET (1983, no. 25); NOW / A, E, Y (1986, no. 28); OFF/ON - ON/OFF (1977, no. 13); ONE COLUMN (1981, no. 38); OPEN COLUMN (1991, no. 35); OR (2002, no. 62); PETER DOWNSBROUGH (1977, no. 12); PETER DOWNSBROUGH (1991, no. 34); PETER DOWNSBROUGH (1994, no. 45); PETER DOWNSBROUGH, PAVILLON DE BERCY (1996, no. 52); PHOTOGRAPHS (1990, no. 33); POSE (1998, no. 55); POSITION (2003, no. 69); PRELUDE (1997, no. 53); PRESET (2003, no. 66); PROSPECTUS (1988, no. 30); REGROUP (1994, no. 43); RESET (1998, no. 56), REFER (2009, no. 79); REFER vol. 2 (2009, no. 80); ROLES/ARCHITECTONICS (1983, no. 24); Shifting Places - Photographs (2011, no. 87); SET[ IN (2012, no. 98); TAKE NOTE (1988, no. 29); THE BOOK(S) (2011, no. 86); THE BOOK(S) ADDENDUM (2013, no. 101); THE] OTHER (2009, no. 81); [TILL (2007, no. 77); TITLED (2006, no. 74); TWO LINES (1975, no. 08); TWO LINES, FIVE SECTIONS (1974, no. 04); TWO LINES, FIVE SECTIONS (1975, no. 06); TWO LINES, SIX SECTIONS (1973, no. 03); TWO LINES, THREE SECTIONS (2008, no. 82); TWO LINES TITLED 4.08 (2009, no. 84); TWO LINES, TWO LINES (1976, no. 10); TWO LINES UNTITLED 4.08 (2009, no. 83); TWO PIPES, FOURTEEN LOCATIONS (1974, no. 05); UNITE - DE, LA (1992, no. 37); UNTITLED (1988, no. 31); UNTITLED/9.03 (2003, no. 67); UNTITLED 5.11 (2011, no. 89); VOLUME (2003, no. 68); WITH] IN - PLACE (2008, no. 78); WITHIN (TIME) (1999, no. 61); WORDS (1993, no. 39); WORDS - vol. 2 (1995, no. 49): 16 POST CARDS (1997, no. 54).

Other works
AND, 2012, adhesive letters, tape and metal pipes (painted black), dimensions variable
DES DE, 2012, bar piece, two parts, steel (painted black), 800 x 350 cm
AMB, ARA, CANVI, 2012, laser cut steel plate, 20 cm high, 10 mm thick

All works courtesy artist, Brussels; Angels, Barcelona; private collection

Peter Downsbrough (b. 1940 / USA, lives in Brussels) studied architecture for a few semesters at the University of Cincinnati, Ohio, and Cooper Union in New York, prior to starting to work as an artist. He had one-person exhibitions at Wide White Space, Antwerp; Van Abbemuseum, Eindhoven; Frankfurter Kunstverein; Le Consortium, Dijon; Palais des Beaux-Arts, Brussels; Muzeum Sztuki, Lodz; FRAC Bourgogne, Dijon or more recently at la BF 15, Lyon and Chelsea Space, London to name a few, and was included in numerous group exhibitions such as documenta 6 - section Artists' Books, Kassel; Printed Art: a View of Two Decades, Museum of Modern Art, New York; Artists' Books, Tate Gallery, London; Reconsidering the Object of Art, MOCA, Los Angeles, Die Schrift des Raumes, Kunsthalle Wien, Vienna; Ecriture, Impressions du Limousin, Centre Georges Pompidou, Paris; Morphing Lights, Floating Shadows, 9th Venice Architecture Biennial, Venice; Artists' Tower for Peace, Whitney Biennial, New York; Time as Matter, MACBA - Museu d'Art Contemporani de Barcelona; Less is more. Pictures, objects, concepts from the collection and the archives of Herman and Nicole Daled 1966 - 1978, Haus der Kunst, Munich.

Peter Downsbrough is represented by the following galleries: Angels, Barcelona; Martine Aboucaya, Paris; Barbara Krakow Gallery, Boston; Galerie de Multiples, Paris; Galerie Thomas Zander, Cologne.

Moritz Küng (b. 1961 / CH, lives in Barcelona) is an exhibition curator and editor working at the intersection between art and architecture. Most recent projects include the exhibitions The Umbrella Corner, gallery ProjecteSD, Barcelona (2012-13), Jonge Spaanse Kunst, gallery Elisa Platteau, Brussels (2012), The fifth column, Secession, Vienna (2011) and the international symposia Old School - New Class (on art education) at the Sint-Lucas University Collage in Ghent (2012) and The Age of Less: Nostalgia? (on old values and new behaviors) at La Loge, centre of contemporary culture, Brussels (1 and 2 March 2013).

On the occasion of the first institutional solo exhibition of the Amerivan artist Peter Downsbrough (born 1940) in Spain, Fabra i Coats - Centre d'Art Contemporani de Barcelona is organizing three special events that will focus on different aspects within his oeuvre.

Fabra i Coats
Centre d'Art Contemporani de Barcelona
c/ Sant Adrià, 20
08030 Barcelona

Thursday March 7, 19:00: Watching Peter Downsbrough's Films
Friday April 12: 19:00: Discussing Peter Downsbrough's Books
Thursday May 9, 19:00: Listening to Peter Downsbrough's Audio-Works


Information & Reservation
Marta Borreguero
T. 93 256 61 55

Thuersday March 7, 19:00
Film screening of +/- 45 minutes, presenting six out of twenty-five significant films, made between 1976 and 2012, with an introduction by Moritz Küng.

