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Contents for February 04, 2014

1. Artstor to release performance videos from Franklin Furnace

We are delighted to announce that Artstor is collaborating with the Franklin Furnace Archive to introduce videos in the Digital Library in the coming months. Franklin Furnace has been championing performance and other ephemeral arts for more than three decades. Martha Wilson, Franklin Furnace's founding director, elaborates on the significance of this collaboration:

While there is undeniable value to gathering objects from performances such as costumes, props, and ephemera, video offers an irreplaceable key to understanding temporal works. Moving images are the best window we have into the past-no amount of caption text or notes from scripts can convey the look and feel of this pivotal time! Franklin Furnace is pleased to be working in collaboration with Artstor to bring video documentation of our performance art events to a broad scholarly audience.

We hope these fifty videos featuring Franklin Furnace alumni such as Alice Aycock, Ericka Beckman, Lee Breuer, John Cage, Guy De Cointet, Constance De Jong, Richard Foreman, the Kipper Kids, Jill Kroesen, Matt Mullican, Michael Smith, and William Wegman will provide insight into the intentions of avant-garde artists from 1976 forward, and will help to embed the value of ephemeral art practice in art and cultural history.

-Martha Wilson, January 2014

For complete information with images please visit the following link:


thank you.



2. Carolee Schneemann, FF Alumn, in The New York Times, Jan. 30

The New York Times
Movies|Movie Review
A Woman Whose Ecstasy Ignited a Riot
'Breaking the Frame,' a Documentary About Carolee Schneemann
JAN. 30, 2014

Nicely immersive if largely uninformative, "Breaking the Frame" is best appreciated as a chance to spend time with the painter, filmmaker, author, performance artist and epic cat lover Carolee Schneemann (born 1939). One of the leading female figures of American avant-garde cinema, Ms. Schneemann is best known for "Fuses" (1965), a gorgeous onetime scandal that features explicit images of her having sex with her partner, the composer James Tenney. "I can consider 'Fuses,' " Ms. Schneemann once wrote, "not simply as a film but in its revelatory cultural erotic intrusion - a vision (message) of genital sexuality and female pleasure which vitalized and agitated the art world."

It's also a visually beautiful, hypnotic work that is said to have instigated a small riot when it was shown at the 1989 Moscow Film Festival as part of a sidebar on sexuality in American movies that also included Steven Soderbergh's "sex, lies & videotape" and Russ Meyer's "Beyond the Valley of the Dolls." After "Fuses" first played in the festival, its later screenings were initially canceled; it was eventually shown, unannounced. In an interview in the feminist art magazine Meaning, Ms. Schneemann told a hilarious story about being interviewed by the head of sexual education in the Soviet Union. When Ms. Schneemann asked the translator what the sex-ed commissar was saying, he replied, "She's saying you are a pornographer and a dangerous woman."

Ms. Schneemann may have been both, even if pornography is such a dull, dreary word for a juicy film that insists that the display of female sexual pleasure - including a woman's pleasure in a male lover's body - can be at once cinematic and nonsexist. With its abstracted, fragmented, sometimes heavily obscured images of her and Mr. Tenney having sex, which Ms. Schneemann mixed in with other images of everyday life (petting a cat, running on a beach), "Fuses" transcends commercial pornography and erotica to become something else entirely. In it, she doesn't just assert herself as a sexual being: Through her manipulations - she cut, taped, baked (!) and soaked the film in acids and dyes - she also inscribes ownership of her image and, by extension, her sexuality, onto its material surface.

You see glimpses of "Fuses" and snippets from other Schneemann works in "Breaking the Frame," a kind of poetic ode to her by the filmmaker Marielle Nitoslawska. Using assorted film and video formats and doing most of her own shooting, Ms. Nitoslawska plunges you into Ms. Schneemann's past and present with few of the usual documentary signposts. Speaking in a hushed voice, Ms. Nitoslawska provides a skeletal biographical portrait while wandering around her subject's handsomely lived-in country house, and peeking into rooms and old diaries that slowly bring a life into focus. Every so often, Ms. Schneemann, whose work insistently erases barriers - between the mind and the body, the raw and the cooked - speaks. You seize on every word.

Ms. Nitoslawska's sotto voce asides and elliptical, associative approach - she intersperses her visuals with Ms. Schneemann's without necessarily identifying which is which - can be pleasantly lulling. Yet for those unfamiliar with the sweep and historical importance of Ms. Schneemann's work, the movie can also register as frustratingly hermetic, almost private, because so much is left unsaid, making it sometimes feel more like a private exchange than a shared one. Ms. Nitoslawska can also be pointlessly vague: "You paint," she murmurs, "and you write, you perform, you film and you write." All true. Ms. Schneemann did - and does - all that and more, which is partly why "Breaking the Frame" is a tantalizing teaser for a story that still needs to be told.

Breaking the Frame
Opens on Friday in Manhattan.
Produced, written and directed by Marielle Nitoslawska; director of photography, Ms. Nitoslawska; edited by Monique Dartonne; music by James Tenney; released by Picture Palace Pictures. At the Anthology Film Archives, 32 Second Avenue at Second Street, East Village. Running time: 1 hour 40 minutes. This film is not rated.
A version of this review appears in print on January 31, 2014, on page C9 of the New York edition with the headline: A Woman Whose Ecstasy Ignited a Riot



3. Daze, Lady Pink, Sharp, FF Alumns, in The New York Times, Jan. 28

The New York Times
Art & Design
A Medici to Spray Paint and Graffiti Artists
JAN. 28, 2014

"Times have changed," Aaron Goodstone said stoically, eyeing the spruced-up brick tenement at Ridge and Stanton Streets on the Lower East Side, now hip, where his friend Martin Wong once lived. Thirty years ago, when Mr. Goodstone was a teenage graffiti artist, he vied with drug dealers for the corner pay phone to reach Wong in his buzzerless sixth-floor walk-up: a salon, a studio, an archive and a refuge among the crumbling buildings and gated storefronts.

