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Contents for December 16, 2013

1. Martha Wilson, FF Alumn, selected by College Art Association's Committee on Women in the Arts

CWA Picks for December

CAA News

CAA's Committee on Women in the Arts (CWA) has selected four important survey exhibitions-of work by Isa Genzken at the Museum of Modern Art and Harmony Hammond at Alexander Gray Associates in New York, by Martha Wilson at Rutgers University, and by Kimsooja in Vancouver, British Columbia-for its December 2013 picks.

CWA Picks
Each month, CAA's Committee on Women in the Arts selects the best in feminist art and scholarship. The following exhibitions and events should not be missed. Check the archive of CWA Picks at the bottom of the page, as several museum and gallery shows listed in previous months may still be on view or touring.
December 2013

Harmony Hammond Alexander Gray Associates 508 West 26th Street, No. 215, New York, NY 10001 October 23-December 7, 2013

The first one-person exhibition of work by Harmony Hammond in New York since the 1990s at Alexander Gray Associates is a must-see minisurvey and a reminder that a retrospective of this feminist- and queer-art pioneer, activist, writer, and cofounder of A.I.R. Gallery and Heresies in the city where she began her career in the late 1960s, before moving to New Mexico in the 1980s, is still overdue.

In one of her statements Hammond reminisces that: "the post-modern focus on representation, contributed to an inaccurate reading of the creative climate in New York during the late 1960s and '70s, a period of interdisciplinary experimentation that resulted in work both conceptual and abstract. Artists moved between the disciplines ignoring, crossing, dissolving boundaries. Abstract painting, especially that coming out of post-minimal concerns of materials and process, was central to the experimentation.... Feminism brought a gendered content to this way of working. I moved to New York's Lower East Side, and then to the corner of Spring and West Broadway in early fall 1969. It was a period of civil rights and antiwar activism, the gay liberation movement, the second wave feminist movement, and the birth of feminist art. I was influenced by and contributed to early feminist art projects. I painted on blankets, curtains, and bedspreads recycled from women friends, literally putting my life in my art. Rag strips dipped in paint and attached to the painting surface hung down like three-dimensional brushstrokes, their weight altering the painting rectangle. Eventually the rags took over and activated the painting field.... This led to the series Bags, and the slightly larger than life-size Presences. These new pieces could be touched, retouched, repaired, and, like women's lives, reconfigured. In 1973, I created a series of six floor paintings made out of knit fabric my daughter and I picked from dumpsters. Strips of fabric were braided according to traditional braided rug techniques, but slightly larger and thicker in scale, coiled, stitched to a heavy cloth backing, and partially painted with acrylic paint-the 'braided rug' literally and metaphorically becoming 'the support' for the painting. The Floorpieces occupied and negotiated a space between painting (off the wall) and sculpture (nearly flat). Placed directly on the floor they called into question assumptions about the 'place' of painting."

Focusing on her longstanding commitment to process-based abstraction, the exhibition includes paintings and works on paper from the past five decades, with a focus on recent paintings and sculptures, allowing a fresh consideration of the way activist concerns and queer identity is inscribed in her work.

Martha Wilson: Staging the Self Mary H. Dana Women Artist Series at the Douglass Library Galleries Rutgers University, 8 Chapel Drive, New Brunswick, NJ 08901 October 21, 2013-January 31, 2014

Named the 2013-14 Estelle Lebowitz Visiting Artist in Residence for the Mary H. Dana Women Artist Series, Martha Wilson is the honorary subject of the exhibition Martha Wilson: Staging the Self, organized by the founding directors of the Institute for Women and Art at Rutgers University, Judith K. Brodsky and Ferris Olin, and featuring primarily early work, namely Wilson's famed photo-text series A portfolio of models.

