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Contents for September 10, 2013

1. Kara Lynch, FF Fund recipient 2011-12, at Harlem River Park, Manhattan

"saved" by Kara Lynch

Sunday, September 29, 2013 4:30p
Harlem River Park // Harlem Beach
Park Entrance at 142nd and Fifth Avenue

Conceived by artist kara lynch, "saved" is an outdoor sound installation-performance that marks the 102nd anniversary of the lynching of Laura Nelson and her fourteen-year old son, L.W. Nelson at the Old Schoolton Bridge in Okemah, Oklahoma.

"saved" will be a living memorial featuring Harlem's own IMPACT Repertory Theater, in collaboration with First Corinthians, Convent Baptist, and Ephesus Gospel choirs, together performing an original score by Composer, Pianist and Arranger Courtney Bryan with Stage Direction by Charlotte Brathwaite. Join us.

For more information :: http://acrowdgathers.wordpress.com

Or contact:

Duana Butler, Producer duanabutler@gmail.com

kara lynch, anchor artist : 718.809.5544 : klhomegirl@gmail.com

Contributing Artists:
Colleen A.C. Beaumont-Scott, Courtney Bryan, Charlotte Brathwaite, Duana Butler, Menka-t Asli Dukan, Prof. Gregory Hopkins, Omar Jackson, Daniel Johnson, Jamal Joseph, Sonia Paulino, Rodney Smith, JT Takagi, Carlton Taylor, Patrice Turner, Mariana Valencia, and Lillian Whitaker.

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2. Martha Wilson, FF Alumn, at Hand in Glove 2013, New Orleans, LA, Oct. 17

Press Street is proud to be the host organization for Hand-In-Glove 2013, a national conference for independent visual arts organizers working at the crossroads of creative administration and studio practice. Hand-in-Glove 2013 will take place in New Orleans Thursday, October 17 through Sunday, October 20, 2013.

Hand-In Glove is an itinerant conference started in 2011 by ThreeWalls in Chicago, IL for artists and organizers participating in a national dialog on creative activity happening outside of traditional institutions. The conference aims to facilitate supportive and deepening conversations on the pragmatic realities and imaginative possibilities of organizing exhibitions, re-granting programs, publications, residencies, public programs, platforms for projects, and a variety of other programming that challenges traditional formats for the production and reception of art at the grassroots level. The conference welcomes spaces and projects that are self-organized, independent, and noncommercial. It also welcomes organizations that started small but have grown big, retaining the artist-run values and priorities that were a part of their founding.

Hand-In-Glove 2013 will begin the evening of Thursday, October 17 with a Keynote Address by Founding director of the Franklin Furnace Archive, Martha Wilson, followed by an opening party. On Friday, October 18, the conference will offer two panel discussions: Ways of Being will bring together art leaders from across the country to compare how their unconventional models create new platforms for artists, and Strategies of Sustainability will be discussions on the challenges of sustainability, growth, fundraising, and community involvement. Panelists for these conversations will include Kenneth Bailey, Principle of Design Studio for Social Intervention, Boston, MA; Regine Basha, Independent Curator and Co-founder of Testsite, Austin, TX; Reanne Estrada, Creative Director of Public Matters, Los Angeles, CA; Matthew Fluharty, Editor of Art of the Rural and Member of M12, St. Louis, MO; Eve Fowler, Founder of Artist Curated Projects, Los Angeles, CA; Vince Kadlubek, Co-founder of Meow Wolf, Santa Fe, NM; Kemi Ilesanmi, Executive Director of Laundromat Project, New York, NY; Josh Rios, Member of Okay Mountain, Austin, TX; Abigail Satinsky, Associate Director of Threewalls, Chicago, IL. Moderators for these discussions include New Orleans' own Cameron Shaw, Founder of Pelican Bomb, and Gia Hamilton, Founder of Gri Gri Lab and Director of the Joan Mitchell Center. Saturday, October 19, includes both a Self-Guided Tour of the artist run and artist centric organizations of the city during the day and then in the evening Shanai Matteson and Colin Kloecker of Works Progress, Minneapolis-St.Paul, MN will present We Feed Each Other, a peer-to-peer interview project documenting collective learning in the moment, over a shared meal with local flavor. The weekend will end Sunday, October 20 with Lagniappe Sunday, a tour of strange and obscure sites and experiences of the greater New Orleans area, curated by Brice White (AKA DJ Brice Nice) .

For more information or to register for free until October 1, visit: http://hand-in-glove.org

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3. Ann-Marie LeQuesne, FF Alumn, now online at https://vimeo.com/67829757

"Fanfare for Crossing the Road" - a performance by Ann-Marie LeQuesne, FF Alumn, took place on May 12th on 23rd St and 7th Ave.

The video is now on Vimeo - https://vimeo.com/67829757

Thank you to all the musicians, assistants and street crossers who took part!

Ann-Marie LeQuesne
www.amlequesne.com
www.vimeo.com/annmarielequesne

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4. Taylor Mac, FF Alumn, at Lincoln Center Atrium , Manhattan, Oct. 3, and more

Taylor Mac's Upcoming Performances!

September 17-21: The 20th Century History of Popular Music Abridged (Dublin Fringe, Ireland)

September 27-28: An Abridged Concert of the History of Political Popular Music (Museum of Contemporary Art Chicago)

October 2: Open Rehearsal: 1850s Concert (PRELUDE, NYC)

October 3: Taylor Mac's 24-decade Concert Series of the History of Popular Music: The 1850s (The Lincoln Center Atrium) (No Reservations, Arrive Early!)

October 18-November 24: The Foundry Theatre's Good Person of Szechwan (The Public Theater)

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5. Joyce Cutler-Shaw, FF Alumn, at Pratt Manhattan Gallery, opening Sept. 19, 6-8pm

SPLICE: AT THE INTERSECTION OF ART AND MEDICINE Curated by Nina Czegledy September 20-November 9, 2013 Opening reception: Thursday, September 19, 6-8 PM

Special event opening night only:
Explore Asian health traditions and immortality with wild mushroom hunter Med Shroomdog at our Mushroom Tea Bar.