VHS, black and white, sound, 16 min.
With Linda Kieves
Camera: Dara Birnbaum
Postproduction: Fifi Corday and Sandra Devlin
Music: The Spinners ("The Rubberband Man")
Produced by City Works

PASS-ING, 2002
DVD, black and white, sound, 12:35 min.
Camera: Peter Downsbrough
Editing: Aurélien Bambagioni
Produced and published by Les éditions de l'Aquarium agnostique, Valenciennes

SET [ING], 2003
DVD, black and white, sound, 4:20 min.
Camera: Peter Downsbrough
Editing: Aurélien Bambagioni
Audio: extracts from AND ON, 1979 (music: Peter Gordon, voice: Martine Rapin)
Produced by City Works / Published by FRAC de Bourgogne, Dijon, 2009
OPEN] ING, 2005
DVD, black and white, sound, 7:58 min.
Camera: Peter Downsbrough
Editing: Karel Downsbrough
Produced by City Works / Published by FRAC de Bourgogne, Dijon, 2009

A[S, 2005
DVD, black and white, color, sound, 2:56 min.
Camera: Peter Downsbrough
Editing: Pascale Alibert
Produced by City Works / Published by FRAC de Bourgogne, Dijon, 2009

IN [ TO, 2012
DVD, black and white, 2:47 min.
Camera: Peter Downsbrough
Editing: Karel Downsbrough

Friday April 12, 19:00
Statements on the topic of artist books, followed by a round table discussion with:

Studied art and architecture and, like Robert Barry, Sol LeWitt, and Lawrence Weiner, is one of the artists who continue to use the book as another space to present his work. His consistent and sharply delineated oeuvre is devoted to examining the meaning of "space." Since 1968 he has made 101 books. He had one-person exhibitions at Wide White Space, Antwerp; Van Abbemuseum, Eindhoven; Frankfurter Kunstverein; Le Consortium, Dijon; and Chelsea Space, London to name a few, and was included in numerous group exhibitions such as documenta 6 - section Artists' Books, Kassel; Printed Art: a View of Two Decades, Museum of Modern Art, New York; Artists' Books, Tate Gallery, London.

is a graphic designer and collaborates with Linda van Deursen since 1994. Both have been influential in the development of contemporary Dutch design. Armand Mevis is a design critic at the Werkplaats Typografie (Workshop Typography) in Arnhem. Recently he received international attention by his new CI for the Stedelijk Museum in Amsterdam (2012). He designed books for artists such as Rineke Dijkstra, Walter Niedermayr, Gabriel Orozko, Rirkrit Tiravanija, as well as two catalogues The Book(s) and Addendum on the books of Peter Downsbrough.

is Professor Emeritus of philosophy of art at the University of Paris I - Panthéon-Sorbonne. In the course of her career she has explored almost all the facets of the contemporary art world, while specializing in the fascinating topic of artists' books and has been instrumental in making the artist's book emerge as work of art per se. She is the author of Esthétique du livre d'artiste - une introduction à l'art contemporain (1997, republished in 2012) that has been recognised as the most important work in this field. Together with Clive Philpot she curates the Reprint Collection of the artist's book published by Editions Zedele in Brest, France.

is an art historian and founder of Múltiplos, an independent structure for the dissemination and distribution of artists' publications.
Founded in 2011 as a small book store, Múltiplos is specialized in national and international alternative publications, mainly from Spain, Portugal and South America and the conception
and production of projects related to artists' publications. Today Múltiplos is operating as a pop-up store and via Internet.

is an exhibition curator and editor working at the intersection between art and architecture.

Thursday May 9, 19:00
Informal gathering to listen to two LP's by Peter Downsbrough, with an introduction by Moritz Küng.

1977, 33 rpm LP record, 29:33 min.
Published by Van Abbemuseum, Eindhoven, 1982

a place to be / and brought back to, 4:38 min.
to be and repeat / and then again there, 5:49 min.
assign a place to arrive and depart from, 4:44 min.
to be here and / there are in place, 4:38 min.
about to arrive at / and brought to or, 5:20 min.
a place to place / here to be there, 4:27 min.
there to be here, 1:17 min.
Music: Gordon Meyer
Voices: Gordon Meyer, Patrick, Blackburn, Mimi Wheeler, Jennifer Albright, Dorothy
Topham, Martine Rapin, Susan Lemak, Leila Gastil, John Merrill

2007, 33 rpm LP record
Published by Sub Rosa, Brussels, 2009

Now, voices: Kim Ceysens, Karel Downsbrough
There (Confine), voices: Marie-Thérèse Champesme, Karel Downsbrough
Dans, voices: Marie-Thérèse Champesme, Karel Downsbrough
Drift, voice: Megan McClune
Then, voices: Kim Ceysens, Karel Downsbrough
And, voices: Marie-Thérèse Champesme, Karel Downsbrough
Entre Parenthèses, voices: Karel Downsbrough, Mira Sanders
Music: Benjamin Francart and Xavier Garcia-Bardon, Elements assembled by Peter Downsbrough
Mastered by Maxime Cotton



10. G. H. Hovagimyan, FF Alumn, at Harvestworks, Manhattan, March 1, and more

3DKaraoke is an interactive artwork that uses two Kinect cameras to create a live 3D video. The singer is placed in the 3D space as song lyrics float across the screen. The virtual camera for the 3D space has a fly around virtual camera that can be set on automatic or manipulated to show various camera angles. The sensation of seeing oneself in 3D space is similar to ‚"throwing your voice." In this case you are in two places as once. The piece has lip synch as well as karaoke presenting a performance
vehicle that is quite a lot of fun. This will be the New York Premier at:
Friday March 1st, 7pm
596 Broadway # 602 (Manhattan)
Phone: 212-431-1130
Subway: F/M/D/B Broadway/Lafayette, R Prince, 6 Bleecker FREE admission
wine will be served


I'm going to be on a panel, "The Art of Tumblr"

at 519 Scholes St. (gallery) in Bushwick on Saturday March 9th.

I hope you will come and have a little wine and a lot of fun!



11. Homer Jackson, FF Alumn, at Phillycam, Philadelphia, PA, Feb. 18

Greetings folks,

Join us Monday, February 18, 2013 at 6:30pm
At Phillycam
699 Ranstead Street
Philadelphia, PA 19106 (On 7th Street near Market)
RSVP @ https://phillycam.org/civicrm/event/info?reset=1&id=103 or call 267-639-5481.

The PHILADELPHIA JAZZ PROJECT and PHILLYCAM presents a panel discussion,
Words of Power: Poems, Lyrics & Rhymes

Live in PhillyCam Television Studios, devote an evening to exploring the power of words in Black music and how they have and continue to impact American culture. From Gospel to Blues, from Jazz and R&B to Hiphop and House, Black musicians have spoken words of power that moved, educated, challenged and even frightened a nation. Join us for an engaging conversation, hosted by Homer Jackson.

Panelists: Shahida Muhammad - Writer/blogger; Ewuare Osayande - Poet/Publisher/Educator; Omar Roper - Hip-hop artist; Bunny Sigler - legendary songwriter and record producer.