Wong, a major painter in the East Village art scene, who died in 1999, was also a major collector. A mentor to young artists, he amassed about 300 works of graffiti in that small railroad apartment. Nearly 20 years after he donated his collection to the Museum of the City of New York, nearly 150 of those works are in "City as Canvas: Graffiti Art From the Martin Wong Collection."

The first exhibition of Wong's collection, opening on Tuesday and running through Aug. 24, it is one of several graffiti and street art shows in the United States and abroad at museums and galleries in the past several years.
Launch media viewer

The exhibition prompted Mr. Goodstone's recent trek to Wong's old neighborhood. He was accompanied by the filmmaker Charlie Ahearn (director of the seminal 1983 film "Wild Style," about New York's hip-hop and graffiti scene), who shot a 13-minute documentary for "City as Canvas."

The film shows how several artists helped the museum's curators choose and identify the artworks, some unsigned or misidentified: Mr. Goodstone, 47 (whose tag, or stylized signature, is Sharp); Lee Quiñones, 53, whose tag is Lee; and Christopher Ellis, 51, known as Daze. All four were friends with Wong, who told them that he wanted a safe place for his collection after learning that he had AIDS.

"He always thought those first pieces, in a fundamental way, were the legs of a major art movement," Mr. Quiñones said.

"City as Canvas" focuses on the 1970s and '80s, featuring - along with the work of Mr. Goodstone, Mr. Quiñones and Mr. Ellis, that of Zephyr (Andrew Witten), Dondi (Donald White), Lady Pink (Sandra Fabara), Rammellzee and Keith Haring. They are among the pioneers who laid the foundation for the New York graffiti art movement. Many continue to work as artists. Mr. Goodstone has a studio in the Bronx and describes his current art as "abstract techno symbolism."

To document the history and sociology of graffiti, an art form that widely influenced popular culture, "City as Canvas" includes the artists' sketchbooks, canvases and works on paper, multimedia art and watercolors. A small circle of photographers established credibility with the "writers," who would leave messages on the photographers' answering machines alerting them to the locations of new pieces. Photos by Henry Chalfant, Martha Cooper and Mr. Ahearn recall a city where youthful expression was spray painted daily on subway cars and buildings.

Wong "wanted to become the Albert Barnes of graffiti," Mr. Ellis says in Mr. Ahearn's film, referring to Dr. Albert C. Barnes, whose notable art collection, rich in Post-Impressionist and early Modern works, now has its own museum in Philadelphia. In the film, Mr. Ellis, Mr. Quiñones and Mr. Goodstone are shown in the storage space of the Museum of the City of New York, thumbing through sketchbooks or black books, pulling out canvases and describing the styles of the artists.

"This is a great moment for all the people who considered themselves part of the original collective," Mr. Goodstone said last week. "It's a great moment for Martin Wong because it's a commemoration of his vision." He added, "No one thought what we did had any longevity, but Martin loved street culture."

The show is a time capsule reflecting a financially ailing city in a free fall that hit vulnerable youth especially hard, Mr. Goodstone said. They fought back through self-expression, signing their creations using tags few could decipher.

Mr. Goodstone and Mr. Ahearn led a visitor around Wong's old Lower East Side neighborhood, pointing out walls where graffiti had been painted over (the Attorney Street handball court) and remnants that survive (the ABC No Rio art center).

Poring over Wong's collection was a deeply emotional experience "because a lot of the artists are deceased," Mr. Ahearn said.

"The collection was never able to be seen," he continued, "because it was all stacked on top of each other."

Highlights of "City as Canvas" include Mr. Quiñones's "Howard the Duck" (1988), an oil painting; "Wicked Gary's Tag Collection" (1970-72), which includes numerous tags, including ones by Phase2, Riff 170 and Coco 144; Lady Pink's "The Death of Graffiti" (1982); and Mr. Ellis's "Transition" (1982). There are also paintings by Wong, whose work the critic Roberta Smith of The New York Times hailed as "among the lasting legacies of New York's East Village art scene of the 1980s and a precursor of the identity-driven work of the '90s."

There are remnants of the schism between the outlaw art form and mainstream institutions, as well as of the battle waged by city officials, who spent $300 million in the 1970s and '80s to rid New York of graffiti, deeming it defacement of public property.

Initially, both Mr. Ahearn and Mr. Goodstone considered it a mistake for Wong to leave his collection to any institution, fearing it would languish in the basement. Now, they think that the Museum of the City of New York is a good choice because, as Mr. Ahearn said, "it places the emphasis on the historical nature of it, rather than the art world context."

As he combed through the collection, Mr. Goodstone even rediscovered some of his own work. Included in "City as Canvas" are graffiti representations of his name in black books and the 1983 painting "Kings Arrive," which shows graffiti's relationship to comic-book art.

Standing in front of ABC No Rio, at 156 Rivington Street, where Wong first exhibited, Mr. Goodstone pointed out the center's name rendered by the Washington Heights graffiti artists (and brothers) Roger and David Smith, known as Sane Smith.

