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Contents for January 27, 2014

1. Valerie Tevere, Ginger Brooks Takahashi, Disband, Alison Knowles, FF Alumns, at The Graduate Center, CUNY, Manhattan, Feb. 6-March 8

The James Gallery
The Graduate Center, CUNY
365 Fifth Avenue between 34th and 35th Streets
New York, NY 10016

Hours: Tue-Thu 12-7pm, Fri-Sat 12-6pm


Sexing Sound: Aural Archives and Feminist Scores
Exhibition on view: February 6 - March 8, 2014
Curators: Katherine Carl, Valerie Tevere, Siona Wilson

Sexing Sound: Aural Archives and Feminist Scores will bring together a selection of audio, flyers, scores, documentation of performances, and 'zines of women's sound work in the last two decades with historical references extending back to the 1960s. Intended not as a survey, but rather an animated peek at materials from archives including Her Noise in London, the Fales Library at New York University, Franklin Furnace, the Museum of Modern Art Archives, and the Interference Archive. The exhibition will include an installation by Marina Rosenfeld and materials on Johanna Fateman, Kathleen Hanna, Alison Knowles, Annea Lockwood, and many others, as well as performances by artists Emma Hedditch and Ginger Brooks Takahashi.

Cosponsored by the Andrew W. Mellon Seminar on Images and Information and the PhD Program in Art History.

Exhibition Programming
All events are free, open to the public and first-come, first-serve. Events are in the James Gallery, an ADA fully accessible exhibition space, unless otherwise noted.

Wed, Feb 12, 7pm
Curator's Perspective: Remco de Blaaij
Remco de Blaaij, Center for Contemporary Art, Glasgow, Scotland; Maria del Carmen Carrion, Independent Curators International.
Cosponsored by Independent Curators International.

Wed, Feb 19, 6:30pm
Screening and Conversation
New Film, Dark Matter: Innovations in Yugoslav Cinema in the Late 1960s
Katherine Carl, The James Gallery and The Center for the Humanities, The Graduate Center, CUNY; Nadia Perucic, Art History, The Graduate Center, CUNY.
Cosponsored by the Andrew W. Mellon Seminar on Images and Information.

Fri, Feb 21, 10am-6pm
Sexing Sound: Music Cultures, Audio Practices, and Contemporary Art
Martin E. Segal Theatre
Regine Basha, independent curator; Mark Beasley, curator, Performa; Anya Bernstein, Anthropology, Harvard University; Maria Chavez, sound artist and curator; Cathy Lane, Sound Arts, University of the Arts, London; Annea Lockwood, composer, Emerita, Vassar College; Barbara London, curator; Ellie Hisama, Music, Columbia University; Peter Hitchcock, English, The Graduate Center, CUNY; Kristin Norderval, composer and performer; Anne Hilde Neset, nyMusikk, Oslo; Xaviera Simmons, artist; Valerie Tevere, Media Culture at the College of Staten Island, CUNY; Siona Wilson, Art History, The Graduate Center, and Performing and Creative Arts, College of Staten Island, CUNY.
See website for symposium details.

Cosponsored by the Andrew W. Mellon Seminar on Images and Information, Office for Contemporary Art Norway, the PhD Program in Art History, and The School of Humanities, College of Staten Island, CUNY.

Fri, Feb 21, 6pm
Reception and Performance
J.D. Samson, artist.

Tue, Feb 25, 6pm
Exhibition Tour
Andrew Cappetta, Art History, The Graduate Center, CUNY; Meredith Mowder, Art History, The Graduate Center, CUNY.

Wed, Feb 26, 4pm
Exhibition Tour
María Edurne Zuazu, Music, The Graduate Center, CUNY.

Thu, Mar 6, 6:30pm
Emma Hedditch, artist; Ginger Brooks Takahashi, artist.

The Amie and Tony James Gallery joins the Center for the Humanities' mission to create dialogue across disciplines. Located in midtown Manhattan at the nexus of the academy, contemporary art, and the city, the James Gallery brings a range of pertinent discourses into the exhibition space through a number of innovative formats. While some exhibitions will remain on view for extended contemplation, other activities, such as performances, workshops, reading groups, roundtable discussions, salons, and screenings will have a short duration. As a space for interdisciplinary artistic and discursive activities, the gallery works with scholars, students, artists and the public to explore working methods that may lie outside usual disciplinary practices.

The Center for Humanities at the Graduate Center, CUNY, was founded in 1993 as a forum for people who take ideas seriously inside and outside the academy.

For more information, contact Jennifer Wilkinson
T: 212.817.2020 | E: jwilkinson@gc.cuny.edu



2. Halona Hilbertz, FF Alumn, at Williamsburg Art & Historical Center, Brooklyn, thru Feb. 23

15th Annual WAH Salon Art Club Show
Sat Jan 25 - Sun Feb 23, 2014
OPENING RECEPTION: Sat Jan 25, 4 to 6pm
Coordinated by Mary Westring, Curated by Yuko Nii
Gallery Hours: Fri - Mon, 12 noon to 6 pm



3. LAPD, FF Alumns, at Queens Museum, Flushing Meadows Park, opening Feb. 2

Do you want the cosmetic version or do you want the real deal? Los Angeles Poverty Department, 1986-2014
Jan 31 2014 - May 11 2014

Exhibition opening celebration: Sunday February 2nd, 2014 from 3 - 6 pm

Performance Dates:
State of Incarceration
January 31 and February 1, 2014 at 7:30 pm; February 2, 2014 at 5 pm
Location: Queens Museum

Agentes & Activos (Agents & Assets): Spanish-language performance with English Supratitles
February 28 and March 1, 2014 at 7:30 pm and March 2, 2014 at 5 pm
Locations: To be announced. There will be at least one performance at the Queens Museum.

Open A.I.R Professional Development Workshops
February 7, 4:30-7pm: Educator Workshop
February 23, 2-6pm: Artists & Advocates Workshop

The Queens Museum is pleased to announce Do you want the cosmetic version or do you want the real deal? Los Angeles Poverty Department, 1986-2014, the first museum survey of the Los Angeles-based performance group Los Angeles Poverty Department (LAPD). Founded in 1985 on Los Angeles's Skid Row by performance artist, director, and activist John Malpede, LAPD is made up principally of homeless or formerly homeless people and has been an uncompromising force in performance and urban advocacy for almost 30 years. The exhibition at the Queens Museum will include documentation of works since their first in 1986 and live performances of two critically acclaimed works: State of Incarceration (2010-ongoing) in its East Coast premiere and Agentes & Activos, the North American premiere of the Spanish language version of Agents and Assets (2001-ongoing). In addition, during a five-week residency starting in January 2014, LAPD will engage Drogadictos Anonimos (DA), a Corona, Queens-based recovery group, in a unique partnership in which DA will perform in Agentes & Activos, and LAPD will serve as artistic mentors for the group's street theater initiatives.