Refreshments will be served.
The event is free, but you need to RSVP.
RSVP @ https://phillycam.org/civicrm/event/info?reset=1&id=103 or call 267-639-5481.

Check us out at http://www.philajazzproject.org

Philadelphia Jazz Project is a sponsored project of the Painted Bride Art Center, with funding provided by The Wyncote Foundation.

Thanks and hope to see you there.

Homer Jackson



12. Liz Magic Laser, FF Alumn, at Abrons Art Center, Manhattan, thru April 7

DECENTER: An Exhibition on the
Centenary of the 1913 Armory Show
February 17-April 7, 2013

Opening: February 17, 6-8pm
Panel discussions: February 17, 4-6pm, Abrons Arts Center Playhouse

Abrons Arts Center
Henry Street Settlement
466 Grand Street
New York, NY 10002

Artists: Cory Arcangel, Tony Cokes, Douglas Coupland, David Kennedy Cutler, N. Dash, Michael Delucia, Jessica Eaton, Franklin Evans, Amy Feldman, Andrea Geyer, David Gilbert, Ethan Greenbaum, Gregor Hildebrandt, Butt Johnson, John Houck, Barbara Kasten, Andrew Kuo, Liz Magic Laser, Douglas Melini, Ulrike Mohr, Brenna Murphy, John Newman, Gabriel Orozco, Rafaël Rozendaal, Seher Shah, Travess Smalley, Sara VanDerBeek

At the 1913 Armory Show, the Association of American Painters and Sculptors showcased the "New Spirit" of modern art. A backlash of scathing criticism showed how baffled the general American public was by the seeds of abstraction in the Cubist artworks, which quickly became a shorthand expression for the structural changes brought about by modernity. They not only redefined artistic practice, but also altered our understanding of the process through which we perceive the world. Curated by Andrianna Campbell and Daniel S. Palmer, DECENTER: An Exhibition on the Centenary of the 1913 Armory Show celebrates the legacy of the Cubist paintings and sculptures in that historic exhibition by featuring a group of 27 emerging and internationally recognized contemporary artists who explore the changes in perception precipitated by our digital age and who closely parallel the Cubist vernacular of fragmentation, nonlinearity, simultaneity, and decenteredness.

Artists as varied as Sara VanDerBeek, Gabriel Orozco, Liz Magic Laser, and Abrons AIRspace residency program alumna Amy Feldman evoke the formal innovations of the historic avant-garde but differ through an embrace or flirtation with digital mediation. Artists today like Andrew Kuo, Tony Cokes, and Cory Arcangel are inspired by the inter-cultural circulation of images, ideas, and data in a worldwide network. While Pablo Picasso and fellow Cubists combined archaic Western forms and appropriated exotica to shatter inherited modes of representation, today ubiquitous computing and the digital image explosion create an intersection of the physical and the virtual, and in doing so, have decentered the locus of artistic praxis. Digital works will be displayed at www.decenterarmory.com beginning February 17.

DECENTER also serves to highlight Henry Street Settlement's sponsorship of the 50th anniversary exhibition of the Armory Show in 1963, the occasion which announced the building of what is today known as the Abrons Arts Center. Henry Street further developed this historic legacy through the annual Art Show at the Park Avenue Armory, the first of multiple art fairs inspired by the original Armory event.

The exhibition commences on the 100th anniversary of the Armory Show on Sunday, February 17, with a 1913 Armory Show Centennial Event from 4 to 6pm, which will feature panel discussions about the 1913 exhibition, as well as the themes of perception and art in the digital age, followed by an opening reception.

Panel Discussion: The Legacy of the 1913 Armory Show
Charles Haven Duncan (Collection Specialist, Archives of American Art)
Franklin Evans (artist, New York)
Andrea Geyer (artist, New York)
Marilyn Satin Kushner (Curator and Head, Department of Prints, Photographs, and Architectural Collections, New-York Historical Society; Co-curator of The Armory Show at 100)
Mary Murray (Curator of Modern and Contemporary Art, Munson Williams Proctor Arts Institute)

Panel Discussion: Perception and Art in the Digital Age
Introduced by: Israel Rosenfield (City University of New York)
Ethan Greenbaum, Barbara Kasten, Andrew Kuo, Travess Smalley, Sara VanDerBeek
Moderated by Brian Droitcour

Opening reception sponsored by Hudson Whiskey with generous support from Van Brunt. Beer has been lovingly provided by Brooklyn Brewery.



13. Susan Hiller, FF Alumn, in Digicult magazine, now online

Rorschach Audio in Digicult magazine (in English & Italian)... "The mental processes which generate what we perceive as illusions are the same processes that generate what we experience as reality..." PERCEPTION AS RESEARCH... William Burroughs, Diana Deutsch, Jean Genet, Goldsmiths College, EH Gombrich, CM von Hausswolff, Susan Hiller, Robert Oppenheimer, Palais de Tokyo, Karl Popper, Lee Ranaldo, Hermann Rorschach, Raymond Roussel...


British Library and Northampton talks + regular updates - http://rorschachaudio.wordpress.com/

The Voice Symposium preview for The Science Museum Dana Centre - http://www.youtube.com/watch?v=5Hr2nfok20Q

Best wishes :)



14. Davide Bramante, FF Alumn, at Mark Miller Gallery, Manhattan, opening March 5


Striking Exhibit Uses Unique Photographic Technique
to Capture Historical Rome in Contemporary Times

WHEN: OPENING RECEPTION: Tuesday, March 5, 2013 from 6 to 9pm
Exhibition Dates: March 5-31, 2013
Hours: Sunday - Friday, 12 non to 6:00 p.m., and by appointment.

WHERE: Mark Miller Gallery, 92 Orchard Street between Broome and Delancey St. New York, NY 10002, (212) 253-9479.
info@markmillerygallery.com, Free and open to the public.

(New York, NY) "Roma Caput Mundi" is a distinctive photographic exhibit by Davide Bramante on Rome as Eternal City and Historic Capital. The show's presence bestows the honor of Rome's ancient title as Center of the World upon the up-and-coming Lower East Side. This legendary neighborhood would be hard pressed to stake such a claim, even though the "LES" is New York City's focal point for history, culture, and creativity. Well, there's a first time for everything, and if Mark Miller achieves his goal, all eyes (and feet) will encircle his gallery. Instead of coming and conquering, however, Miller invites visitors to tour and transact.

