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Contents for April 28, 2014

1. Penny Arcade, Mat Fraser, Jennifer Miller, Doug Skinner, Martha Wilson, FF Alumns, at Coney Island Museum and Sideshows by the Seashore, Brooklyn, April 25-May 4

Coney Island USA
and the new
Morbid Anatomy Museum
are very pleased to bring you the 8th annual

Congress of Curious Peoples at the Coney Island Museum and Sideshows by the Seashore, April 25-May 4, 2014
Full Congressional Pass $100
(Includes reserved seating for all events)
Weekday Lectures $7 each
Weekday Performances $10 each
Combination Lecture/Performance $15 each
Weekend Symposium $25 ($15 per day)

Each spring, Coney Island slowly comes to life with an annual celebration of the strange and the wonderful that brings together a mass audience, notable performers from the world of vaudeville, burlesque and the sideshow arts, and scholars and academics who write about such things.

The Congress of Curious Peoples, a gathering of the weird and the wonderful, plus the freaks who like to study them, is a 10-day series of lectures and performances about curiosity and curiosities, broadly conceived.

The 10-day gathering opens with a party, which is followed by a weekend of performances and book events, 5-weeknights of lectures and performances, and a final weekend of sideshow mayhem and a scholarly symposium.

Friday, April 25
Opening Party, Sideshows by the Seashore
8pm ($15, plus a free drink)
The Opening Night event, sponsored by Brooklyn Brewery, includes a Keynote Address by Superfreak, Mat Fraser, entitled "Natural Borns in the Modern Sideshow: From the Pornography of the Disabled to the New Rock and Roll."
The performance will be followed by the 2014 Inductees into the Sideshow Hall of Fame. Two nominees will be put forward by a panel of experts in each of five categories, following which the audience will vote and everyone will drink a toast (or two).

Saturday, April 26
Alumni Weekend, Sideshows by the Seashore
1-7pm (last ticket sold at 6pm), continuous admission ($10 at the door)
Alumni Weekend at Sideshows by the Seashore. Featuring: Donny Vomit, Heather Holliday, Todd Robbins and Nasty Canasta.

Colonnade of Curiosities in the Freak Bar
12-7pm (Free)
Book Launch, "The Morbid Anatomy Anthology", at the Morbid Anatomy Museum (424 3rd Ave, Brooklyn)
8-11pm (Free)
Please join us for a night of drinks, music and books to celebrate the release of "The Morbid Anatomy Anthology," a 500 page, lavishly illustrated, hardbound and full-color book featuring 28 essays based on some of the most memorable lectures hosted by Morbid Anatomy since 2008. Many of the authors will be on hand to raise a glass with you and sign your copy of the book!

Sunday, April 27
Alumni Weekend at Sideshows by the Seashore
1-7pm (last ticket sold at 6pm), continuous admission ($10 at the door)
Alumni Weekend at Sideshows by the Seashore. Featuring: Donny Vomit, Heather Holliday, Todd Robbins and Nasty Canasta.
Colonnade of Curiosities in the Freak Bar
12-7pm (Free)

Monday, April 28
Lecture/Performance, the Coney Island Museum
7:30pm ($7 or $15 for double feature)
Industrial Ladies - A lecture by Evan Michelson

Performance, Sideshows by the Seashore
9:00pm ($10 or $15 for double feature)
Desire and the Sea - A performance by Edgar Oliver

Tuesday, April 29
Lecture/Performance, the Coney Island Museum
7:30pm ($7 or $15 for double feature)
Chicanery, Counting, and Cee-lo: Memory in Service to Skulduggery - A lecture and performance by Acep Hale

Performance, Sideshows by the Seashore
9:00pm ($10 or $15 for double feature)
A Thrilling Journey Into the Mind with Les the Mentalist

Wednesday, April 30
Performance, Sideshows by the Seashore
9:00pm ($10)
The Coney Island Beach Ball - A Vogue Competition between the House of Vogue 3D and The Coney Island Dancers.

Thursday, May 1
Lecture/Performance, Sideshows by the Seashore
7:30pm ($7 or $15 for double feature)
Kirlian Devices, William Burroughs, and Radionic Photography - An Illustrated Series of Lectures by Shannon Taggart, James Riley Doug Skinner and Anthony Matt.

Performance/Lecture, The Coney Island Museum
9:00pm ($10 or $15 for double feature)
Mechanical Medium - A film by Zoe Beloff with live sound by Gen. Ken Montgomery

Friday, May 2
Lecture/Performance, the Coney Island Museum
7:30pm ($7 or $20 for double feature)
From Angels to Anarchists: The Evolution of the Marx Brothers - a Lecture by TravSD

Performance/Lecture, Sideshows by the Seashore
9:00pm ($15 or $20 for double feature)
Penny Arcade at the Penny Arcade

Saturday, May 3
Superfreak Weekend, Sideshows by the Seashore
1-8pm (last ticket sold at 7pm) continuous admission ($10 at the door)
Alumni Weekend at Sideshows by the Seashore hosted by Mat Fraser and featuring Jennifer Miller, Nati Amos, and the Velvet Crayon.
Colonnade of Curiosities in the Freak Bar
12-7pm (Free)
The Congress for Curious People (Symposium), The Coney Island Museum
10am-6pm ($15 or $25 for two-day pass)

Sunday, May 4
Superfreak Weekend, Sideshows by the Seashore
Sunday, May 4, 2014 - 11:00am
11:00am: "PASSING"
Adrienne Albright's lecture on Medieval Cross-dressers. Followed by a performance by Tara Mateik, a simulated talk by Amy Herzog, and a panel discussion moderated by Amy Herzog and featuring Jennifer Miller, Martha Wilson, Tara Mateik, and Adrienne Albright.
12:30pm: Lunch
3:00pm: Screening of Ronni Thomas' Morbid Anatomy Presents' "PHANTASAMAGORIA"
John Troyer, Joannae Ebenstein and Mat Fraser about "the Normal, the Abnormal, and the Pathological on Display". Followed by a panel discussion moderated by John Troyer and featuring Joanna Ebenstein, and Mat Fraser.

1-8pm (last ticket sold at 7pm) continuous admission ($10 at the door)
Alumni Weekend at Sideshows by the Seashore hosted by Mat Fraser and featuring Jennifer Miller, Nati Amos and the Velvet Crayon.
Colonnade of Curiosities in the Freak Bar
12-7pm (Free)

The Congress for Curious People (Symposium), The Coney Island Museum
10am-6pm ($15 or $25 for two-day pass)



2. Joan Jonas, FF Alumn, to represent the U.S.A. at the 56th Venice Biennale

The Boston Globe
Artist Joan Jonas tapped for Venice Biennale
by Sebastian Smee
April 15, 2014

Artist and MIT professor emerita Joan Jonas, 77, has been chosen to represent the United States at the 56th Venice Biennale, the world's most prestigious exhibition of contemporary art. A pioneer in performance and video art, Jonas is known for poignant, beguiling installations that combine moving images, sound, and text. She was put forward for the prestigious role by Paul Ha, the director of the MIT List Visual Arts Center, who will curate the Venice show with Ute Meta Bauer, a former MIT colleague of Jonas. The US pavilion at the Venice Biennale is seen by about half a million people. Every two years, curators in museums and institutions around the country vie for the chance to work with artists to mount exhibitions there. Jonas will create a new installation for the US pavilion, on view May 9-Nov. 22, 2015. "I just feel incredibly happy for her," said Ha on Tuesday. "She is an artist who is incredibly respected, and she is finally getting her due. She now gets to represent her country in her pavilion."
Sebastian Smee can be reached at ssmee@globe.com.



3. Tehching Hsieh, FF Alumn, at Carriageworks, Sydney, Australia, April 29-July 6

Tehching Hsieh
One Year Performance 1980-1981
at Carriageworks, Sydney, Australia
April 29 - July 6, 2014

Artist talk: Wednesday, April 30, 6-7:30pm
Symposium: Saturday, May 17, 10:30am-4:30pm

Sean Kelly announces that Tehching Hsieh's One Year Performance 1980-1981 will be on display at Carriageworks in Sydney from April 29 to July 6, 2014, marking his first major solo exhibition in Australia. A conversation with the artist and curator Weng Choy Lee will be held at the College of Fine Arts, Paddington on Wednesday, April 30th. Carriageworks will host a daylong symposium on durational aesthetics, in the context of the exhibition, that will take place on Saturday, May 17th.

This is the second of Hsieh's One Year Performances, which follows the artist punching a time clock in his studio, every hour, on the hour, for an entire year. The installation will comprise documents the artist produced as he observed the passing of time.

Hsieh is internationally recognized as a leading practitioner of durational performances, which are notable for their conceptual purity and physical extremity. From the late 1970s onwards he engaged in five separate one-year-long performances, which culminated in a declaration that he would not exhibit publicly for thirteen years. The forthcoming installation at Carriageworks is commonly referred to as "Time Clock Piece," and consists of a poster and artist's statement, a witness's testimony, the artist's uniform, the time clock, 366 time cards, 366 film strips comprised of the 8621 times he photographed himself punching the time clock, and a 16mm film which condenses the grueling year-long experience into six minutes. A complete set of the posters and statements from all of Hsieh's six durational works will also accompany the exhibition.

For all inquiries, please contact Maureen Bray at 212.239.1181 or via email at maureen@skny.com.

Sean Kelly
475 Tenth Avenue
New York NY 10018
T. 212.239.1181
F. 212.239.2467



4. Pope.L, FF Alumn, at The Whitney Museum, Manhattan, April 26

William Pope.L performance at The Whitney Museum
April 26, 2014 at 6:30 pm

We are pleased to announce William Pope.L's participation in Triple Canopy's Media Replication Services at The Whitney Museum of American Art on April 26, 2014 at 6:30 pm.

William Pope.L will join scholar Lisa Gitelman and poet Caroline Bergvall in considering the various forms of reproduction enacted in Triple Canopy's 2014 Biennial installation, Pointing Machines.

