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Contents for July 08, 2014

1. Diane Torr, Lizzie Olesker, FF Alumns, at Dixon Place, Manhattan, July 11

Diane Torr, FF Alumn, is appearing in Dixon Place's HOT! Festival for one night only
July 11, 2014 at 10pm

She will present her performance, DONALD DOES DUSTY, with new direction by Lizzie Olesker, FF Alumn

Donald Does Dusty

My brother Donald was fascinated with the pop singer, Dusty Springfield. Growing up in Aberdeen, Scotland in the 60s, he would regularly impersonate her. At the age of 10, I was his audience, judge and jury and would award him points for how well he performed Dusty. From a young age, Donald knew he was gay and he took power from knowing that "the normal rules don't apply" to him. I was a conspirator in his rebellion against hetero-normativity. As the field hockey playing younger sister, Donald's outrageousness had a big impact.

In 1970, Dusty was the first female pop singer celebrity to come out in the UK. She was already known for her outspoken-ness. Performing in S. Africa in 1963, Dusty refused to perform for white-only audiences and under the apartheid segregation laws, she was arrested and thrown in jail and then out of the country. She later used her influence as host of the BBC TV show Ready Steady Go, to bring black American musicians, such as Stevie Wonder, Martha and the Vandellas and Smokey Robinson, to the UK for the first time.

During the early 70's Donald was a singer and dancer in the television troupe, The Young Generation and later appeared in West End shows such as Anthony Newley's, Stop the World, I Want to Get Off. He did not receive the fame he wanted, but he did become a millionaire as a savvy antique dealer and owner of real estate. Sadly, Donald died of AIDS-related causes in 1992. Dusty died of breast cancer in 1999.

DONALD DOES DUSTY pays homage to them both and draws upon Donald and Dusty's lives and careers. They shared a common heritage: both coming from lower class backgrounds; both singers and performers; both desirous of fame and fortune and both closeted gays in a homophobic Britain. The performance raises issues of death and bereavement, and creates a new celebration space in which to celebrate the spirit of our loved ones who have passed on.

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2. Moosh, FF Intern Alumn, launches new website at http://www.mooshtribe.gallery/

This is our new home. We have vimeo, instagram and a web shop. check it out

http://www.mooshtribe.gallery/

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3. Josh Harris, FF Alumn, at 166 Mott Street, Manhattan, opening July 10

Josh Harris Returns to New York City After 15 years

"A Quiet Summer", a series of exhibitions by artists and former participants of the 1999 experiment Quiet: We Live In Public continues with Josh Harris himself, who will be creating teleportraits at the opening reception of his exhibition on Thursday, July 10, from 7-9pm at 166 Mott Street.

"New York City Said: Your Fortune or Your Art" is Harris' sole statement on his upcoming exhibition.

See the following Sky News interview with Harris for context:https://www.youtube.com/watch?v=KHN5rQji9aQ.

"Quiet: We Live In Public" was designated by ArtForum a Top 10 Art Installation and widely regarded as a prediction of the addictive and consuming social media world we live in today. Amy Li is mounting the series in her space at 166 Mott Street, New York, NY 10013 through August 31, 2014

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4. Claire & Jan Binney Lang Art Foundation at American Flatbread, Manhattan, July 8

PLEASE JOIN US

Benefit Bake for The Claire & Jan Binney Lang Art Foundation
Stop by for Happy Hour and indulge in a slice (or two!) of fresh artisan pizza!

The Silent Auction continues ~
The Legendary RT continues ~
The good company and good food continue ...
July 8th - 5-9pm at American Flatbread

$3 of every large flatbread sold will be donated to our Foundation
to support Art and cultivate Community.

American Flatbread
Tribeca Hearth
205 Hudson St
NYC 10013
(212) 776 1441

See you there!

The Claire and Jan Binney Lang Art Foundation
www.claireandjan.com
facebook.com/CJBLArtFoundation
Follow us on Twitter: @CJBLAF

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

FABLES AND YARNS
Nora York
SINGS
Jerry Kearns

Riffing off of the post pop history painter's images, York will jump cut through American culture, as she fact checks rapid fire shifts in the narrative.

Joe's Pub
Thursday July 10th 2014
7pm reservations encouraged
OR if you can't make the show, join us virtually!

LIVE STREAMING at same time
7pm EST July 10th
https://www.youtube.com/user/JoesPubNY

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6. Doug Skinner, FF Alumn, publishes new book

"The Unknown Adjective" has arrived! It's a big book of Doug Skinner comics!

"Mr. Skinner knows many terrible, terrible secrets about us. We are once again fortunate that he chooses to share them so deftly and so altruistically." -Mark Newgarden

"Witty and ingenious comics from the exceptionally-talented writer, musician, performer, ventriloquist, and cartoonist Doug Skinner. It's exciting to finally have these little-seen strips available in one beautiful book. You may be reminded of Voltaire or Ernie Bushmiller while reading these meticulously drawn stories featuring utterly hapless characters, but Mr. Skinner has a style all his own." - R. Sikoryak

Will Walter and Benny find the elusive batworm? What really goes on out in "Cowboy Country"? And can Dr. Docket find a cure for all that ails Mr.
Pert? You'll discover the answers to these and other burning questions in this profusely illustrated collection of comics and picture stories from the brilliant (albeit peculiar) mind of Doug Skinner. Take a look inside and see for yourself. Your daily dilemmas will soon seem inconsequential, and the laughter you hear may turn out to be your own.

BLACK SCAT BOOKS proudly presents Doug Skinner's curious comics in a large format (10 x 8 x 0.3 inches) trade paperback edition, featuring over 100 pages of wicked strips designed to disrupt "normal" thought patterns.
Available at blackscatbooks(dot)com.

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7. Stefanie Trojan, FF Alumn, at Palazzo Barbarigo della Terrazza, Venice, Italy, July 9

Dear friends and collegues,

today arrived Stefanie Trojan in the lagoon, scolarship holder at the German Center of Venetien Studies in Venice this summer.

Stefanie will introduce You into her artwork

Wednesday, 9 July at 7PM at Palazzo Barbarigo della Terrazza
We would like to invite you for a drink and pleasant conversations on the terrace after Stefanie's presentation

Sabine Meine & the Centro Tedesco Staff

Stefanie Trojan is working in Venice on a site specific project. She will engage with the town, the inhabitants and passerbys and use the public space as her studio.
She will try to find a reference between historical females figures and the role play of women today.

