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Contents for February 13, 2014

Roy David Colmer, FF Alumn, In Memoriam

Roy David Colmer died January 24th at his home in Los Angeles.

He was born in London, UK in 1935, later studied at the Art Academy in Hamburg w/fellow classmates Hanne Darboven and Hans Breder.

Moving to NY in 1966 he was a painter, photographer and filmmaker. His work is in the collections of the Museum of Modern Art, The Brooklyn Museum, Reina Sofia Museum in Madrid & the Santa Barbara Museum of Art.
His piece Doors, NYC (3,000 images 1976) is in the collection of the NY Public Library. Roy was a Guggenheim Fellow and is represented by Algus/Greenspon Gallery in NY.

He is survived by his wife Claudia.



Nancy Holt, FF Alumn, In Memoriam

The New York Times
Nancy Holt, Outdoor Artist, Dies at 75
FEB. 12, 2014

Nancy Holt, a pioneer in the land-art movement of the 1960s and '70s and the creator of one of the era's most poetic works - "Sun Tunnels," four huge concrete culverts set in the Utah desert to align with the sun on summer and winter solstices - died on Saturday in Manhattan. She was 75. The cause was leukemia, representatives of her estate said.

Ms. Holt, who lived and worked for many years in Galisteo, N.M., was one of the few women to pursue monumental sculpture in the American West, a place whose wide-open spaces drew a generation of restless artists like Michael Heizer, Walter De Maria, James Turrell and Robert Smithson, whom Ms. Holt married in 1963.

A child of the Northeast, Ms. Holt described her first exploration of the West, around Las Vegas in 1968 with Smithson and Mr. Heizer, as transformative in her life as an artist; during the visit, she said, she did not sleep for four days.
"It seemed to me that I had this Western space that had been within me," she said many years later. "That was my inner reality. I was experiencing it on the outside, simultaneously with my spaciousness within. I felt at one."

She began her career writing concrete poetry and making photographs, films and videos. From the beginning she was interested in how perception is shaped, and she used the mediums of lenses, viewfinders and other structures to alter the way urban space, land and the firmament are experienced over time. "I wanted to bring the vast space of the desert back down to human scale," she once wrote about "Sun Tunnels."

Throughout her career Ms. Holt was underrecognized, in part because her best work - "Dark Star Park," an installation on a once-blighted site in Arlington, Va.; "Sky Mound," a partly completed earth sculpture and park made from a landfill in the New Jersey Meadowlands; "Up and Under," a sinuous tunnel-and-berm construction outside a small city in Finland - could not be shown in museums or galleries. And she held a fairly dim view of the traditional art world anyway.

"If work hangs in a gallery or museum," she once said, "the art gets made for the spaces that were made to enclose art. They isolate objects, detach them from the world."
Ms. Holt also devoted considerable time to protecting the legacy of Smithson, who died in a plane crash in Amarillo, Tex., in 1973 while surveying a site for one of his earth works.

In 2008 she helped rally opposition to a plan for exploratory drilling near the site of Smithson's greatest work, "Spiral Jetty," a huge counterclockwise curlicue of black basalt rock that juts into the Great Salt Lake in rural Utah. After Smithson's death, Ms. Holt never remarried. She told one interviewer, "My art was enough for me."
No immediate family members survive.

Nancy Holt was born on April 5, 1938, in Worcester, Mass. An only child, she was raised in New Jersey, where her father worked as a chemical engineer and her mother was a homemaker.

She studied biology at Tufts University and then moved to New York, where she quickly became involved with a group of prominent Minimalist and post-Minimalist artists including Carl Andre, Sol Lewitt, Eva Hesse, Joan Jonas and Richard Serra. (She collaborated with Mr. Serra in 1974 on "Boomerang," in which he videotaped her listening to her own voice echoing back into a pair of headphones after a time lag, as she described the disorienting experience.)

She and Smithson had bought a small piece of land in Utah, and in 1974 she bought more: 40 acres for $1,600 in the Great Basin Desert, where she set about building "Sun Tunnels." As she wrote later, installing the culverts - each weighing 22 tons - and documenting the process, required the help of "2 engineers, 1 astrophysicist, 1 astronomer, 1 surveyor and his assistant, 1 road grader, 2 dump truck operators, 1 carpenter, 3 ditch diggers, 1 concrete mixing truck operator, 1 concrete foreman, 10 concrete pipe company workers, 2 core-drillers, 4 truck drivers, 1 crane operator, 1 rigger, 2 cameramen, 2 soundmen, 1 helicopter pilot, and 4 photography lab workers."
"In making the arrangements and contracting out the work," she wrote, "I became more extended into the world than I've ever been before."

Over the years, the work has attracted a variety of pilgrims: art lovers who camp out to see the sunrise perfectly aligned with the tunnels at solstice; latter-day pagans who come for the same reason; Burning Man-type celebrants who used the tunnels as a gathering place; hunters who use them for shooting practice. Occasionally, Ms. Holt would drive back to the site and invite observers to meet her for a free-form talk and viewing experience.

The first retrospective of her work, "Nancy Holt: Sightlines," opened in 2010 at the Miriam and Ira D. Wallach Art Gallery at Columbia University and traveled to several other venues in the United States and Europe. In a public talk in Santa Fe, N.M., during the run of the retrospective, she described the struggle of pursuing an art career largely out of doors, and decidedly on her own terms.

"It was painful, because I had no product," she said. "And especially a woman in the art world at that time, you had to have something to show." She added: "I was just being. I was emphasizing being over becoming. And in the art world it's a hard stance."

A version of this article appears in print on February 12, 2014, on page A25 of the New York edition with the headline: Nancy Holt, Outdoor Artist, Dies at 75



Gloria Leonard, FF Alumn, In Memoriam

R.I.P. Gloria Leonard FF Alumna who died on January 30, 2013 following a massive stroke in her home at Hawi, Hawaii.

Gloria was a founding member of Club 90, the porn star support group that performed "Deep Inside Porn Stars" at the Franklin Furnace during the week long festival of Carnival Knowledge that took place at FF Gallery in 1984. The performance was a re-enactment of the real life support group whose members met to discuss how performing sex on camera affected their lives. Gloria was a porn star, magazine publisher and a leader in the battle for freedom of sexual expression, especially that of women. She was on the speakers bureau of Feminist For Free Expression. The other members of Club 90 during that performance were Veronica Hart, Sue Nero, Kelly Nichols, Candida Royalle, Annie Sprinkle and Veronica Vera. Nichols and Nero soon left the group, but Gloria Leonard, Hart, Royalle, Sprinkle and Vera have continued to meet as Club 90 in person whenever possible and online for 30 years. They feel her loss deeply. A memorial service is planned for March when Gloria's daughter and granddaughter will be in New York.


The New York Times
Gloria Leonard, Publisher and Pornography Star, Dies at 73
FEB. 5, 2014

Gloria Leonard, who became a pornographic film star in her 30s and then a men's magazine publisher and a prominent spokeswoman for her industry, died on Monday in Waimea, Hawaii. She was 73.

The cause was a stroke, her daughter, Robin Leonardi, said.

Ms. Leonard took a decidedly atypical path into pornographic movies in the 1970s, a time many in the industry now regard as its golden age, when films had story lines and actors enjoyed some crossover appeal with mainstream audiences. She was a divorced single mother, much older than most starlets and had held other jobs, including as a Wall Street broker and publicist.

"I was a fairly liberated lady, and I figured this would be the supreme test of just how liberated I really was," she told The Miami Herald in 1983.