Showcasing 20th-century anatomical drawings complemented by contemporary works of art, SPLICE: At the Intersection of Art and Medicine brings together both scientific and artistic means of representing the human body. It also represents the first significant public exhibition within the United States of anatomical images selected from an extensive collection housed at Biomedical Communications, University of Toronto. The University of Toronto Art Center, the Blackwood Gallery, University of Toronto, Mississauga, and the West Vancouver Museum presented previous versions of this exhibition.

Contemporary Artists:
Ælab: Gisèle Trudel and Stéphane Claude, Jack Burman, Jack Butler, Andrew Carnie Joyce Cutler-Shaw, Dana Claxton, Orshi Drozdik, Eric Fong, Terry Kurgan, Patricia Olynyk, Piotr Wyrzykowski

Anatomical Artists:
Elizabeth Blackstock, Dorothy Foster Chubb, Marguerite Drummond, Nancy Joy, Elia Hopper Ross, Maria Wishart

Description of Work by Joyce Cutler-Shaw included in the exhibition:
Three mixed media Tunnel Books with HD screens that play short movies, all on a single shelf.

Attributions of the Work:
What Comes to Mind: Tunnel Books With Movies, One, Two and Three, 2012 Mixed media: Tunnel Books with HD screens on wood shelf Overall dimension: 16 1/2" x 35 3/4" x 12" Edition of 3

Pratt Manhattan Gallery
144 West 14th Street, 2nd floor
New York, NY 10011
212-647-7778

Monday-Saturday
11 AM-6 PM
Thursdays until 8 PM

http://www.pratt.edu/about_pratt/exhibitions/pratt_manhattan_gallery/

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6. Gigi Otálvaro-Hormillosa, FF Alumn, at Galeria de la Raza, San Francisco, CA, September 21

SF-based performance artist Gigi Otálvaro-Hormillosa presents Intertwining Roots, a multimedia solo performance/work in progress commemorating the disappeared of Argentina's Dirty War (1976-1983) and her Filipino grandfather who lived in Buenos Aires in the 40s and 50s. Her quest for him and research about the disappeared are intertwining processes of memory recuperation.

September 21, 2013 - doors @ 7:15pm, show @ 8pm. Galería de la Raza, 2857 24th St., SF, CA 94110. Co-presented by Galería, QCC, Kearny Street Workshop, and (a)eromestiza.

$5-$20 (sliding scale, no one turned away for lack of funds)

More information:
http://www.galeriadelaraza.org/eng/events/index.php?op=view&id=4448
http://www.gigiotalvaro.com/news-events/
RSVP on Facebook: https://www.facebook.com/events/211060249053983/

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7. Claire Jeanine Satin, FF Alumn, upcoming events

The next exhibitions of my works will include:

TANGIBLES: BEAUTY AND PURPOSE IN THE ART OF THE BOOK at the Northern Arizona University College of Arts & Letters, Flagstaff, AZ from September 19 thorough November 11, 2013

ECOEDITIONS at Sandy Gallery, Portland,OR November 15 - December 28,2013

My bookworks are being represented by CENTRAL BOOKING Gallery, 19/21 Ludlow Street, New York City. Please stop in to view the works in this newly relocated gallery.

Recently acquired bookwork and floor stand for the collection at The WILLIAMSBURG ART & HISTORICAL CENTER, Williamsburg, Brooklyn, New York

Thank you.

Claire Jeanine Satin

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8. Bob Goldberg, Kriota Wilberg, FF Alumns, new albums to be released

Friends, Neighbors, Accordion Fans, and Interested Souls:

I am pleased to announce plans to release two new solo albums by Bob Goldberg and the BAN Radio "Orchestra": "Movie Music" and "Regular Music".

"Movie Music" includes film scores for documentary, short fiction and animated films by Eileen White, Kriota Wilberg, Adam Stehle, and Stephen Moros. "Regular Music (Swiss Cow Blues and Other Political Rantings)" includes songs, instrumental and electronic pieces.

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9. Nicolas Dumit Estevez, FF Alumn, publishes new essay

Estévez's essay "Searching for Refuge: Spreading the Word at the Armory," has been recently published by "The Caribbean in Transit." The latest volume of "The Caribbean in Transit" was edited by Alanna Lockward and Keith Nurse.

To download the journal:
http://caribbeanintransit.com/wp-content/uploads/2013/01/Caribbean-InTransit_-Issue-4_-FINAL
issuu.pdf?utm_source=Caribbean+Intransit+Newsletter&utm_campaign=0c1861e7f9-Caribbean_Arts_Updates5_11_2013&utm_medium=email&utm_term=0_059d43e88a-0c1861e7f9-338683217

Searching for Refuge: Spreading the Word at the Armory is part of Spreading the Word with RoseLee Goldberg's Book under my Arm, which is a component of For Art's Sake, a series of pilgrimages through which Estévez sought to reverse the traditional relationship between art and religion. In For Art's Sake, religion becomes a tool in the service of art as he endures seven arduous journeys that begin in Downtown Manhattan and conclude at seven museums. Upon completion of each penance, a museum director or appointed official sign a credential that Estévez carries, thus confirming that the journey has been successfully completed. For Art's Sake has been developed for the Franklin Furnace Fund for Performance Art and Workspace, the residency program of Lower Manhattan Cultural Council. The pilgrimages include a devotional guide printed with the support of The Center for Book Arts in NY and produced in collaboration with Ana Cordeiro and Amber MacMillan. Special thanks to those who blessed these pilgrimages: Alanna Lockward, Edwin Ramoran, Sara Reisman, Yasmin Ramírez, Martha Wilson, Erin Donnelly, and Juliana Driever.