Many of Stefanie Trojan's performances remind one of the so called "field experiences" of qualitative social research. She upsets social interaction and communication, depending on the context defined by a multitude of invisible but fixed rules and standards, breaking these rules and making them both visible and tactile. Trojan exposes rules, which are usually covert, behind our unquestioned natural routine actions, by continually challenging them until recognised. By addressing visitors directly during her performances at exhibitions, requesting that they do something or pointing something out, she breaks a silent law, that the audience is to be anonymous. She may also separate them in active parties (artists, actors) and passive parties (audience, recipients). The initially uninvolved audience, if addressed promptly, becomes a participant and part of the work; he or she is the one being watched by the other visitors. Trying to escape back into a comfortable situation is hopeless as long as he or she stays in the centre of action, audience and space; ignoring does not help or any other acknowledgement, negating or avoiding reaction. With an irritating calmness and an almost engrossing self-assurance, Trojan resists any provoking glance or reaction, leaving the opponent out in the cold, exposed and reflecting on him or herself. (Peter T. Lenhart )

Info: www.stefanietrojan.de

Prof. Dr. Sabine Meine
Director
Centro Tedesco di Studi Veneziani
Palazzo Barbarigo della Terrazza
S. Polo 2765/a
I-30125 VENEZIA
www.dszv.it
Tel. +39 - (0)41 - 5206355

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8. Joseph Nechvatal, FF Alumn, now online at http://punctumbooks.com/titles/minoy

the Minóy book from punctum books with CD & cassette from punctum records

IS OUT NOW

at http://punctumbooks.com/titles/minoy/

The Minóy book/CD provides an introduction and overview to the important, but little known, noisescape artist Minóy: the pseudonym of the American electronic art musician and sound artist Stanley Keith Bowsza (1951-2010). See: http://www.punctumrecords.com/minoy/

Minóy was a key figure in the homemade independent cassette culture scene of the 1980s. The Minóy CD is comprised of nine audio compositions that span the years 1985 to 1993, drawn from recently discovered archival material. These tracks have been selected by the artistic director of the project, Joseph Nechvatal, in collaboration with the well-known American composer Phillip B. Klingler (PBK). Klingler (co-producer and sound engineer of the CD) houses the Minóy archive and has re-mastered the tracks, most of which have never been heard before (it was thought that Minóy stopped recording in 1992).

The Minóy Book contains sixty black and white portrait images from the Minóy as Haint as King Lear series that the photographer Maya Eidolon (Amber Sabri) created before his death in collaboration with Minóy (then known as Haint) and Stuart Hass (Minóy's lifetime partner). The book also contains two written monograms, one by close friend Amber Sabri and one by Joseph Nechvatal.

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9. Ray Johnson, FF Alumn, summer 2014 news

Dear Friends of Ray Johnson,

We hope you have the opportunity to visit the following shows this summer:

Solo Exhibitions

Ray Johnson Designs
July 2 - September 29, 2014
The Museum of Modern Art Library
4 West 54 Street
New York, NY 10019

Group Exhibitions

Pop Art Myths
June 10 - September 14, 2014
Museo Thyssen-Bornemisza
Paseo del Prado 8
28014 Madrid
Spain

The Crystal Palace
June 28 - August 16, 2014
Rachel Uffner Gallery
170 Suffolk Street
New York, NY 10002

Another Look At Detroit
June 26 - August 8, 2014
Marlborough Chelsea
545 West 25th Street
New York, NY 10001

and

Marianne Boesky Gallery
509 West 24th Street
New York, NY 10011

Positivilly Marvillainous
July 5th- July 27th
Eric Firestone Gallery
Saturday, July 5th, 2014 6-9 PM
4 Newtown Lane
East Hampton, NY 11937

We also hope you will share in our celebration of the following two publications:

THE PAPER SNAKE:
A reprint of the seminal 1965 Artist's Book

Long out of print (and coveted by Ray Johnson fans), The Paper Snake is an essential work in Johnson's oeuvre and the second title published by Dick Higgins's extraordinary Something Else Press in 1965. A vertiginous, mind-bending artist's book, The Paper Snake was far ahead of its time in its subversive and exuberant confluence of art and life. Assembled and designed by Higgins from his amassed collection of Johnson's letters, tid-bits and artworks (said Johnson: "all my writings, rubbings, plays, things that I had mailed to him or brought to him in cardboard boxes or shoved under his door, or left in his sink, or whatever, over a period of years"*), The Paper Snake connects disparate elements to unbed fixed relationships and forge new systems of meaning by means of scissors, paste and the American postal system.

An introductory essay by Frances F. L. Beatty, Director of the Ray Johnson Estate, is included as a separate insert, and in the spirit of the original, the print run is the same (1840 copies). This reprint is four-color offset, a different method than the original in which Higgins used a two-color process with innovative ink combinations.

*quote from "Interview with Ray Johnson" by Diane Spodarek and Randy Debelke, Detroit Artists Monthly (1978).

NOT NOTHING: SELECTED WRITINGS BY RAY JOHNSON, 1954-1994
Edited by Elizabeth Zuba, with an essay by Kevin Killian

RAY JOHNSON (1927-1995) blurred the boundaries of life and art, of authorship and intimacy. The defining nature of his work was his correspondence: his letters (often both visual and textual in character) were intended to be received, replied to (altered and embellished) and read, again and again. This lovingly curated collection of more than 200 mostly previously un- published writings-including selected letters, minutes for "New York Correspondance [sic] School" meetings, hand-written notes, and other writings-opens a new view into the whirling flux of Johnson's art, highlighting his keen sense of play and of the shifting nature of meaning. Cumulatively, the writings reveal not only how he created relationships, glyphs and puzzles by connecting words, phrases, people and ideas, but also something about the elusive Johnson himself. With full-size reproduc- tions of the original pages in color and half-tones, the works in Not Nothing: Selected Writings by Ray Johnson are revelatory in their diverse but porous modes, in their attuned sensitivity to language, and in the way they deepen the understanding of Johnson's entire oeuvre.