The decades-old letters were rendered in shades of yellow, pink, brown, blue and green. "This spray doesn't exist anymore," Mr. Goodstone said. The center, long a cultural hub for young artists, is where Wong met his mentor and friend Miguel Piñero, the poet and the playwright of "Short Eyes" who died in 1988.

"I think we're in the right window to look at what these kids were doing and its effects on culture," said Sean Corcoran, the curator of "City as Canvas." He mentioned Banksy's one-month renegade "residency" in New York in October. "It's all over the world," he said. "You have kids in Europe painting trains because of what they saw in 'Wild Style.'"

But what, exactly, is graffiti? Mr. Ahearn said he liked Banksy, for instance, but considered him an illustrator of ideas. "Graffiti is really defined as someone who writes their name in an illegal fashion on public property," he said.

Mr. Goodstone refused to be drawn into definitions.

"I'm an artist, period," he said. " 'Graffiti' does not accurately represent what we do. No term does." Rather, he said, the graffiti writers were part of a broader cultural imperative to shake things up.

"To be in the culture," Mr. Goodstone said, "you have to write, spin on your head, D.J. or rap. Those are the rules of engagement."

A version of this article appears in print on January 29, 2014, on page C1 of the New York edition with the headline: A Medici to Spray Paint and Graffiti Artists



4. Doug Skinner, FF Alumn, publishes new book

Merde à la Belle Époque is now available from Black Scat Books! Doug Skinner has chosen, translated, and annotated a choice selection of scatological texts from Paris's Bohemian heyday. The texts range from 1883 to 1902, and include poems, stories, a play, a rebus and a letter. You'll find Alphonse Allais, George Auriol, Georges Courteline, Edmond Haraucourt, Vincent Hyspa, Maurice Mac-Nab, and Erik Satie, all devoting their considerable talents to toilet humor. The book is 48 pages, elegantly printed in black and brown, designed by Norman Conquest, and limited to 310 copies. You can order at blackscatbooks(dot)com.

Praise for Merde à la Belle Époque:
"BLACK SCAT BOOKS has launched from the pits of lit this shameful little anthology, wonderfully translated and prefaced with futile brilliance by Doug Skinner. I was immediately disgusted and attracted by these turn-of-the-century French luminaries indulging in dirty little boy lyrics and lunatic stories, many of them in the scatological society that hung out at Le Chat Noir..."
-Alain Arias-Misson

"Incroyable!... Alfred (a fart man from way back) Jarry would surely relish this collection-one which combines force-feeding with delicate odoriferous leakage-something for every taste!"
-Nile Southern

"These dirty little secrets are canonical secretions of literary genius.
Fin de siècle Parisian scatology at its best."
-D. Harlan Wilson



5. Stacy Scibelli, FF Alumn, at Warehouse Gallery, Brooklyn, opening Feb. 12, and more

I apologize for the gratuitous amount of emails, but wanted to update the opening reception date for the upcoming "Suits" show at Warehouse Gallery in Brooklyn. The opening is now Wednesday Feb 12th from 8pm - 10pm (was moved from this wed, feb 5, please don't go to the gallery, no one will be there!). I also wanted to let you know about a very exciting event launching the printed and web editions of VECTOR - Issue 3 at Interstate Projects on Saturday Feb 8. Some incredible people made this Journal happen, and some incredible artists are included in the edition. I, for one, am very excited! It would be great to see you at either or both of these events! All information for both events can be found below...

Warehouse Gallery
1070 Bedford Avenue
Opening Reception - Wed Feb 12th - 8pm - 10pm
Show dates: Feb 12-March 9.


We are happy to announce that "VECTOR - Issue 3" will be launching the printed and web editions at Interstate Projects in Brooklyn on Saturday | February 8, 2014 | 6-9pm

300 printed/bound copies of the Journal will be handed out for free during the launch event, and the essays will go live on the website: www.vector.bz

Facebook Announcement:

Press Release:

Event Location:
Interstate Projects
66 Knickerbocker Ave, Brooklyn, NY 11237

VECTOR Artists Journal is a literary exhibition in the form of a journal.

Each edition compiles a collection of written works by 25-30 emerging and established artists for print and online. The form, length, and theme is up to each artist. Essays range from 1-10 pages, are printed in black & white, unedited, and arranged in alphabetical order.

VECTOR - Issue 3

Introduction by John Buffalo Mailer

Featured Artists:
Laura Arena, Javier Barrios, Keren Benbenisty, Rita Sobral Campos, Nicholas Fraser, Harmony Hammond, Jay Henderson, Theresa Himmer, Steffani Jemison, Sarah Johansen, Anna K.E., Szabolcs KissPal, Ellie Krakow, Monika Malewska, Nadja Marcin, Paulien Oltheten, Ann Oren, Elise Rasmussen & Paul Garayo, Georgia Sagri, Edward Schexnayder, Stacy Scibelli, Gina Siepel, Ashley Simone, Magnus Thierfelder, Hakan Topal, Pawal Wojtasik & Toby Lee

We are only giving out 300 printed editions at the opening launch, so make sure you come and get your free copy.

The essays will be available for free as well at: www.vector.bz/artists.htm

For people who cannot get a printed edition but want one, we are making the current and past issues of VECTOR available for download as a press-quality PDF. This is the same PDF we send to the printer for our bound editions. We encourage you to purchase one, the price is: "Pay-What-You-Want". Your support helps make this project possible! You can access them at: www.vector.bz/journal.htm

Thank you!

