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Contents for March 04, 2014

1. Ichi Ikeda, FF Alumn, now online at zinio.com/earthart

My digital art magazine " Earth Art Catalog" has previously had limited publication but now "Earth Art Catalog No.02" has been published online. When the complete 12 volume set is placed online by the end of this year, almost all of my history including international conferences, community activities, public performances and interactive installations, will be presented clearly. Please visit the following URL.


thank you very much. Domo arigato gozaimasu.

Ichi Ikeda



2. Warren Lehrer, FF Alumn, at LaGuardia Performing Arts Center, Long Island City, NY, March 14

A LIFE IN BOOKS, Warren Lehrer, Performance
Friday, March 14, 2014 8:00 PM - 10:00 PM
LaGuardia Performing Arts Center, Little Theatre, LIC, NY
Tickets: $10/$5 Call (718) 482-5151
31-10 Thomson Ave. Long Island City, NY 11101
Writer, artist, performer Warren Lehrer presents a funny and thought-provoking multimedia performance/reading based on his acclaimed new novel, A Life In Books: The Rise and Fall of Bleu Mobley. An illuminated novel, A Life In Books contains 101 books within it, all written by Lehrer's protagonist, a controversial author who finds himself in prison looking back on his life and career. In the performance, Lehrer presents an overview of Bleu Mobley's life in books via many of Mobley's cover designs and other biographical materials including animations, and video performances of book excerpts by the band BETTY, actress/poet La Bruja, beatbox artist Chesney Snow, and a live appearance by actress/author Judith Sloan. The resulting retrospective explores the creative process of a writer/artist, as it reflects upon a half century of American/global events, and grapples with the future of the book as a medium as well as the lines that separate and blur truth, myth, and fiction.
"...Like a Russian Matryoshka doll, 101 books are nested within the tale of Mobley's life. Pitch perfect!" Steve Heller THE ATLANTIC
"A vivid kaleidoscopic odyssey that frames one man's life through one hundred different books... An unmistakably modern evocation of the illuminated manuscript."
Jessica Helfand, writer, designer, founding editor Design Observer



3. Barbara Hammer, FF Alumn, launches new website, www.barbarahammer.com

Barbara Hammer, FF Alumn
Launches new website



4. Roger Shimomura, FF Alumn, at Greg Kucera Gallery, Seattle, WA

In "Night Watch - Minidoka" we behold the Internment Camp sentry's view from the watch tower. From his perspective the rooftops and tar-papered sides of the barracks form a nearly impenetrable black and gray mass of buildings. The views through the window blinds offer the only glimpse of life in the camps. Within those windows and shadowed against their pull-down blinds we view the camp's prisoners at rest, at play, in love, and in the middle of a dance. These are the potent day to day circumstances of American citizens imprisoned by their own government during WWII in Minidoka, Idaho, where Roger and his family lived from 1942 through most of 1944.

This is his most recent print about life in the internment camps for tens of thousands of Japanese-Americans.

I was born and raised in Seattle, Washington, a city where ethnic diversity is standard fare; however, for the last forty years, I have lived in the Midwest, where the Asian American presence is still somewhat of a rarity.

Since living in Kansas, I have found it to be routine to be asked what part of Japan I am from, or how long I have lived in this country. Just as common, subtle references continue to connect me to stereotypical "oriental" traits, both physical and behavioral. Far too many American-born citizens of Asian descent continue to be accepted as only "American knockoffs."

This latest series of paintings is an attempt to ameliorate the outrage of these misconceptions by depicting myself battling those stereotypes or, in tongue-in-cheek fashion, becoming those very same stereotypes.
- Roger Shimomura

We also have received this marvelous painting, titled simply, "Japan." The mania for Hello Kitty over the last few decades has meant an entire generation's view of Japan is overshadowed by what now can only be considered kitsch.

To view more work by Roger Shimomura go to
http://www.gregkucera.com/shimomura.htm :

www.gregkucera.com | 212 Third Ave S, Seattle, WA 98104 | 206.624.0770 | staff@gregkucera.com



5. Deborah Freedman, Mimi Gross, Elke Solomon, FF Alumns, at VanDeb Editions, Long Island City, NY, opening March 6

VanDeb Editions is pleased to announce its first exhibit at the Standard Motors Building.
Lobby: 37-18 Northern Blvd. Long Island City.
take the R or M to 36 st.


