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Contents for August 18, 2014

1. Matthew Silver, FF Fund recipient 2013-14, at Union Square, Manhasttan, Aug. 31

Matthew Silver's International Wackadoodle Love Awareness Day

Sunday, August 31, 2014
4pm
Southside of Union Square, NYC

Its time to stop being a spectator and join Matthew Silver. He's not the only one, so if you believe in LOVE Magic, do your part and Fart your Heart! That alone will set you free. PLEASE JOIN MATTHEW SILVER at the SOUTHSIDE OF UNION SQUARE, ON THE LAST DAY OF AUGUST, SUNDAY the 31st at 4PM AND ACT WACKY WITH MATTHEW. WEAR ONLY YOUR UNDERWEAR AND A BRA OR NOT. He wants to make the entire world laugh and show people, that we're not apathetic, that love is important in all its forms. Even through the power of Wackadoodleness. This EVENT is going international and will be U-STREAMED, Documented!!!!!!

Matthew Silver has been street performing on and off for 9 years with the intention to make people laugh. His goal is to make the entire planet laugh at the sametime to boost Love Awareness. He believes that the energy from this Phenomenon will trigger a chain reaction that will help create a lasting effect, but only if people join him or CREATE THEIR OWN MAGIC!!! Love is infinite, its not just him.

This work was made possible, in part, by the Franklin Furnace Fund supported by Jerome Foundation; the Lambent Foundation, The SHS Foundation, and by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.

http://franklinfurnace.org/artists/funded_projects/the_franklin_furnace_fund/fundwinners13_14/silver.php

www.matthew-silver.com

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2. Norm Magnusson, FF Alumn, at WFG Gallery, Woodstock, NY, thru Sept. 13, and more

"re:Purpose" at WFG Gallery, 31 Mill Hill Rd. in Woodstock. A happy and fun summer group show. Curated by Magnusson, the show features a handful of hotshot artists who create art on or from non-traditional art materials. Up through Sept. 13, more information here: http://repurposeartshow.blogspot.com/

and

"Artists on the green", Sept. 12, 6pm to dusk. As part of Woodstock Nights' second Friday event, David Goldin, Christina Varga and Norm Magnusson have created holes for an artist-designed frisbee golf course, which will be installed on the lawn of the Woodstock Public Library. Magnusson will be installing his sculpture on the fetishization of patriotism, "I want to sleep with America".

and

"Dystopian Domesticity" running through Sept. 13 at the Joyce Goldstein Gallery, 16 Main St., Chatham NY. Curated by Jessica Willis and including works by 7 artists, this is "an exploration of the twisted and appealing landscape where idealized images and objects of domesticity share that malleable boundary with the dystopian. A delightfully utopian evening with performance art sandwich making and dystopian beverages."

and

"Miners" Through Sept. 23. Curated by the wonderful Laura Moriarty, and featuring some really good company, this exhibition presents site-specific (or at least site-related) works on the ground of The Snyder Estate in Rosendale, NY. It's really a great show at a great venue
http://us5.campaign-archive2.com/?u=cf4566e4e584bc1c0efca2703&id=bc6e9ccdb4

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3. James Casebere, FF Alumn, at Cornell University, NY, Aug. 24-Sept. 20

James Casebere: Scales and Dimensions
Cornell University
College of Architecture, Art and Planning
August 24 - September 20, 2014

Cornell University's College of Architecture, Art and Planning will present James Casebere: Scales and Dimensions from August 24 to September 20, 2014. The exhibition will take place across two gallery spaces, the John Hartell Gallery and the Olive Tjaden Gallery.

The John Hartell Gallery will focus on Casebere's recent work, predominately from the Landscape with Houses (Dutchess County) series. The exhibition will consist of photographs from large to small and, unusually, a display of the corresponding scale models that were used to create them. The Olive Tjaden Gallery will feature highlights from several other series, including, Classroom, Hallway, and Spanish Bath.
Casebere rarely reveals the scale models that contribute to his photographs. This exhibition is uniquely organized to engage students and faculty in the process of making the work, with an emphasis on how modeling is incorporated in creating an image from specific vantage points.

The exhibition presents a broad interdisciplinary practice joining art and architecture.
For press inquiries, please contact Concetta Duncan at Sutton PR (212.202.3402) or via email at concetta@suttonpr.com. For all other inquiries, please contact Cecile Panzieri at the gallery (212.239.1181) or via email at cecile@skny.com.

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4. Siah Armajanni, FF Alumn, at Alexander Gray Associates, Manhattan, opening Sept. 4

Siah Armajani: The Tomb Series
Opening Reception: Thursday, Sept 4, 2014, 6-8pm

Alexander Gray Associates presents its first exhibition of work by Siah Armajani, featuring large sculptures, models, and drawings from the "Tomb Series" (1972-2014). The Series pays tribute to twenty-five philosophers, activists, poets, and critical writers who have been foundational voices to Armajani's art and ideology, among them Theodor Adorno, Walter Benjamin, Dietrich Bonhoeffer, John Dewey, Ralph Waldo Emerson, and Walt Whitman. The Series embodies the humanist, democratic, and populist ideals that have defined Armajani's multi-faceted vision for over forty years, culminating with the creation of his own tomb.

As a student in Tehran, and later a graduate of philosophy from Macalester College, Armajani was drawn to Western philosophers, writers and Persian poetry. Throughout his career, Armajani has built public sculptures dedicated to cultural figures, at times embedding quotes of writers and poets into his work. With the "Tomb Series," as the artist explains, "there is no semiology, no quotations, no study of history nor biography." The series of sculptures, drawings, and models represents a self-reflexive moment in Armajani's practice. Paradoxically, the tombs invite, yet inhibit the viewer from entering each sculpture. Contrary to previous series that emphasized public and communal activities, the "Tomb Series" holds a more introspective nature while maintaining Armajani's desire to distance his biography from the meaning behind his work.

Large-scale sculptures, such as Tomb for Neema (2012), references Nima Yushij the Iranian poet, considered to be the predecessor of modern Persian poetry; Tomb for John Berryman (1972-2012), American poet; and Tomb for Walt Whitman (2014), American poet and writer, incorporate elements of vernacular American architecture. The design of each tomb is symbolic recognition of the influence each figure had on the artist. In Tomb for Walt Whitman, Armajani pays homage to Whitman, while in Tomb for Neema, he honors Yushij's radical poetic form that combines free verse and Farsi vernacular with standardized Farsi, creating poetry in a new way. In Tomb for Sacco Vanzetti (2009), Armajani pays tribute to Sacco and Vanzetti's writings and activities as two innocent anarchists who were executed.

Along with large sculptures, the exhibition showcases Armajani's drawings and models of the tombs, integral to the artist's process, and in some cases serving as the tombs' final conceptualized forms. One such drawing is Tomb for Hafez (2014), a Persian poet whose verses Armajani memorized as part of his early education in Iran. Armajani's most recent tomb, his own Written Minneapolis (The Last Tomb) (2014), an 18-foot drawing depicts the surrounding neighborhood where his studio is located in Minneapolis.

About the Artist
Siah Armajani's public art works include the Irene Hixon Whitney Bridge (1988), Minneapolis, MN; Battery Park Waterfront Project (1989), in collaboration with Scott Burton and Cesar Pelli, New York; Floating Poetry Room, Amsterdam, The Netherlands; Gardens at Villa Arson Museum, Nice, France; Lannan Foundation Poetry Garden (1992), Los Angeles; City Center Bridge Ramp (1994), Stuttgart, Germany; George Simmel Footbridge Strasbourg (2003), France; Three Skyway Bridges for the City of Leipzig (1997), Germany; and Lighthouse and Bridge for Staten Island (1996), New York. Solo exhibitions, including surveys and retrospectives include Parasol Unit, London (2013); Nelson Atkins Museum of Art, Kansas City, MO (2008); Musee d'art Moderne et Contemporain, Geneva, Switzerland (2007); Museo Nacional Centro de Arte Raina Sofia, Madrid (1999); Villa Arson, Nice, France (1994); Institute of Contemporary Art, Philadelphia, PA (1985); Minneapolis Institute of Arts, MN (2011); among others. Armajani's work is in numerous public collections, including the Art Institute of Chicago, IL; British Museum, London; Metropolitan Museum of Art, New York; Museum of Modern Art, New York; Solomon R. Guggenheim Museum, New York; Museum of Contemporary Art, Los Angeles, CA; Museum fur Moderne Kunst, Frankfurt, Germany; National Gallery, Washington, DC; Stedelijk Museum, Amsterdam, The Netherlands; Museé d'Art Contemporain, Geneva, Switzerland; Neue Nationalgalerie, Berlin, Germany; and Walker Art Center, Minneapolis, MN.