Born in 1947, Wilson is a pioneering feminist artist and gallery director, belatedly recognized for her innovative photographic and video works that explore her female subjectivity through roleplaying, costume transformations, "invasions" of other people's personae and the "camera's presence." She began making these works in the early 1970s while in Halifax, Nova Scotia, and further developed her practice after moving to New York in 1974. Two years later Wilson founded and continues to direct Franklin Furnace, an artist-run space that champions the exploration, promotion, and preservation of artist's books, video, and installation, online, and performance art, "challenging institutional norms, the roles artists play within society, and expectations about what constitutes acceptable art mediums." As a performance artist she founded and collaborated with Disband, the all-girl conceptual punk band of women artists who couldn't play any instruments; she also impersonated political figures such as Alexander M. Haig Jr., Nancy Reagan, Barbara Bush, and Tipper Gore.
Wilson has been described by the New York Times critic Holland Cotter as one of "the half-dozen most important people for art in downtown Manhattan in the 1970s" and was championed early in her career by pioneering critics such Lucy R. Lippard. Yet while prefiguring notions of gender performativity as theorized by Judith Butler and explored by Cindy Sherman, Wilson's prefeminist strategies of masquerade were marginalized, and her use of her own body often caused her to be written out of the history of Conceptual art, an area in which she radically intervened during the 1970s from the perspective of a woman. Tellingly, Wilson had her first solo exhibition in New York at Mitchell Algus Gallery, Martha Wilson: Photo/Text Works, 1971-74, only in 2008.

Isa Genzken: Retrospective Museum of Modern Art 11 West 53rd Street, New York, NY 10019 November 23, 2013-March 10, 2014

Isa Genzken: Retrospective is the first comprehensive retrospective of the German multimedia artist in an American museum and the largest survey of her work to date. Surprisingly embraced by MoMA, Genzken has been both a controversial and an influential figure in German art of the past thirty years, appreciated mostly outside her country and known as much for her work as for her marriage with Gerhardt Richter, her Nazi family background, and her self-destructive lifestyle (due to mental illness and alcoholism). Capitalizing idiosyncratically on found objects and collage, this exhibition features Genzken's small- and installation- scale works that have helped to redefine contemporary assemblage. The artist, however, has worked in many media over the past forty years, including painting, photography, collage, drawing, artist's books, film, and public sculpture. She begun in the 1970s with geometric curved sculptures from wood whose often-ellipsoid shape could reference the theosophic investigations of her grandfather. The cement sculptures she initiated in the 1980s remain an incredibly powerful chapter of her work and interweave her constant interest in architecture with the "metaphors of vulnerability" that play a central role in her art making, according to the Der Spiegel critic Ulrike Knöfel. Bringing almost 150 objects shown in the United States for the first time, this retrospective offers a thorough introduction to the artist's work, as well as to the role of "minimalism and trash, neon and despair" in it, as the same critic observes. After its run at MoMA, the show will travel to museums in Dallas and Chicago.

KIMSOOJA: Unfolding Vancouver Art Gallery 750 Hornby Street, Vancouver, British Columbia, Canada V6Z 2H7 October 11, 2013-January 26, 2014

Constantly addressing issues of the displaced self and conditions of humanity, Kimsooja "experiments with various media through immobility and non-doing that inverts the notion of the artist as the predominant actor and maker."

Born in Daegu, Korea, Kimsooja is based in New York, Paris, and Seoul and came to international fame in the 1990s following a P.S.1 residency in New York. This period paved the way for some of her most signature pieces: Bottari, Cities on the Move-2727km Bottari Truck, and A Needle Woman, shown in numerous exhibitions and biennales around the world. Bottari Truck consisted of a truck loaded with bottari, the Korean word for bundle, which traveled throughout Korea for eleven days. Replaced by bags in modern society, as the artist has recently said, "Bottari is the most flexible container in which we carry the minimized valuable things and its use is universal through history. We keep precious things, mostly in dangerous zones of our life, such as war, migration, exile, separation or a move where urgency take places. Anyone can make Bottari.... however, I've been intentionally wrapping it with used or abandoned Korean bedcovers that were made for newly married couples with symbols and embroideries and mostly wrapping used clothing inside-that has significant meanings and questions on life. In other words, the Bottari I wrap is an object that contains husks of our body wrapped with a fabric that is the place of birth, love, dream, suffering and death-a frame of life. While Bottari wraps bodies and souls, containing past, present, and future, a Bottari truck is rather a process than a product, or rather oscillating between the process and the object that is a social sculpture. It represents an abstraction of personage, an abstraction of society and history, and that of time and memory. It is a loaded self, a loaded others, a loaded history, a loaded in-between. Bottari Truck is a processing object throughout space and time, locating and dislocating ourselves to the place where we came from, and where we are going. I find Bottari as a womb and a tomb, globe and universe, and Bottari Truck is a bundle of bundle of bundle folding and unfolding our mind and geography, time and space."

