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Contents for April 8, 2014

1. John Ahearn, Jane Dickson, Stefan Eins, Mike Glier, Lisa Kahane, Joe Lewis, Ann Messner, Tom Otterness, Christy Rupp, Kiki Smith, FF Alumns, at The Lodge Gallery, Manhattan, opening April 10

The Lodge Gallery
131 Chrystie Street, New York, NY 10002


April 10th, 2014 - May 11th, 2014

Opening Reception: Thursday, April 10th. 7-9pm

non-curated by Keith Schweitzer & Jason Patrick Voegele with the following
John Ahearn, Charlie Ahearn, Jody Culkin, Jane Dickson, Stefan Eins, Peter Fend, Coleen Fitzgibbon, Bobby G, Mike Glier, Becky Howland, Lisa Kahane, Christof Kohlhofer, Justen Ladda, Joe Lewis, Ann Messner, Richard Miller, Tom Otterness, Cara Perlman, Judy Rifka, Walter Robinson, Christy Rupp, Teri Slotkin, Kiki Smith

On Dec 31st, 1979, a group of artists in downtown Manhattan mounted a now historic exhibition, "The Real Estate Show," in response to grim economic conditions facing tenants in New York. It was a confrontational and illegal exhibition, held without permission in a vacant city-owned building, with aggressive political messages that ignited controversy and galvanized city officials, news media and artists alike.

This group, Collaborative Projects Inc (Colab), focused on theme-centered exhibitions with a spirit of openness, experimentation, and minimal curatorial interference. Within this context, "No City is an Island" asked former members of Colab to respond to the exhibition's title as a theme around which to contribute work. Dialogues were rekindled and themes were revisited or reinterpreted. As each artist has evolved over time, so has the city itself. With a range of works transversing 35 years, "No City is an Island" revisits the zeitgeist of a New York City long bygone, compares and contrasts the artists and urban realities of then with now, and honors one of the most influential art organizations in New York City's history.

The exhibition is part of a multi-venue celebration of Colab and revisitation of "The Real Estate Show" with "The Real Estate Show, Was
Then: 1980″ at James Fuentes Gallery (April 4 - 27), "RESx" at ABC No Rio (April 9 - May 8), "No City Is An Island" at The Lodge Gallery (April 10 - May 11), and "The Real Estate Show, What Next: 2014″ at Cuchifritos Gallery (April 19 - May 18). It is also a component of next month's inaugural Lower East Side History Month, which will now be observed each May with over 60 Lower East Side organizations currently participating.

The Lodge Gallery, founded by Keith Schweitzer and Jason Patrick Voegele, is located at 131 Chrystie Street on Manhattan's Lower East Side. It is the exhibition venue of Republic Worldwide and serves as both an art space and a gathering place for hearty discourse and experimentation



2. Irina Danilova, FF ALumn, at Active Space Gallery, Brooklyn, opening April 11, and more

Dear Friends and Colleagues:

You are welcome to the opening of the show, Odds and Ends, recent works by two collectives, vydavy and Project 59, at The Active Space Gallery at 566 Johnson in Bushwick on April 11, this coming Friday, 7-9pm

We would also like to announce that the recent BRURAL show in the Bronx, BRURAL: Shattering Phenomena, is the first BRURAL show to return to the URAL region where it is being presented at the OKNO Gallery in Chelyabinsk.

Friday, April 11, Irina Danilova will be a panelist at the Remixing Art Education Symposium at Columbia Teachers College.

Associated with the Symposium, 10 short videos by her former Pratt students will be presented at the Mace Gallery with the opening reception on Friday April 11, from 5-7pm Conversations Across Cultures: Artists as Educators
An exhibition of exemplary artistic collaborations between teaching artists and their students, as part of a symposium on the changing role of art schools in conjunction
with the University of Applied Arts, Vienna.
Reception: April 11, 5-7 pm



3. Istvan Kantor, FF Alumn, at Spacewomb Gallery/Fusion Arts Museum, Manhattan, May 3-26

Spacewomb Gallery/FusionArts Museum & Implant Media present
100% (pure) CRAP
Exhibition: May 3 - 26, 2014
Reception / Performance: May 8, 6 o'clock
@ Spacewomb Gallery/FusionArts Museum
57 Stanton Street, NYC 10002 (between Forsyth & Eldridge Streets)
100% (pure) Crap manifests the current resurgence of anti-aesthetics that controverts the idea of privileged aesthetic realm. Composed of myriad cheap objects and a barrage of assorted trash that is screwed to a flat or dimensional piece of wood, this "cross-disciplinary neo-aesthetic" artwork can be an assault on the viewer's intellect or refreshing data for the senses. The result is an objective that cannot be achieved through any other methodology. Screwing crap to a flat surface becomes the ultimate act of disruptive embellishment, a powerful gesture that liberates imagination and rescues beauty. 100% (pure) Crap is a collaborative, self-curated project of internationally exhibited artists Istvan Kantor and Shalom Neuman. Shalom Neuman's multi-sensory artworks speak to his lifelong commitment to Fusionism, the seamless integration of all artistic disciplines into a genre all its own. Istvan Kantor aka Monty Cantsin, Neoist open-pop-star and renegade art criminal, contributes his unlimited drive to the growing confusion of crap-art trained through his guerilla interventions. Splashing his blood on white museum walls has become part of his ongoing Blood Campaign project. (In 1988 he was charged by the MOMA with $10 million worth of damage to a Picasso). 100% (pure) Crap is a tribute to the instinct of creation. Both Kantor and Neuman were part of the Rivington School during the dissident and frantic LES art scene in the 1980s, embellishing-defacing the streets and empty lots with graffiti, scrap metal sculptures, junk art, fire performances and other uncommon materials, leaving highly significant historical marks in New York's Lower East Side. 100% (pure) Crap commemorates the 30tht anniversary of FusionArts Museum on the Lower East Side of NYC, which was founded by Shalom Neuman in 1984. On Saturday, May 10th from 12:00 pm to Midnight, members of the Rivington School will reunite at FusionArts Museum to create a new piece of Crap Art. A second event devoted to poetry, spoken word and noise will take place on Saturday, May 17th, at FusionArts Museum featuring The Unbearables and special guests. -Spacewomb Gallery/FusionArts Museum 57 Stanton Street, NYC 10002 (between Forsyth & Eldridge Streets) 347.204.3567 amen@interlog.com