Opening Reception March 6 5-8 pm

Lauren Bakoian, Emily Berger, Deborah Freedman, Cheryl Goldsleger, Mimi Gross, Sharon Horvath, Kumi Korf, K.K. Kozik, Nancy Lasar,
Pamela Lawton, Arden Scott, Claire Seidl, Arlene Slavin, Elke Solomon, Anita Thacher, Marjorie Van Dyke, and Lorraine Williams.
Marjorie Van Dyke and Deborah Freedman began their association at the Robert Blackburn Printmaking Workshop in l987. Sharing a passionate interest in etching and monotype, they founded VanDeb Editions in 1999.
Collaborating with Master Printer Marjorie Van Dyke painters, architects, and sculptors add the process of printmaking to their vocabulary: producing art works of integrity and superlative production values.

Van Deb Editions
37-18 Northern Blvd
Suite LL009
Long Island City, NY 11101
718 786 5553



6. Ann Hamilton, FF Alumn, at the New York Public Library, Manhattan, March 5

invite you to join

Ann Hamilton and Jane Hammond

in conversation with
Lisa Pearson

It Is Almost That: A Collection of Image + Text Works by Women Artists & Writers

Wednesday, March 5, 2014
6:30 - 8 p.m.
(doors open at 6:00 p.m.)

Margaret Liebman Berger Forum
The New York Public Library

Stephen A. Schwarzman Building
5th Avenue and 42nd Street
New York, NY 10018

First come, first served.

Copies of the book are available for purchase and signing at the event.



7. Marina Abramović, Les Levine, Carolee Schneemann, Pat Steir, FF Alumns, at the Poetry Project at St. Mark's Church, Manhattan, March 5



Thomas McEvilley: And Autumnstruck We Would Not Hear the Song

by Charles Bernstein on March 2, 2014

When autumn lay like a drawn sword in the hills
And chilled us with its deathly radiance,
We flushed like leaves that beauty's fever kills
And asked what lover loves with permanence.

And rising to the trail we rode away
From fever of that blade, and would not see
Where all around the dreams of lovers lay
Which once the summer guarded jealously.

And autumnstruck we would not hear the song
That echoes in the painful hearts of these
Who lingered by love's fountain overlong
And lost their dreams among the fallen leaves.

-Thomas McEvilley

Everyone talks about working outside the box but most of us don't even know what box we're boxed in by so we box ourselves in all the more. The work of Thomas McEvilley not only shows the imaginary fly the way out of actual fly bottles but also shows that preposterous insect, who represents our homing instincts (nostos), how to get back in, even though the 'in' is not what it was or what it will be either, once you sit down, take the several loads off your mind, and think about it.

Scholar, poet, novelist, art historian, critic, and translator, McEvilley was born July 13, 1939 and died March 2, 2013. He grew up in Cincinnati, where he studied Greek, Latin, Sanskrit, and classical philosophy in the classics programs of the University of Cincinnati (BA), and the University of Washington (MA). In 1969, he received a Ph.D. from the University of Cincinnati in classical philology. He taught at Rice University from 1969 to 2005, commuting there for many years after he moved to New York. In 2005, he founded the M.F.A. in Art Criticism and Writing Program at the School of Visual Arts in New York.

His art essays are collected in several books published by Bruce McPherson of McPherson & Company: Art & Otherness: Crisis in Cultural Identity (1991), Art & Discontent: Theory at the Millennium (1992), The Triumph of Anti-Art: Conceptual and Performance Art in the Formation of Post-Modernism (2005), Yves the Provocateur: Yves Klein and Twentieth Century Art (2010); and Art, Love, Friendship: Marina Abramovic and Ulay (2010). His other books of art criticism and history are Sculpture in the Age of Doubt (Allworth Press, 1999) and The Exile's Return: Toward a Redefinition of Painting for the Post-Modern Era (Cambridge University Press, 1994). In addition, McEvilley wrote monographs, catalog essays, and critical reviews of James Lee Byars, Carolee Schneemann, Julian Schnabel, Les Levine, Pat Steir, Antoni Tapies, Sigmar Polke, Dennis Oppenheim, Kara Walker, Nancy Spero, Thornton Dial, Leon Golub, Richard Tuttle, Agnes Martin, Joseph Beuys, Paul McCarthy, William Anastasi, Susan Bee, and many other artists.