State of Incarceration (2010 - ongoing)
A third of parolees released to the Los Angeles area settle in Skid Row. State of Incarceration is a performance, an installation, and an event architecture on the topic of the California prison system. Prison bunkbeds are crammed wall-to-wall into a gallery, and the audience sits amidst the performers, who deliver monologues in the narrow aisles, sweep or scrub the bedframes, or sleep or ruminate on their backs, individually or as a chorus in choreographed sequences. The performance culminates in the making and eating of "The Spread," a meal made up of ramen noodles, cans of tuna, and anything else that could be collectively gathered kneaded together in a garbage bag with with hot water. After the performances, the prison bed structure will host thematically-related community events.

Agents and Assets (2001 - ongoing)
Now a decade-long project that has toured internationally, Agents & Assets combines the strict use of a single found text-an actual 1998 House of Representatives hearing on alleged CIA involvement in crack cocaine trafficking into the Los Angeles area-with changing casts of players and locations all affected by the global drug trade, from Detroit, Michigan to Cochabamba, Bolivia. With LAPD cast members and local partners-almost all of whom have been directly affected by drug policy-speaking the exact words of political figures from Nancy Pelosi to the director of the CIA, Agents & Assets is an extraordinary example of reenactment's emotional charge as an artistic strategy and a masterwork of political theater. Performances will take place at the Queens Museum and elsewhere in New York City, to be announced.

Performance archive
The Los Angeles Poverty Department has documented its performances since they began. In a comfortable setting, visitors can view original video documentation of South of the Clouds, 1986, a series of idiosyncratic monologues generated from the performers' favorite physical activities; No Stone for Studs Schwartz, 1987, a semi-scripted murder-mystery scenario that reflected the unstable and dangerous energy of Skid Row at that time; selections from LAPD Inspects America series (1988-1994), a "kamikaze" performance residency in which core LAPD members would travel to cities across the US and Europe in order to script and perform entirely new works with local homeless people; Jupiter 35, 1989, in which an LAPD cast member who had been thrown from a roof hallucinates his hospital stay; Call Home, 1991, which, inspired by a statistic about the disconnection of homeless people from friends and family, involved a free working payphone installed on the street. Red Beard, Red Beard, 2001/ 2008, a reenactment of Akira Kurosawa's classic film of a doctor and his impoverished patients in a rural clinic, and an important precursor to Agents and Assets, will also be excerpted here, as will an English version of Agents and Assets itself. Home-video and television programming on and by the group is also included.

Finally, one of LAPD's major roles in the last decade has been to document and record the hidden history of Skid Row. From Is there History on Skid Row? (2002)to the three-day pageant Walk the Talk (2012), a "peripatetic performance project based on stories told by the visionaries of the district" LAPD members have interviewed Skid Row's old hands, mapped its changing borders, amassed files from its key organizations, and developed exhibitions, public art, and performances from that material. This phase of LAPD's existence will also be represented in the exhibition, as a way of giving context to work that is extremely specific to its community but broad-based in its relevance to urban settings.

Los Angeles Poverty Department (LAPD)
Los Angeles Poverty Department was founded in 1985 by director-performer-activist John Malpede. LAPD was the first performance group in the nation made up principally of homeless people, and the first arts program of any kind for homeless people in Los Angeles. Skid Row Los Angeles is the poorest area in the city, with the largest concentration of homeless people of any neighborhood in the US. At the time of its founding, poor and homeless people in the neighborhood were warehoused in shelters, fed in soup lines and there was little belief and no means for assisting people to rise out of this condition. LAPD, as the first arts organization on Skid Row, was active in a conversation and a movement with advocates, residents and social service professionals, that changed the paradigm by putting forward the idea that Skid Row could be improved by embracing and nourishing the powers of the people who live there. As their mission statement says, LAPD creates performances and multidisciplinary artworks that connect the experience of people living in poverty to the social forces that shape their lives and communities.

John Malpede directs, performs, and engineers multi-event projects that have theatrical, installation, public art, and education components. In 1985, he founded the Los Angeles Poverty Department (LAPD), a performance group comprised primarily of homeless and formerly homeless people who make art, live, and work on Skid Row. Beyond L.A., he has produced projects working with communities throughout the U.S., as well as the UK, France, The Netherlands, Belgium, and Bolivia. His 2004 work RFK in EKY sought to re-create Robert Kennedy's 1968 "war on poverty" tour in the course of a four-day, 200-mile series of events focused on historic and current issues and social policy. As a 2008 fellow at MIT's Center for Advanced Visual Studies, Malpede developed Bright Futures in response to the financial crisis. He has received grants, with LAPD, from the National Endowment for the Arts, Nathan Cummings Foundation, MAP Fund, NEFA National Theater Project, and Creative Capital, among many others. In 2013, Malpede was one of twenty national recipients of the second Doris Duke Performing Artist Award (Theater).

Do you want the cosmetic version or do you want the real deal? Los Angeles Poverty Department, 1986-2014 is supported by grants from The Andy Warhol Foundation for the Visual Arts and National Endowment for the Arts. Project funding also provided by Surdna Foundation and Institute of Museum and Library Services.

Open A.I.R. Artist Services Workshops are made possible by a generous grant from The Scherman Foundation's Katharine S. and Axel G. Rosin Fund.

Additional support from the New York City Department of Cultural Affairs and New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.



4. Stacy A. Scibelli, FF Alumn, at The Parlour Bushwick. Brooklyn, thru March 9, and more

Hello my dears, folks, and friends,

I hope the holiday hangover has finally worn off and that 2014 is treating you splendidly. I am writing because I have work in two fantastic shows opening in the next two weeks that I would love to let you know about!! It would be great to see you at the openings (one even has a rum sponsor, what what?), but both are up for a while.

Show #9 (Mary Kate Maher, Andrea Monti, Stacy Scibelli)
The Parlour Bushwick
Opening Reception: Saturday Jan 25 6pm-9pm
Show dates: Jan 25 - March 9 Open Sundays 12-6 or by appointment
791 Bushwick Ave at Dekalb Ave


Warehouse Gallery
Opening Reception: Wednesday Feb 5 7pm-10pm
1070 Bedford Ave (supercool vintage clothing store in front, awesome gallery space in back)

Stacy A. Scibelli



5. Rob Andrews, FF Alumn, launches new website at http://www.andrewsautomatic.com

NEW SITE // OLD BLOOD // 1.22.14

I'm pleased to announce a new ongoing collaboration with Ryan McManus and Doug Pfeffer.

My work is no longer available online as an exhibit or artifact.

Something is different. I heard a drum and whisper. I hear dust coming. Our Empire is Ending. It has already ended.

My new website is no longer a parking spot: it lives.

It's a magic 8 ball.

It's my message to the alien anthropologists.

It's my apology and my blood. It's hair on the tongue. It's the keycode to the bunker you built.

Turn the volume up, and reload a few times. Doug and Ryan shoved a rag in my mouth and asked me about the god language I heard in a dream.

It's chicken bones on the floor. Blood. Sweat. Spit.

Visit and visit often. It won't save you, but it's telling your story.

End of Empire.




