2021 | 2020 | 2019 | 2018 | 2017 | 2016 | 2015 | 2014 | 2013 | 2012 | 2011 | 2010 | 2009 | 2008 | 2007 | 2006 | 2005 | 2004 | 2003 | 2002

ABOUT GOINGS ON: How to subscribe and submit listings

Contents for June 03, 2014

1. Lillian Ball, FF Alumn, in inClimate, at Waterwash ABC Wetland Park, The Bronx River, Bronx, NY, opening June 22

WATERWASH(r) Welcomes commences on Sunday, June 22nd at 12 noon. Press contact: Lillianball@waterwash.org

WATERWASH(r) Welcomes is among seven projects being presented by Franklin Furnace as part of inClimate: Climate Change Solutions, Awareness and Action, a citywide exhibition that confronts global warming through art, calling upon artists, in collaboration with climate change specialists, to find solutions and antidotes for mitigating or adapting to our world's most catastrophic problem. Our aim is to see the artworks, together with accompanying events, encourage and embolden new and veteran local leaders and community members to build widespread grassroots action on global warming.

Artist Lillian Ball will collaborate with Rocking the Boat to bring participants to the WATERWASH ABC wetland park along the Bronx River in the South Bronx.
The venue is the site of a permanent public wetland and grassland park conceptualized for years and completed in the fall of 2011 by the ecological artist Lillian Ball and a team of engineers, scientists, and excavators. With the help of Adam Green, Director, and his crew from Rocking the Boat--a Bronx-based non-profit organization that teaches youths how to build wooden boats and do environmental work on the river--thousands of indigenous plants were used to transform a landfill site covered in invasive species.

For the inClimate river experiences, a bus will bring participants from locations around the five boroughs to WATERWASH ABC to see the flora and fauna there, have a picnic discussion about wetland green infrastructure with the artist. Then Rocking the Boat staff will row participants to their home base 1/2 mile down river so they hear about climate change issues on the water from job skills apprentices, some of whom were involved with the planting at WATERWASH ABC. As the plantings mature, WATERWASH ABC offers extensive outreach opportunities to demonstrate how this wetland acts as a natural buffer for sea level rise and storm surge, while improving water quality through a created wildlife habitat.

The still evolving WATERWASH ABC is an innovative collaborative green infrastructure solution to storm water runoff pollution in the Bronx River. Job skills trainees from Rocking the Boat planted over 8000 native wetland and grassland plants. Drexel University environmental engineering students and professors have produced two annual reports documenting the project's effectiveness. WATERWASH ABC cleans commercial parking lot runoff before it enters the river, and opens private property to pubic use.

Working with community organizations during the coming year, inClimate is going directly to underserved neighborhoods in three of New York City's five boroughs-the Bronx, Brooklyn and Queens. Curator Regina Cornwell conceived and is organizing inClimate under the auspices of Franklin Furnace. Seven artists/collaborations have been selected to participate: Lillian Ball, Lynn Cazabon, Billy X. Curmano, Agnes Denes, Alicia Grullon, PlanetaryOne, and Andrea Polli. Their solutions and antidotes may be practical, conceptual or metaphoric and take shape as visual or media art, performance, architecture or design.

Participants must email info@waterwash.org to reserve bus transportation and rowboat ride.

Sunday, June 22, 12:00 noon (high tide)

Saturday, July 12, 12:00 noon

Friday, August 15, 12:00 noon

Friday, September 19, 12:00 noon

Saturday, October 18, 12:00 noon

Franklin Furnace gratefully acknowledges support for inClimate from The Compton Foundation; The Andy Warhol Foundation for the Visual Arts, Inc.; and the National Endowment for the Arts. For their support of WATERWASH(r) Welcomes, we wish to additionally thank the Bronx River Alliance; Rocking the Boat; Wildcat Catering and Hydroponics; and Jean Marie Offenbacher, whose documentary, BRONX RIVER WATERWASH, will be screened in the vans that carry participants to Rocking the Boat. The construction of WATERWASH ABC was funded by a grant from the New York State Attorney General's Office through the Bronx River Watershed Initiative. WATERWASH ABC was the recipient of a New York State Assembly citation for its green infrastructure approach of using native plants to filter pollutants from the runoff of a 30,000 square foot parking lot; Ball and the project partners were awarded special citations from the New York State Assembly for cooperation between local business and the community.

SUBWAY INSTRUCTIONS TO WATERWASH: Take the #6 Lexington Avenue train to Hunts Point. Walk along Bruckner Blvd, crossing the Bronx River on the blue Bruckner Bridge. (The dark blue gate on the left immediately after the bridge is for WATERWASH; if you pass the Gulf station you have gone too far!)



2. DISBAND, FF Alumns, at Austrian Cultural Forum, Manhattan, June 18

DISBAND at Austrian Cultural Forum, New York
11 East 52nd Street
PERFORMANCE DATE: Wednesday, June 18th, 7:00 PM

Austrian Cultural Forum New York very proudly presents legendary, feminist conceptual art punk group DISBAND. Core members Ilona Granet, Donna Henes, Diane Torr and Martha Wilson perform their seventh show since 2008's reunion at "WACK!: Art and the Feminist Revolution," MoMA P.S. 1.