In 1984, McEvilley published in Artforum a critical account of William Rubin's and J. Kirk Varnedoe's 1984 Museum of Modern Art show "Primitivism in 20th Century Art: Affinity of the Tribal and the Modern." This essay, and the exchanges that followed, illustrate McEvilley's rhetorical power to show the willfully parochial world of institutional high art that there is an outside to their jealously guarded inside, an outside which, for the moment, let's call non-Western cultures. This outside continues to exist not only adjacent to our inside but also under it: it is the ground on which we walk.

McEvilley's more important, harder to grasp, teaching is that our erection of the dog and pony show of Western Civ has disconnected us from the living Western tradition that is our classical inheritance, an inheritance we have systematically misrecognized, squandered, and disfigured.

In 1987, McPherson and Company published McEvilley's North of Yesterday, which, like The Arimaspia, or Songs for Rainy Season, is a Menippean satire. These two literary works are closely related to each other and distinct in genre from McEvilley's other works. McEvilley also published two monumental philological studies that bear directly on The Arimaspia: The Shape of Ancient Thought: Comparative Studies in Greek and Indian Philosophies (Allworth, 2001) and Sappho (Spring, 2008). At the time of his death, he was working on a study of The Greek Anthology, which overlaps with The Arimaspia.

The Greek Anthology is a gathering of about 4,500 short Greek poems by about 300 poets. The poems cover a millennium of Greek verse, from the 7th century BCE to the 6th century CE (from the time of Homer to the Roman age). As a source for The Arimaspia, McEvilley used the Loeb Classical Library edition, which published a set of translations by W. R. Patton in 1916-1918.

Cover cut 02072014 Meleager of Gadara (first century BCE) was the most important compiler of The Greek Anthology and Meleager included his own great poems in the collection. McEvilley seeds The Arimaspia with a set of ten of his own arresting Meleager translations, many of which were composed in the 1960s (these can be identified fairly easily in the narrative since they are framed by references to Meleager). The narrator of The Arimaspia is a poet/philosopher from Gadara, a latter-day follower of Meleager, who journeys from Gadara to India with "the idea of ... of establishing a philosophy school in India and fomenting a synthesis of Greek and Indian thought." Perhaps the narrator - who went to college in Antioch (Greece, not Ohio!) and graduate school in Alexandria, and who is serially reincarnated over the hundreds of years of the story - is an avatar for the author. For in The Arimaspia, palimpsest displaces continuity: the unreliable narrator is a figure of imagination.

Gadara was a Greek city in ancient Syria (it sits at the border of present-day Jordan, Israel, and Syria). Apart from Meleager, Gadara's most famous son is Menippus (third century BCE) and though the work of this wit does not survive, his followers established the genre of Menippean satire. Menippean satire is a speculatively mixed-genre genre: it is an essay in the sense of a trying or testing. The Menippean moves from socially satirical prose to lyric verse, philosophy to fiction, often touching on current topics. McEvilley's version of Menippean satire is digressive, wild, fantastical, and has shifting points of view; it is intermittently comic, with strong narrative threads. The Arimaspia and North of Yesterday are exemplary contemporary Menippean satires. North of Yesterday was labeled as a "novel" and there is much to justify calling The Arimaspia a novel. But I prefer to think of The Arimaspia as a picaresque epic poem because it continually pivots on lyric poems that unhinge plot while casting the narrative like a fisherman casts his line. Bahktin saw the hybridization in Menippean satire as germinal for the carnivalesque novel and Menippean is sometimes just used to mean broad social satire. As company for McEvilley's sense of the Menippean, beyond Sterne, Pound, and Joyce, who were key writers for McEvilley, I'd propose (in American literature), William Carlos Williams's Spring and All, John Dos Passos's U.S.A, Raymond Federman's Take It or Leave It, Nathaniel Mackey's epistolary poem/essays/novels, The Midnight, and The Nonconformist's Memorial (Susan Howe's mixed genre works), Madeleine Gins's Helen Keller or Arakawa, Leslie Scalapino's How Phenomena Appear to Unfold and Zither & Autobiography, as well as my own My Way: Speeches and Poems and Attack of the Difficult Poems: Essays and Inventions.

