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Contents for June 26, 2013

1. Martha Wilson, Larry List, Nancy Burson, Kathy Grove, Elana Katz, Robert Mapplethorpe, Ana Mendieta, Lorraine O'Grady, Betty Tompkins, Dolores Zorreguieta, FF Alumns, at PPOW, Manhattan, opening June 27

an in-depth look at the surface
of things

Liu Bolin Nancy Burson COLORS Magazine Adele Crawford Nancy Davidson
Margi Geerlinks Kathy Grove Heide Hatry Stephen Irwin Elana Katz Suzy Lake Robert Mapplethorpe Katy Martin Beverly McIver Ana Mendieta Marilyn Minter Lorraine O'Grady ORLAN Hunter Reynolds Bonnie Rychlak Alison Saar
Joan Semmel Jeanne Silverthorne Betty Tompkins Robin Williams Martha Wilson Veruschka Lehndorff & Holger Trülzsch Dolores Zorreguieta Barbara Zucker

Curated by Martha Wilson and Larry List

June 27th - July 27th, 2013
Opening Reception: Thursday, June 27, 6-8pm

PPOW is pleased to present Skin Trade, an exhibition curated by Martha Wilson and Larry List that explores the use skin as a subject or metaphor in art. The exhibition encompasses thirty-one artists of varying generations, with works that span from Joan Semmel's Intimacy - Autonomy and Ana Mendieta's Sweating Blood, 1974 to the work of Elana Katz, Color Me Clear and Robin Williams, The Artist as Future Self, 2011.

In slang, the term "skin trade" refers to "any or all aspects of the burlesque, exotic dance, pornography or prostitution industries." However, when taken in parts, "skin - trade" can imply many types of exchanges - often intimate and almost always dealing with beauty, identity, mortality, or eros. Grouped according to these four designations and displayed throughout the gallery, the works of Skin Trade speak to the creative potential behind this surface of initial contact. Through photography, sculpture, paint, and video, the included artists address the potential impact of skin; what it means when focus is drawn to this meeting place between a person and the rest of the world.

Skin may be displayed, offered, or denied in return for affection, pity, acceptance, or love. Skin can be offered to show vulnerability or defiance. Skin may be enhanced in hopes of attaining greater beauty, social privilege, or advancement. It may be otherwise altered to fit in, camouflage, disguise, or even disappear for survival's sake. Taken to extremes, skin can be distorted to create an entirely new identity. It is both a cliché and a durable truth that "first impressions are lasting ones," and so it is of no surprise that the artists of Skin Trade continue to use this surface as a form of creative expression.

In recent years, Neo-burlesque performance, as a conduit of self-expression and empowerment, has been fueled by heightened interest in performance art, identity, gender, and queer studies. Parallel programs of live performances by Xandra Ibarra (aka la Chica Boom) at Wild Project Theater is being planned to accompany the exhibition.

Adults average between 16 and 21 square feet of skin. Internet aside, for most meaningful relations one's skin is the initial point of contact with the rest of the world. Hence, it is no surprise that artists have considered these exchanges - their skin trades - in a myriad of expressive and creative ways.

Many thanks to collaborators and lenders: Alexander Gray Associates, NY; Betty Cunningham Gallery, NY; Brooklyn Museum, NY; Clampart, NY; Eli Klein Fine Art, NY; Galerie LeLong, NY; Gallery Paule Anglim, CA; Georgia Scherman Projects, Inc., Toronto; Invisible Exports, NY; LA Louver Gallery, CA; The Robert Mapplethorpe Foundation, NY; Salon 94, NY; Sean Kelly Gallery, NY; The Studio Museum, NY; Stux Gallery, NY; Xandra Ibarra; The Wild Theater Project, NY.

A catalog essay by Larry List and illustrated checklist will be available as a free, downloadable PDF @ ppowgallery.com and a print-on-demand version of the catalog will be available.

PPOW 535 West 22nd Street, 3rd Floor, New York, NY 10011 Tel: 212-647-1044 email: info@ppowgallery.com website: www.ppowgallery.com



2. Jenny Holzer, Sol LeWitt, Andy Warhol, FF Alumns, at Peggy Guggenheim Collection, Venice, Italy, thru Sept. 16

Hannelore B. and Rudolph B. Schulhof Collection
May 22-September 16, 2013
Peggy Guggenheim Collection
701 Dorsoduro
30123 Venice, Italy
Hours: 10am-6pm, closed Tuesdays

T +39 041 2405404/415

"Art is almost like a religion. It is what I believe in. It is what gives my life dimension beyond the material world we live in."
-Hannelore B. Schulhof

Through September 16 the Hannelore B. and Rudolph B. Schulhof Collection is on view in its entirety at the Peggy Guggenheim Collection. In 2012 eighty works of European and American painting, sculpture and drawing of the decades after 1945 were added to the collections of the Solomon R. Guggenheim Foundation in Venice thanks to a bequest of Hannelore B. Schulhof, who collected the works with her husband Rudolph B. Schulhof. They reside permanently at the Peggy Guggenheim Collection.

Hannelore and Rudolph Schulhof shared with Peggy Guggenheim, whom they met in 1954 at the Venice Biennale, and whom they admired as a kindred spirit, the conviction that they should collect the art of their own time. They did so with a passion comparable to hers. Afro, Alberto Burri, Alexander Calder, Giuseppe Capogrossi, Eduardo Chillida, Tony Cragg, Ellsworth Kelly, Willem de Kooning, Lucio Fontana, Jean Dubuffet, Jasper Johns, Donald Judd, Anish Kapoor, Mark Rothko, Frank Stella, Cy Twombly, Andy Warhol, are only some of the artists whose works are in the donation. When added to the Cubist, abstract, Surrealist, and early American Abstract Expressionist art in the Peggy Guggenheim Collection and to Peggy's own purchases of post-war art, the reach of the Venice museum will be extended into the 1970s and even 1980s.

Certain works add significantly to the Foundation's holdings of artists already present in the Peggy Guggenheim Collection. Works by post-war Italians will be particularly appropriate for the Venice-based museum. Perhaps most importantly the works by New York school artists will represent the United States in the generations after Peggy Guggenheim's heroic championing of what came to be known as American Abstract Expressionism at her New York gallery, Art of This Century, and after her departure from New York in 1947. Post-painterly Abstraction painting and Minimal art will be on view permanently at the Peggy Guggenheim Collection for the first time. The Hannelore B. and Rudolph B. Schulhof Sculpture Garden will present works by Tony Caro, Barbara Hepworth, Jenny Holzer, Anish Kapoor, Sol LeWitt, Isamu Noguchi, and others.

Richard Armstrong, Director, Solomon R. Guggenheim Museum and Foundation, commented, "Rudy and Hannelore Schulhof were rare collectors, discerning and empathetic. Having these exceptional objects on view in Venice richly updates the Peggy Guggenheim Collection."

Michael P. Schulhof, son of the collectors, commented on behalf of the Schulhof family: "Venice and Peggy Guggenheim had a strong influence on how the Schulhof Collection came to be formed. It is fitting that these works will take their place at the museum and add to the many wonderful reasons why Venice plays such an important role in the world of modern art."

Hannelore Schulhof grew up in pre-War Germany, which she left shortly before the outbreak of World War II. She was joined by her Czech-born fiancé Rudolph Schulhof in Brussels, where they married. From there they travelled together to the United States. The Schulhofs were praised as collectors from the 1960s for the refinement and discernment with which they brought together art from both the European and North American continents. Celebrated benefactors of the arts, each of them served on numerous museum boards and foundations, including CIMAM and the American Federation of Arts. Mr. Schulhof was a trustee of the Solomon R. Guggenheim Foundation from 1993 until his death in 1999, while Mrs. Schulhof was a Charter (Founding) Member of the Peggy Guggenheim Collection Advisory Board in 1980.

Philip Rylands said: "Peggy Guggenheim's departure from New York and the beginning of her Venetian life in 1947 marked the close of the heroic phase of her collecting. As a consequence, European and American postwar art is only sporadically represented in her collection. The Schulhofs began their collecting where Peggy left off, so their collection represents a perfect fit, extending and enriching seamlessly the Venice museum's post-war art with great works by great artists."



3. Robbin Ami Silverberg, FF Alumn, in Budapest, Hungary, Summer 2013

"A Memory Palace"
at FUGA Gallery - Budapest Center of Architecture

Opening night: June, 22, 2013, Night of the Museums

Petőfi Sándor utca 5.
Budapest, Hungary 1052
Website http://www.fuga.org.hu
Hours Mon - Sat: 10:00 am - 7:00 pm
"A Memory Palace" is an installation where Silverberg explores the connection between episodic memory and locations, working with this ancient mnemonic device. The space contains a series of images, a video, an artist book and set of hand-cut player piano scrolls, all created in handmade paper for this installation, along with found and remembered objects. The sound component is a recording of trumpeter László Göz 'reading' Silverberg's player piano scrolls.


Archive intervention (with András Böröcz)

at the National Jewish Archive
Dohany u. 2, Budapest, Hungary
Summer 2013

Much of Silverberg's artwork focuses on interlinearity, the portion of knowledge and the world that we ignore or omit, or consider negative space -- the pause in a sentence, the gesture before the act.

The exhibition takes place in the actual storage area of the Jewish Archive, where Silverberg, along with her husband András Böröcz, have created interventions that transform the archive to an exhibition space. The artwork placed here focuses on particular themes -- the genisa & the meaning of detritus, the eulogy & word cognition -- and will both highlight particular objects within the collection, as it questions their meaning in today's world.



4. Judith Bernstein, FF Alumn, at ICA, London, UK, thru Sept. 8

Institute of Contemporary Arts (ICA)
Keep Your Timber Limber (Works on Paper)
19 June-8 September 2013

Institute of Contemporary Arts
The Mall
London SW1Y 5AH
T +44 20 7930 3647

Keep Your Timber Limber (Works on Paper) explores how artists since the 1940s to the present day have used drawing to address ideas critical and current to their time, ranging from the politics of gender and sexuality to feminist issues, war, censorship and race. Stretching from fashion to erotica, the works can all be viewed as being in some way transgressive, employing traditional and commercial drawing techniques to challenge specific social, political or stylistic conventions.

The exhibition brings together the work of eight artists: Judith Bernstein, Tom of Finland, George Grosz, Margaret Harrison, Mike Kuchar, Cary Kwok, Antonio Lopez and Marlene McCarty.

The exhibition is made possible with support from The ICA Exhibition Supporters Group including Manuela and Iwan Wirth, among others.



5. Nancy Buchanan, FF Alumn, at Museum of Modern and Contemporary Arts, Rijeka, Croatia, June 28, and more

Nancy Buchanan discusses her work at the Museum of Modern and Contemporary Arts, Rijeka, Croatia, on June 28.


Nancy Buchanan discussed her performance work with Stephanie Allespacht and others at re.act.feminism, Berlin, June 23. More info at:




6. Annie Lanzillotto, FF Alumn, at The Bronx Museum of the Arts, July 3

Launch my book of poetry
July 3rd
at the Bronx Museum of the Arts
Wednesday July 3
I will do two sets of readings
5:30 and 6:30
Bronx Council on the Arts
Bronx Culture Trolley Night
"Readings and Conversations"
at the
Bronx Museum of the Arts
1040 Grand Concourse (at 165th Street)
Bronx, New York 10456
Hop off the BCA's Bronx Culture Trolley at BxMA
and hear Bronx author Annie Rachelle Lanzilotto
discuss her latest book
Bordighera Press
Free guided tours of our exhibitions.
Location: North Wing Lobby
The Bronx Culture Trolley rides throughout the Bronx every first Wednesday evening of each month.
It makes two stops at The Bronx Museum.
5:30 and 6:30 PM
For a full list of all the trolley stops and schedule please visit: www.bronxarts.org.



