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Contents for March 13, 2014

1. Theodora Skipitares, Martha Wilson, FF ALumns, at CUNY Graduate Center, Manhattan, March 17

THEODORA SKIPITARES and MARTHA WILSON at the CUNY Graduate Center on March 17th at 6:30pm. Free performance and conversation
Monday, March 17. Join us for an exploration of the inventive and highly theatrical world of artist and director Theodora Skipitares. Trained as a sculptor and theatre designer, Skipitares has been creating personal solo performances since the late 1970's. Skipitares' work features realistic, life-size puppet figures, as well as miniature ones, who become the performers in large-scale works. Her work was recently featured at the Whitney Museum.
Afternoon Screenings: 3pm
Trilogy: Iphigenia, Odyssey, Helen, Queen of Sparta
+ The Traveling Players Present the Women of Troy.
Evening Performance + Conversation: 6:30 pm
An excerpted performance of Skipitares' upcoming work The Chairs, featuring Judith Malina and others. Conversation with legendary performance artist Martha Wilson.
Martin E. Segal Theatre Center, The CUNY Graduate Center 365 Fifth Avenue at 34th Street. Info: 212-817-1860



2. Julie Atlas Muz, Mat Fraser, FF Fund recipients 2013-14, in The New York Times, March 5

The New York Times

Her Beloved Beast, Loved Just as He Is


Taboos: Mat Fraser and Julie Atlas Muz in "Beauty and the Beast." Credit Sheila Burnett

Their previous collaborations include "The Freak and the Showgirl" and "Apocastrip Wow!" Now the performance and burlesque artists Julie Atlas Muz and Mat Fraser are appearing at the Abrons Arts Center under the more family-friendly title "Beauty and the Beast." But don't expect G-rated material. Staged by Phelim McDermott ("Shockheaded Peter," and productions of "Satyagraha" and "The Enchanted Island" at the Metropolitan Opera), this production uses pageantry, puppetry and two daring stars to explore the totems and taboos of our notions of physical attractiveness.

Ms. Muz, who holds the titles of both Miss Coney Island and Miss Exotic World, predictably plays Beauty; Mr. Fraser - who was born with phocomelia of the arms and whose earlier credits include "Thalidomide!! A Musical" - is the Beast. This partly autobiographical show features animation, full-frontal nudity and a happy ending that is by no means regulation fairy tale. (March 13 through March 30, 466 Grand Street, at Pitt Street, Lower East Side, 212-352-3101, abronsartscenter.org.)

For the full illustrated article please visit this link:




3. Nicolás Dumit Estévez, FF Alumn, at Illinois State University, Normal, March 25

"I Swam with a Mermaid"

Tuesday, March 25th, 12:00 Noon

University Galleries of Illinois State University
110 Center for the Visual Arts
Normal, Il 61790-5620
Phone: (309) 438-5487

Estévez gives a Power Point presentation on the noteworthy characteristics of Speedos, which leads him into a narration of an encounter with an underwater creature at a Caribbean beach resort. He recounts an unexpected face-to face meeting with a being that feeds on fresh algae and boasts an iridescent tail dotted with pearly scales. The audience is gradually submerged and witnesses Estévez 's trials as a tourist stranded in the warm waters of the tropics, running the risk of missing a buffet dinner at the Hibiscus Lounge back at the hotel.

The presentation includes drawings and photographs documenting this pseudo- anthropological account that takes as reference Zora Neale Hurston's experiences as described in "Tell My Horse: Voodoo and Life in Haiti and Jamaica."

First presented in 2008 as part of as Latina Moves at Princeton University.



4. Mimi Smith, FF Alumn, at New Jersey City University, Jersey City, NJ, opening March 20

Mimi Smith: Constructing Art About Life
March 20 - April 24
March 20, 4:30 - 7:30 p.m. Opening Reception
April 17, 4:30 p.m. Artist Talk

Since the 1960s, Mimi Smith has been fashioning clothing as an art form and making installations with topical and personal resonance.

By turning banal objects into clothing sculpture, Smith subverted the notion of both "fine art" and fashion which is usually intended to make women appear attractive. According to art historian Joan Marter, who authored an essay for the exhibition brochure, these principal works of the 1960s "take their place among the few viable Pop Art objects created by women, while also forecasting feminist art of the 1970s."

In the 1970s, Smith produced life-sized drawings of household interiors and furniture, using measuring tape and knotted thread. She drew from her surroundings, being home-bound with the raising of her children at the time, and used her art to create an order with which to make sense of her life. Telephones and televisions also appear in this period, alluding to the pervasiveness of new technologies and the increasing invasiveness of the news media.

This concise survey exhibition presents a carefully selected group of works across five decades of Mimi Smith's career. Its diversity attests to the fact that the artist has been continually exploring the personal and political through the forms and modes of expression of our ever changing times.

For further information on the artist, see: mimismith.com

The Harold B. Lemmerman Gallery (Hepburn Hall room 323)
New Jersey City University
2039 Kennedy Blvd.
Jersey City, NJ 07305
Tel: 201-200-3246
Hours: Mon. - Fri. 11 a.m. - 5 p.m.



5. Howardena Pindell, FF Alumn, at Art Omi, Ghent, NY, June 19-July 15

We are pleased to announce the international visual artists who will be participating in
ART OMI 2014!

These very talented artists will be in residence June 19 - July 15, 2014


Art Omi Open Weekend is on Saturday & Sunday, July 12 - 13, 2014

Bashar Alhourb, Palestinian Territories Francis Greenburger Fellowship for Mitigating Ethnic & Religious Conflict
Lara Baladi, Egypt
Jesus Benavente, USA
Marcos Castro, Mexico
Serge Clottey, Ghana
Marlon Portales Cusett, Cuba
Gopal Dagnogo, Ivory Coast/France
Ira Eduardovna, Uzbekistan/USA
Sara Eliassen, Norway
Mauro Giaconi, Argentina/Mexico
Wojciech Gilewicz, Poland/USA
Adam Mickiewicz Institute Fellowship
Frances Goodman, South Africa , Cecily Brown Fellowship
Antonio Jose Guzman, Panama
Taro Hattori, Japan/USA
Nikolai Ishchuk, Russia
Siddhartha Kararwal, India
Prana Studios Award
Judith G. Levy, USA, Charlotte Street Foundation Fellowship
Cynthia Madansky, USA
Amarsaikhan Namsraijav, Mongolia
Dominique Pétrin, Canada
Antrev Habland Award
Howardena Pindell, USA, The Milton and Sally Avery Arts Foundation Fellowship
Caroline Rothwell, Australia, Art Omi Australia Committee
Jessica Segall, USA
Peyman Shafieezadeh, Iran
Sunaura Taylor, USA, Unlimit Art Fellowship

We are also very grateful to the following arts professionals who have participated in the Art Omi Review Committee:

Nathalie Angles, co-Founder and co-Director of Residency Unlimited • Rob Carter, Artist, Art Omi Alumnus 2008 • Ian Cofre, Independent Curator • Kari Conte, Program Director, ISCP • Natalie Diaz, Curator West 10th Window • Moukhtar Kocache, Art Omi Critic in Residence 2014 • and the wonderful and dedicated members of Art Omi Selection Board who every year work hard to put together an incredible group of very talented international artists! For a complete list of Art Omi Board members, visit this link: http://www.artomi.org/art



6. Kriota Wilberg, Bob Sikoryak, FF Alumns, upcoming events

Hello Everyone!