Following the Bottari Truck project, Kimsooja started a video performance called A Needle Woman, showing the artist from the back standing in the middle of main thoroughfares in various cities throughout the world. This work further developed the concept of sewing toward abstraction, bringing together people, nature, cultures, and civilizations.

As a broad survey that includes early textile-based pieces from the 1980s to large site-specific installations as Bottari Truck and videos, this exhibition highlights works that address notions of time, memory, and displacement in the face of change and social flux, and of the relationship between the human body and the material world.

College Art Association.
50 Broadway, 21st Floor, New York, NY 10004 | T: 212-691-1051 | F: 212-627-2381 | nyoffice@collegeart.org

The College Art Association: advancing the history, interpretation, and practice of the visual arts for over a century.

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2. Ken Butler, FF Alumn, in The New York Times, Dec. 13

The New York Times
December 13, 2013
Invention and Whimsy, Inspired by a Toy
By STEVE SMITH

The spirits of John Cage and Charles M. Schulz's Schroeder converged on the Lower East Side on Thursday night, when the UnCaged Toy Piano Festival got underway at Pianos, a cozy, noisy nightclub on Ludlow Street. Founded in 2007 by Phyllis Chen - a skillful pianist and composer, a budding impresario and a leading proponent of the toy piano as a vehicle for serious music - the festival opened with a performance by Margaret Leng Tan.

Ms. Tan, who was celebrating her 68th birthday on Thursday, has long been the toy piano's most serious and diligent advocate. It made sense that she would occupy a prominent slot in Ms. Chen's festival. But it also seemed oddly appropriate, given the number of toy-piano fanciers in the room, that Ms. Tan abandoned her familiar keyboard for a new one: the Speak-and-Play, a voice synthesizer developed by the sound artist and inventor Ranjit Bhatnagar.

Using the instrument, an electronic keyboard that produces samples of Mr. Bhatnagar's voice intoning 40 fundamental sounds used in English, Ms. Tan played five selections from Cage's "Indeterminacy," with Mr. Bhatnagar on percussion, radios and toys. The performance was by no means smooth - imagine the name "Cage" rendered as "kh ... AY ... dhz ... uh" and you get the general idea - but it was serious and screwy, befuddling and captivating, all at once.

In that sense, the performance was a quick glimpse of much that would follow in the show, the first event in a three-concert series that would include an open workshop on Friday night and a program with eight world premieres on Saturday. Most of the performances could be fairly described as quirky, without selling their integrity short.
The festival's call for scores specified music for "toy piano plus unconventional instrument." Lukas Ligeti paired the keyboard with a digital sampler in his bucolic, kinetic "Play Addict," performed by Ms. Chen. In "Chromotoy Three Sketches 1.2," by Christina Viola Oorebeek, the pianist Tristan McKay played stark, dramatic figures on a toy piano, mixed with a busy electronic soundscape and chattering rhythms from a "soundwheel," essentially a bicycle wheel mounted upright on a tabletop and amplified.
Peter Koeszeghy's "Moon Veil," also played by Mr. McKay, paired assertive one-handed chords on toy piano with gently floating melodies blown on a melodica. Tristan Perich's "qsqsqsqsqqqqqqqqq," for which Ms. Chen and Cory Smythe joined Mr. McKay, provoked a blissful whirligig with dizzying Minimalist patterns and chirping 1-bit electronics.