7. Michel Auder, Michelle Handelman, Richard Prince, Andy Warhol, FF Alumns, at White Columns, Manhattan, thru July 27


Michele Abeles, Rita Ackermann, Antonio Adams, Bill Adams, Laura Aldridge, Graham Anderson, Araki, Cory Arcangel, Atelier E.B. (Lucy McKenzie, Beca Lipscombe, Marc Camille Chaimowicz), Michel Auder, Lisa Anne Auerbach, Matthew Barney, Will Benedict, Olaf Breuning, Janet Burchill, Kathe Burkhart, Carter, Antoine Catala, David Colman, Cynthia Daignault, Lucky DeBellevue, Jake Ewert, Fischli & Weiss, Bella Foster, Magdalena Frimkess, Jeff Funnell, Rainer Ganahl, Paul Georges, Eric Ginsburg, Karin Gulbran, Tamar Halpern, June Hamper, Michelle Handelman, Daniel Heidkamp, Robert Heinecken, Matthias Merkel Hess, John Hiltunen, Ann Cathrin November Hoibo, Jonathan Horowitz, Marc Hundley, Gary Indiana, Jane Kaplowitz, Matt Keegan, Mike Kelley, Wayne Koestenbaum, Ella Kruglyanskaya, Sadie Laska, Elad Lassry, Mark Leckey, Cary Leibowitz, Rhonda Lieberman, Cassandra MacLeod, Alissa McKendrick, Ryan McNamara, Siobhan Meow, Marilyn Minter, Dave Muller, Takeshi Murata, Eileen Neff, Laura Owens, Elizabeth Peyton, Richard Prince, Rob Pruitt, Eileen Quinlan, T. Cole Rachel, Jennifer Rochlin, Sam Roeck, Ruth Root, Kay Rosen, Jason Rosenberg, Theo Rosenblum and Chelsea Seltzer, Gus Van Sant, Joe Scanlan, Steven Shearer, David Shrigley, Patti Smith, Frances Stark, Amy Taubin, Nicola Tyson, Andy Warhol, Jordan Wolfson, B. Wurtz, Rob Wynne, and Freecell with Gia Wolff.

JUNE 14 - JULY 27
JUNE 14/15 + JULY 19/20





8. Ruth Hardinger, FF Alumn, at Smith Center for the Arts, Cooperstown, NY, opening July 1

Dear Friends,

My installation of sculpture and work on paper will be on the 3rd floor of
Smithy Center for the Arts, Pioneer Gallery, 55 Pioneer St., Cooperstown, NY. 3rd floor

Frack Flow Opens Monday, July 1, 5-7 PM
If you are in the neib, please stop by.

My work in the Frack Flow exhibition is an expressive and aesthetic response to cracks and fractures, including processes that pierce depths of the earth, bomb it, and set into motion a situation that cannot be reversed or mitigated. My works are positioned in the room to address spacing and relationships, activity below and above surfaces, and predicaments of material matter. The biologist, Sandra Steingraber, said the underground is alive. That phrase rings in my ears and my art.
My sculptures and work on papers make events and situations with materials chosen for their meanings - cardboard, concrete, milk, graphite, pastel. This embraces a play, for example: between the cardboard as subject and cardboard as object. Making an activity of opposing material forces such as casting wet, heavy concrete into cardboard boxes seems, at times, impossible - if not difficult. From there, hope happens.

Juxtaposing concrete and cardboard sculptures with similar materials in pieces on the wall is to offer an immediacy and history along with a process of change

all best



9. Kristin Jones, Andrew Ginzel, FF Alumns, at Snow College, Ephraim, UT.

Kristin Jones Andrew Ginzel www.jonesginzel.com announce
Fathom, a new work for the Karen H. Huntsman Library, Snow College, Ephraim, UT



10. Marisa Jahn, FF Alumn, at Centre for Social Innovation, Manhattan, June 26

Masked, Mustachioed, and Maniacal-it's EL BIBLIOBANDIDO!

Let loose with the living legend's selection of literary libations, including Books on the Beach and BB's special sangria, Books-n-Crooks. Get your tix today and party with ease tomorrow!

FUNDRAISER: Books & Bubblies with El Bibliobandido
Wednesday, June 26th, 2013, 6:30-8:30 pm
Centre for Social Innovation, 601 W. 26th St., 3rd Floor, NYC
$25 suggested contribution | Can't make it? We still need your support!

El Bibliobandido is a story-hungry bandit roving the jungles of northern Honduras, where he terrorizes little kids until they write and offer books to nourish his insatiable appetite.

This past year, El Bibliobandido has made cameo appearances at the Studio Museum of Harlem, inside the pages of Artforum and the publication Caribbean: Art at the Crossroads of the World, in screenings at the Queens Museum of Art, at MIT, ZERO1 San Jose, and the Bay Area Youth Media Festival at the San Francisco Public Library. This summer, the masked marauder brings bookmaking mania back to NYC in "El Bibliobandido Bites the Big Apple," REV-'s media arts workshop for teens from the city's underserved communities. Your support makes this work possible; contribute today.

El Bibliobandido began in 2010 as a public art + literacy project conceived by REV- in collaboration with the community of El Pital, Honduras as a means to redress the region's 80% illiteracy rate. Inducing terror, laughter and tears in los niños (and more than a few adults) across northern Honduras, the project now involves 19 partnering schools and 500 youth in sharing book-making and story-writing skills.

REV- Advisory Board: Aina Abiodun, Sunny Bates, Kadambari Baxi, Pablo Helguera, Kendal Henry, Doug Lasdon, Larisa Mann, Christiane Paul, Andrew Ross, Sujata Singhal, Marcia Tanner, Tricia Wang, Cornel West, Mabel O. Wilson.

Since 2000, REV- has engineered imaginative approaches to advancing cultural equity. We do so through constituency-led campaigns for social justice, youth media arts, research & development, and activities that trammel the boundaries between the printed word and public sphere. We are artists, advocates, media makers, low-wage workers, immigrants, and youth working to spark the public imagination and accelerate social change. www.studiorev.org



11. Krzysztof Zarebski, F FAlumn, at CREON, Manhattan, opening June 26,

Krzysztof Zarebski, Opening Reception June 26, 7-9

Krzysztof Zarebski
Photographs 1972-2012
Performance, Film, Live Installations

Opening Reception: Wednesday, June 26, 7 to 9 pm

"Zarebski transforms himself into a magician. For him, staged perversion and lust have become tools of both attraction and sublimation." - Marek Bartelik, ARTFORUM

June 26 to July 26, 2013
please call 646-265-5508 for gallery hours

Large scale photographs documenting 40 years of performances, live installations and films by a founding member of the Body Art movement in Poland in the early 1970's. Still active in both Warsaw and New York, Krzysztof Zarebski practices performance art, photography, film making and sculpture.

Zarebski worked with Helmut Kajzar in his experimental theater in the 1970's and designed sets for productions of Kajzar's plays in theaters and galleries in Warsaw and Berlin. He moved to New York in 1981 and began collaborating with The Rivington School performance artists group. Erothemes of the Weakening Eros, a 350-page monograph of Zarebski's work in the context of the history of performance art in Poland and the United States, authored by Kazimierz Piotrowski, was published in Poland in 2009. His most recent performance at CREON was "Every $tory i$ a Gem" in 2012.

238 East 24 St, 1B at 2nd Ave
646-265-5508, creongallery.com
Subways: 6 or R to 23 St



12. Adele Ursone, FF Alumn, at Turtle Gallery, Deer Isle, Maine, now online


Just a note to say check out some new work at the TURTLE GALLERY, Deer Isle, Maine (turtlegallery.com)

or go to my website: adeleursone.com

Happy Summer!

Adele Ursone



13. Jane Dickson, FF Alumn, at Smart Clothes Gallery, Manhattan, opening June 26

Smart Clothes Gallery Presents
June 26 - July 28, 2013

Reception for the artists Wednesday June 26, 6-9pm
@ Smart Clothes Gallery,154 Stanton Street, NY, NY 10002
smartclothesgallery@gmail.com / www.smartclothesgallery.com



14. Ken Dewey, FF Alumn, at New York Public Library, now online

The find aid for the Ken Dewey Collection has gone online and we already have a researcher using the papers. A link to the finding aid may be accessed at http://www.nypl.org/archives/215244.

An illustrated blog announcing the collection's opening is also up at http://www.nypl.org/blog/2013/06/20/ken-dewey-collection

The text of this blog follows below:

The Ken Dewey Collection by Susan Malsbury, Manuscripts and Archives Division June 20, 2013

Picture this: it is April 1963, and you are in Stockholm at the Moderna Museet. Currently on display is the American Pop Art Show. You walk into the museum and are instructed to sit in one of the galleries in a section of chairs arranged to mimic the seats of a subway car. Other people are in chair arrangements that resemble boats, a helicopter, and a tank. Over the next two hours the following events take place: a woman holds forth a conversation with a trumpet; actors and musicians perform tributes to people they admire; excerpts of a play are performed; a grand piano is slowly pushed across the floor as it is played; a scaffold full of people reading newspapers aloud rolls by; dancers undulate across the gallery floor; and a woman wearing a long patchwork veil marries a Messerschmidt car. After the performance you walk into the museum's main entrance and see one final act, dancers rolling down the stairs as electronic music plays. You just experienced Museum Piece, a Happening by the American artist Ken Dewey, whose papers have recently been opened to the public at the Billy Rose Theatre Division of the New York Public Library for the Performing Arts.

Dewey, born in Chicago in 1934, came to performance art from a theater background. As a young man, he had wanted to be a playwright. He began his serious study of theater while attending Columbia University as an undergraduate, studying play writing with Theodore Apstein. While at Columbia he also began dabbling in the visual arts and took sculpture with Oronzio Mandarelli.

When Dewey graduated in 1959, he moved to San Francisco and studied mime with R. G. Davis and dance with Anna Halprin. He became an assistant director of the Actor's Workshop of San Francisco. These early writing efforts are represented in his papers with notebooks and typescripts containing drafts of plays, short stories, and poems, as well as production material for the plays he helped direct for the Actor's Workshop.

Dewey became interested in Happenings when he saw the Robert Whitman piece American Moon performed in 1961. He had always felt that theater was constrained by the frame of the stage. The term Happenings, which may sound dated now, was often an unsatisfactory term even to those producing such works in the early 1960s, at the height of the Happenings scene. It was difficult to define these performances, that could include film, dance, literature, music, and theater in what artist and writer Michael Kirby called "a compartmentalized structure, and making use of essentially non-matrixed performance." Dewey himself used the term Happenings, but his own work became known as Action Theatre, a phrase he coined that contained both a nod to action painting and the inclusion of theatrical elements into his work.

Dewey's early work was focused on and in the European cities where he lived and worked from 1963 to 1964. During this time he produced over twenty events-musical performances, theater pieces, and Happenings-in Croatia, Denmark, England, Finland, France, Italy, and Sweden. Often his projects centered on a particular city and used geography, social sciences, architecture, and technology to comment on that city's infrastructure, history, and culture. One such work was Street Piece (1963), where he had eighteen events scored to take place over one hour in the center of Helsinki. This included a ballerina arriving to a square in a taxi and a musician arriving by tram, each performing together for an hour without acknowledging each other. In his article "X-ings," written for the Tulane Drama Review in 1965, Dewey wrote, "All ideas were generated by working with the spaces and considering the city of which they are part."

Dewey rehearsed his work, often extensively, and provided his performers with detailed instructions, scores, and choreographic notes. Much of this material can be found in his papers, including large, hand-drawn diagrams that provided a visual mapping of the various elements and chronology of the Happening.

While the above elements could be planned and rehearsed, another important element remained unscripted. This was the participatory role of the audience members. Their interaction with and response to the work made each Happening a singular event and the results could be unpredictable. Two of his Happenings, Breathing Piece Lund (1964) and Through Some Changes (1964), in Sweden and Finland respectively, resulted in near riots. He achieved notoriety when he had a piece at the 1963 Edinburgh Festival Drama Conference that challenged Britain's nudity laws by having a nude model pulled across the stage. Dewey, and his collaborators Charles Lewsen and Mark Boyle, developed the Happening as a direct reaction to the talks and presentations they observed at the conference. Dewey embraced the idea that these types of performances might be controversial, writing in "X-ings" that "[A] piece is at its best when two agons are working at once-the first between people and themselves and the second between the whole group and something beyond itself."

