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Contents for September 30, 2014

Pati Hill, FF Alumn, in memoriam

The New York Times, Arts
Pati Hill, Author Turned Artist of the Photocopier, Dies at 93
SEPT. 23, 2014

Pati Hill, an acclaimed author of fiction in the 1950s and '60s who later turned to visual art, distinguishing herself with images made from a relatively new artistic tool - an IBM photocopier - died on Friday at her home in Sens, France. She was 93.
Her death was confirmed by Arthur Lubow, a journalist who interviewed Ms. Hill many times while researching a biography about one of her close friends, the photographer Diane Arbus.

Ms. Hill, a native of Kentucky, spent several years in France beginning in the 1940s working as a model. Weary of that work, she retreated to a cabin, cut her hair and began to write.

Her first book, "The Pit and the Century Plant" (1955), was a colorful account of life in her corner of the French countryside. Her second, published in 1957, was a novel rooted in her youth, "The Nine-Mile Circle."

Reviewing the novel in The New York Times, Charles Poore wrote that her evocation of the complicated events and eccentric characters in a small Southern town resembled the approach of William Faulkner, but that it stood on its own.

"We have heard this all before, all before," Mr. Poore wrote. "But we have seldom heard these stories told again as Miss Hill tells them in a flowing stream of narrative that is a skillful blend of conscious and subconscious impressions. Without benefit of quotation marks she makes dialogue a part of exposition, and exposition an extension of dialogue." He called the novel "one of the most unusual and enjoyable books of the year."
"Prosper," a 1960 novel set in a French village, and "One Thing I Know," a 1962 novella about the coming-of-age of a teenage girl in Washington, were both praised for their unusual approaches and nuanced characters. Ms. Hill also published a book of poems in 1962, "The Snow Rabbit." But then, as she did with her modeling career, she changed direction.

By the early 1960s she had moved back to the United States and was living in Stonington, Conn., where she gave birth, in 1962, to a daughter, Paola. At the time, her husband, Paul Bianchini, a French-born gallery owner, was becoming well known for bringing attention to postwar painters including Claes Oldenburg, Jasper Johns, Roy Lichtenstein and Andy Warhol. Although Ms. Hill was untrained as a visual artist, by the mid-70s she had begun making art herself, including needlework that played with traditional artistic images.

Then she discovered the IBM copier and, with the help of the designer Charles Eames, whom she had befriended, she eventually persuaded IBM to lend her one for an extended period.

She was far from the first person to play with the possibilities presented by photocopiers, but she was among the medium's most enduring and articulate advocates. She found particular satisfaction in what she said were the bolder contrasts and tones of IBM copiers (as opposed to the more common Xerox machines), and her work was exhibited many times in New York, in France and elsewhere. She also published several books that combined her stories and poems with photocopied images.

Among her best-known artworks was a series of images of a dead swan she had found and flopped onto the glass top of a copier. Called "A Swan: An Opera in Nine Chapters," the series was included in an exhibition called "Electroworks," which began at the George Eastman House in Rochester in 1979 and was later at the Cooper Hewitt museum in Manhattan.

Ms. Hill put all sorts of things on copiers and, when they did not fit or could not be moved, she moved the copier. In the early '80s, she set out to photocopy the palace at Versailles, or as much of it as she could: sculptures, draperies, bedspreads.
"I wanted to see what the copier, a modern device, would make of something old," she told The New Yorker in 1980.

Patricia Louise Guion Hill was born on April 3, 1921, in Rugby, Ky., and grew up in Virginia. She attended George Washington University before moving to New York and finding work as a model.

She is survived by her daughter. Mr. Bianchini died in 2000. Her two previous marriages ended in divorce.

In 2016, Arcadia University Art Gallery in Pennsylvania will present a retrospective of Ms. Hill's early photocopier work. The exhibition will draw connections between her work and the way images are now shared on the Internet.

"Copiers bring artists and writers together," Ms. Hill told The New Yorker. "Copies are an international visual language, which talks to people in Los Angeles and people in Prague the same way. Making copies is very near to speaking."

Correction: September 27, 2014
An obituary on Wednesday about the artist and author Pati Hill quoted incorrectly from comments she made to The New Yorker in 1980 about creating art with copy machines. She said, "Making copies is very near to speaking" - not "Making copies is nearly speaking." The obituary also referred incorrectly to Ms. Hill's education. While she did attend George Washington University, she did not graduate from there. And the obituary referred imprecisely to "Electroworks," an exhibition that included Ms. Hill's work "A Swan: An Opera in Nine Chapters." While it was indeed at the Cooper Union museum in 1980, it originated at the George Eastman House in Rochester in 1979.



1. R. Sikoryak, FF Alumn, at Dixon Place, Manhattan, Oct. 8

Dixon Place presents

Cartoon Slide Shows and other projected pictures
Hosted by R. Sikoryak

Jeffrey Lewis
Jeff Lewonczyk
Mac McGill & band (Steve Wishnia, On Davis, Met Metzger, and Breeze Godfrey)
Roxanne Palmer
Lauren R. Weinstein
Sophia Wiedeman
Jess Worby
With songs, stories, a sasquatch, a trip to India, and much more.