4. Joseph Kosuth, FF Alumn, at Kunstmuseum Thurgau, Switzerland, thru Aug. 24

Joseph Kosuth: Existence and the World
at Kunstmuseum Thurgau, Switzerland
on view through August 24, 2014

Sean Kelly announces that Joseph Kosuth: Existence and the World, an exhibition of Kosuth's work from 1965-2013, is now on view at the Kunstmuseum Thurgau in Switzerland through August 24, 2014. The exhibition features the recently acquired neon, Das Dasein und die Welt (The Existence and the World), 2013, and a number of other pieces selected by the artist. A forthcoming publication will accompany the exhibition.

Joseph Kosuth: Existence and the World, offers the viewer a representative insight into the radical perspective of the artist. The recently acquired neon work is prominently displayed on the façade of the Ittingen Charterhouse and reads, in translation from German, "For it is only as an aesthetic phenomenon that existence and the world are eternally justified," allowing one to question the contemporary relevance of Nietzsche's quotation and create an open debate about the role of aesthetics and art in society. Coinciding with this installation is another important work, Eine verstummte Bibliothek (A Silenced Library), 1999, which the museum originally acquired in 2006. This installation covers the entire floor of a former wine cellar in the building and addresses not only how we order knowledge, but also both the emergence and loss of meaning. These two significant installations are accompanied by other works from private collections, bringing together a group of Kosuth's seminal works from several decades, which represent an overview of the development of one of the most significant conceptual artists of the post-1960 period.

For more information on the exhibition please visit the Kunstmuseum Thurgau website .

For press inquiries, please contact Maureen Bray at 212.239.1181 or via email at maureen@skny.com. For all other inquiries, please contact Cecile Panzieri at 212.239.1181 or via email at cecile@skny.com.



5. Susan Bee, Kat Griefen, FF Alumns, at A.I.R. Gallery, Brooklyn, April 12

Conversation with Susan Bee and Kat Griefen

Saturday, April 12th at 4pm
A.I.R. Gallery, 111 Front Street #228, Brooklyn, NY 11201

Kat Griefen and Susan Bee will discuss Bee's paintings from the period between 1982 and 1983, a particularly rich and transformative period in her career that provides unexpectedly fertile connections to her critically acclaimed painting from the last few decades.

The exuberant, painterly works in Doomed to Win examine gender roles through a potent synthesis of competing modes of figurative representation and abstraction, along with provocative art historical and pop cultural allusions. The exhibition is an exhilarating look back at a key moment in American painting. By recovering a long unseen body of work, the show opens the way for an ongoing revival of painting and a deeper appreciation for the accomplishments of feminist aesthetics. Bee and Griefen will address the issues and experiences that led to the creation of this body of work.

Susan Bee has had seven solo exhibitions of her paintings at A.I.R. Gallery, as well as solo shows at Accola Griefen Gallery, the University of Pennsylvania, Kenyon College, Columbia University, William Paterson College, and Virginia Lust Gallery, NY. Bee's work is included in public and private collections including the Getty Museum, Bibliotheque Nationale de France, Victoria & Albert Museum, Yale University, Clark Art Institute, New York Public Library, and Harvard University Library. Her work has been reviewed in Art in America, The New York Times, Art Papers, The Brooklyn Rail, The New Yorker, Artcritical, The Forward, and ArtNews. She has had fellowships at MacDowell Colony, Virginia Center for the Creative Arts, and Yaddo. Bee has published 14 artist books including collaborations with poets Susan Howe, Johanna Drucker, Charles Bernstein, Jerome Rothenberg, and Jerome McGann. Bee is the coeditor, with Mira Schor, of M/E/A/N/I/N/G Online. Bee has a BA from Barnard College and a MA in Art from Hunter College. She teaches at the School of Visual Arts, Pratt Institute, and at the University of Pennsylvania, and lives in NYC.