In the catalog for the posthumous retrospective of Dewey's work (Action Theatre: The Happenings of Ken Dewey at the Franklin Furnace Archive in 1987), curator Barbara Moore states that his focus on Europe may be why Dewey was not better known in the United States. "These activities on foreign soil," Moore says, "generating reports often in other tongues, gained him only a vague and understandably distorted American reputation." Dewey did not produced a work in New York City until 1965, when he divided audience members into two teams who played a giant game of tug-of-war (Without & Within) at the Palm Garden Ballroom. Moore elaborates on the second reason why Dewey may not be more recognized: by the time Dewey arrived in New York, "the local excitement surrounding the new forms had largely dissipated or been channeled elsewhere."

In 1965, Dewey officially incorporated Action Theatre as a business entity through which he could initiate and produce his projects. In an interview in Staffan Olzon's documentary Happening at the Arctic Circle, Dewey said that creating Happenings was "95% organizing [and] 5% composing." Dewey transitioned the skills he developed producing his own work into facilitating the work of others when he became a staff member at the New York State Council on the Arts (NYSCA) in 1966.

While at NYSCA he held the positions of director of program development and director of research. Here, he produced projects like Intermedia '68, an exhibition that toured New York State and included Allan Kaprow [FF Alumn], Terry Riley, Carolee Schneemann [FF Alumn], and Dewey himself; and Hudson Troubadour, another state-wide tour, this time by musician Don McLean who performed songs about the Hudson River.

In 1970, he was appointed by Governor Nelson Rockefeller to serve on the New York State Commission on Cultural Resources, a temporary commission created to study the current and long-range fiscal needs of cultural institutions. That same year he was also director of Planning Corporation of the Arts, a one-year research project, partially funded by the NYSCA, on the role of arts in a democracy. Moore writes,

As his life centered more and more on administrative and consulting duties, Dewey produced fewer full-length pieces. But nothing to stop his active engagement, often under the most unprepossesssing circumstances. One day he might tour New York State as a Council official, the next organize-at the height of the Vietnam debacle-a red, white and blue demolition derby for July 4th at an artists' commune in Woodstock.

Both Dewey's artistic career and his work in arts administration were cut short in 1972 when he died in a plane crash at the age of thirty eight. The Ken Dewey collection contains writings, project files, photographs, and sound and video recordings that reflect the entirely of his life's work, of which this post merely scratches the surface, and the Action Theatre: The Happenings of Ken Dewey exhibit. This collection will be a useful tool to researchers interested in researching and recontextualizing this important and under-recognized artist.



15. Mark Tribe, FF Alumn, at Palais de Tokyo, Paris, France, thru Sept. 9


Chelsea Knight and I are showing a new version of Posse Comitatus, our militia dance video project, at the Palais de Tokyo in Paris this summer. The exhibition runs through September 9. Here are a few stills from today's rehearsal:

For this iteration of the project, we are collaborating with an amazing choreographer, Valerie Oberleithner, and two wonderful dancers, Emilie Combet and Lautaro Prado. Our project is part of an exhibition called "The Real Thing?" curated by Antonia Alampi and Jason Waite, which is within an umbrella exhibition called "Nouvelles Vagues" curated by Hans Ulrich Obrist, Massimiliano Gioni, Jens Hoffman, Colette Barbier, and others.

If you are in Paris, I hope to see you at the opening, which starts tonight 8pm, with a performance from 10-11pm. We are also doing a special performance at the Fondation Ricard on June 22 at 2pm.

With kind regards,





16. EIDIA, Alex Melamid, Andy Warhol, FF Alumns, at Plato's Cave, Brooklyn, July 6

Platos's Cave at EIDIA House
14 Dunham Place
Brooklyn, NY 11211
(1/2 block East of Kent Ave between Broadway & South 6th Street)
646 945 3830 eidiahouse@earthlink.net eidia.com

EIDIA House presents Alex Melamid
July 6 - July 27, 2013
July 6 opening reception and performance 6-8pm

EIDIA House announces its continuing exhibition initiative, PLATO'S CAVE, with the 16th artist in the series, Alex Melamid 'Smoke 'em Out' FIRST NATIONAL GRAND BIENNIAL COOKOUT FAIR in situ installation and performance:

Specters are haunting our Art World - the specters of Communism, Freudianism, Modernism, and the much lesser ghosts of serial music, abstraction, Pop Art and the like. A few have given up the ghost, some of them have lost their power to attract and repel, but some still hold the imagination of the lazy minds. Under our own watch we have seen the disintegration of the specter of Communism, the dissipation of Freudian lunacy for example, but the visual arts has turned out to be the most resistant to change. And no wonder-it took 30 years and the World War for the art practitioners to accept Impressionism.
Let's get into a holy alliance to exorcise the specter of toadying "modernity" of today.

So, if you cannot bury the ghosts lets 'smoke them out'!

Using an authentic outdoor grill, on July 6, 2013 we will smoke the visages of the following individuals: Karl Marx, Sigmund Freud, Jackson Pollock, Picasso, and Andy Warhol. You'll be able to take these "foods for thought" with you for a mere $1.50. A "food for guts" (guts play such an important role in art production), will also be available in the form of smoked meats for just $3.50. You can also bring a portrait (4"x6" to 8"x14") of your favorite personality that should be exorcised forever and ever, and or a piece of real meat, vegetable, fish etc...for smoking and immediate consumption. Goodbye, ghosts!

Alex Melamid is an artist, www.melamid.com represented by (Art)Amalgamated artamalgamated.com/ For PLATO'S CAVE, EIDIA House founders Paul Lamarre and Melissa P. Wolf (aka EIDIA) curate invited fellow artists who create installations along with accompanying editions for the underground space; PLATO'S CAVE. EIDIA House Studio boldly states that it does not function as an art gallery, but collaborates with the artist to create provocation in art forms, keeping within an ongoing discipline of aesthetic research.

Directions: EIDIA House Plato's Cave 14 Dunham Place, Williamsburg Brooklyn, NY 11211

14 Dunham Place , 1 block long is located at the base of the Williamsburg Bridge, 1/2 block off Kent Ave between Broadway and South 6th Street. (4 blocks west from Peter Luger restaurant on Broadway.) Trains: the L train, first stop from Manhattan in Brooklyn at Bedford stop, walk (about 15 minutes) toward Williamsburg Bridge.
The J & M trains: first stop from Manhattan over Williamsburg Bridge, Marcy stop, walk west down Broadway toward the East River.
Bus: B62 drops you at Driggs Ave & Broadway walk to river & Q59 drops you at Wythe Ave and Williamsburg Bridge, See: www.mta.info/nyct/maps/busbkln.pdf
Plato's Cave Wednesday - Saturday 1-6pm or by appointment.
Contact Paul Lamarre or Melissa Wolf, 646 945 3830, email to eidiahouse@earthlink.net



17. Marina Abramovic, FF Alumn, at 92nd Street Y, Manhattan, June 26

Marina Abramović
in conversation with Sir Norman Rosenthal
at the 92nd Street Y, New York, New York
Wednesday, June 26, 8 pm

Sean Kelly announces that Marina Abramović will be in conversation with Sir Norman Rosenthal at the 92nd Street Y in New York City. Sir Norman Rosenthal, the former Exhibitions Secretary at London's Royal Academy of Arts and the curator of the controversial Young British Artists exhibition, Sensation, will interview Abramović, discussing the relationship between performer and audience, the limits of the body and the possibilities of the mind. The talk will touch on many facets of her career and follows the North American premiere of The Life and Death of Marina Abramović, her collaboration with theater director Robert Wilson, and the debut of the Marina Abramović Institute Prototype at Toronto's Luminato Festival.

The talk will take place on Wednesday, June 26 at 8pm and will be held in the Kaufmann Concert Hall at the 92nd Street Y in New York. For more information and to purchase tickets, please visit the 92nd Street Y website.



18. Joni Mabe, FF Alumn, in Roadside America, now online


The Panoramic Encyclopedia of Everything Elvis has been selected as the Sight of the Week by the editors of Roadside America, the travel guide to America's most original and unique attractions.

It has also earned a coveted Four Smiley rating, which places it among Roadside America's top attractions in the entire nation.

The Panoramic Encyclopedia of Everything Elvis will be featured as the lead attraction on the Roadside America home page during the week of June 17-23, 2013:


Afterward the story will have a permanent place on the Roadside America web site:


Again, congratulations on having one of America's top attractions. The Panoramic Encyclopedia of Everything Elvis is one of the best of the best!


Ken Smith

Senior Editor, Roadside America

"Attractions and Oddities" App for Garmin and TomTom GPS devices.
Locations and details on over 6,000 offbeat tourist attractions http://www.roadsideamerica.com/gps/

Roadside Presidents App for iPhone

Roadside America App for iPhone

Loudermilk Boarding House Museum, Director
271 Foreacre St.
Cornelia, GA 30531-6359



19. Annie Sprinkle, Beth Stephens, FF Alumns, in Colchester, Essex, UK, July 14-20

Colchester, Essex, UK:
July 14 - July 20 2013
London, UK:
July 24 2013

What's an ecosexual? Why are skinny-dipping, tree-hugging and mysophila so pleasurable? Where is the e-spot? Can the budding ecosexual movement help save the world? Who are the ecosexuals? These are some of the questions that will be discussed at the First International Ecosex Symposium - a public forum where art meets theory meets practice meets activistism.

The organizers of these events are Dr. Luke Dixon, a theatre director and academic, Dr. Annie Sprinkle, Ph.D., a feminist-porn-star and artist, turned "sexecologist," and Elizabeth Stephens, a UCSC art professor and environmental activist.
The two women explain, "As a strategy to create a more mutual and sustainable relationship with our abused and exploited planet, we are changing the metaphor from the Earth as mother, to Earth as lover."

Artists and sybaritic cougars, Sprinkle and Stephens join Dr. Luke Dixon for a week long residential workshop followed by the First International Ecosexual Symposium.
July 14 - July 19, 2013
ECOSEXUAL WORKSHOPS at the Prested Hall.
A week long residency project offering 20+ artists, performers, theoreticians, and activists the opportunity to create new work. This gathering is a chance to explore how art can literally change the world and how we see her. Led by Dr Annie Sprinkle, Elizabeth Stephens and Dr Luke Dixon, this will be a rare chance to make work in stimulating and well resourced surroundings. Workshops will be held in Prested Hall, near Colchester in Essex.
All work created will be publicly presented at the end of the week at the SYMPOSIUM.

July 19 and 20, 2013
A coming together of leading artists, performers, theoreticians, activists and others from around the world to celebrate, proclaim, challenge, debate, perform, create and stimulate all that is current and coming in the field of SexEcology and ecosex identity and practices. These events present many opportunities to explore how we can utilize ecosex strategies to change to protect our planet and create the kind of world that we want to see. We believe that ecosex is a viable environmental activist strategy, and we promise this is gonna be fun. Join us! Whether you are a student, environmentalist, sex worker, art patron, nature nymph, country folk, city folk, queer, hetero, trans, herbalist, historian, pagan, scientist, in the media, or other worldly being, you are welcome!
July 20, 2013
Be ready for anything to happen as we celebrate the very best of current eco-sexual performance, work that creates and relates the worlds of art and activism. Watch, participate, engage, enjoy a multitude of events and join us in two hours of environmental lovemaking.

Curated by legendary artists and activists Elizabeth Stephens and Annie Sprinkle on a rare visit to the UK (stopping off only at Colchester and London!) in collaboration with performance maker, producer, and beekeeper to royalty, Luke Dixon. An evening of new work from around the world and some specially made in Essex. Inside, outside and around about the arts centre.

