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Contents for June 30, 2014

1. Alicia Grullon, FF Alumn, at Longwood Arts Gallery, The Bronx, July 8

Come Love Environmental Justice! At the Longwood Arts Gallery, 450 Grand Concourse at 149th Street in Hostos Community College on:

July 8th from 6-8 pm
"South Bronx Unite: Boycott Fresh Direct!"
Roundtable with: Mychal Johnson

Mychal Johnson is a Bronx resident and activist with South Bronx Unite. His recent focus has been the relocation of Fresh Direct to the South Bronx and the adverse affects it would have on the air quality in the area which has the highest asthma rates in the City. This roundtable connects to the PERCENT FOR GREEN's focus on the history of the Environmental Justice Movement in the US in low- income areas and communities of color and links green urban issues to health, food and the economy. www.southbronxunite.com


July 10 from 3-5 pm, Tanya Fields and Rosalba Lopez Ramirez
"On the Ground: Women, Inner Dialogues, Healing & Communal Transformation"
Roundtable with: Tanya Fields & Rosalba Lopez Ramirez

A dialogue about overcoming (a daily struggle for many of us) the inner women conversations that societies has penetrated in our mind: not good enough, not articulate enough, not pretty enough and not _______ (go on let it out). We'll go into, delve into it, hear one another and share the means through, which have come to begun to mend our wounds and transformed them into our source of power for ourselves, families and our communities. As a space that promote a communal learning, we welcome all participants to bring poems, songs, and other forms of art that speaks to your personal or communal quest for liberation. This roundtable connects to PERCENT FOR GREEN by looking at the people who live, work and play in America's most polluted environments most commonly people of color and the poor with women as the head of households. Concerning the environment, women are the main recyclers in the home often deciding how family budgets are spent and on what. Women are also most likely get out the vote and vote more often. Providing support to women benefits entire communities and society. Studies show worldwide that when women are empowered, local economies improve, populations stabilize, and children's health and education improve. www.theblkprojeck.com http://kellystreetgarden.wordpress.com/

July 15th from 2-4 come join in on a community member initiated workshop by master composter and mom Stephanie Orenge who will teach the principals of vermiculture composting.

If you want to propose a community workshop or roundtable, email Alicia at percentforgreen@gmail.com

These roundtables and workshops are brought to you by PERCENT FOR GREEN, a social practice project by Alicia Grullon whose goal is to pass a Percent for Green bill in the Bronx. It is one of seven projects part of inClimate curated by Regina Cornwell and presented under the auspices of Franklin Furnace Archives and its founder director Martha Wilson, PERCENT FOR GREEN is made possible with public funds from the Bronx Council on the Arts through the New York State Council on the Arts Decentrailization Program and in partnership with the New York City Department of Cultural Affairs.

for more information go to: http://percentforgreen.tumblr.com/ and www.inclimate.org

Longwood Arts Gallery, 450 Grand Concourse is at 149th Street in Hostos Community College. Take the #2, 4, or 5 trains to 149th street and the Grand Concourse (so easy from Brooklyn and only 20 minutes by car from the Queens Museum via the Triborough Bridge) or get the the BX #1 or #2 bus




2. Sydney Blum, FF Alumn, in Art Fuze magazine, June 15

Arte Fuze
Fuzzy Geometry by Sydney Blum at Kim Foster Gallery
By Daniel Gauss

As a possible descendant of Carl Friedrich Gauss (the Prince of Mathematicians, the inventor of non-Euclidean geometry and the creator of a 17-sided polygon - this was once big news in the field of geometry), I was compelled to see the show of work by Sydney Blum, at Kim Foster Gallery, called 'Fuzzy Geometry.'

Fuzzy Geometry is actually a serious subject in the field of mathematics with philosophical and 'theory of knowledge' implications. All I inherited from C.F. Gauss, however, was his big nose so I don't claim to be an expert on geometry. From what I can tell, I'm guessing Fuzzy Geometry is kind of like the Heisenberg Uncertainty Principle, but applied to bigger stuff than subatomic particles. I think Heisenberg said that in the process of trying to pin down the location of various particles, we change the scene so that an exact location of anything subatomic can never be precisely known. We can have kind of a 'fuzzy' awareness, however. But a fuzzy awareness seems to work - it's good enough to do the trick.

It's the same thing basically in Fuzzy Geometry. Essentially there is a difference between theoretical space and real space and our capacities to measure and create in these two realms. Imprecision is an aspect of any type of real measurement and it is ignored in the field of pure mathematics but it cannot be ignored if you are building airplanes. Frankly, I don't know exactly what Fuzzy Geometry is, but the concept can still be meaningful to me in artistic terms. I think we can go with the definition that pure location and measurement is a myth in the real world and that we are always working with a type of fuzziness when we measure stuff and the relations between stuff. We want absolute precision and certainty, but we need to throw in the towel and accept the fact that we have to live with a certain amount of ambiguity: but that's OK.

