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 9, 2014

1. James Scruggs, FF Alumn, at 3LD, Manhattan, thru June 14

Dive underwater at 3LD with the world premiere of DEEPEST MAN

New York, New York TK-3-Legged Dog (Kevin Cunningham, Artistic Director) is thrilled to announce the World Premiere of DEEPEST MAN, written by James Scruggs and directed by Mark Rayment. DEEPEST MAN begins performances on Thursday, May 22 for a limited engagement through Saturday, June 14. Opening Night is Thursday, May 29 at 8 PM. The performance schedule is Wednesday - Saturday at 8:00 PM with an added performance on Tuesday, May 27 at 7 PM. Performances are at 3LD Art and Technology Center (80 Greenwich Street, at Rector, in downtown Manhattan). Tickets are $20. Tickets are available by calling Ovationtix at 866-811-4111 or visiting www.3ldnyc.org. For more information, visit www.3ldnyc.org.

Extreme sports, celebrity worship, and new age science collide in DEEPEST MAN. After Dr Hazzardville Sommers loses his wife in a swimming accident, he seeks spiritual guidance through a famous television talk show host and the sport of freediving. Featuring 3LD's groundbreaking use of the Musion Eyeliner, which creates stunning live 3D holographic images on stage, the audience joins Dr. Sommers in total immersion in his underwater fantasy world.

The cast features Spencer Barros, Vienna Carroll, Alva Chinn, Skid Maher, Miguel Reis, and Libby Skala.

The design team features David Ogle (set design), Ayumu Poe Saegusa (lighting design), Stefanie Levin (costume design), JoEllen Dolan and Kevin DeYoe (sound design), and Grant McDonald (video design). The Stage Manager is Beth Stegman, The Production Manager is Cate Digirolamo.

James Scruggs (playwright) was awarded a grant from Franklin Furnace in August of 2002. In March 2003 he became a resident artist at HERE Arts Center. Disposable Men his solo performance piece was originally produced by HERE. He received a NJSCA grant for artistic excellence in 2005. In September of 2005 He was awarded the first ever NY IT Award for Outstanding Solo Performance for Disposable Men, a performance piece juxtaposing images from Hollywood monster movies with the harsh reality of the historical treatment of black men in America. It went on to tour four cities, to Seven Stages in Atlanta, Perishable in Providence, New World Theater in Amherst, and The Painted Bride in Philadelphia. In December 2006 he was a featured American Playwright in a chapter contrasting his work with Suzan-Lori Parks called Interrogating America Through Theater And Performance, a textbook. He premiered his mixed media play (RUS)H, another collaboration with Kristin Marting and HERE in 2008 at 3LD which explored the dark world of a male sex-worker desperately striving to prey upon a married man, told with video, tango and salsa. In 2010 he had a 3-week residency at The Baryshnikov Arts Center and a work in progress showing at Dixon Place of Touchscape, a series of monologs of men speaking intimately about their relationship with touch. Tickets To Manhood a work about how men irresponsibly mature into men was commissioned and performed at Dixon Place for three weeks in July 2011. From 2012 - 2013 he was a resident artist at Tribeca Arts Center Residency Program as a playwright, and completed and had a staged reading of Deepest Man in 2012. In 2013 he performed a staged reading of his solo piece A Voluptuary Life, a piece about aging and self worth. He has a BFA in Film from School of Visual Arts.