July 24, 2013
When two queer San Francisco women, Annie Sprinkle & Elizabeth Stephens, join the environmental movement and try to make it more sexy, fun and diverse in order to help save the planet, drama and humour ensue. They shift the metaphor from Earth as mother, to Earth as lover, fight corporate greed - and get real dirty. Legendary queer performers Sprinkle and Stephens in the European premiere of their new show. In London for one performance only at Conway Hall.

FULL INFORMATION AT: www.ecosexlab.org


Luke Dixon
cell: + 44 (0) 7952 9604242
email: luke@lukedixon.co.uk
Skype: dr.dixon

Annie Sprinkle
email: anniesprinkle@me.com
Skype: sprinklestephens
Beth Stephens
email: bethstephens@me.com
Skype: loveartlab1



20. Matthew Geller, FF Alumn, at Florence Griswold Museum, Old Lyme, CT, thru December 31, 2014

June 8, 2013 - December 31, 2014

The Florence Griswold Museum in Old Lyme, Connecticut, unveils "Anticipator", a temporary outdoor sculpture by New York-based artist Matthew Geller. His sculpture combines a recycled tree with three fabricated Corten steel limbs, each rising from their fallen host like a fantastic new hybrid species. When fully activated, these perforated branches emit light and mist through oversized steel blossoms.

The mist-in constant flux as it is influenced by the slightest changes in the temperature, humidity and wind-transforms the environment, influencing how visitors perceive light and air against the backdrop of the Lieutenant River, a subject of interest to the generations of artists who have painted in and around the Florence Griswold House. In time, nature will also transform "Anticipator", weathering it to a rich orangey-brown color as the steel oxidizes. This sensitivity to its environment is a key aspect of "Anticipator", whose title even derives in part from the heat anticipators in thermostats that turn off the furnace just before the desired temperature is reached. A fusion of nature and technology, "Anticipator" strikes a balance between the two.

"Anticipator's" futuristic combination of natural and artificial forms plays off the Museum's historic site. The fallen tree, a star magnolia planted by Florence Griswold around 1920, has been salvaged from the grounds. The unusual blooms recall Miss Florence's interest in non-native plant species, many of which she planted in the gardens around her house. "Anticipator's" title also looks ahead, signaling a faith in the future that echoes Miss Florence's legendary progressive outlook.

"Anticipator" has been made possible by a grant from the Institute of Museum and Library Services for The Agora Project-a two-year initiative expanding the use of the historic grounds as a site for learning and as a community-gathering place or "agora"-as it was called in ancient Greece-creating a richer experience for Museum visitors. Matthew Geller's "Anticipator" is a cornerstone of the project, bringing art outdoors to inspire conversation and reflection.

Florence Griswold Museum
96 Lyme St
Old Lyme, CT 06371
(860) 434-5542




21. jc lenochan, FF Alumn, receives Robert Blackburn Printmaking Workshop Fellowship 2013

Introducing RBPMW's SIP 2013 Fellows
Oasa Duverney
Michael Eade
Elizabeth Gilfilen
Susan Graham
Amanda Keeley
JC Lenochan
Dionis Ortiz

Thank you to everyone who applied for the SIP fellowship! We received a great number of applications of exceptional quality. In the end, we only have so many spaces available. Our jurors were very happy with their final selections. Congratulations to this years Fellows and a big thank you to our jurors: Kimball Higgs Art Advisory Director, Winston Art Group; John Mhiripiri Director, Anthology Film Archives; Amy Jacobs Artist and Studio Collaborator / Education Manager- Dieu Donné; James Sienna Artist; and Shervone Neckles-Ortiz Artist and Artist Support Associate- Joan Mitchel Foundation.

RBPMW is a program of The Elizabeth Foundation for the Arts, a 501 (c)(3) public charity and receives critical support from New York State Council on the Arts, New York City Department of Cultural Affairs, Milton & Sally Avery Arts Foundation & Bloomberg Philanthropies.



22. Michael Bramwell, Mierle Laderman Ukeles, FF Alumns, in The New York Times, June 20

The New York Times
June 20, 2013
'Maintenance Required'
The Kitchen
512 West 19th Street, Chelsea

As a young wife and mother in the 1960s, Mierle Laderman Ukeles was getting the message, as many women were, that she couldn't be both a homemaker and a full-time artist. So she decided to call her everyday life art; wrote the essay "Manifesto for Maintenance Art, 1969!" to explain why; and never looked back. She gradually expanded her practice from the private to the public sphere. She got her work into museums in the guise of performance art - she scrubbed the gallery floors - and served as unsalaried artist in residence to the New York City Sanitation Department, a post she has held since 1977.

These days she is also a muse to four curators in the Whitney Museum of American Art Independent Study Program - Nina Horisaki-Christens, Andrea Neustein, Victoria Rogers and Jason Waite - who have shaped an exhibition around maintenance as an art form.

Sometimes the service is individually rendered and hands on, as in the case of the American artist Michael Bramwell, who, in the 1990s, swept the streets of Harlem and Hiroshima and had himself photographed doing so.

Certain pieces involve collective action. Park McArthur, an artist in North Carolina who uses a wheelchair, contributes long lists of the names of the people who have helped carry her from one place to another. In a 2001 video by Ashley Hunt about the privatization and expansion of the United States prison system, maintenance assumes a sinister corporate dimension; in Pilvi Takala's video "The Trainee," it becomes corporate resistance.

In Ms. Takala's video, shown at the New Museum in 2012, we see her accept a job with a multinational business in Helsinki, Finland; turn up for work; and proceed, quite conspicuously, to do absolutely nothing but sit at her desk and ride the elevator. She sustains her enigmatic passivity for days, unnerving her colleagues and disturbing the office flow as she practices the fine, rigorous art of saying no.



23. Helene Aylon, FF Alumn, upcoming events

Helene Aylon, upcoming events

Beyond Belief: 100 Years of the Spiritual in Modern Art
Joint Exhibition of SFMOMA and Contemporary Jewish Museum of San Francisco
They will show "Bulging Spread, Central Break," which is one of "The Breakings" of 1979, in the same space as the work of Ana Mendieta and Kiki Smith
736 Mission St, San Francisco, CA
June 28 - October 27, 2013


Group show: (con)TEXT
"The Book That Will Not Close"
Sharon Arts Center
30 Grove St, Peterborough, NH
September 9 - October 25, 2013

Group Show: The Seventh Day: Re-thinking the Sabbath
"From My Memoir: Lighting Shabbos Candles With My Mother"
HUC-JIR Museum
Hebrew Union College
1 West 4th St, New York, NY
On view from September 3, 2013 - June 27, 2014
Artist Opening: October 3, 2013

Book Reading
From memoir, Whatever Is Contained Must Be Released:
My Jewish Orthodox Girlhood, My Life as a Feminist Artist
Monday, October 28, 2013
11:30 am
The Jewish Museum
1109 5th Avenue, New York, NY

Book Reading
November 6, 2013 - time TBA
Bennington College
1 College Dr
Bennington, VT 05201
(802) 442-5401

Book Reading
November 7, 2013 - 7 pm
Northshire Bookstore
4869 Main Street
Manchester Center, VT 05255

Helène Aylon
Author of Whatever Is Contained Must Be Released:
My Jewish Orthodox Girlhood, My Life as a Feminist Artist
Published by The Feminist Press



24. Lawrence Weiner, FF Alumn, now online at http://www.vdrome.org/index_1.html

Lawrence Weiner, FF Alumn, now online at http://www.vdrome.org/index_1.html



25. Daniel Sanjurjo, FF Alumn, at Centro Cultural de la Cooperacion Floreal Gorini, Buenos Aires, Argentina, opening July 4

A memorial exhibition opening on the 1st anniversary of the death of Daniel Sanjurjo, FF Alumn, will take place at Centro Cultural de la Cooperacion Floreal Gorini, Buenos Aires, Argentina, opening July 4.

Centro Cultural de la Cooperación Floreal Gorini
Pensamiento de un pintor
Inauguración 4 de Julio - 18,30hs.
Del 4 de Julio al 25 de Agosto. Sala Raúl Lozza y Sala Espacio 1ºs

Pensamiento de un pintor

A un año de la muerte de Daniel Sanjurjo, se presenta Pensamiento de un pintor como un primer acercamiento a la producción artística de Sanjurjo desde su llegada a Buenos Aires en el año 1973. Todo un recorrido plástico de impronta libertaria en los albores de la década del ochenta -aún en dictadura-, con acuarelas, collages, pinturas, serigrafías y latexografías que ponen en evidencia su profundo análisis e intervención en la arena política. Miradas sobre la realidad a través de una marcada condición lúdica y mordaz como en las imágenes de cartelas en cordel Los trapitos al sol de 1983, donde propone la creación de espacios de esparcimiento, plásticos-populares y una nueva convocatoria para una expo-electoral.

Un primer itinerario por obras individuales que nunca fueron expuestas y que abarcan entre otras piezas tres autorretratos: a principios de los setenta, otro de 1982 y un tríptico de 1986-87. Un segundo tramo obedece a la presencia en videos, organizados por el propio artista, de su paso más conocido por distintos grupos de activismo artístico como GAS-TAR, CAPaTaCo, Por el Ojo, La Piedra, Arde Arte y TPS (Taller Popular de Serigrafía) en intervenciones urbanas y obras políticas de los últimos treinta años.

Organiza Departamento de Ideas Visuales
Coordinador: Juan Pablo Pérez
Blog: http://www.centrocultural.coop/blogs/ideasvisuales/
Av. Corrientes 1543, Buenos Aires
5077- 8000 int. 8316
Consultas: dkamen@centrocultural.coop / visuales@centrocultural.coop
Prensa: prensa@centrocultural.coop Int. 8016
Horario de visita: lunes a sábados, de 10:00 a 22:00 hs - Domingos: de 17:00 a 20:30 hs



26. Jeff McMahon, FF Alumn, in The Guardian, now online

I am pleased as punch to have something of mine in The Guardian today, Sunday June 16th, in the US edition


my best,




27. Franc Palaia, FF Alumn, current events

Tower Music- New York Times
I just got back from Paris where I was part of an 8 man team doing Tower Music. See the NY Times article (2 pages) on June 5 on my friend and musician, Joseph Bertolozzi, of Beacon NY, who recorded 2000 different sounds on the Eiffel Tower over a two week project. He will spend the next year composing a CD of music using only about 400 of the 2000 recorded sounds. He banged, hit, scraped, tapped and bonged with sticks, hammers, dowels, rubber mallets and even a log on dozens of metal surfaces of the entire tower, top to bottom and we even went into restricted areas where tourists never go. I was the official photographer and I shot about 1200 photos and 67 videos of which I will compile a photo book to go with Joe's CD and a DVD made by a separate videographer.
The NY Times followed us around the tower for two days and made a really great video. I'm in the video briefly. To see the video: Google: Bertolozzi, Musique de la Tour.


"Illuminated Polaroids" I have a window installation on Columbus Drive and Greene Streets in Jersey City, called, "Windows on Columbus". I have four large photo light boxes in the windows illuminated 24/7 from June 24 - September 15, 2013. I also have 7 large color prints in the Harborside/ Mack-Cali Building adjacent to the windows. The windows are located just one block from the Exchange Place PATH stop in Jersey City.
The artist's reception is Friday, June 28 from 6-8pm. Refreshments will be served.

for more info on Tower Music and Columbus Windows call- 845-486-1378 or email- Francpalaia1@gmail.com. www.Francpalaia.com
The Windows installation is organized and presented by Pro Arts, Jersey City.




28. David Medalla, Angel Nevarez & Valerie Tevere, FF Alumns, at Paul Kasmin Gallery, Manhattan, opening June 27

Dear Friends and Colleagues,

Our new video Blinded by the Sight will be included in Junkies' Promises, a group exhibition curated by Iván Navarro at Paul Kasmin Gallery.
We hope you have a chance to see the show.