Peter Gregorio | Founder/Editor
Austin Shull | Managing Editor
Valerie Garlick | Associate Editor

Stacy A. Scibelli



6. Britta Wheeler, FF Alumn, launches new website at www.brittawheeler.com

Good Morning Friends and Colleagues,

I am writing this morning to tell you about my new website.
Please visit it at


I have compiled much of my work there, both my current projects and
some of my historical ones.

I am sending you this link because I work with you now or I have worked
with you in the past. I would like to stay in contact and let you know
what I am up to.

If you have a moment, please have a look at it.
I am seeking artistic and scholarly opportunities.

thanks very much!
yours sincerely,
Britta B. Wheeler
Interdisciplinary artist/scholar



7. Irina Danilova, Hiram Levy, FF Alumns, in The Bronx, opening Feb. 7

Art Director of OkNo gallery in Chelyabinsk, Svetlana Shlyapnikova, Hiram and I will be happy to see you at the opening of the 3rd exhibition in the BRURAL series, BRURAL: Shattering Phenomena, dedicated to Superstorm Sandy and Chelyabinsk Meteorite. 17 artists from Chelyabinsk and greater New York will share reflections on both kinds of natural phenomena humans have to deal with: atmospheric and cosmic.
Please mark your calendar:
Opening is on February 7th, 6-9pm
The Chelyabinsk Meteorite Anniversary Performance Night: February 15, 6-9PM.

305 East 140th street, in the Bronx



8. Mark Fox, FF Alumn, at Robert Miller Gallery, Manhattan, Feb. 8


RSVP to rmg@robertmillergallery.com, 212.366.4774

Robert Miller is pleased to present a conversation between MARK FOX and curator VERONICA ROBERTS. The discussion will investigate Fox's methodical process and creative vision in conjunction with his current exhibit MFKPMQ, a survey of works on paper, sculpture, and installation.

Mark Fox's process revolves around the interplay between chance and intention. His two-dimensional drawings often begin with paper "drop cloths" upon which stains, spills, doodles and stray text fragments accumulate before he makes the first intentional mark. His "cut" drawings involve cutting and reassembling the original images into formal constructions, creating new meanings and associations from the juxtaposition of elements.

Given his interest in pushing the limits of paper, the artist recently turned to cardboard, making a handmade version of the ubiquitous commercial material. From these fluted paper elements he builds sculptures and painting surfaces. Using "private" drawings and "self-damaging" texts as source material, the cardboard, once cut, reveals fragmented "secrets" that are hidden in plain sight within the sculptures' honeycomb construction. He puts the personal on display and yet renders it impossible to decipher. The rippled cardboard layers of these sculptures may appear transparent or opaque, depending on the viewer's position. The process allows Fox to investigate his interest in works that shift as the viewer moves through space.

Mark Fox received his MFA from Stanford University and his BFA from Washington University in St. Louis. He has had solo exhibitions at the Santa Barbara Contemporary Arts Forum, the Cincinnati Art Museum, the Detroit Institute of Arts, Rice University Art Gallery, the Herbert F. Johnson Museum and the Fabric Workshop and Museum. His work has recently been acquired and exhibited by the Albright-Knox Art Gallery and the Philadelphia Museum of Art. He is also included in the collections of MoMA and the Whitney Museum of American Art, among other institutions.

Veronica Roberts is a curator of modern and contemporary art at the Blanton Museum of Art at The University of Texas at Austin. She has worked at numerous museums, including the Indianapolis Museum of Art, Whitney Museum of American Art and MoMA.



9. Kazuko Miyamoto, FF Alumn, at Invisible Exports, Manhattan, thru March 2


January 31 - March 2, 2014

INVISIBLE-EXPORTS is proud to present a solo exhibition of work by Kazuko Miyamoto.

Miyamoto is a preeminent feminist figure of minimalism, and a pioneer of a new and radically warm brand of rigorous abstraction, introducing handmade, irregular, and intimate elements that both modulated the movement's unforgiving visual language and advanced it, by critique.

Born Tokyo, Japan, Miyamoto moved to New York in 1964, studied at the Arts Student League, and soon became assistant to Sol LeWitt, whom she met when a fire alarm called them both out of the Lower East Side building in which they each, along with several other artists at the time, kept a live-and-work loft, and whose open cube sculptures and early wall drawings she helped produce and execute.

In her early work, (between 1968 and 1972), Miyamoto was primarily a painter of large-scale bichromatic multi-media canvases, works that inflected and, in some ways, undermined formal systems with modest, organic painterly elements. One series recalled the Japanese board-game GO, with warmly contoured circles spaced out over a spindly grid; in another, the conceit was reversed, a honeycombed out-of-focus lattice structure overlaid with a cleaner lattice, as ethereal as a projection. In each, Miyamoto offers both compositional systems that would satisfy the strictest dictates of orthodox minimalism and others that transport the work, and that whole reductive imperative, into an entirely different realm, in which compositional systems are not demonstrations of mastery but showcases of struggle with form, given meaning by the unconforming and unassimilable elements. In these works, the failure to comb out resistant expressive gestures is not just an aberrant and transfixing painterly fact but no kind of failure at all.

In 1973, the year of her first gallery shows in New York and Italy, Miyamoto embarked on a major nail-and-string wall-based installation in MoMA's private employee eating area-the elegant, path-breaking site-specific work which she had been refining for several years as she moved away from painting, and would become her signature work between 1972 and 1979. (The museum would acquire two works by Miyamoto over those years.) In these sculptures, she distanced herself from the assertive, masculine works of her contemporaries, embracing ephemeral materials and staging apparition-like site-specific and purposefully imperfect installations that shaped and responded to the physical conditions of the given space and seemed also to embody a certain temporality-each work's evident meticulous assemblage as striking a quality of its work as its handmade, human-scale aspects.