Active in Manhattan's downtown art scene from 1978-82, the members of DISBAND screamed, shouted, sang, and stomped through the heyday of New York City's new- and no-wave scenes, blurring the line betweenperformance art and live music. The avant-garde space Franklin Furnace served as their workshop, hosting "wild and crazy rehearsals" for the band's rotating membership, which at one time included artist Barbara Kruger and then-Editor of ARTFORUM Ingrid Sischy. Mirroring the chaotic atmosphere of that time and also addressing their status as women, the band's songs-- such as "The End," "Iran-y," "DOW," "Girls' Bill of Rights," and "Look at my Dick" - have unmistakable relevance today.

Self-described as "the all-girl conceptual art punk band of women artists who can't play any instruments," the group developed new songs during the summer of 2011 during a MacDowell Colony residency in New Hampshire.

Join us for a rare encounter with the band's unique, collaborative energy and punk-acappella sound. Tickets are free, but MUST be reserved in advance by going to ACFNY home page:
Go to the date of the event, then click on Reservation button. Two tickets may be reserved by one email address.

DISBAND has performed in many New York venues, such as PS1, the Kitchen, the Mudd Club, TR3, and nationally at such venues as Hallwalls, LAICA and Chicago's Museum of Contemporary Art. In 1980 DISBAND toured Italy with Laurie Anderson, Paul McCarthy, and Chris Burden. DISBAND members have included Barbara Ess, Ilona Granet, Donna Henes, Daile Kaplan, Barbara Kruger, Ingrid Sischy, Diane Torr and Martha Wilson.

Four artists, Ilona Granet, Donna Henes, Diane Torr and Martha Wilson, are performing as DISBAND at the Austrian Cultural Forum. Ilona Granet and Martha Wilson have distinctive solo performance and exhibition careers; Donna Henes, the Urban Shaman, is author of several books and columns; and a film about Diane Torr, "Man for a Day," will be screened in New York at Anthology Film Archives on June 19 and 20.

DISBAND's February 17, 2008 performance at WACK!, MoMA PS1 is on YouTube. http://www.youtube.com/watch?v=aK3LNpv39BM&feature=related



3. Louise Bourgeois, FF Alumn, in The Wall Street Journal, May 30

Wall Street Journal, May 30, 2014
An Early Peek Inside Louise Bourgeois's Townhouse
The artist's New York home will reopen next year
by Kelly Crow
May 30, 2014

French-born artist Louise Bourgeois devoted her long career to making sculptures about her troubled childhood-creating wooden totems, bulbous fabric bodies and giant bronze spiders that hinted at the anger and betrayal she often felt growing up. (Her father had a decadelong affair with her governess while her mother looked the other way.)

Now, the unassuming New York townhouse where Ms. Bourgeois lived for a half-century before her death four years ago is spilling its own secrets about the artist.

Early next year, Ms. Bourgeois's 15-foot-wide Chelsea townhouse-and the equally narrow home next door-will reopen as a combined art research center with an exhibition gallery, backyard sculpture garden and rooms for visiting art scholars, said her longtime assistant Jerry Gorovoy. The public will also be allowed to tour her studio by appointment.

Meanwhile, Mr. Gorovoy is organizing an exhibit of rarely seen pieces that Ms. Bourgeois made from tapestry and needlepoint fragments at Zurich's Hauser & Wirth Gallery, opening June 15.

Taken together, the efforts will offer a surprising, behind-the-scenes portrait of an artist whose career revolved around making public confessions.

One thing that's clear upon stepping into her home is that she treated it as a studio first: Her dining room walls are pasted with thank-you letters from museum directors, posters of past exhibitions and magazine clippings of images that inspired her, including a surreal close-up of a woman's eyeball. The folding chair where she sat to write in her diary remains facing the window in the dim front parlor. Telephone numbers she didn't want to forget are scrawled in black charcoal on the wall above the marble mantel. "It's decrepit splendor," Mr. Gorovoy said during a recent tour.

Ms. Bourgeois grew up differently, the daughter of tapestry restorers and dealers in Paris who made a respectable living finding and repairing 17th-century French tapestries, many of which had fallen out of fashion and had gaps in their scenery. Since farmers were often using them as horse blankets, the bottom-third of these tapestries could be heavily trampled. Ms. Bourgeois helped her mother Josephine draw in the figures' missing feet.

Her father Louis, who she has described as charming and cruel, resold the pieces mainly to American collectors, some of whom insisted that leaves be added to cover certain body parts-a request that always tickled Ms. Bourgeois, Mr. Gorovoy added.

Ms. Bourgeois's home life took a pivotal turn when she was around 10 and her father hired an Englishwoman, Sadie Gordon Richmond, to teach her and her siblings. Ms. Richmond quickly became his mistress as well, a fact that her mother chose to overlook. The affair lasted at least six years, and Ms. Bourgeois's sense of double betrayal-by her father but also by her tutor-simmered. When she left for college, she initially studied math, but when she was age 21, her mother died and Ms. Bourgeois switched to studying art. Her father disapproved.

"Art is a guarantee of sanity," she later said, a maxim that would come to define her own home life as well as her work.