Mark Rayment (director) has been a professional theatre director and actor for 25 years. Originally from the United Kingdom, he has worked internationally and now lives in New York. New York: James Scruggs' TOUCHSCAPE (Harlem Gatehouse/Baryshnikov Arts Center/Dixon Place) and TICKETS TO MANHOOD (HERE Arts Center/Dixon Place 'Hot Festival'); EAST TOWARDS HOME (Chelsea Studios). London/West End: THINGS WE DO FOR LOVE (Duchess Theatre); COMIC POTENTIAL (Lyric Theatre); SEPTEMBER TIDE, THE CHALK GARDEN, DECEPTIONS (Kings Head Theatre); THE KILLING OF SISTER GEORGE (Ambassadors Theatre); HERITAGE (Hampstead Theatre); LADY WINDEMERE'S FAN (Cockpit Theatre); HIDDEN LAUGHTER (Vaudeville Theatre); ON-HOLIDAY (Duchess Theatre). Regional/U.K: THE SUNSHINE BOYS (National Tour); BOUNCERS (Mercury Theatre, Colchester); CINDERELLA (De La Ware Pavilion, Bexhill); HAPPY NATIVES (National Tour); THINGS WE DO FOR LOVE (National Tour); ALADDIN/JACK AND THE BEANSTALK (Redhill); SLEEPING BEAUTY/JACK AND THE BEANSTALK (Poole). South Africa: DIRTY DANCING (Johannesburg/Cape Town); Disney's THE LION KING (Johannesburg); THE MOUSETRAP (Cape Town/Johannesburg); MY ZINC BED (Cape Town/Johannesburg); HAPPY NATIVES (Grahamstown Festival/National Tour); FOR YOUR EARS ONLY (Johannesburg/Cape Town); LIBERACE (University Of Cape Town). Asia: DIRTY DANCING (Hong Kong/Singapore); THE MOUSETRAP (Hong Kong); Disney's THE LION KING (Taiwan). Film: COLD COMFORT FARM (BBC Films, Directed by John Schlesinger); SHOREDITCH (Channel 4 Films). Mark is an Associate Director of B+R Productions UK, and a Guest Tutor at Oxford School of Drama (Woodstock) and Laine's Theatre Arts (Epsom).

About 3-Legged Dog
3-Legged Dog exists to produce new, original works in theater, performance, media and hybrid forms. Working out of a strong literary tradition, our mission is to explore the new narrative possibilities created by digital technology, and to provide an environment for our artists to create new tools and modes of expression so that they can excel across a range of disciplines.

3LD Art & Technology Center creates and supports challenging large-scale art within a financially sustainable environment. Its goals are to create viable growth oriented business models for experimental art production, revitalize the experimental tradition in New York by improving the working conditions and quality of production, and foster a community of artists who work cooperatively and aggressively to address their own barriers. In order to achieve these goals, 3LD creates, re-distributes and re-imagines resources that drive core cost reduction while increasing capacity and revenue. www.3ldnyc.org.



2. Elana Katz, FF Alumn, at Gallery 12 HUB, Belgrade, Serbia, thru June 20, and more

Dear friends,

Below please find the invitation for my upcoming series of performances and exhibition in Belgrade at Gallery12 HUB. If you happen to be in Belgrade this month, I hope that you will make it to the show! I am creating new work that contemplates the classical, and also reflects on pain and anguish related to history, and present day circumstances, in the work's immediate surroundings.

Please also visit this link for more info on the show and gallery, it is really one of Belgrade's most interesting and active contemporary art platforms: http://www.g12hub.com/?q=en/blue-holding-elana-katz&language=en

I'd also like to invite you to check out my recent interview in NY Arts Magazine, it was a pleasure to work with gallerist, curator, and writer Leah Oats of Station Independent Projects in NYC: http://www.nyartsmagazine.com/?p=17960. Stay tuned for more info on my performance at Station Independent next month.

Very best,

Galerija 12 HUB
Karađorđeva 59
11 000 Beograd

A series of new performances by Berlin-based American artist Elana Katz, which deal with references to corporeal pain, the live and dead body, and the body as an instrument. Each consecutive performance will result in an installation, the culmination of which will remain on view at the gallery until June 20th.



3. Raphael Montañez Ortiz, FF Alumn, in The New York Times, June 5

The New York Times
Art & Design|At Museum Born of Politics, New Chief Faces Economics
JUNE 5, 2014
Critic's Notebook

A little over a year ago, El Museo del Barrio, the oldest museum in the United States devoted to Latino art, had the equivalent of a nervous breakdown in public.

Its director, Julián Zugazagoitia, had moved on in 2010 after overseeing a renovation and expansion of the museum's premises at Fifth Avenue and 104th Street. He left behind a financially stable institution, a record of fine shows and an expert curatorial staff. The board of trustees began looking for a replacement. In the absence of direction, the museum began to falter.