6. Ruth Hardinger, FF Alumn, now online at creativetimereports.org

The text of Ruth's contribution to Creative Time Reports follows below. The complete illustrated op-ed can be accessed at this link:


Fracking Away Our Air, Water and Land
By Ruth Hardinger New York, NY, USA and Barbara Arrindell Beach Lake, PA, USA January 21, 2014

Artists Barbara Arrindell and Ruth Hardinger of Damascus Citizens for Sustainability argue that natural gas is not a "bridge fuel" to less hazardous energy sources, but a grave danger to communal resources and the global climate, in this op-ed presented in partnership with Marfa Dialogues/NY.

The gas and oil industry would like to craft a wholesome image of natural gas as a clean resource and a "nonfossil" fuel. Neither of these characterizations is accurate. Yes, gas does burn with a nice blue flame at the end user's stove. However, getting that gas to the stove is seriously contaminating our air and water. This is because pumping it in means using high-volume, slick-water hydraulic fracturing, or fracking. Unbeknownst to many, the process has profound health and environmental impacts. Thanks to aged and faulty infrastructure, often built on the cheap and left unchecked for years, gas inevitably leaks on the way from wells to pipelines. Add up all the dangers along the way, and one will soon find that gas has a larger global climate impact than oil or coal. Actual measurements of methane leakage have not been included in the accounting of greenhouse gas levels by the Environmental Protection Agency (EPA). Instead-whether because it lacks the necessary technology to test leak rates or because of political pressure-the agency generally uses emission estimates compiled by the gas industry. As a result, government policies regarding greenhouse gas emissions have been based on false data about the impact of natural gas.

Fossil fuel companies employ elegant advertising and cultivate ignorance as a strategy to support their position that fracked gas is safe and clean. They have succeeded in suppressing information about health conditions brought on by fracking in numerous ways. Gas companies regularly force impacted people to sign nondisclosure agreements as a condition of receiving settlements for damages caused by fracking in their neighborhoods. And for several years the entire industry has been exempted from major portions of protective laws like the Clean Water Act, the Clean Air Act and the Safe Drinking Water Act, thanks to sections of the 2005 Energy Policy Act that have come to be known as the Halliburton loophole. In effect, the exemptions release companies from liability for damages that their executives knew their operations would cause.

What led the oil and gas industry to frack in the first place? As conventional natural gas reservoirs were depleted, the industry realized that it had to go deeper into the ground to find this prehistoric fossil fuel, which was formed from plants and animals hundreds of millions of years ago. Today's extraction technologies do not simply pump gas from an underground reservoir; rather, they use highly toxic chemicals to break up deep shale rock formations. Fracking requires drilling, both vertically and horizontally, often over a mile into the earth, to reach a shale layer that is then bombed-sometimes using depleted uranium-to release bubbles of gas from the shale rock formations. As a result of this process, air, land and water alike are contaminated.

You may have seen the image of a flaming faucet, made famous by Josh Fox's documentary Gasland. Those flames in the water are actually burning methane (the main component of natural gas) that has migrated through underground fractures to reach aquifers, the water sources that lead to our faucets.Independent hydrogeologists warn that migration will inevitably pollute water-it's just a matter of when. But migration is not the only way methane gets into our water. It also leaks through the one-inch cement casings that surround pipes channeling gas from wells to the surface, which are liable to crack and break under pressure or from improper installation.

Methane leakage not only adds to water contamination but also fundamentally contributes to global warming since methane is a highly potent greenhouse gas. Carbon dioxide is the more prevalent greenhouse gas, but methane's contributions to global warming have been substantially upgraded. Last year the Intergovernmental Panel on Climate Change (IPCC) released findings that significantly increased methane's global-warming potential (GWP). One pound of methane is now considered equivalent to 34 pounds of carbon dioxide over a period of 100 years (the measure of GWP), a 60 percent increase over the IPCC's previous figure of 21 pounds. Since methane is most potent during its early years in the atmosphere, however, it is more appropriate to consider methane emissions in the short term. Over 20 years, one pound of methane carries the atmospheric effect of 86 pounds of carbon dioxide. In short, methane has a monumental and still dangerously underestimated effect on global warming.

More locally, the Damascus Citizens for Sustainability (DCS) initiated an investigation of fugitive methane emissions in Manhattan in November 2012. Conducted by Gas Safety, Inc., the study measured methane leakage across 160 miles of Manhattan streets for about a week. The reports indicate that at least 5 percent of the total gas distributed in the city is leaking. What might seem to be an insignificant rise from background methane levels is actually more than enough climate-impacting methane leakage to cancel out the fact that natural gas releases less carbon dioxide when burned. This is because methane warms the globe many times more powerfully than carbon dioxide. In fact, Gas Safety's measurements show that methane leakage levels are 50 percent higher than background levels, which means that New York City's gas distribution and usage are contributing to global climate change.

When we mention fracking to people in New York City, they often ask if we're concerned about a place upstate, as though we are protected because it happens so far away. Nothing could be further from the truth. The numerous risks associated with fracking for New York City residents include contamination of drinking water from the Delaware Catskill Watershed and exposure to radon, a radioactive gas known to cause lung cancer, from gas used for cooking. Since November 1, 2013, the Spectra pipeline, built by the Texas-based company Spectra Energy, has started pumping a mix of Marcellus shale natural gas that has the highest levels of radon in the United States from Manhattan's West Village to the East 14th Street Con Edison plant, and to New Yorkers' homes.

The Spectra pipeline is not the only recent danger New Yorkers face from the gas industry. The Rockaway Lateral pipeline, if approved, will run from underneath Brooklyn across Jamaica Bay and Rockaway Beach, threatening the ecosystem of Rockaway Bay. As we continue to develop natural gas, there will be more air pollution, contamination and impacts on food and the foodshed. With more drilling, there will be more waste and cuttings from drill sites, which trucks will be transporting to Long Island waste plants, likely resulting in spills and the contamination of Long Island Sound and the ocean beaches. Greater dependence on increasingly limited supplies of natural gas will also lead to much higher prices. The high levels of methane emissions unleashed by projects like the Spectra and Rockaway pipelines will contribute to accelerating climate change and attendant dangers like rising seas. In Manhattan we arestanding in a cloud of methane from a leaky infrastructure, and the water around us is swelling.

How do citizens address these issues about shale gas development and use? Community activists and lawyers fought against the Spectra pipeline for several years before the court approved its use. Environmental advocacy is a tough job when the Federal Energy Regulatory Commission's mission is to find a way to permit such pipelines. Yet, even without government agencies to support the concerns of their constituents, local people continue raising their voices. More than 163 environmental and antifracking groups are working to oppose fracking across New York State, the city included. In fact, Woodstock's town board voted to petition the state to make hydraulic fracturing a criminal offense. As of May 2013, 300 towns in upstate New York have either banned or placed moratoriums on fracking. These grassroots efforts have held off fracking in the state for the last six years.

Health and safety should be the driving policy protecting the public, not money, but industry exemptions and nondisclosure agreements hide the environmental and health impacts of fracking. Meanwhile, to protect the public and the environment, we should be urgently focused on stopping fracking, curtailing methane emissions and moving to renewable sources of energy. Natural gas has been championed as a "bridge fuel" on the path to renewable energy. Instead we see more and more wells drilled as gas companies expand into public lands and develop further means of export, with grave consequences for our water, land, air and health. How much more information do we really need to undo the myth that natural gas can save us from climate change? Where is that bridge? Or did we just jump off it?