So the artist basically works and plays with the concept of 'fuzzy' or 'fuzziness'. In the past she literally used human or animal hair in her pieces. After a while she had ethical qualms about doing this and deliberately switched to synthetic hair to connect the dots in the coordinate systems she uses in her pieces. I think how Blum uses hair is, in fact, a key to interpreting the pieces because hair possesses a number of symbolic qualities. Hair can represent potency - remember Samson? Hair is also sexy - it no longer serves any real survival value for us - it's there purely for Darwinian 'sexual selection.' It's also a component of the 'animal' or 'natural' self we often attempt to deny.

In her pieces, as I interpret them, Blum seems to be subjecting hair to a type of procrustean process. (Quick ancient Greek mythology refresher here: Procrustes had two beds: one long and one short. If a traveler stopping by his home in the wilderness was tall, he'd be given the short bed and vice versa. At night the tall person's limbs that overhung the bed would be chopped off by Procrustes or a short person would be stretched to death to fit the longer bed.) The hair seems to be coiled and stretched, unnaturally, between the points. It is then tied in place by wires. The hair could be long and flowing and gently curling, but it becomes rope-like and looks to be stretched to the point of bifurcation. The implication (to me) seems to be that intellectual systems are supposed to exist for us, they are supposed to aid us in our development in a smooth and easy process; we should not have to try to fit into such systems or become slaves to them. So the Fuzzy Geometry pieces, potentially, represent a kind of conflict between a natural and theoretical development - intellectual systems often expect nature to conform to the structure of thought and not vice versa. The system does not form around the hair, the hair is stretched within the system. There might be a more natural process of perception and assessment than the purely abstract and mathematical approach. Indeed, a purely abstract approach might always be quite limiting or even destructive to a type of natural development.

Of course there can be a zillion interpretations and another could be that these geometrical shapes are kind of like Meret Oppenheim's furry cup and saucer at MoMA. Just as the cup and saucer have absurdly transformed into something hairy, maybe the geometrical shapes, or what they represent, possess an inherent quality to morph into something more organic and lively once the need for precision and exactitude is abandoned.

Kim Foster Gallery
529 W. 20th
New York, NY 10011
Show runs until July 3rd
Writing by Daniel Gauss
Photography provided by the gallery and the artist



3. Jerry Kearns at Mike Weiss Gallery, Manhattan, thru Aug. 23

Jerry Kearns exhibition RRRGGHH!!!
Mike Weiss Gallery
26 June - 23 August

Jerry Kearns' first solo exhibition with the Mike Weiss Gallery will feature 8 new paintings on canvas as well as 5 wall murals. RRRGGHHH!!! restages the elemental conflict between hero and villain in the template tradition of this type of narrative, good versus evil, begun over 2000 years ago with The Book of Revelations and continued in different iterations today.

Jerry Kearns exhibition RRRGGHH!!!
Mike Weiss Gallery
26 June - 23 August
520 W 24 NYC



4. Nora York, FF Alumn, at Joe's Pub, Manhattan, July 10

Nora York
Jerry Kearns
Nora York riffs on post-pop history painter Jerry Kearns images; hear/see this dynamic duo jump cut through culture, rapid fire fact checking shifts in the American narrative.

Joe's Pub
Thursday July 10th 2014
7pm reservations suggested!

The Public Theater
425 Lafayette Street
New York, NY 10003
General Info: 212.539.8500
Box Office: 212.967.7555 (10am - 7pm daily)

tickets at box office or:


Nora York, singer, performance artist, and Joe's Pub favorite, presents her new multimedia concert: Fables and Yarns. This Multi-media event joins the vision of these two iconic artists, as they "keep an eye on things."

Joining York will be her Amazing Band with Jamie Lawrence, piano; Dave Hofstra, bass; Steve Tarshis, guitar; Peter Grant, drums;
and Sherryl Marshall, voice

"Ingenious, radical, extravagant talent... The Avant-garde diva... daring vocalist and conceptualist ... is sure to take it to parts un-dreamed of." -The New Yorker

LOVE CRAZY: York's Clocktower Radio show featuring and interview with Jerry Kearns is on air NOW.
click here to listen to the words and favorite music of this artist.

This chapter of LOVE CRAZY lives up to the title Love Crazy as Nora York interviews her favorite painter Jerry Kearns, who also happens her one and only true love.



5. Joni Mabe, FF Alumn, at 11th Big E Fest, Cornelia, GA, Aug. 2

Joni Mabe the Elvis Babe presents 11th Big E Fest, Aug. 2, 2014, Grant Reeves VFW, Cornelia, GA.

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



6. David Medalla, FF Alumn, at the Philippine Embassy, London, UK, July 1


Dear Friends,
Warm greetings !
Come to the fINAL DAY of Noel ed de Leon's solo exhibition,
curated by Eva Bentcheva of SOAS,
on Tuesday, the First of July 2014, 6 - 8 p.m.,
in the Social Hall of the Philippine Embassy in London,
around the corner from the National Gallery
on Trafalgar Square.
Join us in joyous conversations
and telling personal tales of voyages
imaginary and real.
Adam Nankervis, international coordinator of the London Biennale,
will introduce the individual LBAs who will narrate their travel stories.