Press Inquires
press@alexandergray.com, and Dan Tanzilli, Third Eye: +1 646 593 8713

Alexander Gray Associates
Through exhibitions, research, and representation, Alexander Gray Associates spotlights artistic movements and artists who emerged in the 1960s, 1970s, and 1980s. Influential in political, social and cultural spheres, these artists are notable for creating work that crosses geographic borders, generational contexts and artistic disciplines. Alexander Gray Associates is a member of the Art Dealers Association of America.

510 West 26 Street, New York NY 10001 United States
Telephone: +1 212 399 2636
Tuesday - Saturday, 11:00 AM - 6:00 pm
www.alexandergray.com
info@alexandergray.com

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5. Marian Goodman, John Baldessari, Lawrence Weiner, FF Alumns, in WSJ Magazine, Aug. 5

Feature
Marian Goodman's New London Gallery
Diminutive and demure, the New York gallerist has made a career of bucking trends, rising to the top of the art world on the strength of the artists she represents. This fall, she becomes the latest dealer to open an outpost in London

By
Carol Kino
Aug. 5, 2014 2:29 p.m. ET

QUEENLY MANNER | Goodman photographed in Basel, Switzerland, by Thomas Struth, whom she has represented since 1989 Portrait by Thomas Struth for WSJ. Magazine

NEW YORK GALLERIST Marian Goodman is one of the most powerful art dealers in the world, and also perhaps the most enigmatic. On a glorious summer day in London, her inscrutability is on full display as she stands amid a noisy Soho construction site, casting a careful eye over the Victorian warehouse that will soon contain her third gallery.

At 86, Goodman has been involved in the art business for nearly half a century. Yet she possesses few of the hallmarks that signify great dealers today-multiple outposts, such as Larry Gagosian, with 15 galleries in seven countries; palatial, starchitect-designed spaces like the ones David Zwirner and Hauser & Wirth operate in New York's Chelsea neighborhood; or entire departments dedicated to making money by peddling secondary market, or resale, work. Instead, Goodman is renowned for her artists, who span multiple continents and eras, among them conceptual icons John Baldessari, Dan Graham and Lawrence Weiner; photographers Jeff Wall, Rineke Dijkstra and Thomas Struth ; installation artists such as Annette Messager and Danh Vō; and painters Julie Mehretu and Gerhard Richter, possibly her most illustrious talent.

In many ways, Goodman made her name by bucking trends-opting for anti-market conceptualism when market-friendly Neo-Expressionist paintings were the rage, and refusing to relocate from uptown to SoHo or Chelsea when everyone else was doing it. But with her London gallery, designed by the in-demand London-based architect David Adjaye and set just off Golden Square, Goodman seems to be falling in line with the other New York lodestars who also have branches there, including Zwirner, Hauser & Wirth, Pace and Gagosian. As with most of her decisions, her reasons for doing so are not immediately apparent.

Weeks of cleaning have transformed the building's formerly grim facade into a glowing expanse of sandstone-colored brick. Sunlight streams through its newly refurbished windows and skylights, lighting up the cast-iron columns, the sinuously curving staircase and the vaulted ceiling of the upper floor. But as Goodman, wearing a cream Chanel-style jacket, surveys her new 11,000-square-foot domain, she concedes few clues about her impressions.

At first she mostly frets over details others have missed, such as the prominence of a ledge beneath the windows or a sign of moisture on a northern wall. Andrew Leslie Heyward, who directs Goodman's small Paris gallery and will run this one, too, walks alongside her, taking note. "So is it what you expected?" he asks. Poker-faced, Goodman responds, "I didn't know what I expected."

It's only when Leslie Heyward talks about art that Goodman softens. He points through a corner window to the park outside, where a sculpture by South Africa's William Kentridge, a longtime gallery artist, will be installed, and her face brightens. He explains that art movers will be able to drive a forklift straight through the front doors. "Enough room to lift a Jeff Wall in a crate 15 feet in the air!" Goodman says, relishing the possibilities for the Canadian photographer, whose work must be hoisted by crane into the windows of her fourth-floor gallery in New York.

Finally, passing by a generously windowed room on the upper floor, Goodman remarks that "Gerhard likes a lot of space," referring to the German painter Richter, whose show of new and recent work will inaugurate the gallery when it opens on October 14. (She consulted Richter, and many of her other artists, throughout the gallery's planning and design.)

By the time Leslie Heyward finally blurts out, "It looks so great," Goodman is smiling broadly. And even though the space is already drenched with light, the power of Goodman's approval is so strong that it's as though a second sun is shining.

Two days earlier, Goodman and I were talking over coffee in an empty dining room at her hotel in Basel, Switzerland. It was the day after Art Basel's VIP opening (Goodman has participated in the fair since 1970, its first year), and I asked her how she transformed herself into an art-world powerhouse. After all, she entered adulthood as a housewife-albeit a well-educated, progressive one-and now she stands at No. 14, and fourth among dealers, on ArtReview's "Power 100" list. Goodman gazed at me awkwardly then ducked her head and said, "I don't know."

For the nearly 50 years she's been in the business, Goodman has been renowned for her counterintuitive shyness, seriousness and reserve. In an article for the New Yorker, Peter Schjeldahl once reported an acquaintance describing her as someone "who backs away while saying 'hello.' " She's about the last person you'd expect to become a dealer, a profession normally associated with glad-handing salesmanship.

Yet by now, Goodman's standing is such that even her competitors sing her praises. "What's so extraordinary about Marian is, number one, the sure head with which she picks great artists," says dealer David Zwirner, "and again and again in different decades. And number two, the loyalty she has brought to those careers" by making sure "the artist is noticed through institutions and letting the market follow." When he opened his first gallery in New York in 1993, Zwirner adds, Goodman's was "a model that I aspired to."

"If you'd only bought work from Marian Goodman over the last 40 years," says Tom Eccles, the executive director of the Center for Curatorial Studies at Bard College, "you would have one of the best museums in the world today. I don't know if there's any other gallerist you could say that of. Every one is a winner."

At a time when the role of museums is changing drastically, from scholarly repository to social-gathering spot, Goodman still regards public institutions as the most important home for her artists' work. (During the fair, her artists aren't on view only in her booth, but in exhibitions all over town.) Goodman's annual Basel dinner, held this year in a 14th-century castle just outside the city, is thick with directors and curators, including Neal Benezra, director of the San Francisco Museum of Modern Art, and Sir Nicholas Serota, who runs Britain's Tate museums. Because of Goodman's pint-size stature-she's barely five feet tall-all must stoop to talk, and throughout the evening she is often referred to, only half-jokingly, as "the queen." With her blend of grandmotherliness-she often arrives at meetings bearing cake and beams indulgently when a toddler crosses her path-and imposing authority, the comparison is not far off.

Yet because Goodman and her employees routinely refuse to discuss sales, the gallery is hardly mentioned in press about the fair. (The hot Art Basel news was the sale of a 1986 Andy Warhol self-portrait for more than $30 million by Skarstedt, another New York gallery with a London branch.) Goodman herself is also notoriously chary of interviews, rarely agreeing to them and often regretting her cooperation. "Everyone at the gallery, including Marian, tries to tone it down," explains Roger Tatley, who was recently hired as a director for Goodman's London branch. "Artists should get the press."