The Damascus Citizens for Sustainability fugitive emissions report was initiated by Ruth Hardinger and Rebecca Smith. Their project "Emissions: Images from the Mixing Layer" (an exhibition and panel discussion) was part of Marfa Dialogues/NY thanks to the sponsorship of the Cooper Union Institute for Sustainable Design.

Climate Reports is made possible by the Robert Rauschenberg Foundation. This series is produced in conjunction with the 2013 Marfa Dialogues/NY organized by Ballroom Marfa, the Robert Rauschenberg Foundation and the Public Concern Foundation.



7. Karen Shaw, FF Alumn, at Housatonic Museum, Bridegport, CT, opening Feb. 6

Karen Shaw in Pins and Needles Reception Feb. 6, 6-8 at the Housatonic Museum, Bridgeport Ct.

Artists in the show include Kim Bruce, Janice Caswell, Beth Dary, Valerie Hallier, Tamiko Kawata, Karen Shaw, Belle Shafir, Suzan Shutan, Jill Vasileff, and Erwina Ziomkowska.

Housatonic Museum of Art Presents Pins and Needles
The Housatonic Museum of Art presents Pins and Needles on view in the Burt Chernow Galleries, 900 Lafayette Blvd., Bridgeport, CT, from January 21 through February 20, 2014 with a reception on Thursday, February 6, 5 - 7 pm, free and open to the public. Pins & Needles, the humble tools long associated with sewing and spinning which continues to be an essential part of women's domestic and industrial labor, are used as a means of creative expression by the 10 women artists presented in the show curated by Suzan Shutan. Pins and Needles explores a variety of subjects, including memory, mapping, beauty, nature, pleasure, loss, pain, absence and presence, poetry, scripture and spirituality. Artists in the show include Kim Bruce, Janice Caswell, Beth Dary, Valerie Hallier, Tamiko Kawata, Karen Shaw, Belle Shafir, Suzan Shutan, Jill Vasileff, and Erwina Ziomkowska. The Burt Chernow Galleries are free and open seven days a week. Visit the website, www.HousatonicMuseum.org for gallery hours or call 203-332-5052.



8. Jane Dickson, FF Alumn, at Pace University, Manhattan, Feb. 11

Pace University Fine Art Dept Presents
Careers in the Arts, Arts Administration: Curator/Dealer
Tuesday February 11, 2014, 6:15-7:45pm
Lecturers: Ethan Cohen and Joe Ahearn
One Pace Plaza NYC, Lecture Hall South

The Pace University Art Department is extremely delighted to present Ethan Cohen and Joe Ahearn for the upcoming Careers in the Arts panel. Ethan Cohen is the owner and director of Ethan Cohen Fine Arts, the Chelsea Gallery that specializes in Global Art with an Asian emphasis. Joe Ahearn, a Pace alum, is the Performance and Installation Curator at the Clocktower Gallery as well as a resident director and co-founder of Silent Barn, both alternative art spaces in New York City. The two panelists will discuss their roles in the art world and their individual career paths providing an insight into a contemporary art administrative atmosphere. Followed by Powerpoint presentations, students will be encouraged to respond to the speakers in a question and answer format.

More information:
Ethan Cohen is the director and owner of Ethan Cohen Gallery founded in 1987. A groundbreaker in the field of contemporary Chinese art, it was the first gallery to present the Chinese Avant Garde of the 1980s to the United States. It introduced the works of now celebrated artists, such as Ai Weiwei, Xu Bing, Gu Wenda, and Wang Keping. Ethan Cohen Fine Arts today represents a diverse global mix of art, including contemporary American, African, Iranian, Chinese, Korean, Japanese, Russian, Pakistani and Thai, with a continuing focus on emerging as well as established artists.

Joe Ahearn is the Curator of Performance and Installation at Clocktower Gallery and a leading voice in the national network of underground music spaces. Founded by Alana Heiss in the 1970s, Clocktower is devoted to creating art in otherwise unused or overlooked spaces in New York. Since 2008, Ahearn has been a resident curator and managing member of the Silent Barn, a premier underground music space in Brooklyn, where he has curated innumerable shows, organizes programs, and handles finances. He is the Founder and Event Organizer of SleepWhenDeadNYC, a series of inter-organizational, multi-disciplinary, collaborative cultural events based in unusual locations throughout the city. Until 2012, Ahearn acted as the Managing Director of Showpaper, a non-profit, bi-weekly arts and music newsprint with a 60-volunteer staff pool and a circulation of ten thousand.

This panel is organized by Jane Dickson, FF Alumn.



9. Beth B. Maureen Connor, Katya Grokhovsky, Ariane Lopez-Huici, Martha Rosler, FF Alumns, at SUNY College at Old Westbury, NY, opening Feb. 3

Body Conscious
Laia Abril, Beth B., Maureen Connor, Katya Grokhovsky, Ariane Lopez-Huici, L.A. Raeven, Faith Ringgold, Martha Rosler, Ivonne Thein

February 3, 2014 - April 10, 2014

Curated by Emily L. Newman

Opening Reception: Monday, February 3, 2014, 4:00 - 8:00 pm

Lecture by Emily Newman: Monday, February 3, 2014, 4:45 -- 6:00 pm
Campus Center, Room F114

Performance by Katya Grokhovsky, One Fine Day (2014): Monday, February 3 at 7pm

Artist's Talks: February 5, 6:30 pm: L.A. Raeven
February 19, 5:00 pm: Laia Abril
March 5, 6:30 pm: Ivonne Thein

Film screenings: Schedules TBA Lauren Greenfield's Thin (2006), Ariane Lopez-Huici and Marilia Destot's The Body Close Up (2008), L.A. Raeven's Beyond the Image (2010), and Beth B.'s Exposed (2013).

Gallery Hours: Monday through Thursday 12 - 5pm and by appointment

Location: Amelie A. Wallace Gallery, Campus Center, Main Level, SUNY College at Old Westbury, Route 107, Old Westbury, New York 11568

The Amelie A. Wallace Gallery at SUNY College at Old Westbury is pleased to announce Body Conscious, a group exhibition by nine internationally acclaimed artists with diverse and exciting practices. Body Conscious seeks to explore the way artists have addressed female body image in contemporary art. By tackling anorexia, dieting, obesity, etc., each of these artists attempts to articulate the Western obsession with the size of women's body. According to the National Eating Disorders Association, over 20 million women suffer from significant eating disorders. Today, girls as young as six years old are starting to express concerns about their weight. This focus on the female body needs to shift. In this instance, the artists in this exhibition attempt to complicate the idea of "normal," demonstrating the idea of beautiful in the various sizes of body types. However, they also show the intense side effects and the destructive capabilities that eating disorders and body manipulation can have on the female body. Hopefully, by showing these artworks together, the conversation concerning female body size can shift its focus from judging women based on the size of their body to judging the way that media and society often criticizes the female form.