Along with those complex pieces came examples of pure charm and whimsy, as in a six-song set by Alexa Dexa, who accompanied her hearty, flexible voice with toy piano, desk bells and other gadgets. Ken Butler, a ceaselessly inventive instrument builder, coaxed flashing lights and simple, throbbing melodies from his one-string "K-Board," over which blew an extraordinary trumpet-like solo on a small strip of latex. And a closing set of three playful, semi-improvised pieces, played by Matt Evans on toy piano, wood blocks and knickknacks, invited eager audience participation.

The UnCaged Toy Piano Festival concludes on Saturday evening at the DiMenna Center for Classical Music, 450 West 37th Street, Manhattan; uncagedtoypiano.org.

The image of Ken Butler that accompanies this article can be seen online at http://www.nytimes.com/imagepages/2013/12/14/arts/sub14TOYjp.html

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3. Sol LeWitt, FF Alumn, in The Wall Street Journal, Dec. 13

Wall Street Journal
NY Culture
Celebrating the Minimalist's Music
Sol LeWitt's Vast Cassette Tape Collection Is on Exhibit, and a Concert Featuring Composer Steve Reich Benefits the Venue
By
Andy Battaglia
Dec. 13, 2013 10:33 p.m. ET

Steve Reich's 'Drumming' being performed in 2008. Sally Mack

The late artist Sol LeWitt was ordered and systematic in his work-and, evidently, in his passion for music.

"I've been in artists' studios where there are walls of records or CDs, but the obsessiveness and encyclopedic nature of this takes it into a different category of interest," said Richard Klein, curator of "Sol LeWitt: The Music Collection" at the Aldrich Contemporary Art Museum in Ridgefield, Conn.

Mr. Reich in 2011. Getty Images

The exhibition, which opened in September, features 3,970 cassette tapes that belonged to the minimalist artist, each one numbered and notated in a logbook and arranged on neat, white shelves.

The museum brings some of the spirit of the show to New York for a benefit concert on Sunday at Le Poisson Rouge, featuring LeWitt's friend and fellow music aficionado, the composer Steve Reich.

"I had been to his studio several times over the years and would laugh at the meticulous detail with which he filed away and hand-wrote on each cassette and put them in order," said Mr. Reich, who will present his intricate percussion works "Drumming" and "Clapping Music" at the concert.

"He was a music lover," Mr. Reich said of LeWitt. "He appreciated not only the sound but also the structural ideas involved."

When at work in his studio, LeWitt listened to music "absolutely all the time," said his wife, Carol LeWitt. "He would always say he learned everything about making art from reading Bach LP jackets."

A partial installation view of 'Sol LeWitt: The Music Collection.' Chad Kleitsch/LeWitt Collection, Chester, CT

Bach, whose centuries-old baroque music is an unexpected influence on LeWitt's work, figured heavily in the artist's music collection, as did 20th-century composers such as Harry Partch, Arnold Schoenberg, Karlheinz Stockhausen, Aaron Copland and George Gershwin.

"I was proud to be in his collection," said Mr. Reich, who befriended LeWitt in SoHo in the 1960s.

In 1970, when Mr. Reich was still finding his way alongside fellow upstart artists including Richard Serra and Philip Glass, LeWitt purchased some of his scores.

The proceeds allowed Mr. Reich to buy instruments needed to finish work on "Drumming," a historic minimalist composition that (like "Clapping Music") features rhythms that move in and out of sync.

Another partial installation view of 'Sol LeWitt: The Music Collection.' Chad Kleitsch/LeWitt Collection, Chester, CT

"Sol collected a lot of work from young artists. It was generous, and everybody benefited," Mr. Reich said.

The concert on Sunday will benefit the Aldrich, a contemporary art museum situated roughly an hour north of Manhattan, in the state where LeWitt spent the last decades of his life.

"He loved living in Connecticut," Ms. LeWitt said of their shared home in the town of Chester.

As to how her husband might have liked his musical tastes represented by a Reich performance, she said: "They adored each other. It was a lifelong friendship. I think he would be very honored and proud."

"It was clear that we were in sync," Mr. Reich added, "and were receiving the same stations in our antennae."