Media Replication Services and Pointing Machines are components of Triple Canopy's contribution to the Whitney Biennial. Tickets for the event may be purchased in advance by clicking here.

Mitchell-Innes & Nash
534 West 26th Street
New York, New York 10001
Tel 212-744-7400
Fax 212-744-7401

Tuesday - Saturday
10am to 6pm



5. Ruth Hardinger, Lucio Pozzi, Christy Rupp, Raquel Rabinovich, FF Alumns, at Creon, Manhattan, thru May 14

curated by Peggy Cyphers & Lucio Pozzi

1. (esp. of an animal) in a wild state, esp. after escape from captivity or domestication.
synonyms: wild, untamed, untamable, undomesticated, untrained

April 16 to May 14, 2014
CREON, 238 E 24 St, 1B (near 2 Ave)

Opening Reception, Wednesday, April 16, 6 to 9 pm

Each artist is represented by one of their more feral works for this wild group show.

Alyssa E. Fanning, Christy Rupp, Debra Drexler, Emily Cheng, Ford Crull, Gary Stephan, George Quasha, Gwenn Thomas, Hans Breder, Isobel Davis, Jane Fire, Jill Levine, KK Kozik, Kylie Heidenheimer, Linda DiGusta, Linda Levit, Linda Schrank, Liz Ainslie, Lorenza Sannai, Marthe Keller, Nancy Grimes, Pam Longobardi, Peggy Cyphers, Raquel Rabinovich, Robert G. Edelman, Ruth Hardinger, Shawn Dulaney, Stephen Rosenthal, Steve Keister, Susan Smith, Susanna Tanger, Suzanne Joelson and Taissia Basaria

238 E 24 St, 1B, (near 2 Ave)
New York, NY 10010
646-265-5508 norm@creongallery.com



6. Nicolás Dumit Estévez, FF Alumn, at CUNY, Manhattan, April 28

"Gender and the Caribbean Body," a Conversation with Nicolás Dumit Estévez, Gerard H. Gaskin, and Kettly Mars, moderated by Maja Horn, introduction by Christian Flaugh
From throughout the Caribbean - the Dominican Republic, Haiti, and Trinidad - writer Kettly Mars, visual and performing artist Nicolás Dumit Estévez, and photographer Gerard H. Gaskin come together to discuss what it means to be a Caribbean artist operating identity at home and within the cultural centers of the 'global north.' How does an artist negotiate one's nationality with one's varying citizenships to communities throughout the many 'Caribbeans' that take form in Amsterdam, New York, London, or Paris? How do varying media and performance styles contribute not only to how art is created in the 'Caribbean,' but also to how the 'Caribbean body' is perceived by the general public? How is gender affected by these processes?

DATE: Monday, April 28, 2014
TIME: 7:00 p.m. - 8:45 p.m. with reception to follow
RSVP encouraged.
Division of Interdisciplinary Studies at the Center for Worker Education of the City College of New York
25 Broadway, 7th Floor (downtown, near Wall Street, in front of 'bull statue')
New York, NY 10004 Please bring photo i.d. for security.
Contact: 212 925 6625, ext 0
SUBWAYS: 4, 5 to Bowling Green; 1, R to Rector Street; J, Z to Broad Street



7. Katya Grokhovsky, FF Alumn, at HERE Arts Center, Manhattan, thru May 24, and more

Spring is finally here!

Dear friends and colleagues,

Please join me at two events this April in New York:


Curated by Dan Halm

April 17 - May 24 2014

Opening: Thursday, April 17, 2014, 5-7pm
HERE Arts Center: 145 6th Avenue, NYC
(entrance on Dominick Street, one block south of Spring Street)

Artists: Matt Bucy, Brandon Davey, Colleen Ford White, Katya Grokhovsky,
Scooter LaForge, Lj Lindhurst, Gregg Louis, Tawnie Silva, Richard Stauffacher

In this group exhibition, I will be showing recent video works and sculptures.


Open Studio
End of Residency @ APT (Artist Pension Trust) Institute
Industry City Open Studios
Saturday April 26th 11-5 pm
34 34th st 4th floor Brooklyn NY 11232

Hope you can join me!


Katya Grokhovsky




8. Linda Montano, FF Alumn, outside Kleinert/James Center for the Arts, Woodstock, NY, May 24

Where: outside the Kleinert/James Center for the Arts, 34 Tinker St., Woodstock, NY 12498
Time: 12-7pm
Date: Saturday, May 24 (rain date: Monday, May 26, 2014, Memorial Day)
Admission: Free


On Saturday May 24, in honor of Bob Dylan's 73rd birthday, the Woodstock Byrdcliffe Guild will be hosting a performance by artist LINDA MARY MONTANO. Montano will lip-synch to Dylan's songs for 7 hours, positioned on a 14-foot lift stationed outside of the entrance to Byrdcliffe's Kleinert/James Center for the Arts on Tinker Street.

Since the 1960s, Montano's career has addressed questions of time, the deeply personal, and the life-affirming, with underlying currents in theology and feminism. She performs rites of emotional passage, mirroring life experiences, and experiments with making the interior exterior, or the private public. Starting her career as a sculptor, Montano's performance practice began in 1975 with a technique she refers to as "creative schizophrenia." She "began morphing into 7 different imaginative people," said Montano in a recent interview with the event's organizer, long-time Byrdcliffe supporter Alan Baer. "I sat in front of a video camera for a year, talking in different accents as these people. The 7 people were all survivors in their own given professions and fields."

Montano's performances, sometimes called "endurances," can last anywhere from three hours to fourteen years. She is known for her sensory deprivation endurances of the 1970s. From 1983-1998, she wore clothing all of the same color for each individual year, corresponding to the Hindu map of the Chakras. The Dylan endurance outside the Kleinert/James stems from her realization that members of her family bear a striking resemblance to Bob Dylan. She began performing in the persona of Dylan in order to "be like my brothers, having always wanted to be a man as a child-knowing that they were always getting the better cultural deal." The mechanical lift that will be part of Montano's performance on May 24 is a tool she began using the day of John Lennon's death; in 2013 she completed two different 7-hour singing endurances on a lift at SITE Santa Fe. Her interest in and/or performances of Dylan, Woodstock legend Paul McMahon, and other historical figures including Mother Theresa are intricately linked to Montano's investigations of the blurred boundaries and interconnections between art and life--between being, having been, and wanting to be-or not being anyone at all.

Montano has taught her methods and performance art theories for many years and has written four books about her findings.

Organized by Alan Baer, Linda Montano's Bob Dylan performance on May 24 will also give visitors the opportunity to see the exhibition of international, contemporary artists, BASH, on its last day in the Kleinert/James. An additional art-related event (details TK) will occur in the gallery on Monday, May 26, when the gallery will remain open to the public. Monday May 26 is also the rain-date for Montano's performance.



9. Ann-Marie LeQuesne, FF Alumn, at James Farley Main Post Office, Manhatan, May 3


Ann-Marie LeQuesne invites you to participate in To:

Please come to the New York City Post Office steps,
33rd St. and 8th Ave. on
Saturday May 3rd - 2pm

We will gather on the corner of 33rd St and 8th Ave.

Instructions: I would like you to act out the role of a person going to the Post Office. All of the action will be staged on the steps leading into the Post Office. Here are some possible roles to be thinking about:

Waiting for a friend - looking around; he/she is late.
Sitting talking on the steps with a friend.
Exiting from the building carrying a large box.
Emerging from between the pillars and walking down the steps;
Taking a photo of a friend posing on the steps.
Asking for and receiving directions.
Walking directly in front of the camera and going up the steps.
Walking directly in front of the camera coming down the steps.
Sleeping on the steps.

The video of this performance and a selection of recent works will be shown at AC Institute, opening on May 29th.

Ann-Marie LeQuesne stages performances with groups of people in public places. Her invitation to participate is an open one. Ideas for a performance may start with a phrase, a response to an image, a location, a situation. What if this action happens in this place? The actions are simple, but often disrupted/altered by their location. It snows; a bus stops in front of the camera; passers-by join the action. LeQuesne plays out these scenarios inviting both the participation of her collaborators and the attention of those passing by. The action is filmed or photographed and becomes material for a subsequent restaging from the documentation.




10. Tomislav Gotovac, Slaven Tolj, Alexander Viscio, FF Alumns, at Galerie Michaela Stock, Vienna, Austria, thru May 10

Infoletter | Galerie Michaela Stock

14. März - 10. Mai 2014
Private Tour & Kroatischer Abend
Wann: 25. April 2014, ab 19 h, Treffpunkt: Galerie Michaela Stock
Wo: Galerie Michaela Stock, Schleifmühlgasse 18, 1040 Wien & Da Gino e Maria, Schleifmühlgasse 21, 1040 Wien

Anlässlich der aktuellen Ausstellung von Slaven Tolj in der Galerie Michaela Stock, möchten wir Sie ganz herzlich zu einem besonderen Kunstabend einladen:

Bei einem Begrüssungscocktail wird es am Freitag, den 25. April 2014, ab 19 h in der Galerie eine von Michaela Stock geführte Tour durch die Ausstellung TO MY THREE Z - CITIUS. ALTIUS. FORTIUS. geben. Der Künstler wird anwesend sein.