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10. Dynasty Handbag, FFAlumn, at The New Museum, Manhattan, Sept. 26, and more

Friday, September 26 at 7PM
Back to school sale, cheap labor!
New Museum DH is excited to present The Transparent Trap: A Power Pointless Presentation.
Thu September 26th 7pm
The Transparent Trap: A Power Pointless Presentation
DIrected By: Jibz Cameron, Hedia Maron, Josef Kraska

Dirty Looks NYC and The New Museum present Transparent Trap, the latest Dynasty Handbag performance in the form of a PowerPoint presentation. Professor Handbag reveals the details of selling her video short Eternal Quadrangle (which premiered at the New Museum in 2011) to MOCAtv, along with an exposé of the compromises she made in so doing.

Thursday, September 26 | 7PM
New Museum
235 Bowery
New York, NY 10002
Book your tickets ($10/12) online now!
RSVP on Facebook

Transparent Trap is an exploration of the idea of artistic sellout and transparency at large, as well as the complications of trying to make money in order to continue creating noncommercial art in the US. DH will also present two new video pieces, Remote Penetration (dir. Josef Kraska), starring DH as a superhero-drone that sings into a squash, and A Dream Is Not A Life (dir. Hedia Maron), inspired by Beyoncé's biopic Life Is But A Dream. There will also be some "singing" and "dancing," D-bag style

and

COMING SOON

9/10
Stand Up Show
The Creek and The Cave, Long Island City, NY

9/16
Dale Radio Live!
Union Hall, Brooklyn, NY

9/17
Performance with Psychic Friend
Grasslands, Brooklyn, NY

9/28
Comedy Dreamz
The Silent Barn on
Saturday, September 28th

10/19
Festival Supreme
Santa Monica, CA

11/14
Pleasure Dome
Toronto, Canada

12/2
Transparent Trap at YALE
New Haven, CT

Copyright (c) 2013 Dynasty Handbag, All rights reserved.

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11. Alyson Pou, FF Alumn, at Central Booking Gallery, Manhattan, Sept. 12

Dear Friends and Colleagues,

I will be participating in a wearable book art fashion show this Thursday Sept 12th from 6-9pm. The event is in conjunction with the grand reopening of Central Booking Gallery on the Lower East Side.

My piece is titled "The Icy Beyond" and takes it's inspiration from three vessels: the dome of heaven, the chambers of the heart, and the caverns of the underworld. Layers of bell shaped skirts are shed to reveal the fable of the Icy Beyond, a quest to reach the other side of the dome of heaven. I hope you can join me for my walk down the runway and for this wonderful celebration!

Threads: Wearable Book Art Performance
Thursday September 12 at 7pm
Opening 6 - 9pm

Central Booking Gallery
21 Ludlow Street
New York, New York 10002
centralbookingnyc.com
Subway: F Train

Happy Fall!
Alyson

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12. Carol Wilder, FF Alumn, at National Arts Club, Manhattan, Sept. 18

Crossing the Street in Hanoi
Teaching and Learning about Vietnam
Intellect/University of Chicago Press, 2013

You are invited - National Arts Club Launch

Carol Wilder's Crossing the Street in Hanoi

Wednesday, September 18th, 6:00 pm
15 Gramercy Park South, New York City

Wilder performs a magic trick by both charming the reader with her evocations of today's vibrant Vietnam and jarring us with the torments of what she calls 'the undead war.'
Peter Davis, director; Hearts and Minds.
Academy Award-winning Vietnam War documentary,

For readings, reviews, excerpts and more:
www.facebook.com/CrossingTheStreetInHanoi

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13. Maria the Korean Bride, FF Alumn, in three upcoming film festivals

Maria the Korean Bride Feature Documentary was officially selected at the Naperville Film Festival (near Chicago): September 17, 2013 @ 8:00 p.m.
http://www.naperfilmfest.org/2013schedule917.php

Atlanta Korean Film Festival: September 23, 2013 @4:00 p.m.
http://www.koreanfilmfestival.net/films.php

NY Movie Premiere: September 28, 2013 @4:00 p.m.
http://www.smarttix.com/show.aspx?showcode=MAR133

Thank you and thank you as always,
Maria

www.mariathekoreanbride.com
212 528 9976 (no text)

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14. Blaise Tobia, FF Alumn, at O.K. Harris Works of Art, Manhattan, opening Sept. 21

Blaise Tobia -- artist/educator/activist -- <tandm.us>

Blaise Tobia, FF Alum, at O.K. Harris Works of Art, September 21 - October 26, 2013.

The exhibition "Blaise Tobia: Binary Codes" will feature work from two of Tobia's photo series based in paired imagery. "Signs+Wonders" was begun in the mid-1990s and looks quite literally at both signs and wonders. "Slight Perturbations of the Surface" was begun during a 2007 residency at the Vermont Studio Center; its focus is more on the material character of the image. Books representing each series will be available. Tobia will be present on Saturday, September 21, from 3-5 PM, and by appointment.

Blaise Tobia and Virginia Maksymowicz, FF Alumns, share the TandM Arts studio and the website <tandm.us>.

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15. Karen Finley, Clifford Owens, Xaviera Simmons, Danny Tisdale, Deborah Willis, FF Alumns, at NYU, Manhattan, Sept. 25

Karen Finley and Deborah Willis Lead Tisch/Grey Gallery Panel On Performance Art - Sept 25

The NYU Tisch School of the Arts department of Photography & Imaging, in collaboration with NYU's Grey Art Gallery, will present More Than Documentation: Photography and Performance on Wednesday, September 25 from 6:30-8:30pm in the Rosenthal Pavilion at the Kimmel Center, 60 Washington Square South, 10th Floor. This event is free and open to the public.