Money problems grew so severe that the staff had to be cut and opening hours reduced by a third. The gifted chief curator, Deborah Cullen, resigned. The board brought in a new curator, Chus Martínez. Spanish-born with a starry international profile but no connection to New York, never mind a knowledge of its Puerto Rican residents. She left after a tense year without organizing a show.

Meanwhile, the board had named Margarita Aguilar, a former El Museo curator, as director. The appointment felt makeshift and, sure enough, after 18 months, Ms. Aguilar was fired. She did not go quietly. She filed a claim of gender discrimination and workplace hostility against the museum's board, which in turn broadcast the reasons for her dismissal. The mutual slapfest went on for weeks before the New York State Division of Human Rights rejected the claim; the board came off looking dithering and capricious. Morale at the museum, and among people who cared about it, was at rock bottom.

A new director, Jorge Daniel Veneciano, took over in March. And to say that he has his work cut out for him is putting things mildly. He not only has to recoup lost ground, but must also figure out ways to push the institution ahead, an effort he is beginning with its current exhibition, "A Museum Starter Kit," and a schedule of projects to come.

Mr. Veneciano comes with one solid advantage over his predecessors: He's the first El Museo director to have held a comparable administrative position before. He was director of the Sheldon Museum of Art in Lincoln, Neb., from 2008 to this year. This means, among other things, that he's had experience raising money and balancing the books.

The fiscal troubles he found upon arriving seem to have left him unfazed. "Shortfalls are relative," he said recently. "My board and my staff closed a half-million dollar deficit in my first three months on the job here. There was no magic plan, just steadier hands on deck. The ship is ready to sail. The trick now is avoiding the doldrums. Being ambitious is part of our answer to financial recovery."

The ambition lies primarily in choosing whom and what to exhibit, a difficult balancing act given this institution's politically charged history. El Museo began in 1969 as a city-supported art initiative in a public school classroom on East 116th Street, at the center of the barrio, Spanish Harlem, at the time largely Puerto Rican. It was conceived by an artist-educator, Raphael Montañez Ortiz, a New Yorker of partial Puerto Rican descent, who enlisted other artist-activists to work with him in local schools.

Mr. Veneciano admires the early version of El Museo. "I'm a student of democratic theory," he said. "I believe museums are one of three fundamental democratic institutions: libraries, museums and schools, with museums in the middle, because, like libraries, they have collections, and like schools they have an educational function, to teach with those collections."
Continue reading the main story

In its first few years, the museum occupied a series of other schools and Third Avenue storefronts. With each move, it became, as Mr. Montañez Ortiz always meant it to be, a place where art was not only taught but created, exhibited and collected. And it remained community based, dedicated to the needs of a Puerto Rican population, including artists, excluded from the city's mainstream. It was an early example of what came to be called culturally specific institutions.

In the 1970s, after some volatile leadership struggles, the museum started to take a more conventional form. The most dramatic change, and a source of contention ever since, came in 1978 with the move to its current home in the Heckscher Building, a city-owned former orphanage. Along with the departure from the center of the barrio came a rethinking of the institution's mission.

"Our focus is no longer limited to Puerto Ricans," Jack Agüeros, then the director, said that year. "We are too culturally rich to force ourselves into the ghettos of narrow nationalism. El Museo now wants to embody the culture of all Latin America."
Installation art by Alejandro Guzman. Credit Agaton Strom for The New York Times

Although an inclusionary perspective is common in the globalist present, in the 1970s it read as a betrayal, a sellout, a breach of solidarity, when solidarity was the one political weapon you had. There was a powerful proprietary pushback from within the barrio. This left the museum in a conflicted state that still exists, though with lessening intensity as the demographics of the barrio change, and as young Latinos - an audience El Museo hopes to attract - find themselves relating to their heritage in different ways from those of their parents.

Mr. Veneciano, who was born in Argentina, grew up in a Chicano environment in Los Angeles and worked as a curator at the Studio Museum in Harlem in the early 1990s, understands both sides of the story and knows that the museum must continue to acknowledge them. "In the 1960s, '70s, and '80s, neglected peoples needed to assert their place in the sun," he said. "But cultural specificity is a myth, even within national groups of artists. Making room for difference is what counts today."