Spring is almost here - Oh! So "almost"! - And with the spring comes classes and events I'd like to tell you about.

I am offering anatomy classes with three different emphases - cartooning/illustration, yoga, and massage/fitness. Please visit individual webpages for a complete description of content, but be assured that all classes utilize a combination of anatomical drawing on a live model, (interesting) PowerPoint presentations, and anatomical puns...

Cartoonist R. Sikoryak and I are once again offering our ANATOMY FOR CARTOONISTS workshop through MoCCA/The Society of Illustrators. The workshop is a series of four Monday evenings, 6:30-9 PM, April 14, 21,28, and May 5.
Address of the workshop on the SI site: http://www.societyillustrators.org/Mocca_Event.aspx?id=11350
Email RSVP@societyillustrators.org or call 212.838.2560 to reserve a spot!
Register before March 14 and receive a discount.

I will be teaching my annual ANATOMY FOR YOGA classes at Mang'Oh! Yoga as a part of their teacher training program, March 22-23. Occasionally people ask if they can participate in the anatomy classes without partaking in the entire teacher training. Happily, the answer is yes! But you will need to contact Mang'Oh to make arrangements.
Address of the training description: http://mangohstudio.com/yoga-teacher-training/

ANATOMY AND MOVEMENT at the Center for the Advancement of Therapeutic Arts continues! These classes focus on anatomy, kinesiology, and movement analysis for massage therapists. This Monday afternoon class series meets biweekly into May. Classes have started, but you can sign up for individual classes.
Address for the class description: http://www.massagespacenyc.com/education/anatomy-movement-western/

Instead of clogging you mail box with images heavy on dpis, you can visit my blog to see images and descriptions of my latest body-science projects.

New Linea Alba is a self-portrait following abdominal surgery in September (I'm fine!) It is an homage to an early 17th century anatomical plate credited to Guillio Cesare Casseri. http://kriotawelt.blogspot.com/2014/02/new-linea-alba.html

This is the Sound of One Heart Breaking. Actor James Urbaniak wore a director's hat to make a series of music videos for Drazy Hoops. James called me out of retirement to choreograph just one more time... http://kriotawelt.blogspot.com/2014/02/out-of-retirement-for-one-last-caper.html

Endoscopy cross stitch and Tissue Sampler needlepoint. See the latest needle work of medical imagery! http://kriotawelt.blogspot.com/2013/11/tissue-sampler-and-endoscopy-cross.html

MoCCA Fest April 5-6 http://www.societyillustrators.org/mocca_event.aspx?id=8605 - You won't find me on the official map, but will be tabling with Danny Hellman and R. Sikoryak.

Asbury Park Comicon April 12-13 http://www.asburyparkcomicon.com/ - Come by our table!

TCAF May 9-11 http://torontocomics.com/about-tcaf/ - I will be a featured guest, presenting on best practices and injury prevention for cartoonists. This is one of my favorite fests and Toronto is one of my favorite towns.

Grand Comics Festival Jun 7 http://grandcomicsfestival.com/ - Can't get enough Pathology Laffs, or (NO)PAIN!? Brooklyn is lovely in the spring!
Hope to see you around town or around the Americas in the next few months!
All Best,
Kriota Willberg



7. James Siena, FF Alumn, at Galerie Xippas, Paris, France, opening March 22

James Siena
March 22-April 26, 2014

Opening: Saturday, March 22, 3pm

Galerie Xippas
108 rue Vieille-du-Temple
75003 Paris

T +33 1 40 27 05 55
F +33 1 40 27 07 16


The Xippas Gallery is pleased to present James Siena's first solo exhibition in France. James Siena is a pivotal artist in the New York art scene, particularly known for his creative process based on self-imposed parameters that he terms visual algorithms. By establishing a base unit that he infinitely and obsessively repeats, Siena takes possession of the surface plane in order to focus on complex geometric and abstract forms.

Even though James Siena's work explores numerous mediums, including lithography, engraves, drawing, and painting, the present exhibition concentrates on a group of eight paintings of enamel on aluminum (a technique that characterizes his work since the 1990s) and thirteen drawings on paper (from 2007 to 2012).

"I don't make marks. I make moves."

The rigorous mathematical process adopted by James Siena and the industrial technique of enamel on aluminum obscures neither the artist's presence of hand nor the fragility of his lightest touch, which he applies and endlessly repeats. The artwork's evocative titles Connected Hooks, When I Was Ten (Brown), Liminal Pathway, Earthless or Malevolent Adolescent Form-just to name a few-formulate our position as human beings and conditions the public's interpretation of these fundamentally non-narrative paintings. Certain patterns resemble interlocking comb teeth, whereas others snake around the space in an unlikely fashion, recalling canal routes, and others even resemble computer formulas or incomprehensible labyrinths. The repetitive elements, sequences, curves, loops, and other delicate labyrinths become the matrix that allows us to see the interstitial space, the passages, and the mutations towards more biomorphic forms. The motion Siena creates, at once rational and poetic, confronts us with an optical riddle that mixes chance and order, where the leitmotiv distinguishes itself in a group that at first glance appeared uniform. All the elements, like human cells, communicate and echo, provoking a particular vibration within the whole.

James Siena's works provoke a feeling of incredible temporality as if they hold in their hearts the marks of ancient civilizations: countless forms bring to mind aboriginal drawings, African textiles, or Maori tattoos. Privileging medium and even small formats, the artist instills an intimate relationship between the painting and the spectator, rejecting the notion that "bigger is better." Accumulation in his artworks refers more to an expansive development of a pattern drawn from inside of a self-sufficient system, from the core of a closed-circuit network-much like the image of a mental construction. In Siena's works, the process blurs with the subject, creating fascinating surfaces. The little spaces, similar to fetishes, totems, or icons, concentrate a unique and hypnotic energy that invites the onlooker to choose his own path between the lines and to give himself over to the metaphysical experience.

Born in 1957 in Oceanside, California. Lives and works in New York City. James Siena has participated in over 100 solo and group exhibitions since 1981, including the 2004 Whitney Biennial. His work is part of many prestigious private and public collections all over the United States, including the Boston Museum of Fine Arts, the San Francisco Museum of Modern Art, as well as the New York City Metropolitan Museum of Art, the Museum of Modern Art, and the Whitney Museum. James Siena was elected and became a member of the American Academy of Arts and Letters in 2000. His numerous distinctions include the 2009-2010 Eissner Artist of the Year Award, Cornell University (where he received his BFA in 1979). In 2004, he completed the artist residency at Yaddo and was subsequently elected to their Board of Members, in short delay. For ten years, James Siena has taught and given conferences in artistic institutions. Since 2004, he has been represented by Pace Gallery.