Im vis-à-vis gelegenen Restaurant Da Gino e Maria wird es anschließend einen kleinen kroatischen Abend geben: bei dalmatinischen Spezialitäten und Musik darf der Abend dann gemütlich ausklingen. Angeboten werden zwei kroatische Menüs zu einem Preis von je € 25,-

Menü 1: Prosciutto und Schafskäse mit Oliven | Pasta mit Meeresfrüchten | Kalbsbraten dalmatinische Art | Rozato
Menü 2: Oktopussalat | Fuži mit Wildspargel | Orata in Weißweinsauce | Dessert

Wir würden uns sehr freuen diesen Abend mit Ihnen verbringen zu dürfen und würden Sie nur höflichst um baldige Rückmeldung bitten zwecks der Tischreservierung und Menüeinteilung.

mit besten Grüßen aus der Schleifmühlgasse,
Michaela Stock & Jennifer Lang

14.3. - 10.5.2014
WO: NEXT DOOR galerie michaela stock, Schleifmühlgasse 18, 1040 Wien

Die aktuelle Ausstellung 4AM LOS ANGELES von ALEXANDER VISCIO im NEXT DOOR wurde verlängert.
Nun zu sehen noch bis einschließlich 10. Mai 2014 | mehr Info > hier


TOMISLAV GOTOVAC | Helsinki Photography Biennial 2014 | Helsinki Photography Biennial, Union of Artist Photographers | 27. März - 9. Mai 2014 | mehr Info > hier

TOMISLAV GOTOVAC | Report on the Construction of a Spaceship Module | New Museum / Museum as Hub, New York | 23.1. - 23.4.2014 | mehr Info > hier

TOMISLAV GOTOVAC | Public and Intimate | Alexander Gray Associates, New York | 22. Mai - 21. Juni 2014 | Vernissage: 22. Mai, ab 18 h | mehr Info > hier

TOMISLAV GOTOVAC | Pure Words | Galerie Michaela Stock | 27. Juni - 14. August 2014 | Vernissage: 26. Juni 2014 | mehr Info > hier

ALEXANDER VISCIO | OUTSOURCING TO SARAJEVO 2014 | eine Ausstellungs- und Performanceplattform anlässlich der Hundertjahrfeier 2014 in Sarajevo | Vernissage: 28. Juni 2014, 14 h | Innenhof des National Museum of Bosnia and Herzegovina, Zmaja od Bosne 3, 71000 Sarajevo | mehr Info > hier

Galerie Michaela Stock, Schleifmühlgasse 18, 1040 Vienna-Austria
www.galerie-stock.net info@galerie-stock.net
P: 0043-1-9207778 / M: 0043-699-19207778
Tue-Wed 4 -7 pm, Thu-Fri 11 am - 7 pm & Sat 11 am-3 pm

Copyright (c) 2014 galerie | michaela | stock, All rights reserved.



11. Gerard Malanga, Robert Mapplethorpe, Andy Warhol, at BKW Gallery, Brussels, Belgium, thru May 30

B.K.W. Gallery: 50 Years of the Warhol Factory
50 Years of the Warhol Factory

B.K.W. Gallery
copyright by Gerard Malanga


Phone: +32 2 503 13 10
B.K.W. Gallery
Place du Grand Sablon, 2 Rue de Bodenbroek
1000 Bruxelles

April 25th 2014 - May 30th 2014
Monday-Saturday: 10h00-13h00 et 14h00-18h00
Sunday: 10h00-15h00
Private preview: 25 avril 18h30

50 Years of the Warhol Factory: Photo Archives by Gerard Malanga

50 years after meeting Warhol, Gerard MALANGA shares his photographic archives.

To celebrate the 50 years of the creation of the Factory, B.K.W. Gallery presents an outstanding exhibition with photographies taken by Gerard MALANGA, photographer, but also poet, filmmaker and emblematic person of Andy Warhol's Factory.

This exhibition showcases New York's underground scene from the 60's the pop years. Its main characters are celebrated through these records (Dennis Hopper, Patty Smith, Robert Mapplethorpe, The Velvet Underground, etc.) and also the Factory superstars (Andy Warhol, Nico, Bob Dylan, etc.).

These portraits were taken on the spot by one of the closest person to the Pop Art master in the beginning of the Factory. In fact, Gerard Malanga will express this relationship: "Andy and me, we were a mirror to each other ".



12. Dynasty Handbag, Zackary Drucker, Joseph Keckler, FF Alumns, at Abrons Arts Center, Manhattan, May 9
Introduced by Zackary Drucker
With Dynasty Handbag and Colin Self
tickets onsale soon!
Abrons Arts Center
Underground Theater
466 Grand St, New York, NY 10002

NYPAC, the New York Performance Artists Collective, is pleased to present ANTIFREEZE at Abrons Arts Center on May 9th 2014. Coinciding with art fair fever in New York, ANTIFREEZE's program of short, DIY performances by Zackary Drucker and Dynasty Handbag provide a palate cleanser of sorts to the pristine objects, clean sight lines, and luminous atmospheres of most art viewing contexts. Channeling the restless ghosts of the downtown underground, both artists skewer consumerism, gender conventions, and fine art with humor and self-deprecation.



13. Richard Tuttle, FF Alumn, at Dieu Donné, Manhattan, thru May 3

Richard Tuttle
Kathleen 一 二 三 四 五

On view now through May 3, 2014

On the occasion of Dieu Donné's 35th anniversary, 10 artists were invited by curator Lilly Wei to create a new work in the studio to be exhibited in conversation with one of each artists' earlier works. Richard Tuttle, one of the selected artists, created a series of works titled Kathleen 一, 二, 三, 四, 五, one piece of which was included in the 35th Anniversary Exhibition in 2011.

In recent correspondence with Executive Director Kathleen Flynn, Richard Tuttle suggested that this series, which he considers a portrait, would be complete only when hung together, and that he would relish the chance to see it that way. When the artist arrived to plan the installation of the work, he was inspired to present the work in an entirely new configuration that will be displayed in the gallery.

Tuttle's approach to working with pulp over decades in the Dieu Donné studio frequently involves his own physical gestures as a manipulation of wet pulp.
Kathleen 一, 二, 三, 四, 五 was created by tossing pigmented pulp onto a pellon with a gesture of the wrist. A pellon, which Tuttle found in the studio, is a non-fibrous material that is used between layers of wet sheets in the handpapermaking process.

The five individual panels that comprise Kathleen 一, 二, 三, 四, 五 will be displayed overlapping at specific intervals, creating a layered effect that unites them together as a single work. The reverse of each panel includes a carefully hand-sculpted spiral in gold toned pulp that serves to frame and anchor each piece. In reviewing the installation, the artist describes being struck by the "plethora of depth experiences" from the way the pulp grips the surface of the pellon, and the "mystery of color and light" in the dramatic color play that results from the layering.

The work is named after Kathleen Flynn, an individual, but Tuttle reflects on the broader intent of this portrait saying "it is universal, it represents anybody you could meet...it is extremely democratic in that sense". The full series will be displayed as a pop-up exhibition during an interim period in the gallery schedule from today through May 3, 2014.

About Dieu Donné
Dieu Donné is a non-profit contemporary artist workspace dedicated to the creation, promotion, and preservation of new art made using hand papermaking techniques. The organization's primary services and programs are devoted to working with mid-career and emerging artists through collaborative residency opportunities.The Dieu Donné gallery is open to the public Tuesday - Friday, 10 am - 6pm and Saturday 12 - 6pm or by appointment.

The artistic and educational programs at Dieu Donné are made possible with public funds from the National Endowment for the Arts, the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature, the New York City Department of Cultural Affairs in partnership with the City Council; and Foundation support including: Lily Auchincloss Foundation, Milton & Sally Avery Arts Foundation, Inc, Bloomberg Philanthropies, Foundation for Contemporary Arts, The Greenwall Foundation, Horace W. Goldsmith Foundation, The Minnow Fund, The New York Community Trust, The O'Grady Foundation, The Andy Warhol Foundation for Visual Arts and The Partnership Fund for New York City along with major individual support.

Dieu Donné
315 West 36th Street
New York, NY 10018
t: 212.226.0573
A-C-E: 34th St. & 8th Ave.
1-2-3: 34th St. & 7th Ave.
B-D-F-M-N-Q-R: 34th St. & Herald Sq.
Regional Trains: Penn Station (LIRR, Amtrak, NJT, PATH)



14. Sabrina Jones, FF Alumn, at CUNY, Manhattan, April 28

Dear friends,

My Walt Whitman comics have found a home with his fellow Bohemians in this graphic history of creative non-conformity.

Whitman would invite you celebrate yourself in the grass, but I invite you to a comfortable auditorium at CUNY, to taste the fruit of our labors with an exhibition, a slide show and talks by the cartoonists and editor of "Bohemians: A Graphic History," from Verso.

Featuring Paul Buhle, Peter Kuper, Jeff Lewis, Lance Tooks, Rebecca Migdal, yours truly, & others... illustrating Oscar Wilde, Billie Holliday, Woody Guthrie, John Reed, Josephine Baker, Carl Van Vechten, Mabel Dodge, and many more.

Monday April 28th, 6:30 - 8PM
CUNY Graduate Center
365 Fifth Ave., at 34th St, NYC
Free admission, books for sale.



15. Irina Danilova, FF Alumn, now online at artukraine.com

My article Fluxus Time: Revolutionary Artists in Revolutionary Ukraine is published on Ukrainian site.


thank you.

Irina Danilova



16. Joni Mabe, FF Alumn, at the Big E Fest, Loudermilk, GA, August 2

Joni Mabe, August 2, 2014


Tickets on sale now. Front Rows Seats VIP. Call Ginger at 706-499-1370

Loudermilk Boarding House Museum, Director
271 Foreacre St.
Cornelia, GA 30531-6359



17. Elana Katz, FF Alumn, spring 2014 events



Dear friends and colleagues,

I hope that this message finds you all well this spring. I wanted to be in touch to give you an update on my current work, and several developing projects.

Thanks to the support of over 130 funders from Europe, the US, and Israel, my work Spaced Memory is continuing this spring, following its successful crowdfunding campaign. This project contemplates forgotten Jewish places of Eastern Europe, focusing on the topics of post-memory and absence at sites of historical erasure. This spring is dedicated to research and production of site-specific artwork in Serbia and the extended region of former Yugoslavia - I have just returned from weeks of exploring the beauty, pain, and largely ambiguous Jewish past of Kosovo, and will likely soon extend my work to Bosnia and Croatia as well.

I am also glad to announce my upcoming performance in Belgrade The Cover, will now be co-sponsored by the Embassy of Israel in Serbia. The performance will take place at at an inactive basketball court that is built-over a destroyed synagogue in Belgrade. The production is a cooperation with the Rex Cultural Center, and an artist talk and panel discussion concerning the performance will be held the following day at Rex. Please see below for further details, if you happen to be in Belgrade, I hope that you will join the events.