Best wishes from David Medalla,



7. Peter Downsbrough, FF Alumn, at Museum für Gegenwartskunst Siegen, Germany, thru October 2014
Museum für Gegenwartskunst Siegen
Unteres Schloss 1
57072 Siegen
Hours: Tuesday-Sunday 11-18h,
Thursday 11-20h
T +0271 405 77 0
F +0271 40577 32
What Models Can Do
A Short History of the Architectural Model in Contemporary Art

In architecture, in the decision-making and building process the three-dimensional, scaled-down architectural model serves as an instrument. It is a tool of information about planned and constructed architecture. At the same time, it can embody visions and utopias in the context of urban development. In the field of conceptually influenced contemporary art these visionary and utopian aspects are reinforced, and the model can also be implemented as a device to criticize social conditions. The art converts the model in sundry ways: It is opened up poetically and used metaphorically, even theatrically. In this context the mystical aura of smallness, onto which the viewer's eye falls, is important. Finally, the reference to the architectural model helps developing questions pertaining to post-minimal-art sculpture.

The exhibition will be accompanied by a catalogue containing a comprehensive essay by Martin Hartung and a picture essay by Stefan Mörsch next to commented pictures of works (German). The catalogue will be published by the Snoeck Verlag, Cologne.

The artists of the exhibition:
Absalon, Michael Ashkin, Thomas Bayrle, Peter Downsbrough, Jimmie Durham, Jean Pascal Flavien, Alicia Framis, Carlos Garaicoa, Ludger Gerdes, Dan Graham, Christian Haake, Gabu Heindl & Drehli Robnik, Matthew Day Jackson, Friederike Klotz, Langlands & Bell, Rita McBride, Isa Melsheimer, Stephan Mörsch, Sirous Namazi, Hermann Pitz, Hinrich Sachs, Michel Sauer, Thomas Schütte, Laurie Simmons & Peter Wheelwright, Charles Simonds, Stephen Willats, Elizabeth Wright, and Yin Xiuzhen.

What Models Can Do
A Short History of the Architectural Model in Contemporary Art
June 29 to October 12, 2014
Opening on sunday, 29th at noon

The presentation is sponsored by the Ministry for Family, Children, Youth, Culture, and Sports of the German federal state Northrhein-Westphalia.



8. John Held, Jr., FF Alumn, at Ever Gold Gallery, San Francisco, CA, thru July 18

John Held, Jr. has curated a show for Ever Gold Gallery, San Francisco:

"Oh How Much It Hurt: Fred Martin and Friends in the Fifties"
Curated by John Held, Jr.
Ever Gold Gallery
San Francisco, California
June 14-July 18, 2014

Ever Gold Gallery is pleased to present, "Oh How Much It Hurt: Fred Martin and Friends in the Fifties," curated by John Held, Jr., with works by Martin, Jay De Feo, Wally Hedrick, Deborah Remington, David Simpson and Roy De Forest, many of which have not been seen in 60 years since they were first shown at the legendary Six Gallery (1954-1957), one of San Francisco's first alternative art spaces and the site for the first reading of Allen Ginsberg's, "Howl" in October 1955.

Fred Martin is well known in the Bay Area as a past Director of the College (1965-1974) and Dean of Academic Affairs (1983-1992) at the San Francisco Art Institute, where he continues to teach as a Emeritus professor. He is also a former columnist for Artweek magazine (1976-1992), but at heart he has always been a painter, and this Ever Gold show delves deep in exposing the roots of the 87 year old painter's work, and those of his friends, in the 1950s.

Graduating from the University of California, Berkeley (BA 1949, MA 1954), Martin, with classmates Sam Francis and Jay De Feo, entered into the fresh terrain of new thought and currents in art dominated by Abstract Expressionism. Receiving additional instruction at the California College of Fine Arts (now the San Francisco Art institute), he studied under David Park, Mark Rothko and Clyfford Still. While there, he came into contact with fellow students, who would go on to open Six Gallery.

Martin had three solo shows at the Six Gallery (founded by painters Hedrick, Remington, Simpson, Hayward King and poets Jack Spicer and John Allen Ryan) with works hung during Ginsberg's reading of "Howl." While Jack Kerouac shouted, "Go! Go! Go!," at the event, Martin's abstracted cityscapes, painted on Masonite while leaning on the steering wheel of his car as he traversed The City, captured the transition from abstraction to figuration, which would come to dominate San Francisco's artistic climate by the end of the decade.
These works, along with three other oils on canvas, capture the spirit of Martin's enthusiastic beginnings.

In the current Ever Gold exhibition, Martin's early works are placed in the context of artists with whom he came of age, including Jay De Feo, Sam Francis, Roy De Forest, David Simpson and Wally Hedrick. De Feo is represented by the 1955 painting, "Landscape with Figure," which was shown at her 2013 retrospective at SFMOMA and the Whitney Museum of American Art. Early paintings by Deborah Remington and David Simpson, have never been shown before. A large De Forest painting, created at the end of this period, was shown at the Dilexi Gallery in 1961, marking the transition from artist run spaces to commercial venues in the San Francisco art scene.