8. Tim Miller, FF Alumn, Spring events


Hi All!

Back from five weeks in Australia in January. This was a really important journey since it was the first time since Alistair and I got married and he received his green card that we had travelled outside the US. Alistair had not seen his parents for 17 years. It was an amazing several weeks of family time with Alistair and the multitudes of McCartneys. Plus a residency at Theatre Works in Melbourne. I directed a devised performance intensive called QUEERING THE BODY as well as performances of my solo show Lay of the Land....great review in the main daily papers there in Sydney and Melbourne)

What the Australian press are saying about Tim Miller's Lay of the Land

"We don't have anyone quite like Miller in Australia. The political and the personal fuse absolutely in Miller's work so that he emerges as a mischievous and impassioned avatar of social and political change." The Age

"Miller's strong, energetic stream of consciousness dialogue never wavers, and is a true testament to his powerhouse performance." Southern Star Observer
"His show is not morose. It is a passionate account. Self -deprecating humour, honest and incisive wit, and incredibly intimate moments ensue. Miller brazens it out from an explosive start to the orgasmic finish." Australian Stage

I flew back from summer down under to the Rocky Mountains for a three week mainstage devised performance residency at Fort Lewis College in Colorado which we then took to the Kennedy Center American College Theatre Fest. THERE IS SO MUCH DEVISED WORK AT ACTF now! Things have really changed. The piece was a giant hit at Fort Lewis College. Felt like every student on campus came on saw it more than once. Because demand was so great, they are doing some more shows this week. Great piece in the daily CO paper.


Off to Colby College, Clemson in SC and Westminster College in Utah! Hope to seeya soon!

Jan 19-26 Theatre Works, Melbourne, Australia
Jan 27-Feb 8 Fort Lewis College, Durango, CA
Feb 12-15 Kennedy Center American College Theatre Festival
March 6, California Institute of the Arts
March 10-13 Colby College, Waterville , ME*
April 1- 5 Clemson College, South Carolina
April 8 Westminster College, Salt Lake City
May 12 PS 122 Gala, New York City
July 24-26 Assoc for Theatre in Higher Education

*NEA 4 at Colby College: Sex/Body/Self and Mad Women
Tim Miller and John Fleck
March 11, 7:30 p.m.
Strider Theater

There was a time when the United States government subsidized the work of individual artists. In the early 1990s all of that changed as Karen Finley, Holly Hughes, Tim Miller, and John Fleck, known as the NEA 4, had their funding revoked and were effectively censored by the U.S. government. This provocative quartet sued and successfully fought all the way to the Supreme Court. Colby College Theater and Dance Department is proud to be hosting a week of residencies by all four artists where they will perform, visit classes, lead workshops, and participate in a roundtable discussion on the relationship of censorship, society, and the arts.



9. Karen Finley, John Fleck, Holly Hughes, Tim Miller, FF Alumns, at Colby College, Waterville, ME, March 7-13

NEA 4 at Colby College: Sex/Body/Self and Mad Women

NEA 4 at Colby College: Written in Sand
Karen Finley
March 7, 7:30 p.m.
Strider Theater
NEA 4 at Colby College: Sex/Body/Self and Mad Women
Tim Miller and John Fleck
March 11, 7:30 p.m.
Strider Theater
NEA 4 Roundtable at Colby College
Karen Finley, Holly Hughes, Tim Miller, John Fleck
March 12, 7:30 p.m.
Strider Theater
NEA 4 at Colby College: Sapphic Sampler Platter
Holly Hughes
March 13, 7 p.m.



10. Ann-Marie LeQuesne, FF ALumn, at Museum of the Photographic Archive, Lisbon, Portugal, thru April 12

"You are here - The Annual Group Photograph, 1997-2013" by Ann-Marie LeQuesne, FF Alumn, opens on March 20th at the Museum of the Photographic Archive, Lisbon. The exhibition continues until April 12th.

The Annual Group Photograph is Ann-Marie LeQuesne's longest running project. This exhibition was developed with support from Arts Council England/ International Fund.

The Annual Group Photograph is a London project. It began in1997 as a lecture/performance with a group of Fine Art Students (and invited non-students) at Central Saint Martin's. It is not simply about gathering together a group of people and photographing them in a chosen location. What we see in the photographs and videos is the group, not just posing but acting out LeQuesne's requests or responding to her descriptions of a scenario in relation to the location.
Some 'issues' dealt with over the years include:
• the body language of football players in team photographs and how it has evolved
• Family photographs and the occasions on which they are taken
• The clichéd response of groups in a theatre or cinema watching a melodrama.
• The role of groups (crowd scenes) in plays.
• Learning the actions of and sharing a ritual.

The project has acquired a core of faithful participants who return each year as well as those attracted by a particular venue. Venues have often been chosen because they are topical and include the Dome in 2000; Arsenal Football Ground the day before the quarter final of the world cup in 2002, Tate Modern, the National Theatre, a disused local railway line in North London and a simultaneous event in Trafalgar Square and Senate Square, Helsinki where we linked up with mobile phones and used prompt cards in an attempt at synchronised international communication. This year's photograph was a simultaneous event sited in the Museum of Electricity, Lisbon, and Markfield Beam Engine Museum, London.

"I do not think of this as a photographic exhibition. Rather, I am interested in the social dynamics of groups - the ways that we become a group, form loyalties and identify with the group. Often events have taken place in situations that are not ideal for taking photographs. As such my photographs and video take on the constraints of documentary material - they come from what is possible but they also have the vitality of a real event. I hope that viewers become curious about the place, the event and the behaviour that they can see displayed as much as think about the quality of the photographs/video. "



11. Diane Torr, FF Alumn, Bangladesh/India tour, March 12-23

DIANE TORR, FF Alumn touring Bangladesh and India with MAN FOR A DAY feature film in March.
Details as follows:

12.03.2014, 7 pm
at Goethe-Institut Dhaka

16.03.2014, time TBA
at Goethe-Institut / Max Mueller Bhavan Chennai

19.03.2014, 6:30 pm
at Goethe-Institut / Max Mueller Bhavan Kolkata

New Delhi:
20.03.2014, 7 pm
at Goethe-Institut / Max Mueller Bhavan New Delhi

Here is a link to the trailer for the feature, MAN FOR A DAY:

If you know anyone in any of those places who might be interested in seeing the film, please forward this information. I shall also be teaching a MAN FOR A DAY workshop on March 22/23 in New Delhi which is free and open to the public.

Thanks, y'all.

NYC premiere of the MAN FOR A DAY film will be on June 19 at Anthology Film Archives.

Hope to see you there if you can't make it to Dhaka or Delhi!