Kat Griefen is the co-owner and co-director of Accola Griefen Gallery in New York City. She was previously the Director of A.I.R. Gallery from 2006 until 2011. Exhibitions she has organized have been reviewed in publications including The New York Times, The New Yorker, New York Magazine, Art in America, ARTnews and the Brooklyn Rail. Ms. Griefen has been a lecturer at Rutgers University through the Institute of Women and Art since 2011 and has lectured widely at other institutions and conferences including The College Art Association, The American Studies Association, Portland State University, New York University and The Brooklyn Museum. Ms. Griefen is a National Committee Member for the Feminist Art Project and a member of Arttable. She has a B.A. in Women Studies and in Art History from Purchase College, SUNY and an M.A. in Art History from Hunter College.

Susan Bee: Doomed to Win, Paintings from the Early 1980s, on through April 27

GALLERY HOURS: Wednesday - Sunday, 11AM - 6PM

SUBWAY DIRECTIONS: F to York Street, A/C to High Street

Contact the Gallery Assistant at 212.255.6651, info@airgallery.org or visit www.airgallery.org



6. Sarah Thomas Gulden, FF Alumn, publishes new book

Hello friends/family/students!

This is the announcement I have been looking forward to making for a couple years now: the book I have been working on, Balancing The Wheels: A Practical Guide to Chakras in Yoga and Life, is finally complete and up for sale to all! :)

This is an 8x10 book, full-color, full-bleed and it's beautiful! My dear friend, Liz Kresch, created some amazing full-color chakra mandala drawings (as well as sketches of each yoga pose) and each chapter is its own color which creates an amazing effect. You can purchase it here now!: https://www.createspace.com/4695302
or if you're near me, you can purchase directly from me (The book is also available for purchase on Amazon, a little cheaper, but sales through that channel cut my royalties 75%. You can help me by writing 5-Star Reviews on Amazon for sure, but if you can, please actually purchase my book from CreateSpace or me directly!).

Other formats should be available shortly (stay tuned!). I will publish on Kindle (and likely other eBook formats) and I also plan to release a significantly cheaper black and white version, that won't have quite the same visual effect, but all of these alternate formats should provide options if the $35 price tag makes the book inaccessible to you.

Here are ways you can help!:
a) Buy the book! Buy copies for friends! Encourage friends to buy too! :)

b) Review the book! Review on Amazon (5 stars!), Facebook, Twitter, and your own blog or anywhere you can! (and "like" the book's FaceBook page: https://www.facebook.com/BalancingTheWheels)

c) Help me distribute! Do you visit (or own) a yoga studio(s) or independent book seller(s)? It turns out I'd have to add to the sticker price of the book to get them to distribute to book stores (and they won't do yoga studios at all which is a prime target), but if you ask your favorite store or studio to carry the book they can buy copies from me directly! Add my book to your yoga teacher training program!

d) Help me attend more book launches and meet the author events! I may well be able to visit your bookstore, yoga studio, teacher-training program, etc. Email me with ideas? Current parties scheduled include 4/19 4pm at The Mindfulness Center in Bethesda; 5/4 2pm at Thrive Yoga in Rockville; and 6/1 1pm Balance Studio in Bethesda. We're also looking at dates for locations in NYC. You're invited to any and all!

A lot of you have provided emotional support or more for this and I am so grateful to you all for helping this dream come true for me--if just by being part of my life!

author of Balancing The Wheels: A Practical Guide to Chakras in Yoga and Life

"like" me on FaceBook:silversyoga
"follow" me on Twitter:@silversyoga



7. Jeanine Oleson, Angel Nevarez/Valerie Tevere, Joseph Keckler, FF Alumns, at The New Museum, Manhattan, April 22-July 6

New Museum to Host Interdisciplinary Residency with Jeanine Oleson
Featuring an Exhibition, Public Programs and Workshops,
and an Experimental Opera

This spring the New Museum hosts the first museum presentation of work by Jeanine Oleson. Her project "Hear, Here" will culminate in an exhibition, a series of special in-gallery events, several public programs, a publication, and a fully staged experimental opera. Produced over the course of a five-month residency as part of the Museum's 2014 spring R&D Season: VOICE, "Hear, Here" asks: How can we attune ourselves to each other? Where is the agency in language? What does it really mean to listen?

Jeanine Oleson is an artist whose practice incorporates interdisciplinary uses of photography, performance, film/video, and installation work. Challenging political and social norms through works that bear a distinctive mix of pathos and wit, Oleson engages contemporary societal topics. These include the collective psyche of apocalyptic anxiety, the global ecological crisis, the persistence of spiritual rituals, and alternative methods of addressing the myriad inequities produced by homophobia, racism, and classism.
"Jeanine Oleson: Hear, Here" is curated by Johanna Burton, Keith Haring Director and Curator of Education and Public Engagement. The exhibition component of this project is on view at the New Museum from April 22-July 6, 2014.

An exploration of different kinds of voices-from the musical voice of opera to political acts of speech-"Hear, Here" simultaneously investigates language and points beyond it. The foundation for this investigation resides within art itself-particularly in relation to issues of audience and embodied engagement, in addition to objects and conditions that alter modes of expression-in order to respond to larger political and cultural problems faced on a global level.