This panel discussion will bring together an array of artists-working in the visual arts, music, theater, education, and political and community activism-to examine connections between performance art and participatory images. Addressing the integral role of such images in their work, speakers will highlight the notion of radical performance art and examine how it has shaped the contemporary art landscape. Moderated by NYU Tisch professors Karen Finley, Arts Professor of Art and Public Policy, and Deborah Willis, University Professor and Chair of Photography and Imaging, the panel will also feature Derrick Adams, Holly Bass, Clifford Owens, Xaviera Simmons, and Danny Tisdale.

This event is offered in conjunction with Radical Presence: Black Performance in Contemporary Art, on view at NYU's Grey Art Gallery, 100 Washington Square East, September 10-December 7, 2013. Media is invited to attend the panel discussion on Wednesday, September 25th from 6:30-8:30pm. For more information on the exhibition, including a complete program roster, please visit http://www.nyu.edu/greyart.
The Department of Photography & Imaging is an intensive four-year BFA program centered on the making and understanding of images. Students work in all modes of analog, digital, and multimedia photo-based image making, exploring photo-based imagery as personal and cultural expression. For further information, visit www.photo.tisch.nyu.edu.

Press Contact: Shonna Keogan | (212) 998-6796

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16. Evelyn Eller FF Alumn, at Islip Art Museum, NY, Sept. 22-Dec. 29

Included in the Exhibition
New York Bound: International Bookart Biennial Sept. 22- Dec. 29, 2013

Islip Art Museum
50 Irish Lane
East Islip, NY, 11730
631-224-5402
www.islipartmuseum.org

Thank You,
Evelyn Eller

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17. Cheri Gaulke, FF Alumn, at Otis College, LA, CA, opening Sept. 22

I am showing a new video work called "Cycle of the Witch (or sorry I missed church, I was busy practicing witchcraft and becoming a lesbian)" in this exhibition called Tapping the Third Realm at Otis opening Sept 22. Additional info such as dates and location can be found by clicking the link below. Thanks.
Cheri

Here is the link to the press release for Tapping the Third Realm opening Sunday, September 22.

http://www.otis.edu/assets/user/Ben%20Maltz%20Gallery/2013/TTR-PR-Final%282%29.pdf

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18. Donna Henes, FF Alumn, at Grand Army Plaza, Brooklyn, NY, Sept. 22

CELEBRATE FALL WITH MAMA DONNA HENES, URBAN SHAMAN

Exotic Brooklyn, New York¬-¬-Autumn is right around the corner and New York's own Urban Shaman, Donna Henes, is getting ready to mark the changing of the seasons as she has done for the past 37 years. Mama Donna (as she is affectionately known) will call in the fall at a public sunset celebration happening on the first day of the season, Sunday September 22nd at 6:30 at Grand Army Plaza in Brooklyn.

Mama Donna's Autumn Equinox Celebration is a free, family-friendly event. Bring kids, dogs, drums and plenty of spirit!

Here are the exact details:

SEPTEMBER 22
Sunday, 6:30 PM EDT
AUTUMN EQUINOX CELEBRATION

Join Mama Donna for a sunset celebration of the first day of Fall. This is a family friendly event. Bring kids, dogs, drums, percussions and plenty of spirit.

Grand Army Plaza
Park Slope, Exotic Brooklyn.
Meet at the Fountain. (2/3 train to Grand Army Plaza)
For more information: 718-857-1343
Free!

About Mama Donna:
* Unofficial Commissioner of Public Spirit of NYC. - The New Yorker
* For 35 years Ms. Henes has been putting city folk in touch with Mother Earth. - New York Times
* Part performance artist, part witch, part social director for planet earth. - The Village Voice
* A-List exorcist!" - NY Post
* The Original crystal-packing mama. - NY Press

Donna Henes is an internationally renowned urban shaman, contemporary ceremonialist, spiritual teacher, award-winning author, popular speaker and workshop leader whose joyful celebrations of celestial events have introduced ancient traditional rituals and contemporary ceremonies to millions of people in more than 100 cities since 1972. She has published four books, a CD, an acclaimed Ezine and writes for The Huffington Post, Beliefnet and UPI Religion and Spirituality Forum. A noted ritual expert, she serves as a ritual consultant for the television and film industry. Mama Donna, as she is affectionately called, maintains a ceremonial center, spirit shop, ritual practice and consultancy in Exotic Brooklyn, NY where she works with individuals, groups, institutions, municipalities and corporations to create meaningful ceremonies for every imaginable occasion.

Read her on the Huffington Post:
http://www.huffingtonpost.com/donna-henes/

Connect with her on Facebook:
http://www.facebook.com/MamaDonnaHenes

Follow her on Twitter:
http://twitter.com/queenmamadonna

Watch her videos:
http://www.youtube.com/user/MamaDonnaHenes

Mama Donna's Tea Garden & Healing Haven
PO Box 380403
Exotic Brooklyn, New York, NY 11238-0403
Phone: 718/857-1343
Email: CityShaman@aol.com

www.DonnaHenes.net
www.TheQueenOfMySelf.com
www.mamadonnasspiritshop.com
www.treeoflifefunerals.com

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19. Eleanor Antin, Vito Acconci, Bruce Nauman, FF Alumn, in The New York Times, Sept. 5

The New York Times
September 5, 2013
She Creates Herself in Multitudes
By KAREN ROSENBERG

As we cycle through avatars in our online lives, we are discovering a new appreciation for the artist of many identities: a figure like Cindy Sherman, with her parade of photographic personae, or the younger contemporary artists Kalup Linzy and Tamy Ben-Tor, who inhabit multiple characters in their satirical videos. "Multiple Occupancy: Eleanor Antin's 'Selves,' " a riveting show at Columbia University's Wallach Art Gallery, suggests that we should also be celebrating Ms. Antin.
A difficult-to-categorize figure whose career veered from art into theater and back again, she is best known for her 1972 performance/photography piece "Carving: A Traditional Sculpture," a visual diary of her naked body as it was diminished by a 37-day diet. That somber, almost classical work is such a staple of early feminist art that it's strange to discover, in this exhibition, that it was just one of her many theatrical and provocative self-transformations.