The museum's current exhibition, organized by the curator Rocio Aranda-Alvarado, seems designed to argue these points. One section is a homage to Mr. Montañez Ortiz, now 80, who despite founding a "Puerto Rican" museum, was born in Brooklyn and makes art influenced by European avant-garde traditions. A section includes contemporary Latino artists who, like Mr. Veneciano, are Latino in complicated ways. And a third is made up entirely of objects lent by East Harlem residents who were invited to display things they treasure in their homes: vintage political posters, a Cotton Club cocktail shaker, an exquisitely detailed handmade model of a tropical bungalow.

Altogether, the show - organized by Rocio Aranda-Alvardo - represents a nonhierarchical, boundary-erasing, art-redefining mix of a kind you would never encounter at MoMA or the Met, one that makes "alternative" institutions like this one invaluable.
Continue reading the main story
"Octopus," an installation from 1982. Credit Papo Colo

At the same time, there are categories the museum has long neglected, including art by women, and Mr. Veneciano means to correct that. The first major exhibition on his schedule, opening in October, will be a long-overdue career retrospective of the sculptor Marisol Escobar, who was born in Paris of Venezuelan parents and, now 84, lives in New York. A show devoted to the Puerto Rican-born New Jersey artist Gloria Rodriguez Calero, known as RoCA, will come later, as will the first New York survey of Olga Albizu (1924-2005), a Puerto Rican abstract painter who designed some of Stan Getz's album covers.

Men will get some notice, too. Next year, the museum is importing a survey of the Mexican cinematographer Gabriel Figueroa (1907-97) from Los Angeles. And there's a thematically inflected overview of the Brazilian architect Oscar Niemeyer (1907-2012) lined up for 2016. All these artists are complex cosmopolitan figures who have not received full-dress attention here.

Mr. Veneciano also wants to expand the institution's scope with programs on performance, industrial design, literary arts (he holds a doctorate in English and comparative literature from Columbia) and fashion (illustrations by the great Antonio Lopez, 1943-87, for example). The goal is to collaborate with Latin American museums and have projects traveling in both directions.

Over all, it's a solid but conservative lineup, with no mention given to young artists and new art. Maybe some group shows Mr. Veneciano has up his sleeve will provide that. One - intended as a spoof of, and corrective to, the international biennial craze - will be called "By Any All" and consist of 100 works chosen by 100 curators. If it does nothing else, it might at least extend the museum's international reach.

Finally, the museum plans to celebrate its 50th anniversary in 2019 with an archival evocation of its activist origins and those of a companion institution, the Taller Boricua, or Puerto Rican Workshop, established in Spanish Harlem in 1970 and still active at the Julia de Burgos Latino Cultural Center, on Lexington Avenue near 106th Street.

It's a lot. "All we need," said Mr. Veneciano, "is money and space."

He argues that Hispanic cultural groups are routinely shortchanged when it comes to government funding. "This nation was founded on the principle of 'No taxation without representation,' " he said. "Look at the percentage of American taxpayers who are Latino. Then look at the percentage of culture-bound tax dollars going to Latino cultural institutions. The disproportion is staggering. Are our tax dollars distributed democratically or aristocratically?"

So where he should look for help? To the museum's in-house aristocracy, its board of trustees. And the board should give him what he needs - and then let him do his job. El Museo was recently brought close to collapse by what looked, from the outside, like impulsive thinking and second-guessing. It's hard to believe that the institution could survive another such crisis. Everyone there owes it to a new generation of artists, scholars, curators, students and art lovers, Latin American and otherwise, to ensure that does not happen. And they owe it to history past and present, which this museum is still about.

El Museo del Barrio, 1230 Fifth Avenue, at 104th Street, is open Wednesdays through Saturdays from 11 a.m. to 6 p.m.; 212-831-7272, elmuseo.org. Its current exhibition, "Museum Start Kit: Open With Care," runs through Sept. 6.