GOODMAN DIDN'T open her first full-fledged gallery until 1977, less than a year before she turned 50, though her engagement with art began much earlier. Raised on Manhattan's Upper West Side, and educated at the Little Red School House, one of the city's first progressive schools, she grew up visiting galleries with her father, Maurice P. Geller, a first-generation Hungarian-American accountant who avidly collected the work of the mid-century American modernist Milton Avery. "When my father first started collecting, I thought he was mad," Goodman says. "But I came to really appreciate his passion."

Married at 20 ("or 21," Goodman says, "I can't remember anymore") to civil engineer William Goodman, she organized her first show in about 1962, as part of a PTA fundraising drive for the Walden School, where her two young children were students. (Michael is now a heavy-construction photographer based in Los Angeles, and Amy is an herbalist in Vermont. "She's a very green girl," Goodman says proudly.) The show included work by Avery, as well as Stuart Davis and Franz Kline, and Goodman later published a portfolio of related prints. "I found that I just loved it, and that was that," says Goodman, who has lived since the early '70s in a Central Park West penthouse, not far from where she grew up. The minimalist, art-filled aerie can be accessed only by taking the elevator to the building's top floor, and then climbing a back staircase that doubles as a fire exit.

Goodman entered Columbia University as a graduate student to study art history, focusing primarily on African and pre-Columbian cultures-an education that later helped her "shape my attitude about taking a more long-term view," she says. She dreamed of working in a museum, but "it wasn't an easy time for women to become curators in New York." So in 1965, she joined forces with friends and founded Multiples (later incorporated as Multiples, Inc.), a publishing company that produced editioned prints and objects, otherwise known as "multiples." Pop Art was on the rise, and a handful of progressive publishers in America and Europe were similarly aflame with the idea of bringing art to the masses. After trying unsuccessfully to persuade the Museum of Modern Art to run a similar program, Goodman had decided to do it herself, starting a pattern that would define her career. "It was the '60s," she says. "There was a strong urge to do the right thing."

Although she had no business experience-or her own checkbook, either, until her divorce in 1968-Goodman soon became a preeminent editions publisher, working with Americans such as Claes Oldenburg, Roy Lichtenstein, Robert Rauschenberg and Larry Rivers. In 1970, the year Multiples exhibited for the first time at Art Basel, Goodman published Artists and Photographs, a 19-piece portfolio that's now seen as seminal. Based on a show of the same name, it explored the way artists such as Ed Ruscha, Christo and Bruce Nauman were incorporating photography into their work.

Yet Goodman had sensed even broader vistas in 1968, when she visited West Germany for the first time to see the art exposition Documenta. "I realized there was a fully formed art world in Europe with major artists we didn't know much about," Goodman says. "It changed everything for me."

On that trip, she discovered Joseph Beuys, the shamanistic godfather of conceptual art, with whom she published several multiples. On another, she became enchanted by Marcel Broodthaers, a Belgian surrealist poet-turned-artist whose installations often critiqued museum displays. Her efforts to find him a New York gallery led to "a strikeout," Goodman says. So she did "the most irrational thing in my professional life for sure." In 1977, a year after Broodthaers's death, she opened the Marian Goodman Gallery with a show of his work. She was bent on exhibiting Europeans who might otherwise not be seen in New York.

At first Goodman, who supported the business with sales of editions, found it hard going. But "Marian was remarkably farsighted," says Serota, "in choosing to work with artists who would have the potential for a long career, to evolve and develop. And then she stuck with them." By 1985, the year after she moved into the building on West 57th Street that still houses her gallery, her program was strongly focused around post-minimalist, conceptual work, with Italian Arte Povera sculptors such as Giuseppe Penone and Giulio Paolini, and a lot of young Germans, including the installation artist Lothar Baumgarten, a former student of Beuys, and the then little-known painters Anselm Kiefer and Gerhard Richter.

"If I had to say I have one gift," Goodman admits over tea in London, "it would be choosing well."

Goodman often talks about the struggles she encountered building a business as a woman in a man's world, and she didn't find much inspiration in the notable female dealers who had come before, like Martha Jackson and Betty Parsons, or even her relative contemporary Ileana Sonnabend. Instead, her model was Sonnabend's ex, Leo Castelli. "He was a very elegant man, and he conducted himself that way, too," Goodman says. "I learned about standards from him. I liked his kindness." (Indeed, Goodman is also known for being straightforward in her business dealings.)

During the 1980s market boom, when New York went crazy for Neo-Expressionist painting, Goodman set her sights on cooler, more conceptual work-preferring the multifaceted abstraction of Richter, for instance, whom she describes as "a modern man." When other dealers moved downtown, she stood fast on 57th Street. "I was watching people in SoHo proceed with great confidence and then choose the wrong artists," Goodman says. They would fight "over who was the best new find, and the winner would get the show. Then the next year, there was a new group and they'd start all over again. I didn't like it, I didn't respect it and I was always worried that it could be contagious."

In the late 1980s, she challenged herself by expanding her program. "There were new artists coming on the horizon, and I was terrified of making a choice. I finally said to myself, 'You have to do it.' Much to my amazement, I was lucky again"-this time with two new Germans, Struth and his Kunstakademie Düsseldorf classmate, the sculptor Thomas Schütte. Her winning streak continued even through the art market crash, with Gabriel Orozco, then a relative unknown from Mexico, and Kentridge, who focused on film made from drawings. Goodman soon realized that "for me, many of the best artists of the '90s generation were filmmakers"-a decision that led her to Pierre Huyghe and, more recently, Anri Sala and Yang Fudong.

Goodman also represents the British artist and filmmaker Steve McQueen, whose 12 Years a Slave took the 2014 Oscar for best picture. "Without her, I wouldn't have a film life," McQueen says. He likens his early encounters with Goodman-when she visited his shows and watched his work develop for more than a year-to a courtship. "I think her work is done right at the beginning," he says. "It's to choose the artists she really wants to work with, and she takes it very, very seriously. Once she's made a commitment, that's it. She supports you 110 percent."

Her management style, at least where artists are concerned, is surprisingly laissez faire. She doesn't micromanage or pressure them to contribute work to fairs. She speaks to them regularly by phone and spends much of her time on the road attending shows, making studio visits and just generally catching up. Weiner calls her "a family friend" and "part of one's existence." Wall, who has shown with her since 1989, says, "We're married. She's had about 20 other marriages, too."

THE ARTISTS Goodman chooses are often viewed as subtly political, such as Mehretu, whose abstractions are inspired by current events. But Goodman doesn't see it quite that way. "The humanity in the work is what's important to me," she says. "It's art about life. And people need to be connected with something larger than themselves." Still, her beliefs are obvious: Given half a chance, she'll segue into a discussion of America's financial and educational inequalities, and the excellence of France's public health-care system. (Providing health care is "good business in the end," she says.) In 1956, Goodman was one of a group of civically engaged mothers who successfully battled Robert Moses when he tried to expand the parking lot at Tavern on the Green, forcing him to build a playground instead.

"I think she sees her gallery as a gesture about what American culture needs to be," Wall says. "How do you keep a serious notion of culture alive in an era where there are huge forces moving in the opposite direction? That has a lot to do with the choices she makes."

Goodman's choices are also motivated by concerns for her artists' historical legacy. When the collector Mitchell P. Rales approached Goodman in the early 2000s, hoping to acquire a Baldessari, she wouldn't consider it until he'd agreed to buy six of the artist's works for the Hirshhorn Museum and Sculpture Garden in Washington, D.C., where the billionaire industrialist is a former board member, in addition to the six he purchased for Glenstone, his own private museum in Potomac, Maryland. "I had to convince Marian that we were worthy," Rales says, "so that she understood that this just wasn't somebody making a bet on whether John Baldessari's value would go up."