Diane x



12. Annie Lanzillotto, FF Alumn, named finalist for Lambda Lit Award

FF Alumn Annie Lanzillotto's book "L is for Lion: An Italian Bronx Butch Freedom Memoir" is a finalist for LAMBDA LIT. AWARD





13. Toni Dove, FF Alumn, now online at http://vimeo.com/channels/spectropia

Announcing Online Release! Toni Dove's SPECTROPIA: Episodes 6-10

Also available to view on:
Vimeo Youtube Reelhouse tonidove.com/blog

This project is made possible with support from The Greenwall Foundation, The Daniel Langlois Foundation, The LEF Foundation, New York State Council on the Arts, National Endowment for the Arts, New York Foundation for the Arts, the The RockefellerFoundation M.A.P. Fund, The Institute for Studies in the Arts, Arizona State University Artech and Performing Arts Laboratories, Thundergulch, and The Lower Manhattan Cultural Council: Fiscal Agent.

The original soundtrack by Elliott Sharp and the 31 Band featuring Debbie Harry and the Sirius String Quartet: Spectropia Suite

Elliot Sharp's latest, limited edition release: Incident

"Visually stunning...dazzling"

"Fans of offbeat cinema or science fiction might find aspects of Spectropia intriguing, because moments suggest an eerie blend of The Big Sleep, Brazil and La Jetee."

"Shifting eras and moods are powerfully evoked by the design, from the rich cinematography and costumes to Elliott Sharp's eclectic soundtrack."
-The Columbus Dispatch

"The future of cinema?"
- Québec Micro, October 2007

"The multilayered presentation of Spectropia is...unlikely to sound or appear familiar to anyone who hasn't already witnessed it-or to anyone unfamiliar with Ms. Dove. Since the early 1990s, the artist has explored the intersection of narrative experience and audience participation through complex, interactive installations aided by advancing technology.
-Bruce Bennett, Wall Street Journal

"...it's just plain cool to watch. Highly recommended."
-Jeremy Barker, Culturebot

Copyright (c) 2014 Bustlelamp Productions, Inc., All rights reserved.
You are receiving this e-mail because you are part of Toni Dove's network.

Our mailing address is:
Bustlelamp Productions, Inc.
115 West Broadway
New York, New York 10013

Add us to your address book
Bustlelamp Productions, Inc. • 115 West Broadway • New York, New York 10013 • USA



14. Alan Sondheim, FF Alumn, releases new CD

Hi - our new cd from Public Eyesore is out; you can order it through the URL below. Please consider this; the cd, Avatar Woman, has taken over a year in production, and has had the terrific assistance of Bryan Day, Chris Diasparra, Ed Schneider, Steve Holtje, and Godelstring Studio. It includes eleven songs by Azure Carter, with accompanying improvisation from Chris, Ed, and myself.

The album is relatively inexpensive with high production values (I did the full-color images that Bryan turned into the cd graphics). By buying it, you would also be supporting our music, which we have given away, so many times, for better or worse, for free. Following is the one-sheet description of the cd, including Steve Holtje's liner notes:

Azure Carter & Alan Sondheim - NEW CD!
Avatar Woman

To Order:

1. Buried 2. Dark Robe 3. Surely 4. Among The Ferns 5. World 6. Making Boys 7. Blood Tantra 8. Avatar Man with Dream Woman 9. What Remains 10. Marriage to Language 11. Buried II 12. Credo

Azure Carter : vocals and songs
Alan Sondheim : violin, dan moi, suroz, sarangi, electric guitar, oud,
cura cumbus, electric saz, viola, cura saz, and pipa Christopher
Diasparra :
and baritone saxophones Edward Schneider : alto saxophone

"Listen to any track on this album. Have you ever heard someone else who sings like Azure Carter? I sure haven't. Have you heard anyone who plays as a wide range of instruments, with such gleeful abandon, as Alan Sondheim does? Me neither. Put them together and this may be the most original and unique sound to come along in years, even decades perhaps.

Carter's lyrics are, I am told, related to and/or inspired by Second Life, an online virtual world. That may have significance for some, perhaps even great significance, but even a Luddite such as myself can enjoy them and interpret them in the context of meatbag life: longings for contact and connection, deconstructions of our strategies for satisfying that longing, self-analyses and reflection. Between the conundrums and quirks of that search and the restless music underpinning them, this is an album of unease, of a hypermodern sense of overwhelming possibility, even though sometimes Carter's cadences sound eerily like Psalms or the Song of Solomon (you can hear this right off the bat on "Among the Ferns").

About that music. Alan Sondheim, an underground icon from the '60s thanks to a
1967 debut album on Riverboat that made the infamous Nurse With Wound list, followed up with two albums on notorious outsider label ESP-Disk', has made a 21st-century comeback (in the interim, he established himself as an academic pioneering cyberspace theory). His improvised music resists all genre labels, though one can hear, in the soundsof the instruments chosen if not always the non-traditional techniques he uses to play them, so-called world music; on the tracks Ed Schneider and Chris Diasparra play on, there are traces of jazz in their contributions; and Sondheim's early blues roots shine through on "Credo."It is music based on gesture and timbre rather than harmony and/or melody, and rhythmically abjures beats. "That 'mama heartbeat,' that 'bom-bom-bom' .it's
so boring, it's so banal," Don Van Vliet AKA Captain Beefheart once said."I want things to change like the patterns and shadows that fall from the sun." Sondheim's improvisations are like that, except as though played by a metabolism operating at a faster rate of speed, or filmed and fast-forwarded."
. Steve Holtje

Azure Carter is an artist, educator, and singer/songwriter. When she
isn't collaborating on music, video, or performance with her partner,
Alan Sondheim, she is busy studying education theory or working on an
on-going performance/video piece, The Fairyland Around Us, based on the
writings of the early 20th century naturalist, Opal Whitely. Before
moving to Providence, Carter lived in NYC and performed at numerous
venues in the city and elsewhere, including the 92nd Street Y, Dance
New Amsterdam, The Bowery Poetry Club, Eyebeam, Jack, and Highwire
Gallery. In 2012, Fire Museum produced Cauldron, with Carter, Helena
Espvall, and Sondheim, an album of improvisations and


Alan Sondheim was born in Wilkes-Barre, Pennsylvania; he lives with his
partner, Azure Carter in Providence, RI. He holds a B.A. and M.A. from
Brown University. A new-media artist, writer, and theorist, he has
exhibited, performed and lectured widely.





15. Tomislav Gotovac, FF Alumn, at Alexander Gray Associates, Manhattan

Announcing Representation: Tomislav Gotovac

Alexander Gray Associates is pleased to announce the U.S. representation of the Estate of Tomislav Gotovac (b.1937, Sombor, Kingdom of Yugoslavia, now Serbia - d.2010, Zagreb, Croatia), with the Gallery's first exhibition of the artist opening May 22, 2014. Gotovac was a multi-disciplinary artist, considered the precursor of performance art in the former Yugoslavia, and a pivotal figure in the development of the artistic avant-garde in Eastern European during the 1960s and 1970s. He attended the University of Zagreb and the Academy of Performing Arts in Belgrade. He was strongly influenced by assiduously watching films throughout his life. A cinematic imaginary intimately connected Gotovac's personal life and artistic work, as he saw himself as both an actor in and observer of a constant movie. Gotovac carried out his first performance in 1954, developing a pioneering practice in conceptualism and performance, and becoming a mentor to a generation of Eastern European artists.