Her first credited role was in "The Opening of Misty Beethoven" (1976), Radley Metzger's erotic reimagining of George Bernard Shaw's play "Pygmalion." She went on to appear in dozens of films, including "Odyssey: The Ultimate Trip" (1977), directed by Gerard Damiano of "Deep Throat" fame, and "All About Gloria Leonard" (1978), based on her memoirs, which she also directed.

Ms. Leonard's background in public relations, as well as her high profile on screen, led to her hiring as the publisher of the men's magazine High Society in 1977, a job she held for more than a decade while continuing to appear in and direct films.

One feature she introduced to the magazine showcased risqué photos of celebrities like Jodie Foster and Goldie Hawn, usually lifted from film stills. "We were sued by a number of celebrities, including Barbra Streisand and Ann-Margret, and we won every case," Ms. Leonard said in an interview with The Rialto Report, a website and podcast dedicated to pornographic cinema. A sultry recording of her voice on an answering machine previewing the magazine's next issue proved so popular that it inspired the magazine's Living Centerfold Telephone Service, one of the first phone-sex lines, in 1983. About 500,000 to 700,000 callers each day paid to listen to recorded messages on answering machines.

Ms. Leonard defended the pornography industry and her participation in it, appearing on talk shows and in debates on college campuses with feminists who regarded the business as misogynistic.

"I said the whole point of the women's movement is for women to choose whatever they want to do," she said "Why should my choice be considered any less or more valid than your choice?"

Ms. Leonard was born Gale Sandra Klinetsky in the Bronx on Aug. 28, 1940. Her first two marriages ended in divorce. She was separated from her third husband, Bobby Hollander, a producer and director of pornographic films, when he died in 2002.

After she left High Society, Ms. Leonard was the administrative director of the Adult Film Association from 1989 to 1992. In 1998 she became president of the Free Speech Coalition, a pornography industry trade group. At her death she lived in Hawi, Hawaii.

Besides her daughter, Ms. Leonard is survived by a granddaughter.

Ms. Leonard said that she had no regrets about her career, but that she thought the sex-film industry had been cheapened by the ubiquity of video. Anyone with a video camera "can rent a hotel room and make a porno these days," she told The Rialto Report. She added, "I don't know that anyone will remember the girls of today's porn."



1. Julie Atlas Muz, Mat Fraser, FF Alumns, at Abrons Art Center, Manhattan, Mar. 13-30


ONEOFUS, in Co-Production with Improbable, Presents
Directed by Phelim McDermott
Starring Julie Atlas Muz, Mat Fraser, and puppeteers Jonny Dixon and Jess Mabel Jones
Performances: March 13-15, 19-23, 26-30 at 8:00pm
Open to critics as of March 14

Access All Areas - Live Art & Disability: March 29

Abrons Arts Center (466 Grand Street)
Tickets: $35, online at abronsartscenter.org or by calling 212.352.3101
Running time: 75 minutes without intermission

"Dangerous, playful, eliciting screams of scandalised laughter." -The Times (London)

What do you get when a born freak, a former beauty queen, and an award-winning maverick director take on a classic romance? From March 13-31, Abrons Art Center will present Beauty and the Beast, starring Mat Fraser and Julie Atlas Muz, directed by Improbable's Phelim McDermott. Fraser, the consistently inventive, provocative and entertaining British disabled actor/writer and Muz, the Downtown NYC performance legend and former Miss Coney Island, breath complexity and life into the eponymous characters, weaving an adult fairytale like no other.

Performances of Beauty and the Beast will take place March 13-30 at 8pm at Abrons Arts Center (466 Grand Street). Tickets are $35 and can be purchased by calling 212.352.3101 or visiting www.abronsartscenter.org Critics are welcome as of March 14.

Following their 2010 performance of an earlier version of the work, Muz and Fraser were challenged by critics to go beyond the production they had developed. The duo teamed up with renowned director Phelim McDermott (Satyagraha, Shockheaded Peter) to completely re-imagine the piece and weave their own love story throughout the plot. Using inventive staging that blends song, dance, puppetry and shadow play in a multi-layered story, this production is a magical sexual journey into real and fabled romance between people and characters. Declared to be a work of "beautiful, beastly brilliance" by the Telegraph-one of seven 4-star reviews by the British press-Beauty and the Beast will re-kindle your lust for life and challenge you to think about who loves whom and why they do

Access All Areas: Live Art and Disability (NYC edition)
Saturday March 29, 2014

This free, daylong event looks at some of the radical approaches to representations of disability being taken by contemporary performance artists, particularly in the UK. Offerings will include durational performances by Noemi Lakmaier and Martin O'Brien, a symposium exploring the cultural impact of disabled artists, screenings of key works from recent decades, and a library. Full program details to be announced. Curated by the Live Art Development Agency (London, UK) www.thisisliveart.co.uk, with the support of the British Council.

About the Artists

Phelim McDermott is a founding member of Improbable. He has been directing and performing since 1984, when he co-founded dereck dereck Productions with Julia Bardsley. Directing includes Improbable Tales at Nottingham Playhouse, The Government Inspector for West Yorkshire Playhouse, A Midsummer Night's Dream for the English Shakespeare Company, and Shockhead Peter with Julian Crouch, a collaboration with The Tiger Lilies for Cultural Industry. He directed the West End show Alex by Charles Peattie and Russel Taylor at The Arts Theatre and Leicester Square Theatre.

Productions with Improbable include the multi award-winning 70 Hill Lane, Lifegame, Animo, Coma, Spirit, Sticky, Cinderella, The Hanging Man and Theatre of Blood, in collaboration with the National Theatre. He directed the acclaimed Philip Glass opera Satyagraha, in collaboration with the English National Opera and the Metropolitan Opera in New York.

Julie Atlas Muz has become one of the most acclaimed and prolific conceptual performers and choreographers anywhere. Her come-hither performances that have secured her a vaunted place in opposite realms - the underworld and the establishment art world. Muz was named Lambent Fellow, Valencia Biennial Artist, Whitney Biennial Artist, and Artist-in-Residence from Chashama, Joyce Soho, Dixon Place and Movement Research. Since 2010 she has been touring large-scale theaters in France with the Cabaret New Burlesque as well as creating and starring in radical evening length productions in Spiegel tents around the globe.

Muz has created and toured The Freak and the Showgirl and Apocastrip WOW with her husband Mat Fraser. The show has been hailed as "gobsmacking" and has toured to shocked and delighted audiences in Australia, Holland, the UK and America. She has been featured in the Whitney Biennial and Valencia Biennial, received an Ethyl Eichelberger Award and a Lambent Fellow, and was a past Franklin Furnace artist. Muz proudly champions the tradition initiated by Lady Godiva in the 11th century of public female nudity as an act of political resistance. www.julieatlasmuz.com

Mat Fraser is one of the UK's best-known disabled performers and a multidisciplinary performing artist, actor, writer and musician who has played to a myriad of international audiences. Always interested in the relationship between disability and entertainment, his wit, subversive lack of political correctness, the sideshow style and his playful sexuality combine to make work that is new, challenging and funny. Fraser hosted the Opening Ceremony for the 2012 Paralympics, drummed with Coldplay in the closing ceremony and is a regular performer at The Box, The Slipper Room and Sideshows by the Seashore in Coney Island

Recent credits include The Fades, Cast Offs and Holby City, with documentaries such as Born Freak and Happy Birthday Thalidomide, as well as his award winning plays such as Sealboy: Freak, and Thalidomide!! A Musical, both financially supported by ACE. He also played the lead in the controversial "cripsloitation" action film Unarmed But Dangerous. Fraser is the titleholder of the Erotic Award (U.K.) for Best Male Striptease artist 2007. In January 2014, Fraser debuted his new solo shows commissioned by a group of British museums, called Cabinet of Curiosities: How disability was kept in a box. www.matfraser.co.uk

About ONEOFUS Productions

We are outsiders, with inclusivity at the heart of what we do. Traversing the world as radical artists looking for alternative ways to be inside, the main thrust of our work is to highlight, question and poke fun at the absurdity of normality, using a loving cup of artistic agitation. We accept you, one of us.