"That sounds like Marian," Baldessari says when he hears this story. "She's very careful about who gets work." But with Goodman, he adds, "artists come first. If she's being assertive, she's doing it for the artist."
Enlarge Image

Rineke Dijkstra's 'Parque de la Ciudadela Barcelona, June 4, 2005' Courtesy of Marian Goodman gallery, New York/Paris

That's partly why Goodman's artists are so loyal, remaining with her for decades. With his skyrocketing resale market, Richter, 82, is perhaps her most hotly courted talent. (With a record of $37.1 million, he's currently the second-most expensive living artist at auction, just behind Jeff Koons.) Richter says he'd never consider going elsewhere. "In German, we say sympathisch," he says of their first meeting, speaking in heavily accented English. "She was in her way of thinking close to me. I liked everything. For me she was wise, more than clever." Although he is approached frequently, primarily by "this famous Gagosian, who showed me their interest many times," Richter says, chuckling, "there is no hope."

Preserving this low defection rate has also factored into Goodman's thinking about London. The idea began as a favor for Kentridge, who wanted a London office; Goodman set out to find him one, and before long, she and Leslie Heyward were looking for exhibition space. "If there has to be a center in Europe, it's clearly London," Goodman says. Earlier, she'd mentioned that some of her artists hadn't been happy with their representation there. "I felt I should provide a showplace."

Some say Goodman represents the tail end of the more intimate galleries of the past, whose founders were moved more by aesthetic considerations than market opportunities. But Goodman, with her long, forward-thinking view, doesn't really seem part of an older generation. She does seem jaundiced by the market-happy, mega-gallery trend that's ascendant, just as she was with the gallery competitions of the 1980s. "The whole system is bad for the art world," she says. "These guys should pay a lot more attention to the quality of the artists that they're running after, and a lot less attention to grabbing everything in sight."

With many New York behemoths now operating branches in Mayfair, her new gallery is clearly also a defensive move designed to protect territory she's staked out over decades. Many of her competitors "are all so famous for trying to poach everyone in sight," Goodman says. "So it kills two birds with one stone." And while the building she found was "more than we'd wanted," she adds, "there comes a time when you just have to act."

To see the accompanying photographs please visit http://online.wsj.com/articles/marian-goodmans-new-london-gallery-1407263341

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6. Agnes Gund, William Wegman, FF Alumns, in WSJ Magazine, Aug. 6

Art Patron Agnes Gund's Favorite Things
The philanthropist and art patron shares a few of her favorite things, including Graeter's ice cream and a photo of dogs shot by William Wegman

By
Agnes Gund
Aug. 6, 2014 12:47 p.m.

Agnes Gund's favorite things Photography by Grant Cornett for WSJ. Magazine

"THE PHOTO OF THE DOGS was a gift from the Foundation for Art and Preservation in Embassies, shot by William Wegman. The two dogs on the left inside the crate are mine, Bronzino and Giotto. I think it's just hysterical. Below that is a picture of my brother George, who passed away not quite two years ago. He loved the West and had a ranch in Elko, Nevada. His son has inherited it-it's a working ranch with cattle and buffalo, right by a stream and mountains. Graeter's ice cream comes from my home state, Ohio, and it's one of my favorite ice creams. I especially like their peppermint-stick flavor, which has crunchy bits in it. I included my passport and global entry pass because I travel quite a bit-most recently, I was outside Frankfurt visiting the artist Wolfgang Laib. I once had a charm bracelet given to me by my mother, but it was stolen. A friend of mine got my children to give me this bracelet, which includes a heart that has a picture of my mother and father inside. The animal sculpture was made by a student at P.S. 139, in Brooklyn, as part of the Studio in a School program, which I love. The desk and chair are Ming dynasty furniture made from Huanghuali wood, a very old, rare type of wood. The two books are The Rise by Sarah Lewis, a fascinating look at the importance of failure and how necessary it is for achievement, and Letters from London by Marjorie Susman, a book based on her journal from when she was the wife of the ambassador to the Court of St. James's. I love flowers; I always have them around me. The ones here are from Ronaldo Maia, who has a real artist's eye. I love peonies and also lilies of the valley, because they were my father's favorite."

-As told to Christopher Ross

To see the accompanying photograph please visit
http://online.wsj.com/articles/art-patron-agnes-gunds-favorite-things-1407343640

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7. Ron Littke, FF Alumn, presents workshops for kids, Narrowsburg, NY, Aug. 25-29, and more

FF Alumn Ron Littke will teach one-week workshops for kids in upstate New York this August. Students will gain experience in scriptwriting, directing, acting for film, camera work, and editing as they make an original movie.
Dates and Times: KID FLIX (ages 8-12), and TEEN FLIX (12 and up) will be held Monday through Friday and meet at:
Eldred: August 18 through 22 at the Eldred Library at noon.
Narrowsburg: August 25 through 29 at the Tusten-Cochecton Library at 10 am (TeenFlix) and 1 pm (kidFlix)
Cost: $50/week. This project is made possible in part through a generous grant from the New York State Council for the Arts, and administrated through the Delaware Valley Arts Alliance. For more information or to sign up go to the website: www.icehouseartsny.org call 845-252-6583, or 718-768-4365, or email questions at: ron@icehouseartsny.org.

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8. Ray Johnson, FF Alumn, in the New York Times, Aug. 10

The New York Times
Books | Books of The Times
Life Revealed in Letters and Doodles
'Not Nothing' Tries to Capture the Artist Ray Johnson

by Holland Cotter
AUG. 10, 2014

With his death in 1995, the American artist Ray Johnson left a vapor trail of interest that has grown and grown, far beyond what might be expected from a career that, from a conventional viewpoint, traveled the byways of art and produced inscrutable, disposable things.

Johnson's most physically substantial works are the collages he made from the 1960s onward, as chunky as mosaics and clotted with visual and verbal information pulled from pop culture, advertising, art history and a personal database of arcane references. He is most widely known, though, as the founder, or at least most avid practitioner and promoter, of mail art, an art movement literally about movement, about the transit of art, in the form of letters, postcards and drawings, through the postal system.

Because Johnson's mail art is epistolary, and likely considered more of a reading than a looking experience, its visibility in museums is fairly low, which makes the arrival of "Not Nothing: Selected Writings by Ray Johnson, 1954-1994," from Siglio Press, a real boon. But more than filling a gap, the book crackles with intellectual energy, with enough drawings and mini-collages embedded in its reproduced texts to hold even a nonreader's attention. Most important, it fills out the picture of what and who Johnson was: a brilliant, uncontainable polymath, an artist-poet, the genuine item.

Born in working-class Detroit in 1927, he was turning out elaborately illustrated letters to friends even in high school. From 1945 to 1948, he studied abstract painting with Josef Albers at Black Mountain College in Asheville, N.C. There he met John Cage, who nudged his interest in Zen Buddhism, and the sculptor Richard Lippold, who became his lover. By 1949, Johnson was in New York City. Slight, bright and wired, he networked through the art world; Jasper Johns, Robert Rauschenberg and Andy Warhol became his friends.

By the 1960s, Johnson was holding the creative equivalent of three jobs. He was making collagelike objects (he called them moticos) with proto-Pop content; organizing content-free, pre-Happening performances that he titled "Nothings"; and sending out what amounted to chain letters, instructing recipients to add something, and then pass them along. He soon attracted a Facebook-style circle of fellow mailers. One came up with the name New York Correspondence School. Johnson tweaked it, changing "correspondence" to "correspondance," and later rejected the label altogether, but it stuck.

In 1968, traumatized after being mugged, Johnson left town permanently for Long Island. He kept exhibiting in Manhattan, did performances and convened New York Correspondence School meetings. But by the end of the 1970s, he began to withdraw, communicating mostly by telephone and mail. By the early 1990s, he was refusing to show in commercial spaces and focused almost entirely on correspondence art. In 1995, at 67, he jumped from a Long Island bridge and drowned.

The Siglio book, edited by the poet Elizabeth Zuba, spans most of this history. The first entries, from the mid-1950s, are pure text, blocks of single-space typed prose. Gertrude Stein's cut-and-paste approach to language is an obvious influence, jazzed up by Johnson's penchant, verging on compulsion, for associative wordplay and puns.

Even when his work was text-intensive, though, he had an eye alert to shaping it visually. In a second 1950s piece composed of lists of isolated phrases - "Virginia gets tomahawk," "regards têtes" - he slanted the lists diagonally across the page and turned half the phrases upside down, a graphic that could have been realized only by a radical reimagining of what a typewriter could do.