The fall of 2014 will be dedicated to project research in Romania - where I will be working in cooperation with the Goethe Institute of Bucharest who will host me for a two month residency in Romania's capital.

Spaced Memory, and the success of the crowdfunding campaign, has also been announced in the most recent issue of Berlin's cultural magazine Zitty Berlin. See the news clip below, and if you are in Berlin - please check out the latest edition!

In June I will be performing new work in Belgrade at Gallery12 HUB. The exhibition opens on June 5th with a series of new solo performances that pertain to the live/ dead body as a subject. Please stay tuned for further info on this show, and see below for details on my upcoming plans in the continuation of Spaced Memory, and additional performances/ exhibitions in Belgrade and New York.

Very best,



18. Sol Le Witt, FF Alumn, in the Wall Street Journal, April 22

The Wall Street Journal
Arts & Entertainment
A Touching Connection
Peter Plagens
April 22, 2014 3:22 p.m. ET

Artists learning from each other via affectionate, reciprocal influence concerning art itself seems a bit of a bygone thing these days. Now it's all about the rocket to stardom of the right graduate school, career connections and sensational subject matter. So the story of the artistic friendship and mutual influence of Sol LeWitt and Eva Hesse-told through actual works of art, and correspondence, including one long, lovely and crucial letter-is not only art-historically significant, but poignant. One hopes it will also be instructional.

Converging Lines:
Eva Hesse and Sol LeWitt
Blanton Museum of Art
Austin TX
Through May 18

All of this is abundantly evident in "Converging Lines: Eva Hesse and Sol LeWitt," the astutely conceived, enlighteningly installed and brilliantly documented exhibition of about 50 works of art and some ancillary material at the Blanton Museum of Art. (Austin is a wonderful city, and the Blanton is a fine museum, but it's a pity that such a valuable show is not, as of this writing, scheduled to travel.)

The downtown New York art world in 1960 did have its cliques, but in the waning days of Abstract Expressionism and the waxing ones of Pop Art there was a certain bohemian earnestness to the scene. It had gotten brainier, with sensuality grudgingly semiburied. Sol LeWitt (1928-2007), who'd attended the Cartoonist and Illustrators School (now the School of Visual Arts) and had been a graphic designer for Seventeen magazine, was an aspiring artist just getting into it. He was still working a day job in the architectural offices of I.M. Pei. A colleague and friend in the firm, the then-junior architect Robert Slutzky, happened to know a young artist named Eva Hesse (1936-1970), and introduced her to LeWitt. LeWitt was "wowed" by the pretty Hesse, but the sexual attraction was not mutual. Still, they became fast friends.

Hesse-born in Germany and a survivor of the war, her parents' divorce, and her mother's suicide-made it to and through Yale University School of Art's graduate program. Her aesthetic-which had an all-too-brief, five-year public exposure before she died of a brain tumor-was organic, personal, intuitive. It was viscerally connected to the body and emphatically expressed by the vicissitudes of her hand.

LeWitt's style of art-maintained through a long career that nevertheless began only with his first solo exhibition at age 36-was diametrically opposite. He abided by a priori, self-set rules, and confined himself in sculpture to variations on the cube and, in wall drawings, to ruled lines.

LeWitt-as can be readily deduced from his intellectualized art-was a cool, steady-as-he-goes kind of guy who in his work, as catalog essayist Lucy Lippard says, "kept a distance from emotional issues." Hesse-if you read between the hagiographic lines-was a bit of a load. "My life and art have not been separated," she said. She was constantly in therapy and was plagued by doubts about the irrepressible goofiness (lumpy shapes, birthday-party colors, odd attachments) of her art. When she went off to a 15-month residency in Germany with her husband, the sculptor Tom Doyle (who was the more well-known artist, with his wife included as a semicourtesy), she was having a tough time of it. LeWitt, with whom she'd kept up an apparently chaste friendship and artist-to-artist correspondence, wrote her there: "You have possibly forgotten your state of mind (I doubt it though). You seem the same as always, and being you, hate every minute of it."

LeWitt's April 14, 1965, letter to Hesse is, in fact, one of the great documents of postwar art. In it, he commiserates with her about artists' constant-and necessary-reappraisals of their work, about constantly feeling one can do better, and about the occasional need to make some defiantly bad art. But the core of LeWitt's letter is both marvelously specific to Hesse's problems and applicable to just about every struggling neophyte artist everywhere:

"Just stop thinking, worrying, looking over your shoulder wondering, doubting, fearing, hurting, hoping for some easy way out, struggling, grasping, confusing, itching, scratching, mumbling, bumbling, grumbling, humbling, stumbling, numbling, rumbling, gambling, tumbling, scumbling, scrambling, hitching, hatching, bitching, moaning, groaning. . . . Stop it and just DO!"

Partially under LeWitt's influence, but mostly at the behest of her own quirky temperament, Hesse progressed from such insouciantly composed abstract mixed-media works on paper as "No Title" (1963), to more gridded versions of the same, to fully gridded gouaches on paper, to such arguably feminist riffs on LeWitt's precise, white, birdcagelike skeletal boxes as the vaguely vaginal "Accession V" (1968). Her total oeuvre, of course, strayed far from grids and boxes into hanging, coiled and semiscattered works made with such un-LeWittian and conservator's-nightmare materials as latex, cord, rubber and papier-caché. It's for these that Hesse is more well-known, and only a few examples-for instance, an untitled hanging black sculpture from 1966 that looks like a child sausage tethered to its parent-are included in "Converging Lines."

Hesse's impact on the actual look of LeWitt's art is more slight, but nevertheless persistent. When he heard about her death, LeWitt was preparing an exhibition in Paris. "I was thinking about her work and me and my work, too ... I just did a piece that sort of encompassed both of them": "Wall Drawing #46: Vertical Lines, not straight, not touching, covering the wall evenly" (1970). It was the first instance of LeWitt's departing from straight lines. That influence from Hesse can still be seen in "Wall Drawing #797" (1995), in which an initial, wavering hand-drawn horizontal line high on the wall is copied, at close intervals underneath, in alternating marker colors, until there's no more room at the bottom. (All wall drawings by LeWitt are re-created anew for each exhibition.) In terms of a more general influence, however, Hesse's memory stayed with LeWitt for almost 40 years. A good case can be made that her brief artistic life had a profound effect on him, deepening an already gentle, humanistic demeanor. Indeed, LeWitt later named one of his daughters Eva.

A word about the show's catalog: It's one of the best I've ever seen. Its size (generous, but not clumsily large), weight (hefty but not uncomfortable), fonts, paper, interior images and cover illustration (a 1968 work on paper by Hesse that gracefully sums up the show's premise) are just about perfect. The essays-by the show's curator, Veronica Roberts; art historian Kirsten Swenson; and Ms. Lippard, the veteran critic-are informative and argot-free. Though a map showing exactly where noted artists of the time lived in Lower Manhattan isn't strictly necessary, it'll probably be nice to have on hand through the years. The "Converging Lines" catalog should be a model for museum publications to come.

Mr. Plagens is an artist and writer in New York.

Copyright 2013 Dow Jones & Company, Inc. All Rights Reserved



19. William Wegman, FF Alumn, at the Solomon R. Guggenheim Museum, Manhattan, May 13

William Wegman
in conversation with Richard Armstrong
Fourth Annual Robert Rosenblum Lecture

Tuesday, May 13, 2014, 6:30pm

Solomon R. Guggenheim Museum
5th Ave at 89th St
New York City

In honor of Robert Rosenblum (1927-2006), former Stephen and Nan Swid Curator of Twentieth-Century Art at the Solomon R. Guggenheim Museum and Henry Ittleson, Jr., Professor of Modern European Art at New York University, the Guggenheim will host the artist William Wegman in conversation with Richard Armstrong, Director, Solomon R. Guggenheim Museum and Foundation, at its Fourth Annual Robert Rosenblum Lecture.

Spanning over four decades of creative practice in drawing, painting, performance, photography, and video, Wegman has been referred to as the "most accessible and, in his own way, richly human of all Conceptual artists" (Roberta Smith, "Beyond Dogs: Wegman Unleashed," New York Times, March 10, 2006). While his expansive body of work is renowned for its humorous, whimsical view of everyday life, Wegman's use of irony and deadpan wit reveals an equally quirky, sardonic mind at work. Moving fluidly between conceptual works, paintings, and ongoing collaborations with his celebrated troupe of Weimaraners, Wegman reflects upon a singular artistic career.

The artist has had numerous retrospectives including Wegman's World, which opened in 1982 at the Walker Art Center in Minneapolis, and William Wegman: Paintings, Drawings, Photographs, Videotapes, which opened in 1990 at the Kunstmuseum in Lucerne and traveled to the Centre Pompidou in Paris and the Whitney Museum of American Art in New York. His work has also been shown in Japan, Korea, Spain, and Sweden. In 2006, the acclaimed Funney/Strange exhibition opened at the Brooklyn Museum before making its final stop in 2007 at the Wexner Center for the Arts in Columbus, Ohio. Wegman continues to participate in international solo and group exhibitions.

About the Robert Rosenblum Lecture series
The Guggenheim's annual Robert Rosenblum Lecture series honors the wide-ranging career of Robert Rosenblum, whose celebrated work included projects on Jean-Auguste-Dominique Ingres, Norman Rockwell, Andy Warhol, and the depiction of dogs in art. From his Transformations in Late 18th-Century Art (1967) to The Dog in Art: From Rococo to Post-Modernism (1988), Rosenblum reveled in what he called "'the messy mix' of high and low" (Grace Glueck, "Robert Rosenblum, 79, Curator and Art Historian, Dies," New York Times, December 9, 2006). A beloved teacher in both the undergraduate and graduate departments at New York University, Rosenblum received a distinguished teaching award in 2005. Previous Annual Robert Rosenblum Lectures have included the curator Sir Norman Rosenthal in conversation with the curator Jeffrey Deitch on "To be with art is all we ask," the artists Gilbert and George in conversation with writer Michael Bracewell, the art historian Bridget Alsdorf (Princeton University) on "Bonnard, Vallotton, and the Fine Art of Gawking in Fin de Siècle France," and the art historian Ellen McBreen (Wheaton College) on "'I Paint the Differences between Things': Matisse, Photography, and African Sculpture." This series is facilitated by donors to the Robert Rosenblum Fund, who are gratefully acknowledged for their generosity.