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4. Mona Hatoum, Shelagh Keeley, Ana Mendieta, Adrian Piper, FF Alumns, at Museum Abteiberg, Monchengladbach, Germany, thru Mar. 16, 2014

In Order to Join − the Political in a Historical Moment
8 December 2013 - 16 March 2014

Helen Chadwick, Chohreh Feyzdjou, Angela Grauerholz, Sheela Gowda, Jamelie Hassan, Mona Hatoum, Rummana Hussain, Shelagh Keeley, Astrid Klein, Ana Mendieta, Pushpamala N., Adrian Piper, Lala Rukh and Rosemarie Trockel
Curated by Swapnaa Tamhane and Susanne Titz

Opening Sunday, 8 December
12 pm - Opening Ceremony and Speeches
Welcome: Norbert Bude, Mayor of the City of Mönchengladbach,
Dr. Marie Cathleen Haff, Programm Fellowship Internationales Museum, Kulturstiftung des Bundes
Introduction: Swapnaa Tamhane and Susanne Titz
2 pm - Curators' tour
4 pm - Open Discussion with Artists

The work of Rummana Hussain (1952-1999) and her title "In Order to Join" in 1998 were the initial inspiration for this exhibition as a way to consider how one responds to a rapid moment of political change. "In Order to Join" brings together artists born between 1947 and 1957- the postwar, post-Partition era - to look at works and practices that engage with a political framework addressing concepts of nationalism and institutions while questioning their own position within these structures. This generation indicates signs of social liberalization and emancipation; they were children when the Cold War began, adolescent and young women during the Vietnam War, the oil crisis of 1973, or Indira Gandhi's Emergency regime from 1975 to 1977. These artists enter and depart from dialogues with but are not positioned within Western canonical frames such as Modernism, Pop, Performance Art, or even the Feminist movement of the 1970s. They are in the "inbetween", standing alongside but very much present. This "instability" is due to the dominance of conceptual strategy and thinking, and ultimately, they are both working with and against the possibility of "joining". "In Order to Join" will tour to Dr. Bhau Daji Lad Museum, Mumbai, 1 November to 14 December, 2014. There will be a workshop in association with KHOJ International Artists' Association, Delhi, in December 2014. Initiiert und gefördert durch die Kulturstiftung des Bundes im Rahmen des Fellowships Internationales Museum mit Unterstützung durch das Goethe-Institut. Realisiert mit weiterer Förderung durch das Ministerium für Familie, Kinder, Jugend, Kultur und Sport des Landes NRW, die Sammlung Rheingold, das Ontario Arts Council, The Canada Council for the Arts und die kanadische Botschaft in Deutschland. Museum Abteiberg Abteistraße 27 D-41061 Mönchengladbach T +49 2161 252631 mail@museum-abteiberg.de www.museum-abteiberg

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5. Marina Abramovic, FF Alumn, in The New York Times, Dec. 15

The New York Times
December 15, 2013
Theater Review
The End, if It's Up to You
By CHARLES ISHERWOOD

That familiar fantasy of spying on one's own funeral has come spectacularly true for at least one of us mortals, the performance artist Marina Abramovic, whose work dates back to the 1970s and who has become a slavishly adored fixture on the art-celebrity circuit over the past decade. In "The Life and Death of Marina Abramovic," a new music-theater piece being presented through Saturday in the Drill Hall of the Park Avenue Armory, Ms. Abramovic is lying plushly in state on a giant stage draped in black and lit by glowing white neon bars.

As befits an art-world star, the drama of Ms. Abramovic's pseudo-sendoff has been entrusted to another aesthetic luminary, the avant-garde theater and opera director Robert Wilson. The inception for the project came when Ms. Abramovic called Mr. Wilson and asked if he'd be interested in staging her funeral - death being a primary preoccupation of this self-punishing artist; he agreed, as long as he got to stage the life, too. Also providing eulogistical and biographical interpretation are well-known figures from other artistic realms: the composer and singer Antony (of Antony and the Johnsons), dressed in space-age black velvet and appearing as a sort of avatar of Ms. Abramovic, and the actor Willem Dafoe, looking like a skeleton raised from the dead himself in his white makeup under a flaming pouf of red hair.