Johnson had his art heroes - Joseph Cornell, Kurt Schwitters, Allan Kaprow, the Fluxus founder George Maciunas - whom he acknowledged in his correspondence work, placing their names alongside those of pop stars, art world potentates and personal friends. Name-dropping, if that's what this was, is a recurrent feature of Johnson's art, but it's different than Warhol's celebrity chasing.

Like Warhol, Johnson had an appetite for glamour and the politics of who-knows-who. But he was impatient with hierarchy. Warhol was a worshiper, Johnson a collector, a cataloger. In his work the same plane of importance is occupied by Marcel Duchamp, Anita O'Day and Toby Spiselman, a Long Island friend. It's hard to imagine Warhol heading up an Anna May Wong fan club, but Johnson did. There's a sense that for him all names are equivalent in value, are all collage elements, all "nothings," or rather somethings, equally useful and even soothing in their sameness.

This is not to say that Johnson's correspondences are embracing and warm. "Every letter I write is not a love letter," he once wrote, and he wasn't kidding. Wary distance was Johnson's default position. When writing to people he didn't know - Jacques Derrida, say - he could sound jumpy and twisty or haughty. Even in letters to close friends, like the historian William S. Wilson, his most astute biographer, Johnson tended to dance around difficult, intimate subjects.

He would almost certainly have leveled a cool stare at the 21st-century interest - amounting to a faith - in collectivity, collaboration and social practice as utopian models. Mail art, on the surface, looked democratic, nonelitist, even populist; theoretically, anyone could join in. Yet Johnson's reports from New York Correspondence School meetings speak of members who were summarily banished from the roster for some infraction or other. Johnson himself, in what feels like a punitive spirit, dropped people from his mailing list. Was such policing meant to be tongue-in-cheek, mocking how the real world operated? Impossible to say. Johnson wore ambiguity like a shield.

Occasionally, though, we see him let down his guard, as in a 1975 letter: "I just can't take it. Overload. My history is too much for me. By the way, the big emotional event of the year is the departure of Richard Lippold with a young Italian."

For all the zany exuberance surrounding Johnson's role as mail-art webmaster, there's a lot of darkness in the book. Death is a running theme, in Johnson's tight-lipped bulletins on the demise of artists (Albers, Eva Hesse) and weirdly repeated mentions of dead cats. He describes, with gusto, crushing insects in his apartment, and recounts, with bizarre hilarity, the killing of a rooster he witnessed at a boozy art party. His attitude in the telling is beyond irreverence, close to delight.

But was it really? Any conclusions drawn about Johnson's psychology from his writing must be provisional. He was a master at covering his tracks. Even friends like Mr. Wilson, a frequent presence in his correspondence, felt they barely knew him. He might as well have been the E. T. that he sometimes looked like. We read the correspondences of artists and writers in search of some truth beyond what they give us in their work. But the only sure truth about Johnson is the work: pioneering, stimulating, witty, angry, exasperating and like no other. If there's a lot we can't know, that's O.K. Mystery is part of his beauty and his lastingness.

NOT NOTHING
Selected Writings by Ray Johnson, 1954-1994
Edited by Elizabeth Zuba
Illustrated. 379 pages. Siglio. $45.

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9. Ichi Ikeda, Helen Mayer Harrison & Newton Harrison, FF Alumns, now online in Zinio magazine at www.zinio.com/earthart

I hope this finds you well.
I am glad to inform you that I am just publishing monthly digital art magazine "Earth Art Catalog Vol.07/ Ichi Ikeda" through digital magazine service "ZINIO".

Current issue of the magazine features important art project entitled "Water Ekiden: Manosegawa River Art Project" which attracted much attention
because of concept and scale joining 4 districts located along the basin of the river.
And serial article on international earth art is about Helen Mayer Harrison & Newton Harrison.

Monthly Art Magazine "Earth Art Catalog" covering the front of Earth Art facing the earth ethically, proposing and acting for the future of our planet, is just a digital live magazine proceeding along the state-of -the-art and actual ongoing project, hoping to be connected to all people on the earth for desirable future.

Through ZINIO, all issues of "Earth Art Catalog / Ichi Ikeda" are delivered over 33 countries. I would be grateful if you could subscribe to each issues on ZINIO to use them for your reference and to find some opportunity to share common subject for our future earth.

www.zinio.com/earthart

Thanking in advance, I look forward to hearing from you on some occasion.

Best wishes,

Ichi Ikeda

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10. Jerri Allyn, FF Alumn, receives Department of Cultural Affairs Los Angeles, CA artist in residence grant

Franklin Furnace Alum Jerri Allyn has been awarded an Artist in Residence grant by the Department of Cultural Affairs, Los Angeles, CA, for her Artist Team to propose Creative Referendums to Trafficking in Humans, during the July 2014 to June 2015 season.

From Debate to Create: Through a process of debate, caucus, collaboration, performance and voting that echoes United Nations proceedings, Allyn, collaborators, interested local artists and residents will propose "creative referendums" to the modern day phenomenon of trafficking in humans. Allyn, as Artist-in-Residence in San Pedro, funded by the Los Angeles Department of Cultural Affairs, and participants will align with organizations to raise awareness, invite dialogue and ultimately take action toward solving this challenging issue.

The Artist Team - Jerri Allyn, Christine Palma, Sarafina Rodriquez, Leah Solo and Erich Wise - inspired by the United Nations (UN), will facilitate an artistic response to human trafficking with San Pedro residents and artists who are interested in participating on a collaborative project. This port city, one of the largest in the world, is an alluring metaphor for the topic, given that human beings are smuggled into the US in shipping containers on cargo vessels. For this sixth Debating related event, the overall conceptual framework will focus on the development of "creative referendums" (UN parlance) also known as "artistic solutions," in a variety of media (visual tableaus, sound/audio/video/animation, performance actions, movement/dance-as well as text). Three-minutes in length (conforming to UN requirements), the responses will be framed and publicly presented within sculptural cargo containers, which may differ in size and material.

During the spring of 2015, the final "creative referendums" will be presented during a culminating cross-disciplinary forum and art event. (The Team is exploring use of an actual cargo container). Both events will explore the human story, underground economy, education/prevention, advocacy, legal and artistic responses. During the art event, ballots will be given to audiences so they can accept or reject each "referendum" by vote (as done at the UN).

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11. Adrianne Wortzel, FF Alumn, at Asheville Art Museum, NC, Sept. 2-Jan. 4, 2015, and more

Humans and Machines: The Robotic Worlds of Adrianne Wortzel September 2, 2014 - January 4, 2015 East Wing | New Media Gallery

Adrianne Wortzel utilizes computer software, robotics, video and fictive narratives to create robotic worlds filled with humanlike creatures, historical references and scientific data. She works with contributions from researchers, scientists and robotic experts from across the globe to examine the relationship between humans and machines through art. Featured in the New Media Gallery are two of her short films entitled The Veils of Transference and archipelago.ch.

The Veils of Transference depicts a dialogue between a robot and human in a psychoanalytic therapy session, where the lines between their roles as analyst and analysand become blurred. The video evidences a human's desire to be robotic and a robot's programmed desire to be human. The session is set in a green-screen environment that displays the accompanying dreams and unconscious narratives and the human's mind and the robot's database. Each of the characters seemingly long for the role of the other; each has a sense of their own history. Together they ponder the thin line between "memory" and "database."

archipelago.ch depicts a tour of a newly discovered series of AI robotic research labs as "islands" and iterates the discovery, analysis and interpretation of their terrain and their robots as indigenous creatures. The idiosyncratic robots are evolved by each researcher from their choice of morphologies occurring in nature, i.e., a insect eye, mouse whiskers discerning textures by touch, etc. The lab terrains are strewn with the tools and detritus of each researcher's endeavors, which are treated as flora. The voiceover tour of this archipelago is by Charles Darwin from Chapter 17 of the Voyage of the Beagle-Galapagos. Initiated during Wortzel's 2004 Swiss-Artists-In-Labs Award: Residency at Artificial Intelligence Laboratory, University of Zurich, Switzerland. World premiere March 9-, 2013 at ROBOTS ON TOUR, World Congress and Exhibition of Robots, Humanoids, Cyborgs and more, Zurich, Switzerland.