About Improbable

Improbable is a theatre company founded in 1996 by Artistic Directors Phelim McDermott and Lee Simpson. The company has toured 30 countries, including Scotland, Syria, Germany, New Zealand, and the US, to venues such as the Sydney Opera House, the National Theatre, the Royal Court, ENO, Metropolitan Opera in New York, the Barbican, the South Bank, Camden People's Theatre, and beyond.

Their shows include large-scale shows like STICKY, an outdoor piece with giant adhesive tape structures; THEATRE OF BLOOD, at the National Theatre; and SATYAGRAHA and THE PERFECT AMERICAN at ENO; as well as more intimate productions like 70 HILL LANE (winner of several awards including an OBIE), ANIMO, or THE STILL. In addition to developing new performances, for the last eight years Improbable has hosted and facilitated Open Space events under the banner of DEVOTED AND DISGRUNTLED. Open Space is a self-organizing process that enables large groups to tackle complex issues with no formal agenda. These events have seen the emergence of a nationwide community of artists and theatre practitioners who in turn have created projects, partnerships, theatre shows, theatre companies and theatre venues.

About Live Art Development Agency

Established in 1999, the Live Art Development Agency has both responded to, and impacted upon, the increasingly influential nature of Live Art practices in the UK and internationally by developing an extensive portfolio of specialized resources, opportunities, projects and publishing activities; and by working strategically, in partnership, and in consultation with practitioners and organizations in the cultural sector.

Funding Credits
Supported in part by Franklin Furnace and the British Council

The British Council creates international opportunities for the people of the UK and other countries, and builds trust between them worldwide. We call this cultural relations. Working in more than 100 countries, we create long-term relationships with the UK that provide cultural, diplomatic and economic benefits. With offices in Washington, New York and Los Angeles, we are re-energizing the transatlantic relationship through the arts, education, society and English. We develop young leaders' networks and partner with international organizations to work on shared agendas. For more information, please visit www.britishcouncil.org/usa.

About Abrons Arts Center
The Abrons Arts Center is the performing and visual arts program of Henry Street Settlement. The Abrons supports the creation and presentation of innovative, multi-disciplinary work; cultivates artists in all stages of their practice with educational programs, mentorships, residencies and commissions; and serves as an intersection of engagement for local, national and international audiences and arts-workers.

Each year the Abrons offers over 250 performances, 12 gallery exhibitions and 30 residencies for performing and studio artists, and 100 different classes in dance, music, theater, and visual art. The Abrons also provides New York City public schools with teaching artists, introducing more than 3,000 students to the arts.

Press Contact: Patrick Leonard and Blake Zidell at Blake Zidell & Associates: 718.643.9052 or patrick@blakezidell.com and blake@blakezidell.com.



2. Clive Phillpot, FF Alumn, at Art Metropole, Toronto, Ontario, Feb. 15

Clive Phillpot's Booktrek

Clive Phillpot will be giving a lecture and book signing at both Artexte in Montreal (12 February) and Art Metropole in Toronto (15 February) to celebrate the appearance of Booktrek, his book of essays about artists' books that covers forty years.
The details are:

Clive Phillpot: Booktrek: Selected Essays on Artists Books (1972-2010).
Zurich: JRP/Ringier (& Dijon: Les Presses du Reel), 2013.
ISBN 978-3-03764-207-8 (Distribution in North America: Artbook/DAP.)



3. Nicolás Dumit Estévez, FF Alumn, at Centro Cultural Eduardo León Jimenes, Santiago de los Caballeros, Dominican Republic, Feb. 13

Nicolás Dumit Estévez, a Dominican artist living in New York conveys his international path and creative processes in the field of performance art through images and videos.

Thusday, February 13th, 2014
7 pm

Centro Cultural Eduardo León Jimenes
Av. 27 de Febrero No. 146
Villa Progreso,
Santiago de los Caballeros
, Dominican Republic
Tel.:1 (809) 582-2315



4. Benjamin Bellas, Meg Duguid, FF Alumns, at Slow, Chicago, opening Feb. 14, and more

Hi All,

I am in 2 exhibitions opening next Friday, February 14 (I will be at Soft
Drugs) and I have just released a printed newspaper that is being
generously distributed through a number of independent shops and cultural
institutions. I will also have a pile of papers available at the Soft
Drugs exhibition.

All the details are below, so read away!



*DFBRL8R and A&DWORKS present*

* SOFT DRUGS curated by Teresa Silva*

GALLERY HOURS: FEB 12-16 from 12noon - 8PM


Across performance and objects, SOFT DRUGS looks at how artworks
incorporate play as process or idea for understanding or perceiving the
world. Play in artistic practice has a way of opening up audiences to new
possibilities and perspectives and, while this activity is often felt to be
a game, it is a key and rigorous approach in each artist's idiosyncratic
form of production. Play can also employ humor or quirk to offset weighty
issues or generate new awareness of one's surroundings. The exhibition
showcases performances, moving images, and sculptures that examine issues
or challenges of the body, distraction, attraction, the built environment,
and the apocalypse as sets of phenomena that could be heavy though
lightened through playful and artful tactics.

1136 N. Milwaulkee Ave
Chicago, Il 60642


*Paul's Not Gay*

Reception February 14, 6-9pm

Yet another tongue-in-cheek (or other body parts) group show proudly
presented by Molar Productions (Larry Lee, prop.) this time, though, as a
weak excuse to celebrate the fifth anniversary of slow.

Hard to believe that five years ago marked the start of his gallery with
the inaugural exhibit/original question of Paul WHO?

Since then, many have come to find out who he is. So what's the big f**king
deal saying, "Paul's not gay?" Well, perhaps the bevy of artists
assembled---a good number from that first show---can do their best to
dispute or shed light on the topic.

Anyway, come join us aboard our version of the Love Boat on Valentine's Day
to see proof positive that "Paul's NOT Gay"...

With Benjamin Bellas, Judith Brotman, CC Ann Chen, Meg Duguid, Andreas
Fischer, Jeffrey Grauel, John Henley, Andrew Holmquist, Greyson Hong,
Theodore Horner, International Chefs of Mystery!, Carol Jackson, Carron
Little, Nicholas Lowe, Ryan Noble, Susannah Papish, Steve Reber, Oli
Rodriguez, Joshua Slater, Rafael E. Vera, Rebecca Walz and Ryan Michael

Join us for the opening reception Friday, February 14, 6-9 p.m. The
exhibition continues through March 14.

2153 W 21st Street,
Chicago, Illinois 60608

*Produced by Episode (Untitled, Battery Park) Now Available!*

Produced by Episode (Untitled, Battery Park) is a 3-section newspaper piece
that was created from a 2008 slapstick performance I threw in Battery
Park. It is now available for free at the following spots (or should be
there in the next week)

Franklin Furnace Archive, Franklin Street Works, Kremer Pigments, Quimbys,
Desert Island Comics, Plug Projects, Crane Arts (Icebox Projects), Public
Space One, Machine Project, DittoDItto, Bluestockings Zines, Guide to
Kulchur, Visible Voice Books, Tiny Park, SPACES, Regina Rex, Greymatter,
Southern Exposure, Printed Matter, Hyde Park Art Center, Locust Projects,
fort gondo compound for the arts, Links Hall, Threesquared, Seed Space,
ThreeWalls, and TATE'S Comics + Toys + More

*This project is partially supported by an Individual Artist Program Grant
from the City of Chicago Department of Cultural Affairs & Special Events,
as well as a grant from the Illinois Arts Council, a state agency through
federal funds provided by the National Endowment for the Arts*

*Meg DuguidArtist, and Founder of Clutch Gallery*




5. Heather Cassils, FF Alumn, at Buddies in Bad Times Theatre, Toronto, Ontario, February 13, and more

I am performing the piece Becoming An Image (I think for the last time now- time to move on) to open the 35th Ruhbarb Festival on Wed Feb 12th at 9 pm.