Tomislav Gotovac is most well-known for the use of his own body in his work. Approaching his body as a readymade, he began staging photographs of himself in the 1960s. During this decade he directed experimental films that made use of continuous repetition of images that revealed personal stories. Consciously situating his films in relation to the work of directors and musicians he admired-Billie Holiday, Glenn Miller, Jean Luc Godard, and Carl Dreyer, among others-he often alluded to them through formal quotations or by incorporating musical compositions into his own films. During this time, inspired by jazz compositions, he created collages applying cinematic editing principles to create montages using personal items such as cigarette cases.

In the 1970s, Gotovac heightened the exploration of his body as a medium in the public space. His physicality was both expressive and malleable, often changing his appearance before or during his performances. He engaged with the urban environment and passersby through symbolic acts often performed unclothed. As curator Jesa Denegri writes, "Literally baring himself, he should be able, intermediately, to bare all those who in their own everyday lives resist and are afraid of the risks of any kind of change. Exposing his own naked body in a public place is for Gotovac a direct gesture, and a symbolic deed of freedom of behavior."

During the 1980s Gotovac further investigated self-expression through a series of performances that placed his body and physical transformation at its core, among them were Haircutting and Shaving in Public (1981), Lying Naked on the Asphalt, Kissing the Asphalt (better known as Zagreb I love you, 1981), and the action of vending the paper Polet (1984-85), among others. These performances are emblematic of Gotovac's treatment of his body as both object and subject transforming himself into a readymade. Gotovac continued to provocatively utilize his body in films, performances, and photographs throughout his career; such as his performance Foxy Mister 2000 (2002) where he published photographs of himself posing as a sixty-five year old man imitating the poses of female porn models.

Tomislav Gotovac's work has been exhibited extensively throughout Europe and the United States. In 2003, he was the subject of a retrospective at the Museum of Contemporary Art, Zagreb, Croatia. His work has also recently been featured in such institutions as the New Museum, New York (2014); Museum of Contemporary Art, Ljubljana, Slovenia (2014); Kunsthalle Wien Karlsplatz, Wien, Austria (2013); Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain (2013); Ludvig Múzeum, Budapest, Hungary (2012); Musée d'art contemporain du Val-de-Marne, Vitry-sur-Seine, France (2012); Van Abbemuseum, Eindhoven, the Netherlands (2011); and Muzeum Sztuki Nowoczesnej Warszawie, Warsaw, Poland (2011). In 2011, he represented Croatia in the 54th Venice Biennale. His works are in notable public collections including the Museum of Modern Art, New York; Centre Georges Pompidou, Paris; Museum of Contemporary Art, Belgrade, Serbia; Museum of Modern Art, Ljubljana, Slovenia; Museum of Contemporary Art, Zagreb; and the Museum of Modern and Contemporary Art, Rijeka, Croatia.

Alexander Gray Associates is a contemporary art gallery based in New York. The gallery has established a profile for high-quality exhibitions focused on mid-career artists who emerged in the 1960s, 1970s, 1980s, and 1990s. Influential in political, social and cultural spheres, these artists are notable for creating work that crosses geographic borders, generational contexts and artistic disciplines. Alexander Gray Associates is a member of the Art Dealers Association of America.

Alexander Gray Associates
508 West 26 Street #215, New York NY 10001 United States
Telephone: +1 212 399 2636
Hours: Tuesday - Saturday, 11:00 AM - 6:00 pm

Current Exhibition
Overcoming the Modern; Dansaekhwa: The Korean Monochrome Movement: February 19 - March 29, 2014

Current Art Fair
ADAA Art Show: March 5 - 9, 2014

Upcoming Exhibitions
Heidi Bucher: April 9 - May 18, 2014
Tomislav Gotovac, FF Alumn, May 22 - June 21, 2014
Siah Armajani, FF Alumn, September 4 - October 18, 2014
Melvin Edwards: October 23 - December 13, 2014



16. Lois Keidan, FF Alumn, at Abrons Art Center, Manhattan, March 29, and more

Access All Areas: Live Art and Disability (NYC edition)
Saturday March 29, 2014
10am - 6pm
Free, but reservations must be made on www.abronsartscenter.org
Abrons Arts Center, 466 Grand Street, New York, NY 10002

Access All Areas (NYC Edition) is a free, all day event looking at some of the radical approaches to the representation of disability by contemporary performance artists, particularly in the UK.
Access All Areas (NYC Edition) features durational performance-installations by UK artists Noemi Lakmaier and Martin O'Brien; live actions by Aaron Williamson and Leroy Franklin Moore Jnr.; provocations and debates on the cultural impact of disabled artists by UK and US practitioners including Mat Fraser, Sunaura Taylor, Carrie Sandahl, Sandie Yi, Amanda Cachia; screenings of UK based artists' films and performance documentation including work by Bobby Baker, Katherine Araniello, the Disabled-Avant Garde, Brian Lobel, and others; and a bibliotheque of essential books and DVDs drawn from LADA's Study Room.
The NYC Edition has grown from Access All Areas, a critically acclaimed public event and publication produced by the Live Art Development Agency in the UK in 2011 and 2012 as part of Restock, Rethink, Reflect Two on Live Art and Disability.
The programme comes to New York at the invitation of the British Council and will complement Abron's presentation of Mat Fraser & Julie Atlas Muz's Beauty & The Beast. The NYC Edition builds on the original 2011 programme and invites US artists and audiences to join the conversation.
"Exciting, challenging & thought provoking are words that don't really do justice to how inspiring the event was." Mary Paterson, writer, on the Access All Areas 2011 London event.
Access All Areas (NYC Edition) is curated and produced by the Live Art Development Agency (London, UK). Supported by the British Council, USA.

Full programme and booking details www.abronsartscenter.org

The Live Art Development Agency, London (LADA) supports those who make, watch, research, study, teach, produce, present, write about, and archive Live Art, and creates the conditions in which diversity, innovation and risk in contemporary culture can thrive.


Lois Keidan
Live Art Development Agency
The White Building
Unit 7, Queen's Yard
White Post Lane
E9 5EN

(+44) 0208 985 2124



Skype: thisisliveart
Twitter: thisisliveart

We are very pleased to announce the launch of our new website, which includes information on all our projects, opportunities, resources and publishing news plus a new blog section and online access to our entire Study Room catalogue.

LADA at 15

2014 marks the Agency's 15th anniversary which we are celebrating with a series of initiatives across the year, including Limited Edition Prints and Podcasts.

Crossovers DVDs available on Unbound - Gavin Butt & Ben Walters' This Is Not a Dream / Mel Brimfield's This is Performance Art: Parts One and Two / Oreet Ashery's Party For Freedom / Transfigured Night, A Conversation with Alphonso Lingis / No Such Thing As Rest, A Walk with Brian Massumi.