Included Artists:

Laia Abril (b. 1986, Barcelona, splits time between Barcelona and Treviso, Italy) uses documentary photography to draw attention to problematic pursuits of extreme body image, particularly eating disorders. Drawing on her own experiences, Abril has created a three-part project that seeks to create empathy with those who suffer from the disorder, while acknowledging the ways the disease can be perpetuated. Both A Bad Day (2011) and Thinspiration (2012), consider the multiple ways that anorexia and bulimia can infiltrate the lives of young women.

Beth B (b. 1955, New York) critiques the way that society has both perceived and perpetuated the ideal form. Trophies is a series of work that tackle mutations and mutilations of the female physique. Not only does she explore anorexia, she depicts the dramatic way that corsets can actually alter the female body through sculptural representation. Additionally, her film Exposed (2014) examines the way that the nude body can be utilized effectively by various artists to make necessary social statements.

Maureen Connor (b. 1947, New York) challenges traditional views of women by questioning society's depictions of body size, gender, and age throughout her career. Thinner than You (1990) epitomizes this exploration, as she places an impossibly thin, black dress on a pole vaguely resembling the human form. This piece, along with others that utilize the stretching and pulling of lingerie fabric, encourages the viewer to consider the impossible standards set for women's appearance.

Katya Grokhovsky (b. 1977, Ukranian born, Australian raised, New York based) uses performance to challenge identity and gender constructions. Her 2013 collages express the visceral experiences of the body including vomiting, swelling of the body, and the feeling of flesh. Her performance, One Fine Day (2013) utilizes textual descriptions of her body to encourage the often shameful and derisive ways that female bodies are discussed.

Ariane Lopez-Huici (b. 1945, Biarritz, France, splits time between New York and Paris) focuses on the physical body. However, Lopez-Huici often relies upon the unexpected or transgressive, choosing subjects who are not the typical "ideal" of beauty. In that vein, her series of photographs on Aviva and Dalila focus on the flesh of their large bodies, while still highlighting their beauty and power. These ideas are further explored in Rebelles, a series of group shots, focusing on similarly fat bodies posed in ways that reinforce their shape while simultaneously expressing joy and sisterhood.

L.A. Raeven (b. 1971, Amsterdam) challenge the fashion industry and pressures placed on women with their work, while often seeming complicit in perpetuating the heralding of the thin woman. Producing work together, twins Liesbeth and Angelique Raeven began their project Ideal Individual (1999-2001) with the publication of an advertisement that called for women who were extraordinarily thin, essentially pre-pubescent. As the women came for a casting call, they were all told they were not chosen for the program, emphasizing the constant feelings of inadequacy experienced by many women towards their bodies.

Faith Ringgold (b. 1930, New York) often addresses social justice throughout her work, and similarly, Change 2: Faith Ringgold's Over 100 Pound Weight Loss Performance Story Quilt, 1988 (1988) while incorporating personal concerns. After Ringgold lost one hundred pounds, she embarked on a series of quilts exploring her feelings regarding her health and her body. Using anecdotes and personal photographs, this series may address Ringgold's personal struggle with food but are easily relatable to the viewer.

Martha Rosler (b. 1943, New York) makes conceptual art that often causes the viewer to reconsider their own experiences. In one of her earlier videos, Losing: A Conversation with the Parents (1977), she explores the tragedy of anorexia from the perspective of the parents who have lost their daughter to the disease. Just over eighteen minutes, the film recalls the confessional nature of talk shows that were becoming increasingly prevalent throughout the 1970s.

Ivonne Thein (b. 1979, Berlin) creates work that often engages the priority placed on women's appearances. Her series Thirty-Two Kilos (2008) recalls the extreme bodies that appear in fashion magazines: through considerable use of computer manipulation, she modified photographs of already thin women by making them even smaller. The women are posed to recall models' awkward positioning, while wearing very little clothing, which is, in fact, mostly bandages potentially referencing the medicalization of female bodies.

Curator Emily L. Newman is presently Assistant Professor of Art History at Texas A&M University - Commerce. She completed her PhD at The Graduate Center, CUNY, after finishing her MA at Pennsylvania State University and her BA in studio art and art history at Carleton College. Often exploring the intersections between popular culture, feminism, and art, her research focuses on the way contemporary artists have addressed female body image. She has presented at national and international conferences and published on a wide variety of topics including food and performance, rape in contemporary art, and the use of meat as clothing.

A public reception to mark the opening of Body Conscious will be held on Monday, February 3, 2014 between 4 pm and 8 pm. In celebration of the opening, Emily L. Newman will present a lecture on the theme of the exhibition at 4:45 in the Campus Center, Room F114. At 7 pm, Katya Grokhovsky will perform a new piece, One Fine Day (2014).

A series of lectures is scheduled for the exhibition, including talks by Laia Abril, Ivonne Thein, and L.A. Raeven.

Additionally, a number of film screenings will also be presented to accompany the exhibition, including Lauren Greenfield's Thin (2006), Ariane Lopez-Huici and Marilia Destot's The Body Close Up (2008), L.A. Raeven's Beyond the Image (2010), and Beth B.'s Exposed (2013).

The exhibition remains on view through April 10, 2014. Gallery hours are Monday through Thursday between 12pm and 5pm; and by appointment.

For further information about the exhibition, please contact Gallery Director Hyewon Yi at yih@oldwestbury.edu or 646-421-5863. Please visit our gallery Facebook page or follow us on Twitter.



10. Brooke O'Harra, Jeanine Oleson, FF Alumns, at New Museum, Manhattan, April 22-May 24

R&D Season: VOICE
Spring 2014

New Museum
235 Bowery
New York, NY 10002


Organized by the New Museum's Department of Education and Public Engagement, R&D (Research and Development) Seasons connect various projects across multiple platforms around a new organizing theme each fall and spring. The spring 2014 R&D Season theme is VOICE.

Beginning January 2014, this R&D Season leads an investigative examination of voice via a range of activities. Anchored by residencies with two artists-Jeanine Oleson and Brooke O'Harra-and introducing a new Seminar Series, the R&D Season mines voice for its multiple dimensions, including utterance, affective declaration, political speech, the destabilization of language, communication as agency, and cultural translation. Utilized as a means by which to consider such varied concepts and histories as the current state of opera, alternative modes of activism, and the role of conflict within contemporary theater, VOICE R&D Season components will present an array of rich, research-based speculations around objects, ideas, and artistic practices.

VOICE R&D Season program highlights:

Jeanine Oleson: Hear, Here
April 22-July 6
The New Museum hosts the first museum presentation of work by Jeanine Oleson. During a five-month-long residency, Oleson will develop a group of interrelated new works, constituting an exhibition titled Hear, Here, public programs, workshops, a publication, and an experimental opera. The set and objects for the experimental opera (to be staged in the New Museum's Theater this June) will be present during the run of the exhibition, forming an impromptu stage set or catalyst for a series of informal programs, mediated by invited guests in the gallery space, leading up to the final performance. An exploration of different kinds of voices-from the musical voice of opera to political acts of speech-Oleson's project both investigates language and points beyond it. Looking for alternative models, Hear, Here asks questions such as: How can we attune ourselves to each other? Where is the agency in language? What does it really mean to listen?