All the best,
Angel Nevarez & Valerie Tevere

Junkies' Promises
Jun 27 - Aug 16, 2013

Paul Kasmin Gallery
293 Tenth Avenue & 515 West 27th Street

Opening Reception: June 27, 2013, 6-8PM

Paul Kasmin Gallery is pleased to present Junkies' Promises a group exhibition curated by gallery artist Iván Navarro, on view from 27 June - 16 August, 2013 at 293 Tenth Avenue and 515 27th Street in New York. The show is inspired by William S. Burroughs' 1953 novel, Junky, a semi-autobiographical fiction of a heroin addict and dealer in 50s New York. "I became fascinated by the way Burroughs fictionalizes survival as a junkie, especially with minimal economic resources and using improvised strategies to reach a goal," Navarro said. "I realized that, metaphorically, this attitude is exactly the way many artists develop their work, at least the kind of industrious artists I am interested in. They find inventive ways to take possession of common objects and ideas and use them for their own purposes, on their own terms." Junkies' Promises explores works in photography, video and sculpture where light is both central theme and formal element. The show will feature works by He An, Maurizio Cattelan, Stephen Dean, Dzine, Dan Flavin, RM Fischer, Victor Grippo, Nicolas Guagnini, Yuichi Higashionna, Alfredo Jaar, Deborah Kass, Jill Magid, Matthew McCaslin, Josiah McElheny, David Medalla, Arnaldo Morales, Iván Navarro & Tunde Adebimpe, Angel Nevarez & Valerie Tevere, Jorge Pardo, Alejandra Prieto, Pipilotti Rist, and Courtney Smith.


Angel Nevarez
MIT Program in Art, Culture and Technology
(m) 917.975.4358



29. Peter Cramer, Sur Rodney (Sur), Jack Waters, FF Alumns, in The New York Times, June 21, and more

Dear Friends,

The exhibition NOT OVER: 25 Years of Visual AIDS curated by Kris Nuzzi and Sur Rodney (Sur) at La Mama Galleria ( 6 East First St.) was reviewed in the New York Times, June 21, 2013


Jack Waters and I were invited to create the video lounge and present one video work among three others curated by Kris & Sur . We chose an excerpt of our ongoing project Short Memory /No HIstory and the lounge we created reflects the visual aspect of this archival project of art, activism and the AIDS crisis.


The entire exhibition is one of introspection & hope demonstrating the mission of Visual AIDS. We're proud to be a part of it.

ACT UP, FIght Back, Fight AIDS, Make Art!

Peter & Jack

Peter Cramer
PO Box 20260
New YOrk New YOrk 10009
212 529 8815



30. George Peck, FF Alumn, at Humboldt University, Berlin, Germany, Sept. 30-Oct. 24


A multimedia installation by George Peck
With Judge Dr. Pál Solt
Curated by Katia Hermann
Humboldt University, Berlin Germany
September 30th - October 24th, 2013


DREAMSTATE is a multimedia installation that explores the events during 1989-90 in Hungary, as democracy replaced a communist totalitarian regime. Recounted by former Chief Justice of the Hungarian Supreme Court, the Honorable Dr. Pál Solt (1990-2002), who tells of the historic, political, and social transformation as a veteran of the change, through an expert yet personal voice. This multilayer, projected video installation includes archival images and video as well as documentation of contemporary events to explore Hungary's adoption and interpretation of a democratic government.

An Important Note From George

Dear Friends,

I want to let you know that I have a wonderful invitation to show DREAMSTATE at the Humboldt University in Berlin. This installation offers profound insights into Hungary's transition; it is a portrait of the country at a turning point, experiencing a seismic shift from totalitarianism to democracy. The exhibition at Humboldt University is an unique opportunity for me, as an artist with Hungarian roots, to bring this to a setting where students and professionals studying and practicing the law and general audiences will be able to experience this complex moment through my personal rendering of experimental digital media.

While we have great support from Humboldt University and Cine+ we still do not have the funding to fully produce the installation elements. I am reaching out to you in the hopes that you might considered supporting this project. Please take a look at the web page which describes the work and shows past installations. There you will find a list of gifts we are offering for donations at various levels. Please help us make this project with such an important universal message become a great installation in Berlin.

Thank you,



31. Stuart Sherman, FF Alumn, at JTT, Manhattan, thru July 19

Upcoming Previous
2013.06 Stuart Sherman

Proposed Sculptural Projects by Stuart Sherman, 1985-1989
Drawn by Thomas Zummer

June 24 - July 19, 2013

To Pretend in the Truest Sense: Working with Stuart Sherman
by Thomas Zummer

. . . there was always a certain theatricality in the works that Stuart Sherman and I did together, not in the sense of anything (overly) dramatic, nor even in terms of the dramaturgical (though there may have been some occasional references) but in the sense of pretense-an engagement in play, whimsy, humor, the phantasmatic. To pretend is to 'put forward,' 'to set forth,' 'to propose' or 'position.' It also means to 'offer for action, consideration, or acceptance;" to pretend is also to 'put oneself forward in some character,' to 'make believe'; a pretense is thus something that is 'feigned.' Stuart was marvelous in this sort of play, the kind of specular imagination that necessarily precedes the making of . . . an object, an artwork, a text, film, a performance, a play . . . a drawing. The moment of pretense, of imagining something that is not yet, is bound up in the creative act, an action or disposition that has many possible consequences, yet has no necessary terminal boundary, an attitude or state that can go, in a sense, anywhere and everywhere, and that can admit of multiple collusions and 'partners in crime.' It was our good fortune to have found each other and to have, over the course of many years, traced the contours of a completely unique and endlessly amusing common ground.

JTT would like to send a special thank you to:

Mark Bradford of The Estate of Stuart Sherman

Marvin Taylor, Lisa Darms, Brent Phillips and Nicholas Martin of The Fales Library of New York University and Jonathan Berger for all of their support and generosity.



32. Susan Hiller, FF Alumn, at Centre d'art contemporain, Delme, France, thru Sept. 29

Centre d'art contemporain - la synagogue de Delme presents

Susan Hiller
June 12-September 29, 2013

Centre d'art contemporain - la synagogue de Delme
33, rue R. Poincaré
F-57590 Delme
Hours: Wednesday-Saturday 2-6pm, Sunday 11am-6pm

T +33(0)3 87 01 43 42


For the entire summer, the Centre d'art contemporain - la synagogue de Delme is pleased to present a solo exhibition of work by Susan Hiller. An American artist who has lived in London since 1969, Hiller has been one of the most influential artists on the British scene for forty years. Channels was originally produced by Matt's Gallery in London, and is presented in Delme in a French version recorded for the occasion by the Contemporary Art Centre.

Channels is a vast wall of colour and sound constructed from over one hundred analogue televisions, in which blue and grey screens, disembodied voices and crackling white noise are formed into an orchestrated collage of collected testimony on near death experiences.

The work unfolds and reveals itself gently and by increments: Visitors sit and watch the blank screens expectantly as a ballet of subtle colour modulations and shifts occur; then, suddenly, a single voice speaks out, puncturing the white noise with bright clarity. That voice is joined by others, which, rising together form a babble of humanity. The visitor strives to hear individual strands or narratives emanating from the now pulsating screens; the voices ebb and flow, allowing the singular stories of near death, gathered over many years and from all corners of the globe, to address us clearly.

These multiple anonymous descriptions contain recurring motifs delivered in clear unemotional tones: brightening lights, sudden warmth, hovering over ones own body, the loss of feelings of pain or fear, and encounters with either strangers or long-dead family members who explain it's not yet their time to die, just before they regain consciousness. Hiller is interested in the marginal and unexplained aspects of human life and experience-the things considered trivial or irrational which modernity often seeks to marginalize or ridicule such as unexplained phenomena, faith or even belief. Hiller offers no judgment as to the 'truth' behind NDEs but simply presents them as an aspect of human experience, as cultural artefacts, or 'social facts.' While the speakers recount their memories without emotion, the cumulative effect of the testimony and also of the powerful silences during the piece, has a profound emotional effect on the viewer/listener. Hiller has long been fascinated by the inherently uncanny nature of the disembodied voice, explaining, 'I'm interested in the unacknowledged, uncanny ghostliness of recorded sound that makes no distinction between the voices of people long dead and those of the living.' In Channels she explores the relationship between technology, the uncanny and the otherworldly to powerful effect.

Susan Hiller's working life has been based mainly in London where her groundbreaking installations, multi-screen videos and audio works have achieved international recognition and are widely acknowledged to have had an important influence on younger British artists. In a distinguished career of more than 40 years, she has drawn upon sources as diverse as dreams, postcards, Punch & Judy shows, archives, horror movies and UFO sightings to make innovative and seductive works from ephemeral, sometimes seemingly unimportant items, works that involve the audience as witness to the lacunae and contradictions in our collective cultural life.

Channels is a Matt's Gallery, London commission, generously supported by Arts Council England,The Henry Moore Foundation, CAF American Donor Fund, Timothy Taylor Gallery, Integral Memory and Envirocom.

The French recordings have been made possible with the help of Bouche à Oreille association in Metz, and the ESAL - the Ecole Supérieure d'Art de Lorraine - Metz campus.

Centre d'art contemporain - la synagogue de Delme is grateful for support from the French Ministry of Culture and Communication, the Lorraine contemporary art authority (DRAC), the regional and departmental governments of Lorraine and Moselle, and the municipality of Delme.

Centre d'art contemporain - la synagogue de Delme is a member of DCA-Association pour le Développement des Centres d'Art.

Marie Cozette

Press contact
Agathe Borgne: communication@cac-synagoguedelme.org, www.cac-synagoguedelme.org/presse



33. Tehching Hsieh, FF Alumn, at Ullens Center for Contemporary Art, Beijing, China, opening June 28

Ullens Center for Contemporary Art (UCCA)

Tehching Hsieh One Year Performance 1980-1981
Teppei Kaneuji: Towering Something
28 June-25 August 2013

Ullens Center for Contemporary Art
798 Art District, No. 4 Jiuxianqiao Lu
Beijing, China

T +86 10 5780 0200


The Ullens Center for Contemporary Art is pleased to present two summer exhibitions opening on June 28, 2013. Tehching Hsieh One Year Performance 1980-1981 marks the first time that the work of one of the world's most important performance artists will be shown in mainland China. The full installation from one of Hsieh's most iconic works, Time Clock Piece (One Year Performance 1980-1981)-a work in which the artist punches a time clock every hour for an entire year-will be shown in the UCCA Long Gallery alongside documentary materials on his other works. Teppei Kaneuji: Towering Something showcases new work produced by the Japanese sculptor during a residency at UCCA in summer 2012. Comprising installation, collage, and video, the exhibition will be held in the UCCA Central Gallery and Nave and will be accompanied by a bilingual monograph.

Tehching Hsieh is renowned for the way his pieces collapse the distance between art and life. The founding influence on Chinese performance art after 1989, Hsieh (b. 1950, Taiwan) conceived and executed five One Year Performances in New York between 1978 and 1986 before abruptly ceasing to make and show new work. Hsieh's performances gives flesh to concepts central to theoretical investigations into the mechanics of both late capitalism and authoritarian governance-presence and surveillance, production and control, discipline and submission. With performance criteria variously including being locked in a cell; punching a time clock every hour on the hour; never going inside; being bound to a female performance artist-but with no touching; and cutting out all art practice, his works demonstrate extraordinary levels of individual will. The five One Year Performances were followed by Thirteen-Year Plan, a period in which Hsieh made art but did not show it publicly, ending on December 31, 1999.

Though currently undergoing a scholarly reexamination, one of the reasons Hsieh's work is so compelling is because it is so opaque. Time Clock Piece comprises the time clock itself, 366 time cards, 366 filmstrips, the uniform that Hsieh chose for himself, an artist's statement and witness statements, a record of missed punches, a 16mm time-lapse film, as well as a poster and photographic portraits made for the piece. The second part of the exhibition is a six-part collection of posters and statements covering Hsieh's output from 1978 to 1999. The exhibition is part of an ongoing focus on performance at UCCA this year, marked also by the inclusion of several performative pieces in the recent exhibition, DUCHAMP and/or/in CHINA and to be capped with an exhibition by Tino Sehgal this coming autumn.