Bramante says, "The photos featured in the exhibit combine anywhere from 4 to 9 images, shooting several analog shots on the same frame using common film such as 35 millimeter." Bramante's vision, motive, and approach coalesce into groundbreaking creativity with this new photographic project. Each photo consists of a mesmerizing montage, blending images of the ancient and the contemporary city. The result is a poetic and passionate vision of the Italian capital -- an archeological scrapbook of the Eternal City across the millennia, a composite architectural portrait.

Taking photos of Rome and then "enclosing its essence into a mirror of contemporary society" becomes for Bramante a challenge and tribute to the Eternal City and his Motherland. He provides a cutting edge look at the classics, rendered as though a single image, as if it were a pure thought. The result is a fascinating meditation on the ideal concept of the Eternal City. "My photography represents exactly my way of remembering, thinking, dreaming, hoping, and imagining. Everything overlaps." says Bramante. "Davide's photography showcases and celebrates Rome as a historic symbol of cultural, economic, and social value," Miller remarks at his two-level gallery.

Bramante explains the inspiration for the title of the exhibit along with one of its featured works: "I saw a seal that read 'Roma caput mundi regit orbis frena rotundi.' Frederick of Swabia, Emperor of the Holy Roman Empire in 1152 proudly wore that hallmark message commemorating the Classical Period." The seal's resounding tribute literally translates as "Rome, Capital of the World, holds the reins of the round planet."

Presenting the project in New York City completes the concept of the artist. Bramante observes: "If Imperial Rome was the first cosmopolitan mecca, New York is the contemporary symbol of modern metropolis." Bramante sees other parallels: "Though so very different from each other, New York and Rome are the most mythologized and most photographed cities in the world." Miller appreciates the historical lay of the land. "Rome's value extended infinitely beyond its territory," he says. "Now that presence can be found on Orchard Street in Manhattan's Lower East Side, a neighborhood befitting of Bramante's approach to combining the historic and the hip."

Bramante's artistic ability takes risks and wins. Rome's charm and power forcefully emerge and merge, dissipating and dispelling any stereotype.

Mark Miller Gallery is a groundbreaking contemporary art gallery on 92 Orchard Street since 1998 that has recently been featured in NY1, New York Observer, BBC, Fox 5, DNA Info, New York Times, PIX 11, People Magazine. www.markmillergallery.com

Davide Bramante was born in Siracusa, Sicily, where he returned after spending 13 years in Turin, Rome, Bologna, Milan, and New York. Since 1991 he has worked with video, installations, and photography. A graduate in Fine Arts at Accademia Albertina (Turin) and at Accademia Fidia (Cosenza), Bramante has been a visiting artist at Franklin Furnace Foundation (New York) and exhibited with solo shows in Naples, Rome, Pescara, Modica, Florence, Isernia, Milan, Catania, Palermo, Bologna, Cairo, Lisbon, and Amsterdam. He has also exhibited at various International Art Fairs including, Art Basel, Art Cologne, Artissima Turin, MiArt Milan, MINT Milan, Arte Fiera Bologna, ArtVerona, ARCO Madrid, FIAC Paris, SH Shanghai, CIGE Beijing, Arte Lisboa, Art Palm Beach, Florida, Paris Photo, Scope Basel, Scope Miami.

Mark Miller is the founder and owner of Miller Manhattan Property Group and the Mark Miller Gallery. Miller also served as President of the Lower East Side Business Improvement District (BID). The Miller family has been in New York City for seven generations since 1746. Four of those generations have worked in the Lower East Side.



15. Laurie Anderson, Fred Wilson, FF Alumns, in The New York Times, Feb. 19

The New York Times
February 19, 2013, 4:08 pm
Former BAM President to Receive Handel Medallion
Harvey Lichtenstein, the larger-than-life former president of the Brooklyn Academy of Music who transformed Fort Greene into a cultural hub and redefined the role of a performing arts center, is to receive the city's highest award for achievement in the arts on Wednesday from Mayor Michael R. Bloomberg.
"It's recognition of the work I did in Brooklyn for about 30 years, which I'm very proud of," Mr. Lichtenstein said about receiving the award, the Handel Medallion.
In a statement, Mr. Bloomberg called Mr. Lichtenstein "one of the consummate arts administrators of our time whose tremendous career promoting innovative artists of all disciplines has dynamically transformed our city's creative landscape."
The actress Whoopi Goldberg is to present the rest of the Mayor's Awards for Arts & Culture at New York City Center to six individuals and organizations in recognition of their cultural contributions to the city. These recipients are Anthony Armstrong, the principal of the Nathaniel Hawthorne Middle School; the Ford Foundation; Philip Glass; the actor Edward Norton; the St. George Theater on Staten Island; and the artist Fred Wilson. The ceremony will feature live appearances by performers like Laurie Anderson, Bill T. Jones and Mark Morris.



16. Davi Det Hompson, FF Alumn, in The New York Times, Feb. 14

The New York Times
Art in Review
'Sure Sure Davi Det Hompson: 1976-1995'
Published: February 14, 2013

A sortable calendar of noteworthy cultural events in the New York region, selected by Times critics.

516 West 20th Street, Chelsea

Through March 2

A Fluxus text and mail artist turned abstract painter, Davi Det Hompson (a nom d'art for David E. Thompson, who died in 1996 at 57) hasn't enjoyed the posthumous renown of contemporaries like George Maciunas and Ray Johnson. This mini-retrospective, organized by Dakin Hart with the help of the artist's estate and his widow, Nancy Thompson, should change that.
It mixes wry text pieces from the 1970s with later paintings that, though spare in form, are hardly mute. Consisting largely of monochromatic layers of encaustic on shaped slabs of concrete or burlap-covered wood, they suggest fossilized surfboards or ancient tablets rendered unreadable by erosion. They share the walls with a scattering of works on paper that feature chromosomal squiggles on grounds of creamy white tempera.

The wall-based works surround a sculptural display of booklets, framed and mounted on metal stands of varying height. Each contains witty anecdotes starring artists, collectors and academics; it's not clear whether they're real or fictive, but together they amount to a cocktail party or art opening full of sycophants and underminers. (A typically droll sample: "At a reception a friend said, 'Your work looks like it's really going someplace.' I said, 'Yes it is,' and asked about his teaching.")