Information and tickets
For more information, call the box office at T +1 212 423 3587 or visit guggenheim.org/calendar.

A limited number of free student tickets are available with RSVP.

A reception and an exhibition viewing of Italian Futurism, 1909-1944: Reconstructing the Universe will follow the program.



20. James Casebere, Sherrie Levine, Cindy Sherman, FF Alumns, at Olbricht Foundation, Berlin, Germany, May 2-September 21

Works from the Sandretto Re Rebaudengo Collection
2 May-21 September 2014

me Collectors Room Berlin/Olbricht Foundation
Auguststraße 68
10117 Berlin
Hours: Tuesday-Sunday noon-6pm

T +49 30 860085 -10
F +49 30 860085 -120


In this first ever exhibition of works from the Turin-based Sandretto Re Rebaudengo Collection in Germany, entitled Stanze/Rooms, the Italian collector presents us with her view on the international contemporary art scene. And, in a parallel display, Patrizia Sandretto Re Rebaudengo also offers visitors an insight into her internationally acclaimed costume jewellery collection.

The Sandretto Re Rebaudengo Collection
Patrizia Sandretto Re Rebaudengo is one of the most important private collectors of contemporary art in Europe today. Initiated in the early 1990s and continually expanding ever since, her collection now consists of over 2000 contemporary works in various media by both emerging and internationally renowned artists. The Sandretto Re Rebaudengo Collection has been presented in museums in Italy, France, Spain, Austria, Poland and UK, including a year-long show at the Whitechapel Gallery in London. The collaboration with the Olbricht Foundation began last year when the Fondazione´s Centre of Contemporary Art in Turin hosted an exhibition of Gerhard Richter editions from the Olbricht Collection.

In Italian, the word stanza originally signified a 'standing, stopping place,' a room where the poet could withdraw to and find inspiration. It is at once a physical or metaphorical room, its windows look out on the lively and shifting horizon of our thoughts and visions. The exhibition Stanze/Rooms takes this etymological sense as the starting point for the display and attempts, through a series of contemporary artworks, to recreate the idea of the stanza as the personal habitat of poetic reflection. These stanze are imaginary or real places-ideational, quotidian, or simply beyond time. Bristling with references to current events, cinema, music, literature, and art history, the works awaiting the visitor are rendered in an array of different media. These include sculptures, like A to Z 1994 Living Unit by Andrea Zittel (a conflation of dwelling, furniture, and large suitcase), environments such as UHER.C by Robert Kuśmirowski (for all appearances some kind of recording studio of yesteryear that has taken on a life of its own), photographic works such as James Casebere's Toilets and Asylum, which depict rooms in psychiatric hospitals, and video installations such as Travesty of a Mockery by Sam Taylor-Wood, which shows a confrontation between a couple on two separate screens. In her series Chambre, meanwhile, Dominique Gonzalez-Foerster uses everyday objects to reconstruct the bedrooms of private individuals, among them collector Patrizia Sandretto Re Rebaudengo herself.

Featuring art by: Matthew Barney, Julie Becker, Glenn Brown, James Casebere, Maurizio Cattelan, Thomas Demand, Saul Fletcher, Giuseppe Gabellone, Stefania Galegati, Dominique Gonzalez-Foerster, Douglas Gordon, Ragnar Kjartansson, Robert Kuśmirowski, Sherrie Levine, Sharon Lockhart, Sarah Lucas, Esko Männikkö, Paola Pivi, Laure Prouvost, Sergey Sapozhnikov und Albert Pogorelkin, Hans Schabus, Markus Schinwald, Gregor Schneider, Cindy Sherman, Hannah Starkey, Sam Taylor-Wood, Andra Ursuta, Rachel Whiteread, and Andrea Zittel.

The costume jewellery collection
Running parallel to Stanze/Rooms is a display of bewitching pieces of costume jewellery from Patrizia Sandretto Re Rebaudengo's private collection.

In the 1930s, during the Great Depression, serially manufactured jewellery made of inexpensive materials gained in popularity. With its original and elegant design, costume jewellery reached women of all social strata and became de rigueur accessories in Hollywood and haute couture. These objects belonging to Patrizia Sandretto Re Rebaudengo, on display in the Olbricht Wunderkammer, offer a glimpse of a unique, much larger collection and tell the story of the history of American fashion jewellery from the 1930s up to the present day.



21. Dread Scott, FF Alumn, to receive Michael Richards Award for Visual Arts, LMCC, Manhattan, May 19

LMCC's Artist After Party
Monday, May 19, 2014
8:30-10 PM
Conrad New York

Cocktails & Desserts

Downtown Vanguard Award
Control Group
Accepted by Scott Anderson, Partner & Chief Strategy Officer, Control Group
Presented by Jessica Lappin, President, Alliance for Downtown New York

President's Awards
Naomi Goldberg Haas
President's Award for Performing Arts
Dread Scott
Michael Richards Award for Visual Arts
Pia Wilson
Sarah Verdone Writing Award
Presented by Nicholas Baume, Director & Chief Curator, Public Art Fund

Hector Arce-Espasas

Jacolby Satterwhite

Limited Edition Art Sale
David Kennedy Cutler
Mary Mattingly
Esperanza Mayobre

Tickets: 1 for $250 / 5 for $1,000

Tickets available through Wednesday, May 14.

Festive Dress

Reservations & Questions:
Maureen McMahon, Individual Giving & Special Events Manager
mcmahon@lmcc.net | 212.219.9401 x101

For more information, visit www.LMCC.net/DowntownDinner


Kimberly Blacklow, Co-Chair
Cleary Gottlieb Steen & Hamilton LLP

Craig Schwitter, Co-Chair
Buro Happold

Michael Ashworth
JPMorgan Chase & Co.

Robin Klehr Avia

Jay Berman
Pei Cobb Freed & Partners Architects LLP

Timur Galen
Goldman, Sachs & Co.

John Genovese
Westfield World Trade Center

Kevin Hoo

Greg James
Cake Group

James Law
Ameriprise Financial

Cherrie Nanninga

Robert Sorin
Fried, Frank, Harris, Shriver & Jacobson LLP

Xue Ya

Diamond Committee
Goldman, Sachs & Co.

Titanium Committee
Blank Rome LLP
Newmark Grubb Knight Frank

Platinum Committee
Alliance for Downtown New York
American Express
Michael & Elizabeth Ashworth
Brookfield Office Properties
Buro Happold
CA Technologies
Cleary Gottlieb Steen & Hamilton LLP
Cushman & Wakefield, Inc.
Davis Brody Bond
The Durst Organization
EMC | VMware
Fried, Frank, Harris, Shriver & Jacobson LLP
Anne Goldrach / Greystone Management Corp.
The Howard Hughes Corporation
JPMorgan Chase & Co.
Meredith J. Kane, Paul Weiss Rifkind Wharton & Garrison LLP
James E. Law
May & Samuel Rudin Family Foundation, Inc.
Pei Cobb Freed & Partners Architects LLP
The Port Authority of New York & New Jersey
Sciame Construction LLC
SHoP Architects
Structure Tone Inc.
The Sweet Construction Group
Tishman Construction, an AECOM Company
Tishman Speyer
Westfield World Trade Center
World Wide Technology

List in formation

Make your mark on culture by supporting LMCC! Your gift will allow us continue to fulfill our mission to serve artists and arts audiences Downtown and throughout Manhattan's diverse communities. To make a donation online, click here. To view a full list of LMCC's supporters, click here.

Lower Manhattan Cultural Council (LMCC), a 501(c)(3) nonprofit, has been a leading voice for arts and culture Downtown and throughout New York City for 40 years, producing cultural events and promoting the arts through grants, services, advocacy, and cultural development programs.

Lower Manhattan Cultural Council
125 Maiden Lane, 2nd Floor
New York, NY 10038
T: 212.219.9401
F: 212.219.2058



22. Frank Moore, FF Alumn, at Take 5 Café, Berkeley, CA, May 8, and more

Inter-Relations Presents

A Book Party!

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, May 8, 2014

3130 Sacramento Street
Berkeley, CA 94702
(between Ashby and Alcatraz)

For more information
Call: 510-526-7858


The Berkeley Public Library is taking 2 copies of "Frankly Speaking" for their collection! One copy will go into general circulation, and then she would put the second copy in their "Berkeley History Room", which is located on the 2nd floor of the Central Branch in downtown Berkeley. They will also take copies of Art of a Shaman & Skin Passion.

"Berkeley History Room

Open to all

materials from the Berkeley History Room must be used in the Berkeley History Room.
Open Mondays 3-7 pm and other hours by appointment.
Materials include books, periodicals, newspaper clippings, photographs, postcards, city directories, telephone books, maps, and other materials related to Berkeley history"

Corey & Alexi



23. Claire Jeanine Satin, FF Alumn, spring events

Selected Passages from Henry James Writings Interwoven

World-renowned artist, Claire Jeanine Satin has created a video as a result of her research during a 2009 and 2012 artistic residency in Venice. She has recently been awarded a third residency there for the spring of 2015. The video, "Waters of Venice/Remembering Henry James," is currently being presented in Florence, Milan and Venice. It includes an original sound component by the composer Juraj Kojs with the collaboration of video artist Rodrigo Arcaya. Selected passages from the writings of Henry James are interwoven, as he was a long-time resident of Venice and placed his novella, "The Aspern Papers", in a Venetian garden. The project manager for this concept is the international curator Beth Vermeer (www.Design-of-the-Universe.it and www.RememberJames.eu).

Satin also proposes to create a "waters" concept-based installation in Venice, Italy and its American sister city of Fort Lauderdale, Flroida targeted for the spring of 2015.