In Teppei Kaneuji: Towering Something, the artist (b. 1978, Kyoto) gathers icons of modern culture and everyday objects-hula hoops, shopping carts, plastic dinosaurs, Doraemon-and assembles them into sculptural and cut-paper collages, resulting in Frankenstein sculptures that explore a separation of purpose and form. White discharge, or plastic resin, is poured over the mass of objects and then drips down to cover some pieces entirely, harden into stalactites, and pool on the ground. By connecting lines, turning shapes inside out, and flip-flopping roles of "inner" and "outer," Kaneuji's work smothers the projected meanings of symbol-object relationships, and explores the possibility of interacting with materials in ways other than those preordained by the social and economic values usually assigned to them.

Teppei Kaneuji describes the effect he hopes to engender with his art as "a sense of encountering things that seem familiar but that we do not really understand." In addition to presenting pieces from Kaneuji's signature White Discharge series-work inspired by the leveling effect a blanket of snow had on a Mercedes Benz and adjacent pile of dog excrement-this exhibition also includes the Games, Dance & the Constructions and Ghost Building series, with featured works made from manga cutouts, photographs, mirrors, and the skeletal frames of children's sticker sheets.

Wang Xingwei will remain on view in the UCCA Great Hall through August 18.

Editorial contacts:
Carmen Yuan, UCCA: carmen.yuan@ucca.org.cn
Jade Ouk, Sutton PR Asia: jade@suttonprasia.com



34. Peter Baren, Lynn Book, Gilbert & George, FF Alumns, in Brisbane, Australia, thru June 30

EXIST-ENCE 5: international festival and symposia
Live Art | Performance Art | Action Art

exist-ence 5 is a set of explorations collaborations, installations, performances, residencies, and symposiums held at three sties across Australia with artists from three generations and three continents.

exist-ence is dedicated to the presentation of live art, performance art and action art. For the first time since the inaugural event in 2008, exist-ence 5 will include not only a festival conference and symposia but has grown to include partner events in Melbourne with A is for Atlas and Sydney with PACT centre for emerging artists

We are now one week out from the first happenings of the EXIST-ENCE 5: international festival and symposia

June 17 - 22 International Artist Residency with Henrik Hedinge (Sweden) & Sari T.M Kivinen (Finland/Australia)

June 23 International Artist Residency Workshop
with Henrik Hedinge (Sweden) & Sari T.M Kivinen (Finland/Australia)
Registration Required Cost $60 full / $40 conc / Free QCA student

Big thanks to all who are helping make this event Pozible
Now less than a week to go and we are HALF WAY to our goal - please help us over the line - anything spare change to big biscuits are welcome!

June 26-27 Symposium Performance, the Body and Time in the 21st Century
SYMPOSIUM PROGRAM LAUNCH - the full symposium program here
Don't forget to REGISTER for this great symposium - only open until 17th June - or until booked out - don't miss out!!
Please register here

June 26th ~ Wednesday
SYMPOSIUM - Performance, The Body and Time in the 21st Century
Full exist-ence symposium - PROGRAM
9:00am - 10:00am Registration
10:00am - 10:20am Welcome
10:20am - 11:20am KEYNOTE > Jill Orr
10:30am - 6:00pm Performance installation > Johnny Amore (Germany) Performers
11:20-1:00pm Various speakers: Performance and the body in time / Hyper-realities
1:00pm - 2:00pm Performance Christian Bujod & Anne Parisien (Canada) Symmetry
1:00pm - 4:00pm Performance Leisa Shelton (Australia) map
2:20pm - 3:20pm Various speakers Theme Digital performance and the body
3:20pm - 4:00pm Afternoon tea
4pm-6pm Various speakers:Gender performance & body politics in mass-media culture
6:00pm - 7:00pm Performance AnA Wojak (Australia) songline
6:00pm - 7:00pm Performance installation> Lynn Book (USA) Escapes
7:00pm - late Banquet

June 27th ~ Thursday
SYMPOSIUM - Performance, The Body and Time in the 21st Century
10:00am - 11:00am Registration
11:00am -11:20am Various speakers:Two Bodies in Space: performaing as a Duo
11:20am-11:40am Various speakers:Development of art materials in the 21st century
11:40am-1pm Artist Panel: Eric Rossi/ Jamie Lewis/AnA Wojak/Bonnie Hart. Jill Orr, Chair
1:00pm - 2:00pm Performance > Christian Bujod & Anne Parisien (Canada) Magnets
1:00pm - 4:00pm Performance > Leisa Shelton (Australia) map
1:10pm - 1:20pm Performance > Shamila Mezovic (Australia) ERA
2:20pm - 4:00pm Various speakers Theme> Australian performance practice
4:00pm - 4:20pm Afternoon tea
4:20pm - 5:10pm Demonstration> Suzon Fuks - Waterwheel
5:10pm - 6:00pm Demonstration and Launch > Kerstin Haustein & Rebecca Cunningham - Performancemap.org & Crystal App
6:00pm - 6:30pm Performance > Peter Breen (Australia) White Silence

June 27 Symposium Wrap / Festival Launch Party Party
Join us from 6:30pm @ QCA Project Gallery as we wind down the Symposium and ramp up the Festival!!!

Special acts include Brisbane's own Eric Rossi for IT2 & the epic sounds of Stasis Duo
You will NOT want to miss this - so be sure to RSVP

6.30pm - 7.00pm Eric Rossi 'I.T. 2′
7.00pm - 9.00pm Alex Morrison 'Bitz Draw'
7.00pm - 8.00pm vDj Jade Boyd
8.00pm-8.45pm Stasis Duo

June Festival 28 - 30
FESTIVAL PROGRAM LAUNCH - three generations, three continents, three days and over 30 artists
The only question is - HOW CAN YOU SEE EVERYTHING!!!
You can explore the full Brisbane program here

10.00am - 8.30pm Holly Childs '@tweet2exist'
10.00am - 11.30pm Talk: 'Digital Roots'
12.00pm - 5.00pm Julie Vulcan 'Redress #6′
2.00pm - 2.30pm Bonnie Hart 'Stich in Time'
3.00pm - 3.30pm Bridie Gillman 'Kawruh Liyan' Screening
3.30pm - 4.00pm Dhana Merritt 'Untitled' (Marina & Ulay) & 'Untitled' (Gilbert & George) Screening
4.30pm - 5.30pm Labanna Babalon (USA) 'The House of Muse'
5.00pm - 6.00pm Robert Millet 'Trilogy - Candles'
6.30pm - 7.00pm James Cunningham 'Antennae'
7.00pm - 8.30pm Henrik Hedinge (Sweden)
June 29th ~ Saturday
10.00am - 8.30pm Holly Childs '@tweet2exist'
10.00am - 11.30pm Talk: 'Absence & Presence of Self'
12.00pm - 5.00pm Julie Vulcan 'Redress #6′
1.00pm - 3.00pm Eloise Maree 'Cultural Cartography'
1.00pm - 2.00pm Karike Ashworth and Anja Homburg 'These Dolls Talk'
2.00pm - 2.45pm Alrey Batol 'Aggregates'
3.00pm - 4.00pm Jule Vincent 'Biological Resonances'
4.00pm - 4.30pm Velvet Pesu 'Concentric Circles on Red'
4 .30pm - 5.00pm Robert Millet 'Trilogy - Footwashing'
5.30pm - 6.00pm Anna Carluccio 'HBO'
6.15pm - 6.45pm Dracopede 'Flesh Made Air'
7.00pm - 7.45pm Peter Baren (The Netherlands) 'Blind Dates with the History of Mankind'
7.45pm - 8.45pm John G Boehme (Canada) 'Sport'

June 30th ~ Sunday
10.00am - 4.00pm Holly Childs '@tweet2exist'
10.00am - 11.30pm Talk: 'Performance, Mate!'
12.00pm - 1.00pm Lunch
1.00pm - 2.30pm Jamie Lewis 'untitled'
1.00pm - 4.00pm Robert Millet 'Trilogy - Vodka & Truth'
2.30pm - 3.30pm Sari Kivinen (Finland/Australia) 'Herd'
3.30pm - 4.00pm Jade Boyd 'VHxorciSm'
4.00pm - 4.30pm Eric Rossi 'I.T. 2′
4:30 - EXIST-ENCE 5: Brisbane After-Party



35. Michelle Stuart, FF Alumn, at Parrish Art Museum, Watermill, NY, thru Oct. 27, and more

This traveling exhibit is the first survey of Michelle Stuart's works on paper and sculptural objects and is accompanied by a profusely illustrated catalogue, Michelle Stuart: Drawn from Nature with three insightful essays by Anna Lovatt, Phd.,Nancy Princenthal and Jane McFadden.published by Hatje Cantz Verlag.

This overview of sixty works ranges from the 1960's to the present and focuses on the artist's aesthetic investigations of personal and cultural histories and the nature of time. Stuart has pioneered several highly regarded approaches to art making, the exhibit will include earth-sculptured objects, drawings and photographs of her site-specific Land Art, and her most recent series composed of photographic images in multi-layered narrative grids and sequences. After the exhibit at the Parrish Art Museum in Watermill, NY ( July 21-October 27, 2013) the exhibit will travel to the Santa Barbara Museum of Art, Santa Barbara, CA (January 25-April 20, 2014)



36. Rashaad Newsome, FF Alumn, at New Orleans Museum of Art, LA, thru Sept. 15

Rashaad Newsome: King Of Arms
June 21-September 15, 2013

New Orleans Museum of Art (NOMA)
1 Collins Diboll Circle
New Orleans, Louisiana
Hours: Tuesday-Thursday 10am-6pm;
Friday 10am-9pm; Saturday-Sunday 11am-5pm

T (504) 658 4100


NOMA debuts an exhibition of new collages and a newly commissioned performance by Newsome that explores ornamentation, systems of heraldry and baroque grandeur.

This summer, the New Orleans Museum of Art will celebrate the third installment of its Great Hall exhibition series with a solo show by renowned video, performance, and collage artist Rashaad Newsome (born 1979). His first solo exhibition in Louisiana, Rashaad Newsome: King of Arms explores the artist's interest in ornament, systems of heraldry, and Baroque grandeur.

Newsome's King of Arms project presents the third installment of his Heraldry series, inspired by Western European coats of arms. Taking historic heraldic imagery as his inspiration, Newsome fuses signs of royalty and nobility with elements of hip-hop culture in his videos and collages. For example, his elaborate framed collage Duke of NOLA features a central armorial shield that is topped at the crest with an image of hip-hop musician (and fellow New Orleans native) Juvenile. Newsome has created two previous video and performance projects related to this series: Pursuivant and Herald. The videos demonstrate a progression of accumulating titles and arms. In each installment, Newsome is bestowed a higher "level" of power: for example, "pursuivant" indicating a junior officer of arms, and "herald" indicating an officer of arms according to English custom. King of Arms indicates a senior rank, and signifies the culmination of Newsome's quest.

A New Orleans native and graduate of Tulane University, Newsome rose to prominence in New York during the last decade due to the critical success of his video and performance art pieces. Featured in the 2010 Whitney Biennial, P.S.1's Greater New York exhibition, Newsome's artworks incorporate aspects of "vogueing" (a dance form which came out of New York's gay ballroom scene in the 1960s and 1970s), and the music sampling and showmanship associated with hip-hop and rap music. Newsome has exhibited his work in museums throughout the United States and internationally, recently completing projects in 2012 for the San Francisco Museum of Modern Art and Feast Projects during the Hong Kong International Art fair. He had a solo exhibition in 2011 at the Wadsworth Athenaeum, and has an upcoming solo exhibition at the Drawing Center in New York in spring 2014. NOMA is presenting the second solo museum exhibition in his career.