The exhibition captures the spirit of experimentation these artists wrestled with during the turbulent "Beat Era," ushering in increased recognition for both the artists and The City in which they came of age. The majority of the works are from Fred Martin's own collection acquired directly from his artist friends.

The exhibition opens June 14 with a reception for the artist, and runs until July 17.

San Francisco Chronicle review here:



9. Feliz Gonzalez-Torres, FF Alumn, at P!, Manhattan, thru July 27

June 28 - July 27, 2014
Summer hours starting July 1: Tues-Fri, 1-7pm
Alex Felton
Felix Gonzalez-Torres
Sanela Jahić
Enzo Mari / Josh Mattes
Tania Perez Cordova
Nancy Shaver
Ryohei Usui
Curated by David Knowles

On both sides of the glass, there is something that looks like trash; it sits silent and stoic, waiting to meet its better half. The world appears warped and refracted inside a fishbowl gallery - small moves, magnified and repeated. Space has a memory that, like all memories, is subject to revision. Objects echo off the walls and come to rest in an architecture of quotidian gestures and humble materials. Doing the same thing over and over and expecting a different result - Einstein called this insanity. But this furniture, this room, this world that you and I live in - it's formed by the simple repetitions of man and nature: the cloth bathed in sunlight, day after day, that slowly loses its color; the cups of coffee you drink each morning to face the world; the glasses that seem to show you different things from every angle; the water that evaporates diligently, persistently, with all the tension and drama of a glacier carving a valley. The same things happen again and again and again and yet somehow the world stays different, insane.

Alex Felton is an artist and publisher who lives and works in Portland, Oregon. He has exhibited widely in the USA and is co-editor of the periodicals Nudity in Groups and Weekday.
Felix Gonzalez Torres (1957-1996) was a Cuban-born American artist. He joined the collective Group Material in 1987.
Sanela Jahić is an intermedia artist who constructs kinetic objects and installations. She lives and works in Škofja Loka, Slovenia.
Enzo Mari is an Italian artist and designer. He developed the the do-it-yourself furniture project Autoprogettazione in 1974.
Joshua Mattes received his BFA from the Minneapolis College of Art and Design. He currently lives in New York City where he works as an artist and fabricator.
Tania Perez Cordova lives and works in Mexico City. She has exhibited internationally at venues such as the 9th Mercosul Biennial in Porto Alegre and the Kadist Art Foundation in Paris. She recently completed a residency at Gasworks London.
Nancy Shaver's work investigates the beauty and economy of everyday utilitarian objects. Since 1994, she has been the proprietor of the laboratory retail space Henry in Hudson, New York. She teaches at the Milton Avery Graduate School of the Arts at Bard College.
Ryohei Usui was born in Shizuoka, Japan, and currently lives and works in Tokyo. His photography and sculpture use found objects to explore the link between personal, national, and mythical identities.

334 Broome St
New York, NY 10002
Summer hours starting July 1: Tues-Fri, 1-7pm
and by appointment
Visit P! on Facebook
Follow @p_exclamation on Twitter



10. Donald Daedalus, FF Alumn, publishes new interactive eBook

New Interactive eBook by Donald Daedalus

Waging On Aging Centurions: Urban Paths & Channels of Power, 2014, 730 pages for iPad & Mac OSX. Available in the iBookstore

Created from five case studies in New York, Atlantic City, and Miami Beach, this work poses new questions of how power, capital and human resources move through the urban environment through the use of photographs of urban constructions merged with discursive essays. These five photoessays challenge traditional methods of book navigation while problematizing the relationship of text to image toward new understandings of representation and power.
Donald Daedalus



11. LuLu LoLo, FF Member, in FM10, summer 2014

LuLu LoLo published in FM10 Summer 2014

LuLu LoLo has two poems about George Frederick Cooke (the penniless English actor who sold his body before his death to a medical school-his skull was used in productions of Hamlet he is buried in St. Paul's Chapel Cemetery) and her thoughts on "My New York" published in FM 10 SUMMER 2014, a literary quarterly, featuring poets and writers from around the world writing about the usual and the extraordinary, with special emphasis on Summer and New York. http://www.amazon.com/dp/1500229210/ref=cm_sw_r_fa_dp_EtwQtb0QKRBPD783
Note: George Frederick Cooke poems were written while LuLu LoLo was an LMCC Writer in Residence.