"Kazuko is showing recent work at 55 Mercer May 12 through May 30," she wrote in a memorable all-caps typewritten press release for the first exhibition of these works. "Kazuko create linear system by extending string between nails on wall. These materials and lighting form an area of sensitivity and spaciousness. The most beautiful is to have nothing on the wall, the second most beautiful is to have line on it, and then the third is to break the wall."

But she was simultaneously returning, and more strictly, to the surface of the wall, with a series of what she called "string construction drawings" that fell somewhere between studies and stand-alone works, some conceived as meticulous conceptual systems through which to assemble realized projects, and others produced as fully-realized, even more perfectly realized, projects themselves. Eventually, she came to extend the wall-based nail-and-string sculptures out into three-dimensional space, exquisitely torqued sculptures-by-filament that almost breathed in the available environment, and which mixed elements of drawing and sculpture, of weaving and of architecture, the handmade and the abstract-"eloquent demonstrations of the capacity of sculpture to possess environmental space, insistently but without overemphasis," as ICA and Guggenheim curator Lawrence Alloway wrote. "Hers is a subtle but implacable art."

Miyamoto's work has shown in numberous institutions and galleries, both domestically and internationally, including Paula Cooper Gallery, New York; Daimler Contemporary, Berlin; Lentos Museum, Linz, Austria; Storefront Gallery for Art and Architecture, New York; A.I.R. Gallery, New York; Museum of Modern Art, New York; P.S.1 Contemporary, New York; among many others, and is represented by Exile Gallery, Berlin.

INVISIBLE-EXPORTS is located in the Lower East Side, at 89 Eldridge Street, just south of Grand Street. Gallery hours are Wednesday through Sunday, 11am to 6pm, and by appointment. For more information, call 212 226 5447 or email: info@invisible-exports.com



10. Maria the Korean Bride, FFAlumn, at Stonybrook University, NY, Feb. 5

Maria the Korean Bride documentary at the Stonybrook University on Feb 5, 2014. Here's the link for more: http://www.stonybrook.edu/commcms/wang/programs/films.html



11. Saya Woolfalk, FF Alumn, at The Brooklyn Museum, Feb. 20

Elizabeth A. Sackler Center for Feminist Art's event:

Performance: Saya Woolfalk's ChimaTEK

Thursday, February 20 at 8:00pm at Brooklyn Museum, Brooklyn, New York 11238

Elizabeth A. Sackler Center for Feminist Art's event:

Performance: Saya Woolfalk's ChimaTEK

Thursday, February 20 at 8:00pm at Brooklyn Museum, Brooklyn, New York 11238



12. Marina Abramovic, Robert Wilson, Lenora Champagne, FF Alumns, in PAJ 106, now online, and more

PAJ 106 Just Published!

We're excited to announce that PAJ 106 is now available online and in print! Click below to access some of the following superb content:

- On Aging: writings by Yvonne Rainer and Carolee Schneemann
- Paul Kaiser on Maryanne Amacher
- Conversation on Eco-Theatre with R. Murray Schafer
- Judith Malina's Piscator Notebook
- Robert Wilson's Life and Death of Marina Abramovic
- New documentary play from the Afghanistan Human Rights and Democracy Organization
- Lenora Champagne on Japanese Theatre and Dance
- Carlos Cuellar Brown on Intermedial Being


Our new Performance Ideas book series's inaugural title: newARTtheatre by Paul David Young

Our books division, PAJ Publications, is thrilled to release the inaugural title in the new 'Performance Ideas' series: newARTtheatre: Evolutions of the Performance Aesthetic, beautifully put together by PAJ contributing editor Paul David Young.
From the back cover: "One of the hotly discussed issues of today is the turn by visual artists to theatre. Many artists have become interested in the collaborative processes of theatre, auditions and rehearsals, dramatic texts, and the use of professional actors. ... newARTtheatre explores the important strategies that artists are using ..."
From the series description: "Performance Ideas explores performance that crosses boundaries of all live art forms and media. The series highlights the long-standing editorial commitment of PAJ Publications to bring together the histories of performance in theatre and in visual art for a more expansive vision of artistic practice."
Our 'Performance Ideas' books are 4.5"x7", fit in your pocket, and are reasonably priced at $14.00.



13. Devora Neumark, FF Alumn, at Zochrot Art Gallery, Tel Aviv, Israel/Palestine, February 15-April 15

The Potential Present of New KKL, Zochrot Art Gallery: Tel Aviv, Israel/Palestine, February 15-April 15, 2014. My performance work titled "Imwas / Canada Park (December 21, 2013)" will be represented by two videos in this group exhibition, which aims to critical examine land use by the KKL (Jewish National Fund).

The State of Origin: Reel & Imagined, M.S. University: Baroda, India, screening February 6, 2014. My performance work titled "The Jewish Home Beautiful - Revisited" will be represented by a short video in this group exhibition curated by Bindu Mehra of the Digital Silk Route collective. The other artists in this show are: Jamelie Hassan, Mona Kamal, Leah Decter, Khadija Baker, Verena Kyselka and Sabina Tupan.

The State of Origin: Reel & Imagined, Dr. Ambedkar University: New Delhi, India, screening February 15, 2014.

The State of Origin: Reel & Imagined, 1 Shanti Road, Bangalore, India, screening February 15, 2014.