These conversational snippets may reflect conflicts felt by the artist, whose career bridged Richmond, Va. (he taught for many years at Virginia Commonwealth University), and New York City; private artist-to-artist correspondence and very public poster art; and, finally, language and painting. They are sardonic, but also, in their way, inspirational.

A version of this review appeared in print on February 15, 2013, on page C31 of the New York edition with the headline: Davi Det Hompson: 'Sure Sure Davi Det Hompson: 1976-1995'.



17. Barbara T. Smith, FF Alumn, at The Box, Los Angeles, CA, thru March 23

Xerox: Barbara T. Smith 1965-1966
thru March 23, 2013
The Box
805 Traction Avenue
Los Angeles, CA 90013



18. Barbara Bloom, FF Alumn, at The Jewish Museum, Manhattan, Mar. 15-Aug. 4

As it were...So to speak
A museum Collection in Dialgue with Barbara Bloom
The Jewish Museum
1109 Fifth Avenue
NYC 10028
March 15-Aug. 4, 2013

Inspired in part by Talmudic discourse, in which discussions and commentaries take place across time and space, artist Barbara Bloom uses the paneled rooms of the former Warburg Mansion as both museum and home filled with imagined historical guests. Walking through the galleries, visitors encounter furniture-like display cases holding works from the collection. For example, a gaming table houses a Dreyfus Affair game board and ancient Roman dice. Marriage and divorce contracts cover a bed-shaped display case and an analyst's consultation room holds Sigmund Freud's cigar box. The juxtaposition of artworks, found texts and Bloom's writing in the "tableaux" evoke dialogues between people. Visitors encounter Albert Einstein and Marcel Proust discussing the passage of time, or eavesdrop on Duke Ellington and Marilyn Monroe speaking about synesthesia, the mind's mingling of sensory information.

Barbara Bloom has devoted her career to questioning the ways we perceive and value objects. With a light touch and subtle wit, she divines the meanings encoded in the things with which we surround ourselves. The artist's visionary approach to objects makes her an ideal artist to engage with the Jewish Museum's collection. Her presentation sets the works in unconventional contexts and offers visitors new ways to view the museum and its holdings. The objects at the core of Bloom's installation transcend their traditional function and spark dialogue and questions.

Artist Biography

Barbara Bloom was born in Los Angeles in 1951 and lives in New York. She studied with John Baldessari at the California Institute of the Arts and is often associated with the postmodern "Pictures Generation" that includes Cindy Sherman, Louise Lawler, Richard Prince and Barbara Kruger. The Reign of Narcissism (1989), perhaps Bloom's most celebrated piece, recreates a Neoclassical period room in an imaginary museum dedicated to the artist's self-image. She is also widely known for her 1994 permanent installation of Thonet bentwood chairs at the Österreichisches Museum für Angewandte Kunst (MAK) in Vienna. An extensive survey of her work, The Collections of Barbara Bloom, was shown in 2008 at the International Center for Photography, New York and at Martin-Gropius Bau in Berlin.



19. Marisa Jahn, Rashaad Newsome, Saya Woolfalk, FF Alumns, at Tilapia Cultural Center, Kampala, Uganda

Artistic Directors:
Marisa Jahn and Paul Falzone
Part 1: Uganda
Feb 6-March 6, 2013
an apexart Franchise Exhibition

Rashaad Newsome
Akosua Adoma Owusu
Kamau Patton
Zina Saro-Wiwa
Hank Willis Thomas and Terence Nance
Saya Woolfalk




20. Norm Magnusson, FF Alumn, at WFG, Woodstock, NY, March 2-May 20

Norm Magnusson, FF Alumn in "These animals are driving me to abstraction" at WFG in Woodstock, March 2 - May 20.

An exhibition including artists who paint animals or abstractions and one artist (Magnusson) who does both. For more information, visit http://wfggallery.com/.
To learn about Magnusson's New York State Thruway Project, click here:
http://www.kickstarter.com/projects/norm/the-new-york-state-thruway-project?ref=email. 100% of funds must be raised by March 20.



21. Lorraine O'Grady, FF Alumn, at Alexander Gray Associates, Manhattan, opening February 27

Broken Spaces: Cut, Mark, and Gesture
Opening Reception
Wednesday, February 27, 2013, 6:00 - 8:00 pm

Exhibition Dates: February 27 - April 6, 2013

Inaugurating its representation of Harmony Hammond, Alexander Gray Associates is pleased to present Broken Spaces: Cut, Mark, and Gesture, a group exhibition examining the parallel conceptual and formal practices of Luis Camnitzer, Jeremy Gilbert-Rolfe, Harmony Hammond, Lorraine O'Grady, Hassan Sharif, and Jack Whitten. Focused on process-oriented, conceptual works on paper, the exhibition highlights each artist's experimentation with boundaries of media and form.

Harmony Hammond's charcoal drawings and mixed media works on paper investigate post-minimal processes and materials.
In her mixed media works, Hammond experiments with printmaking and crafting materials. Her charcoal drawings serve as studies for the iconic 1970s floor sculptures, utilizing braiding and weaving, referencing women's traditional arts; her recent "Grommetypes" puncture and mold paper with ink and watercolor. In etchings begun in the late 1960s, Luis Camnitzer plays with the language of printmaking and text-based art. In Shift (1968), Camnitzer explores conceptual meanings of identity and perspective, while breaking ground with etching and die-cutting techniques. Lorraine O'Grady's Cutting Out the New York Times (1977/2010) is a series of 26 poems created from newspaper clippings. In these works, created on successive Sundays spanning six months, O'Grady produced collaged poems made from public text; presented as wall-mounted installations, the poems hover between language and image, personal and political. Jack Whitten's works on paper from the 1970s present an experimental approach to art-making. During this period, Whitten applied a wide array of media-including oil, magnetite, and acrylic-to create abstractions, highlighting the artist's interest in surface and form, line and void. In Closed Loops #2 (2012), Whitten pushes the boundaries of acrylic in a compositionally complex, sculptural work that exemplifies Whitten's inventive abilities. Hassan Sharif's line drawings demonstrate the artist's interest in art-making processes. The artist's preoccupation with conceptualism is evident in the repetitive gestures and systematic compositions of his drawings, making reference to caligraphic traditions, architectural form, and urban planning. Jeremy Gilbert-Rolfe's drawings challenge contemporary ideas of aesthetics and purpose. In his works on view, Gilbert-Rolfe manipulates the Modernist grid and applies hyper-saturated color to question painting's position in a post-Modern context.