12. Laurie Anderson, Dan Graham, Bill T. Jones, Yoko Ono, FF Alumns, in The New York Times, June 29

The New York Times
Boxed In, With Room for Creativity
'NYC Makers: The MAD Biennial' Opens on Tuesday
By TED LOOSJUNE 29, 2014
For the first show he conceived as director of the Museum of Arts and Design, Glenn Adamson is thinking inside the box.
The box is a large yellow crate made by the Brooklyn packing and art transport company Boxart, built for a bulbous sculpture by Wendell Castle. The crate is part of "NYC Makers: The MAD Biennial," opening on Tuesday. While Mr. Castle's sculpture is tucked inside, it is not officially part of the show.
"I like this idea that a fine artist and a crate maker can all be seen on a level playing field," Mr. Adamson said. "It's a powerful idea, and a radical idea, for a museum." Though biennials are not exactly news, Mr. Adamson's exhibition features a fleet of objects and installations that may be getting through the door of a major cultural institution for the first time: bottles of whiskey, a jar of handmade candy and scratch-and-sniff wallpaper, for starters.
Mr. Adamson is attempting what he calls an ambitious "relaunch" of the museum's mission, which has been focused on "making sure craft is an equal part of the art world," he said. "Now we're looking at what the skilled maker brings to the larger world around us."
The new biennial format spotlights work by 100 citywide "makers" - the trendy term for creators of any kind - and it includes a cross-disciplinary group of people within New York City. Some are famous, like Laurie Anderson, Meredith Monk and Yoko Ono, while others have yet to gain renown, like the wallpaper company Flavor Paper. One of the sweaty-smelling papers in the show is supposed to evoke "the scent of creativity of 100 makers," said Jake Yuzna, the biennial's curator.
Lest anyone doubt the of-the-moment feel to the maker concept, President Obama proclaimed June 18 a National Day of Making.
There are objects in the show that would not be out of place at the Metropolitan Museum of Art or the Whitney Museum of American Art, like two crumpled glass sculptures by Jeff Zimmerman. But the show, which Mr. Adamson said he conceived during his first week on the job last fall, is part of his effort to create a more accessible museum. He added: "A good rule for me is that an 8-year-old should be able to get quite a lot out of everything. It's not that all the content has to be totally introductory, but there should be something for them to hang on to."
That approach makes some people in the art world nervous: Could a level playing field devalue the more traditional artworks on view?
"It's a concern," said Zesty Meyers, an owner of the design gallery R & Company, which lent the Zimmerman sculptures to the show. "But if it's done right it could be the best show in the world."
The biennial organizers are taking pains to create the feel of an open studio where artisans ply their trades in person. Mr. Adamson said it would have the air of a festival. In August, for example, Martinez Hand Rolled Cigars will demonstrate their rolling process; some of their cigars are on view for the duration of the exhibition.
In searching for previously unheralded creativity, the museum - which was founded in 1956 as the Museum of Contemporary Crafts and moved to 2 Columbus Circle in 2008 - has tapped in to a populist strain of the current cultural moment. Candidates were nominated by more than 300 New York City cultural leaders including the artist Dan Graham, the choreographer Bill T. Jones and the fashion designer Reed Krakoff. Then a 10-person jury led by the design entrepreneur Murray Moss, including Mr. Adamson and Mr. Yuzna, made the final selections.
Mayor Bill de Blasio has made frequent comments about the city's richness beyond Manhattan, which is well in evidence in the museum's biennial's representation from Queens, the Bronx, Staten Island and especially the maker-hub of Brooklyn.
"It coincides with what the mayor has been talking about: New York City as a five-borough place," Mr. Adamson said.
A subtheme of the show is the vital role of the artisan in what Mr. Adamson calls New York's "creative economy," and some outside groups have tried to quantify at least part of that impact.
Last month, the nonprofit group Center for an Urban Future released its analysis of figures from the Bureau of Labor Statistics. Its report, "New York's Design Economy," looked at the topic in the broadest sense, from fashion to landscaping to industrial work.
"We want to highlight parts of the economy that have flown under the radar, and design is a great example of that," said Jonathan Bowles, executive director of Center for an Urban Future.
The group reported that, according to the bureau, the number of professional designers in New York was 40,340 in 2013 and had bounced back significantly since the recession but had not reached the levels of 2008, when the number was 44,400.
New York is still the country's undisputed design hub, and more to the point of the museum's show, Brooklyn and Queens were found to be leading the growth. The number of design firms in Brooklyn doubled between 2003 and 2012, from 265 to 532.
"A show like this sheds light on the suppliers - specialized people who normally don't fit into an existing category, but they're artisans making things," said Rosemary Scanlon, dean of the Schack Institute of Real Estate at New York University. Ms. Scanlon produced three extensive reports on the economic impact of the arts: in 1983 and 1993, as an economist for the Port Authority of New York and New Jersey, and in 2007, as a consultant for the Alliance for the Arts.
In organizing the biennial, which will tackle a new city in two years, Mr. Adamson also has an eye on the museum marketplace and positioning the museum as a distinct brand. He mentioned the more famous biennial across town at the Whitney as a point of reference.
"The kind of spiky, theoretical programming is being done so well at other spaces that I think we can become a point of entry for people," Mr. Adamson said. "Look where we are: the corner of Central Park. I would like people to experience MAD as a fantastic adjunct to a day in the park."
Some of the makers who are usually behind the scenes are surprised and delighted to find themselves in the spotlight.
"When I got the first call from Jake I thought it was, well, not exactly a scam, but I was a little skeptical," said Daniel Hanford, the director of Boxart, which works frequently with the Guggenheim Museum and the Museum of Modern Art.
"I've been doing this for 20 years, and most of the time no one gets to see our work," Mr. Hanford said. "It feels great."
"NYC Makers: The MAD Biennial" opens on Tuesday and runs to Oct. 12 at the Museum of Arts and Design, 2 Columbus Circle; 212-299-7777; madmuseum.org.