Wishing you all the best,

Devora Neumark, Ph.D.
Interdisciplinary Artist
Faculty, MFA in Interdisciplinary Arts, Goddard College (Vermont)



14. Frank Moore, FF Alumn, now online at https://vimeo.com/84094208


Frank Moore. Morgan Freeman. Chickens. And feathers. A love story
This is a tribute to the late Frank Moore. Respect

from Missy Jubilee Films



15. Martha Rosler, FF Alumn, at Centre for Contemporary Art Ujazdowski Castle, Poland, Feb. 14-May 18

Martha Rosler
Guide for the Perplexed: How to Succeed
in the New Poland
14 February-18 May 2014

Centre for Contemporary Art Ujazdowski Castle
Jazdow 2


Curators: Adam Mazur, Kaja Pawełek
Collaboration: Dorota Grobelna, Mikołaj Iwański, Maciej Łepkowski, Ewa Majewska, Daniel Malone, Judyta Nekanda-Trepka, Jan Sowa, Kuba Szreder and others
Exhibition design: Simone de Iacobis, Małgorzata Kuciewicz / Centrala
Graphic design: Monika Zawadzki

All events are free.

For her first solo exhibition in Poland, American artist and writer Martha Rosler will present her new project Guide for the Perplexed: How to Succeed in the New Poland at Warsaw's Centre for Contemporary Art Ujazdowski Castle. In conjunction with this site-specific work, a number of Rosler's seminal works will also be on view, including a selection of her photomontages, video works, and photographs.

Rosler's work often centers on socio-political issues, generally seen through the prism of everyday life, especially from the point of view of women. Her engagement with such contemporary grassroots movements as the anti-war movement and Occupy Wall Street is well known.

Guide for the Perplexed: How to Succeed in the New Poland is centered on life in contemporary Poland. Meetings, discussions, and performances will be held for the duration of the exhibition in one of the CCA's main galleries. Visitors are invited to participate in Town Hall-style public meetings facilitated by activists, educators, and experts. These discussions will be held in and around kiosks, designed by Rosler and Centrala, devoted to the following issues: Gender, or How to be a woman in the new Poland; Housing; Labour; Debt; How to be an artist in the new Poland; Environment and Industry; Migration; What should be placed inside the new Jewish museum?; and Should there Be a Polish colony on Mars? (Polish National Identity). The program of events will continue for the show's duration, and visitors are encouraged to continue to post comments, reactions, and suggestions on the "Democracy Wall" running the length of the gallery. The task at hand is to confront existing processes-including economic, cultural, and ideological-that shape social and political reality. The open space of the exhibition has the capacity to become a site of formulation for different answers, collective and individual, in the form of debates, lectures, informal counseling, and referrals.

The exhibition and project reflect Rosler's long-standing interest in connecting and exploring feminist, anti-war, and social themes. Her practice has always included three conjoined strategies: exhibition, critical discourse, and education-encompassing several generations of artists and activists. For almost forty years, Rosler has lectured widely and has taught at several institutions in the United States, Canada, and Europe, notably at the Städelschule in Frankfurt and at Rutgers University in the New York area.

This exhibition finds its place among a continuing series of presentations by distinguished American artists who link feminism with conceptual art. This series has so far presented works by Mary Kelly, Silvia Kolbowski, Jenny Holzer, Barbara Kruger, Kara Walker, Yoko Ono, and others. The exhibition is accompanied by a publication of selected essays by Rosler, newly translated into Polish.



16. Shirin Neshat, FF Alumn, at Robert Rauschenberg Foundation Project Space, Manhattan, thru March 1

Shirin Neshat
January 31-March 1, 2014

Opening: January 30, 6-8pm, with the artist

Robert Rauschenberg Foundation Project Space
455 West 19th Street
New York, NY 10001
Hours: Wednesday-Saturday 11am-6pm

Benefit editions
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The Robert Rauschenberg Foundation (RRF) has selected Shirin Neshat for its new One-to-One initiative, which supports contemporary artists as they create work in the service of advancing human rights, cultural understanding, and international peacekeeping. The Foundation will host Neshat's latest exhibition of twenty-seven new works, Our House Is on Fire, at the Rauschenberg Project Space, from January 31 through March 1.

Limited-edition benefit prints from the Our House Is on Fire series are available for purchase through Artspace, with proceeds going to benefit a human rights organization in Egypt selected by Neshat.

Following her recent photographic series The Book of Kings (2012) that captured the spirit of activism across the Middle East during the Arab Spring, the Rauschenberg Foundation commissioned Neshat to create a new body of work. As a reflection on the aftermath of the failed revolution in Egypt, Neshat conceived of a new series of photographs and prepared to travel to Cairo. Inspired by the profound sense of loss in a country rife with unrest, Neshat used this new project to investigate the universal experience of pain and mourning on both a personal and national level.

In Egypt, Neshat invited several individuals to share their stories before her camera, culminating in a series titled Our House Is on Fire. Depicting her subjects up close and with a notable directness, Neshat captures the intensity of each individual's gaze, creating a poignant connection between the subject and viewer. Neshat then overlays the images with a nearly indecipherable veil of text, inscribing calligraphy across the creases and folds of the subjects' faces, thereby mirroring the way in which national calamity has become embedded in and inseparable from their personal histories. Taken as a whole this body of work compels the viewer to acknowledge the toll of political and social upheaval that results when people deny humanity to those whom they perceive as the "other."

The One-to-One initiative builds on Robert Rauschenberg's career-long interest in using his art, often in the form of prints, to raise awareness and provide philanthropic support for the social causes that were most important to him.