Then again, with all the sophists who populate The Arimaspia, it might be just as well to think of this work under the sign of 'pataphysics, Alfred Jarry's swerve-inducing science of imperceivable solutions to opaque problems. The Arimaspia is filled with mind-twirling zen dialogues and epigrams, suggesting if not Heraklitus on acid than Homer retold by Thomas Pynchon.

The title Arimaspia comes from a lost ancient road trip poem of that title by Aristeas of Proconnesus, from the seventh century BCE Herodotus says that the Arimaspi were a one-eyed people from Scythia who fought an ongoing battle with the griffons to capture their hoard of gold. This book is the site of that battle.

The Arimaspia is a work of grand collage and radical pastiche, in which McEvilley's own poems, translations and narrative are hard to distinguish from the cascade of borrowed materials. Indeed, The Arimaspia is replete with citation and quotation: even the material that was not appropriated sounds as if it could have been - and each rubbing (as of an epitaph) comes across as fresh insight, made new for new time.

Stunning in its archaic originality, The Arimaspia is a work of extraordinary learning, steeped in classical references that go well beyond the ken of most readers. At a certain point, the dance of the sources gives way to an immanent experience of refamiliarization, in which long-elided classical works come to life.

It's Greek to me! The marvelous conjuring trick of The Arimaspia is to take up Isocrates's notion that to be Greek is to absorb Greek thought, a Hellenocentric idea adopted by Alexander the Great whose concept of merging East and West in his campaign to Hellenize (invade rather than colonize) India in 326 BCE is central both to The Arimaspia and The Shape of Ancient Thought, which can be read as twin works (and indeed the narrator of The Arimaspia follows an intellectual and geographic itinerary - from Greece to India - similar to that of The Shape of Ancient Thought).

The Arimaspia incorporates extensive sampling and adapting of Nonnus's Dionysiaca (from the 4th or 5th century CE), often in italic inserts. This long poem chronicles Dionysus's voyage to India (Zeus ordered Dionysus to conquer India) and as such is especially relevant for McEvilley's engagement with the crossover between Indian and Greek culture in the Axial era, to use Karl Jasper's term for the period hundreds of years before and after Homer. Because of the extensive quoting from this source, Dionysus might be the presiding spirit of The Arimaspia. McEvilley uses W. H. D. Rouse's translations from the Loeb Classical Library (1940), usually adding lineation to Rouse's prose translations. Other sources include Homer, Orphic lore, The Contest of Homer and Hesiod, sophist Phiostratus the Elder and essayist Clement of Alexandria (both from the 2d century CE), along with Greek Anthology translations by McEvilley of Anacreontea poems and poems by Philodemus (like Meleager also from Gadara).

Amidst the narrative and the web of citation are two startling poems by McEvilley, published here for the first time though probably dating from 1964. One of these is the epigraph to this preface. Listen to the other:

About his head no dark no dark blooms dove,
Confusing his passion invulnerable and so
Blossoming cruel flowers of the grave.

But pacing among the slain he sought the grove
Whence stirred the dreams in which those sleepers lay
about whose heads the dark, the dark blooms dove.

So underneath his body and above
The blood made pitiful armor where he lay
Strewn with scarlet flowers of the grave.