She met American art critic Robert Goldwater in 1938. They married and moved to New York and had three sons. She continued her art studies and befriended Abstract Expressionists like Willem de Kooning and Barnett Newman. Like them, she was interested in making psychically charged art, but her sculptures didn't catch on as quickly.

When Ms. Bourgeois moved with her husband into the Chelsea townhouse in 1961, the neighborhood was still considered rough-a pornographer kept his studio downstairs and some other homes along the block still served as rooming houses for merchant sailors. But by then, she was beginning to embrace the bohemian lifestyle-and her lilting French accent and sophisticated ideas about art endeared her to the neighbors, Mr. Gorovoy said.

After her husband died in 1973, she stopped sleeping in their old bedroom, preferring a cot in another room. She replaced her oven with a hot plate, which still sits in her yellowing kitchen. Insomnia dogged her, Mr. Gorovoy said, so she coped, as ever, by making art into the night.

In 1980, Mr. Gorovoy said he was working in a gallery when he convinced her to let him exhibit some of her drawings. The show proved a hit and he became her assistant. Two years later, the Museum of Modern Art gave her a retrospective that amounted to her debut on the international art scene. She was 71.

The pieces she created in the confident decades that followed have become museum favorites, particularly her series of cage-like "Cells" installations from the 1990s that look like meshed confessional booths containing domestic items like blouses, chairs or crucifixes. After that came the bronze spiders like the three-story "Maman" which was exhibited at Tate Modern in 2000. The spider represents her industrious mother, always weaving.

In 2011, another one of her arachnids, "Spider," sold for $10.7 million, an auction high price at the time for any work by a female artist.

In Ms. Bourgeois's 90s, arthritis in her hip made it painful to walk down the steps of her stoop, so she rarely left home. To keep up with her peers, she starting holding a Sunday afternoon salon and invited art students as well as major artists like photographer Nan Goldin and choreographer Pina Bausch to come by and show their work. She never touted her own art at these salons, but she gained a reputation for providing feisty feedback and snacks. (For her part, she preferred to eat orange marmalade directly from the jar with a spoon.)

What some people didn't realize, Mr. Gorovoy said, is that she continued to create even in her weekday isolation, pulling up tapestry fragments from her divan and elsewhere to sew into masks and palm-size puffy figures. These and other works will be displayed in the coming Hauser & Wirth show. Highlights include "Lady in Waiting," a voodoo-like figure sewn from tapestry with threads radiating out of her body that attach to the sides of the glass box encasing her. The figure represents her mother, Mr. Gorovoy said, and the threads may symbolize umbilical cords or ropes.

When she died at age 98 in 2010, Bourgeois still had rows of plastic tubs downstairs that contained tapestry scraps and her own clothing that she hoped to turn into art.

Corrections & Amplifications
In an earlier version of this article, Jerry Gorovoy's last name was incorrectly cited as Mr. Gormley in a subsequent reference.



4. Ed Ruscha, FF Alumn, in WSJ Magazine, May 30

WSJ Magazine
Ed Ruscha's Favorite Things
The American pop artist shares a few of his favorite things, including a piece of railroad track and collection of steel pennies
by Ed Ruscha as told to Christopher Ross
May 29, 2014
Ed Ruscha's favorite things Photography by Spencer Lowell for WSJ. Magazine
"THE FRAMED PIECE of paper is a chart of tiny parcels of land in New York City that were purchased by the late artist Gordon Matta-Clark. Below that is a Texas Native inertia nutcracker. It's totally functional and especially good with pecans. To the left is a beautifully shaped transmission-gear ring to an old Rolls-Royce. Next to it is a trailer hitch, which I like for its dumbness. It's just an honest piece of clunk. The pipe is a section of cast-off plumbing-I like the feel of corroded copper. The wristwatch is a handless Benrus from the '40s or '50s; it's goofy but very dependable. The artist KAWS gave me the tiny green head with the baseball cap. The little scrap is half of a tortoiseshell bookmark. I can't toss it because it's so delicate and so very razor thin. The block of walnut is just a noble little piece of wood that stands proud. I have a collection of about 800 steel pennies from 1943, which were made during the war because of the rarity of copper. I hoarded them during my paper route as a boy. My daughter-in-law did the very meticulous paper collage depicting a building site. To the right is a sculpture of twisted plastic by the artist George Herms; it weighs half an ounce. I keep that James McNeill Whistler etching of a wineglass so I don't forget what art history is all about. When I was 10, in Oklahoma City, I got the photo of pitcher Bob Feller of the Cleveland Indians autographed in person. That's my hand holding the stopwatch-I use it to time the duration of traffic lights. Above is a piece of railroad track from southern Missouri from the 1880s that my grandpappy employed as an anvil. I've often wondered if the Jesse James gang ever used it."



5. Kathy Brew, FF Alumn, now online at i-Tunes.apple.com

DESIGN IS ONE, a documentary on renowned designers Massimo & Lella Vignelli, directed by Kathy Brew + Roberto Guerra, is now available on i-Tunes.