Adrianne Wortzel received her Bachelor of Arts in Fine Arts from Brooklyn College of the City University of New York and a Master of Fine Arts in Computer Art from the School of Visual Arts in New York. She has received numerous grants, honors and residencies, as well as opportunities to speak and teach throughout her career. She has been published both as a writer and artist and has been exhibited in numerous collections, exhibitions and reviews. Wortzel is currently a Professor of Entertainment Technology and Emerging Media Technologies at New York City College of Technology, the senior technical college in the City University of New York (CUNY) system. She serves on the doctoral faculty of the Interactive Technology and Pedagogy Certificate Program at the CUNY Graduate Center. Wortzel is the Founding Director of StudioBlueLab, a robotics and theater laboratory initiated during her tenure as an Adjunct Professor of Mechanical Engineering at The Cooper Union for the Advancement of Science and Art. StudioBlueLab now resides at New York City College of Technology.

Each film is about 25 minutes long and will be screened in a loop every other day.
This exhibition was organized by the Asheville Art Museum in coordination with the Artist.

http://www.ashevilleart.org/exhibition-intro/humans-and-machines-the-robotic-worlds-of-adrianne-wortzel/

and

September 24, 2014
Asheville Art Museum
2 South Pack Square ,
Asheville , NC, 28802, United States

Please join us for a lecture and presentation with artist Adrianne Wortzel. She will talk about her robotic installations and performance productions and future projects. Her work has been exhibited, collected and published nationally and internationally. She is a Professor of Entertainment Technology and Emerging Media Technolgoies at New York City College of Technology, City University of New York.
This event is being held in coordination with UNC Asheville.
Held in conjunction with Humans and Machines: The Robotic Worlds of Adrianne Wortzel.

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12. Paul Zelevansky, FF Alumn, now online at http://vimeo.com/60856058

Paul Zelevansky
www.greatblankness.com

SONGS OF LOVE AND RAGE KARAOKE: A mashup of video and live performance where Zelevansky sings jazz, pop, and musical comedy standards in (sometimes conflicted) duets with great singers like Rosemary Clooney, Bernadette Peters, Dion and the Belmonts, and Chet Baker. August 6, 2014. City of Asylum, Pittsburgh, PA.

Video duet: "I Wonder Why" http://vimeo.com/60856058

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13. M. Lamar, FF Alumn, at Participant, Inc., Manhattan, opening Sept. 7

Video artist, sculptor, countertenor, and composer M. Lamar, will be opening the fall season at PARTICIPANT INC with his first New York solo exhibition, NEGROGOTHIC, a Manifesto: The Aesthetics of M. Lamar. Most known for his music and performance-based work, this physical installation cross-references romanticism, surrealism, horror, pornography, gospel, metal, and early silent film to propose radical potentialities of blackness.

"I think this project comes at a particularly important moment, in which prevailing cinematic depictions offer only narrow historical accounts of subjugation."Lia Gangitano recently said of M. Lamar's work in Vogue IT

Opening Reception is Sunday September 7th at 7pm

This exhibition will also include several public events at the gallery as well as off site.

Including a conversation between M. Lamar and his sister Actress Laverne Cox September 9th location to be announced soon as well as the world premier of Lamar new requiem "The Tree of Blood" October 5th at the Gallery.

Also checkout M. Lamar's recent features at out.com

http://www.out.com/entertainment/art-books/2014/05/23/m-lamar-artist-laverne-cox

http://www.out.com/entertainment/popnography/2014/05/29/exclusive-m-lamar-makes-white-boys-read-toni-morrison-his-new

www.mlamar.com

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14. Annie Rachele Lanzillotto, FF Alumn, new book released in paperback

New Release
Out in Paperback
"L is for Lion"
an italian Bronx Butch Freedom Memoir
by Annie Rachele Lanzillotto

FINALIST - 2014 Lambda Literary Award
Lambda Literary Foundation
SUNY PRESS
http://www.sunypress.edu/p-5639-l-is-for-lion.aspx
$21.95
Paperback - 349 pages
Release Date: July 2014
ISBN10: N/A
ISBN13: 978-1-4384-4526-7
www.annielanzillotto.com
You can:
• Share this blast with your friends and colleagues.
• Buy books for loved ones.
• Write your review here: on Amazon.com and Goodreads.com. Help the book find its readers!

Table of Contents
Prologue: The Blue Suitcase

Part One: Bronx Tomboy
Eat with Guys You Trust
Breakfast Is to Coat the Stomach
The X
Stoop
The Return of the Rust
A Good Eater
The Tin Ceiling
Sidewalk
Licking Batteries
Teaspoons and Heatpipes
Kitchen Bird
Kindergarten, Boot Camp: 1968
Sister Rosaria
Quicksand
Lasagna Vows
Ravioli, Homing Pigeons, and Teletype Machines
Grandpop, the Hook, and the Eyebrow
Made of Rubber
Sister Giuseppina
Sister Ercolina
Playing War
Lead Pipe, Montezuma, Icicle
Hand to Hand
The Return of the Lasagna
Street
How to Catch a Flyball in Oncoming Traffic
The Names of Horses
Rook to Queen Four
Burning Rubber and Penmanship
Trestles and Love
Silence, Violence
The Blue Angel
Bronx County Family Courthouse
Parkchester Poseidon Adventure
The Lady in Black
Fast Break

Part Two: Educationa Girl
The Temporary Apartment
Permanent Wave
Useless Expertise
Hunger Beat Agida
Sistermazione
Walk Softly but Carry a Big Pockabook
Lunch Is to Clean the Blood
Slow, Loud, and Clear
Asthma, Green Money, and the Feast
Brakeman
Outfield Greens
My Mother, the Plaintoff
Aunt Patty's Bullfight
You're Just Like Your Father
Junkie Pride
Mary Perry
College Entrance
Strike One
Fontanelle Aurelius
The Miracle Worker of 233rd Street

Part Three: Kimosabe
The Best Place to Have Cancer
Room 621
Shake 'n Bake
The Fastigium
Dope and Demerol
The Pipeline
Truckstop Paranoia
Chemistry
Amara
Brazil Upside Down
Belly Up
Overheating
Triple Boiling Point
Eat 'Til You Sweat
The Tumor Board
The Radioactive Man Says, "Don't Give Up the Ship!"
Thoracotomy
One Mis-sip-pi
Magnetic Lace
Lesbianism, Suicide, or the Nunnery
How to Wake Up a Marine in a Foxhole
Red Death
Interventions
Falling and Flying
Civilian Life Sucks
Deep Bell

Part Four: How to Cook a Heart
Wallid Walla Bint
Equator Crossings
Bronx Italian Butch Freedom
Never Come Out in a Lincoln Continental
A Nightclub Named Devotion "Roma o Morte!"
Vrrooooom!
"Cosa Mangia Oggi!"
My Mother's Aorta
a'Schapett
Shave My Head
Enter Audrey Lauren Kindred
Rachele's Pocketbook Fritatta
How to Poke a Guy's Eyes Out
How to Cook a Heart

Part Five: Annie's Parts
Mr. Fixit
Six Places to Buy Milk
My Father, Marconi, and Me
Sciamannin'
Horizontal People
Radioactive Feast
Limoncello and the Black Bra
Garlic, the Ave Maria, and the Blue Leg
Cittadinanza
Assassination Focaccia
Spearmint Gum Cure
One Day My Horse Will Come In
Madeleine and the Magic Biscotti
How GrammaRose Became a Peach Tree
Fruttificare
The Lasagna Stands Alone
Three Days from Eternity
Don't Make 'Em Burn
Pipe Dreams
The Little Fish and the Big Ocean
Three Hundred Cream Puffs and the Illusion Veil
Lingua Madre
Sì o No?
A Couple of Teaspoons of Coffee and a Couple of Drops of Milk
Becoming GrammaRose Peach Tree

Glossary of Lingo I Heard as a Kid in the Bronx

Copyright (c) 2014 Annie Lanzillotto, All rights reserved.
You are receiving this newsletter because I think you are interested in my writing and performance. My apologies if you don't want to receive this newsletter; please simply click to unsuscribe. Thank you.