Satin's works are in the collections of the Library of Congress in Washington, DC, the Museum of Modern Art in New York City, the Victoria & Albert Museum in London and numerous others.

In addition, she has created an Art-To-Wear line of irresistible, colorful and whimsical found art necklaces and earrings which can be purchased directly from the artist herself at her Artworks/Artspace studio in Dania Beach, FL or from Alessandra Gold Concept Store, 3326 N. Miami Avenue, Wynwood, Miami, FL 33127, Phone 786-518-3357, E-mail: Alessandragold@me.com. To find out more or to make a purchase, contact Satin at 954-923-91117 or email her at clairesatin@gmail.com



24. Mary Suk, FF Alumn, in The New York Times, April 27

Below is an excerpt from
The New York Times
April 27, 2014
"Aboard a Haiku Train"

The complete article can be found at

For National Poetry Month, The New York Times asked readers to write haiku about the city: three lines of five, seven and five syllables. The response - more than 2,800 submissions in 10 days - was as impressive, and as exhausting, as the city itself. Writers were asked to stick to six subjects: the island, strangers, solitude, commuting, 6 a.m. and kindness. Beyond that, poems could be fashioned from whatever inspiration the five boroughs provided.

A panel of judges drawn from The Times's staff selected its favorite entries, many of which are shown here. Marie Howe, the state poet of New York, read 281 of them and chose haiku in which she recognized some fundamental aspect of the city. - ALAN FEUER
Beware the puddle
of indeterminate depth
that swallows boots whole
- Mary M. Suk, 44, Queens



25. Barbara Bloom, FF Alumn, in The New York Times, April 24, and more

The New York Times
Opera Review
An Opera, Without Singing, in a Museum
Robert Ashley's Shape-Shifting 1968 Work, Revived
APRIL 24, 2014

In 1974 the writer and actress Anne Opie Wehrer, the subject of Robert Ashley's "The Trial of Anne Opie Wehrer and Unknown Accomplices for Crimes Against Humanity," wrote to the Whitney Museum of American Art proposing that it present the work as a "living sculpture."

Forty years later, "Trial" (1968), an innovative "speaking opera" by Mr. Ashley - the brilliant American composer who died on March 3 at 83 - is being featured in the Whitney Biennial, along with his operas "Crash" and "Vidas Perfectas."
In Alex Waterman's production of "Trial" in the Whitney's intimate Kaufman Astoria Studios Film & Video Gallery, two visual artists, a forensic therapist and a poet are rotating in the role of the main speaker. On Wednesday afternoon the artist Barbara Bloom was "on trial," sitting in an interrogation cell with her back to the audience and facing a television tuned to static. A blue light dangled above her and a camera projected live images of her torso and expressively gesturing hands onto a screen on the wall. The camera occasionally panned to her face, also visible to the audience in the full-length mirror beside her.

Another screen featured a set of images that included pictures of cultural luminaries, a handwritten note from John Cage, fashion ads from the 1960s and newspaper clippings about events by the ONCE Group, the avant-garde, performance art collective that first presented "Trial."

The myriad questions posed to Ms. Bloom by the two male "interrogators" at the back of the room ranged from prosaic inquiries about names, birth dates and marital status to quirky queries like "Please describe the most eccentric thing you've done with your hair" and "How many insignificant lies a day do you tell?" There was a more philosophical bent to questions like "Can you learn from the past?" Some questions from the original production were inevitably dated, like "Do you think you will be alive in the year 2000?" while some had a more contemporary twist, like "Do you take Ambien?"

The almost two-hour, uninterrupted "interrogation" proved engrossing, with Ms. Bloom's often witty, improvised answers unfolding over questions and replies delivered simultaneously by two proxies (Alisa Besher and Kendra Sullivan). The calls and responses ebbed between comic and serious (with Ms. Bloom sometimes becoming annoyed with a particular line of questioning), and the spoken dialogue often became richly musical - the varied tones and cadences of the multiple speakers interspersing to create a fascinating, throbbing tapestry of voices.
The Robert Ashley opera series runs through Sunday at the Whitney Museum of American Art; 212-570-3600, whitney.org.


Project Arts Centre presents
Barbara Bloom
The French Diplomat's Office
9 May-29 June, 2014

Project Arts Centre
39 East Essex Street
Temple Bar
Dublin 2
Hours: Monday-Saturday 11am-8pm (excluding bank holidays)

The watercolour
A watercolour found on a flea market in Paris in the 1980s is apparently a rendering of an interior decorator's idea of an office. We shall refer to it as the French Diplomat's Office. It conveys that combination of modernist austerity and gilt-edged historicism that is such a forceful marker of the post-war haute monde. The anonymous artist attended carefully to the fluting of the furniture legs, to all the details of furnishing and decoration. But the carpet is peculiarly depicted far more abstractly: does it have a quasi-geometric pattern, or is it rather a depiction of fallen shadows? At a second glance, it becomes obvious that shadows are not an impossibility. If those long dark stripes were cast by the framing of the windows, surely they should not end halfway up the room? What optical explanation could there be for the strange intensification of colour beneath the desk? Instead of evocations of light, concrete slabs of umber are laid down with no regard for physics.

The carpet
A facsimile has been fabricated of the carpet depicted in the watercolour. Its pattern is an aerial view of what we see in the image with the following additions: the places where a piece of furniture would have touched the carpet are indicated by grey woven marks carved slightly into the pile. Footprints of a man and a woman have been woven and carved into the carpet, appearing near the couch (where the pair may have been involved in conversation) and walking over to a window-one follows the other, perhaps dancing a few steps, before stopping to look out together, or pausing somewhere close together. The footprints indicate some invisible narrative, some interaction that took place in this room between a fictional French diplomat and an unidentified woman.
The watercolour's peculiar take on the experience of objects in space seemed to demand that the abstracted room become an actual one, the abstractions made concrete. With the addition of a stage, the gallery space becomes a theatrical setting. The few rows of chairs are ready to seat gallery viewers-empty, anthropomorphic stand-ins for an audience attending a theatre event. On stage the carpet has a solo role in a setting that might trigger an inkling of a narrative. The wall colour and stage set match those of the watercolour, though the paintings have been replaced by simple rectangles of darker colour. The only trace of the furnishings is now incorporated into the carpet design. The theatricality and suggestiveness of the watercolour remain, forming an odd sense of a world not quite properly understood. The effect might be similar to the French nouveau roman, a literary form from the mid-20th century by authors including Marguerite Duras and Alain Robbe-Grillet. Rejecting the novel's traditional focus on plot, action, narrative, ideas or character, these writers suggested a form focused on objects, subordinating plot and character to the details of the world. This sparse depiction of absence might be referred to as visual innuendo.

With warm thanks to Tracy Williams, Ltd., New York; Galleria Raffaella Cortese, Milan; and particularly Galerie Gisela Capitain, Cologne.

Project Arts Centre is a multi-disciplinary arts centre at the heart of Dublin, Ireland. Throughout 2014 we will present a series of lectures and screenings created by Maeve Connolly, called "TV Museum: The Mini-Series," developing ideas to be found in her new book, TV Museum: Contemporary Art and the Age of Television. We are also proud to present the 3rd conference of the Visual Arts Workers Forum on 9 May, with information for all events to be found at www.projectartscentre.ie.

The visual arts programme commissions new exhibitions with artists from around the world, including Eva Kotátková & Dominik Lang (CZ), Barbara Bloom (US) and Hadley & Maxwell (CA) in 2014, with two exhibitions guest curated by Kate Strain (IE), as well as concluding a national tour of Mikala Dwyer (AU) at the Mermaid Arts Centre.

Project Arts Centre is core funded by the Arts Council / An Chomhairle Ealaíon.



26. Roberta Allen, FF Alumn, at Minus Space, Brooklyn, May 3

A reading and conversation with Roberta Allen and Claudia La Rocco Sat. May 3, 3-5 PM.

at Minus Space, 111 Front St., Suite 200. (F train to York St,)

Roberta Allen's exhibition, Art from the 1970s, on view through May 10. Hours: Wed.- Sat. 11AM - 5 PM





27. Carl Andre, FF Alumn, at Dia, Beacon, NY, May 5, 2014-March 2, 2015

Carl Andre: Sculpture as Place, 1958-2010
May 5, 2014-March 2, 2015

Press preview: May 1, 10:30am
RSVP at press@diaart.org

3 Beekman Street
Beacon, NY

Tracing the full evolution over five decades of the thinking of Carl Andre, Dia Art Foundation will present Carl Andre: Sculpture as Place, 1958-2010 from May 5 to March 2 at Dia:Beacon. The retrospective will include 45 sculptures, over 160 poems and works on paper presented in wooden vitrines designed by the artist, a selection of rarely exhibited assemblages known as Dada Forgeries, and an unprecedented selection of photographs and ephemera. This will be the first museum survey of Andre's entire oeuvre, and the first retrospective in North America since 1978-80.

After premiering at Dia:Beacon, it will travel to museums in Europe, including Museo Nacional Centro de Arte Reina Sofía, Madrid (May 7-October 12, 2015); Hamburger Bahnhof, Museum für Gegenwart, Berlin (May 7-September 25, 2016); and Musée d'Art moderne de la Ville de Paris (October 20, 2016-February 12, 2017).

The retrospective will represent all major historical and aesthetic shifts in Andre's oeuvre, including his signature works made out of unaltered building and industrial materials such as brick stacks, metal squares, slabs, and timber blocks. One of Andre's landmark ephemeral works will be refabricated and installed on the grounds of Dia:Beacon, and an unparalleled display of Andre's poems and typewriter works will examine the role of language in his practice. Highlighting the richness of Andre's work-from early exercises to latest productions-the exhibition will also offer an opportunity to examine concerns shared with artists in Dia's collection, including Flavin, Judd, LeWitt, Smithson, and Serra.