Harmony Hammond (b.1944) lead in the development of the feminist art movement in New York in the early 1970s. Hammond's work is represented in the permanent collections of the Metropolitan Museum of Art, New York; the Museum of Modern Art, New York; and the Walker Art Center, Minneapolis, MN. Luis Camnitzer (b.1937) was at the vanguard of 1960s Conceptualism, working primarily in printmaking, sculpture, and installations. His work is in the permanent collections of The Museum of Modern Art; The Metropolitan Museum of Art; and the Whitney Museum of American Art, New York; and the Tate Modern, London. Since the early 1980s, Lorraine O'Grady (b.1934) has challenged racial and sexist ideologies in performance and photo installations. Her work is represented in the permanent collections of the Whitney Museum of American Art, New York, and the Art Institute of Chicago, among others. Jack Whitten's experimental paintings have challenged conceptions of art-making for six decades. His work is in the public collections of the Museum of Modern Art, New York; the Metropolitan Museum of Art, New York; and the Studio Museum in Harlem, New York. Hassan Sharif (b.1951) lives and works in Dubai and is a pioneer of conceptual art and experimental practice in the Middle East. Sharif's artwork is included in the collections of the Mathaf: Arab Museum of Modern Art, Doha, Qatar; and the Sharjah Art Museum, Sharjah, UAE. Jeremy Gilbert-Rolfe's (b.1945) paintings and critical writings challenge contemporary ideas of aesthetics and purpose in art from within the art world itself. His artwork is included in the collections of the Museum of Contemporary Art, Los Angeles; and the Museum of Contemporary Art, Miami, FL.

Alexander Gray Associates is a contemporary art gallery based in New York. The gallery has established a profile for high-quality exhibitions focused on mid-career artists who emerged in the 1960s, 1970s, 1980s, and 1990s. Influential in political, social and cultural spheres, these artists are notable for creating work that crosses geographic borders, generational contexts and artistic disciplines. Alexander Gray Associates is a member of the Art Dealers Association of America.

Alexander Gray Associates
508 West 26 Street #215, New York NY 10001
Telephone: 212 399 2636
Hours: Tuesday - Saturday, 11:00 AM - 6:00 PM

Upcoming Exhibition
Joan Semmel: April 17 - May 25, 2013
Regina Silveira: June 5 - July 26, 2013
Jack Whitten: September 11 - October 12, 2013
Harmony Hammond: October 23 - December 14, 2013

Upcoming Art Fairs
Art Dubai: March 20 - 23, 2013
Frieze New York: May 10 - 13, 2013
Art Basel: June 13 - 16, 2013



22. Julie Ault, FF Alumn, at Parsons, Manhattan, Feb. 20

Julie Ault is an artist, curator, editor, and writer who works both independently and in temporary and enduring collaborative constellations. She often assumes curatorial and editorial roles as forms of artistic practice, using exhibition and using publication as mediums. Ault's work emphasizes interrelationships between cultural production and politics and frequently engages historical inquiry. In 1979 Ault cofounded the NYC based artists' collaborative, Group Material, whose practice explored the relationship between art, activism, and politics until disbanding in 1996. Ault's recent exhibitions include: "Ever Ephermal, Remembering and Forgetting in the Archive," Signal and Inter Arts Center, Malmö, 2011, and "No-Stop City High-Rise: a conceptual equation," with Martin Beck, for the São Paulo Bienal, 2010. Her edited and authored publications include: (FC) Two Cabins by James Benning (2011); Show and Tell: A Chronicle of Group Material (2010); Felix Gonzalez-Torres, (2006); Come Alive! The Spirited Art of Sister Corita (2006); and Alternative Art New York 1965-1985 (2002).




23. Mike Asente, Jimbo Blachly, Michael Paul Britto, Karen Shaw, Greg Sholette, at Elizabeth Foundation for the Arts, Manhattan, opening March 1

Curated by Bill Carroll, EFA Studio Program Director
Reception: Friday March 1 2013, 6 pm - 8 pm
March 2 - March 30, 2013
Blackburn 20|20
EFA 323 W 39th Fl 5, New York, NY 10018 (between 8th & 9th Ave)
Gallery hours: Thursday - Saturday: 10 am - 6 pm

Mike Asente
Donald Baechler
Glen Baldridge
David Baskin
Jackie Battenfield
Kim Beck
Michael Bevilacqua
Lauren Bierly
Jimbo Blachly
Miriam Bloom
Chakia Booker
Michael Paul Britto
Maurice Brochet
Deborah Brown
E.L. Brown
William Carroll
Deric Carner
Amanda Church
Willa Cox
Eyal Danieli
Mark Dion
Chris Dunnett
Joel Fisher
Anne Gilman
Nicholas Howey
Raúl Hott
David Humphrey
David Jacobs
Kurt Kauper
William Kentridge
Janet Kusmierski
Carter Kustera
Jain Kwak
Liv Mette Larsen
Michelle Levy
Greg Lindquist
Sharon Louden
Charles Luce
Rene Lynch
Annabeth Marks
John Monti
Cristina de Miguel
Ron Morosan
Stephen Mueller
Natalia Nakazawa
Michael Neff
Helen Oji
Nathan Oliveira
Jim Osman
Jan Pfeiffer
Beth Reisman
Philip Taaffe
Ray Rapp
Chris Rayburn
Thomas Reidy
Scott Richter
Jeffrey Saldinger
Andra Samelson
Phil Sanders
Sarah Schmerler
Karen Shaw
Greg Sholette
Bill Smart
Steel Stillman
Karla Stingerstein
Jason Stopa
Emma Tuccillo
Tyler Turkle
Kara Walker
Lindsay Walt
Thomas Weaver
Kit White
Dan Wong
William Wood
Tricia Wright
Lu Zhang



24. Katya Grokhovsky, FFAlumn, at Chashama, Manhattan, opening Feb. 22

Hello Dear Friends and Colleagues,

I'd like to invite you to my upcoming event this Friday, February 22nd 2013 in New York.

As Part of a Group Exhibition:
Of The Land - ChaNorth Summer Residency 2012 Alumni Exhibition

I will be showing new collage works and performing as
KM (collaborative duo Katya Grokhovsky & Marissa Perel) at the
Opening, February 22nd 6-9pm
Vulgari, Part 1: KM Performance 7.30pm

The exhibition features works of art that were completed during,
or in response to, each artists' month-long ChaNorth residency near Pine Plains, New York.