More to come in the Fall.

From all of us at the Ray Johnson Estate,

Richard Feigen
Frances F.L. Beatty PhD
John McGill
Erin Hozack
David Price
Diana Bowers
et al

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10. Katya Grokhovsky, Jenny Polak, Matthew Silver, FF Alumns, at Art in Odd Places Festival, Manhattan, Oct. 9-12

Art in Odd Places 2014: FREE / October 9-12
Open. Autonomy. Gift. Independent. Wild. Nothing. Everything.
FREE
October 9-12, 2014 on 14th Street, NYC
A festival exploring the odd, ordinary, and
ingenious in the spectacle of daily life.

70+ ARTISTS TAKE ON 14th STREET THIS OCTOBER

Art in Odd Places (AiOP), New York City's annual public art and performance festival, is proud to announce its tenth season. Art in Odd Places 2014: FREE will take place from October 9 -12 along 14th Street in Manhattan from Avenue C to the Hudson River. The festival will feature over 70 artists' projects from New York and beyond, who will insert their practice into the daily context of one of Manhattan's busiest thoroughfares.

The ethos of AiOP has always been one of sharing, openness, and accessibility. The festival is produced without a budget, and taken up completely on the initiative of the organizers and participating artists. AiOP is collaborative, horizontal, and constantly in motion. AiOP is FREE.

Creating a test site for the possibilities and limitations of public space, FREE prompts artists to highlight the spectrum of civil liberties, forms of exchange, and personal and collective freedoms in forming a critical idea of what our urban common looks like, and how it functions.

This year, for the first time, AiOP features FREE Agents: projects that go beyond the specificity of 14th Street to bring projects to other areas of Manhattan and the boroughs. FREE AGENTS addresses expanded notions of public space throughout the city, responding to it's people, culture, and topography.

A full schedule of public programs, organized by Meredith Degyansky, will be released in September.

FACT SHEET
WHO:
ARTISTS:

0H10M1KE & TJ Hospoder - Clover Archer - BabySkinGlove - Big Head Brigade - Joseph Bigley - Jenny Brown - Maria Builes - Sarah Burrell - Melissa Calderon - Thiago Carrapatoso & Todd Lester - Tré Chandler & Jabari Owens-Bailey - CHOKRA - Felipe Cidade - Concerned New Yorkers - Justin Cooper & Ross Moreno - Amanda Davis - Jim Dessicino - Anthony Donatelle - Nicky Enright - eteam - Fixers Collective - John Craig Freeman - Rory Golden - Kris Grey - Katya Grokhovsky - Leah Harper - Hannah Hiaasen - Daniel Holt - Jessica Houston - The Illuminator - Kaloyan Ivanov & Raúl Hott - Samuel Jablon - Jantar - Ienke Kastelein - Alison Kuo - Maskull Lasserre & Central Park Tours Inc. - Anabella Lenzu/DanceDrama - Amanda Long - Andrew McFarland & Emma Dessau - Mobile Print Power & Talk is Cheap - Laura Moore - Jordan Morley - Willard Morgan - Jody Oberfelder - Cupid Ojala - Joel Ong & Robert Blatt - Eto Otitigbe - Jenny Polak - Johannes Rantapuska & Milja Havas - Jen Reimer & Max Stein - Ben Retig & Marianna De Nadal - Rodi Gallery - James Rojas - Caitlin Ryan - Jesse Eric Schmidt - Kara Schmidt - Jesse Seegers - Stephen Sewell - Maayan Sheleff, Eran Hadas & Gal Eshel - Matthew Silver - Natalie Sims & Matthew Goodrich - Jen Smith - Jeff Stark - Clark Stoeckley - Sasha Sumner - Kevin Townsend - Matej Vakula - Emilio Vavarella & Daniel Belquer - Marieke Warmelink & Domenique Himmelschbach De Vries - Stefanie Weber - Brooks Wenzel - The WORK Intern

CURATORS:
Juliana Driever is a curator, writer, and educator living in New York. Her work strives to create equity for art and ideas that exist beyond a perceived mainstream. She is primarily concerned with public space, site-specificity, and participation, and has worked on a variety of related exhibition, programming, editorial, and writing projects. Recent curatorial work includes About, With & For (at the Boston Center for the Arts), an exhibition that proposed a conceptual grounding for social artworks in a folk ethos. Her recent writing on social and participatory art has been published online by A Blade of Grass Foundation and Bad at Sports, and in the print volume Service Media: Is it 'Public Art' or Art in Public Space? (The Green Lantern Press). In 2013, Driever was also editor of the publication Art in Odd Places 2011: RITUAL. She has participated on numerous discussion and selection panels, including those for the MTA Arts for Transit and NYC Percent for Art programs. Driever is on the administrative staff for the M.A. in Arts Administration program at Teachers College, Columbia University, and teaches in the Art Department at The City College of New York (CUNY).

Dylan Gauthier is an artist, educator and curator working in the public realm, based in Brooklyn, NY. Through a variety of artistic processes, his work examines temporary occupations, urban land use, digital and public space, the commons, collaboration, and access to information. He has shown work and lectured at MASS MoCA, PS1, The Walker Art Center, Stacion Kosovo, Issue Project Room, EFA Project Space, Parsons/the New School, Columbus College of Art and Design, Gigantic ArtSpace, the Neuberger Museum at SUNY Purchase, the Boston Center for the Arts, and the Wassaic Project, New York. In 2007 he co-founded the waterfront art collective Mare Liberum as a way to further explore urban water-as-commons issues sparked by his involvement in the collaboratively run Empty Vessel Project on the Gowanus Canal (2005-2007). He currently helps run The Sunview Luncheonette, a member-based social club and art and social center in Brooklyn. Gauthier teaches in the Film and Media Department at Hunter College and is a research fellow in digital media at the CUNY Institute for Sustainable Cities. In 2014, he is a recipient of the Wave Farm Media Arts Assistance Fund for his composition of site-specific electromagnetic field recordings taken in Greenpoint, Brooklyn: Fabric/Fragment of An Urban Wilderness.

WHAT:
Art in Odd Places 2014: FREE is the tenth annual NYC festival featuring performances, interventions, visual installations, video, sound and more in public spaces. ALL EVENTS ARE FREE.