I Wasn't There - A programme of fortnightly screenings of rarely seen documentation, curated by LADA and related to the Restock, Reflect, Rethink Three project on Live Art and Feminism. Next screening in the current series is on Monday 10 March 2014, 7pm at LADA Study Room, Hackney Wick, London.

New Agency publications - Pleading in the Blood: The Art and Performances of Ron Athey edited by Dominic Johnson, A Contemporary Struggle by Jamila Johnson-Small & Alexandrina Hemsley, Jordan McKenzie Occupations 1996 - 2013 DVD, The Gluts Complete Works DVD, and 4 X 4 Screens DVD from Wrights & Sites/Stephen Hodge.
The Live Art Development Agency is a member of Live Art UK, the national network of Live Art promoters. www.liveartuk.org



17. Peter Downsbrough, FF Alumn, at Languedoc-Roussillon Regional Museum of Contemporary Art, Sérignan, France, thru June 11

Exhibition from 1st March to 11th June 2014
Preview Saturday 1st March 2014 at 6:30pm Curator Hélène Audiffren

Peter Downsbrough has examined language and constructed space since the mid 1960s. He leads a very personal and extremely thorough search which consists in structuring the space and creating discreet yet clearly visible volumes.

He uses a refined plastics vocabulary, made from simple geometric figures, lines, words and painted surfaces. His numerous artistic practices - sculptures, photographs, mural works, books, films, publications, sound works, urban space interventions - are based on the concept of position, sequence, interval and frame, and question the viewpoint. The combination of linguistic and geometric elements thus formalises spaces leading to a plethora of interpretations.

The exhibition presented at the Languedoc-Roussillon Regional Museum of Contemporary Art in Sérignan, the largest ever presented in France, will highlight the full extent of his work. Peter Downsbrough intervenes in the museum forecourt, then from the entrance through the bookshop and along the corridor to guide us around the exhibition space. He installs metal pipes that fall from the ceiling to graze the floor, hangs letters, and traces lines of black adhesive tape to create an astonishing sensation of volume while allowing the gaze to penetrate. His process of optical cutting, refocusing, suggests a new understanding of the space. The scattered words, short speech (encore, là, et, vers, as, but, and...), encourage a search beyond the visual field. His interventions reveal open intervals which change according to the view point.
Several new sculptures with geometric forms, made using previously established construction principles, take on his concerns with the full and the empty, notions of situation and context. An extensive set of his photographic series, presented mostly in the form of diptychs or triptychs, highlight the construction of urban space through his framing work. A selection of his films explore the possibilities of the discontinuous and flows through the use of travellings and the variation of viewing angles. His still and moving images are as much readings of architectural structures as functional structures of the city. The exhibition is supplemented by a presentation, in the print cabinet, of his multiple prints and many books (he has produced 101), in which the graphic and typographic arrangements always derive from the same mechanisms.
All of Peter Downsbrough's works evoke place, placement and displacement. They result in a relationship, offering the viewer to take up a position: "the pieces are not 'objects' but rather elements which engage the subject in a dialogue".
A publication with a text by Raphaël Pirenne will be published on the occasion of the exhibition.
Peter Downsbrough was born in 1940 in New Brunswick (USA). Lives and works in Brussels (Belgium). From his debut in 1969, he has participated in numerous exhibitions in Europe and the USA.

MRAC - Musée Régional d'art contemporain Languedoc-Roussillon
146 avenue de la Plage - BP4 - 34410 Sérignan - +33 (0)4 67 32 33 05
Open Tuesday to Friday from 10am to 6pm, and weekends from 1pm to 6pm,
Closed on Mondays and public holidays.



18. Susan Newmark, FF Alumn, at Southampton Center for the Arts, NY, reception March 22

Susan Newmark (Fleminger) will show collages in Winner's Circle, the Third Annual Juried Awards Exhibition along with Christina Stow and Charles Yoder. Curator: Arlene Bujese. March 18 - April 14. Reception: Saturday March 22, 5-7pm . Southampton Center for the Arts, 25 Pond Lane, Southampton, NY. Gallery hours : Monday-Saturday 11-2:30pm . 631-287-4377, scc-arts.org.



19.Frank Moore, FF Alumn, at Modern Times Bookstore Collective, San Francisco, CA, March 27

We are excited that Tomek and Tha Archivez (aka Kene-J, aka Frank's son) will be playing live music at the upcoming Modern Times book event on Thursday, March 27. Hope to see you there!!

And celebration of the life and work of the iconic bay area cultural
pioneer, and world-known radical shaman performance artist Frank Moore!
Come and get turned on by words, ideas, concepts expanding beyond the normal
frames of art, performance, sex, magic, and life in general!
300 pages of mind-blowing shit!
Thursday, March 27, 2014
Modern Times Bookstore Collective
2919 24th Street, San Francisco, CA 94110
between Florida St. and Alabama St.
For more information
Call: 510-526-7858
email: fmoore@eroplay.com
"...the Stephen Hawking of performance art who fucks with the frame."
Mark Mackintosh,
Underdog Online, Amsterdam
"Freedom and the power of free speech has become the signpost of (Frank
Moore's) work from the 1960s to today. His career's work has been to burst
through the barriers of social isolation that separate people."
Nick Stillman, Editor, NYFA Current
"So I say give it up! The powers that be have already tried to shut Frank
up, but it didn't work."
Bob Cardoni, rock 'n' roller
Re: The Drama Review "Eroplay" 1989
"I have finally read the Drama Review piece and I love it. It is one of the
profoundest pieces of writing on performance or theatre or just plain living
that I have read ever. Period. Something to read and think about over and
over again. I am so tired of the new of the fast of the whats next -- they
are killing our souls. I can't call what you have written an essay but a
love song to society -- makes total sense to me on the deepest most
un-speakable levels. How you deal with the unconscious working side by side
the conscious -- as you say like two films going on at once. If you never
write another thing, Frank, it won't matter because this piece is luminous.
And believe me I have read so many manifestos, essays, critiques, artist
statements ad nauseum over the years. It's a beautiful generous manifesto
and I look forward to reading more -- it also has this beautiful slow pace
as if forcing the mind of the reader to change pace as well and let the
other world come to the forefront -- the cartography of the soul is where
you take us...each in our own way...rather than your way...which is generous
indeed of you."
Shelley Berc, writer, teacher
"For being such a small little guy in a wheelchair, are you a hell of a man
to kick in locked doors to rooms filled with taboos."
Mickie Monster, artist, Sweden
"Frank's piece Cultural Subversion said everything that (I) was trying to
say. Frank is a genius!"
John Sinclair, '60s cultural figure
"You are truly marvelous. You've got it all right. You make the connections.
And you ain't afraid of nuthin'!"
Bill Mandel, broadcast journalist, left-wing political activist and



20. Lisa Kron, FF Alumn, at Barnes & Noble, Manhattan, March 24

"Funny, moving, and undeniably sexy. The heady blend of smart dialogue and characters... makes it a candidate to be the Angels in America of the Bush II decade." -San Francisco Chronicle

"Luminous... Kron marries vigorous political probing with pitch-perfect humor and heartache." -New Yorker

"In the Wake is a serious and engrossing examination of a recent period in our history. It is a big, ambitious work." -New York Observer

Obie-winning author Lisa Kron, author of Well and the recent hit musical Fun Home, presents a reading of In the Wake (published by Theatre Communications Group), a play that takes on the question of our country's character and politics with plenty of humor and passion.