13. Andy Warhol, FF Alumn, at Kunstpalais, Erlangen, Germany, thru Aug. 31

28 June-31 August 2014

Palais Stutterheim
Marktplatz 1
91054 Erlangen

T + 49 (0) 9131 86 2735


Ulf Aminde (Germany), Vanessa Beecroft (Italy), Joseph Beuys (Germany), Anna & Bernhard Blume (Germany), Marcel Broodthaers (Belgium), Janet Cardiff & George Bures Miller (Canada), Natalie Czech (Germany), Hanne Darboven (Germany), Robert Filliou (France), Nan Goldin (USA), Jack Goldstein (Canada), Eugen Gomringer (Switzerland), Camille Henrot (France), Peter Hutchinson (USA), Christian Jankowski (Germany), Eva Kotátková (Czech Republic), Robert Longo (USA), Nasan Tur (Germany), Andy Warhol (USA)

Curator: Ina Neddermeyer

The Municipal Collection Erlangen assembles more than 4,500 significant works of art. Started in the 1960s, the collection reflects the variety of contemporary graphic art spanning from small drawings to space-filling installations, from edition works and multiples to unique copies of graphic art.

Under the title RE: COLLECT the Municipal Collection will be exhibited for the first time at the Kunstpalais. Significant graphics are selected for the exhibition and presented together with works of contemporary art. Of main significance is the question which discourses from the second half of the 20th century can be transferred to the present. The exhibited works of contemporary art are not limited to graphics, but include video installations, photography and space installations.

RE: COLLECT examines central aspects of the contemporary art discourse: the involvement with society and science, the value of art, the human body, language and music. It is illustrated how central art movements from the 1960s and 1970s like performance art, conceptual art, Land Art and Pop Art resonate in contemporary art. With various references the exhibition examines in which ways international artists deal with topics and subjects today, which also constitute essential aspects of the Municipal Collection Erlangen.

The Kunstpalais
As a new venue for contemporary art in Erlangen, the Kunstpalais opened in the Palais Stutterheim in June 2010. With two solo shows, one collection related exhibition and one group exhibition every year relevant contemporary approaches in the international art scene are presented.

The exhibition Glück happens (Happiness happens) with Mona Hatoum, Tobias Rehberger, Runa Islam, Christian Jankowski, Erwin Wurm, Aleksandra Mir and others served as the prelude in 2010.

In the following year iRonic. Die feinsinnige Ironie der Kunst (The Subtle Irony of Art) with John Bock, Mark Dion, Ragnar Kjartansson, Anton Henning, Peter Land, Shannon Bool, Brigitte Kowanz and others was exhibited.

In 2012 the exhibition Töten (Killing) brought together among others the artists Jenny Holzer, Taryn Simon, Björn Melhus, Anri Sala, Yves Netzhammer, Kitty Kraus, Eva & Franco Mattes and Parastou Forouhar.

The topic of last year's thematic exhibition was Freiheit! (Freedom!). Among others Ai Weiwei, Johanna Billing, CAMP, Bouchra Khalili, Klara Lidén, Lars Ramberg, Nedko Solakov and Artur Zmijewski participated in the exhibition that dealt with the Arab Spring and investigated the idea of freedom from a non-European point of view.

This year the group exhibition Affekte (Affects) examined how much socities worldwide are driven by affects. Among others Bill Viola, Cyprien Gaillard, Aernout Mik, Santiago Sierra and Meiro Koizumi dealt with affects erupting in terms of protests on the streets against social and political injustices as well as in the digital world.



14. Istvan Kantor, FF Alumn, at The Renoma, Wroclaw, Poland, thru July 31

Istvan Kantor
Media Revolt
The RenomaWRO exhibition
June 20-July 31, 2014

Renoma Department Store


Curated by Piotr Krajewski

Open pop star Monty Cantsin, also known as the steadily eccentric and radical Hungarian-born Canadian artist Istvan Kantor, is showing his exhibition Media Revolt in Wrocław's Renomabuilding. This is the second experimental undertaking jointly organized by the WRO Art Center and Griffin Art Space in the RenomaWRO series, which started with an international exhibition of installations during the WRO 2013 Media Art Biennale.

"The RenomaWRO Media Revolt exhibition is a continuation of Kantor's discourse on the subject of the conventions of social institutions and cliches of art duties," says Piotr Krajewski, the curator of the exhibition.

Born in communist Hungary, and living and working in Canada, Istvan Kantor (aka Monty Cantsin, aka Amen!) creates intense and idiosyncratic productions that never fail to provoke discussions about the nature of art authorities and the institutionalization of art. He uses widely assorted means of expression: screen works, performances, multimedia installations, painting, photography, actionism, pop culture, anti-ideology, legalism, revolt, social movements, noise and song. In his ongoing battle for the independence of artists in a society that's increasingly unified technologically but increasingly stratified economically, Kantor's tone remains ironic and personal, and he finds the strategies of appropriation and reciprocity, pathos and mockery, planning and improvisation equally useful. As the open pop star Monty Cantsin, Kantor became the icon of Neoism, a subversive movement he launched in 1978 with an underground, anti-institutional stance that questioned mainstream ideology, economy, culture and artistic production.