6. Diane Torr, FF Alumn, at Anthology Film Archives, Manhattan, June 19-20

Dear NYC pals,
I am very excited indeed to be able to be in town for the NYC and the USA premiere of the MAN FOR A DAY feature film by Berlin filmmaker, Katarina Peters. The film will have two showings only - June 19/20 at the Anthology Film Archives (2nd Avenue/2nd St) www.anthologyfilmarchives.org at 7.30pm.

This is a film that Katarina began working on in 2006 and which premiered at the Berlinale Film Festival in February 2012. Since then, Katarina and I have been on the road with the film, giving Q and As and workshops after screenings at festivals and cinema venues in Germany, Switzerland, UK, Spain, Sweden, Israel, Turkey, Austria, Montreal, The Netherlands, Denmark, and last year, we toured with the film throughout Mexico on a trip arranged and funded by the Heinrich Böll Foundation. The film was shown in Mexico City, Guadalajara, Monterrey, Oaxaca. Most recently, we accompanied the film to Bangladesh and India where the film was shown at Goethe Institutes in Dhaka, Chennai, Kolkata and Delhi. Everywhere that the film was shown, it created controversy, conversation, questions and in one place (Kolkata) a near-revolt by the men in the audience.

So now it's NYC's turn!
I hope you will come to the screening. It will be the only chance to see the full 96min version of the film, as the film has been edited to 59mins for US distribution. This is for its potential sale by the distributors, Icarus, to educational institutions within the US.

The background to the film is that Katarina Peters and I have a 30 year friendship I first met her in Berlin in 1982, and in the years following, we created a close dialog on art, politics, feminism, philosophy, activism, sex, gender, and so on. Katarina was curious about the MAN FOR A DAY workshops that I teach and the MAN FOR A DAY film shows a workshop with participants that she cast.
You can read a synopsis here: http://manforaday-film.com
This film is a triumph!

I am very much looking forward to seeing you at the NYC/USA premiere.

All the best,
Diane Torr




7. Donna Henes, FF Alumn, at Socrates Sculpture Park, LIC, Queens, June 21

With Mama Donna Henes, Urban Shaman

Join Mama Donna and friends for a sizzling celebration of summer and sun on the longest day of the year. Donna will perform a solstice ritual at this always-popular annual event while the sun sets over a spectacular view of the Manhattan skyline! Bring kids, dogs, drums, percussions and plenty of rousing spirit to this family friendly event.

Mama Donna's solstice ritual is part of a larger event that includes face painting and a site-specific sound performance. This will the 10th anniversary of this event at Socrates Sculpture Park and of Mama Donna's participation in it. She has been performing public rituals, including the Summer Solstice celebrations, in various locations around New York City for over 35 years.


Contact: 718-857-1343 cityshaman@aol.com www.socratessculpturepark.org

Unofficial Commissioner of Public Spirit of NYC. - The New Yorker
For 35 years Ms. Henes has been putting city folk in touch with Mother Earth. - The New York Times
Part performance artist, part witch, part social director for planet earth. - The Village Voice
A-List exorcist!" - NY Post
The Original crystal-packing mama. - NY Press

Donna Henes is an internationally renowned urban shaman, contemporary ceremonialist, spiritual teacher, award-winning author, popular speaker and workshop leader whose joyful celebrations of celestial events have introduced ancient traditional rituals and contemporary ceremonies to millions of people in more than 100 cities since 1972. She has published four books, a CD, an acclaimed Ezine and writes for The Huffington Post, Beliefnet and UPI Religion and Spirituality Forum. A noted ritual expert, she serves as a ritual consultant for the television and film industry. Mama Donna, as she is affectionately called, maintains a ceremonial center, spirit shop, ritual practice and consultancy in Exotic Brooklyn, NY where she works with individuals, groups, institutions, municipalities and corporations to create meaningful ceremonies for every imaginable occasion.

Read her on the Huffington Post:

Connect with her on Facebook:

Follow her on Twitter:

Watch her videos:

Mama Donna's Tea Garden & Healing Haven
PO Box 380403
Exotic Brooklyn, New York, NY 11238-0403
Phone: 718/857-1343
Email: CityShaman@aol.com




8. Istvan Kantor, FF Alumn, at WRO Center, Wroclaw, Poland, opening June 20

Istvan Kantor: Media Revolt
Curator: Piotr Krajewski
Opening: June 20th, 2014



9. Andrea Fraser, FF Alumn, at Schirn Kunsthalle Frankfurt, Germany, opening June 4

Infinite Jest
June 5-September 7, 2014

Press preview: Wednesday, June 4, 11am

Schirn Kunsthalle Frankfurt
D-60311 Frankfurt

Online magazine: www.schirn-magazin.de
Facebook / Twitter / YouTube / Instagram / #infinitejest
The credo of today's society without boundaries reads "ever faster, ever higher, ever further." In the early 21st century, man, oscillating between euphoria and depression, finds himself confronted with the promising opportunities of a global and virtual world as well as the challenge to constantly improve, optimize, and shape his life more efficiently. The exhibition at the Schirn Kunsthalle Frankfurt on display from June 5 until September 7 focuses on this phenomenon. Based on works by 18 contemporary artists such as Maurizio Cattelan, Peter Coffin, Judith Hopf, Andrea Fraser, Claire Fontaine, Alicja Kwade, Ryan Trecartin, and Daniel Richter, it unfolds an image of a present-day world with the individual at its center. The works on display are not aimed at visualizing the contents of the eponymous epochal novel Infinite Jest by David Foster Wallace. The show rather explores the various demands confronting today's individual, in which the modes of resistance and the contradictions of a reality often described as lacking any alternative make themselves felt.