A version of this article appears in print on June 6, 2014, on page C21 of the New York edition with the headline: At Museum Born of Politics, New Chief Faces Economics.

(c) 2014 The New York Times Company



4. Beth B, Julie Atlas Muz, Mat Fraser, FF Alumns, at Coney Island USA, Brooklyn, June 28, and more

a film by BETH B




June 27 & 28 - Cleveland Cinematheque, Cleveland, OH

June 28 - Coney Island USA, Brooklyn, NY

July 10 - Galway Film Fleadh, Ireland

July 11 - Zeitgeist Media Arts Center, New Orleans, LA

Aug. 9 - Northwest Film Forum, Seattle, WA

Aug. 29 - Creative Coalition, Baltimore, MD

Sept. 12 - Wexner Center, Columbus, OH



5. Anne Bean, Bertie Ferdman, Dick Higgins, Warren Neidich, Clifford Owens, Carolee Schneemann, FF Alumns, in Performance Art Journal 107

Bonnie Marranca, publisher and editor
Just published!
The inaugural title
in our new
Performance Ideas
small books series:
Evolutions of the Performance Aesthetic
by Paul David Young


Heiner Müller
After Shakespeare
Translated by
Carl Weber and

Paul David Young
Available for purchase online from TCG here.

Date of Publication: May 2014


With texts and graphics by:

Live Transmission/Performative Drawing by Morgan O'Hara
Voyage of the Transfer by Tony Orrico
On Vanishing: New Mythologies for Choreography in the Museum by Jonah Bokaer
Only This Time by Graeme Miller
Aria for Woven Voice by Caroline Bergvall
Gather and Burn by Romeo Castellucci
Lifelines by Anne Bean
Drawing as a Veinous System by Carolee Schneemann
Drawing My Way In: Joan Jonas in conversation with Bonnie Marranca and Claire MacDonald

Spatial Profiling by Francisco-Fernando Granados
Axial Drawing by George Quasha
Scripts of Time and Absence by Kirsten Justesen
Score (from Recto/Verso) by Brennan Gerard and Ryan Kelly
Performance Art and Drawing by Clifford Owens
(Two Minutes) Very Peaceful: A Note on Drawings for Performance by Tim Etchells
Writing About Drawing by Meredith Monk
How Do You Translate a Text That is Not a Text? How Do You Perform a Score That is Not a Score? by Warren Neidich

PLAYS: Three "Graphis" texts by Dick Higgins

Art and Performance Notes by Bertie Ferdman, Gillian Turner Young, Emily Carson Coates, and Paul David Young

Check out our online archive of PAJ Video and Audio Clips!

$13.00 138 pages To purchase online:




6. Beverly Naidus, FF Alumn, at Sapienza University, Rome, Italy, June 27

Beverly Naidus will give a talk "A Good Kind of Dangerous: Socially Engaged Art Meets Interdisciplinary Pedagogy" at The Arts in Society conference at Sapienza University in Rome, June 27th, 2014. http://artsinsociety.com/the-conference/program-and-events/schedule-of-sessions



7. Kyong Park, Bernard Tschumi, FF Alumns, at Graham Foundation

Graham Foundation

TAC Offices, Cambridge, Massachusetts, 1967. Photo: Ezra Stoller, Esto. From the 2014 Graham Foundation grant for the U.S. Pavilion exhibition OfficeUS at the 14th International Architecture Exhibition at the Venice Biennale.
Graham Foundation grantees at the 2014 Venice Biennale
Graham Foundation for Advanced Studies in the Fine Arts
Madlener House
4 West Burton Place
Chicago, IL 60610


The Graham Foundation congratulates all of our grantees participating in the 14th International Architecture Exhibition at the Venice Biennale. Additionally, we are pleased to provide major support to the U.S. pavilion for the exhibition OfficeUS.