More information and tickets can be found here:

My first Canadian solo show is at Trinity Square Video:
It opens Sat Feb 15th 4-6 pm.

As Well I am doing an artist talk February 13, 6:30 PM @ Buddies in Bad Times Theatre, 12 Alexander Street. This event is free.



6. Susan Mills, FF Alumn, publishes new book

My new book 'twentysix plants' has just been published by Women's Studio Workshop.

The book is literally 26 pages of paper handmade from plants grown or foraged at the Women's Studio Workshop ArtFarm; it references Ed Ruscha's iconic artist's book 'Twentysix Gasoline Stations'.
More about my residency and the book -
Happy with my book and happy to be home,
Susan Mills



7. Hector Canonge, FF Alumn, at Centro Cultural Santa Cruz, Bolivia

Enero, 2014 (Santa Cruz de la Sierra - Bolivia) -Centro Cultural Santa Cruz, CCSC-CCP, a leading cultural institution funded by the Fundación Cultural Banco Central de Bolivia, nominated New York City based artist, Hector Canonge, as curator and resident artist in charge of developing new interdisciplinary programs, exhibitions and projects to take place in 2014. Canonge, an interdisciplinary artist with a recognized trajectory in Contemporary Art, is also known as curator, cultural producer and entrepreneur with initiatives such as the founding of QMAD, Queens Media Arts Development, a non profit community based arts organization in the borough of Queens; CINEMAROSA, the first monthly LGBT film program honored with a Proclamation of the City of New York in 2011, and a number of innovative and inspiring programs in the city and beyond. Canonge also curated and organized challenging exhibitions making him one of the most dynamic cultural agents in NYC among them are: "Absence" (Ausencia), "+ i " (Positive Eye / Ojo Positivo), "Queer New World" (Nuevo Mundo Extraño), "Babel" and the series "Queer Bodies" and "Genitalia."

In addition to his prolific body of work in Visual and Performance Arts, Canonge has distinguished himself for his dedication to forge lasting initiatives such as A-LAB FORUM (2009) a program for artists and their creative development, ITINERANT (2011) the first annual International Performance Art Festival taking place in the five boroughs in New York City, PERFORMEANDO (2013) a project dedicated to feature Latin/o/a or Hispanic Performance Artists based in the United States, and with his second visit to South America last year, NEXUSURNEXUS (2013) a transcontinental program -premiered during the Brooklyn Performance Art Festival, BIPAF- to connect Latin American artists with their counterparts in the US and Europe

About his nomination Canonge declared that he is "very excited to have been nominated by such a prestigious foundation, and to begin a new phase in my professional life... it is a great honor to have been selected for the position because the Centro Cultural Santa Cruz is an institution that I value, respect, and consider the most important arts and cultural centers in Bolivia. I look forward to my stay in Bolivia, my mother's homeland and now my own." Jorge Aliaga, director of the CCSC-CCP noted that "the incorporation of Hector Canonge to our center is beneficial. We know his work, have collaborated with him in various projects, and are sure of his commitment and dedication. He will continue the labor left by his predecessor, the artist Blue Box, and will help us develop new initiatives in Contemporary Arts, Social Practice, with public programs and education. I'm most certain that his experience and professionalism will greatly benefit and further the goals of the Fundación Cultural Banco Central and of the center as we project into the future and expand our regional networks. We will unveil his plans, future projects, as well as the new schema for the Centro Cultural Santa Cruz in the upcoming weeks."

Hector Canonge brings with him an ample knowledge and experience in artistic development, cultural programming, and social outreach. His curatorial vision, focused on Contemporary Art that, will help the creation of monthly cultural programs, projects for the development of artists, education initiatives as well as new platforms that will foster collaboration among local, national and international organizations and cultural institutions.

Centro Cultural Santa Cruz, CCSC-CCP, is an institution that supports and fosters many forms of artistic expression, and it constitutes a gathering space where artists and cultural promoters can establish dialogue with varied audiences through their projects and initiatives. The center serves an important role by contributing to the development of cultural programs in the city of Santa Cruz de la Sierra and serves as nexus for the rest of the country and the Americas. Centro Cultural Santa Cruz also constitutes a gathering point to encourage intercultural dialog, and thus a better social cohesion that reflects the new integration of Bolivian society. With permanent and temporary art exhibitions, research projects, education and public programs, Centro Cultural Santa Cruz serves various populations in one of the most dynamic and prosperous cities in the country. The center has permanent galleries dedicated to exhibitions about local art from this region in Bolivia, and temporary galleries that can be adapted to various uses for all forms of artistic expression coming from all over the country and abroad. CCSC-CCP is funded and under the tutelage of Fundación Cultural del Banco Central de Bolivia, FCBC.

Canonge will take office in Santa Cruz de la Sierra in February, 2014.



8. Nancy Burson, FF Alumn, at ClampArt Gallery, Manhattan, opening Feb. 20

I have a show opening at ClampArt Gallery Feb. 20th from 6 to 8pm. ClampArt is located at 521-531 West 25th St, Ground floor. The show is called: Nancy Burson: Composites.



9. Ichi Ikeda, FF Alumn, now online at http://www.zinio.com/earthart/

Dear my friend,

Happy New Year, wishing you the very best for the year 2014. Now I have very exciting topics of 2014.
The publication of Ichi Ikeda's monthly digital art magazine "EARTH ART CATALIG" must be expected to be one of the most important topics in facing the earth ethically and thinking of 'art for the future'.

'Zinio' known as the world's largest newsstand handle " Ichi Ikeda's EARTH ART CATALOG" as digital magazines for iPad, iPhone, Android, Mac & PC.
The issue date of the first catalog is January 31 Wednesday. You can subscribe through ZINIO; http://www.zinio.com/earthart/

Best wishes,
Ichi Ikeda



10. Crash, Daze, Pink, Sharp, FF Alumns, in The New York Times, Feb. 6

The New York Times
Art & Design|Art Review
Writing Was on the Wall, and Some Still Remains
Graffiti Art at the Museum of the City of New York

FEB. 6, 2014

Some of my most vivid memories from occasional visits to New York in the late 1970s and early '80s are of the graffiti-covered trains roaring through the city's subway system. With their giant, pneumatic, spray-painted letters spelling names like Crash and Daze against apocalyptic backgrounds, those unauthorized moving murals amazed me. I thought they were beautiful and inspiring.

It was the golden age of New York graffiti. Never before or since has that illegal art form flourished so wonderfully.

As told by the Museum of the City of New York's exhibition "City as Canvas: Graffiti Art From the Martin Wong Collection" and its catalog, the story of New York graffiti's rise and fall is fascinating. It involves enough diverse players to populate a fat novel by Tom Wolfe. From the teenage "writers" - the preferred term of graffiti artists - who started it all in the early '70s, to the high-end art sophisticates who embraced it and tried to profit from it, to the government authorities who eventually crushed it in the early '80s, the cast of characters was as colorful as graffiti itself.