For more information about AIOP's history, artists' project descriptions and festival schedule, visit the website: artinoddplaces.org.

WHEN:
The festival will take place from October 9-12, 2014.

OPENING RECEPTION:

Friday, October 10, 5-8 pm
Pedro Albizu Campos Plaza
(Entrance on East 14th Street between Avenues B and C)

WHERE:
14th Street, Avenue C to the Hudson River, Manhattan, New York City
Subways: 4, 5, 6, L, N, Q, R, W to Union Square; 1, 2, 3, A, C, E, F, V to 14th Street
L to First Avenue, Third Avenue, Union Square, Sixth Avenue, and Eighth Avenue

WHY:
Art in Odd Places (AiOP) is a thematic annual festival that presents visual and performance art in public spaces along 14th Street in Manhattan, NYC from Avenue C to the Hudson River each October. Active in New York City since 2005, AiOP aims to stretch the boundaries of communication in the public realm by presenting artworks in all disciplines outside the confines of traditional public space regulations. Using 14th Street as a laboratory, this project continues AiOP's work to locate cracks in public space policies, and to inspire the popular imagination for new possibilities and engagement with civic space. Visit the website artinoddplaces.org AiOP is a project of GOH Productions.

MEDIA CONTACTS:
Claire Choi, Media Manager • claire.seoin.choi@gmail.com
Claire Demere, Curatorial Manager • claire.demere@gmail.com

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11. Frank Moore, FF Alumn, new editions of books released

We are excited to announce ...

NEW EDITIONS OF FRANK MOORE'S BOOKS!

http://www.eroplay.com/books/index.html

New editions of Frank Moore's Art of a Shaman, Skin Passion, and Chapped Lap, with beautiful new websites by LaBash, are now available!

Art of a Shaman, originally a lecture presented at N.Y.U., explores performance and art in general terms as being a magical way to effect change in the world. Using concepts from modern physics, mythology and psychology, Moore looks at performance as an art of melting action, of ritualistic shamanistic doings/playings. By using his career and life as a "baseline", he explores this dynamic playing within the context of reality shaping. Art of a Shaman is filled with performance photos in full color, capturing the feeling of being at the performances! All in the size of a graphic novel.

Art of a Shaman http://www.eroplay.com/artofashaman/index.html

Skin Passion, Frank's second book of poetry, is jam-packed both with his widely acclaimed poems and with striking reproductions of his oil and digital paintings, which have been exhibited around the U.S. and Canada. Moore's powerful and inspiring poetry dates from the early 1990s through 2012, while his big, bright oils date back to 1965, when he first started painting in high school with a brush attached to a helmet. His digital paintings date from the mid-'90s, when he started painting with the mouse keys and his head pointer on the computer. The cover art features an arresting blow-up of one of these vibrant rich digital pieces, "Toni". As Frank wrote for the first edition of Skin Passion: "You don't even need drugs!"

Skin Passion http://www.eroplay.com/skinpassion/index.html

Chapped Lap, Frank's first slim book of poetry, features poetry from the 1990s and 2000 (first published in 2000). Originally a xeroxed and stapled "chapbook", as the title suggests, this small collection is dense with pieces that have become classics. Poems such as "i came to play", "tortures", "art is a bitch" and "mutation is evolution" explore Moore's lusty way of looking at life, living life, enjoying life, his deep and uncompromising vision of human liberation, and his seeing art/life as a passion, an addiction, and about surrendering and following. A lot loaded into a sexy small package!

Chapped Lap http://www.eroplay.com/chappedlap/index.html

AND DON'T FORGET THE RECENT RELEASE:

Frankly Speaking: A Collection of Essays, Writings & Rants, the first collection of prose by "one of the U.S.'s most controversial performance artists" (P-Form Magazine).

Frankly Speaking http://www.eroplay.com/franklyspeaking/

Frankly Speaking has already been accepted into the following libraries and special collections:

Museum of Modern Art, New York City
Harvard University's Widener Library
Yale University's Robert B. Haas Family Arts Library
New York University's Bobst Library
The Art Institute of Chicago's Ryerson & Burnham Libraries
The University of California, Berkeley Bancroft Library
The San Francisco, Oakland and Berkeley Public Libraries
San Francisco Art Institute's Anne Bremer Memorial Library
The Kinsey Institute Library & Special Collections
Franklin Furnace, New York City
The Ohio State University's Rare Books and Manuscripts Library (Avant Writing Collection)
California College of the Arts' Meyer Library, Oakland
San Francisco State University's J. Paul Leonard Library
The University of Montana Mansfield Library
The University of Illinois at Urbana-Champaign's Ricker Library of Architecture and Art
The University of Michigan's Art, Architecture & Engineering Library
The University of North Carolina at Chapel Hill, Davis Library

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12. Miao Jiaxin, FF Alumn, offers Cage Stay in Brooklyn, and more

$1 USD / per night - Cage Stay in Brooklyn
Former Airbnb listing is now available at https://www.facebook.com/miaojiaxinstudio

Jail's Seeking Prisoners
* The best cage accommodation you could ever find in NYC
* $1 USD / per night + $300 Deposit
* Exchange for your 3 hours commitment per day
* Minimum Stay is 2 days, Maximum is 5 days

To live in my jail cage, you don't have to commit any crime in New York City.
However you have to follow the rules below:
a ) The cage is monitored and reported via live stream online 24/7 (Live stream section will soon be available here on the Facebook page).
b) You have the room space to yourself from 9:00pm to 9:00am. Otherwise the space would be an open studio as it is planned to be.
c) It is mandatory that you stay in the cage from 9:00am to 12pm (3 hours) everyday.
d) From 9:00am to 12pm, you CANNOT access internet, NO electronic devices, books, radio, pens or craftwork. You CANNOT talk to anybody. You CANNOT do Yoga or any other exercises. You CANNOT sleep.
e) Your activity is monitored and recorded. Any violation of above will result in the loss of deposit fee ($100 per day).
f) You have the key to the cage. Lock and unlock all by yourself.