Graham Foundation grantees at the 2014 Venice Biennale
Rem Koolhaas (1974*), director of the 14th International Architecture Exhibition
Phyllis Lambert (CCA, 1991), recipient of the 2014 Golden Lion Lifetime Achievement Award

Iñaki Ábalos (2014), Lucia Allais (2006), Tom Avermaete (2005), Andrew Bryant (2013), Jean-Louis Cohen (2012), Beatriz Colomina (1987), Elizabeth Diller (1985), Keller Easterling (1991), Peter Eisenman (1966), Stanislaus Fung (2000), Joseph Grima (2010), Samantha Hardingham (2012), Li Hu (2009), Sam Jacob (2014), Charlie Koolhaas (2011), Michael Kubo (2008), Vladimir Kulić (2014), Jimenez Lai (2011), Alex Lehnerer (2011), Armin Linke (2011), Michael Meredith (2008), Ana Miljacki (2004), Hans Ulrich Obrist (2009), Lluís Ortega (2013), Kayoko Ota (2009), Kyong Park (2002), Michelle Provoost (2014), David Reinfurt (2013), Hilary Sample (2003), Felicity D. Scott (2011), Lola Sheppard (2014), Martino Stierli (2011), Yehre Suh (2008), André Tavares (2014), Wouter Vantisphout (2014), Shuo Wang (2013), Mark Wasiuta (2008), Eyal Weizman (2010), Mason White (2014)
*year of first Graham Foundation grant

2014 grants to individuals
We are also pleased to announce our new grantees-68 projects, awarded over 520,000 USD, that demonstrate innovative and thought-provoking ideas in architecture.

Exhibitions: Herwig Baumgartner & Scott Uriu; Michael Leighton Beaman & Zaneta Hong; Santiago Borja; Paul Cronin, Rob Giampietro, Adam Michaels & Jeffrey T. Schnapp; Brennan Gerard & Ryan Kelly; Del Harrow & Joshua G. Stein; Cynthia Hooper; Sam Jacob, Michelle Provoost & Wouter Vantisphout; Lydia Kallipoliti; Prem Krishnamurthy & Cay Sophie Rabinowitz; Jimenez Lai; Bernard Tschumi

Films/video/new media: Sebastian Alvarez, Andrew Benz, Yoni Goldstein & Meredith Zielke; Daniel Andries; Mina M. Chow & Mitchell Block; Kelman Duran; Graham Ellard & Stephen Johnstone; Tomas Koolhaas; Léopold Lambert; Elisa Stone Leahy & Matthew Leahy; David Schalliol; Adam Schreiber

Publications: Iñaki Ábalos & Renata Sentkiewicz; Daniel M. Abramson; Tobias Armborst, Daniel D'Oca & Georgeen Theodore; Andrea Branzi & Elisa C. Cattaneo; Katarina Burin; Katherine Clarke, Liza Fior & Helen Thomas; Gareth Doherty; Sarah Dunn & Martin Felsen; Sarah Entwistle; Joseph Giovannini; Juan José Kochen; Jesse LeCavalier; Clare Lyster; Alona Nitzan-Shiftan; Jorge Otero-Pailos; Carol McMichael Reese, Michael Sorkin & Anthony Fontenot; Henry Sanoff; Eric Schuldenfrei; Lola Sheppard & Mason White; Deane Simpson; André Tavares; Thaïsa Way; Michael Webb

Public programs: Dawn Lundy Martin, V. Mitch McEwen & Sienna Shields

Research: Nicolas Grospierre; Orit Halpern; Juan Manuel Heredia; Stewart Hicks & Allison Newmeyer; Justin Hui; Sarah Mineko Ichioka; Alicia Imperiale; Matthew Jull; Anna Knoell; Vladimir Kulić; Jamilee Polson Lacy & Meg Onli; Forbes Lipschitz; Kyle May & Julia van den Hout; Simon McGown, George Valdes & David Zhai; Douglas Moffat; Vyjayanthi Venuturupalli Rao; Michael Rios; James S. Russell; Alexis A. Sanal; Megan Francis Sullivan; Edit Tóth; Jesús Vassallo

About the Graham Foundation
Founded in 1956, the Graham Foundation makes project-based grants to individuals and organizations and produces public programs to foster the development and exchange of diverse and challenging ideas about architecture and its role in the arts, culture, and society.