"City as Canvas" views the movement through a relatively narrow but revealing window. Organized by Sean Corcoran, the museum's curator of prints and photographs, it relies on a collection of graffiti-related materials assembled by the artist Martin Wong from 1978 to 1994.

Not a graffitist, Mr. Wong made a name for himself in the 1980s with paintings of gritty urban scenes rendered in a funky, magic-realist style. While working at the art supply store Pearl Paint in Lower Manhattan early in that decade, he got to know and befriend a number of young graffiti writers, and he began to collect their drawings, paintings and sketchbooks.

In 1989, Mr. Wong founded his Museum of American Graffiti on the top floor of a townhouse in the East Village, but real estate complications ended that venture after only six months. In 1994, suffering from AIDS, Mr. Wong donated his collection to the Museum of the City of New York and returned to his hometown, San Francisco, where he died in 1999.

"City as Canvas" crams about 150 paintings, drawings, sketchbooks and documentary photographs into a single gallery the size of a basketball court. Most of the stars of '70s and '80s New York graffiti are represented, including Daze (whose given name is Christopher Ellis), Dondi (Donald White), Futura 2000 (Leonard McGurr) and Lady Pink (Sandra Fabara), one of the few women to achieve recognition in a mainly boy's club.

The exhibition's congestion works well as a reflection of graffiti's exuberant profligacy. It captures the communal spirit animating the artists, who like hip-hop musicians of the '80s, often collaborated, hung out together, competed with one another and collectively developed a kind of deliriously complicated calligraphy known as wild style.

The crowding also helps in that it discourages focusing on one thing at a time, which conventional art exhibitions tend to foster. Few works in "City as Canvas" hold up to such extended scrutiny. These artists were more oriented to the commercial aesthetics of graphic design and illustration, and it shows in facile technique and the prevalence of extroverted style over personal substance.
Launch media viewer

That's not to say there aren't numerous arresting pieces. One is Lee Quiñones's re-creation on canvas of his late-'70s spray-painted mural in which the comic book character Howard the Duck uses a garbage can lid to shield himself from a splattery explosion around jagged letters spelling "LEE." Another is Lady Pink's "The Death of Graffiti" (1982): In a style recalling 1930s Social Realism, it envisions the artist herself naked and standing on a pile of spray-paint cans. She points to a subway train, one of whose cars is resplendently covered in graffiti and another, auguring the future, is white and clean.

After a flurry of interest from galleries, critics and collectors in the early 1980s, the high art world lost interest in graffiti. Some of the artists went on to lucrative careers in the design world. Cey Adams, for example, became the art director for Def Jam records. But of all the artists associated with the movement, only Keith Haring, who's in the show, and Jean-Michel Basquiat, who's not, achieved lasting, mainstream visibility.

It's in the nature of graffiti that it can't be contained by any established institution, commercial or educational. As a site-specific art form, it dies when separated from the where and when of its creation. Also, its energy comes from the artist's self-identification as an aesthetic and social outlaw. The great graffiti works, some of which are documented in the show in photographs by Charlie Ahearn, Henry Chalfant, Martha Cooper and Jon Naar, were triumphal assertions of selfhood by youngsters not otherwise accorded much significance by the world.

The closest you get to graffiti's living spirit here is in the artists' black, hardcover sketchbooks. In them you see the writers Blade, Daze, Crash, Sharp and others developing their signature styles and practicing their graphic skills. There's more freshness and joyful discovery in these books than almost any of the show's finished works.

Graffiti thrived in the 1970s and early '80s because the nearly bankrupt city government lacked the resources to stop it. With the city's return to solvency the golden age ended, and it's probably just as well that it did. It was bound to flag as the original writers aged. I'm probably not the only New Yorker thankful for today's clean, unmarked subway cars. But I still treasure my recollections of the time when graffiti roiled the town.

"City as Canvas: Graffiti Art From the Martin Wong Collection" runs through Aug. 24 at the Museum of the City of New York, Fifth Avenue at 103rd Street; 212534-1672, mcny.org.

A version of this review appears in print on February 7, 2014, on page C23 of the New York edition with the headline: Writing Was on the Wall, and Some Still Remains.



11. Adam Nankervis, FF Alumn, at Emma Thomas Gallery, Sao Paulo, Brazil, opening Feb. 15


"N.A.A.T.", por Hugo Frasa, e "Upon a painted Ocean...", por Adam Nankervis @ Galeria Emma Thomas
Abertura: 15 de fevereiro, sábado, das 12 as 18 hs
Período expositivo: 15 de fevereiro a 22 de março
Rua Estados Unidos, 2205, Jardins - São Paulo
Segunda a sexta das 11h às 19h, sábados das 11h às 17h
Entrada gratuita/ Livre

Agência Lema
Leandro Matulja/ Leticia Zioni/ Larissa Marques

Informações para a imprensa:
Bruno Palma +55 11 3871-0022 ramal 209



12. Antoinette LaFarge, FF Alumn, at The Institute of Cultural Inquiry, Los Angeles, Feb. 22

Wikipedia Edit-a-thon

Special Focus: Artists + Books

Saturday, February 22nd, 12 - 5 pm
Editing Tutorial, 12:30 pm (with assistance throughout the day)

If you've ever been shocked to learn that some important artist or scholar is missing from Wikipedia's pages, here is your opportunity to remedy that problem. Join us for an afternoon of Wikipedia editing with technical assistance and help from frequent Wiki page editor, ICI Associate Antoinette LaFarge.

In conjunction with our recent participation in LA Art Book Fair 2014, we hope to concentrate this editing session on artists, scholars and other visualists who have contributed to the artist book form. Borrow names from our own list or bring your own. You'll have access to our 3,000+ volume library to help you in your task, not to mention the minds and experience of everyone in the room - that's the beauty of editing en masse.

Participants are encouraged to bring their own laptops but those who don't have a computer can use one of ours. Everyone will have access to the internet through our network. The ICI will also provide drinks and light snacks.

Come for an hour or the whole afternoon. To RSVP for this event or for more information, please contact info@culturalinquiry.org.


The Institute of Cultural Inquiry
1512 S. Robertson Boulevard
Los Angeles, California 90035



13. Brian O'Doherty, FF Alumn, at P!, Manhattan, opening March 2

Brian O'Doherty: Connecting the ...
in collaboration with Simone Subal Gallery
Opens Sunday, March 2nd

334 Broome St
New York, NY 10002
Open Thu-Sun, 1-7pm
and by appointment
Visit P! on Facebook
Follow @p_exclamation on Twitter



14. LuLu LoLo, FF Member, at the New York Public Library, Feb. 22

LuLu LoLo February 22, 2014

LuLu in a dramatic reading of Leonard Covello's "The Heart is the Teacher"
Book Party, Dramatic Readings, and Discussion with Roberto Ragone and Gerald Meyers

Leonard Covello was an East Harlem educator and the founder of Benjamin Franklin High School

The Mulberry Street Branch of the New York Public Library
2-4pm Free Admission
Vito Marcantonio Forum http://vitomarcantonioforum.com



15. Ken Aptekar, FF Alumn, at St. Annen Museum, Lübeck, Germany, opening 2015

A private New York philanthropic fund has awarded Ken Aptekar a $50,000 grant, administered through the New York Foundation for the Arts. The grant supports development of a solo exhibition in Lübeck, Germany, at the St. Annen Museum in 2015. Director Dr. Thorsten Rodiek, previously Director of the Felix Nussbaum Haus in Osnabruck, Germany, and commissioner of that museum's Daniel Liebeskind building, was "excited and pleased" to learn of this early support of the exhibition in Lübeck, entitled NACHBARN (NEIGHBORS). It opens February 15, and will remain on view through June 28, 2015. The grant follows a previous award from the Memorial Foundation for Jewish Culture, NY, in support of the same exhibition.