Set in the near future, Wallace's novel seismographically records possible results and consequences of an event and fun society that presents itself as a performance-oriented society at the same time. The works of art assembled for the presentation of the same name in the Schirn reveal how the present circumstances' consequences and excesses make man revolve around himself almost without end. Which methods and ways do we find or invent to continually optimize and perfect ourselves in order to fulfil the requirements of modern society? The artworks' subjects span from addiction in its various forms, the localization of the self, depression, and the emptying of meaning to absurdity, irrationality, and virtually deadly irony. Visually and conceptually, the presented works shed light on the meaning of the term "hysterical realism" which has been coined for a certain kind of literature some years ago.

"Expressions like quantified self, body hacking, and burnout are endemic in today's media. Absolute optimization and perfection are required from each individual in the global world around the clock. What about the other side and the consequences of this continuous circling of man around himself? The Schirn wants to dedicate itself to these contemporary phenomena in this year's summer exhibition and provide a terrain for the artistic exploration of such issues," says Max Hollein, Director of the Schirn.

Matthias Ulrich, curator of the exhibition: "There has never been so much I. We incessantly revolve around ourselves. And everything around us also goes on this roundabout. Each individual has to cope with what happens in today's world, has to find his place as a person, or even develop survival strategies for this. The pictures by the artists presented in the exhibition confront us with this endless circling around oneself. They raise questions that concern all of us and play with situations that we can all relate to."

David Foster Wallace's novel Infinite Jest does not provide any advice as to how the individual might make heads or tails of the harsh reality of life, the absurd madness of the everyday world, the fast-moving times informed by the Internet, virtual worlds, and the wide range of different channels of communication. His diagnosis of society remains a negative one. Wallace's text is pivoted on images and stories in which pleasure and pain, fun and addiction, religion and insanity, the private and the public, dream and reality, seriousness and irony, entertainment and death lie very close together for everybody, marking the hinges of daily life.

Similar motifs are to be found in the works of the 18 international artists featured in the Schirn exhibition Infinite Jest. The exhibits reflect connectedness, human relations, and subtle contexts in which the individual is always the foremost focus of attention. The architecture for the show provides each artist with a room of her or his own. The individual spaces are connected with each other in a labyrinthine manner resembling the literary composition of David Foster Wallace's novel. In varied genres of art, such as installation, film, painting, or performance, the artists presented hold a mirror up to both society and each individual. They approach the threshold of a new era in which the "transparent man" lives within a digital social network rather than only using it and in which life has turned into an optimization and experience project.

List of artists: Francis Alÿs, Maurizio Cattelan, Claire Fontaine, Peter Coffin, Lara Favaretto, Andrea Fraser, Karl Holmqvist, Judith Hopf, Ceal Floyer, Josh Kline, Alicja Kwade, Joep van Liefland, Helen Marten, Kris Martin, Daniel Richter, Anri Sala, Ryan Trecartin, and the Kopp Collection.

Director: Max Hollein
Curator: Matthias Ulrich
Press contact: Axel Braun (Head of Press/Public Relations):
T (+49 69) 29 98 82 153 / F (+49 69) 29 98 82 240 / presse@schirn.de / www.schirn.de (texts, images, and films for download under PRESS)



10. Nora York, FF Alumn, now online at creativetimereports.org

Nora York speaks with Ham Fish about her recent musical adventure Water Water Everywhere for Creative Time Reports.
Originally presented Nov. 10th 2013 as part of Marfa Dialogues NY, funded by The Robert Rauschenberg Foundation.




11. Melissa Wolf, Paul Lamarre, FF Alumns, at Museum of Contemporary Art Detroit, Michigan, opening June 6

The Deconsumptionists, Art As Archive, In Situ On view at Museum of Contemporary Art Detroit (MOCAD) June 6 - June 29, 2014

Detroit -- The Deconsumptionists, Art As Archive, In Situ - a 48-foot semi-trailer travels from Bushwick, Brooklyn to Detroit for a month long residency at MOCAD. Part art exhibition, part performance and events space, The Deconsumptionists trailer is a curatorial outpost and sustainable art practice with archive created by Melissa Wolf and Paul Lamarre, the art collective known as EIDIA.

EIDIA has invited local artists, galleries, performers, and architects to create a variety of exhibitions, public programs and performances. These pieces focus on the environment, the sociopolitical, production and consumption, in addition to progressive architecture, design, and creative dwellings in Detroit.

Local collaborators include Carl Goines and Juli Lindsey of 555, Simone DeSousa of Re:View Gallery, Faina Lerman and Graem Whyte of Popps Packing, Lynne Avadenka and Bryan Christopher Baker from Signal-Return Press, Thomas Bell and Christina deRoos from Spread Art, Alivia Zivich from What Pipeline Gallery, Shel Kimen of First Container Detroit, Anthony Gross of Enclave Projects, London and Detroit, Mitch McEwen of McEwen Studio and Jerry Gray with Anthony McCarty of Bozarts Art and Music Gallery, Toledo Ohio, Rebecca Mazzei from Trinosophes, plus others to be announced.