More Details you might be interested in:
A ) Well located in Bushwick, Brooklyn, the dream cage is 3 blocks away from Subway J train, and 12-15 mins away from Lower East Side Manhattan. All kinds of convenience can be found in this hip neighborhood.
B ) The cage is monitored and reported via live stream online 24/7, but you do have a separate brand new bathroom equipped with toilet and shower stall. Fresh sheet, shower towel, blanket and pillow are provided.
C ) Built on the top of the building, the cage house with skylight stays sunny and bright. With the access to the roof deck, you are greeted with fresh air and great view of Brooklyn and Manhattan.
LIKE Miao Jiaxin Studio Facebook page, check CALENDAR tab, and BOOK NOW by Facebook Message to Miao Jiaxin.
* Please also note this is ONE person accommodation. No Pets. No Smoking indoor.
I accept reservations from Aug 1st, 2014.

and

NY Daily News:
http://www.nydailynews.com/new-york/brooklyn/brooklyn-artist-jail-cell-studio-renting-1-article-1.1850031

Brooklyn artist's jail cell studio renting for $1

Miao Jiaxin built a cage in his Bushwick studio, giving tourists a taste of the slammer. Guests must remain behind bars for 3 hours each morning and follow strict rules against reading, exercising or even sleeping while on the clock.

BY DOYLE MURPHY

NEW YORK DAILY NEWS Monday, June 30, 2014, 8:14 PM

A night's stay in this prime Bushwick studio will cost you $1 - and your freedom.

A Brooklyn artist has turned his rooftop studio into a 6-by-8, 6-foot-tall jail cell, and he's taking reservations for guests looking to bunk on a single cot behind bars.

"It's not for fun," said artist Miao Jiaxin, a Shanghai native who moved to New York 2006. "It's for an experience. More like a psychological New York City experience."

Guests must commit to at least three hours in the cage each morning, during which they're not allowed to sleep, write, exercise, surf the Internet, read or make any crafts.

Meanwhile, two surveillance cameras will broadcast a live feed of life in the cell 24 hours a day.

Miao, who has stripped naked on city streets and torched a pile of his hair while on a Skype feed with his parents, said the project was inspired by the alienation he felt as a new immigrant - feelings he believes are universal.

A night's stay in this prime Bushwick studio will cost you $1 - and your freedom.

A Brooklyn artist has turned his rooftop studio into a 6-by-8, 6-foot-tall jail cell, and he's taking reservations for guests looking to bunk on a single cot behind bars.

"It's not for fun," said artist Miao Jiaxin, a Shanghai native who moved to New York 2006. "It's for an experience. More like a psychological New York City experience."

Guests must commit to at least three hours in the cage each morning, during which they're not allowed to sleep, write, exercise, surf the Internet, read or make any crafts.

Meanwhile, two surveillance cameras will broadcast a live feed of life in the cell 24 hours a day.

Miao, who has stripped naked on city streets and torched a pile of his hair while on a Skype feed with his parents, said the project was inspired by the alienation he felt as a new immigrant - feelings he believes are universal.

He lists two traditional apartments at the Van Buren St. building and has dozens of positive reviews from guests.

"I love Airbnb, and I'm a very good five-star host," Miao said. "But at the same time, I criticize Airbnb."

Undeterred, he's created a Facebook page for the cell (https://www.facebook.com/miaojiaxinstudio), which includes rules and a listing of the sparse amenities.

There is already plenty of interest. More than 1,000 people liked his Airbnb post before it came down, Miao said, and he receives Facebook messages every day.

He's now accepting reservations for Aug. 1.

dmmurphy@nydailynews.com

and

www.deathandtaxesmag.com: http://www.deathandtaxesmag.com/223934/you-can-live-in-this-brooklyn-cage-for-1-per-night/

You can live in this Brooklyn cage for $1 per night

Today in Brooklyn(tm): Performance artist Miao Jiaxin has constructed a jail cell in his apartment's living room, and is renting it out to people for the low cost of $1 per night (plus a $300 deposit). It was originally offered via AirBnB, but the listing was quickly removed by the company.

The cell offers all the novelties of living in an actually jail, without having to commit any fun crimes to get in it.

If you're interested, you can now apply via this Facebook page, which describes it as "The best cage accommodation you could ever find in NYC." There are a few stipulations: You have to stay in the cage 3 hours per day, there's no internet, books, any other entertainment, yoga, or sleeping allowed between 9 a.m. and 12 p.m.

Each violation will dock $100 from your deposit. Also, you'll be recorded the whole time for a live online stream. Sounds fun.

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13. Peter Downsbrough, Matt Mullican, Allen Ruppersberg, FF Alumns in the New York Times, July 4

The New York Times
Art & Design | Art Review
Words That Do More Than Signify
'Sites of Reason' Underway at Museum of Modern Art

By KEN JOHNSON
JULY 3, 2014

In 1974 Allen Ruppersberg copied by hand the entire text of Oscar Wilde's novel "The Picture of Dorian Gray" onto 20 6-by-6-foot canvases. It's a safe bet that no one has ever read Mr. Ruppersberg's rendering of the book all the way through. Printed in a pale marker on beige fabric, the words aren't easy to decipher. But see for yourself: The whole thing is included in "Sites of Reason: A Selection of Recent Acquisitions" at the Museum of Modern Art.

Organized by David Platzker, a curator in the drawing and prints department, and Erica Papernik, an assistant curator in the department of media and performance art, the exhibition of works by a multigenerational roster of 13 artists includes drawings, videos, sculpture and installations from 1972 to the present. Most deal in some way with spoken or written language. It's not a visually gratifying show, but it offers much fodder for philosophical thought.

At issue is a trend that began in the 1960s, basically as a result of two developments. On the one hand, ambitious younger artists were seeing diminishingly few possibilities for growth in the overfarmed fields of painting and sculpture. On the other hand, many were excited by what's been called in philosophy "the linguistic turn," a perspective that sees language not as a reflector of reality but as a medium that produces and shapes reality in the minds of language-using animals. To mess around with words, then, could be a way to intensify and expand consciousness and alter reality.

In "Boomerang," a 1974 video by Richard Serra and Nancy Holt, the camera is trained on Ms. Holt, who wears earphones that play back to her, with a one-second delay, whatever she says. You hear her speech and the echo of her words simultaneously. The effect on Ms. Holt is evidently confusing as she hesitantly describes what she's experiencing. "I find that I have trouble making connections between thoughts," she says at one point.