Aptekar's project will feature paintings-with-text, silverpoint drawings, and video installations that prompt conversations "across the fence," between the Renaissance Christian art in the St. Annen Museum and the imposing 1870 synagogue right next door. This exhibition will be the eighth museum project the artist has undertaken. It is his first in Germany, where seventy years after the end of WWII, tensions between Jews and Christians still necessitate a 24/7 police guard post in front of the Lübeck synagogue.

NEIGHBORS proposes that paintings from the past can prompt Lübeck's Germans, Russian Jews, and Turkish Muslims, whose neighboring three mosques are a short walk from the museum, to see how much they share. While the exhibition will recall the painful history of Jews in the Nazi era, it will evoke as well the presence of a vibrant Jewish community in this northern corner of Germany, and the role neighbors played for many years in creating that community. Aptekar's works will be exhibited alongside works in the 16th century cloistered convent that houses the museum's historic collection and in the new Kunsthalle attached to it.

NEIGHBORS follows Aptekar's previous museum interventions, including TALKING TO PICTURES at the Corcoran Museum in Washington, DC (1997), GIVE AND TAKE at the Victoria & Albert Museum in London (2000), CHARLOTTE'S CHARLOTTE at the Mint Museum, Charlotte, NC, (on view now), and projects in Paris, Sao Paolo, and Portland, OR.

Gallery Hours: Mon - Fri 10a - 5p, Sat noon - 5p



16. Adrianne Wortzel, FF Alumn, at Duke University, Durham, NC

Adrianne Wortzel, FF Alumn, in Duke University David M. Rubenstein Rare Book & Manuscript Library Collection.

Wortzel's "The Electronic Chronicles" has been acquired by the Duke University
David M. Rubenstein Rare Book & Manuscript Library as part of their Electronic Literature Collection. "As part of its collecting of contemporary literature, the Rubenstein Library at Duke University has collected archival materials from creators of electronic literature, or works of literature that are developed with and to some extent depend upon digital environments to be fully understood and appreciated. This collection features works published online by authors of electronic literature whose papers are held at Duke University."

The Electronic Chronicles was Wortzel's thesis for her 1995 MFA in Computer Arts from the School of Visual Art.. It consists of documentation of an archaeological dig of the future which digs up our civilization in the late 20th Century. It consists of Casaba Melon Institute reports and interpretations of its archaeological excavation at the Twin Lions Site. This includes the in situ electronic documents. The Casaba Melon Institute is discusses their condition, their origins, and their significance to the wizards who preserved them as well the archaeologists who discovered and deciphered them. The quote following is the description from 1995::

"The Electronic Chronicles consists of text and images created for and on the World Wide Web. The work is in the form of hypermedia. I.e. text and images are activated to link to other text and/or images. It is meant to be viewed with the latest and most developed graphical browsers, Netscape 1.1b3. It is scripted in HTML (Hypertext Markup Language)."

MFA requirements also included a print copy of a formal thesis paper. This thesis paper took the form of a mummified book. Pages were printed two-sided on sheets of translucent paper, then laminated for posterity (In keeping with the archaeological theme). The laminated pages were shuffled like a deck of cards and then subjected to a linen mummy wrap .

Duke University has collected both the digital work and the mummified thesis.

The Electronic Chronicles are still online in their original form at http://www.adriannewortzel.com/project/ec/

A PDF of the thesis paper can be downloaded at

Duke University Electronic Literature Collection: https://archive-it.org/collections/2837;JSESSIONID@archive-it.org=544370E1CCB50B782B14CD76EC1096CD



17. mAgdalen Wong, FF Intern, at Fresh Windows, Brooklyn, opening Feb. 15

A little news update . I will have a few works showing at a group exhibition at a new gallery , Fresh Windows , in Bushwick .

HOLY COW . opening Feb. 15 . 7 - 9pm
Lower level of 56 Bogart
L train Morgan stop


Hope you could join me at the opening ! See you there !

The show will be opening through the Armory . So for those coming from out of town for the fair , please stop by .

cheers cheers ,



18. Benoît Maubrey, FF Alumn, at Berliner Festspiel, Germany, March 14-23

Dear Sir/Madam, dear friends of MaerzMusik,

It gives me great pleasure to invite you to the 13th edition of the Berliner Festspiele's festival for contemporary music. Please find enclosed this year's detailed programme, featuring no fewer than 40 events, of which 20 are world premieres, and a brand new magazine featuring essays and interviews on thisyear's themes - the last festival edition under my artistic direction.

MaerzMusik - the Berliner Festspiele's festival for contemporary music - turns to the local music scene in 2014. For the first time in the festival's history, Berlin takes centre stage - a globalised hub of innovative music in an international blend that is second to none. Berlin, especially after the fall of the Wall, has always been a powerful magnet for artists of all genres and directions, and musicians have often based their lives and work in the city on a temporary or long-term basis. And due to this artistic 'immigration' - from abroad as well as from other parts of Germany - Berlin has become a cosmopolitan city of art and music.
MaerzMusik 2014 presents a very diverse selection of works, in particular from younger musical 'immi-grants' in the form of concerts, music theatre, performances and sound installations. The central venue will be the Haus der Berliner Festspiele but will also include - in a similar way to the nomadic nature of the artists themselves - alternating urban locations: Philharmonie, Konzerthaus Berlin, Radialsystem V, Sophiensæle, Volksbühne, Akademie der Künste am Hanseatenweg, Hamburger Bahnhof, Club Berghain, gelbe MUSIK and - new venues to MaerzMusik − Museum für Naturkunde, the historical auditorium of the Langenbeck-Virchow-Haus - formerly home to the GDR's parliament 'People's Chamber' −, Paul-Gerhardt-Kirche in Schöneberg and 'Fahrbereitschaft' in Lichtenberg.

We invite you to join us on adventures for the eyes and ears!
To Berlin! To Berlin!

With kind regards,
Matthias Osterwold


Benoît Maubrey: "Gateway - a Speakers Sculpture"

Since 1985 the artist Benoît has been creating public sound sculptures using recycled electronics and loudspeakers. He mainly uses loudspeakers, tuners and amplifiers) as "building blocks" to create monumental sculptures in public spaces. The sculptures allow the public to speak out loud by calling a telephone number and expressing themselves via the sculpture for 3 minutes. Also the sculpture amplifies "recycled" (invisible) electromagnetic waves - white noise - that are produced by the incorporated radio receivers: the white noise sounds are low volume and are permanently hearable as a "background" sound that changes throughout the day, this is the "pulse" of the sculpture.
"Gateway", commissioned by MaerzMusik 2014, is made of 700 recycled loudspeakers integrated into the entrance of the Haus der Berliner Festspiele. The sculpture itself functions as a single multi-channel loudspeaker, all loudspeakers are connected. However it is noticeable that the sound is different according to the position of the listener: each loudspeaker emits a unique sound. In Benoît Maubrey's "Gateway" the visitors are encouraged to participate by creating music with their smartphones and "broadcasting" them "live" via Bluetooth receivers installed in the sculpture.



19. Ruth Hardinger, FF Alumn, now online at http://creativetimereports.org/

Fracking Away Our Air, Water and Land

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.

please open the link below to see the rest of this article:


Thank you.