In this context, Oleson is developing a video installation for the Museum's Fifth Floor gallery. This installation considers conditions of spectatorship, drawing from documentation of "The Rocky Horror Opera Show" that took place in the New Museum Theater on March 7. This event, organized by Oleson and opera dramaturg Cori Ellison, invited the direct participation and intervention of the audience, challenging the institutionalization of behavior in the reception of traditional forms of performance and presentation. The set and objects for an experimental opera (including musical instruments, staging tools, and performance artifacts) will also be present during the run of the exhibition, forming an impromptu stage set and a catalyst for a series of informal programs in the gallery space leading up to the final
Jeanine Oleson, Untitled, 2014. Inta¬glio print, 12 × 7 1/4 in (30.5 × 18.5 cm). Printed by Marina Ancona, 10 Grand Press. Courtesy the artist

performance. Accompanying the exhibition is an archival and research-based presentation in the Resource Center that takes up questions around various registers of Voice. The residency culminates with the premiere of Oleson's experimental opera in the New Museum's Theater, June 13-14.
Centering on a paradoxical landscape-a mountain that is also a cave-the exhibition and its constantly shifting elements produce a reactive space that focuses on the politics of vocalizing perspectives and the necessity of participation in lived experience. All the while, the affective role of voice in Oleson's work mobilizes a mix of humor, rancor, and joy in addressing an avalanche of pressing issues in contemporary life.
Thursday April 3 | 7 PM | Free for Members, $8 General Public
Sing, Yell, Tell
Gregg Bordowitz, Steven Cosson, Mara Mills, Oleson, and curator Johanna Burton discuss the implications of voice, from technical concerns to political potential to affective possibilities.
May 1-June 5 | Times Vary | Free with Museum Admission
"Hear, Here" Gallery Sessions
The exhibition serves as catalyst for a series of informal programs, mediated by invited guests in the gallery space. Each program further interpolates Oleson's research of voice in uniquely different ways. Confirmed participants include: Angel Nevarez/Valerie Tevere ("Another Protest Song: Karaoke with a Message," May 1); Jean Casella and Five Mualimm-ak ("Voices from Solitary," May 4); Joy Askew ("Songs for Animals," May 9); Rainy Orteca ("Field Recordings," May 10); Courtesy the Artists ("Choir Practice," May 18); Beatriz Santiago Muñoz ("An informal séance with the ghost of Carlos La Sombra," May 24); Cara Baldwin ("Human Microphone," May 31); Jaleh Mansoor ("Negative Articulation Toward Revolution," June 1); and Kelly Pratt ("Live Aurihorn Performance," June 5). Check newmuseum.org for details.
Friday June 13 | 7 PM | $12 Members, $15 General Public
Saturday June 14 | 3 PM | $12 Members, $15 General Public
Jeanine Oleson: Opera Premiere
Beginning on a mountain and ending in a cave, this new performance work is presented in two acts and moves between absurd impossibility and a new terrain on which to voice agency.
In conjunction with Jeanine Oleson's exhibition, guest music curator Cori Ellison (Dramaturg at Glyndebourne Festival Opera and previously at New York City Opera, 1997-2010) has organized a series of musical events exploring the possibilities of the operatic voice.
Friday March 7 | 7 PM
The Rocky Horror Opera Show
A quartet of opera singers performs operatic standards to live accompaniment while an audience of die-hard opera fans and the general public are encouraged to dress up, sing along, dance, or do whatever they're moved to do, but normally restricted from doing.
Friday April 25 | 7 PM | $10 Members, $12 General Public
The Voice of Joseph Keckler
Transposing mundane lived experiences into an operatic medium, Keckler shares an evening of new work, including fragments from a work-in-progress in which he playfully skewers televised singing competitions.
Friday May 2 | 7 PM | $10 Members, $12 General Public
The Voice of Kristin Norderval
Norderval presents a selection of works for voice and laptop with a focus on live vocal sampling, real-time audio processing, and sounds recorded from discarded and decaying pianos.
Friday May 30 | 7 PM | $10 Members, $12 General Public
The Voice of Toby Newman
Newman melds traditional classical vocalism with vanguard extended vocal methods and ancient and diverse ethnographic techniques.
Jeanine Oleson was born in Astoria, OR, in 1974. She attended the School of the Art Institute of Chicago, Rutgers University, and Skowhegan School of Painting and Sculpture. Oleson has exhibited and performed at venues including: Exit Art, NY; Beta Local, San Juan, Puerto Rico; X-Initiative, NY; Commonwealth & Council, Los Angeles; Grand Arts, Kansas City, MO; Socrates Sculpture Park, NY; Diverseworks, Houston, TX; L.A.C.E., Los Angeles; Monya Rowe Gallery, NY; Samson Projects, Boston, MA; Gallery 400, University of Illinois at Chicago, IL; John Connelly Presents, NY; Bates College Museum of Art, ME; H&R Block Artspace, Kansas City Museum of Art, MO; Participant, Inc., NY; MoMA P.S.1, NY; Santa Fe Art Institute, NM; Pumphouse Gallery, London; White Columns, NY; and Art in General, NY. Oleson has received a Franklin Furnace Fellowship and a Jerome Foundation Travel and Study Grant in 2009; a Brooklyn Arts Council Community Arts Regrant (2008 and 2009); and a Professional Development Fellowship, College Art Association (1999-2000); and was in residence at Smack Mellon Studio Program, NY. She also published two books about performance projects in 2012, "What?" and "The Greater New York Smudge Cleanse." Oleson is an Assistant Professor of Photography in the Department of Art, Media, and Technology at Parsons the New School for Design. She lives in Brooklyn, NY.
"Jeanine Oleson: Hear, Here" is made possible, in part, through the support of the New York State Council on the Arts and the New York City Department of Cultural Affairs.
Additional support for artist residencies is made possible by Laurie Wolfert.
Generous endowment support is provided by the Rockefeller Brothers Fund, the Skadden, Arps Education Programs Fund, and the William Randolph Hearst Endowed Fund for Education Programs at the New Museum.
Education and public programs are made possible by a generous grant from Goldman Sachs given at the recommendation of David B. Heller & Hermine Riegerl Heller.
About the New Museum
The New Museum is the only museum in New York City exclusively devoted to contemporary art. Founded in 1977, the New Museum is a center for exhibitions, information, and documentation about living artists from around the world. From its beginnings as a one-room office on Hudson Street to the inauguration of its first freestanding building on the Bowery designed by SANAA in 2007, the New Museum continues to be a place of experimentation and a hub of new art and new ideas.