If you've ever fallen into a daydream of contemplating your own interment and selecting the guest list, you are unlikely to come away from "Life and Death" with any practical tips, unless your digital address book is likewise stuffed to the gills with the names of artistic luminaries. Nor, I'm afraid, will general theater audiences attracted by the savory soup of talent involved find much to satisfy them here. This visually opulent but dramatically opaque consideration of the life and career of Ms. Abramovic will probably give pleasure verging on the orgiastic only to fervent admirers of Ms. Abramovic and Mr. Wilson. Both artists are known for creating work that tests audiences' (and artists') powers of endurance, and while "Life and Death" runs under three hours with intermission - a mere snap of the fingers in the timescape of their most monumental pieces - its fragmentary structure and largely static stage pictures often seem to stretch the passing minutes out indefinitely.

The artist is present onstage, to borrow the title from the recent retrospective of Ms. Abramovic's work at the Museum of Modern Art. (It was the title of her popular stare-a-thon throughout the run of that show, too, as well as an HBO documentary.) Ms. Abramovic appears in "Life and Death" in several guises. The show opens with one of its most striking images: Three almost identical-looking female figures, their faces painted vampire white (a longstanding Wilson motif) are found lying motionless on black coffinlike structures as the audience enters. Black dogs, silhouetted against a brightly glowing backdrop (another classic Wilson touch), romp across the stage, sniffing and chewing at an elegantly arranged pile of bones, each spotlit in red light. One of the figures is Ms. Abramovic, who has written that she does indeed wish, when she's actually dead, to have three coffins involved in her burial, presumably for purposes of sowing confusion and mystery: No one will truly know what happens to the body that she employed as her primary medium.

Ms. Abramovic makes her first appearance in the disjointed biographical drama that follows portraying her own mother, who looms large as a baleful influence in her life. (At times, the show threatens to devolve into a fabulously highbrow version of "Mommie Dearest.") Most of the narration is provided by Mr. Dafoe, giving motor-mouth commentary on the action (which is glacially paced, as is Mr. Wilson's way) from a platform in front of the main stage, surrounded by piles of newspapers.

The macabre Wilson maquillage turns Mr. Dafoe into a ringer for the Joker character from the Batman franchise, and he brings a dark, mordant humor (and several accents) to his delivery of the text, which ranges from random ticker-tape bullet points from Ms. Abramovic's life ('68 - "discovering Zen Buddhism," '73 - "burning her hair, cutting a star on her stomach with a razor blade") to more elaborately related stories of her traumatic home life growing up in Yugoslavia.

The grimmer passages of her youth were clearly formative influences. At one point, Mr. Dafoe describes a fight Marina got into with her suffocating mother, which ended with her mother saying that since she'd given Marina life, she had a right to take it. With that she flung a heavy ashtray at her head; Marina contemplated letting it hit her but ducked at the last minute.

The art she went on to create would flirt with the self-destructive impulse that was awakened by this and other incidents. In some sense, Ms. Abramovic's hated mother embodied the idea of death for her, and she appears here as a sinuously menacing figure, stalking across the stage, tapping a finger on her arm indifferently, as tales of Marina's miserable childhood are depicted.

The impulse to transform her body physically through self-mutilation was born, it is humorously implied, by Marina's youthful desire to break her own nose (and have it redesigned by a surgeon to resemble Brigitte Bardot's). One of the songs written and sung by Antony underscores the idea of creating art from abuse: "I will make a necklace from the stones you throw," he croons in his ethereal sob of a voice. (Other lyrics hew more to vague New Age imagery: "I am a volcano of snow.") Ms. Abramovic does a little singing herself, in a slightly croaky, accented voice that might charitably be compared to Marlene Dietrich's.

The stories of Ms. Abramovic's rough upbringing enliven the proceedings with their bleak humor, but much of the rest of the text is more impenetrable. There isn't much cogent or sustained reflection about her career or the themes that run through her work. Instead, Mr. Dafoe gives a plodding description of some of the mundane actions Ms. Abramovic performed during her piece "The House With the Ocean View" (2002), in which she spent 12 days living on platforms in the Sean Kelly gallery, her only sustenance water, her every action on view to the public (during gallery hours, at least).