20. Charlemagne Palestine, FF Alumn, at ISSUE Project Room, Brooklyn, March 6

On Thursday March 6th at 8:00pm, ISSUE Project Room is pleased to present the inimitable Charlemagne Palestine in his first-ever New York organ performance. A self-described "maximalist composer", Palestine originally developed his organ technique in 1964 at the Unitarian Church on Central Park West, gave his first public performance in Holland in 1979, and has since played internationally on the instrument. In this concert he performs on one of New York City's most distinctive instruments: the Aeolian-Skinner organ at Plymouth Church in Brooklyn Heights, known for its "American Classic" sound.

ISSUE Project Room Presents
Charlemagne Palestine, Solo Organ
Thursday, March 6th, 2014 - 8:00pm
at Plymouth Church: 75 Hicks Street, Brooklyn, NY 11201 (Map)
Tickets: $25 / $18 members + students
Available to ISSUE Members now, on sale to the general public Tuesday, February 18.

Charlemagne Palestine is an American composer, performer, and visual artist. A contemporary of Philip Glass, Terry Riley, Phill Niblock, and Steve Reich, Palestine wrote intense, ritualistic music in the 1970s, intended by the composer to rub against Western audiences' expectations of what is beautiful and meaningful in music. A composer-performer originally trained to be a cantor, he always performed his own works as soloist. His earliest works were compositions for carillon and electronic drones, and he is perhaps best known for his intensely performed piano works. Palestine's performance style is ritualistic: he generally surrounds himself and his piano with stuffed animals, smokes large numbers of kretek, and drinks cognac.

For more information:
Eve Essex, eve@issueprojectroom.org

Founded in 2003, ISSUE Project Room is a pioneering nonprofit performance center, presenting projects by more than 200 interdisciplinary artists each year that expand the boundaries of artistic practice and stimulate critical dialogue in the broader community. ISSUE serves as a leading cultural incubator, facilitating the commission and premiere of more than 25 innovative new works each year.



21. Richard Artschwager, FF Alumn, at Nouveau Musée National, Monaco, February 20-May 11

Richard Artschwager!
February 20-May 11, 2014

Nouveau Musée National de Monaco
Villa Paloma
56, boulevard du Jardin Exotique
98000 Monaco

T +377 98 98 20 95

NMNM-Villa Paloma presents the most comprehensive retrospective to date of Richard Artschwager's (1923-2013) work from February 20 until May 11.

The exhibition is organized by the Whitney Museum of American Art, New York in association with the Yale University Art Gallery, New Haven, and curated by Jennifer Gross, Chief Curator and Deputy Director for curatorial affairs at the deCordova Sculpture Park and Museum, in Lincoln, Massachusetts. The NMNM's presentation is organized by Director Marie-Claude Beaud. Following the presentation of Richard Artschwager! at the Whitney Museum, New York, the exhibition travelled to the Hammer Museum, Los Angeles, and Haus der Kunst, Munich.

Richard Artschwager! features over 135 works spanning six decades, including sculptures, paintings, drawings, photographs, and prints. Often associated with Pop, Minimalism, and Conceptual art, his work never fit neatly into any of these categories. His artistic practice consistently explored questions regarding his own visual and physical engagement with the world; his objects straddle the line between illusion and reality. The exhibition reveals the artist's prescience in his career-long commitment to exploring the profound effect photography and technology have had in transforming our engagement with the world. His work has responded to and challenged how these media-and our experience of things as images rather than as things in themselves-have shifted human experience from being rooted in primary physical experience to a knowledge mediated by secondary sources such as newspapers, television, and the Internet.

The NMNM presents, in the seven exhibition spaces of Villa Paloma, a retrospective that articulates different series, ranging from the first experiments using Formica to the drawings, paintings on industrial materials and furniture pieces. The exhibition, in its last presentation, is the occasion to discover and better understand the work of this major pioneer of contemporary art. For more than fifty years, Richard Artschwager (1923-2013) remained steadily at the forefront of contemporary art. He began making art in the 1950s, had his first one-person exhibition at the age of forty-two at the Leo Castelli Gallery in New York in 1965, and made his first appearance in a Whitney Annual in 1966.

In conjunction with Richard Artschwager's retrospective, Nouveau Musée National de Monaco presents #BLPMC, a citywide installation of the artist's blps in the Principality. Artschwager first created his blps-a word coined by the artist and pronounced, "blips"-in the late 1960s. This installation consists of black lozenge-shaped marks meant to inspire focused looking and draw our attention to the places and things around us that often go unnoticed.

Sunday March 2, April 6 and May 11 at 3pm, the film Shut up and Look, directed by Maryte Kavaliauska, will be shown in full version in Villa Paloma's video room. The film provides an intimate look at the artist as he abandoned a reclusive life style to allow the camera into his private world over the last eight years.

In the frame of the exhibition, Mountain Climber (1992) by John Baldessari from the UBS Art Collection will be on view in Villa Paloma's educational space, La Table des Matières.



22. Holly Hughes, FF Alumn, at Off the Wall Cabaret, Chicago, Il, thru Feb. 16

The Penny W. Stamps School of Art & Design at the University of Michigan comes to Chicago
February 12-15


Whether you're attending the CAA conference or just planning to be in the Chicago area from February 12 to 15, the Stamps School invites you to learn more about our vibrant creative community.

Drawing on the resources of a tier-one research university, the Stamps School at the University of Michigan offers both graduate and undergraduate degrees, integrating a strong commitment to interdisciplinary teaching and learning with international study, meaningful global social engagement, and cutting-edge research.


Meet with representatives at the CAA conference to learn more about Stamps graduate and undergraduate programs.

Attend Stamps CAA panels: "Unbecoming Animals," chaired by Stamps faculty Holly Hughes and Irina Aristarkhova on Thursday, and, on Friday, "The Myth of Participation," with Stamps faculty Nick Tobier and the "Research in Art and Design Colloquium" panel discussion with participants from Stamps and the School of the Art Institute of Chicago.

Meet Stamps faculty, staff and alumni at a special reception on Thursday, February 13 hosted by Stamps and U-M's History of Art Department from 5:30 to 7pm in the Chicago Hilton Boulevard Foyer (720 S. Michigan Avenue) Please RSVP to the reception by contacting Amber Connell at amconnel@umich.edu or +1 734 764 0586.

In Chicago:
From February 12 to 16, Stamps alumni, faculty and students are part of exhibitions and performances throughout Chicago. Please join us for:

Wednesday, February 12:
Reading by Stamps faculty Holly Hughes from her new book Animal Acts: Performing Species Today at the Women and Children First Book Store

Four evenings (February 13-16) of performances of the Off the Wall Cabaret at Links Hall, curated by Stamps faculty Holly Hughes and featuring performances by Stamps faculty, alumni and students.

Friday, February 14:
Exhibition openings: Soft Drugs exhibition opening reception at Dfbrl8r and the opening reception of 3 Episodes on Design at the Lovely Bakery, featuring Stamps alums, faculty and students.

And on Saturday, February 15, panel discussion "Dorchester Projects: in the Neighborhood," with Stamps faculty Nick Tobier, examining the role of cultural spaces.

For more information about Stamps: art-design.umich.edu

Learn more about the Stamps School's new graduate program.

Learn more about the Stamps School's undergraduate programs, including our interdisciplinary program in Interarts Performance.



23. Frank Moore, FF Alumn, now online at https://vimeo.com/85964472 \

New to Frank Moore's online Performance and Video Retrospective:

Dying is Sexy, Toronto, August 1999

When Paul Couillard first invited Frank to perform at his festival TIME TIME TIME he told Frank that the series was inspired by Frank's extended time performances. Frank said he would like to do a 72 hour performance for this series. This was almost two years before the performance was scheduled to happen. During that two year period Frank performed at a weeklong festival the WE FEST in Wilmington North Carolina after which he got pneumonia and was hospitalized and was very sick and had this 72 hour performance coming up in Toronto! So Frank changed it to a 48 hour performance, had Paul rent him a hospital bed and changed the name of the performance to DYING IS SEXY figuring if he died during the performance it would be on theme!