8. Julie Tolentino, FF Alumn, at San Francisco Art Institute, CA, April 8-11, and more

Artist Julie Tolentino offers a one-to-one meditation workshop in the surrounds of her most recent desert installation, GROW ROOM (2014).
This work-on-site encourages participants to contemplate, track, and resist time while immersing in the desert landscape and floating (on a fluid surface). Tolentino's combined performance practice, self-designed Joshua Tree retreat, and bodywork experience offers corporeal homage to such local transitions, boundaries, and penetrations as city-to-rural, sunrise-to-sunset, military-to-civilian, and hidden-to-exposed in order to inspire the offerings, vulnerabilities, and metamorphoses of a bare life.

April 8-11 - SF
A video projection installation at the SF Art Institute Bell Tower; nightly 6-9pm SF Art Institute 800 Chestnut Street, SF CA

April 9 - SF
Artist-to-Artist talk at SF Art Institute - Tolentino + Ryan Tacata 5pm Lecture Hall SF Art Institute 800 Chestnut Street, SF CA

April 11 - NY
Radical Archives Conference: Her Body Is An Archive with Debra Levine, Phd and Tara Hart/New Museum Archivist at NYU April 11th; 11am

April 13-18 SF
Mini-residency and performance at SF Art Institute with sound artist and collaborator, Robert Crouch entitled Work Study: ...drive your cart and plow over the bones of the dead
12-9pm - durational open performance lab on the Sculpture Ramp at SF Art Institute 800 Chestnut Street, SF CA

Museum of Contemporary Art: CRAVE dinner series with Diana Puntar: DEVOURED and DEFLOWERED
Tolentino featured performance: Honey https://www.facebook.com/events/710159745701859/

May 22nd UCLA/Queer Performance Series: Double Happiness or Nothing, a concert featuring two works: REAL LIFE AWAITS and THE SKY REMAINS THE SAME: Archiving Lovett/Codagnone's WEIGHTED



9. Joyce Cutler-Shaw, FF Alumn, at University of San Diego, CA, April 10

Three related discussions with Artists, Engineers, and Ecologists about the
Water Crisis and other topics at the intersection of art and sustainability
Moderated by art critic Robert Pincus
Renewable Energy and Positive Impact Buildings
Principals & Co-Founders of Land Art Generator Initiative (LAGI)
The Land Art Generator Initiative (LAGI) brings together artists, architects, scientists, landscape architects, engineers, and others in a first of its kind collaboration. The goal of the Land Art Generator Initiative is to see to the design and construction of public art installations that uniquely combine aesthetics with utility-scale clean energy generation. The works will serve to inspire and educate while they provide renewable power to thousands of homes around the world.
Robert Ferry, RA, LEED AP BD+C is the Co-Founder of the Land Art Generator Initiative and Studied Impact. His focus is on designing buildings that go above and beyond current popular notions of sustainability to achieve complete harmony with their local and global environments and with the people that use them. His designs of "positive-impact" buildings that double as renewable energy power-plants have been featured in "Superlative Emirates" (Daab Publishing), several Popular Science Magazine articles, and have been shown at international exhibits. The Land Art Generator Initiative has been in feature articles in numerous international press outlets, including The New York Times and Dwell Magazine. While based in the UAE, he has consulted on such projects as Masdar City and ADNOC HQ. Robert is a graduate of Carnegie Mellon University and a licensed architect.
Elizabeth Monoian is the founder and director of Society for Cultural Exchange (SCE). As the director of SCE she is committed to nurturing global intellectual and creative dialogue. She is currently working on large-scale international public art projects that both address and expose models of environmental sustainability. Under SCE she co-founded the Land Art Generator Initiative (LAGI), an international initiative activating interdisciplinary teams to conceive of large-scale public artworks for specific sites that artfully provide utility-scale clean energy to the city grid. The project combines renewable infrastructure design with international cultural exchange and community educational outreach. Elizabeth is an interdisciplinary artist and designer and her work has been screened and exhibited in venues throughout Europe, the Middle East, and the United States. She received an MFA from Carnegie Mellon University.
Location: Athenaeum Music & Arts Library, 1008 Wall Street, La Jolla, CA 92037 858/454-5872
The series is coordinated by the Athenaeum with artist/ environmental sculptor Joyce Cutler-Shaw.
The program is co-sponsored by the San Diego NewSchool of Architecture + Design, the San Diego
ENVIRONMENT + DESIGN Council, the San Diego Architectural Foundation, and Public Address.