Then we, like restless sleepers who, alive,
Scream for the rest that laid that hero low
About whose head the dark, the dark blooms dive,

Bore him away, laid by the breaking wave,
Safe, safe in the gracious fingers of the sea
that proffered splashy flowers for the grave,

and laid on his whitest breast the gold, the mauve,
grand robes of innocence, and then we knew
about our heads the dark, the dark flames dove;
blossomed hideous flowers of the grave

* * *

In early September 2013, I got a call to come visit Tom. He was sick with esophageal cancer. I got off at the wrong subway stop - it was after nightfall and the rain was coming down so thickly I couldn't read the street signs or see more than a foot ahead. Often disoriented, I proceeded to walk many blocks in the wrong direction. When I finally arrived at Tom and Joyce's apartment on the deep lower east side, late and soaking, I found Tom in a big hospital bed that had been installed in the living room. He talked with me about the surgery he would be having at Memorial Sloan Kettering. I saw him one more time at home and then began visiting him in the hospital, where he went in and out of intensive care. Tom stayed in the hospital a little over four months, and his hospital rooms became a shadow world between death and life. While his death often seemed imminent, so did his recovery; and it went like that, with hope undercut by close calls, Tom taking this final journey - alive to each moment of consciousness he could fight for against the rapacious clutches of his afflictions.

One day in early March, I tried to call Tom at the hospital but could not get through to him or to Joyce. Late that night, sleepless, I began to write a poem sparked by two lines in the 15th-century ballad, "The Not-Browne Mayd" that had been going through my head, though I didn't know why:

Wherfore I wyll to the grene wode go;
Alone, a banished man.

As I was finishing the poem, I got a note from Joyce.

Tom was sleeping.

He died two days later.

The Green Wood is the imaginary space of the outlaw and of banishment, from which we can begin our voyages of return (nostoi).

It is, like all Tom's work, a testing ground.
Song of the Wandering Poet

For Tom

I must now to the green wood go
And make a house of clay and stone
And lay upon the barren floor
And weep for what I have no more.
There will I make a diadem
Of broken glass and borrowed hemp
Remembering true times I've spent
In wasted moment's sweetly scent
Torn by maelstroms, frail, unkempt.

* * *

Celebrating the life and work of Thomas McEvilley (1939-2013) and the publication of his new books The Arimaspia: Songs for the Rainy Season, from McPherson & Co, and Seventeen Ancient Poems: Translations from Greek and Latin.

The tribute will feature Carolee Schneemann, Holland Cotter, Pat Steir, Les Levine, William Anastasi, Susan Bee, George Quasha, Richard Fletcher, Bruce McPherson, Stacy Szymaszek, Dove Bradshaw, Ann McCoy, David Shapiro, Joyce Burstein, Charles Bernstein (emcee), and special video tribute by Marina Abramovic.

The event will take place Wednesday, March 5, 8pm, at the Poetry Project at St. Mark's Church (131 E 10th Street, East Village, Manhattan).

Hyperallergic is a forum for serious, playful and radical thinking about art in the world today. Founded in 2009, Hyperallergic is headquartered in Brooklyn, New York.

(c)2014 Hyperallergic Media, Inc. All Rights Reserved.

Link to the fully illustrated information from which this posting was derived:



8. LuLu LoLo, FF Member, at Fordham University at Lincoln Center, Manhattan, Mar. 8, and more

LuLu LoLo Saturday, March 8, 2012 1:30-4:00 PM
LuLu LoLo will be a panelist at the Kitty Genovese Memorial Conference Fordham University at Lincoln Center

Wednesday, March 12, 2014 at 7pm
To Commemorate the 50th Anniversary of the Death of Kitty Genovese
LuLu LoLo in a staged reading of her one- act play
Wednesday, March 12, 2014 at 7pm
BGSQD The Bureau of General Services--Queer Division http://bgsqd.com/event/lululolo/
38 WITNESSED HER DEATH, I WITNESSED HER LOVE: THE LONELY SECRET OF MARY ANN ZIELONKO (Kitty Genovese Story) written and performed by LuLu LoLo is a four part/three character drama in which LuLu portrays:
"The Chorus of 38"
A.M. Rosenthal, New York Times City Editor recalling the murder and the New York Times headline story
Winston Moseley testifying at his trial which convicted him of the murder
Mary Ann Zielonko (Kitty's lover) reminiscing after 40 years of silence about gay life in New York in the 60's, her life with Kitty, the murder, the trial, and its aftermath.
Based on personal interviews with Mary Ann Zielonko www.lululolo.com
BGSQD The Bureau of General Services--Queer Division; 83 A Hester Street c/o CAGE between Orchard and Allen Streets; 646-457-0859; B& D trains to Grand Street; F trains to East Broadway