Current exhibition: Everything Loose Will Land: 1970s Art and Architecture in Los Angeles, curated by Sylvia Lavin; through July 26.

Next grant deadline: grants to individuals, September 15, 2014



8. Betty Beaumont, FF Alumn, at Whitebox, Manhattan, June 10, and more


Hope you've had a chance to see the "China, June 4, 1989" exhibition at Whitebox Art Center. Here's a link to an article on my Pierced Through The Heart work that is in the show:


I would like to invite you to the closing party on June 10th, Tuesday evening, from 5pm to 7pm. Whitebox is at 329 Broome Street (between Bowery and Chrystie).
Look forward to seeing you there.



9. Susan Bee, Mimi Smith, FF Alumns, in The Huffington Post, and more

I wanted to share some news with you ....

Recent Press about Doomed to Win: Paintings from the Early 1980s, A.I.R. Gallery, April 2014

Roger Denson, "Contra Acte: Mimi Smith and Susan Bee Unleash the Comic Repressed," Huffington Post (May 30, 2014)
Bradley Rubenstein, "Bete Noir," Culture Catch (April 18, 2014)
Jeff Wright, "The Sassy Bravado that is Susan Bee," On Verge (May 13, 2014)

Drawing featured in the June Brooklyn Rail, section edited by Ann McCoy: "Lost Doll"

Upcoming Group Shows

Former Islands: A Collaborative Show
June 6-29, 2014, OPENING RECEPTION Friday, June 6, 7-10pm
Gallery hours: 1-6pm Sat & Sun, and by appointment.
FORMER ISLANDS comprises the results of 1-to-1 text/image exchanges between 11 pairs of artists and writers. Each pair was invited to trade works and then create new works in response, transferring ideas between media and generating provisional relay systems between image and word, object and letter. Curated by Rachael Rakes & Leo Goldsmith. Featuring new collaborations between: Rachel Levitsky & Susan Bee and many others.
Heliopolis Project Space
154 Huron Street (between Manhattan and Franklin)
Greenpoint, NY 11222

Wet Paint: Recent Work
A.I.R. Gallery, Dumbo, NY, June 26 - July 20, 2014
111 Front Street #228, Brooklyn, NY 11201
Opening Reception: Thursday, June 26 from 6-8PM
Gallery hours: Weds.-Sunday, 11am-6pm

Susan Bee



10. Ruth Hardinger, FF Alumn, at Brian Morris Gallery, Manhattan, June 9

Dear friends,

I'm inviting you to:

A talk on Monday, June 9 at 6:30 pm, with Carol Salmanson and me about our work.

at Brian Morris Gallery, 163 Chrystie Street (between Delancey and Rivington Sts.)
The exhibition continues through Saturday June 14.

It would be a pleasure to see you.

all the best



11. Lawrence Graham-Brown, FF Alumn, at Performing Garage, Manhattan, June 27-28

" It is an ideal for which I hope to live for and to see realised. But, My Lord, if it needs be, it is an ideal for which I am prepared to die." ....Hon. N.M.

The Performing Garage Presents:

Lawrence Graham-Brown in Omnia Vanitas

A live art performative diptych spanning two nights, June 27th through the 28th. Lawrence Graham-Brown and company will extract from variations on themes surrounding contemporary concepts of wellbeing, our youth driven culture, coming of age and being gay, lonely, alone, empty, arrogant, et al.

Musical score: Thunderous rain storm, howling, lightning
Olfactory notes: Sandalwood, jasmin, orange blossom etc.

Cocktails and light fare
Dress code: Creative attire

This performance will be in the nude

The Performing Garage Presents is supported by The Lower Manhattan Development Corporation, which is funded through Community Development Block Grants from the U.S. Department of Housing and Urban Development; the New York City Department of Cultural Affairs; the New York State Council on the Arts; and the Foundation for Contemporary Arts.

More Information: http://theperforminggarage.org/events/lawrence-graham-brown/

....Online intro https://www.youtube.com/watch?v=WEACbeN13HA



12. Lo-Vid, FF Alumn, in the Wall Street Journal, June 8

Wall Street Journal, June 8, 2014
NY Culture
For Art Hub Eyebeam, It's Goodbye to Chelsea and Hello to Brooklyn
Experimental Eyebeam Will Make Move at End of June
By Rebecca Brataburd
Eyebeam Art and Technology Center is leaving its stomping grounds in Chelsea and decided to throw a party to say goodbye.