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15. Julie Tolentino, FF Alumn, upcoming events

As a salve, a mellified body, and a gift to Commonwealth & Council, Julie Tolentino and Stosh Fila aka Pigpen permanently embed a remnant of their recent performance, HONEY/Abu Dhabi (January 2014), into the space.
Containing gold thread and saliva-infused, rare and wild-crafted Yemeni honey, Future Gold is a steel-lined glass capsule that replaces a single concrete block from the walled-up window where the artists' text mural, ECHO VALLEY (2013), remains on view.
Over the course of a year since RAISED BY WOLVES (2013)-a multi-tiered exhibition of installation, objects, ephemera, and performance-Tolentino and Pigpen have been gradually obfuscating ECHO VALLEY in preparation for the arrival of Future Gold.
Keenly attuned to the disjointed past of CW&C's physical space that range from a lost stairway set afire to a once-concealed window, the artists expose the wounds of the building's past to imbue the space with radiant flux and circulatory flow.
Beginning May 21, 2014, Future Gold will be on view during regular exhibition hours between Wednesday through Saturday from 12noon to 6PM.

AUG
Epiphany Benefit Performance and Paddle 8 auction
featuring performances by Jeffrey Valance/Vespers
& Tolentino/(Process)ion X
August 2014
Los Angeles, CA
Curated by Emi Fontana/West of Rome

SEPT
Featured artist in Artistic Practice Series - hand-crafted book edition, curated and published by Clay Dean, Los Angeles - Fall 2014

FERAL HOUSE*STUDIO One-to-One Residency with collaborator Valerie Olivera
Joshua Tree, CA

OCT
Dates and detail to follow:
In-Community YBCA, SF
Raised by Wolves
Late Fall 2014 Workshop Leader and public engagement

FERAL HOUSE*STUDIO
One-to-One Residency with artist/curator Gary Varro
Joshua Tree, CA

NOV
Tolentino collaboration with NYU Abu Dhabi Director of Music, Carlos Guedes
Performance early Nov 2014 at
NYU Abu Dhabi

NOV
Josh Lubin-Levy and Julie Tolentino
The Sky Remains The Same
The Archive Project panel
Nov 13-16, 2014 MIT / Boston
INFINITE RECORD, a multiyear research collaborative between the Norwegian Theater Academy (Norway), York University (UK), Kiel University (Germany), and the Massachusetts Institute of Technology (USA), 2012 - 2015

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16. Dynasty Handbag, FF Alumn, at The Duplex, Manhattan, Aug. 28, and more

AUGUST 28 - 9:30 PM - 15$$dawlsers
DYNASTY HANDBAG - Old Is The New New
Dynasty Handbag "the most outrageous performance artist in town" (says Michael Musto, pffft) offers up a fuck-faced melange of new mini-works, including a freshly vomitous rendition of Beyonce's "Drunk In Love" as well as a few classy classics. And some improv that hasn't happened yet! All proceeds go to make-up, dog food and dog make-up and make-up food. Hosted by Allison Michael Orenstein. She's gay.
get them tickets!
at the DUPLEX
71 Christopher St @ 7th Ave

unnnd
UPCOMING...
September 13th, MOCA Geffen, Los Angeles
September 24th, Poetry Project, NYC
September 25th, NYArtBookFair, PS1, LIC, NY
October 17th, BAM Next Wave Festival, Brooklyn

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17. Simone Forti, Yoko Ono, Nam June Paik, Bruce Nauman, FF Alumns, at Spazio Temporaneo, Rovereto, Italy, thru Aug. 31

Works by
Joseph Beuys • Carolyn Carlson • Carbone 14 • Simone Forti • Kazuo Ohno • Hush Hush Hush Yoko Ono • Urs Lüthi • Nam June Paik • Bruce Nauman • Pier Paolo Pasolini • Luca Quartana Maria Salvati • Strange Fruit • Tanztheater Wuppertal Pina Bausch • Teatro della Valdoca Paolo Aldi • Ken Dami • Giorgio Garghetti • Dino Pedriali • Peter Moore Stefano Giovanazzi and Francesca Cristellotti

Spazio Temporaneo
Piazza San Marco, 15
38068 Rovereto TN (Italy)

July 24 -August 31, 2014

Opening Hours:
Tues.-Sat.: 5pm - 7.30pm.
T: +39 (0) 464 439936
M.: +39 329 4828149

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18. Penny Arcade, FF Alumn, at Joe's Pub, Manhattan, thru Nov. 9, and more

Penny Arcade will continue to develop her new performance piece at Joe's Pub after her McDowell residency in September with longtime collaborator Steve Zehentner

sundays and mondays at Joe's Pub Oct 19- Nov 9th

Here is a review of June 12 show at Joe's

http://www.artesmagazine.com/2014/08/penny-arcade-at-joes-pub-taking-on-worlds-problems-world-one-by-one/

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19. R. Sikoryak, FF Alumn, at Desert Island, Brooklyn, Aug. 19

Cartoonists Josh Bayer and R. Sikoryak will be reading and signing their new Rotland Dreadful comics at Desert Island on Tuesday, August 19.

The ROTLAND DREADFULS: A Bulletin of the Cheap & Sensational, is a new series from ROTLAND PRESS of Detroit, Michigan. Each issue is a nod to the cheaply-produced 19th century English pamphlets known as "Penny Dreadfuls"-so named because the original cost was one penny and each issue contained stories considered shocking and sensational.

Mr. Bayer will unleash installment #9, "Birth of Horror," and Mr. Sikoryak will serve up installment #10, "Sadistic Comics."

Other issues in the ROTLAND DREADFULS series, also available for purchase throughout the evening, are by Gregory Jacobsen, Ian Huebert, Cole Closser, Onsmith & Sanya Glisic, and Chris Cilla.

At Desert Island / 540 Metropolitan Ave / Brooklyn NY 11211 (718) 388-5087
Tuesday, August 19 at 7:00pm - 9:00pm. The readings begin at 7:30.
M. Sweeney Lawless will read the part of "Just Justine."

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20. David Antonio Cruz, FF Alumn, at National Portrait Gallery, Washington, DC, August 22-April 12, 2015

David Antonio Cruz
Portraiture Now: Staging the Self @ The National Portrait Gallery
August 22, 2014 through April 12, 2015

Best Regards,
David Antonio Cruz

"art makes life happy!"
davidantoniocruz.com,

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21. Marni Kotak, FF Alumn, in The New York Times, Aug. 8

The New York Times
Art & Design | Art in Review
Marni Kotak: 'Mad Meds'
By MARTHA SCHWENDENER
AUG. 7, 2014
MARNI KOTAK
'Mad Meds'
Microscope
4 Charles Place (at Myrtle Avenue), Bushwick, Brooklyn
Through Aug. 25

The artist is present in Marni Kotak's show at Microscope, but not in the mute, imperial way Marina Abramovic was in her infamous MoMA exhibition - or in the same manner Ms. Kotak was when she gave birth to her child as an exhibition and performance ("Baby X") at Microscope in 2011.

This time Ms. Kotak is withdrawing from Wellbutrin, Abilify and Klonopin, medications she was prescribed to cope with postpartum depression after the birth of "Baby X" (she had a son, Ajax) and during a subsequent stay in the psychiatric ward at Beth Israel Hospital.

How do you turn pharmaceutical withdrawal into a gallery show? "Mad Meds" copies the aesthetic of the birthing show, transforming the gallery into a lush environment, this time filled with photographs taken at Tivoli Bays in upstate New York and printed on rugs, curtains and chair upholstery. There are a bed, exercise equipment and a small library with books like "Toxic Psychiatry," "Rethinking Madness," "Coming Off Psychiatric Drugs" and "Your Drug May Be Your Problem." A video collage includes pharmaceutical advertisements with the ubiquitous advice to "ask your doctor" about various drugs; another video features testimonials by women who have had bad experiences with psychiatric drugs.