February 23: Sing, Yell, Tell (Panel)
June 13 & 14: Opera premiere

Additionally, guest music curator Cori Ellison (Dramaturg at Glyndebourne Festival Opera and previously at New York City Opera, 1997-2010) will collaborate with Oleson to produce a series of concerts focused on experimental operatic vocal performance.

Presentation support for Jeanine Oleson: Hear, Hear

Brooke O'Harra: I am Bleeding All Over the Place: Studies in Directing or Nine Encounters Between Me and You
May 16-24
Brooke O'Harra's I am Bleeding All Over the Place... is a protracted performance in the form of a series of studies on directing. The New Museum presents the first three of nine studies that comprise this two-year project. Each iteration takes a variety of forms: some will be clearly scripted, scored, and rehearsed to perfection, while others will be developed or literally "written" in front of an audience. This examination of the director's role through different encounters argues that bodies are never neutral. I am Bleeding All Over the Place proposes a kind of theater where each person operates as both reader and maker, and where the potency of a performance happens in the experiential, emotional, and phenomenological gaps produced by encounters between bodies.

May 16: I am Bleeding All Over the Place: Are we in conflict?
May 17: I am Bleeding All Over the Place: Show me.
May 23: I am Bleeding All Over the Place: It's personal.
May 24: Directing Panel with Brooke O'Harra

Presentation support for Brooke O'Harra: I am Bleeding All Over the Place: Studies in Directing or Nine Encounters Between Me and You

New Museum Seminars: (Temporary) Collections of Ideas
Classes: March 5-May 28; conference: June 6
Continuing its focus on sustained research and ideas in development, the Department of Education and Public Engagement introduces a new Seminar Series, which kicks off in March. Aligned with the R&D Season theme, VOICE, the inaugural Seminar will provide a platform for discussing and debating ideas as they emerge, in real time, and for developing scholarship directly referencing art's place in culture. A group of ten to twelve participants from diverse backgrounds will meet regularly for twelve weeks to plan and implement a bibliography, as well as a public-facing conference on June 6 featuring leading figures whose work has shaped the topic of study.

More information, application, and support for New Museum Seminars: (Temporary) Collections of Ideas

Experimental Study Program
February 6-May 8
The New Museum's Experimental Study Program (ESP) pairs youths (fifteen to twenty years old) with artists to collaborate on projects and research related to Season themes. Over several months, teens and New Museum staff will undergo an intensive exploration of VOICE as framed by Jeanine Oleson and Brooke O'Harra, including examining private and public forms of language and engaging students in activating performative components of both artists' work.



11. Nicole Eisenman, FF Alumn, at Contemporary Art Museum, St. Louis, MO, thru April 13

Spring 2014 exhibitions
January 24-April 13, 2014

Contemporary Art Museum St. Louis
3750 Washington Blvd.
St. Louis, MO 63108
Hours: Wednesday 11am-6pm,
Thursday-Friday 11am-9pm,
Saturday-Sunday 10am-5pm

T +1 314 535 4660


Dear Nemesis, Nicole Eisenman 1993-2013
January 24-April 13
Featuring more than 120 works, this definitive mid-career survey of the work of celebrated American artist Nicole Eisenman charts the development of her practice across painting, printmaking, drawing, and sculpture over the last twenty years. Fusing centuries-old art-making techniques with contemporary subject matter, Eisenman's work explores issues of identity, sexuality, and community, often incorporating both humor and incisive sociopolitical critique. Curator: Kelly Shindler.

About the Contemporary Art Museum St. Louis
The Contemporary Art Museum St. Louis (CAM) presents, supports, and celebrates the art of our time. It is the premier museum in St. Louis dedicated to contemporary art. Focused on a dynamic array of changing exhibitions, CAM provides a thought-provoking program that reflects and contributes to the global cultural landscape. Through the diverse perspectives offered in its exhibitions, public programs, and educational initiatives, CAM actively engages a range of audiences to challenge their perceptions. It is a site for discovery, a gathering place in which to experience and enjoy contemporary visual culture.



12. Terry Dame, FF Alumn, at Barbes, Brooklyn, Jan. 30

Dear Friends,
The time for another episode of Weird Wednesdays has come. This Thursday, January 30th 7:30pm I present Episode Xl - Weird Winter. It's a brand new year, a new venue, new day, new time, new instruments, new weirdness! Yes, we've moved to Barbes in Park Slope for a six month residency on the last Thursday of each month.
January's guest artists include Bradford Reed playing his famous Pencilina and Theremin wizard Cornelius Loy. As usual, I'll be your host for the evening and will present a slice of my own weirdness. Start the year right and mark your calendar. This is going to be yet another amazing night. Read on for more info on the artists, venue and event I hope to see you very soon.

Bradford Reed is a Brooklyn based composer, performer and producer who fights and tames the idiosyncrasies of the pencilina, an original instrument of his own design. He played with King Missile III (and produced 4 of their records) and in the Blue Man Group's original band. He's composed for film and television including the music for the first season of Superjail! on Adult Swim and on the score for Ugly Americans' three seasons on Comedy Central. http://www.pencilina.com/

"Cornelius Loy is an artist, musician inspired by spirituality, nature and the occult. Recording local sounds of birds, thunderstorms, and trains he creates natural atmosphere in his solo compositions featuring theremin, piano, guitar and vocals. For this event Cornelius will be playing a full theremin set!"

Terry Dame's Weird Wednesdays on Thursdays at Barbes
January 30th 7:30 pm
376 9th St, New York, NY 11215
(347) 422-0248

For those just tuning in Weird Wednesdays is a monthly music series I curate featuring instrument inventors and players of objects and musical oddities. Now entering it's second year, each month I present two guest artists in addition to a short set of new works by me, yours truly, host and chief weirdo! Come say hello on our Facebook. pagewww.facebook.com/TerryDameWeirdWednesdays



13. Warren Lehrer, Judith Sloan, FF Alumns, at Neuberger Museum, Purchase, NY, January 30

Jan 30, 4:30pm Reception 5pm Performance/Reading Warren Lehrer
Neuberger Museum of Art Purchase College, SUNY, Purchase, NY, Open to the Public, Free 914.251.6110 http://tinyurl.com/lehrer-purchasejan30

Award-winning writer and designer and Purchase College professor Warren Lehrer presents a multimedia performance/reading of his new book. A Life In Books: The Rise and Fall of Bleu Mobley is an illuminated novel that contains 101 books within it, all written by a controversial author who finds himself in prison looking back on his life and career. In this funny and thought provoking performance, Lehrer presents an overview of Bleu Mobley's life in books via many of Mobley's cover designs and other biographical materials including animations, and video performances of Mobley book excerpts by the band BETTY, actress/poet La Bruja, beatbox artist Chesney Snow, and a live appearance by actress/author Judith Sloan. The resulting retrospective explores the creative process of a writer/artist, as it reflects upon a half century of American/global events, and grapples with the future of the book as a medium as well as the lines that separate and blur truth, myth, and fiction.