Wolf and Lamarre view The Deconsumptionists as a "reevaluation of capitalism and consumption in these increasingly tenuous times." This long-term project by EIDIA had its official launch with a Research Fellowship at the Sydney College of the Arts, University of Sydney 2011. Lamarre and Wolf have since been appointed Research Affiliates of the University of Sydney.

The opening celebration for The Deconsumptionists takes place on June 6 from 6 pm - 8 pm featuring art, music, and cocktails. The public is welcome and admission is free.
The Deconsumptionists hours are the same as MOCAD's: Wednesday, Saturday and Sunday 11 am - 5 pm; Thursday and Friday from 11 am - 8 pm; the Museum is closed to the public Monday and Tuesday.



12. David Medalla, FF Alumn, at The Jewish Museum, Manhattan, thru Aug. 3

Other Primary Structures
Others 2: May 25-August 3, 2014

The Jewish Museum
1109 Fifth Avenue
New York, NY 10128
Hours: Saturday-Tuesday & Friday 11am-5:45pm
(shops/café closed Saturday), Thursday 11am-8pm,
Wednesday closed (shops/café open 11am-3pm)

T +1 212 423 3200
F +1 212 423 3232

Others 1: March 14-May 18
Rasheed Araeen, Sérgio Camargo, Willys de Castro, Saloua Raouda Choucair*, Lygia Clark, Noemí Escandell, Gego, Stanislav Kolíbal, Edward Krasiński, David Lamelas, David Medalla, Hélio Oiticica, Lygia Pape, Alejandro Puente, Norberto Puzzolo, Branko Vlahović

Others 2: May 25-August 3
Oscar Bony, Benni Efrat, Yoshida Katsurō, Stanislav Kolíbal, Susumu Koshimizu, Ivan Kožarić, David Lamelas, Amir Nour, Juan Pablo Renzi, Nobuo Sekine, Antonieta Sosa, Kishio Suga, Jirō Takamatsu, Lee Ufan

*Publication only

The Jewish Museum presents a major exhibition of sculpture from the 1960s featuring the work of artists from Latin America, Asia, Africa, the Middle East, and Eastern Europe, much of which has rarely been seen in the United States. Other Primary Structures revisits the premise of and builds upon the Museum's seminal 1966 exhibition Primary Structures: Younger American and British Sculptors, the first American museum exhibition to survey the style now known as Minimalism. Primary Structures introduced the public to such artists as Carl Andre, Dan Flavin, Donald Judd, Sol LeWitt, Walter De Maria, Robert Morris, Anne Truitt, and others-figures unknown at the time but soon to become synonymous with a radically new approach to sculpture. Nearly 50 years later, Other Primary Structures revisits this formative moment in art history while also reexamining the period from today's far more global perspective.

Other Primary Structures is a two-part exhibition: Others 1, on view from March 14 to May 18, examined work created between 1960 and 1967; Others 2, on view from May 25 to August 3, presents work created between 1967 and 1970, some of which was directly influenced by the 1966 Primary Structures exhibition at the Jewish Museum.

In conjunction with the exhibition, the Jewish Museum has published a two-volume set: The first volume is a reissue of the original Primary Structures catalogue, formerly out-of-print; the second volume, the accompanying catalogue for Other Primary Structures, is illustrated and features an essay by the exhibition's curator, Jens Hoffmann. It also includes excerpts from the unpublished, unedited transcript of the 1966 symposium on "The New Sculpture," with panelists Mark di Suvero, Donald Judd, Robert Morris, critic Barbara Rose, and Kynaston McShine, the curator of Primary Structures.

Related Public Programs
Exhibition walkthrough: Other Primary Structures
Sunday, June 8, 2pm
Mika Yoshitake, Assistant Curator, Hirshhorn Museum and Sculpture Garden, leads a gallery talk in Others 2, with specific focus on the artists in the exhibition connected to the Mono-ha movement.
Free with museum admission

Defining Structures: Contemporary Minimal
Thursday, June 19, 6:30pm
A roundtable discussion with artists a generation or two removed from those featured in Other Primary Structures, whose work-primarily in sculpture-comes out of a Minimalist tradition. Featuring Charles Harlan, Erin Shirreff, Daniel Steegmann Mangrané, Carissa Rodriguez, and Allyson Vieira. Moderated by Ruba Katrib, Curator, SculptureCenter.
Free with pay-what-you-wish admission; RSVP recommended

This Is How We Do It: Other Primary Structures
Tuesday, June 24, 2pm
Joanna Montoya Robotham, Neubauer Family Foundation Assistant Curator, speaks with Brandon Pietras (Parsons The New School for Design's School of Constructed Environments, M.Arch/MFA Lighting Design '17) on the process of developing the architectural model featured in Other Primary Structures.
Free with museum admission

A Closer Look Gallery Talks
June 2, 16, 30; July 14, 28, 1pm
This in-depth exploration of select works of art in the special exhibition galleries occurs Mondays at 1pm.
Free with museum admission

Other Primary Structures is made possible in part by The Peter Jay Sharp Exhibition Fund. Endowment support is provided by The Jewish Museum Centennial Exhibition Fund. Additional support is provided by Agnes Gund, The Cowles Charitable Trust, The Artis Grant Program, The Athena Foundation, and a group of donors in memory of James L. Weinberg.