24. Lucy Sexton, FF Alumn, in The New York Times, Feb. 12

The New York Times
Art & Design
London Director to Draft Arts Vision for Ground Zero
FEB. 12, 2014

Executives developing a performing arts center at ground zero have hired a temporary artistic director from the Young Vic theater in London, one of a series of steps to be announced Thursday to advance a project that has long faced political and logistical hurdles.

The new director, David Lan, who will continue as artistic director at the Young Vic, is part of a team recently brought in by the center as it refines its plans, which now include developing its own productions and revising the design for the building, by the architect Frank Gehry. Officials said that it had been a mistake to design the theater before the programming was determined and that they were essentially starting over.

Officials are also still grappling with what is perhaps the most critical issue for the project - how to raise the construction money, several hundred million dollars, by most estimates - although they said they were optimistic about the prospects.

"Realistically, we couldn't start raising money until the programming was set," said Julie Menin, a member of the institution's board. "I believe very strongly we will be able to go out and raise funds for this in the private sector."
Launch media viewer
From left, Lucy Sexton, the new associate artistic director for a performing arts center planned in Lower Manhattan; David Langford, the general manger; David Lan, the temporary artistic director; and Maggie Boepple, president. Hiroko Masuike/The New York Times

Maggie Boepple, the center's president, and its seven-member board are now proposing to originate works of theater, music and dance in three small flexible theaters. These would replace a 1,000-seat house most recently envisaged for the Joyce Theater, a dance organization. The Joyce was chosen a decade ago as an anchor tenant through a public process and still hopes to have a programming role.

Mr. Lan, who is expected to serve at least until September, traveling regularly to New York, was recruited in 2000 as artistic director for the Young Vic, which opened in 1970 as an offshoot of the Old Vic and is described by officials of the new arts center as a template for what they hope to accomplish. The Young Vic has become a hub of activity for young and diverse talent, offers low ticket prices and has a popular bar and restaurant, the Cut.

"I see the theater in London as a dry run - what we can do on a much more ambitious scale in New York," he said.

While the center's three theaters have shrunk under the latest iteration of the plan - to 550, 250 and 150 seats - the artistic aspirations seem lofty. Mr. Lan talked of a "world center for the performing arts" that would feature artists from all over the globe, drawing international tourists for culture and New York residents for coffee. "It will be home for the greatest artists of the age," he said, "the first performance space for the 21st century."

The center has also hired two full-time staff members. Its new associate artistic director is Lucy Sexton, who has served since 2009 as the director of the New York Dance and Performance Awards, or the Bessies. David Langford is the new general manager and chief operating officer, having served as the chief financial officer for the National Sept. 11 Memorial and Museum.

For the theaters' design, the center is working with Andy Hayles, the managing partner of Charcoalblue, a British consultancy that has advised the National Theater in London and the Royal Shakespeare Company as well as clients like St. Ann's Warehouse in Brooklyn and the Steppenwolf Theater Company in Chicago.

Arts center officials said it was too early to say what construction might cost; original estimates put the price tag at $300 million to $700 million. Reached by phone, Mr. Gehry said he had not been in touch with the arts center for some time. "Radio silence," he said. "I don't know what their priorities are. They haven't talked to me, so I don't know."

Ms. Boepple said the center does not need a full-time artistic director for now because it is not expected to open until 2018 or 2019. Its site is occupied by a temporary PATH station pending completion of a new transportation hub in Lower Manhattan.

The plans for the performing arts center were initially overseen by a foundation created in 2004 by the city and New York State to raise money for both the ground zero memorial and a cultural component, but the operations are now separate. A preliminary arts center board was named in 2011 as a prerequisite for tapping into $100 million in federal funds that the Lower Manhattan Development Corporation, which oversees the former World Trade Center site, had set aside for the center. Each of its members initially agreed to donate or raise $5 million.

The fund-raising challenge appears daunting, particularly in light of potential competition from other projects, like a planned Culture Shed on the Far West Side of Manhattan that will feature visual and performing arts.

The city's artistic landscape has shifted since the performing arts center was introduced as part of the ground zero master plan. New York City Opera has been disbanded, making the David H. Koch Theater at Lincoln Center available for more dance performances; Culture Shed is scheduled to open in 2017. The Park Avenue Armory has become the site of innovative cultural events, and the Theater for a New Audience recently opened a home in Brooklyn with a 299-seat flexible stage.

"Whether it will be seen as a unique venue and different from all other places is going to be their challenge," Karen Brooks Hopkins, president of the Brooklyn Academy of Music, said of the performing arts center. "They'll be competing with everybody for everything."

Ms. Boepple, who recently added the director Stephen Daldry as a seventh trustee, said that part of her fund-raising strategy would be expanding the center's board to about 30 members, and that she was confident about securing donations. "There is still a lot of money in this town," she said.

She also suggested that while she is a Gehry fan, the choice of architect could change. "He's excellent at models," she said. "We love his models." The problem with settling on a design so early, she said, is that the performing arts center had only a hazy idea of what it would present. "So many mistakes are made when genius architects design a building and that comes before the workhorse of the building," she added. "It's not a comment on Gehry as an architect. It's a different skill set."

Linda Shelton, the executive director of the Joyce, said she was still in wait-and-see mode. "I have all assurances that the Joyce will be a partner with the PAC, and that we're the only partner they're speaking to in this regard," she said. But she added, "I don't really know what partner means at this point."

Ms. Sexton sounded somewhat less certain. "We certainly hope the Joyce is one of the main partners," she said.

And Mr. Lan, who is currently planning a coproduction for the Joyce and the Young Vic, said he did not envision "a programming role" for the Joyce.

A version of this article appears in print on February 13, 2014, on page C1 of the New York edition with the headline: London Director to Draft Arts Vision for Ground Zero.



25. Jim Costanzo, FF Alumn, at Pine Box Rock Shop, Brooklyn, Feb. 15

Who would you pardon?

Join us for an enlightened evening as spectator, participant or both,

Jacob Cohen-cello • Carrie Dashow-Yesiree the Public Notary* • Noah Fischer • Happy Tears-harpsichord • Frederikke Hauberg-dance • Jim Costanzo

To further the vision of what is possible Beyond Capitalism at the end of empire, we are calling for Presidential Pardon for OWS's Cecily McMillan and Chelsea Manning, Julian Assange, Edward Snowden, Mumia Abu-Jamal, Leonard Peltier, Lynne Steward, Aaron Swartz and Marissa Alexander. Beyond individuals, we are also calling for the pardons of victims of Stop & Frisk, pardons for te prisoners of war on drugs, pardon all debtors.

BEYOND CAPITALISM: People and the Environment before Profits

The Aaron Burr Society is launching the next phase of the 2nd Whiskey Rebellion, an Occupied Rebellion, at the Pine Box Rock Shop, a bar in Bushwick.

*Officially Concur presidential pardoning with Yesiree the Public Notary (may need I.d.). All concurring Pardons will be combined into an actual legal and official presidential pardoning post to be delivered by the Aaron Burr Society, possibly on foot, or possibly by mail.

The Aaron Burr Society is launching the next phase of the 2nd Whiskey Rebellion, an Occupied Rebellion, at the Pine Box Rock Shop, a bar in Bushwick.

Pine Box Rock Shop
a bar in Bushwick-L train Morgan spot
12 Grattan St, Brooklyn, New York 11206


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Goings On is compiled weekly by Harley Spiller