"An ingenious, one-of-kind novel." Kurt Andersen, STUDIO 360

"A profound commentary A Life In Books is brilliant, beautiful, delicious
for eyes and mind." Andrei Codrescu, public radio commentator

"A vivid kaleidoscopic odyssey." ‹Jessica Helfand, founding editor DESIGN

"A meticulously illustrated chronicle - Pitch perfect." Steven Heller, THE

For more information visit: http://www.alifeinbooks.net/



14. G. H. Hovagimyan, FF Alumn, at Transfer, Brooklyn, opening Feb. 1

G.H. Hovagimyan

February 1
through February 22, 2014
Opening Reception
Saturday, February 1 2 - 11PM
Info + RSVP
Gallery Hours
Saturdays 2 - 7 PM

Viewings are also available by appointment.

((Ana)Chronisms++) presents 4 works reflecting G.H. Hovagimyan's recent practices and concerns. The works are built upon both his earlier practices and broader art-historical tropes to create an iterative vision.

A member of the New York City art community since the early 1970s, Hovagimyan's work has spanned such seemingly disparate areas as aggressive conceptualism, performative rhetoric, culture jamming, and technology hacking. These practices are united by a single overarching concern - the interrogation of systems, whether they be systems of communication, systems of consumption, or (especially) systems of power.
Running the gamut from augmented reality to hacked antique radios, the exhibition will layer new techniques on to old technology, keeping one foot firmly in the past while scanning the horizons of the future. In an art-world that has typically aligned itself with the capitalist notions of innovation and stylistic obsolescence, Hovagimyan's work functions to both celebrate and repurpose existing forms and techniques, while still keeping an eye on future potentialities.

G.H. Hovagimyan is an experimental artist working in a variety of forms. He was one of the first artists in New York to start working with the Internet in the early nineties. His work ranges from new media and hypertext works to digital performance art, video art, photography and multi-media installations.

His works have been exhibited at MoMA, Mass MoCA, The Whitney Museum, The New Museum, The Walker Art Center, Jeu De Paume, MAC Marseille, MAC Lyon, Pompidou Center, Lincoln Center, ICA The Clocktower, The Kitchen, The Alternative Museum, Eyebeam Art & Technology, List Visual Arts Center, La Gaite Du Lyrique, Stuttgart Kunstverein, Steim Institute, the Moscow Center for Contemporary Art, Postmasters Gallery, and Pace Digital Gallery.
More info at nujus.net/gh

Exhibition Calendar
Mar 2013 Gorczynski
Apr 2013 Miller
May 2013 Silva
Jun 2013 Mills
Jul 2013 Avedon
Aug 2013 Unscheduled
Sep 2013 Gannis & Petropoulos
Oct 2013 Leonard
Nov 2013 Temkin
Dec 2013 Unscheduled
Jan 2014 Alloro
Feb 2014 Hovagimyan

1030 Metropolitan Ave Brooklyn, NY 11211 USA



15. Roberta Allen, FF Alumn, now online, and more

Roberta Allen interviewed online at http://www.dzancbooks.org/collagist-blog/2014/1/21/the-hair-stylist-who-fell-twenty-feet-and-landed-upright-an.html

Her recent story "Forgotten" appeared in The Collagist, the magazine of Dzanc Books. http://www.dzancbooks.org/the-collagist/2013/10/27/forgotten.html

Roberta Allen is the author of eight books and an artist who has exhibited worldwide. She will have a solo exhibition in April. She holds private writing workshops in Manhattan.




16. Frank Moore, FF Alumn, now online at www.youtube.com/watch?v=qIdtxjzMFsE

Black Angel "The Wild Life"
A tribute to Frank Moore and Marianne Faithful

"The Wild Life stars Frank Moore and Marianne Faithfull. Both had handicaps in their lives. Frank a physical handicap and Marianne an emotional handicap. Both lived wild and crazy lives in wild times and overcame their handicaps in different ways. Frank became a well known radio DJ, performance artist and Berkeley, California legend. Marianne bacame a major pop star and the muse for Mick Jagger and the Rolling Stones in the 1960s. WARNING: EXPLICIT PICTURES! Great back-up vocals by Lois Mahalia. Excellent gutiar playing by Ernie Orosco and superb keyboards by Cory Orosco."



17. Tobaron Waxman, FF Alumn, awarded fellowship at Akademie der Kunst der Welt, Cologne, Germany

Tobaron Waxman awarded artist fellowship at Akademie der Kunst der Welt, Cologne, Germany


Starting from January 2014, the Canadian Tobaron Waxman will be the new Fellow of the Academy. Tobaron is a curator, visual artist and a vocalist. Tobaron's work considers flesh to be a material with mutable meanings, and contextualizes gender, embodiment and time as systems of inscription. In addition to performance, photography, video, voice and sound, Tobaron's practice has incorporated Internet, tissue engineering, biofeedback processing, curatorial projects and choreography. Tobaron has created live art, photography, videos and films by incorporating traditional Jewish texts and philosophy in new ways both critical and reverent, as a Queer interrogation of how borders and notions of citizenship make moral and ethical claims on our bodies.

In a talk within the salon series of the Academy, Tobaron will show video and audio excerpts, imagery from various works, and current curatorial projects.

Tobaron Waxman is based between Toronto and New York and has had conceptual artworks, writing, photography and performance published and shown internationally, including Videotage Hong Kong (2006), Kunsthalle Wien (2009), The Jewish Museum of New York (2009), Kulturlabor ICI Berlin (2010), Lentos Museum (2013), New Museum NYC (2013). Tobaron Waxman is now Academy fellow until December 2014.

Artist talk in English.

Date: Tuesday, 28.1.2014
Time: 7.30 pm
Tickets: 3 €/concessions 2 €

Facebook invitation: https://www.facebook.com/events/1391668024415149
Website: http://www.academycologne.org/en/news-detail/article/salon-no-18.html

The Academy of the Arts of the World is an international institution fostering intercultural dialogue in the arts.

The Academy of the Arts of the World is an international institution fostering intercultural dialogue in the arts. Based in the city of Cologne, the Academy is defined by a dynamic interdisciplinary approach that focuses on issues arising from the migration of peoples, ideas and practices. It encourages a critical engagement with both local and global perspectives, exploring ways in which creative communities from different locations and contexts can connect, break down barriers to communication and learn from one another.

The Academy of the Arts of the World comprises a group of up to 40 internationally acclaimed artists and intellectuals from 5 continents and all artistic fields. Members meet annually in order to shape new forms of artistic cooperation, engaging with the diverse cultural and artistic communities of Cologne through events, project and residency programs, and the Youth Academy.
General information




18. John Baldessari, Louise Lawler, Ed Ruscha, Cindy Sherman, William Wegman, FF Alumns, at CCA Wattis Inst. for Contemporary Arts, San Francisco, CA, thru March 29

January 23-March 29, 2014

Opening: Thursday, January 23, 6:30-8:30pm

CCA Wattis Institute for Contemporary Arts
Kent and Vicki Logan Gallery
360 Kansas Street
San Francisco, CA 94103-5130

T +1 415 355 9670


Codex is an exhibition-manifesto conceived by the French artist Pierre Leguillon. It is a salon-style installation of more than 40 artworks, ranging from photographs to drawings to prints. It is inspired by the book form, but contains no books. Instead it focuses on two-dimensional works and videos that in various ways deform and fragment the book.