For three weeks in 1980, for instance, she went out in public dressed as a fictional historical figure of her invention: Eleanora Antinova, a black ballerina in Diaghilev's Ballets Russes. (Ms. Antin, who is white, darkened her skin with makeup; she could not do much about her short-limbed, un-dancerlike build.) She recorded her experiences in a "memoir," "Being Antinova," adding to an already substantial archive of photographs and drawings made in character.

A few years earlier she pasted a beard onto her face, donned a cape and wide-brimmed hat and made the rounds of San Diego as the King of Solana Beach, a figure with a distinct resemblance to the 17th-century monarch in portraits by Van Dyck. Trailed by bemused locals, the King shops for groceries, goes to the post office and perches regally on an old sofa that's been left at the curb.

With an assortment of photographs, videos and set pieces, "Multiple Occupancy" examines Ms. Antin's major selves - some of them female (ballerinas, nurses) and some male (the King and an exiled Russian film director). These characters may not seem to have much in common with one another, or for that matter with Ms. Antin, but they are all, in their way, frustrated outsiders. The King struggles to govern a Vietnam-era populace that's deeply suspicious of authority; Antinova aspires to play Giselle, but keeps getting cast as Pocahontas.

"I deliberately gave Antinova a traditional art form because I was already at odds with one, traditional Conceptual Art," Ms. Antin tells the show's curator, Emily Liebert, in an illuminating catalog interview. (Ms. Liebert, a Ph.D. candidate in the art history department at Columbia, is working on a dissertation about the selves.) Conceptual Art, as Ms. Antin saw it in the 1970s, was a boys' club; it was also intellectually rigid, with little room for narrative, biography or fantasy.

The first stirrings of the selves have the narcissistic sensibility of other early video and performance art (by, say, Bruce Nauman and Vito Acconci). In two videos that open the exhibition, Ms. Antin can be seen sitting before a mirror applying makeup (in "Representational Painting") and a beard (in "The King"). But by the time the first ballerina appears, in serial photographs and a video from 1973, it's clear that Ms. Antin is bringing feminism and some element of personal experience into the mix.

This stumblebum of a dancer - a precursor to Antinova - struggles to hold various ballet positions, shouting at a photographer to take the picture before she loses her footing. Like an even more cruelly realistic version of Degas's dancers at the barre, she reminds us that not every little girl in a tutu can become a real ballerina (and makes us wonder why so many still want to).

Not all of the selves are equally compelling. Sometimes they become a kind of shtick: Little Nurse Eleanor, for instance, suffers a repetitive series of indignities that highlight stereotypes of the "scapegoat, nurturer, servant, sex object and fantasy"; Ms. Antin represents this hapless figure with a paper doll, turning her into a sort of female Mr. Bill. (Fortunately, the nurse "self" evolves into a more complex character, Nurse Eleanor Nightingale, whose Crimean War back story allows Ms. Antin to comment, elliptically, on the carnage of Vietnam.)

But in at least one case they come across as sincere homage, like the film Ms. Antin made as Yevgeny Antinov, a film director exiled from Russia for supposed Trotskyite sympathies. Released as a feature-length independent movie, "The Man Without a World" chronicles life in a Polish shtetl and is closely modeled on silent films of the 1920s. Ms. Antin has called it a tribute to her mother, who had been an actress in Poland's Yiddish theater.

Even the weaker selves, however, exist in a fascinating and mysterious realm between mediums. They bridge photography and performance, film and literature, paper dolls and live humans. Often one type of representation will sabotage another; the ballerina is convincing enough in stills, but on video she falls apart.

The way Ms. Antin develops her selves, over years and sometimes decades, is just as interesting. She will add chapters or "discover" lost works - for instance, "archival" footage of Antinova's late, desperate years on the vaudeville stage. She will also revisit performances, as she did this year when she reinterpreted her 1979 play "Before the Revolution," casting an African-American actress in the role of Antinova.

"Multiple Occupancy" should endear Ms. Antin to an art world fixated on aliases, alter egos and falsified archives. (See the Atlas Group, Otabenga Jones & Associates, Henry Codax and the painter who may or may not be Bob Dylan,) Her "selves" may have been invented in the 1970s, taking their identities from the distant past, but they are undisputably a part of the present.

"Multiple Occupancy: Eleanor Antin's 'Selves' " runs through Dec. 7 at the Miriam and Ira D. Wallach Art Gallery at Columbia University, 1190 Amsterdam Avenue, near 119th Street; (212) 854-7288, columbia.edu/cu/wallach.

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20. Charlemagne Palestine, FF Alumn, in The New York Times, Sept. 5

The New York Times
September 5, 2013
What's an Avant-Garde Evening Without a Poet and Plush Toys?
By STEVE SMITH

The poet Steve Dalachinsky is as consistent an indicator of a high-quality concert experience as any I have found during 20 years of concertgoing in New York. Surely, you reckon, he's also seen some duff dates in his decades as a regular habitué of the city's nightclubs, concert halls, lofts and provisional spaces. But I have trouble recalling any significant, edifying or exhilarating free-jazz or total-improvisation concert I've attended at which Mr. Dalachinsky has not been in the audience, rough-edged, congenial and ready with an opinion.

That notion held fast on Tuesday night, when the Issue Project Room in Downtown Brooklyn hosted the second concert of Ten Years Alive on the Infinite Plain, a festive 10th-anniversary series running through late October. The event brought together three important, idiosyncratic artists representing disciplines that Issue has helped nurture during its first decade.

Mr. Dalachinsky, reliably, was present. This time, though, he was a star attraction, starting a long evening that included sets by the saxophonist Joe McPhee and the pianist and performance artist Charlemagne Palestine.

A mixed bag for sure, but Mr. Dalachinsky drew connections in his opening remarks. He and Mr. McPhee, fellow travelers in the ecstatic-jazz scene, knew each other well, he said, adding that he and Mr. Palestine were more recent acquaintances but had bonded quickly as fellow Brooklyn Jews and misfits.