NYFA and Lisa Kron at Barnes and Noble (150 E 86th Street) on March 24 at 7:00pm



21. Richard B. Woodward, Dara Birnbaum, Andrea Fraser, Jenny Holzer, Barbara Kruger, Sherrie Levine, Robert Mapplethorpe, Adrian Piper, Richard Prince, Fred Wilson, FF Alumns, in The Wall Street Journal, March 12

The Wall Street Journal
March 12, 2014
Culture-War Holdout
by Richard B. Woodward

The art packed into "Take It or Leave It: Institution, Image, Ideology" at the Hammer Museum looks older than it actually is. None of the nearly 125 installations, videos, paintings, sculptures and photographs is dated earlier than 1972, and several works were made as recently as last year.

But in its confrontational attitudes and bristling humor, focused on issues of race, gender and sexual orientation, the show maintains an embattled air, as if the outcome of the "culture wars" of the 1980s and '90s were undecided, Jesse Helms were still in the Senate, and Barack Obama had not been elected to a second term as the U.S. president.
According to the co-organizers, Johanna Burton, curator of education at the New Museum in New York, and Anne Ellegood, senior curator at the Hammer, this is the first time that these particular trends in contemporary art-appropriation (images or objects removed from various contexts and placed in new ones) and institutional critique (work that examines conventions that undergird museums and other cultural venues)-have been examined together in a historical survey.
To present in an art institution artworks that challenge the values of art institutions is a tricky feat. Conceptual artists in this mode can appear to be talking mainly to each other and down to everyone else.

Things get off to a bad start on the ground floor, where one can't avoid a sarcastic word piece by Barbara Kruger. "You are here to get cultured," the giant, enveloping letters proclaim. The hectoring tone of Ms. Kruger's art, as familiar by now to museum-goers as the billboard slogans it imitates, mainly serves to communicate her moral and aesthetic superiority. Her pieces advertise how wised up she is about art, money and status even if the rest of us are cowed consumers.

Much more pointed and wickedly funny are two videos, placed at either end of the show, by the performance artist and feminist Andrea Fraser. In "Museum Highlights: A Gallery Talk" (1989), she is an unhinged docent who leads visitors on a capricious tour through the Philadelphia Museum of Art. Marching from galleries to restrooms to cafeteria to museum shop, she name-drops Kant and extolls the "formal economy" of a drinking fountain while also inadvertently bringing up topics such as corporate funding and labor costs. In "Official Welcome" (2001-2003), she plays 16 roles in a charade of avant-garde jargon and posturing at a museum award ceremony. First, she is the fawning presenter; then the egomaniacal artist who strips to her bikini underwear and tells the audience where to go; then the curator, who thanks the artist for her "difficult work" and congratulates her own institution for supporting it. (She notes proudly that "most of the art we collect is about sex and excrement.")

To trace the history of appropriation and institutional critique, the curators have commendably chosen work by some of the usual suspects-Mike Kelley, Sherrie Levine, Allan McCollum, David Wojnarowicz-as well as less-celebrated figures. Of the 37 artists, 17 are women. Several bold-face names-Jeff Koons, Richard Prince, David Salle-have been excluded to make room for work that isn't as widely circulated: by Judith Barry, Dara Birnbaum, Mark Dion, Renée Green, Mary Kelly, Sylvia Kolbowski, Zoe Leonard, Cady Noland, Stephen Prina and Fred Wilson.

In a show stuffed with what Ms. Fraser's fake curator would call "difficult work," one needs to choose wisely where to invest effort. How, why, or if a frame shapes our ideas about art and whether taxonomy is necessary for the understanding of it are themes that run throughout the rooms. Ms. Noland's "Frame Device" (1989)-a set of pipes arranged like a boxing ring, with aluminum walkers crowded into each corner-has formal and social associations with its neighbor, Haim Steinbach's "Backyard Story" (1997). Tucked against the back wall, this friezelike composition of gleaming Weber grills, stacked firewood, plastic jack-o'-lanterns and clothes hanging on a line carries references to hardware-store shelves and a museum's storage room. Ms. Noland and Mr. Steinbach have each distorted ideals of masculinity to rearrange our mental furniture.

The unyielding voice of Adrian Piper's "Cornered" (1988) has not lost its potency. The artist lectures us about her mixed-race identity on a video monitor barricaded behind a table with its legs pointed out. Stinging our consciences with its wounded stories, the monologue is also designed to prevent us from drawing too close.

Glenn Ligon's "Notes on the Margin of the 'Black Book'" (1991-93) has slowly acquired classic status since its debut at the 1993 Whitney Biennial. His response to Robert Mapplethorpe's homoerotic photographs of black men-Mr. Ligon is black and gay-it consists of 91 offset prints from the Mapplethorpe book along with 78 carefully chosen quotes from gay, straight, black, white, famous and not-so-famous men and women. Occupying three walls here, it is as tortuously ambivalent as ever about objectification, lust, race, power, stereotypes and the perhaps worse danger of invisibility.

What the curators have not done well is to mitigate the prolixity of conceptual artists. It would probably take most of a day to study all the texts that accompany (or embody) the art here and to listen to everything in these videos. And that's not accounting for time needed with wall labels, required reading if one hopes to discern the artists' sometimes oblique intentions.

Can anyone be expected to stand in front of Jenny Holzer's "Inflammatory Essays" (1981) or Nayland Blake's "Scum" (1990) and ponder each phrase? Each of these pieces is made up of hundreds of lines of small, densely printed type taking up an entire wall. Will anyone sit and watch all 60 minutes of Mr. Blake's "Gorge" (1998), in which the artist is force-fed chocolate cake?

Nor have the curators addressed some basic legal issues. The catalog essays delve exhaustively into the theory and history of appropriation art-how it supposedly differs from Pop Art. But I could not find a word about intellectual-property rights. The timeline in the back of the book cites the trials of Martha Stewart and O.J. Simpson, but not the lawsuits filed against Andy Warhol, Roy Lichtenstein, Messrs. Koons and Prince and Ms. Levine for copyright infringement. The question of what one artist can freely take from another has not been answered, despite what is assumed here.

To call a show "Take It or Leave It" is brash and risky. Presumably a reference to lyrics by Richard Hell and the Voidoids (or The Strokes), the title would have us believe that viewers must choose sides. For those already aligned with their politics and theory-based approach, the curators are preaching to the choir; while anyone tired of appropriation, or deaf to the aggrieved voices of tenured art professors, will be tempted to tune out.