210 East 43rd Street
New York, NY
(between 2nd and 3rd Ave)

Facebook event:



25. Annie Lanzillotto, FF Alumn, at The Bureau of General Services, Queer Division, Manhattan, March 2

Annie Lanzillotto, March 2
Time: 7:00pm
Admission: FREE
Age restrictions: No Minors
Address: 27 Orchard Street
Venue phone: 646-457-0859
COME TO THE NEWEST QUEER BOOKSTORE GATHERING SPACE Annie reads at The Bureau of General Services-Queer Division - a queer bookstore and event space hosted by Strange Loop Gallery on the Lower East Side of New York City. On Orchard Street between Canal and Hester. Mission: We aim to foster a community invested in the values of mindfulness, intellectual curiosity, justice, compassion, and playfulness. The Bureau seeks to excite and educate a self-confident, sex-positive, and supportive queer community by offering books, publications, and art and by hosting reading groups, authors' talks, and performances. We provide local and visiting queers and friends with an open and inclusive space for dialogue and socializing. The Bureau of General Services-Queer Division welcomes you.



26. Ruth Hardinger, Christy Rupp, FF Alumns, at VanDeb, Manhattan, March 1-31

Ruth Hardinger, Christy Rupp, FF Alumns, at
Van Deb Editions 313 W. 37th St., 7th Floor, NYC




27. Tish Benson, FF Alumn, receives residency at Community Artists Collective, Houston, TX, and more

TISH BENSON, FF Alumn, has an artist residency at THE COMMUNITY ARTISTS COLLECTIVE in Houston Texas & has posted a new video on Youtube




28. Suzanne Lacy, FF Alumn, at Arizona State University Art Museum, Tempe, March 4

Suzanne Lacy / Forkosh Hirshman Art and Society Lecture / March 4
What is Socially Engaged Practice?
by Suzanne Lacy

ASU Art Museum Forkosh Hirshman Art and Society Lecture

Monday, March 4, 6:30 p.m., Neeb Hall

Suzanne Lacy, an internationally known artist whose work includes installations, video and large-scale performances on social themes and urban issues, will address the question "What is socially engaged practice?" in a free lecture at Arizona State University.

Responding to the ASU Art Museum's history in presenting social practice art, Lacy will show and discuss new projects taking place in Columbia, Bristol, Korea and Madrid, exploring topics that include violence against women, working class issues, and feminist political work interfacing with public policy.

This free lecture is sponsored by the ASU Art Museum's Forkosh Hirshman Art and Society lecture series, developed by Valley residents Linda Hirshman and the late David Forkosh to foster dialogue about cultural and social issues. Organized in partnership with the Socially Engaged Practice Initiative and the School of Art, both in the Herberger Institute for Design and the Arts at ASU.

While she is at ASU, Lacy will also lead a workshop for graduate students at the ASU Art Museum and meet with the Socially Engaged Practice faculty and staff group.

About the artist:
Lacy began her own art practice in the early 1970s while a student at University of California, Fresno, and then in the Feminist Art Program at California Institute for the Arts. While in school, she was deeply influenced by the Vietnam War protests, the Black Power Movement, and the Farm Workers Strikes, and became interested in how to raise awareness for issues and engage people in creative solutions through social practice art.

Lacy is currently the chair of the Graduate Program in Public Practice at Otis College of Art and Design in Los Angeles, and, as an artist, educator, theorist of socially engaged public art and author, she prepares students to re-invent traditional media-specific ways of thinking about art making. She has been the recipient of numerous awards and fellowships, including a Guggenheim Fellowship, the Lila Wallace Arts International Fellowship and several from the National Endowment for the Arts. She also received the inaugural Public Art Dialogue Annual Award in 2009, the Distinguished Artist Award for Lifetime Achievement from the College Art Association in 2010, and the Lifetime Achievement Award from the Women's Caucus for Art in 2012.

Also well known as a writer, Lacy edited the influential Mapping the Terrain: New Genre Public Art and the recently released Leaving Art: Writings on Performance, Politics and Publics, 1974-2007, which the New York Times describes as "a moving and feisty document of a committed life, one that students of the art of our time will be grateful for in the years ahead."

FREE PARKING available in ASU Art Museum-marked spaces at the Ceramic Research Center, south end of Tempe Center, NE corner of Mill Avenue and 10th Street. Additional visitor parking available in Lot 18 & 20.

ASU Art Museum | 51 E. 10th Street, at Mill Avenue, Tempe, AZ 85281 | 480.965.2787
ASU Herberger Institute for Design and the Arts

e. deborah.susser@asu.edu | www.asuartmuseum.asu.edu | www.asuartmuseum.wordpress.com

Copyright (c) 2013 ASU Art Museum, All rights reserved.



29. Ed Ruscha, FF Alumn, at Gagosian Gallery, Manhattan, March 5-April 27, and more

Ed Ruscha: Books & Co.
Tuesday, March 5-Saturday, April 27, 2013

Gagosian Gallery
980 Madison Avenue
New York, NY

Gagosian Gallery is presenting an exhibition featuring artist books by Ed Ruscha and more than one hundred artists he has inspired.

On March 6, Ed Ruscha takes the stage at The New York Public Library to reflect on his career and enduring influence in conversation with Paul Holdengräber, director of LIVE from the NYPL . For more information and to purchase tickets to this event, click here.

Ed Ruscha's publication of artist books beginning in the early 1960s had a profound effect on other contemporary artists. Bruce Nauman's Burning Small Fires (1969) was the first of many books directly influenced by and in conversation with Ruscha's publications; in this case Ruscha's Various Small Fires and Milk (1964), a book featuring documentary-like photographs of matches, a smoking pipe, and other forms of fire. The opening of Ed Ruscha Books & Co. will coincide with the release of MIT Press's Various Small Books: Referencing Small Books by Ed Ruscha (2013) and will feature over one hundred artist books by Ruscha and numerous others, showcasing Ruscha's lasting impact along with those he has inspired.

For more information please contact the gallery at newyork@gagosian.com or at 212.744.2313.

Gagosian Gallery was established in 1980 by Larry Gagosian.