Offered in succession, Mr. Dalachinsky's set and Mr. McPhee's were complementary. Mr. Dalachinsky used a song - Robert Johnson's "Come On in My Kitchen" - as a thread to seamlessly stitch together two of his poems, "Son of the Sun (After Magic)" and "Sweet & Low (Word of Light and Love/The Bill Has Been Paid)." Mr. McPhee used a poem - Langston Hughes's "Birmingham Sunday" - as a motif to bind disparate patches of musical and textual terrain.

Mr. Dalachinsky, beholden to the Beats but seasoned by meaner times, recited with a jazz-horn flow. He rushed one phrase and elongated the next; occasionally he stuttered on a single syllable, and then released the pent-up tension in a gush. Mr. McPhee, on tenor saxophone, mustered a pastor's incantatory tone to recall the September 1963 bombing of a black church in Birmingham, Ala. In an eruptive soliloquy partly based on Duke Ellington's "Come Sunday" and partly on the hymn "Lift Every Voice and Sing," he repeated the names of the four schoolgirl victims like a mantra.

In the wake of Mr. McPhee's wayward sermon, Mr. Palestine's closing set felt like a healing ritual. With his customary menagerie of plush toys at hand, he paced the room, singing softly while rubbing a pealing tone on the rim of his cognac goblet.

After a quirky preamble played with polyphonic toys, Mr. Palestine finally sat at the luxurious Bösendorfer piano Issue had brought in for the occasion - his first Brooklyn performance since boyhood, he said. Sustain pedal pushed to the floor, he played two notes, then more, chords, then clusters, in constant alternation. Coaxing out the instrument's hidden tones and voices with his rippling cascades, he built slowly and intently toward a final chromatic ascent. In its wake, he waved a hand assertively for silence, then gave his toys the final say.

The Ten Years Alive on the Infinite Plain series continues through Oct. 26 at Issue Project Room, 22 Boerum Place, near Livingston Street, Downtown Brooklyn; (718) 330-0313 or issueprojectroom.org.

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21. Andy Warhol, FF Alumn, in The New York Times, Sept. 8

The New York Times
September 8, 2013
Opera and the Theater Have a Back and Forth
By STEVE SMITH

"No Hotel," the new opera by the multidisciplinary cabal Object Collection, lays its figurative cards on the table in relatively short order. Not long into the work, presented in its premiere by the Incubator Arts Project at St. Mark's Church in the East Village on Saturday night, a disjointed semblance of conversation takes place among three performers: Avi Glickstein, Daniel Allen Nelson and Fulya Peker. Lounging in a hotel room with a view of Manhattan visible through a window, they appear life size on a video screen that takes up half the stage.

"We start with the idea that a hotel is like a theater, and a theater is like a hotel," Mr. Nelson says. "They are both places where life is simulated but also suspended. Nothing real happens in a hotel, and nothing real happens in a theater, and yet, in both locations, life looks like it is, or appears to be, taking place." Hotel guests perform in front of their windows like actors on a stage, Mr. Nelson asserts, yet also peer through them like invisible theater spectators.

The same three performers are at work simultaneously on the other half of the stage, live and in the flesh: Mr. Glickstein dressed as a boxer, Mr. Nelson a cowboy and Ms. Peker as a femme fatale. Visible upstage in a loud shirt and feather boa, the composer Travis Just, a founder of Object Collection, conducts a small ensemble: Andie Springer on violin, Josh Lopes on electric guitar, Paula Matthusen on laptop computer, Devin Maxwell on drums.

As Mr. Just's music murmurs, natters and erupts into spasmodic punk-metal hammering, Mr. Glickstein, Mr. Nelson and Ms. Peker embrace, dance, exchange wigs, blurt non sequiturs and repeatedly murder one another. Most of the dialogue is spoken, with sporadic singing and bursts of what might be termed shriekstemme; the music, despite its seeming randomness, hews uncannily to rising and falling tides of eventfulness.
The film proceeds unperturbed. As two bellmen, Eric Magnus and Tavish Miller, attend to the on-screen hotel guests, the real Mr. Magnus and Mr. Miller have glancing interactions with their corporeal counterparts.

What becomes increasingly evident is that the key to "No Hotel" - created by Mr. Just, the writer and director Kara Feely, the videographer Daniel Kötter and the set and costume designer Elisa Limberg - is right there in the title. What the audience sees is no hotel, but a simulacrum formed from expectations, media tropes and a few red herrings for good measure. The live performers are cinematic stock in dress and bearing. The opera is rife with evocations of and quotations from hotel-related films: "Grand Hotel," "Psycho," "Beware of a Holy Whore" and especially Andy Warhol's "Chelsea Girls," whose split-screen effect "No Hotel" emulates.

Halfway through this 70-minute show, a familiar iPhone ringtone heralds the work's theatrical coup. On screen, Mr. Nelson takes the call. The caller is Mr. Nelson, onstage, who engages his doppelgänger in gently batty conversational Ping-Pong. "I am telling the truth," Mr. Nelson softly sings. "I am not telling the truth," he croons back in a complementary key.

From there, the component halves of "No Hotel" run in reverse. Mr. Magnus and Mr. Miller disassemble the on-screen hotel room and then reassemble it onstage. Lines once calmly declaimed now spill out hysterically; chaos and violence repeat. Still, here and throughout, the effect is one of self-conscious absurdity and affectionate play.

"We end with the idea that a hotel is like a theater, and a theater is like a hotel," Mr. Nelson says, reaching the thesis anew. On screen, the boxer, cowboy and femme fatale repeatedly murder one another, blurt non sequiturs, exchange wigs, dance and embrace. You know what's coming - and then it doesn't. "No Hotel" may lay its figurative cards on the table in relatively short order - but they're all jokers.