Codex is a rumination on the idea that even though books have effectively been "flattened" in our digital age, we persist in expecting our screen-based reading experiences to imitate traditional books: by retaining page numbers, by simulating the turning of pages, et cetera. Numerous artists throughout history have experimented with transitioning books from three-dimensional to two-dimensional and vice versa, and it continues to be a recurring motif in contemporary art.

Works in the show include Ed Ruscha's lithographs Some Los Angeles Apartments (1970) and Twentysix Gasoline Stations (1970), in which Ruscha depicts titles from his own oeuvre hovering in midair. To make Shaped Cinema (2010), Jean-Baptiste Maitre took pages from a 1972 Museum of Modern Art catalogue featuring Frank Stella's shaped canvases and reprinted them on 35-millimeter filmstrips, thus producing a flickering deconstruction of Stella's catalogue. Some works hint at the unfulfilled function of books, such as Marcel Broodthaers's Atlas (1975), a lithograph sheet that shows untrimmed pages of his miniature book The Conquest of Space: Atlas for the Use of Artists and the Military, complete with vertical lines delineating the scoring of the book's pages.

The exhibition title, Codex, is a reference to the earliest known bound books, which appeared between the 1st and 2nd centuries AD. Replacing the scroll, the codex made it possible to more intuitively hierarchize the content of a text, and enabled more immediate access to a desired page.

Featured artists: Anonymous, Dove Allouche, Matthew Bakkom, John Baldessari, Laetitia Benat, Lisa Bonard, Alexandrine Boyer, Marcel Broodthaers, Heman Chong, Claude Closky, Robert Crumb, Moyra Davey, Marina Faust, Philip Guston, Aaron Krach, Vincent Labaume, Louise Lawler, Pierre Leguillon, Jean-Baptiste Maitre, Barry McGee, Jerry McMillan, Aurélien Mole, Jean-Luc Moulène, Damián Navarro, Dennis Oppenheim, Raymond Pettibon, Veronique Portal, Conny Purtill, Dider Rittener, Allen Ruppersberg, Ed Ruscha, David Scher, Yann Sérandour, Rafael Serrano, Esther Shalev-Gerz, Cindy Sherman, Alec Soth, Saul Steinberg, Jean-Luc Verna, and William Wegman

The Wattis Institute will present a series of public lectures and exchanges in connection with the exhibition, all conceived around the material, social, and performative aspects of books-manipulating and interpreting them through words and gestures. Visit wattis.org for a schedule.

Codex was first organized in 2011 by teachers and students from the Fine Arts Department of Haute Ecole D'art et de Design (HEAD), Geneva, Switzerland, in their exhibition space, Live in Your Head. This reimagined exhibition at the Wattis Institute will include works from that first show along with new works selected by Leguillon in collaboration with students from HEAD and California College of the Arts. The exhibition is generously supported by swissnex San Francisco.

About the CCA Wattis Institute
The CCA Wattis Institute for Contemporary Arts was established in 1998 in San Francisco at California College of the Arts. It serves as a forum for the presentation and discussion of international contemporary art. Through groundbreaking exhibitions, the Capp Street Project residency program, lectures, symposia, and publications, the Wattis Institute has become one of the leading art institutions in the United States and an active site for contemporary culture in the Bay Area. For more information about the Wattis Institute, visit wattis.org.

About Haute Ecole D'art et de Design
Located in the heart of Geneva, Haute école d'art et de design (HEAD) is one of the most important training institutions for art and design in Switzerland. It offers a wide range of high-level bachelor's and master's degree courses in visual arts, cinema, interior design, graphic design, fashion and accessory design, and media design.

Mailing address:
CCA Wattis Institute for Contemporary Arts
California College of the Arts
1111 Eighth Street
San Francisco, CA 94107-2247



19. Dynasty Handbag, FF Alumn, at Printed Matter Book Fair, Los Angeles, CA, Feb. 1, and more

Saturday, Feb 1st, 11:30 (goodmorning! bwring cwassoints for me)

Sunday, Feb 2, 2:00PM

that's it really for 2014. available for children's parties and adults only parties.



20. Erica Van Horn, FF Alumn, now online at http://bookssite.org/

Erica Van Horn's blog, Notes from an Urban Hibernation, is now online at http://bookssite.org/

Thank you.



21. Colette, FF Alumn, at IFAC, Manhattan, thru Feb. 2, and more

Where Colette will be & where Colette Hopes to find You!

"HOMAGE TO COLETTE " 'Reverse Pop' series./78-83) dec. 12 to feb.2nd.
curated by IFAC for their inaugural exhibition.( records from the story of my life series - archival material and Ephemera )
Exhibition space open- Saturday and Sunday- 12 to 6 pm
Address ; 85 Delancey St. -3rd floor-

Sunday February 2nd. The artist will be there & will sign special art souvenirs for artists and young collectors- 3 to 6 pm.
RSVP-Please let me know if you plan to attend.


Nippon Club-147 West.57th St. tel. 212 581 2223
guest curators- Kyoko Sato Ono and Emil Memon.
Feb 6 to March 6


February 18 to March 14.
Opening Reception .February 18- 6 to 9pm
Undercurrent Projects. 215 East 5 th. St.
For more information.
Please contact LaboratoireLumiere@gmail.com
cell: 1917 848 6105


Some Recent on line press! more to come !






22. Roberto Guerrero ceremony, at Kadampa Meditation Center, Manhattan, Feb. 2

Dear friends,
Thanks to the support of one of our dear friends, Michelle Valladares, there will be a powa ceremony (Buddhist prayer ceremony) for Roberto next Sunday, February 2nd at 9:30am.

Powa Ceremony, a beautiful and powerful ritual practice drawn from the Buddhist Tantras, enables us to benefit the deceased by coming together as a group and making prayers and offerings on their behalf.

Kadampa Meditation Center New York City
127 West 24th Street, New York, NY 10011
(Between 6th and 7th Avenue, at street level)

If you're able to make it, feel free to bring an offering... foods, sweets, tea, something white, or something you think Roberto liked.

It will be day 23 of 49 in the bardo time..
Almost half way there..
I will also be organizing a memorial sometime in the spring, probably the month of May,
Roberto's birth month..
Hope to see some of you next Sunday..

P.S. I may have missed telling some people, so if you're in touch with someone you think should be aware of this, please invite them

Kathy Brew, FF Alumn



23. Michelle Stuart, FF Alumn, at Anthony Slater-Ralph, Valley Glen, CA, opening February 1

Michelle Stuart, FF Alumn, presents The Other Surface at Anthony Slater-Ralph, 5755 Allott Ave., Valley Glen, CA, Wednesdays thru Sundays, 11am-5:30pm, thru March 22nd. 805-969-5565



Goings On is compiled weekly by Harley Spiller