10. Mark Bloch, FF Alumn, at Black Mountain College, NC

Mark Bloch performs "Tracing Thoughts: Capturing Processes of (Anti-) Academic Artistic Research" at Black Mountain College.

Last Saturday night, April 5,2014, I did an installation/performance at Black Mountain College's {Re}HAPPENING event which is an amazing gathering in its 5th year. Dozens of teams of creative people working in the gorgeous historic setting surrounded by mountains, with a lake in the middle where Robert Rauschenberg, Ray Johnson, Josef Albers, Bucky Fuller, John Cage, Bill and Elaine DeKooning and so many others once swam in the breezy mountain air. I worked with 3 others and we did a piece with lots of words and a great soundtrack called "Tracing Thoughts: Capturing Processes of (Anti-) Academic Artistic Research." We celebrated the first happening/performance art, an untitled event, now known as Theatre Piece No. 1 by John Cage, which took place in the college dining hall, where we performed and did our installation on the porch.

"Four artists, Mark Bloch from New York City, Jonathan C. Creasy from Ireland, Astrid Kaemmerling from Germany, and Danielle Wyckhoff from Michigan, craft a multi-media, cross-disciplinary experience, inviting audience members to immerse themselves in the work. The process is the product, which is in coming together. Bridging shared interests in language, writing, sound, composition, and narration, the installation-performance investigates the space between academic and artistic research. Tracing thoughts in an imagined space, it is the artists' attempt to document collaborative research processes by transforming findings into a site-specific, temporal-spatial experience."

"Thought-to-speech-to-text-to-action, ideas spilled out upon surfaces, extended conversation, writing about speaking, recording language, stopping time, finding sound, voice-taping, art-research-art in-between, technically speaking, poetically writing, breaking ground; reflecting, collecting, creating, materials exchanging; stimulation, simulation, extending experience, wished-for-collaborations, unpredictable structures, systems without rules, spirit appreciated, exile, nostalgia, history, tradition, fascination, education, experimentation, emotion, united, ratio; art-based research behavior; participation, pinning papers to snakes, inheriting spaces, sonic waves of interference, thought exchange, performative action, exploration, sound cognition, artistic scholarship; writers, musicians; seeking art adventure; space reshaped, audio-visual, propulsive sonic movement, continuation, leaving traces."

Nearby Asheville, NC is an amazing place, a thriving, growing, dynamic community of art intersecting with various tendrils of higher consciousness in the Great Smoky Mountains and just gorgeous... worth a trip. It is home to a Black Mountain museum. The college relocated in 1941, pivoting across the scenic valley to nearby Lake Eden, students were required to participate in the construction of their own campus as part of their education, a practice which continued until its closing in 1956. A number of the original structures are still in use today as a boys' retreat called Camp Rockmont. From this piece I wrote a while back about a Black Mountain exhibition-




11. Jacob Burckhardt, FF Alumn, at Douglas Dunn Studio, Manhattan, April 11-12

Dear Folks,

In case you haven't seen it already, the 1984 feature film "It Don't Pay to be an Honest Citizen" is going to unspool at the Douglas Dunn Studio this coming Friday and Saturday. The occasion is the William Burroughs centennial (he appears in the movie)

Douglas Dunn Studio
541 Broadway, between Prince and Spring Streets

Friday and Saturday, April 11 and 12, at 8PM. (doors open at 7:30, for wine and snacks)
Suggested contribution $10.00

Jacob Burckhardt



12. Devora Neumark, FF Alumn, in Montreal, Quebec, Canada, April 13-25

Devora Neumark, in collaboration with Pierre Corriveau and Louise Lachapelle, will be launching a new series of live art events, which explore the potential for mindfulness in unlikely situations, the relational dimension and responsiveness of our environment and the reactive nature of place. This research-creation is funded in part by

NOT BUILT FOR Separation - Sunday, April 13, 2014, Pointe-Saint-Charles NOT BUILT FOR Public - Monday, April 14, Plateau Mont-Royal NOT BUILT FOR Crossing - Tuesday, April 15, Mile End NOT BUILT FOR Contemplation - Wednesday, April 16, Griffintown NOT BUILT FOR Rape - Thursday, April 17, Downtown / Shaughnessy Village NOT BUILT FOR Extraction - Friday, April 18, Westmount NOT BUILT FOR Opening - Wednesday, April 23, Centre FIGURA / Université du Québec à Montréal NOT BUILT FOR Building - Thursday and Friday, April 24 and 25, Montreal West

All best,




13. Isabella Bannerman, FF Alumn, at French Press Café, Hastings on Hudson, NY, April 26-27

I'll be at French Press Cafe 579 Warburton Avenue Hastings on Hudson, NY 10706 as part of the ArtsWestchester's RiverArts 21st Annual Studio Tour on Saturday April 26th and Sunday April 27th from 11AM - 5 PM.