In his 1984 "Tobago Statement," Rauschenberg wrote, "I feel strong in my beliefs, based on my varied and widely traveled collaborations, that a one-to-one contact through art contains potent peaceful powers and is the most non-elitist way to share exotic and common information, seducing us into creative mutual understandings for the benefit of all."

About the Rauschenberg Project Space
The Rauschenberg Project Space is owned and operated by the Robert Rauschenberg Foundation to share unique aspects of Robert Rauschenberg's legacy, showcase the work of RRF grantees, and create a connection to the Captiva-based Rauschenberg Residency. The foundation was established by Robert Rauschenberg to show how art can change the world. In this spirit, the foundation supports wide-ranging philanthropic initiatives and artistic endeavors that are made in the fearless and innovative spirit with which Rauschenberg approached his own life and work.

About Shirin Neshat
Iranian-born artist and filmmaker Shirin Neshat has had numerous solo exhibitions at galleries and museums worldwide, including the Detroit Institute of Arts; Hamburger Bahnhof, Berlin; Musée d'art contemporain de Montréal; the Serpentine Gallery, London; the Stedelijk Museum, Amsterdam; and the Walker Art Center, Minneapolis. She is the recipient of various awards, including the Crystal Award at the World Economic Forum, Davos (2014); Golden Lion at the Venice Biennale (1999); the Hiroshima Freedom Prize (2005); and the Dorothy and Lillian Gish Prize (2006). In 2009, Neshat directed her first feature-length film, Women Without Men, which received the Silver Lion for Best Direction at the Venice International Film Festival. Declared Artist of the Decade in 2010 by The Huffington Post, Neshat is represented by Gladstone Gallery, New York and Brussels.

Media contact
Nick Sifuentes, BerlinRosen Public Affairs
T +1 310 866 1692 / nick@berlinrosen.com



17. Michelle Stuart, FF Alumn, at Santa Barbara Museum of Art, CA, thru April 20

Michelle Stuart: Drawn from Nature
January 26-April 20, 2014

Santa Barbara Museum of Art
1130 State Street
Santa Barbara, CA
Hours: Tuesday-Sunday 11am-5pm,
Thursday 11am-8pm

T +1 805 963 4364


The Santa Barbara Museum of Art (SBMA) presents a major exhibition of work by internationally acclaimed artist Michelle Stuart. A focused survey of the artist's works from the late 1960s to the present, Michelle Stuart: Drawn from Nature reveals the artist's characteristically varied and unconventional range of media, underlining Stuart's radical redefinition of the medium of drawing.

Stuart has become celebrated for a rich and diverse body of work stemming from her lifelong interest in the natural world and the cosmos. Working in drawing, sculpture, photography, video, installation, and site-specific earthworks, she has pursued a subtle and responsive dialogue with nature and science. With an emphasis on organic materials and repetitive actions, Stuart's oeuvre originates in process-based sculpture of the late 1960s and the Land Art movement.

During the 1970s Stuart became known for her monumental drawings in which rolls of paper were smashed with rocks, stroked with earth, or rubbed with graphite until the characteristics of a given site became ingrained in its surface. These early frottage pieces capture the surface features of the site and act as indexical traces of the land. Often, works were made directly in nature. At SBMA, these wall scrolls are shown alongside Niagara Gorge Path Relocated (1975), a video documenting a 460-foot-long drawing along the original site of the Niagara Falls.

Several works in the exhibition respond to well-known mythic sites, notably the Nazca Lines, the Uffington White Horse, and New Mexican petroglyphs. The drawing Moon (1969) is meticulously rendered from photographs taken at the lunar landing that year. Also included in the survey are Stuart's "rock books," inculcated with earth and other materials from specific sites; "seed drawings," grids of seeds collected from various locations which bleed into and transform their paper supports; and other site-specific works Stuart has created throughout the world. The exhibition concludes with the artist's photographic grids. These expansive works, encapsulating the potent blend of "real history, imaginative history, and natural history," have characterized her practice for over 40 years.

Michelle Stuart was born in Los Angeles. After training at the Jepson Art Institute and Chouinard Art Institute, she worked as a topographical draftsperson, mapping the earth's crust from Las Vegas to South Korea. In the 1950s, she traveled to Mexico to assist the muralist Diego Rivera and spent three years in Paris, before settling in New York City in 1958. While living and working in New York, Stuart has maintained a studio on the Pacific Coast from the 1980s to the present.

Michelle Stuart: Drawn from Nature was curated by Dr. Anna Lovatt, Lecturer in Modern and Contemporary Art History at the University of Manchester, UK. The exhibition was organized by the Djanogly Art Gallery, Lakeside Arts Centre, University of Nottingham, UK (presented February 16-April 14, 2013). It also traveled to the Parrish Art Museum, Water Mill, New York (July 21-October 27, 2013). Accompanying the exhibition is a 160-page hardcover catalogue with essays by Anna Lovatt, Jane McFadden, and Nancy Princenthal, as well as an interview with the artist by SBMA Curator of Contemporary Art Julie Joyce.