Public Programs at the Jewish Museum are supported, in part, by public funds from the New York City Department of Cultural Affairs. Major support is provided by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.



13. Robert Mapplethorpe, FF Alumn, at Grand Palais, Paris, France, June 4

PAUL TSCHINKEL's feature length film on ROBERT MAPPLETHORPE to be screened at the Grand Palais in Paris, June 4, 2014
For more info, See: :




14. Ron Littke, FF Alumn, now online at https://vimeo.com/89434114

FF Alumn Ron Littke's radio play "No U-Turn" is now on Vimeo. To listen, go to: https://vimeo.com/89434114
"No U-Turn" is a radio-noir B movie. A satisfied listener wrote:

Boffo! This tribute to the 'Noir ethos offers modern sensibility while paying homage to the genre, as well as other nostalgic times and places. The cast is genuine and talented. The writing is succinct and entertaining, with more than a nod to the Hitchcockian device of the wrongly accused. Character development moves the plot forward to its inexorable conclusion. I surmise that it will work as a full evening's entertainment, or just as well segmented into halves on consecutive days or weeks. Congratulations to Mr.Littke, the cast and crew, and Sullivan County Arts for obtaining professional quality and artistry. No U Turn is a show that many radio stations can broadcast with pride.



15. Nina Yankowitz, FF Alumn, at Guild Hall Art Museum, East Hampton, NY, opening June 21

"Criss~Crossing The Divine" Nina Yankowitz/ A Multimedia Project
including interactive games with technology team:
Guild Hall Art Museum - Celebration 6/28/14 from 4-6pm
open to public 6/21/14 - 158 Main St - East Hampton NY.

The architects of faith have created a flexible body of governing laws that have the propensity to grow and change with the shifting tastes of time.
CRISS~CROSSING THE DIVINE - Nina Yankowitz Multimedia Project
Reception: Saturday, June 28th 4pm - 6pm Guild Hall Art Museum
158 Main St, East Hampton, New York - Exhibition on display June 21-
July 27, 2014

Nina Yankowitz and her interactive technology experts Invite you to enter a virtual sanctuary to play groundbreaking interactive games that appoints each player a partner, a co-participant, in dialog with various sacred texts as they search for meaning in all the left and right and in between places.

As the world turns, so do our perspectives. In an attempt to underscore that religious intolerance is a function of something other than different religious beliefs, "CRISS~CROSSING THE DIVINE" provides interactive games where participants can curate topics and explore the tenets of five different faiths. Nina Yankowitz has transformed the museum gallery into a conceptual sanctuary where the public can encounter five robotic sculptures representing devotees of five major faiths. Three perform rhythmic, quintessential gestures, like actors in conversation with each other in roles in a video projecting on a wall. The video scenario depicts a world where religious intolerance perpetually causes HOUSES OF WARSHIP to eternally explode and shatter all shelters of faith. Two Devotees appear to levitate while inviting visitors to play the interactive games on the gallery walls. Using an infrared wand or paintbrush, people can select and move topic-words to assign more or less importance to each topic they choose to search, while color-coded text results simultaneously display on another screen. These are drawn from the unique proprietary database and custom software that blends and integrates the player's weighted topic-words informing the search results. When the participant is ready to exit, they press the SAVE button and receive a code number to retrieve an artist signed printout of their personal search results at the museum store or view them at a dedicated website to learn from which religions their color-coded text results originated. The virtual sanctuary was conceptually conceived to deal with language and how it is both used and perceived as relevant in 'the living documents appearing in the scriptures from diverse faiths: Buddhism, Christianity, Hinduism, Islam and Judaism. The architects of faith have created a flexible body of governing laws that have the propensity to grow and change with the shifting tastes and priorities through generations. Conceptually they share the space with both the framers of the Constitution of the United States who wanted the document to stand for generation after generation, and the writings of William Shakespeare. "We find in Shakespeare what we bring to him or what others have left behind; he gives us back our own values." G. Taylor "Reinventing Shakespeare" The social and cultural norms of the day, in addition to the personal values of the participants, will clearly influence their interpretations. Human beings, like language, change over time, sometimes from minute to minute, surprising even themselves. Easy access to the Internet and global networks allow ever-expanding informational sources to insure that this kind of search can never settle into a permanent groove. That is the deeper goal of this installation: to challenge entrenched perspectives and discover new questions that lead to new responses, ad infinitum and with no amen.