"No Hotel" runs through Sept. 22 at St. Mark's Church, 131 East 10th Street, East Village; (212) 352-3101; incubatorarts.org.

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22. Christo, Sol LeWitt, FF Alumns, in The New York Times, Sept. 6

The New York Times
Stephen Antonakos, 86, Sculptor of Neon, Dies at 86
By MARGALIT FOX
September 6, 2013

His medium was light; his materials included glass, an electrical charge and Element No. 10 on the periodic table. The result was a series of abstract sculptures that illuminated indoor and outdoor spaces in cities around the globe, instantly recognizable for their vibrant colors and sinuous lines.

Stephen Antonakos, the sculptor behind those works, died on Aug. 17 at 86. Half a century ago, he became one of the first people to usher neon out of the world of HOT L and into the realm of fine art.

His work, which encompasses public-art installations and pieces in the collections of the world's foremost museums, is leagues apart from the commercial signage that until the late 20th century was neon's fundamental expression.

Mr. Antonakos used neon as a painter uses paint. Minimalist, with fluid lines and saturated colors that recall Matisse, his art has appeared in spaces as diverse as airports in Atlanta, Milwaukee and Bari, Italy; metro stations in Boston, Baltimore, Detroit and Athens; a power station in Tel Aviv; and a police station in Chicago.

Two of his installations have long been familiar to New Yorkers: "Neon for 42nd Street" and "Neon for the 59th Street Marine Transfer Station."

"Neon for 42nd Street," installed in 1981 on the outside of a building between 9th and 10th Avenues and since taken down, comprised nested arcs of red and blue. Together they formed a glowing discontinuous spiral that, like much of Mr. Antonakos's work, exploits the haunting possibilities of incomplete geometry.

In the 59th Street piece, erected in 1990 and still standing, Mr. Antonakos outlined the facade of a shipping terminal on the Hudson River at which New York City's trash is transferred to barges.

Elsewhere, his installations include "Four Walls for Atlanta Hartsfield Airport" (1980) and "Chapel of the Heavenly Ladder," exhibited at the 1997 Venice Biennale. In that work, rooted in Mr. Antonakos's Greek Orthodox faith, he built an entire meditative room of rusted iron, suffusing it gently with neon light.

His other work includes drawings, a series of unusual pillows and a set of mysterious, carefully wrapped packages that passed between him and his friends in the 1970s, many of which - by design - remain unopened.

What united Mr. Antonakos's diverse output was his abiding concern with illumination, incompletion and an almost mystical spirituality that is manifest in everything from his overtly religious pieces to the grip that an unopened box has on the imagination.

Stephen Antonakos was born on Nov. 1, 1926, in Agios Nikolaos, a mountain village in Greece, south of Sparta. His family moved to New York when he was 4.

After graduating from Fort Hamilton High School in the Bay Ridge section of Brooklyn, he served from 1945 to 1947 with an Army artillery unit in the Philippines. He later attended the New York State Institute of Applied Arts and Sciences in Brooklyn and began his career as a commercial illustrator.

His own work included an early-1960s series of pillows that married cloth, text, metal (including plumbing pipes and nails) and other found objects. The last pillow in the series incorporated the word "DREAM" in neon, and with that, Mr. Antonakos found his calling.

To study the rich possibilities of the medium, he scoured Times Square at night. His sculptures began life on paper and afterward - in a collaboration between Mr. Antonakos and the industrial fabricators who bent the tubes to his precise specifications - took shape in lighted glass.

In later pieces, Mr. Antonakos laid neon lights behind painted canvases, or behind panels leafed in silver or gold. The technique bathed each piece in a glowing halo, like those illuminating the figures in Byzantine icon paintings, a tradition that long fascinated him.

His work is in the collections of the Metropolitan Museum of Art, the Museum of Modern Art, the Guggenheim Museum and the Whitney Museum of American Art in Manhattan; the Brooklyn Museum; the Philadelphia Museum of Art; and elsewhere.

Mr. Antonakos's first marriage ended in divorce. His survivors include his second wife, Naomi Spector Antonakos, who confirmed her husband's death, in Manhattan, from complications of heart surgery; a son, Stephen B. Antonakos, from his first marriage; and a daughter, Evangelia Antonakos, from his marriage to Ms. Spector.

In the early 1970s, wanting to expand his repertory, Mr. Antonakos asked scores of friends to mail him packages. Among those who responded were the artists Robert Ryman, Sol LeWitt and Christo, no slouch when it came to wrapping things.

What Mr. Antonakos did not tell them was that he planned never to open the packages - he simply exhibited them, wrappings and all. Whether anyone sent perishable material is unrecorded.

Mr. Antonakos then reciprocated by sending meticulously wrapped parcels to a few dozen friends. These parcels, which contained unspecified items of great personal significance to him, came with strict instructions as to when the recipient could open them: some were to be opened in a far-off year, like 2000; others on Mr. Antonakos's death; still others, never.

The project became a de facto performance piece about yearning, distance, memory and - as things turned out - elusiveness.

One of those who received a parcel was the art critic Irving Sandler, author of the 1999 book "Antonakos." Decades ago, Mr. Antonakos sent him a flat package measuring about 18 by 24 inches. It was to remain sealed until Mr. Antonakos's death.
In a telephone interview, Mr. Sandler was asked whether he now planned to open it.
"Yes," he replied. "When we find it. We're going to have to look for it."

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23. Sol LeWitt, FF Alumn, in The New York Times, Sept. 5

The New York Times
September 5, 2013
Sol LeWitt
By KEN JOHNSON
Paula Cooper Gallery
534 West 21st Street, Chelsea
Through Oct. 12

Reincarnated here for the first time since its presentation in the 1988 Venice Biennale, Sol LeWitt's "Wall Drawing #564: Complex forms with color ink washes superimposed" is 2,448 square feet of visual sumptuousness covering three walls of Paula Cooper's main exhibition space.