If something impedes or interrupts the usual, habitual stream of thought, what new channels might thinking flow into? A tactic for avant-gardists working in the public realm has been to present unfamiliar texts in familiar advertising formats. Eve Fowler, for example, hired a sign-making company to print posters with lines from the writings of Gertrude Stein rendered in block letters on candy-colored backgrounds. These she tacked up on telephone poles and other outdoor surfaces in busy parts of Los Angeles. (Here, the set of 20 posters is displayed in one long row in the corridor leading to the exhibition proper.) In theory, such unusual messages would startle passers-by into alternative states of mind.

A more ambitious and multifaceted effort to divert the flow of collective consciousness is Seth Price's "Dispersion," the basis of which is a long essay he wrote in 2002 that ruminates on art, commerce, ideology and modes of distribution in the Internet age. Part of it appears here in the sculptural piece "Essay With Knots." The text and Internet images are printed on plastic panels that were vacuformed over short lengths of rope knotted in places. What you see here, however, is only a small piece of the larger project, as Mr. Price has disseminated his essay in a variety of formats to bypass established institutions. He's published it as a printed book and as a free PDF that you can read on his website. Thus he hopes to infiltrate and radicalize public awareness.
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The impulse to scatter art into multiple formats and sites of presentation and to mix verbal and visual forms of representation raises the question of dispersal's opposite: synthesis. Consider "Manifestos 2" (2013), an installation by Charles Gaines. For this piece, Mr. Gaines focused on four speeches or revolutionary manifestos proclaiming rights for women, indigenous peoples, undocumented workers and blacks. He set them to music by associating letters of the texts with musical notes. The scores are rendered in four large, precisely made graphite drawings.

Meanwhile, the words scroll on four flat screens as the pleasant atonal music plays. The effect is not politically rousing; the mood is elegantly formal and coolly analytic. You become preoccupied less with the content of the texts than with trying to comprehend the relationships between the different forms of presentation and the underlying, systematic logic of the whole. Had Mr. Gaines used speeches by infamous fascists or lectures by self-help gurus, the effect would not be much different.

Like other works in this show, Mr. Gaines's installation resists the mind's effort to synthesize diverse streams of information into coherent pictures of reality. In that sense, it highlights the plight of contemporary consciousness, straining to assimilate vast amounts of noisy, complicated and contradictory input.

A popular artistic response to the bewildering effects of modernity has been to retreat into simpler, pastoral or primitive states of mind. This is Matt Mullican's way. Mr. Mullican practices a kind of self-hypnosis in which he somehow activates an entity he calls "that person," who is characterized in a wall label as "an ageless, genderless being that is a passenger inhabiting his body."

It's "that person" who is presumed to have created the contents of a walk-in environment of walls covered gridwise with numbers, lists of words and puzzling symbols painted in black on paper. "Untitled (Learning From That Person's Work: Room 1" (2005) also includes a video in which we hear the person mumbling and humming nonsensically as he repeatedly partly fills and then empties water in a bathtub. It all suggests a state of autism, a consciousness cocooned within its own obsessive compulsions.

There's something similarly withdrawn about the pages of meaningless script by Hanne Darboven, circa 1972, and "Where to draw the line" (2011-12) by Simryn Gill, a gridded patchwork of manuscript pages typewritten in such a compacted way that only the author would be able to read it.

The paradox of such works is that to grasp their import fully requires a great deal of theoretical knowledge. That's the case even with the exhibition's sparest pieces, including an installation of large, silvery photograms by Liz Deschenes called "Tilt/Swing (360° field of vision, version 1)" (2009) and "Two Poles," a 1974 sculpture by Peter Downsbrough consisting of two wooden dowels, one hanging from the ceiling and the other rising from the floor. Nothing in contemporary art is ever as simple as it might seem.

"Sites of Reason: A Selection of Recent Acquisitions" runs through Sept. 28 at the Museum of Modern Art; 212-708-9400, moma.org.

A version of this review appears in print on July 4, 2014, on page C18 of the New York edition with the headline: Words That Do More Than Signify.

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14. John Baldessari, FF Alumn, in The New York Times, July 4, 2014

The New York Times
Art & Design
'Some Artists' Artists'
JULY 3, 2014
Art in Review
By HOLLAND COTTER

Nobody keeps a closer eye on an artist than other artists. So when Karina Daskalov, a director at Marian Goodman Gallery, was planning the inevitable summer group show, she called on artists she knew best, those already on the Goodman roster, for fresh candidates. Nearly 20 responded, and "Some Artists' Artists" brings some valuable introductions and re-encounters.

Anri Sala, represented by Goodman, picked a fellow Albanian, the painter Edi Hila, who is in his 70s and works in Tirana. Banned from exhibiting under the former Communist government, Mr. Hila makes pictures of modernist buildings in Albania scraped raw by war, revolution and neglect and now ghosts of themselves. This is his first New York appearance.

Another Goodman artist, Danh Vo, has chosen Petrit Halilaj, 28, who made a strong impression in "Ostalgia" at the New Museum in 2011 and at the 2013 Venice Biennale. A refugee during the Kosovo war, Mr. Halilaj takes his Kosovar past as his subject, recreating from scrap materials objects that once existed in a natural history Museum in his home country that has now been repurposed. Like much of what's coming out of Eastern Europe and the former Soviet republics, his and Mr. Hila's work makes much current New York art look like fluff. Does it take hard times to produce tough work? There are hard times right here, but a lot of artists don't seem to be looking.

The show turns up a fascinating bit of history in six small pictures by Lang Jingshan (1892-1995), one of China's pioneering photographers. He was notorious early on for his nudes, but what look remarkable now are his landscapes, which, through a layering of images, have the look of ink-and-and brush paintings. They make perfect sense in the context of new Chinese work that similarly manipulates traditional models, as in the films of Yang Fudong, who nominated him for this show.

Certain other selectors also chose self-reflectively. John Baldessari, who once cremated his paintings, presents Analia Saban, who unweaves painted canvases and rolls the threads into a ball. Pierre Huyghe, a master of convoluted narratives, introduces a multimedia disquisition on gemology by Melissa Dubbin and Aaron S. Davidson. The Conceptualist performer Tino Sehgal gives us vintage Balanchine on video, and William Kentridge brings us a fellow South African, Vivienne Koorland, whose map-like paintings of the homeland taken from black farmers by white settlers are the kinds of realities that art can and should be reminding us of.