Kantor's works are experimental intellectual rebellions. "Bringing about the downfall of art by giving up art objects was a 20th-century game, full of lost and failed revolutions...But there are signs that the game isn't over yet, and the remaining desperate players are still trying to overthrow the reigning system of art as commodity," Kantor says. In keeping with the spirit of Neoism, Kantor carries on avant-garde traditions of rebellion, and his artistic endeavors-no matter what media he uses-always relate to the social situation. He has been arrested and jailed a number of times in the last three decades for his activities, including guerilla-style interventions in art institutions.

Kantor has won numerous prestigious awards, such as the Telefilm Canada Award for the Best Canadian Film and Video in 1998, the Transmediale Berlin Award in 2001 and the Canadian Governor General's Award in Visual Media and Art. He has participated in several WRO Biennales: At WRO 93 and WRO 97 he won second prize (for his works Barricades and Nineveh, respectively); at WRO 09 honorable mention for (The Never Ending) Operetta, and the audience at WRO 2011 responded very enthusiastically to his performance Antihero!.

In conjunction with Media Revolt, the WRO Art Center is publishing in English a multimedia collection of Kantor's most important writings, video works and musical performances. The publication is part of the WIDOK: WRO Media Art Reader series.

For more information on terms and conditions of the distribution of the publication Istvan Kantor Media Revolt (WIDOK: WRO Media Art Reader series, book + DVD, in English), for interested parties and institutions (teachers, students, artists, galleries, museums, libraries, etc.), please visit www.wrocenter.pl/mediarevolt

Realisation: WRO Art Center
Patron of the RenomaWRO project: Griffin Art Space



15. Coming Out Muslim at Wild Project, Manhattan, July 8-9

COMING OUT MUSLIM: RADICAL ACTS OF LOVE stories and experiences of being at the intersections of Islam and queerness and its relationship to family, lovers, one's sense of self and relationship with their faith.
FRESH FRUIT FESTIVAL - Wild Project east 3rd street at avenue B
Tuesday July 8 @ 9pm. / Wednesday, July 9 @ 9pm.
limited seating - advance tickets recommended

Greetings COMING OUT MUSLIM supporters and allies,

Thank you - as always - for encouraging this vision
We are thrilled to be in NYC this July 8 and 9 and hope you will join us!

As we grow COMING OUT MUSLIM's vision: the possibility of each of us
being as we are committed to the liberation and freedom for queer muslims and all who stand at the intersection of identities to be the shining souls we are!

We would love to have you there and share in the project, whether it's your first time witnessing Coming Out Muslim or if you've already seen it - there are new pieces and soundscape to share! The show fatefully falls during the holy month of Ramadan
and as part of the 2014 NYC Fresh Fruit Festival!

We are also requesting your ideas/connections for wider audience and sources of abundance - a modest amount will assist us in creating beautiful documentation so that we can share with others not able to join us yet in public space and apply for foundation support. Folks may contribute tax exempt through our fiscal sponsor, the Field.

We look forward to your thoughts - they contribute to sharing possibilities for all to celebrate and live their faith and love!



16. Elana Katz, FF Alumn, at Station Independent Projects, Manhattan, July 24, 27

THE SUNDAY [performed on a thursday].
Elana Katz, 2014

Performance: July 24th, 7pm
Artist Talk: July 27th (time TBA, please check Station Independent website)

@ Station Independent Projects
164 Suffolk Street, New York, NY

THE SUNDAY [performed on a thursday]. is a 1 hour performance by Elana Katz, which pertains to unpremeditated cultural assimilation, and the integration of religiously-based customs into secular multicultural life.

Elana Katz is an American artist currently based in Berlin, Germany. Working often from a historical basis, Katz's work confronts cultural conventions, critically examines the complexity that lies within contradictions, and thus aims to create an experience of unlearning the assumed. Her recent grants have included the DAAD Graduate Studies Grant (2010) and the Franklin Furnace Fund (2011). She participated as a re-performer at Marina Abramovic's retrospective at the Museum of Modern Art in New York (2010), and has recently exhibited/ performed at Location One, New York (2011), Royal Museum of Fine Arts of Belgium (2011), Freies Museum Berlin (2012), Diehl CUBE Berlin (2013), P.P.O.W. Gallery, New York (2013), and Gallery12 HUB, Belgrade (2014).



17. Dread Scott, FF Alumn, at Cue Art Foundation, Manhattan, opening July 10

TO SHOOT A KITE: Curated by Yaelle Amir
July 5 - August 2, 2014
Opening reception: July 10, 2014, 6-8pm

ARTISTS: Julie Green, Ashley Hunt, Lucky Pierre, Prison and Neighborhood Arts Project (P+NAP), Sarah Ross, Dread Scott, Jackie Sumell, Tamms Year Ten, and Temporary Services.

In prison-speak, a 'kite' represents notes or letters and 'to shoot a kite' means to send a message. The projects included in this exhibition represent the work of a select group of artists who have set out to relay the severe conditions of inmates and expose this broken system. In so doing, they are reframing the narrative surrounding the incarcerated-providing a platform for public expression and advocating for change both from within and out of the prison system. Each project takes on a different form - from documentation and data visualization to offering services and advocacy - that provides a link between the incarcerated and the outside world, portraying their conditions, and personalizing the abundant yet anonymous data about the prison system.