9. Donald Daedalus, FF Alumn, at The Whitney Biennial

Donald Daedalus, FF Alumn, part of Critical Practices Inc in 2014 Whitney Biennial

CPI, founded in 2010 and incorporated in 2012, was established to support the emergence and development of new practices within the field of cultural production. We believe that the producers of critical culture are a community whose needs for peer discourse and engagement are underserved by current institutional conventions. Operating outside of normative institutional and marketplace models,CPIÂ uses the common objectives, goals, and concerns of a diverse community of producers as its point of departure for programming. Our intent is to create a dynamic network and platform for the diverse points of view necessary to shape and sustain critical, theoretical, and artistic practices.

The artist/writer/curator Michelle Grabner has selected Critical Practices Inc. to participate in the 2014 Whitney Biennial. We will join a wide range of artists, writers, and organizations in filling the Whitney Museum's Upper East Side building for the last biennial to be held there.



10. Terry Berkowitz, FF Alumn, at Barbès, Brooklyn, March 8

Saturday, March 8
Barbès, (376 9th St. corner of 6th Ave. in Park Slope, Brooklyn) celebrates Women's Day with a program curated by Roberta Bonisson, Women: Experimental Films. 14 films are included in this showing representing filmmakers: Sasha Water Freyer, Mary Magsamen and Stephen Hildebrand, Rosane Chameki, Andrea Lerner, Bahar Behbahani, Beth Portnoy, Kristine Marx, Shannon Brunette, Negar Behbahani, Shannon Plumb, Gabriela Gusmão, Toni Simon, Terry Berkowitz, Camila Sobral, Lelé Luiza and Roberta Bonisson
more information at http://shedspace.org/?page_id=1750




11. Graciela Cassel, FF Member, at Front and Center, Manhattan, reception March 13

Front and Center
601 West 26 Street, 15th floor
tel: 212-592-2145

New Work by Second Year MFA Arts students at SVA
Curator: Jovana Stokic

Exhibition: March 1- March 15, 2014
Reception: Thursday, March 13, 6-8

Julie Bahn

Lucy Brinkerhoff

Graciela Cassel

Youri Choi

Leah Dixon

Anthony Donatelle

Byul Han

Allison Kuo

Lin Jiayue

Christopher Martino

Manuel Vazquez aka Mava

Jacob Williams



12. Miao Jiaxin, FF Alumn, at The Armory Show, Manhattan, March 6, and more

My performance and talk at the VIP Lounge of the Armory Show, hosted by ArtReview Asia.



My durational performance at Defibrillator Performance Art Gallery in Chicago



I officially joined Julie Meneret Gallery, and scheduled a solo exhibition in the end of May, 2014.

Thanks for you attention, your care and your time, your hard working. I would always appreciate your help to let me start this career in NYC.

Best, best, best,



13. Claire Jeanine Satin, FF Alumn, in Italy, March 14-June, 2014

CLAIRE JEANINE SATIN will have her video WATERS OF VENICE + HENRY JAMES presented in Florence, Milan and Venice from March 14 - June 2014 in various Palazzos in those cities.

The content is based on a selection of 2800 images taken during her two artist residencies in Venice, Italy in 2009 & 2012. Interwoven are selected phrases from Henry James' The Aspern Papers which was sited in a beautiful garden in Venice. James was a long time resident in Venice. My two collaborators on this project were Juraj Kojs, sound composer (who incorporated the sounds of the waters on site) and the video artist Rodrigo Arcaya. The video will be available for presentation subsequent to this event.

I can be contacted at clairesatin@gmail.com



14. Joseph Nechvatal, FF ALumn, at Galerie Omnius, Arles, France, opening April 4

Opening April 4th, 2014 Galerie Omnius is pleased to present American artist Joseph Nechvatal's exhibition From Photography to Post-Photography.
Joseph Nechvatal: From Photography to Post-Photography is a photo-based survey that elucidates, through selected pieces that stretch from 1973 to 2010, the arc of transformation regarding the artistic photographic process as it has moved from film into the post-photographic (digital) period of today.

Galerie Omnius 1 rue Vauban, 13200 Arles, France



Goings On is compiled weekly by Harley Spiller