Marian Goodman Gallery
24 West 57th Street, Manhattan
Through Aug. 22

A version of this review appears in print on July 4, 2014, on page C19 of the New York edition with the headline: 'Some Artists' Artists'

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15. Laurie Anderson, Yoko Ono, FF Alumns, in The New York Times, July 4

The New York Times
Art & Design | Art Review
Many Hands in Creative Frenzy
'NYC Makers: The MAD Biennial' Has About 100 Contributors

By ROBERTA SMITH
JULY 3, 2014

The Museum of Arts and Design is plunging into the deep end of the biennial pool with a big, messy splash. Part swan dive, part belly-flop, its inaugural edition, "NYC Makers: The MAD Biennial," is an ambitious, inchoate, sometimes dissatisfying sampling of visual culture from across the five boroughs.
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'NYC Makers: The MAD Biennial' Opens on Tuesday JUNE 29, 2014

MAD is, of course, the acronym for the museum's latest name, adopted in 2002 after the institution spent decades as the American Craft Museum. With its move in 2008 to Columbus Circle from West 53rd Street in Manhattan, the letters seem intended to imply feverish innovation, but they also conjure "madcap" and a lack of seriousness. Far too much that goes on view in this museum qualifies as fun, cute, clutter-making or useless, and seems aimed at people with plenty of disposable income, homes to decorate and a yen for unusual items. "The MAD Biennial" is not enough of an exception to this, but it hasn't really had time to be. Its problems are signaled just inside the front door with the glittery party decorations of Confettisystem.

The biennial's first iteration was proposed in October by the museum's new director, Glenn Adamson, as he arrived from the Victoria and Albert Museum, in London, where he was director of research. The show represents 100 creative individuals, duos and collectives, whom it instructively calls "makers," to level the usual hierarchies among art, craft and design; high and low and beyond. Its egalitarian outlook is reflected in a selection process that began with 300 of New York's cultural movers and shakers, who nominated 400 makers. In the name of transparency, the members of this committee on steroids - perhaps as close as New York gets to a People's Choice format - are listed in the catalog.

The nominees (who also might have been listed) were then winnowed down to 100 by a committee of 10 professionals from every borough, as well as Mr. Adamson; Lowery Stokes Sims, the museum's chief curator; and Jake Yuzna, its director of public programs and the show's chief architect. Mr. Yuzna then visited studios and consulted with the participants, over 80 percent of whom are showing at the museum for the first time. Many works were made especially for the show. Nearly everything in sight is by one of the exhibition's participants, including some of the pedestals, benches and lights. And, in the catalog, the usual director's introduction is printed on the opening endpapers, a nice touch that reflects both the tightness of space as well the desire to rethink things.

The selected artists span the generations, including éminences grises like Laurie Anderson and Meredith Monk, whose contributions feel obligatory, to Yoko Ono, still rocking and mildly pretentious at 81 with a music video that includes cameos by talents like Questlove, Ira Glass and Kim Gordon. Outstanding among the newbies are the imaginative tattoo artist Amanda Wachob and the fashion team of Eckhaus Latta, whose slouchy clothing designs, seen on video, operate somewhere between Comme des Garçons and Susan Cianciolo, while their models include elderly Chinese ladies doing qi gong and the designers' J. Crew-ready friends. For a sense of the actual garments, the museum's guards are all wearing a smart vest I wouldn't mind taking home.

Shoehorned boutique-style into two floors of galleries, with additional works throughout the building, the exhibition probably looks as good as it can. It is arranged according to big, sometimes amorphous themes - the studio, community gardens, performance and tools - and spans scores of mediums and hybrid mediums, including objects of art and design, sound art, neon signs, wallpaper, theatrical costumes and a nightclub interior that desperately needs revelers (although the plants are nice). And don't forget the artisanal candy, coffee, liquor and ax. Did I mention that a majority of the participants work in Brooklyn?

There are examples of new technologies, some of which seem slightly redundant, like Miriam Simun's tiaralike head piece intended to enhance smell while the wearer is eating. Others are tantalizingly futuristic, like Aisen Caro Chacin's "Echolocation Headphones": mini-radar screens that promise to enhance the wearer's spatial acuities.

And some participants seem as much doers as makers, most notably the Spectacle theater in Williamsburg, Brooklyn, an all-volunteer micro-cinema (think of DIY Cinémathèque Française) that screens rare films and is also an educational center. In addition, the collective BFAMFAPhD is shaping information, sifting through recent census data to reveal the racial (mostly white) breakdown of the many New Yorkers with art degrees. And one member, Lika Volkova, also turns discarded paintings into garments with striking results, going by two jackets here.

There are numerous artists, including some known for functional art. Paula Hayes is represented by three large, thriving terrariums, biomorphic in shape and made of handblown glass. The painter Marilyn Minter contributes wallpaper as shiny and glamorous as her Photo Realist canvases. Donald Moffett's gray painting combines art with obsessive craft: Its mysterious furred surface might be trying to tickle our eyeballs. And Hank Willis Thomas, who tends to be hit and miss, has a winner in a technologically advanced screen print, "And I Can't Run." Made with the Lower East Side Printshop, it is a diaphanous white-on-white image. But photograph it with your cellphone, and it registers shockingly in vivid black and white as an early-20th-century photograph of the public punishment of an African-American. This discreet presentation of a horrific image that also enacts the suppressed legacy of slavery is one of the show's most emotionally real moments.

The biennial also honors those who labor behind the scenes with, for example, a Roman Catholic bishop's choir dress by Marvin Goldman of Duffy and Quinn/

Craft Robe Company, and the wonderfully textured approximations of armor worn by dancers in the Cincinnati Ballet's recent production of "King Arthur's Camelot," designed by Sandra Woodall and made by Sally Ann Parsons of Parsons-Meares. A custom museum crate by Boxart is a work of art in itself. (It was built to transport a table/sculpture by Wendell Castle in the museum's collection.)