Yaelle Amir is an independent curator and writer based in Brooklyn, NY. Her writing and curatorial projects focus primarily on artists whose practices supplement the initiatives of existing social movements-rendering themes within those struggles in ways that both interrogate and promote these issues to a wider audience. She has curated exhibitions at Artists Space, Center for Book Arts, ISE Cultural Foundation, The Elizabeth Foundation for the Arts, Marginal Utility, and the Wallach Art Gallery at Columbia University, among others. She has also worked at major New York art institutions, such as the International Center of Photography, Rubin Museum of Art, and the Museum of Modern Art, and recently held a Research Scholar appointment at NYU's Institute of Fine Arts. www.yaelleamir.com

This exhibition was the winning selection of the 2013 Open Call for Curatorial Proposals. This program provides one deserving curator the necessary time and resources to realize an innovative project, with the aim of encouraging curatorial research in tandem with exhibition planning. The proposal was unanimously selected by a jury comprised of Suzanne Kim, Director of Exhibitions, SmackMellon; artist Pablo Helguera; and artist and 2013 Guggenheim Fellow Laura Parnes.

For additional information, contact Jessica Gildea, Programs Director: jessica@cueartfoundation.org.

137 W 25th St, New York, NY 10001
(212) 206-3583



18. Benoit Maubrey, FF Alumn, now online at http://www.knotwe.com/benoit-maubrey/

An interview with Benoit Maubrey, FF Alumn, is now online at



19. Marni Kotak, FF Alumn, at Microscope Gallery, Brooklyn, opening July 18

Marni Kotak: MAD MEDS
July 18 - August 25
Opening Friday July 18, 6-9pm

Microscope Gallery is very pleased to present Marni Kotak: Mad Meds, the 3rd solo exhibition at the gallery by the artist.. The 6-week durational performance exhibition and installation finds Kotak addressing her personal struggles with her own mind, the US medical system, and the pharmaceutical industry as she attempts to withdraw from psychiatric medicines prescribed as follow-up treatment for post-partum depression more than two and a half years ago.

Mad Meds incorporates new works in photography, video, and sculpture situated within an ideal environment - such as a gold-leafed bed, fluffy photo pillows, blankets and rugs, exercise and meditation equipment - created by Kotak to facilitate her attempt to gradually reduce her medical dosage to zero. With Mad Meds Kotak suggests an alternative approach to dealing with "madness", one in contrast to her own traumatic experience as a inpatient of a hospital psych ward, and reflects on the possibility of a med-free existence.

Centerpieces are two evolving and opposing sculptural works "All The Meds I Didn't Take", a Fabergé egg housing the Klonopin, Wellbutrin and Abilify she discards during the withdrawal and "All the Meds I Took", an ornate gold medicine cabinet filled with the empty containers of the medicines Kotak still consumes during the weaning process.

The exhibition also includes the new video works: "Dis(ability)", made from appropriated YouTube advertisements for Abilify, the atypical antipsychotic and the nation's number one overall selling pharmaceutical drug, and the multi-channel "Mad Ms. Video Project", featuring stories, solicited and collected by Kotak, of women in the US who have had experiences diagnosed as mental illness.

Additionally, as in previous exhibits, the artist recognizes her everyday accomplishments through several "awards" including photographic plaques and a 10-foot trophy with a custom bust of the artist made with a 3D printer, ready to be received upon completion of her quest to become med-free. Kotak will also hold special "visiting hours" - to be announced on our website during the show - and invites the public to engage in her process as well as join her in various activities such as workout sessions.

Marni Kotak is a performance artist who makes multimedia works in which she presents everyday life being lived. In October 2011, she gave birth to her son as a live performance in her durational exhibition, The Birth of Baby X, at Microscope Gallery in Brooklyn, NY. Kotak's works are currently on view at the Santiago Museum of Contemporary Art (Chile) and have previously exhibited at Artists Space, Exit Art, Momenta Art, English Kills Gallery, Grace Exhibition Space, among others. She has performed extensively in the US and abroad. Kotak has been featured in The New York Times, Blouin ArtInfo, The Brooklyn Rail, The Village Voice, Hyperallergic, ArtFCity, Washington Post, Los Angeles Times, Good Morning America (ABC), TIME, PAJ: A Journal of Performance and Art, and the Times of London and many others. She received a BA from Bard College and an MFA from Brooklyn College. Grants include Franklin Furnace Fund Award (2012-13) and the Brooklyn Arts Council among others.

MARNI KOTAK: MAD MEDS on exhibit July 18 to August 25
Gallery Hours: Thurs to Mon 1-6pm and by appointment

elle burchill
4 Charles Place
Brooklyn, NY 11221
tel: 347.925.1433
email: info@microscopegallery.com
t: @MicrosopeEvents

Gallery Hours: Thurs to Mon 1-6PM
or by appointment



Goings On is compiled weekly by Harley Spiller