The King of Arms exhibition will include over a dozen of the artist's large-scale collages, many of which will be on public view for the first time. In addition to the installation in NOMA's Great Hall, the exhibition will include a special presentation of Newsome's Herald, 2011, in NOMA's second-floor gallery of French paintings. This video presentation, shown in an ornate gilded frame, will be installed amidst NOMA's historic portraits of French royalty, including Elisabeth-Louise Vigeé-Lebrun's portrait of Marie Antoinette, Queen of France.

In conjunction with the exhibition, Newsome will begin work on a new video production also titled King of Arms. The video will capture a performance by Newsome, featuring a coronation ceremony and a "second line" of the "King of Arms float," made in collaboration with New York's Martino Auto Concepts, dancers, revelers, and McMain High School musicians, who have all been inducted as members of Newsome's newly formed Mardi Gras-¬‐inspired "King of Arms" krewe. Shot at NOMA and its surrounding areas, this event will be professionally filmed and made into a future video artwork.

The public will have the opportunity to view an exclusive preview of the King of Arms video piece created during this performance during a screening at NOMA on September 6, 2013.



37. Terry Dame, FF Alumn, at The Branded Saloon, Brooklyn, June 26

Hello friends,

Terry Dame's Weird Wednesdays Episode 6 - Weird Percussion - June 26th 8pm
@ The Branded Saloon
603 Vanderbilt Ave
Prospect Heights, Bkln

This month features two weirdo percussionists, Daniel Jodacy and Eric Farber.
Each doing their own set on home made suitcase percussion rigs. Plus as usual a short interlude of musical weirdness by yours truly, 60 Seconds of Weirdness, great beer, delicious food, nice people and a very relaxed fun scene. What more could you ask for! Stay tuned for more details on the Facebook invite page.

As always thanks for supporting live original musical endeavors. Hope to see you along the path.



38. Gabriel Martinez, FF Alumn, in new Phaidon publication

Gabriel Martinez is included in this new Phaidon publication.

"Art and Queer Culture
Comprehensive survey covering 125 years of art that has constructed, contested or otherwise responded to alternative forms of sexuality.
Edited by Catherine Lord and Richard Meyer
Spanning 125 years, Art and Queer Culture is the first major historical survey to consider the ways in which the codes and cultures of homosexuality have provided a creative resource for visual artists. Attempts to trouble the conventions of gender and sexuality, to highlight the performative aspects of identity and to oppose the tyranny of the normal are all woven into the historical fabric of homosexuality and its representation. From Oscar Wilde to Ryan Trecartin, from the molly houses of eighteenth-century London to the Harlem drag balls of the 1920s, the flamboyant refusal of social and sexual norms has fuelled the creation of queer art and life throughout the modern period."



Gabriel Martinez
Senior Lecturer, PennDesign
University of Pennsylvania
Undergraduate Photography Program
School of Design
Department of Fine Arts
The Charles Addams Fine Arts Hall
200 South 36th Street
Philadelphia, PA 19104-6229
T: 215-573-4658
F: 215-573-8127



39. John Baldessari, FF Alumn, at Mercer Union, Toronto, Ontario, Canada, opening June 28

Friday 28 June at 7PM

The Thick Of It

Eric Cameron
Tammi Campbell
Monique Mouton
Lisa Muzzin
Sasha Pierce
Josh Thorpe
and John Baldessari

Meet Georgina Jackson, Mercer Union's new Director of Exhibitions & Publications, in attendance at this Friday's reception
Gallery Hours
Free admission

The Thick Of It brings together work by seven artists that balances process and the material concerns of painting, not as a discrete medium, but as a starting point with outcomes that blur disciplinary boundaries. Works here posit painting as a meditative or mundane activity, and painting as objects created with specific conceptual intentions or propositions. Instead of being apprehensive about disciplinary baggage, the artists represented here borrow from a range of painterly methods that yield diverse and intriguing products - distillates of studied experimentation.

Front & Back Galleries - to 4 August 2013
Curated by York Lethbridge

Mercer Union acknowledges the support of its staff, volunteers and members, the Canada Council for the Arts, the Government of Ontario through the Ontario Arts Council and the City of Toronto through the Toronto Arts Council.
Mercer Union
1286 Bloor Street West
Toronto ON M6H 1N9 Canada



40. Film screening at Bluestockings, Manhattan, June 27

Event: Film screening of "DEAR GOVERNOR CUOMO" and talk-back session with Jon Bowermaster & Tom Wilber
Date/Location: Thursday, June 27, 2013 at Bluestockings (172 Allen Street, New York, NY, 212-777-6028) Film synopsis: "DEAR GOVERNOR CUOMO" is a documentary film about a coalition of musicians, scientists and activists that gathered in Albany on the governor's doorstep in May 2012 to call for a ban on hydraulic-fracturing. The goal of the varied participants was to explain the environmental, economic and health risks of fracking and to motivate people to action using a unique blend of music and message. The film that resulted from the night - a unique blend of "The Last Waltz" and "An Inconvenient Truth" - was written and directed by Jon Bowermaster and filmed under the direction of Academy Award winner Alex Gibney.

Director Jon Bowermaster will participate in a talk-back session after the screening and will be joined by Tom Wilber. Mr. Wilber, author of _Under the Surface, Fracking, Fortunes and the Fate of the Marcellus Shale_, is a journalist who has extensively covered shale gas development.
Event contact: Dan Plaxe, 347-886-3815



41. Susan Bee, FF Alumn, in The New Yorker, June 24
Susan Bee, FF Alumn, in The New Yorker, June 24, 2013
"These thirty midsize canvases, inspired by the format of film stills, might best be described as workmanlike, but Bee's skills as a colorist and her stylistic abandon make the show worth seeking out. Flat figures are outlined in black, as if in the pages of coloring books, offset by bright backgrounds that loosely reference modernist painting (Pollock-like dribbles, Mondrian-esque geometries). In one picture, two long-haired young women cower in a backseat as bright daubs of abstraction fill the rear window. It's horror vacui by way of film noir. Through June 29.
Accola Griefen
547 W. 27th St., New York, NY



42. Harley Spiller, FF Alumn, now online at www.CollectorsWeekly.com

Below is the text of "World's Smallest Museum Finds the Wonder in Everyday Objects", an article featuring Harley Spiller, FF Alumn, now online at Collector's Weekly. Here is a link to the fully illustrated article


World's Smallest Museum Finds the Wonder in Everyday Objects
by Lisa Hix - June 12th, 2013

Tucked away in a lower Manhattan back alley, the freight-elevator-sized, generically named Museum is one of New York City's newest curiosities. While it's only open 16 hours a week, during the day on Saturdays and Sundays, the museum's contents are viewable 24/7, lit and sealed by glass doors.

Passers-by are encouraged to call a toll-free number to learn about the 15 collections, comprising 200 objects, inside, including a series of Disney-themed bulletproof backpacks; U.S. paper money and coins so mutilated the Fed has deemed them unfit for currency, gathered by artist and writer Harley Spiller, a.k.a. Inspector Collector; a selection of objects from a fake Mars excavation; and personal items fabricated by prisoners, such as dice made out of bread, collected by multimedia artist Baron Von Fancy. Museum also offers several unique ways to experience the world: You can compare industrial designer Tucker Viemeister's collection of toothpaste tubes from all over the map, or potato chip bags from various countries (collected by an eighth-grade class), as well as a globetrotting fake vomit collection. And that's just the beginning.

"People say to us, 'Oh, my gosh, you have to meet this person. They have a collection of potato chips that look like presidents!'"

Individually, many of these objects seem suited to a landfill, but taken together, they serve as a testament to the collecting spirit. At least, that's how Museum co-founder Alex Kalman explains it, as he waxes poetic about the lessons everyday items can teach us. Kalman, along with brothers Benny and Josh Safdie, run the film production company Red Bucket Films upstairs from Museum, at 368 Broadway in TriBeCa. When the building owners offered them a defunct freight-elevator shaft on Cordlandt Alley out back, the filmmakers knew they had a place to showcase the weird cultural detritus they'd gathered over the years-such as a shoe rumored to be the one thrown at George W. Bush in 2008.

The three partners opened the free, nonprofit Museum to much fanfare in May 2012, with financial backing from the Spade Family, including Andy and Kate Spade (yes, of the purse company Kate Spade). Kalman spoke to us about what you'll find in the current season of Museum, and how anyone can put his or her quirky collection into the spotlight.

Collectors Weekly: Could you tell me about the concept behind Museum?

Alex Kalman: We find amazing stories-as well as beauty and absurdity and inspiration-in what many would consider the vernacular. Our backgrounds are in filmmaking, and in many of our films, the stories are very much about the details of everyday life. We look at small, intimate moments and try to draw the poetry, or the universal meaning, out of them. These are moments we can all feel a certain level of familiarity with, much like a tube of toothpaste.

For us, Museum was about creating an institution that celebrates the extraordinariness of the seemingly ordinary. You can obviously learn a lot about the world by reading the newspaper every day, watching movies, or studying political science. But you can also learn a lot about the world by looking at the smallest things that cultures create and seeing the similarities and differences between them.

Honestly, there wasn't as much of an articulated philosophy when we were starting out. It was something we naturally did. When we were filming movies, we were always collecting what we call "modern-day artifacts," which we would bring back to the studio and share with each other. It was always about having the eye to find the absurd detail in something that others might pass over because it appears to be just another bag of potato chips, or another shoe. But in fact, there's something insightful or crazy, funny or sad, ugly or beautiful about it. As we were collecting these artifacts, we thought to ourselves that we wanted to open an institution for these things. We wanted to put them on display in the way that we saw them. And that would be, of course, in the form of a museum.
Collectors Weekly: And your museum is in an old freight-elevator shaft?

Kalman: Yes, the owners of the building our film studio is in approached us, having no idea that we were upstairs conceptualizing the Museum. They said they had to remove the freight elevator because it was defunct and so they had turned the shaft into a storage unit. Then, they took us back into the alley behind the building, and they opened these two big wrought-iron doors on the sidewalk. It was like a surreal "Being John Malkovich" experience where there was this tiny, little space the size of an elevator. And that, of course, was the perfect first home for Museum.

After we took the space, we approached a friend of ours who's a fantastic designer and architect named Michael Caputo. He single-handedly completely renovated the space, the walls, and the ceilings. He installed shelves lined with red velvet and lighting. He transformed the space so you walk down this alley and, in the last place you'd expect it, suddenly, there's this little museum. We put viewing windows in the interior doors, and we keep the space lit at night.

That way, when you're making your way through the alley, going to and from somewhere in the middle of the night, you can see this light emanating from a window, peer into it, and enjoy the magic of the Museum. It was important to us that the Museum to be viewable 24/7, because one of the beautiful things about New York is that it doesn't stop, and people are always out and about. Sometimes when we leave the studio late at night, we walk through the alley and see a group of people huddled outside the window, with their cell phones up to their ears, listening to the audio guide.

Collectors Weekly: Where did you find the collections you're currently featuring?

Kalman: The first season was mostly our own collections-everything we had found. Then, after we opened the space, it became a Pandora's box for meeting people and discovering all sorts of collectors. So this season is about other people's collections. Having Museum in New York gives people a chance to say to us, "Oh, my gosh, you have to meet this person. They have a collection of potato chips that look like presidents!" It's great fun to have this reason to meet collectors and then give them an opportunity to put their collections on display. It might be that they have their collection in their sock drawers, and their things don't normally get the chance to be important.

Collectors Weekly: What is in your personal collections?

Kalman: I wouldn't even know where to begin. It's very much about the unexpected. They're hard to describe without also seeing them because I could say, "a stick of butter" and it's like, "Well, what's special about a stick of butter?" But there might be elements about packaging or the narrative that's behind it, a story that took place around that butter or where it's from, which makes it more relevant and interesting. Museum is also about recontextualizing things.

"It's fun to look beyond the object to the creation story behind it. What does that say about the culture's psyche?"