In the second act, Mr. Dafoe and Ms. Abramovic, dressed in military garb - Ms. Abramovic's parents were celebrated for heroism in the fight against the Germans during World War II - sit on the stage and trade chatter about her difficulties with romance. Mr. Dafoe's running commentary is often hilariously funny, undercutting Ms. Abramovic's lugubrious self-seriousness.

That archness also swamps the show during some other passages, as when she provides a series of recipes for "spirit cooking," or when the cast barks out through megaphones a series of prescriptions for artists to live by. ("An artist must be aware of his own mortality.") Whether this was intended to be satirical, I couldn't quite tell, but then much of what takes place in "Life and Death" defies easy exegesis, or even simple comprehension.

The rigorous, elemental aesthetic that has defined Ms. Abramovic's own works here has been amplified by the manifold contributions of her collaborators, resulting in a show whose lavish effects tend to keep the woman at its center at a distance, atop a glossy pedestal instead of uncomfortably in our faces, as she is in her solo performances. "The Life and Death of Marina Abramovic" feels more like the gilding of an icon rather than the illumination of an artist's experience.

The Life and Death of Marina Abramovic
Conceived, directed and designed by Robert Wilson; co-creator, Marina Abramovic; performed by Ms. Abramovic, Willem Dafoe and Antony; musical director, composer and lyricist, Antony; composer, William Basinski; composer and lyricist, Svetlana Spajic; costumes by Jacques Reynaud; co-director, Ann-Christin Rommen; dramaturge, Wolfgang Wiens; lighting by A. J. Weissbard; sound by Nick Sagar; makeup design by Joey Cheng; video by Tomasz Jeziorski; music supervisor and music mix, Dan Bora. Presented by Park Avenue Armory, Alex Poots, artistic director. At the Park Avenue Armory's Drill Hall, 643 Park Avenue, at 67th Street; 212-933-5812, armoryonpark.org. Through Saturday. Running time: 2 hours 40 minutes.

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6. Kazuko, FF Alumn, at gallery onetwentyeight, Manhattan, opening Dec. 19

gallery onetwentyeight
128 Rivington Street, New York, NY 10002
212-674-0244 galleryonetwentyeight.org
gallery hours: Wed-Sat 1-7pm, Sun 1-5pm

Holiday Popsicle Show
Dec 19, 2013 - Jan. 25, 2014

Opening Reception: Thursday, Dec 19, 6-8pm

Dec 31, 2013: New Year's Eve Party with performances by Diana Moonmaid, D. Fenn, and Kazuko,
fake open mike 6pm on

Artists: Linda DiGusta, Peggy Cyphers, Tomoko + Kotatsu Iwata, Kunio Izuka, Kazue, Kazuko Hyakuda, Yayoi Yokoyama, David Fenn, Kazuko, Eric Ginsburg, Kaitlin Martin, Haruko Mochimaru, Michiyo Hoshi, Yuko Kubota, Ken Cro-Ken, Katjuscha, Yuko Kondo, Emily Fuller, Yuma, Jeff Matters, Devin Reese, April Vollemer, Fumiko Kashiwagi, Izumi Tokuno, Ne'ne', Benjamin Keller, Jesper Haynes, Judy Linn, Doris Wyman, Mayumi Takagi, K. Saito, maybe Barbie and . . . . . .

Do you count the Days?

There have been 339 so far this year.

Do you have 339 dollars?

Buy some art.

It's Christmas.

Gallery OneTwentyEight.

The Lower East Side's Longest Continuing Gallery.

New Stuff.

Some see it. Be one of them. Be some of them.

It's Fun!

Holiday Popsicle Show.

It's before what Hip was.

What are you going to do about it?

Smiley Face.

Letter L Letter O Letter L.

128 Rivington St.

Come see it.

Be one of the some Dummy.

Splat!

galleryonetwentyeight.org
F•J•M•Z Trains: Delancey St. & Essex St.

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Goings On is compiled weekly by Harley Spiller