14. Anna Banana, John Held, Jr., FF Alumns, now online at youtube



A weekend of mail-art related events took place in San Francisco Feb. 14, 15, 16 under the banner Ex Postal Facto, organized by Jennie Henchcliff, author (with Carolee Gilligan Wheeler) of "Good Mail Day: A Primer for Making Eye-Popping Postal Art," published in 2009, and the founder in 2011 of the San Francisco Correspondence Co-op, Ex Postal Facto. Friday evening saw a spectacular crowd crammed into the S.F. Center for Book Arts, to see the exhibition of books and artworks from the mail-art network. On Saturday, there was a show and sell event held in the historic Elks Hall, with twenty four artists from across the country (and Canada too), again crowded with interested visitors. Two panels were presented in the San Francisco Library's theatre on Sunday; the first focused on the History of Mail Art on the West Coast, adjudicated by John Held, with panelists Anna Banana from Roberts Creek, Canada; Leslie Caldera from Los Angeles, Carl Chew from Seattle and Lowell Darling from somewhere in the East Bay of San francisco. The second panel, moderated by Ms. Henchcliff, focused on Artistamps with Jas W. Felter from Vancouver BC presenting his long history with the medium, James Cline who discussed the evolution of his yearly Burning Man Post Office; Harley who traced the evolution of his Terra Candella local post; while Ginny Lloyd, present via Skype, reminisced about her organization of "Interdada 80," a direct forerunner of Ex Postal Facto. Anna Banana

Ex Postal Facto
February 14-16, 2014
Various Venues
San Francisco, California

In the summer of 1968, Fluxus artist Robert Fillion conceptualized the idea of an "Eternal Network," promoting the idea of a community of international artists drawn together by common interests in cooperation, divorced from competition. In this network, some would be entering and some would be leaving, but a core group remained to impart previous values and history. Mail Artists, an international band of postal based artists, were quick to adopt this concept, using it as the foundation of a commodity free and community based activity.

Mail Art is obviously a time delayed, geographically diverse operation, but there is a long tradition of participants meeting their correspondents in real-time site-specific situations. The latest of these meetings took place in San Francisco over Valentine's Day weekend 2014 bringing together well over two hundred correspondents from six countries in a series of events that highlighted the evolution of the medium over a fifty-year history.

Organized by San Francisco book artist Jennie Hinchcliff, the author (with Carolee Gilligan Wheeler) of "Good Mail Day: A Primer for Making Eye-Popping Postal Art," published in 2009, and the founder in 2011 of the San Francisco Correspondence Co-op, Ex Postal Facto was held in various venues throughout San Francisco from Friday, February 14 though Sunday, February 16, bringing together an enthusiastic gathering of both Mail Art veterans and those newly arrived to the field.

The festivities began at a reception at Arch art supply store on Missouri Street, Potrero Hill, and quickly moved to The San Francisco Center for the Book, for the opening of two exhibitions, "The History of West Coast Mail Art," curated by John Held, Jr., and "mail/art book," curated by Hinchcliff and Held. The two shows, like the weekend itself, brought together both the old and new in Mail Art.

"The History of West Coast Mail Art," featured selected works from the archive of the late Oakland Mail Artist Patricia Tavenner. From Wallace Berman's "Semina" magazine published in 1961 to work received just prior to her passing, the exhibition covered a range of correspondence, artist publications, artist postage stamps, rubber stamp works, exhibition and event documentation collected by the late artist over a fifty years period. In so doing, it showed both the evolution of the medium and common threads of activity spanning the years. Invitations to the "Deccadance," an early 1974 meeting of Mail Artists in Los Angeles, and programs featuring "Interdada 80," and Interdada 84," in San Francisco, acquainted those newly come to the medium with previous gatherings of correspondents.

"mail/art/book," was organized in the manner of a traditional Mail Art exhibition, encouraging open participation (no fees to enter, no curatorial selection) to all inclined to contribute. Invitations to submit work on the theme of the book were sent out throughout the Mail Art network, eliciting responses from over 300 artists from 30 countries. A number of auxiliary events coincided with the opening reception, including a cancelling station for weekend "passports," manned by Burning Man postmaster James Cline from Berkeley. Collage material and rubber stamps were provided by the Center for the Book to make Valentine cards and Mail Art, and there was a hearty contingent at work throughout the opening. Passport holders were busy throughout the evening collecting rubber stamp impressions and artist postage stamps from the participating artists. A full color catalog was printed to accompany the exhibition by the Center for the Book, with essays contributed by curators Jennie Hinchcliff ("Our Path is Strewn with Words and Letters: Making, Mailing, and Postal Modernism") and John Held, Jr. ("A History of West Coast Mail Art: Artwork from the Patricia Tavenner Archive").

On Saturday, the caravan of correspondence moved on to the historic Elk's building on Post Street. Tables were provided to those wishing to sell and exchange Mail Art collectibles. A number of Mail Art "legends" participated, including Anna Banana, former San Francisco resident, now residing in Vancouver, Canada; buZ blurr from Gurdon, Arkansas (the subject of a current exhibition at Adobe Books in San Francisco's Mission district); James Felter, also from Vancouver, who curated the first show of artist postage stamps in 1974; Carl Chew from Seattle, E. F. Higgins III from New York City, and Harley from Forestville, three pioneers of the artist postage stamp medium; Leslie Caldera and Neal Taylor from Los Angeles; as well as the indomitable V. Vale of San Francisco, publisher of Re/Search books focusing on alternative culture.