Then there is Ms. Kotak herself, dressed in a gold hospital gown and slightly woozy but happy to talk to visitors. She told me that many people have shared their stories with her about their experiences with prescription drugs. In this sense, she is present as an artist but also as an ad hoc therapist, or perhaps merely a sympathetic listener.

MARTHA SCHWENDENER

To see the accompanying image please visit
http://www.nytimes.com/2014/08/08/arts/design/marni-kotak-mad-meds.html?_r=0

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22. Rafael Sánchez, FF Alumn, at Momenta Art, Brooklyn, opening Aug. 8

FF Alumn
Rafael Sánchez curates

Kathleen White
(A) Rake's Progress

August 8 - 31

Opening reception:
Friday, August 8, 6-8pm

Sound Text Readings: August 31, 7pm
Jim Fletcher, Joey Gabriel, Rafael Sánchez, Kate Valk, Kathleen White

56 BOGART STREET, BROOKLYN, NY 11206, WWW.MOMENTAART.ORG
INFO@MOMENTAART.ORG, 718-218-8058

GALLERY HOURS:
12-6PM, THURSDAY-MONDAY

Link to PR:
http://www.momentaart.org/momenta-art-kathleen-white--(a)-rake-s-progress.html

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23. Jay Critchley, FF Alumn, at Provincetown Theater, MA, Aug. 23

Edward Snowden, NSA Whistleblower, meets Mario Savio of the historic Free Speech Movement (UC Berkeley, CA 1964), in PLANET SNOWVIO, an experimental musical by Jay Critchley, with appearances by Obama and Putin.

At Provincetown Theater, Saturday, August 23, 2014, 7:30pm

Who travels to the beat of a "Different Drum"?

Provincetown Theater: http://provincetowntheater.org

"Did Mark Twain have it right? 'History doesn't repeat itself - but it rhymes.' Where is the dissonance?"  Jay Critchley

Multi-media artist Jay Critchley will present a staged reading of his new experimental musical, PLANET SNOWVIO, on Saturday, August 23 at the Provincetown Theater at 7:30, a benefit for the theater (http://provincetowntheater.org). The one-act play is based on the meeting of NSA whistleblower Edward Snowden and Mario Savio, leader of the Free Speech Movement (FSM), which transformed political and anti-war protests nation-wide and beyond. On their journey to PLANET SNOWVIO they encounter Russian President Vladimir Putin and US President Barack Obama. This political satire is sprinkled with humorous interpretations of classic pop songs.

PLANET SNOWVIO was first presented at the University of California Art Museum in Berkeley, California last April to rave reviews and a feature in the San Francisco Chronicle (www.jaycritchley.com).

Following the civil rights' Freedom Summer in Mississippi, the FSM helped propel the country out of the restrictive Cold War culture and sparked national and international campus activism and anti-Vietnam protests.

"Recalling the significance of 1964, I read the biography of Mario Savio while closely following the dramatic revelations of whistleblower Edward Snowden. This inspired the creation of PLANET SNOWVIO - where these two historic, radical figures meet!" Critchley states.

PLANET SNOWVIO mixes historic speeches with musical pop parody, including: Savio and Snowden singing, "I Got You Babe"; a Putin-Snowden duet, "YMCA" (Snowden: "Why NSA?" Putin: "Vi M Vi Fey?"). This mash up leads to "You Don't Own Me" by Leslie Gore. PLANET SNOWVIO includes a poignant reminder of the radical change that is happening in the 1960s with the seminal civil rights ballad, "A Change is Gonna Come" by Sam Cook. And finally, who travels to the beat of a "Different Drum"?

Critchley is a multi-media performance artist based in Provincetown, Massachusetts whose work and activism have traversed the globe, showing in Argentina, Japan, England, Holland, Germany, Columbia, France and Spain. He was recently featured on LOGO TV and BBC/UK. His 2011 exhibition in Chelsea, NYC received key reviews in the New York Times, The New Yorker and the Village Voice. Toilet Treatments, won an HBO Award at Provincetown Film Festival. He has taught at the Museum School at MFA Boston, and has had residencies at: Harvard University; AS220, RI; Williams College; Real Art Ways, Hartford; Milepost 5, Portland, OR; Fundacion Valparaiso, Majocar, Spain; and CAMAC, Marnay-sur-Seine, France. www.jaycritchley.com

Jay is founder and director of the Provincetown Community Compact, which sponsors the annual Swim for Life & Paddler Flotilla that has raised $3M+ for AIDS, women's halth & the community since 1988. The Compact also sponsored "Ten Days That Shook the World" at the historic Herring Cove Beach Bathhouse in 2012 before its demolition.

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24. Stephanie Brody-Lederman, Carl Andre, John Cage, Ian Hamilton Finlay, Ray Johnson, Sol LeWitt, Robert Rauschenberg, Ed Ruscha, Richard Serra, Joel Shapiro, Lawrence Weiner, FF Alumns, at University of Buffalo, NY, Sept. 20-January 11, 2015,
and more

Art=Text=Art: Private Languages / Public Systems
University of Buffalo Anderson Gallery
Buffalo, NY
http://www.ubartgalleries.org/
http://artequalstext.aboutdrawing.org/
September 20, 2014 to January 11, 2015
William Anastasi | Carl Andre | Frank Badur | Jill Baroff | Robert Barry | Richard Bassett | Kry Bastian | Bill Berkson | Suzanne Bocanegra | Mel Bochner | Dove Bradshaw | Joe Brainard | Stephanie Brody-Lederman | Trisha Brown | John Cage | Buster Cleveland | Bruce Conner | Russell Crotty | Annabel Daou | Stephen Dean | Elena del Rivero | Jim Dine | Donald Evans | Ian Hamilton Finlay | Dan Flavin | John Fraser | Michael Goldberg | Jane Hammond | Grace Hartigan | Susanna Harwood Rubin | Nancy Haynes | Christine Hiebert | Dom Pierre Sylvester Houédard | Robert Indiana | Jess | Jasper Johns | Ray Johnson | Bronlyn Jones | Ellsworth Kelly | William Kent | Jón Laxdal | Ann Ledy | Sol LeWitt | K. McGill Loftus | Mark Lombardi | Stefana McClure | Mary McDonnell | Deborah Gottheil Nehmad | Jill O'Bryan | Gloria Ortiz-Hernández | Robert Rauschenberg | Larry Rivers | Raphael Rubinstein | Ed Ruscha | Anne Ryan | Karen Schiff | Richard Serra | Joel Shapiro | Sara Sosnowy | Molly Springfield | Allyson Strafella | Lenore Tawney | Cy Twombly | John Waters | Lawrence Weiner | Robert Whitman
Art=Text=Art was originated by the University of Richmond Museums, Virginia, and was curated by N. Elizabeth Schlatter, Deputy Director & Curator of Exhibitions, University Museums, with Rachel Nackman, Curator, Kramarsky Collection. The exhibition has been re-curated for its 2014 showing at the UB Anderson Gallery by graduate students Sarah JM Kolberg, Cat Dawson, and Maddie Phinney under the direction of Jonathan D. Katz, Director of the Doctoral Program in Visual Studies at the University of Buffalo. This new presentation explores the advent of language in the visual arts in post-war America and the simultaneous emergence of concrete poetry. These practices embraced language's ability to carry varied or even contradictory meanings, thus creating a space for individual acts of anti-conformist thought. Through words in art, flirtations with ideas unauthorized by then-dominant socio-political realities were allowed expression, especially among an early generation of LGBTQ artists.

and

Stephanie Brody-Lederman's painting "Family Stories," is part of the Paddle 8 auction held in conjunction with The East Hampton Artists and Writers Softball Game. Here is the link http://paddle8.com/auctions/artistsandwriters/

And she is also participating in The Springs Invitational Exhibiionion at Ashawagh Hall, Springs, East Hampton thru Sunday, August 17th.

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Goings On is compiled weekly by Harley Spiller