Ed Ruscha and Paul Holdengräber:
A Conversation
LIVE from the NYPL
Wednesday, March 6, 2013; 7pm

The New York Public Library
Stephen A. Schwarzman Building
5th Avenue at 42nd Street

On March 6, Ed Ruscha takes the stage at The New York Public Library to reflect on his career and enduring influence in conversation with Paul Holdengräber, Director of LIVE from the NYPL.

Ruscha's work has profoundly influenced countless modern artists, but his artist books-such as Twentysix Gasoline Stations, Every Building on the Sunset Strip, Thirtyfour Parking Lots in Los Angeles, and A Few Palm Trees-offer a unique opportunity to trace that influence directly to the near and far corners of the modern art world. For decades, a broad spectrum of artists have produced their own small books, revisiting, rebelling against, and responding to the American painter and photographer's idiosyncratic collections.

Now, Ruscha's artist books and the fascinatingly kindred works they inspired are the focus of a new exhibition at Gagosian Gallery (March 5-April 27, 2013, at 980 Madison Avenue, New York) and book-Various Small Books: Referencing Various Small Books by Ed Ruscha from MIT Press-both of which showcase Ruscha's materials alongside the numerous books they influenced.

For more information and to purchase tickets to this event, click here. For additional information about LIVE from the NYPL and to see a full schedule of upcoming events in the series, please visit NYPL.org/LIVE.

LIVE from the NYPL is made possible with generous support from Celeste Bartos, Mahnaz Ispahani Bartos and Adam Bartos, and the Margaret and Herman Sokol Public Education Endowment Fund.



30. Beatriz da Costa, FF Alumn, Memorial at Postmasters Gallery, Manhattan, Feb. 24

A memorial for
Beatriz Noronha da Costa - Shani

will be held at Postmasters Gallery, 459 W. 19th Street, Manhattan, from 3-6 pm on February 24, 2013
Rsvp shani.nycmemorial@gmail.com

Thank you.



31. Peter Grzybowski, FF Alumn, in International Festival of Performance, Dominican Republic, thru Feb. 27

Peter Grzybowski
Performances in Dominican Republic

Independence Dom.
International Festival of Performance
February 19 - 27

Espacio Fundacion Silvano Lora
Santo Domingo
Wednesday, February 20, 2013 8PM

Isabel de Torres Mountain
Puerto Plata
Sunday, February 24, 2013, 11 AM

More info:




32. Micki Watanabe Spiller, FF Alumn, at 24 W. 8th Street, Manhattan, opening Feb. 22

No Longer Empty's new Curatorial Lab program presents
"Gathering Place"
Friday, February 22, 2013
7:00pm until 9:00pm
Exhibition Dates: February 22-March 23, 2013
Opening Reception: Friday, February 22, 7-9pm
Exhibition Hours: Friday-Monday, 1-7pm
Location: 24 West 8th St., Greenwich Village
Curators: Katherine Gressel and Jessica Wallen

Richard Alvarez / Luisa Caldwell / Rebecca Hackemann / Gwyneth Leech / Jennifer Maravillas / Simonetta Moro / Eleanor Ray / Ira Sachs / Micki Watanabe Spiller / Seldon Yuan

No Longer Empty's new Curatorial Lab program is pleased to announce an upcoming contemporary art exhibition at 24 West 8th Street in Greenwich Village. Artworks include participatory art making and literary installations, works in diverse media that resurrect specific aspects of the area's past, and some that incorporate found materials gathered from the neighborhood. Art projects with Interactive surveys will collect visitors' observations and opinions about this site and its ideal future development.

NLE Curatorial Lab is a new professional development program in which emerging curators are able to hone and expand on their skills and knowledge through tools and networks provided by No Longer Empty. Two participating curators conduct site and artist research, community outreach, and program-planning culminating in a site specific art exhibition.

Space for Lease: Buchbinder & Warren



33. Harley Spiller, FF Alumn, at Museum, Manhattan, opening Feb. 22

You are invited to the opening night of Museum's second season, 6:30-8:30 pm, Friday, February 22, 2013, Cortlandt Alley, between Franklin Street and White Street, Manhattan. Alex Kalman, Benny Safdie & Josh Safdie, Museum co-founders.
RSVP info@mmuseumm.com


Harley's contribution to the exhibition is described in the text below:

BETTER MUTES A cousin and I once bet on who would end up taller. Then I remembered his father was 6'6". Realizing I'd probably lose, I started collecting mutilated money to needle him a little at payoff time. People generally prefer crisp banknotes and shiny coins. Cashiers gladly part with bedraggled bucks, bankers call messy money "mutes", and the Feds deem sullied specie unfit. I ended up winning the bet, and doubly happy, for I'd come to see the collection as a fount of beauty and knowledge. Of my 11+ pounds of marred cartwheels and frogskins (I also collect nicknames for coins and bills) the most common are oxidizing Lincoln head pennies. Their deepening aqua-green hues remind me of the Statue of Liberty.

Roughly half the paper money in my collection seems accidentally torn or discolored. The rest, intentionally altered by artists, activists, criminals, graffitists, origamists and the like, is subject to title 18 USC § 333, the law pertaining to mutilation of national bank obligations:

Whoever mutilates, cuts, defaces, disfigures, or perforates, or unites or cements together, or does any other thing to any bank bill, draft, note, or other evidence of debt issued by any national banking association, or Federal Reserve bank, or the Federal Reserve System, with intent to render such bank bill, draft, note, or other evidence of debt unfit to be reissued, shall be fined under this title or imprisoned not more than six months, or both.

"Intent" is the crucial term. It must be legal to write on bills; after all, former Secretary of the Treasury John W. Snow autographs them and many turn legal tender into their artistic medium. Consider Dread Scott's 2010 Wall Street performance "Money to Burn", and the highest level of Japanese teaware, the blackened ceramics called raku. Such intentional burning can make a powerful statement. The grey area between mutilation and art-making makes parsing the letter and spirit of Title 18 quite the stimulus, economic and otherwise.

Harley Spiller aka Inspector Collector
February 22, 2013

Special thanks to Ken Blumberg, Dustin Grella, David Jelinek, Alex Kalman, Marc Labelle, Hiro Maddock, Melissa Monroe, Iris Rose, Josh Safdie, Dread Scott, lora Spiller, Mortimer Spiller, Aaron and Jill Underwood, and the former Migiwa Watanabe, who helped build the collection and create a new shade of meaning for the motto E Pluribus Unum - out of many, one.



Goings On is compiled weekly by Harley Spiller