Indeed, this was a true outpouring of alternative culture at its grassroots best. Jennie Hinchcliff and a support crew drawn from the San Francisco Correspondence Co-op, provided organization free from mainstream dependency. Although Mail Art is a growing phenomena (as witnessed by the large turnout for all the weekend events) and exemplary of contemporary critical thought in relation to "social practice" in art, its acceptance by the gallery and museum establishment is practically non-existent. Therefore, Mail Artists like Hinchcliff do-it-themselves, free from restrictions imposed by outside forces, providing an alternative to artistic competition, focusing instead on cooperation.

The last day of Ex Postal Facto took place at the San Francisco Main Public Library. Two panels marked the culmination of the weekend activities. "A Brief History of West Coast Mail Art," was moderated by John Held, Jr. and featured panelists Anna Banana, Carl Chew, Leslie Caldera, and Lowell Darling. Organizer of the 1974 Los Angles Deccadance, Darling provided an important touchstone to the historic evolution of the Mail Art medium. Carl Chew provided insight on the history of Mail Art in the Seattle area, Leslie Caldera expounded upon the scene in Los Angeles, while Anna Banana narrated the growth of the medium in Vancouver and San Francisco.

Jennie Hinchcliff moderated the second panel discussion on, "Artistamps and Their Makers: Seeing the World in Miniature," featuring panelists James Felter, James Cline, Harley, and Ginny Lloyd, formerly of the Bay Area appearing via Skype from Jupiter, Florida. Felter talked about the organization of the first artist postage stamp show he curated in 1974; Cline discussed the evolution of his yearly Burning Man Post Office; Harley traced the evolution of his Terra Candella local post; while Lloyd reminisced about her organization of "Interdada 80," a direct forerunner of Ex Postal Facto.

While major Mail Art past gatherings like "Deccadance" (1974), "Interdada" (1980 & 1984) and the "Mail Art Congresses" (1986 & 1992) attracted large gatherings of artists, none exceeded Ex Postal Facto in number of attendees or diversity of participants. Former events convened long time participants of the field, while Ex Postal Facto drew from both legendary practitioners and those recently drawn to the medium on the heels of Hinchcliff's, "Good Mail Day," and proselytizing via the San Francisco Correspondence Co-op. Mail Artists both old and new were invigorated by the encounter. John Held, Jr.

Anna Banana



15. Harley Spiller, FF Alumn, in Tribeca Film Festival, Manhattan, April 20-24
An interview with Harley Spiller, FF Alumn, is included in THE SEARCH FOR GENERAL TSO, a feature-length documentary tracing the origins of Chinese American food through what is arguably America's most popular takeout meal--General Tso's Chicken.

Anchoring the film is an upbeat quest, through small towns and big cities across America and beyond, to understand the origins and popularity of Chinese American food and its top-selling dish. Who was General Tso? And why do nearly fifty thousand restaurants serve deep-fried chicken bearing his name?

Using this Americanized dish and its mysterious mastermind as a lens onto a larger story of immigration, adaptation, and innovation, the film follows a lighthearted journey, grounded in cultural and culinary history, through restaurants, Chinatowns, and the American imagination. Visits to present-day Chinese restaurants spark forays into the past, guided by chefs, scholars, and the occasional opinionated customer. The film's lively soundtrack and shadow-puppet animations contribute both whimsy and momentum, as viewers find they're on a search to answer a deeper question: how did America's Chinese food become so... American?
A production of Wicked Delicate Films LLC.
The premiere will be on Sunday April 20th at 3:30 pm. To see more information and/or purchase tickets please visit


From New York City to the farmlands of the Midwest, there are around 50,000 Chinese restaurants in the U.S. While there can be quite a range of Chinese-American dishes, one in particular seems to have conquered the American culinary landscape with a force befitting its military moniker-"General Tso's Chicken." Walk into any Chinese restaurant in the country and you can be fairly certain you'll be rewarded with a plate of this sweet and sticky fried chicken-seemingly just spicy enough for the American palate. But how did this dish reach such levels of ubiquity and who was General Tso in the first place? This delightfully insightful documentary seeks to uncover the origins of a dish that Americans have warmly adopted as their own. As director Ian Cheney journeys to Shanghai and Hunan, it becomes increasingly clear that the answers lie much closer to home, as the story of General Tso's Chicken becomes inextricably linked to the story of Chinese Americans' own search to define their identity.

-Ian Hollander
Film Information
Year: 2014
Length: 73 minutes
Language: Chinese, English
Country: USA
Premiere: World
Cast & Credits
Director: Ian Cheney
Producer: Amanda Murray, Jennifer 8 Lee
Editor: Frederick Shanahan
Cinematographer: Ian Cheney, Taylor Gentry
Composer: Simon Beins, Ben Fries
Animator: Sharon Shattuck

Press Contacts
Print Source
Ian Cheney
Wicked Delicate Films, LLC
Northampton, 01060
Phone: 347 804 4732
US Sales Contact
John Sloss
Cinetic Media
New York, 10001
Phone: 212 204 7979
International Sales Contact
David Piperni
Cargo Film and Releasing
New York, 10012
Phone: 2129958139
Press Contact
David Magdael
David Magdael & Associates
Los Angeles, 90015
Phone: 213 624 7827
About the Director(s)
Ian Cheney is an Emmy-nominated and Peabody Award-winning documentary filmmaker. His past projects include King Corn (2007), The Greening of Southie (2008), Truck Farm (2010), and The City Dark (2011).



Goings On is compiled weekly by Harley Spiller