Bold, black lines about a half-foot wide divide the surface into rectangular compartments, or windows of different sizes, some squarish ones reaching from floor to ceiling, other, smaller boxes the size of conventional picture windows. The black lines create a structure like a single-story office building facade. Centered within each box is a multicolored, crystalline form made of many three- and four-sided, variously colored facets surrounded by a single-color field.

Along with its great sensory appeal, the mural has the conceptual aspect typical of LeWitt's work. It's based on an exacting set of instructions, including an overall diagram specifying all lines, shapes and colors. It's like a giant paint-by-numbers project. There's a Platonic dimension in the sense that the mural may be said to exist primarily in a purely abstract, immaterial way, its potential to be rendered in physical form part of its essence.

But LeWitt's conceptualism had a populist side that came out of '60s-style countercultural thinking: In theory, anyone who has the instructions and access to wall space could reproduce it (though it's unlikely a nonprofessional could do so as beautifully as the expert team employed by the LeWitt estate that did this one). LeWitt's utopian, radically democratic vision for art has not been and probably will never be realized fully, but it's nice to think about.

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24. Benjamin Bellas, FF Alumn, at Hamiltonian Gallery, Washington, DC, opening September 14

September 14 - October 19, 2013
Opening Reception: Saturday, September 14, 2013, 7-9 pm
Artist Talk: Thursday, September 26, 2013, 7 pm

Artists Will Schneider-White and Benjamin Bellas distort the boundaries between the lived and imagined in Ostensible Fictions, an exhibition at Hamiltonian Gallery. Ostensible Fictions will run from September 14 - October 19, 2013 with an opening reception on Saturday, September 14 from 7-9 pm.

Will Schneider-White's paintings present an aqueous environment in which languid figures read and are read, reflect and are reflected. Simultaneously placid and unsettling, humorous and dark, Schneider-White's work revels in its recursive and contradictory imagery, inviting viewers to question his narrative structures.

Benjamin Bellas memorializes moments both imagined and real through his haunting found-object sculptures. Created with everyday objects, some of which include family heirlooms, the meaning of Bellas's work shifts with the inclusion of his accompanying prose, allowing his objects to serve meditations on the poetics of memory and contemporary life.

Will Schneider-White received his MFA from the Slade School of Fine Art, London in 2013 where he received the Steer Prize for Painting. Notable exhibitions include Private Drama,Vibe Gallery, London, UK (2012), and White Studies, BFA Gallery, Portland, Oregon (2010). He is currently the Fountainhead Arts Fellow at Virginia Commonwealth University in Richmond, VA and is a 2013 Hamiltonian Fellow.

Benjamin Bellas received his MFA from the School of the Art Institute of Chicago in 2005. Recent exhibitions include Losing Something You Never Had, Flashpoint Gallery, Washington, DC (2012), Hi-A-Tus, Urban Institute for Contemporary Art, Grand Rapids, Michigan (2012) and A Vague Whole, SPACES, Cleveland (2010). Bellas was the recipient of the 2012 Franklin Furnace Fund for Performance Art and has been a guest lecturer at numerous institutions including The Smithsonian American Art Museum's Luce Foundation Center, and the School of the Art Institute of Chicago. He currently lives and works in Chestertown, Maryland, where he is the Assistant Professor of Art at Washington College.

Contact Gallery Director Amanda Jirón-Murphy with all press inquiries and image requests: amanda@hamiltoniangallery.com

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25. Billy X. Curmano, FF Alumn, at Art Students League, Manhattan, Oct. 21-25

Billy X. Curmano's "Dynamics of the Expanded Narrative" workshop 1:30 to 5:00 pm, Oct. 21-25 at the Art Students League of New York is open for registration. It's an investigation into how the artist's work can tell a story or convey an idea without becoming too literal or heavy handed and how expanded arts techniques can continue this story both on and off the canvas, sketch book or pad and into the environment where virtually anything can happen. An environmental art collaboration focused on the changing climate will be offered as a practical exercise.

Billy X. Curmano is an award winning artist best known for extreme projects in the environment like a 3-day live burial, lengthwise Mississippi River Swim and 40-day Death Valley Desert Fast.

http://www.billyx.net

Art Students League link:
http://bit.ly/fzxa7i

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26. Brian O'Doherty, FF Visionary, at Triple Canopy benefit, October 30

A Benefit for Triple Canopy
Honoring Brian O'Doherty
Wednesday, October 30, 7-9:30 p.m.
Grand Harmony, 98 Mott Street, New York, NY

Tickets begin at $120 and include a seated dinner, cocktails, and performance "

We're pleased to announce artist and writer Brian O'Doherty as honoree for Triple Canopy's fall benefit, which will take place Wednesday, October 30. Please join the editors of Triple Canopy, our Board of Directors, and Publishers Circle members for a seated dinner, cocktails, and a performance in honor of O'Doherty's extraordinary life and work.

Brian O'Doherty (b. 1928, Ireland) has had a remarkable and multifaceted career as artist, critic, novelist, and more. After studying medicine at Cambridge, O'Doherty relocated to the US, where he hosted two network television shows on art; held posts as critic for the New York Times and editor of Art in America; edited and designed issue 5+6 of the multimedia magazine-in-a-box Aspen, a touchstone for Triple Canopy; authored the seminal essay series Inside the White Cube; and, as director for the NEA visual arts and media programs, helped make Soho a magnet for artists, coining the term "alternative space" and championing early video art. From 1972 to 2008, he worked as an artist under the pseudonym Patrick Ireland. To date, he has mounted over forty solo exhibitions including a recent retrospective at NYU's Grey Art Gallery (2007). O'Doherty is the author of several novels, including The Deposition of Father McGreevy (2000), which earned him a nomination for the Booker Prize. P! and Simone Subal Gallery will open a joint solo exhibition of O'Doherty's work in March 2014.

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Goings On is compiled weekly by Harley Spiller