"The simplicity of Andre's work conveys a striking complexity; it reveals the multiple 'conditions' that determine not only the artwork as such, but also the material itself in relation to historical and economic conditions. Andre's impact on contemporary art is often reduced to the realm of sculpture, when in fact his process is palpable across various disciplines and generations of artists. Working with Carl, we've had the privilege of experiencing his unique precision, his intense understanding of his vocation, and his courageous attempt to rewrite the status of a work of art," said Yasmil Raymond, curator, Dia Art Foundation.

Co-curated by Dia curator Yasmil Raymond and Museum of Contemporary Art Los Angeles Director Philippe Vergne, in collaboration with the artist, the retrospective will bring together works from renowned collections, including the Museum of Modern Art, Solomon R. Guggenheim Museum, Whitney Museum of American Art, National Gallery of Canada, Dallas Museum of Art, Seattle Art Museum, Kunstmuseum Wolfsburg, Tate, Addison Gallery of American Art, and Wexner Center for the Arts.

A book with original essays by co-curators Yasmil Raymond and Philippe Vergne and contributions by internationally respected authors and scholars will accompany the retrospective. Co-edited by Michelle Piranio and Jeremy Sigler and coordinated by Manuel Cirauqui, it includes a comprehensive exhibition history, bibliography, and chronology. The book's designer is the award-winning Purtill Family Business.

Related exhibition
A Friendship: Carl Andre's Works on Paper from the LeWitt Collection
June 7, 2014-March 2, 2015
The Dan Flavin Art Institute
Bridgehampton, New York

Lead support is provided by the Henry Luce Foundation and the Terra Foundation for American Art. Major support is provided by the Fundación Almine y Bernard Ruiz-Picasso para el Arte; The Brown Foundation, Inc., of Houston; Jill and Peter Kraus; the National Endowment for the Arts; and Sotheby's. Generous support is provided by Virginia Dwan; Glenstone; Agnes and Edward Lee; and Amalia Dayan and Adam Lindemann. Additional support is provided by the New York State Council on the Arts, a State agency; the Marx Family Advised Fund at Aspen Community Foundation; Henry McNeil; The Straus Family Fund; and Emily Rauh Pulitzer.

Generous funding for the publication is provided by Sadie Coles HQ; Paula Cooper; and Konrad Fischer Galerie. Additional support is provided by Galerie Tschudi; Galleria Alfonso Artiaco; Dominique Lévy Gallery; and Angela Westwater, Sperone Westwater.

Dia Art Foundation
Dia Art Foundation is committed to initiating, supporting, and presenting extraordinary art projects.

For information: press@diaart.org / T +1 212 293 5598



28. Vernita Nemec, FF Alumn, at Tribeca Open Artist Studio Tour, May 9-12

Vernita Nemec aka N'Cognita
Tribeca Open Artist Studio Tour (TOAST) & Artwalk May 9-12 Friday 6-9PM, Sat., Sun. & Monday 1-6PM
361 Canal St #2 (betw West Broadway & Wooster)
212 925 4419



29. LAPD, FF Alumns, at Gladys Park, Los Angeles, CA, May 24

Who: Los Angeles Poverty Department
When: May 24 from11 to 3 pm
Where: Starts at Gladys Park, corner of east 6th Street and Gladys Avenue (zip: 90021)
Contact: John Malpede: 310-259-1038; info@lapovertydept.org

with Mike Kelly Mobile Homestead
and Real live LAFD Fire Truck

Walk the Talk 2014 is the second installment of the Los Angeles Poverty Department's biennial, peripatetic performance, an on-going chronicle of the accomplishments of Skid Row people and their visionary initiatives.
A fire truck from Skid Row's LAFD Station #9, one of this year's honorees, will lead the way. A brass band, The Mudbug Brass Band (plus pick up musicians), will blow New Orleans jazz as we travel the route. LA Poverty Department will bring the neighborhood to life with performances along the parade route that pay tribute to neighborhood initiatives of men and women whose contributions to the community call for a big, blaring celebration. It's visual art dancing down the street! That's right, we'd be holding high unbelievable gorgeous portraits of these hardworking people that have been created by LA artist, Brian Dick. It's YOU! Join the parade. Be part of the New Orleans style 2nd Line. Bring your tambourine, your kazoo, your cowbell, your laughter, your attention. This traveling performance will celebrate the current day vibrancy of Skid Row and will bring the history of the community to life.
Mike Kelly's Mobile Homestead will bring up the rear of the parade in spectacular fashion. Inside, the Mobile Homestead will feature an installation from LAPD's Skid Row history timeline, portraits of 36 previous Walk the Talk honorees and other historical materials, which are currently installed at New York's Queens Museum retrospective exhibition on the work of Los Angeles Poverty Department, "Do You Want the Cosmetic Version or the Real Deal?: Los Angeles Poverty Department 1985 - 2014" After the parade, this installation of Skid Row history curated by LAPD will continue to be viewable at the Museum of Contemporary Art-Geffen, 152 N. Central Avenue, Los Angeles, 90012 for one week starting May 27.
Along the route, we'll make 7 stops to tell the stories of those we're honoring. The parade starts at 11 AM at Gladys Park, 6th St. and Gladys Avenue, where we'll hear the story of community activist General Jeff Page and how he jump-started the regeneration of the park. Then the band will blow, and we'll head up the other end of the block where Zelenne Cardenas, Charles Porter and UCEPP, United Coalition East Prevention Project have employed community building techniques to shut down liquor stores, open up dialog and understanding and dislodge drug dealers from the corner. Next stop: The Midnight Mission, 6th and San Pedro St., to celebrate Clancy Imislund and his 55 years of sobriety, in this the 100th anniversary year of the Midnight Mission. From there, we'll zag over to 7th St. and San Julian St. to the home of Skid Row's own fire station LAFD #9, to celebrate the men and women who are out and about the community saving people every day. Heading north on San Julian St. we'll visit the Simone Hotel, former home of Michael Blaze, who started the Skid Row Photography Club and Unified Fathers for Life. From there its over to 231 Winston St. and the St. Vincent de Paul Cardinal Manning Center, to hear of the exceptional listening prowess of its long time director, Joan Sotiros. Then, last stop, up to 5th St. and Main St., to celebrate poet about downtown, Dr. Mongo.
LAPD mission: Founded in 1985, Los Angeles Poverty Department is made up of people who make art and live and work on Skid Row. LAPD creates performances and multidisciplinary artworks that connect the experience of people living in poverty to the social forces that shape their lives and communities. LAPD's works express the realities, hopes, dreams and rights of people who live and work in L.A.'s Skid Row.
Walk the Talk celebrates a long process of community engagement that has included performances, exhibitions, public conversations, interviews - with the aim of enlisting community brain power to identify initiatives and people whose actions who have helped weave the social fabric of Skid Row.
Walk the Talk is a peoples' history of the community. LAPD tells the rest of the story, what you don't hear elsewhere: the story of the community as told by the community.
Walk the Talk supports LAPD's larger social practice methodology, a body of acclaimed work widely acknowledged as "some of the most uncompromising political theater"(Artforum).
LA Poverty Department's Walk the Talk is made possible in part by grants from the City of Los Angeles, Department of Cultural Affairs, Los Angeles County Arts Commission and Art Matters.



30. James Siena, FF Alumn, at Dieu Donné, Manhattan, opening May 9

James Siena
Sequence, Direction, Package, Connection

New unique and sequential artworks, and new editions

May 10 - June 21, 2014
Opening reception: Friday, May 9, 6-8pm

Dieu Donné is pleased to announce an exhibition of new artwork in handmade paper by James Siena. Created in the Dieu Donné studio during the artist's Lab Grant Program residency, new unique and sequential artworks, and new editions will be on view in the gallery from May 10 to June 21, 2014. There will be an opening reception on Friday, May 9 from 6-8 pm, and the artist will be present.

In his regular artistic practice, Siena uses self-imposed "visual algorithms" to create imagery that intersects psychedelia, mathematics, doodles, intricate decorative art, and geometric abstraction. The artwork developed in the studio features series of arrows, circles, and blocks of color that refer to existing systems, like color theory charts. The artist aims to "unpack the logic" behind a system while still operating within its structure.

Working with Artistic Director Paul Wong, James Siena developed bodies of work that explore sequential, geometric forms while also embracing a sense of play and collaboration. The hard edges seen in his paintings and prints give way to feathery, halo-like edges that occur naturally in the process using stencils and linen pulp. The pigmented linen creates a luminosity or an aura that is unique to the medium. In Siena's own words:

I like the tension between precision and accident.... It's an inherent quality in papermaking that is utterly real.
A large scale work on view, Circle Sequence I - VII, is made up of seven unique panels of opaque pigmented linen stenciled onto translucent abaca that develop a composition moving from minimal (one single large red circle) to complex (11 circles of various colors and sizes). Siena originally explored circular forms in the early 1990s with computer software, and only recently began making full scale works using this modality.

Another piece is composed of a red arrow pointing to the right, a yellow arrow pointing towards the left, and a black arrow pointing to the right again. Humorously titled Three Directions (though in fact only depicting two directions), it calls on universally accepted signifiers, such as directional arrows and colors used in traffic signs, but operates as work of art with a balanced composition. Also on view will be three groups of works that explore the logic of color theory and flow charts with blocks of solid colors and black arrows.

A full color Lab Grant Publication will be produced on the occasion of this exhibition, featuring an essay by Armin Kunz, art historian and managing partner of C.G. Boerner.

About Dieu Donné
Dieu Donné is a non-profit contemporary artist workspace dedicated to the creation, promotion, and preservation of new art made using hand papermaking techniques. The organization's primary services and programs are devoted to working with mid-career and emerging artists through collaborative residency opportunities.The Dieu Donné gallery is open to the public Tuesday - Friday, 10 am - 6pm and Saturday 12 - 6pm or by appointment.