By the end of June, Eyebeam will journey back to Brooklyn. It will operate out of the Sunset Park area before settling into the borough's Downtown Cultural District in 2016.
"When I first came here in 2000, I thought it was the new frontier," said artist Benton-C Bainbridge, who provided some of the visual aesthetics for Thursday night's get-together. "I hate to say it, but I think it's time for Eyebeam to move because as much as we're technologically advanced animals and can work from anywhere, our place still affects us. Chelsea is residential, and no longer the experimental art neighborhood. Maybe it's time to find a new frontier."Being a technology-focused experimental art hub, Eyebeam belongs in Brooklyn, said Executive Director Pat Jones.

"One of the problems we have with Chelsea is that it's such a high-end gallery district that people don't know what to make of Eyebeam here," she said. "It'll be a more accepted part of the community in a more immediate sense."
The Downtown Brooklyn Cultural District is already home to about 50 cultural organizations, including Brooklyn Academy of Music, Mark Morris Dance Group and BRIC.

The party, with the theme "HOR|ZONS," featured seven bright lasers and an array of neon lights-a joint effort by Mr. Bainbridge (of Glowing Pictures); Sofy Yuditskaya; Brenna Murphy and Birch Cooper (working under their MSHR banner); and LoVid.
Mr. Bainbridge and Ms. Yuditskaya created a "portal effect" by combining laser projections and video feedback, which one could see as symbolic of Eyebeam's upcoming move.

"It looks like the feeds are reaching out and hitting a portal into another dimension," Mr. Bainbridge said. "We're looking out at the horizon, entering unknown territory, we don't know once we step out of here and into the new space what will happen exactly."
The music centered on electronics, with sets from Michael Magnan, MSHR, Extreme Animals, Slava, UNO, La'Fem Ladosha and Internet Powerlifting Federation ( Saheer Umar and Asya Gorbacheva ).

Eyebeam calls the move to Brooklyn a return to its roots, though the borough is much different than when the center was founded in 1997. Rezoning in 2004 made it possible for about 5,000 apartments to be added to the downtown area. Over the next three years, another 3,000 apartments will be built in the neighborhood surrounding Eyebeam's future home at Lafayette Avenue and Ashland Place.

"We've been well-known to a small audience and now we're going to be in a space that is so public," Ms. Jones said. "With more outreach and civic engagement, we'll introduce a really wide public to this amazing cross section of art, technology, culture and STEM."
Eyebeam's space in Chelsea was essentially a simple loft, Ms. Jones said, but its new home will have artists' workspaces as well as areas for exhibitions and performances.
"The space influenced what kind of events happened here," Slava Balasanov said after his set. He had a residency at Eyebeam two years ago.

"In terms of the exhibition spaces, it'll be a better situation. This is a challenging space for exhibition, even though when it's done right, it can be pretty amazing," he said
Ultimately, Mr. Balasanov said he expects the spirit of Eyebeam to change little.
"The people will still be there," he said. "The essence of Eyebeam will still be there."



13. Robert Rauschenberg, Cathy Weis, FF Alumns at Cathy Weis Studio, Manhattan, June 15


Cathy Weis Studio
Organized by Cathy Weis and Julie Martin


9 Evenings: Theatre & Engineering

Robert Rauschenberg, Open Score

Sunday, June 15, 2014, at 8 p.m.

Remarks by Robert Mattison, Marshall R. Metzgar Professor of Art at Lafayette College and author of Robert Rauschenberg: Breaking Boundaries

Free admission

Cathy Weis Studio, 537 Broadway

537 Broadway is located between Prince and Spring streets.
Press buzzer #3 and walk upstairs. Elevator available upon request. For more information, email sundaysonbroadway@gmail.com



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

Goings On is compiled weekly by Harley Spiller




Goings On is compiled weekly by Harley Spiller