The dichotomy needn't be that stark. Some of the art here is complex and fulfilling. But to pretend that the practices on display are still disreputable and have not been canonized by blue-chip galleries, powerful museums, influential critics, wealthy collectors and standard textbooks is to misrepresent the past 30 years of contemporary art and thus to bamboozle the public. At least that's my "institutional critique."



22. John Baldessari, FF Alumn, in WSJ Magazine, March 2014

WSJ Magazine March 2014
Still Life
John Baldessari
The conceptual artist shares a few of his favorite things

HANGING ON THE LEFT WALL is a Chinese chili pod, signed and given to me by Tom Waits. The artist Analia Saban, who was a student of mine, made the Not Dry painting. I have several of her pieces, but that's my favorite.
Claes Oldenburg gave me the sculpture to the left when I was at his house for dinner one night with Bruce Nauman. Claes excused himself and came back with two of them. I got the orange one and Bruce got the black one. I don't know if that means anything. The SpongeBob drawing is from the creator of the show, which I love. My children made the little statues when they were young, at that stage when they're not thinking about making art, they're just having fun-that's the best stage. To the right are my favorite cigars, the Te-Amo brand. I only smoke one a week. The Rodarte sisters gave me the vase of baseballs. They say I'm their favorite artist. They're big baseball fans. Above that, on the wall, is a picture from Sol LeWitt. He used to do drawings on postcards and mail them out to friends. Above that is an etching by Goya, who's a role model because of his use of chiaroscuro. To the right is a painting by the son of my friend Meg Cranston. She painted a black round shape and told him to continue, and he made it into a bomb. The picture of the dog and the wooden figure of the painter and his palette were also gifts from her. The red book is a collection of William Carlos Williams's poetry. I like that he writes about ordinary stuff in ordinary language. The yodeling pickle was a gift from Damien Hirst. You press a button and it yodels. I love it.

John Baldessari Photography by Mark Mahaney for WSJ. Magazine
-As told to Christopher Ross

A number of Baldessari's works will be auctioned this spring at Christie's in conjunction with a new building named after him at the California Institute of the Arts.



23. Charlemagne Palestine, FF Alumn, in The Wall Street Journal, March 6

The Wall Street Journal
NY Culture
Stairmaster: Ephemeral Art at the Biennial
Charlemagne Palestine Brings a 'Sonorous Alter' to the Whitney
Andy Battaglia
March 6, 2014
Three curators -- Stuart Comer, Michelle Grabner and Anthony Elms -- chose the works included in the 2014 Whitney Biennial, with each one taking a floor of the museum.
With nearly every inch of display space enlisted for the Whitney Biennial, which opens Friday at the Whitney Museum of American Art, one New York native went to work on the periphery.
"I've been coming to the museum since it was built, and I've always loved the staircase," said Charlemagne Palestine, participating in his first biennial at the age of 66. "This particular kind of concrete has a fantastic resonance. It's Taj Mahal-esque."

For his installation in the Whitney's stairwell, he sought to create what he called "a sonorous altar," following visitors as they go up and down the museum's floors. Twelve speakers, set up in corners of the stairwell, play all day. Within the din are the sounds of his singing voice, which he recorded while walking the stairs with a glass of cognac, as well as an electronic drone.

"If it works well and the sound is encompassing enough, when people come up the staircase they will be nicely disoriented, even hypnotized," Mr. Palestine said.
There is a visual element too: Each speaker is adorned with some of the artist's collection of stuffed animals, or "soft divinities," as he calls them. Among the cast are a monkey, a rabbit, a bear and a droopy pink elephant.

How many plush animals does he own? "Ten thousand and growing," Mr. Palestine said. "I've become a kind of orphanage."

Most of the animals are back home in Brussels, where Mr. Palestine now lives, but some date back to his coming-of-age in New York. He grew up in Brooklyn and established himself as an artist in the 1960s and '70s. His activities included theatrical performances and concerts whose boundaries would blur, often with an aggressive edge that could find him destroying piano strings in recital or filming a video ("Island Song") for which he screamed and sang while racing a motorcycle.

"At the time, it was totally unheard of," said Antonio Homem, director of the Sonnabend Gallery, which staged a recent show of Mr. Palestine's early work in Chelsea. "He was such a perfect example that what was going on in art didn't just have to do with painting or sculpting in traditional terms. There were many other possibilities."
During his formative years, Mr. Palestine held down a job performing music high above the streets of Midtown, in the bell tower at St. Thomas Church on Fifth Avenue. "I started to play this crazy stuff when he asked me to try them out, and he found it great," he said of the church's retiring bell master, who hired him while he was still in high school. "Nobody approached bells like a monster except for me, which goes to how I work in general."

For his piece on the stairs at the Whitney, Mr. Palestine channeled part of his past, as well as the past of the Whitney. For the last biennial before the museum moves to a new site in the Meatpacking District, his installation strikes up a last dance with the building itself, which was designed by the famed Bauhaus architect Marcel Breuer.
"I was trying to think about what kinds of voices I felt belonged in the Breuer building," said Anthony Elms, one of the biennial's three curators.
"He's a really important maker for me, and for a lot of people-curators and artists," he added. "He seems to be on lots of people's minds."
As one of several older artists in this year's biennial, which takes history as one of its themes, Mr. Palestine said he's happy for the attention granted to timely but fleeting work that for many years had been forgotten.
"Ephemeral is in again. It's fabulous for somebody like me," he said. "I like to make things, but my things can always transform."
He's no mere elder statesman, though.
"I'm a young emerging artist at 66," he said. "I need at least another 25 years to do all the things I want to do. It's always in process.



24. Claudia DeMonte, FF Alumn, at June Kelly Gallery, Manhattan, opening April 10

Claudia DeMonte
La Forza del Destino
Sculpture and Paintings
April 10-May 13, 2014
Opening Thrusday April 10, 6-8 pm
June Kelly Gallery
166 Mercer St.



25. Alicia Grullon, FF Alumn, at Royal College of Art, London, UK, April 11

Alicia Grullon will be discussing her upcoming project, "Percent for Green" at the annual Association of Art Historians in London April 11 at the Royal College of Art. PERCENT FOR GREEN examines how art can facilitate community coalition to create solutions for environmental progress in underserved areas and promote more discussion on Climate Change. The project's objective is to co-author a bill that protects the environmental rights of people in underserved areas. PERCENT FOR GREEN is a part of "InClimate" conceived by Regina Cornwell and is being presented under the auspices of Franklin Furnace Archives and its founder-director Martha Wilson.

For more on the conference session Alicia will be participating in, follow the link below:
http://aah.org.uk/annual-conference/sessions2014/session4 http://aah.org.uk/annual-conference/sessions2014/session4

For more on Alicia's work go to:

For subscriptions, un-subscriptions, queries and comments, please email mail@franklinfurnace.org

Goings On is compiled weekly by Harley Spiller



Goings On is compiled weekly by Harley Spiller