One reason for the term "makers" is that there is so much multitasking, but the results are not equally good. Too many participants here are not thinking critically enough about innovation or purpose. Constantin Boym and Laurene Leon Boym, the married founders of Boym Partners, are represented by small bonded-metal monuments to a century of American disasters (the Triangle Waist Company fire, President Kennedy's assassination, Sept. 11). The pair would have been better served by their stainless-steel flatware, reproduced in the show's catalog, than by these Conceptual Art knickknacks. And some hybrids are simply neither here nor there, notably "Moonmilk," by Chen Chen & Kai Williams, a large vase made from delicate pours of pigmented concrete left over from making planters. Generic as art and as design, it is basically a conversation piece.

Exceptions to the show's superficiality include Charles Goldman's "RE>CRETE>BLKS," recycled building material made mostly from plastic trash, and Misha Kahn and Anne Libby's painterly paving stones of concrete and pigment. Most impressive, however, is a prototype for the PowerClip, an unfolding device akin to an enlarged jackknife that enables small electronic devices (six at time) to be run off car batteries. Designed by Robin Reid, Surya Mattu, Phil Groman and Federico Zannier, it is strikingly plain (one red section, one black), a relief from the prevailing froufrou. It could actually save lives.

This exhibition, which will be accompanied by a full retinue of performances and workshops, gives the Museum of Arts and Design an expanded reach and vitality. It is well worth seeing, even if you mostly argue your way through it. But not enough here contributes to a principle increasingly elusive in this country: the greater good. Too often, its contents look distressingly appropriate for a city with a shrinking middle class, whose architectural fabric is being ruined by a flood of new condos for rich people who don't actually live here. It would be great not to condone this particular madness.

"NYC Makers: The MAD Biennial" runs through Oct. 12 at the Museum of Arts and Design, 2 Columbus Circle; 212-299-7777, madmuseum.org.

A version of this review appears in print on July 4, 2014, on page C15 of the New York edition with the headline: Many Hands in Creative Frenzy.

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16. Bradley Eros, FF Alumn, in The Wall Street Journal, July 5-6

The Wall Street Journal
NY Culture
Fine Art: Playing With Senses and Memory
A Listing of Fine Art Exhibitions in the Greater New York Area

by
Peter Plagens
July 4, 2014 8:41 p.m. ET

Microscope
4 Charles Place, Brooklyn
(347) 925-1433
Through July 13

There's nothing like the whir of a film projector and grainy, overlapping, barely coherent images in a darkened art gallery to take you back to the vague, scruffy optimism of "underground films." Add to this atmosphere a kind of duel between film and video, some physically negligible but aesthetically gritty collages that you can see only with a flashlight, a flacon of original perfume-and presto: The auras of 1960s underground filmmakers Stan Brakhage and Jonas Mekas are teleported into the 21st century.

Bradley Eros is no retro kid; born in 1952, he is a veteran multimedia artist who has been active in the East Village experimental-film community (which is no longer underground) for more than 20 years. His new installation, "A Duet of the Centuries," takes place, as it were, between two opposing film and video projectors, which throw found and created images onto opposite sides of the same translucent sheet of glass, casting silhouettes onto the opposing walls. The collages in the show more or less diagram the duel, and the perfume, "eau du cinéma," sits on a high, narrow plinth at one side of the tiny gallery.

The basic premise here is that both film and perfume linger in locale and memory long after they've been seen or smelled. Surprisingly, even though the spooky ambient music is a bit clichéd and the whole show tries a little too hard to be complex, the exhibition is refreshingly earnest and unpolished.

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17. Ann Hamilton, FF Alumn, at Mass MoCa, North Adams, July 29

PLEASE JOIN US
for the premiere of
"Ann Hamilton: Paper Chorus"
presented in collaboration with
Bang on a Can

Tuesday, July 29th, 4:30pm
Mass MoCA - North Adams, MA

Performance will be free with museum admission
Please RSVP to rsvp@dieudonne.org

Dieu Donné is pleased to announce "Paper Chorus," a new work by Ann Hamilton that was developed during her Lab Grant Residency. Presented in collaboration with Bang on a Can, "Paper Chorus" will explore the sound vocabularies -- of paper, of reading, of singing -- through a concert.

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

Dieu Donné
315 West 36th Street
New York, NY 10018
www.dieudonne.org
residencies.dieudonne.org

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18. Danielle Abrams, FF Alumn, at Dixon Place, Manhattan, July 12

Danielle Abrams is performing a new one act play the HOT! Festival at Dixon Place. In Nominee, Danielle, a Black/Jewish/white/queer artist, is up for a job. She is about to be interviewed by a panel of African-American artist-politicos, Jewish grandparents, and iconic representations of multiculturalism, including Adrian Piper, the Black Panther Party, anonymous notables in the black contemporary art scene, and President Barack Obama. Her nomination launches the panel into a heated, frank, and irreverent discussion about politics, aesthetics, privilege, and interracial identity. Will Abrams, who is in the dark, get the job she’s been nominated for?

Nominee was written by Danielle Abrams, wrangled by Ryn Hodes, and will feature performances by Pamela Sneed, Imani Henry, Pamela Booker, Franny Silverman, Briyana Davis, and Nyx Zierhut.

Danielle Abrams has performed for over 20 years at a wide range of spaces including Detroit Institute of the Arts, The Jewish Museum, The Queens Museum,WOW Performance Café, The Kitchen, and at Annie Sprinkle’s and Beth Stephens’ Green Wedding. Past performances include “Quadroon” in which she performed as a Jewish bubbie, black grandmother, butch dyke who runs a mealplan service, and biracial teenager who “passes” as Greek; “Routine”, in which she cleansed Catskill’s comedy of its racist legacy by bathing in a tub of borscht; and “After Before the Revolution”, in which she recasts Eleanor Antin(ova)’s rebellion with members of the Black Panther party. Abrams’ work has been awarded by NYFA, the Franklin Furnace, and Urban Artists’ Initiative.

Dixon Place: 161 A Chrystie Street, NYC
Saturday, July 12 at 7:30 pm
http://dixonplace.org/category/hot-festival/

Buy your tickets in advance at:
https://web.ovationtix.com/trs/pr/936366

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Goings On is compiled weekly by Harley Spiller