*Nina Yankowitz, Artist, U.S. Director,
Installation &video projections
*Interactive games developed with:
*Mauri Kaipainen Se. Multi-perspective search engine design
*Peter Koger, Vienna, Software/hardware Interface Designer
*Installation team *Barry Holden, Architect U.S. Project Coordinator
*Robotics, Qing Tian Chen, Mills Consulting, U.S
*Consultants Pia Tikka & Rasmus Vuori

Updated CROSSINGS interactive project Team 2007Premiere*Thessaloniki Biennale Greece 09 Originally conceived "House of Worships Not Warships" 2000 Nina Yankowitz Gallery talk with Nina Yankowitz Sunday July 13 - 12-1:30 pm at Guild Hall Art Museum Discussion with Curator/Museum Director Christina Strassfield;
Affects on cultural norms due to the advent of the Internet&Fashions-In-Motion intervention by Ian Holden INTERACTIVE MULTIMEDIA EXHIBITS, PROJECTS LINK http://nyartprojects.com/content/links2012.pdf



16. Donna Kaz at William Paterson University, Wayne, NJ, June 12-29

Winner of the 2014 New Jersey Playwrights Contest, Musicals

FOOD, the musical
By Donna Kaz (Book/Lyrics) and Gerald Stockstill (Music)
Directed by Edward Matthews
Music Direction by Charles Santoro and Kevin Lynch
Choreography by Samara Grossman

Thursdays through Saturdays at 7PM and Sundays at 3PM
June 12-15
June 19-22
June 26-29

Tickets are $25.00 General Admission - $10 seniors and students

For Tickets visit http://www.wpunj.edu/wppresents/

William Patterson University
Hunziker Black Box Theatre
600 Pompton Road
Wayne, New Jersey 07470

A culinary feast of songs and comedy, Food, the musical, features 5 short musicals all about food. The Costco Contessa tapes her own cooking show, unveiling her secrets to making delicious meals from bulk ingredients. A man convicted of aggravated assault learns how to bake the perfect soufflé as part of his anger management class. And breakfast in the Ethel Merman home is a lot more than Ernest Borgnine bargained for during their 32-day marriage. Songs about suppertime, soup, and celebrity chefs provide tasty morsels in between each of the shorts.

Hope you can attend!



17. Elaine Tin Nyo, Leila Nadir + Cary Peppermint, Bonnie Ora Sherk, FF Alumns, at SmackMellon, opening June 7

FOODshed at SmackMellon June 7 - July 27.

Hi everyone,
I am so happy to be in this group show at SmackMellon Gallery in DUMBO. I'll be showing two videos from my project This Little Piggy and my new artist book for iPad, Sour Cherries 2012, a compilation of my cherry pie diary from 2012. The ibook will be available via the iBookstore sometime next week.
...And yes, cherry pie season begins around the first week of July, so stay tuned for that!
I hope to see you at the opening.
Elaine Tin Nyo

FOODshed: Art and Agriculture in Action

An exhibition of upstate/downstate NY artists who work with food and agriculture

Artists' reception: Saturday, June 7, 5pm-8pm

FOODshed: Art and Agriculture in Action
An exhibition of upstate/downstate NY artists who work with food and agriculture

Curated by Amy Lipton

Joan Bankemper/Black Meadow Barn; Joy Garnett; Habitat For Artists Collective (Simon Draper, Michael Asbill, Carmen Acuna, Dan McGinley, Brandon Cruz, Jessica Poser, Lisa Breznak and Sean Corcoran); Natalie Jeremijenko; Kristyna and Marek Milde; Peter Nadin/Old Field Farm; Leila Nadir + Cary Peppermint (EcoArtTech);
Andrea Reynosa, Brooklyn Grange and Alloy; Bonnie Ora Sherk;
Jenna Spevack; Susan Leibovitz Steinman/Mona Talbott;
Tattfoo Tan; Elaine Tin Nyo; Linda Weintraub

Exhibition Dates: June 7 to July 27, 2014
Artists' reception: Saturday, June 7, 5pm-8pm

FOODshed: Agriculture and Art in Action focuses on sustainable agriculture, entrepreneurship, and artists' use of food as subject matter or medium. The exhibition and programming include 14 exhibiting artists in the gallery at Smack Mellon, 3 public projects in the nearby DUMBO community, and public workshops in collaboration with the artists in the exhibition. The gallery exhibition features artworks and inventive projects around agriculture and food that address farming as both activism and art form. Many of the artists in this exhibition are known for bringing community-specific issues into their work and are exploring the real-world implications of small-scale farming and raising community awareness about our food systems. Their varied practices include growing food, cooking food, raising animals for food, and engaging communities around local food production as well as instigating new artist-based economies.

The artists working in New York State today in the realm of food and farming coincide with a larger cultural awakening regarding the ills of our present system, such as the distances food travels to supermarket shelves and the effects of shipping and transport on climate change. Brooklyn has become the epicenter for food activism and culinary explorations. Artists have joined food activists in focusing on environmental problems such as lack of biodiversity in mono-cultural farms, the loss of top soil and nutrient-poor soil, the abuse and poor conditions of feedlot and factory raised animals, the conversion of farmland into housing, and the waste of un-harvested crops. Artists are now farming not only to raise their own food in order to become self-reliant and to eat more healthily, but also to offer alternative and sustainable approaches within their local communities.

For the artists in FOODshed, the acts of cultivation, growing, and by implication educating have evolved to a deeper level of activism where the boundaries of real world and art completely disappear. Their projects present new paradigms regarding the growing, production, distribution and consumption of food. The artists in this exhibition advocate for an organic, regional and local approach, which they are manifesting in their own lives



Goings On is compiled weekly by Harley Spiller