The artistic and educational programs at Dieu Donné are made possible with public funds from the National Endowment for the Arts, the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature, the New York City Department of Cultural Affairs in partnership with the City Council; and Foundation support including: Lily Auchincloss Foundation, Milton & Sally Avery Arts Foundation, Inc, Bloomberg Philanthropies, Foundation for Contemporary Arts, The Greenwall Foundation, Horace W. Goldsmith Foundation, The Minnow Fund, The New York Community Trust, The O'Grady Foundation, The Andy Warhol Foundation for Visual Arts and The Partnership Fund for New York City along with major individual support.



31. David Medalla, FF Alumn, London Biennale 2014, Soho Square, UK, May 1

Dear Friends,

Come to the start of LONDON BIENNALE 2014
this coming Thursday, the 1st of May 2014, at 6 p.m.
at Soho Square in central London.

At 7 p.m., LBAs (London Biennale Artists)
will go to the Angel Pub
beside St. Giles Church
behind the Centre Point Building
on Tottenham Court Road
for refreshments and convivial conversations.



32. Adrianne Wortzel, FF Alumn, at VanDeb Editions, Long Island City, NY

Adrianne Wortzel's fine art prints are now at VanDeb Editions. The prints were made by Wortzel during the tenure of an artist's Fellowship at the Robert Blackburn Printmaking Workshop in collaboration with Master Printer Marjorie Van Dyck. They can be viewed at http://vandeb.com/adrianne_wortzel/index.html or by appointment at VanDeb Editions, 37-18 Northern Boulevard, Long Island City, New York, 11101, info@vandeb.com, 718-786-5553.



33. Annie Lanzillotto, FF Alumn, at Leslie-Lohman Museum of Gay and Lesbian Art, Manhattan, April 29


My book "L is for Lion: an italian bronx butch freedom memoir" SUNY PRESS
is a finalist in the LAMBDA LITERARY AWARDS

The finalists are giving a reading Tuesday night
in the only gay and lesbian museum in town.
Come out!
Buy books!
Meet hot authors!
and talk with my genius editor Rosette Capotorto!

26th Annual
Lambda Literary Awards
Join the finalists
as we read
from our hot books!
Come to:
Leslie-Lohman Museum of Gay and Lesbian Art
26 Wooster Street
New York, New York 10013

Tuesday April 29th, 2014
Free and open to the public




Annie Lanzillotto
Michael Klein
Cory Silverberg
Bushra Rehman
Larry Benjamin
Jane Hoppen
Richard Bowes
Jerry Rosco
Donna Minkowitz
Kathleen Warnock
Angelo Nikolopoulos
Jaime Woo
R. Erica Doyle
Stephen Mills
Roberta Degnore
Perry Halkitis
Hilton Als
Kamilah Aisha Moon
Suzanne Parker
Alysia Abbott
Dominic Ambrose
Wally Lamb
Nell Stark
Ann Pellegrini
Ana Bozicevic
Imogen Binnie



I read this in the kitchen, on a sign over the chefs,
of "Ye Olde College Inn" in New Orleans.



34. Kim Jones, FF Alumn, at Pierogi, Brooklyn, opening May 2

mountain girl door

2 May - 8 June, 2014
Opening Reception:
Friday, 2 May. 7-9pm

Hours: 11am - 6pm, Tuesday - Sunday

Another body of drawings enters a world of teeming fantasy, like fairy tales from the devil's diary. They are nothing on the order of the brooding War Drawings and show an exquisite facility that is a seductive combination of Goya and Daumier. Mudman also inhabits this world but doesn't dominate it; he turns up as a quester - a traveler looking for answers in a world bereft of them. The third body of Jones' drawings makes use of photographs of the artist in the Mudman guise. In them, Mudman goes about his day - posing, drawing, walking. Strange growths expand into environments, the harness reaches enormous proportions; it's a world in constant mutation.
(Richard Flood, 2013)

In the 1970's Kim Jones' performance persona, "Mudman," could be seen roaming the streets of Los Angeles and Venice, CA and later, in the 1980's, in New York City; always covered in mud, a nylon stocking stretched over his face, and carrying on his back an unwieldy and crudely constructed lattice-work structure of sticks, tape, mud, and twine. From the beginning he was also drawing, painting, and making three-dimensional works. His two-dimensional pieces range from intricate graphite drawings involving X and dot figures and erasure, indicating movement of each force (referred to as "war drawings"); to works that incorporate acrylic paint, ink line work, and collage; to paintings on photographs (most often of his own past performances), many of which have been made over a period of thirty plus years.

This exhibition will include drawings and paintings on paper begun as early as 1971 and completed in 2013-2014, following Jones' uncommon habit of allowing work he considers incomplete to sit, sometimes for years, working back into them from time to time until he is satisfied with the results. Also included will be recently completed war drawings, and three new sculptures: Doll House, Baby, and Rat Ball. Doll House was constructed by Jones early in his career as a functional, three-level doll house. He later painted over the structure and created a labyrinthine war drawing inside, each floor housing a separate battle. This will be Jones' seventh one-person exhibition at Pierogi.

The "Chinese Poetry" quote below suggests multiple possibilities and permutations of three simple words: "mountain girl door." Jones' vocabulary similarly draws on and expands into a multiplicity of visual possibilities and potential interpretations.

Kim Jones' work has been included in notable exhibitions such as Connecting_Unfolding (National Museum of Contemporary Art, Seoul, Korea. 2013); Pacific Standard Time: Under the Big Black Sun, 1974-81 (the Geffen Contemporary at MoCA, LA. 2011); Compass In Hand: Selections from the Judith Rothschild Foundation Contemporary Drawings Collection (the Museum of Modern Art, NYC. 2009); Collage: The Unmonumental Picture (New Museum, NYC. 2008); the 52nd International Art Exhibition La Biennale di Venezia (Venice. 2007); Disparities & Deformations: Our Grotesque, (Site Santa Fe, NM. 2004), and; Out of Actions: Between Performance and the Object (Museum of Contemporary Art, Los Angeles, CA and MAK, Vienna. 1998). His work was the subject of a comprehensive traveling retrospective, Mudman: The Odyssey of Kim Jones. He is a 2009 United States Artists Fellow and has received fellowships and residencies from ArtPace (San Antonio, TX), the Sirius Art Center (Ireland), the American Academy in Rome and, the Mattress Factory (Pittsburgh, PA).

Chinese Poetry

"The girl waits at the door of her house on the mountain."

What it literally says is "mountain girl door."

So maybe

A girl from the mountain is waiting outside my door. A girl climbs the mountain and comes to a door.

To get the girl you have to go through a door into the mountain.

The mountain is a door only a girl can open.

The girl's as big as a mountain and can't get through the door.

What's the next line?

(From Love and Information, a play by Caryl Churchill; Nick Hern Books, London: 2012)

11am to 6pm, Tuesday through Sunday and by appointment
177 North 9th Street Brooklyn, NY 11211 [ Google Map ]
T: 718.599.2144
E: info@pierogi2000.com
Hours: 11am - 6pm, Tuesday - Sunday



35. Doug Skinner, FF Alumn, at Coney Island USA, Brooklyn, May 1

Doug Skinner will appear at the "Congress of Curious Peoples," in Coney Island, on May 1. He will give a talk about the "Hermes Project," the attempt by fans of the pulp writer Richard Shaver to build the ray machines that he claimed hidden races used in subterranean caverns. Also on the bill will be Shannon Taggart, Anthony Matt, and James Riley. It all takes place at 7:30, at Coney Island USA, 1208 Surf Ave., Brooklyn.
And there's more info at



36. Anne Bean, Tina Keane, FF Alumns, at High House Production Park, Essex, UK, May 17

Sculpture-Performance: Acme Artists Now
Curated by Aaron Williamson and Kate Mahony

Performances by Anne Bean, Brian Catling, Chana Dubinski, Tina Keane, Steve Beresford

17th May 2-6pm High House Production Park, Purfleet, Essex, RM19 1RJ
A mini-bus will run often from Purfleet station to the venue (frequent trains from Fenchurch St & Limehouse)

In the beginning was the unword

Atheists felt that nothing can save humans from themselves and we are 'condemned' to invent values.
"To believe is to know you believe, and to know you believe is not to believe."
Art has largely taken on this belief/non-belief place.
As an A-artist one returns this space to life not Art, just as an A-theist returns value systems to life not religion or God.
The more provocative and stimulating position is not that 'everyone is an artist' but 'no-one is an artist' and that the 'art' space is implicitly part of living.
This undefined, open exploration then becomes part of the everyday.
Art and life lose the disjuncture by declaring oneself an A-artist.
Too many end-games have played out for over a century and there now has to be a real shift.



36. jc lenochan, FF Alumn, at Chashama, Manhattan, thru May 1

The last classroom: a reference laboratory
by Jc Lenochan

266 West 37th Street
New York, NY

April 14 - May 1, 2014

April 14 - April 20, 11 am-5 pm
April 21 - 30, 3 - 8 pm
Performances on April 17 -19 at 5 pm each day

Jc Lenochan will use installation and performance as an interactive research based laboratory to engage the public in discussions surrounding pedagogical issues such as racial mythology, ethnological hybridity and cultural value as a process of decolonization.

The public will be immersed with transformational reference material including books, sculpture, photography, sound, video etc. in a library/classroom environment and have the opportunity to research, react and respond via notepads, chalkboards and/or dialogue. This experience will challenge the public to critically examine their own epistemological perspective and concerns about race, history, culture and miscegenation in a post colonial/post institutional context.

There will be three window performances with special guest lecturer Professor "what is so" on April 17th (titled: the process deschooling the mind), April 18th (titled: the gift and task of "new humans") and April 19th, (title: the fear of post-whiteness).

JC Lenochan has been the recipient of numerous awards including grants, residencies and fellowships which most recently include the Geraldine Dodge Foundation Grant 2009, the Pollack Krasner Grant 2010-2011, Newark Museum Residence 2011, Franklin Furnace Grant 2011-2012 in NYC, the Elizabeth Foundation Fellowship 2012, the Puffin Foundation Grant 2013, the Robert Blackburn Fellowship 2013 in NYC, Art in Odd Places 2013 and the Fountainhead Residence in Miami 2014.

Complete information is available at



Goings On is compiled weekly by Harley Spiller