One of my favorite objects from our collection is a little placard that was found on a bathroom counter in a motel in the Midwest. It says something along the lines of, "Due to the popularity of our guest room amenities, we now offer the following items for sale," and then it goes on to list every single item that's in the motel room, with an absurd price next to each. I love that; this product that has been created by this motel chain en masse, so that the firm can put one in every room. It's an effortful response to a problem with theft. There was some conversation that went like, "OK, we have a problem with the people stealing things from the hotel rooms. How are we going to deal with it? Are we going to put security cameras up? Are we going to lock everything to the table?" Then somebody had this bright idea to take the classy approach and leave this absurd plastic little sign in the bathroom. That mundane object that sits on a motel bathroom counter has so much psychology behind it, and I admire that.

We're attracted to objects that show the creativity that people approach problems with. It might be made by somebody who overcomes a lack of resources in a material way. For example, in the current season, there is a collection of objects made for or by inmates in the U.S. prison system. And there's this incredible toothbrush that an inmate made, because in prison, you're not issued a regular toothbrush; you're issued a fingertip piece of plastic that has bristles on it. This inmate wanted a regular toothbrush, not to turn into a shank, not to use for any other reason than to have what was familiar to him when he wasn't in prison. So he took his canteen order form and some Saran Wrap that he found and modified the fingertip toothbrush into what is then this incredible toothbrush. Not only is it beautiful, but it also has that human story behind it. These sorts of stories come both from individuals as well as big companies. It's fun to look beyond the object to the creation story behind it. What does that say about our cultural or societal psyche?
Collectors Weekly: So you're not looking for high-end antiques or things considered rare or high-quality?

Kalman: There's not a rule like that, but we have other types of rules, and one is 'no art'. There's almost nothing in Museum that has been created for the sake of being considered art. There are no paintings and no sculptures. It's mostly things that have been created to serve other purposes and, in that process, have something beautiful about them. Also, we don't approach our own collection or other people's collections with sentimentality. It's not about "This was my first baseball card." It has to be bigger than that. It has to be about what the object represents in the cultural landscape.

"Is toothpaste sexy? Is toothpaste responsible? Is toothpaste cool?"

While we aren't focusing on collections that are incredible antiques or the more traditional values of a collection, we're not against that either. We wouldn't automatically rule out something that is perhaps already traditionally considered a collection. In fact, juxtaposing that with the more vernacular items could create a nice balance in Museum. But so far, you wouldn't find anything in Museum that you would expect when you think of a collection.

In the current season, there's a collection of toothpaste tubes from around the world. There's a collection of mutilated U.S. currencies, money that's counterfeit or real money that's been scrawled on. There's a collection from Alvin Goldstein, who was the founder and editor of Screw magazine, who shared with us personal belongings that have stayed with him throughout the narrative of his life. There's a collection of Disney-themed children's bulletproof backpacks. They're things that touch upon something that's happening in society, things that comment on where we're at and how we're thinking and what we're doing.

Collectors Weekly: With some of this stuff, people might say, "That's junk. Why don't you throw it away?"

Kalman: Of course, there's that fine line between collecting and hoarding. It's important to understanding where you stand on that and to make sure to limit yourself as well as others. But most of these collections don't come from an endless desire to have. The Museum comes from a desire to create narratives through the collections. Definitely, when you think about the items individually, you can say, "Oh, this is junk." But if you take a step back and view the collection as a whole, then suddenly it becomes easy to find meaning. Once you start looking at the packaging of Japanese toothpaste versus Italian toothpaste versus Russian toothpaste, it becomes very interesting quickly.

Another point is the way the collections are presented, the way we display them. Right now, we have 15 collections in the Museum, making up a total of about 200 objects. Each one has a story posted on the wall behind it. When the museum is closed, you can access the story via the audio guide. And when you enter the space, even though it's in an unexpected place and at an unexpected scale, it feels like a museum. It feels as though you're walking in the Louvre, expecting to see the "Mona Lisa," but instead you're presented with this toothpaste collection. And that's to impose the clear value that we see in these objects, and that we treat them as seriously as one might a historical piece of art.

We're trying to remind people to see the inspiration or the absurdity or the beauty in the everyday, and to be able to see it when you walk to work. Or when you go to the deli, the way someone has displayed sodas in the refrigerator can be meaningful and beautiful. After all, somebody spent time and energy to think of a considerate way to display those sodas, the same way somebody thought about, "How do we display the Queen's jewels?"

It's something that has often been said before, but it's the little moments that make up most of our emotions and most of our feelings. And every now and then, a big thing-like a new job, a marriage proposal, a death, or a national disaster-punctuates our lives, but most of our days are spent dealing with the small stuff, like getting to work in the morning, deciding which toothpaste to buy, or figuring out what to eat for dinner. I think it's important to have fun with the adventure of the little things.

Collectors Weekly: So what can you learn about a toothpaste from around the world?

Kalman: We say to each his or her own, in terms of the way they want to interpret it. The collector points out that the toothpaste industry is shrinking but the varieties of toothpaste continue to expand. You can look at the styles of fonts, the color choices, and the slogans of toothpastes from different countries and see how the product was marketed to those cultures. Is toothpaste sexy? Is toothpaste responsible? Is toothpaste cool? You can see that different cultures approach an idea as banal as brushing your teeth in different ways.

You can also see the evolution of branding. A Chinese toothpaste, called Darkie, once had this caricature of a black man on the front. At a certain moment in history, they said, "Oh my God, we're told we can't do this anymore. What are we going to do?" And they changed the name to Darlie toothpaste. Looking at these objects, you can imagine the moment a company says, "Okay, there's something completely wrong here, but we're still a functioning company. So how can we do as little as possible to fix the problem?" Changing the "K" to an "L" to absolve the issue that the toothpaste maker had run into is such an amazing and absurd thing.

Collectors Weekly: To me, the toothpaste collection seems similar to the potato-chip-bag collection.

"There's that fine line between collecting and hoarding."

Kalman: They're definitely similar, but they were collected by two different people who were completely unaware of each other. We noticed that the chips one company was marketing to Mexicans versus Italians versus Spanish people had three different flavors. But the brand used the same multinational-looking model on each of the different packages, dressed in a completely different stereotypical outfit. That is something you would never notice, really, if you were just buying one random bag of potato chips in a supermarket.

The collector is a teacher, and it was actually a class assignment, where he encouraged his students to find a strange flavor of potato chips whenever they would travel. They came back with chips flavored like hot dog, lamb, seafood, and mayonnaise-they're all absurd. But then when you bring them together to create the collection, that's when a narrative can come into play. One potato-flavor flavor is like, "Oh, that's weird." Two are like, "Oh, there are a couple weird flavors." With three, now I'm studying the similarities and differences. It's a fun way to collect, choosing one thing and looking at how it's manifested, depending on where you are in the world.

Collectors Weekly: Let's talk about Al Goldstein. From what I read in your website, he accumulated all these belongings and ended up homeless?

Kalman: Al Goldstein created an empire mostly through pornography, and he accumulated this absurd level of wealth. Then his empire imploded through various bankruptcies and divorces. He was homeless, and then he moved into an assisted-care home. He's still alive today, and he gave the opening remarks at the opening of the new season at Museum.

At one point, he was living next to Bill Cosby on the Upper East Side and had a house in Miami. He had 200 pairs of gold lamé Nike sneakers. Besides Screw, he started a magazine called Gadget and a television show called "Midnight Blue," because he was obsessed with reviewing the latest gadgets. He claimed the Ziploc bag was the greatest invention of all time, more powerful than the Gutenberg Press, more powerful than the portable camera, because the Ziploc bag really lived up to its promise. He was a collector not so much for the beauty or the meaning of a collection, but for the personal satisfaction of just having stuff. That speaks to certain ideas about the American dream and materialism in this country.

"When you go to the deli, the way that they display sodas can be meaningful and beautiful.

The objects that are in the Museum came from his last storage unit in Queens, which was packed when he was moved out of his last home into this assisted-care living facility. In the past, he presumably had 20 storage units that were filled with the riches of his collection, like Rolex watches and shark-fin fanny packs-all this absurd materialism from the '70s, '80s, and '90s. But now, there's only one storage unit left, and with his approval, we were given access to go and sift through it.

It was like walking into King Tut's tomb; we had no idea what we would find. Here's what he had held onto through this arc of his life-the last pair of gold lamé sneakers, just one pair. A trilogy book set on the fall of the Roman Empire, which was unopened, still boxed and sealed. And his girl contact cards, which he would have his assistant or his secretary update each year. These are little laminated index cards with a column for name, a column for city, and a column for phone number. He would carry them around with him whenever he would travel. Perhaps the most enlightening things are the transcribed Dictaphone notes that he would record for his assistant, who would write them up the next morning. That's the most intimate view into his brain because they're his middle-of-the-night ranting and ravings.

Collectors Weekly: What about the man who put "Stolen From Alex Walter Hastreiter" on his things?

Kalman: That's the father of Kim Hastreiter, a co-founder and one of the editors of Paper magazine. He was a jeweler, a sweet and eccentric man. But he was so utterly concerned that something might get stolen or lost that he had engraved on all of his everyday items-his pen, his loupe, his jewel measuring tool-"Stolen From Alex Walter Hastreiter." Again, this collection captures how a passion or a concern drives a person to handle it and how that solution materializes in the real world. It's not that he wrote his name on things like people often do, "Property of Alex Walter Hastreiter." He went to the extent that it had already been stolen, and if it were stolen, it would say that. The label wasn't something that could be rubbed or peeled off; it was engraved. The effort he put into that concern is remarkable.

Collectors Weekly: What exactly is Hastreiter's "ass pad" in the collection?

Kalman: He had some back pain, and his doctor said, "If you put a magazine under your left butt cheek, the pain should go away. It's caused by something in the way that you're sitting." Then, of course, that became the quest, to find the magazine with perfect number of pages to alleviate the pain. Then once he found that, the quest was to gather many as he could, so that he would never run out or lose them. Then he would cut them down to size so that they could fit in his back pocket of his pants, tape up the edges. Again, it's that idea of personally turning something into a product. He could grab a magazine and slip it under his butt and sit down on it, but that wasn't formal enough. That didn't feel an ass pad. He was driven to create a product for his condition.

Collectors Weekly: And then there's also the "ghost paper" collection. Is that the same as the joss paper you can purchase in Chinatown?

Kalman: Yes, it's one of the rare collections that was mostly purchased new, from a small store in Chinatown. The sheets of joss paper and the papier-mâché objects are meant for Chinese funerals, where these things traditionally are burned as offerings to send the dearly departed treasures for the afterlife. What we love about that is not only the tradition of it, but also how it comes to being in 2013. These are incredibly modern materialistic items: An iPhone. A Louis Vuitton handbag. A plate of sushi. A gold track suit. All made out of paper in an incredibly beautiful way. For instance, a black wallet we noticed was made out of an old designer shopping bag that had the logos printed all over it, like a paper Bloomingdale's bag. It's this amazing clash of ancient tradition and the world of a person's treasured belongings in 2013.
This "computer" is made completely out of paper. It is also designed to be burned at a Chinese funeral. Via mmuseumm.com

This "computer" is made completely out of paper. It is also designed to be burned at a Chinese funeral. Via mmuseumm.com

And I'm sure that this goes without saying, but even though there's bit of humor in things that would sometimes be considered serious, for us, there's never a sense of irony. The Museum is not ever to mock the culture. We created it to celebrate and explore and be moved by or enlightened by these collections. I think it's a true sensitivity to a cultural artifact to be able to appreciate it on another level than what it was originally intended.
Collectors Weekly: Do you have a collection lined up for Season 3?

Kalman: We're considering a number of submissions from collectors, and it's always an exciting part of the process. But if you're interested in submitting your collection, there should be no shyness or hesitancy. We love when people tell us about a collection, no matter what it may be. People can snap a photograph or write a description and send it to submissions@museum.com.

(Learn more about Museum, its collection, and its events at its web site, as well as on its Twitter and Instagram pages. The stories of the objects can be reached by calling 1-888-763-8839. More on Museum's founders can found at Red Bucket Films.)

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Goings On is compiled weekly by Harley Spiller