18. Nicolás Dumit Estévez, Brendan Fernandes, Liz Magic Laser, Jeanine Oleson, Clifford Owens, Emily Roysdon, FF Alumns, at La MaMa La Galleria, opening Feb. 13

Still Acts
Curated by Ian Daniel and Sara Reisman

La MaMa La Galleria
6 East 1st Street
New York, NY 10003

Exhibition on view: February 13 ¬ March 1, 2014

Opening Reception: Thursday, February 13, 6¬9pm, with an opening night performance by Tamar Ettun's Moving Company from 6:30 to 8:30pm

Gallery Talk: Sunday, February 16, 5pm

Still Acts is an exhibition that brings together artists engaged with stillness, stoppage, and
slowing down in the context of performance. Artists featured in the exhibition - Sol Aramendi and Nicolás Dumit Estévez, Tamar Ettun, Brendan Fernandes, Liz Magic Laser, Jeanine Oleson, Clifford Owens, and Emily Roysdon - employ gestures that turn away, inward, and upward, upending our expectations for the continuity of dance compositions and lines of movement and thought. Still Acts considers what these unexpected ruptures might mean to both the artist and the viewer.

Inspired by André Lepecki's writings on stillness, curators Ian Daniel and Sara Reisman are interested in Lepecki's assertion that "what stillness does is to initiate the subject in a different relationship with temporality. Stillness operates at the level of the subject's desire to invert a certain relationship with time, and with certain (prescribed) corporeal rhythms. Which means that to engage in stillness is to engage into different experiences of perceiving one's own presence."1 Some of these experiences might include meditation, resistance, thought, changing speed, and rest.

Located along a spectrum between temporal ruptures and perceptions of one's own presence, the artists featured in Still Acts slow down to reconsider their places in space and time. Repurposing the visual language of ballet and meditation, artists Brendan Fernandes and Tamar Ettun slow movement (in some cases to a long halt) to locate sites of activation in their performative poses and gestures. Fernandes' The Working Move, 2012, connects performing
art with visual art by staging scenes of dancers physically engaging with plinths that typically support sculptural objects in a gallery setting, questioning the value of human physical labor in the realm of art. Ettun's Moving Company ¬ a collaboration with dancers and actors Tyler Patterson, Tina Wang, Lyndsey Eugene, and Maia Karo ¬ performs repetitive actions based on Ettun's sculptures, many of which are cast objects, some referencing the body in form. Bound together, the performers in Ettun's Moving Company make minimal but repetitive movements, drawing out time within a score to amplify the unstable nature of human relations and survival.

Two projects in the exhibition, one by Jeanine Oleson and the other by Sol Aramendi and Nicolás Dumit Estévez, emphasize the human and personal relationships we have to the landscape. Estévez is known for his project For Art's Sake, a series of urban pilgrimages in which he sought to reverse the traditional relationship between art and religion, while part of Aramendi's photography¬based practice involves community portraiture. Their collaborative photographic project Napping/Siesta, 2010, might then be understood as a portrait of Estévez taking a break from his arduous journeys on foot between the five boroughs of New York City that he made for art's sake. Situated in the sparse Arctic landscape, Jeanine Oleson's The Shore Is Still in the Sea, 2012, questions our physical and personal relationship to ecology, landscape, and truth of images. The photographs take us to various locations surrounding the Svalbard Global Seed Vault, meditating on the stark contrast between the silent snowy landscape and neoliberal agendas surrounding the seed vault which is the subject of growing concern about government and corporate control of seed diversity.

Breaking through the fourth wall between audience and performers, Clifford Owens' enactment of performance scores provided by other artists (as part of his ambitious project Anthology, 2011) calls out the tensions between choreographer, performer, participant, and audience. As a follow up to The Digital Face, 2012, Liz Magic Laser worked with actor Ariel Freedman to stage the oratorical gestures from recent political speeches. Gesturing without speaking, the actor is turned away from her audience, and her movements correspond to a teleprompter displaying the script delivered by each politician being conjured in the performance, revealing the space between politician/performer and subject/audience. More precisely mapping out the dynamics of performative thought and action, Emily Roysdon's Ecstatic Resistance, 2009¬2010, diagrams and analyzes the interplay between intentionality and improvisation and what can be spoken and what is unspeakable in the process of staging a performance.

Together, the artists work with an economy of means to test the limits of performance ¬ for the performer, the viewer, and the participant ¬ provoking us to question how our own positions, whether still or in motion, connect to larger social and political concerns.

Opening reception beverages sponsored by:The Lagunitas Brewing Company



19. Beth Lapides, FF Alumn, new podcast now online

I have a new podcast UnCabaret UnStaged. I ask my guest the unanswerable but provocative question: What makes you you?

At the end of the show Mitch Kaplan sings them their own special theme song.
Guests have included: Daniel Radcliffe (Harry Potter), Ana Gasteyer (Saturday Night Live, Wicked), Lili Taylor (The Conjuring, Six Feet Under), Brooke Smith (Silence of the Lambs, Ray Donovan), John Riggi (30 Rock, Larry Sanders) etc.
It was a "New and Notable" podcast in comedy last week on iTunes.
If you listen to podcasts I'd love you to check it out and share it.

UnCabaret continues on - we just celebrated out second anniversary of weekly shows in our current venue:)

Among the more performance arty members of the UnCab family who we have featured this year...- Joseph Keckler, Miss Coco Peru, Kelly Mantle, Sam Pancake, Drew Droege, Missi Pyle, Moon Zappa, Lauren Weedman, Sandra Bernhard, Margaret Cho, Ian Harvie, Alec Mapa...
We have four episodes on Amazon, and shows almost every Sunday night in LA right across from Redcat.

Tickets available on our website


UnCabaret Amazon VOD Available Now!


I also continue teaching my workshop The Comedian's Way. How to be your funniest self for Performers, Writers and Other Humans.
Big breakthroughs, transitions and joy:)



Goings On is compiled weekly by Harley Spiller