Wednesday, October 8, 2014 at 7:30 pm
Dixon Place
161A Chrystie Street (btwn Rivington & Delancey)

$12 (advance)
$15 (at the door)
$10 (students/seniors)
or TDF

Advance tickets & info:
(212) 219-0736
More info:

(The Dixon Place Lounge is open before, during, and after the show. All proceeds directly support DP's mission and artists.)



2. Jane Dickson, FF Alumn, at Pace University, Manhattan, Oct. 10

Hosted by Jane Dickson

Friday, October 10th, 6-7:30pm
Confucius Institute's Exhibition "Finding New Realities" Panel with Michelle Y. LOH
@Pace University
9 Spruce Street NYC
in the Student Union
Lilly Wei, international art critic and curator, will lead a discussion with Finding New Realities exhibition artists Xin SONG and Jennifer Wen MA.

The Confucius Institute at Pace University is pleased to present "Finding New Realities," an exhibition featuring the work of three Chinese multimedia artists: LI Daiyun, Jennifer Wen MA, and Xin SONG, and curated by Michelle Y. LOH. The exhibition will be on view at the Fingesten Gallery, 9 Spruce Street, from September 23, 2014 through October 14, 2014.

The cascade of information we encounter daily challenges our ability to process it. We must constantly reshuffle and restructure fragments of facts, ideas and images from which we compose a reality that has resonance for us. Artists LI Daiyun, Jennifer Wen MA and Xin SONG exploit painting traditions, printed images and a battery of other materials in a way that mirrors and examines our processing of images and information. All three artists share a fidelity to painting. While they construct their works from a diversity of techniques and materials, the works themselves appear painterly.
Fingesten Gallery Hours:
Tuesdays from 2:30-5 PM
Thursdays from 3:30-6 PM
Fridays from 12-4 PM.



3. EIDIA, FF Alumns, at Plato's Cave, Brooklyn, opening Oct. 3

Platos's Cave at EIDIA House
14 Dunham Place,
Brooklyn, NY 11249
646 945 3830 eidiahouse@earthlink.net eidia.com/

PLATO'S CAVE, EIDIA House presents Sean Lowry, One and Three Americas (2014)

Opening reception Friday October 3, 2014 6-8pm
Exhibition: October 3 - 31, 2014
Hours 1-6pm, Wednesday - Saturday (or by appointment)

EIDIA House announces its continuing exhibition initiative PLATO'S CAVE, with the 19th artist in the series, Sean Lowry.

One and Three Americas is an expanded semiotic triangle designed to reframe the entire United States as readymade. Repurposing the drier seminal conceptualism of Joseph Kosuth as a strategy with which to build an aesthetic object beyond the limits of direct sense perception, One and Three Americas is only meaningfully experienced when both the viewer and the work's physical wall mounted components are located within the United States. Using a room sheet as paratextual support, Lowry offers the viewer a map of the United States, a definition of the United States, and an appropriated conceptual object materially listed as a "cultural projection (nation) over found geological formations and Indigenous nations" complete with material measurements and sale price (based on current US GDP).

Sean Lowry ( www.seanlowry.com ) is a Sydney-based artist, musician and writer. Lowry holds a PhD in Visual Arts from The University of Sydney and currently teaches in the School of Creative Arts at the University of Newcastle, Australia. Lowry is also the Founder and Executive Director of Project Anywhere: Art At The Outermost Limits Of Location-Specificity (projectanywhere.net) - a global exhibition model and research platform in which the role of curator is replaced with the type of peer review model typically endorsed by a refereed journal. From September to December 2014, Lowry will be Visiting Scholar/Artist at the School of Art, Media, and Technology at Parsons The New School for Design in New York.

For PLATO'S CAVE, EIDIA House Inc. Co-Directors Melissa P. Wolf and Paul Lamarre (aka EIDIA) curate invited fellow artists to create an installation with an accompanying edition for the underground space PLATO'S CAVE. EIDIA House functions as an art gallery and meeting place, collaborating with artists to create "socially radical" art forms-framed within the discipline of aesthetic research. In 2012 Wolf and Lamarre were appointed Research Affiliates of the University of Sydney.

Plato's Cave Wed-Sat 1-6pm or by appointment.
Contact Paul Lamarre or Melissa Wolf, 646 945 3830, email to eidiahouse@earthlink.net



4. L. Brandon Krall, FF Alumn, at Ingrid Dinter Fine Art, now online thru Oct. 31

I have a "project room" online from 1 September to 31 October at the Ingrid Dinter Fine Art site



5. Nicolás Dumit Estévez, Guerilla Girls, Alicia Grullón, FF Alumns, at Museo del Barrio, Manhattan, Oct. 1

DAY IN, DAY OUT: Art as Social Engagement
October 1 @ 6:30 pm - 8:00 pm
Museo del Barrio
1230 5th Ave, New York, NY 10029
(212) 831-7272
FREE, RSVP https://web.ovationtix.com/trs/pe.c/9942745
Event Navigation

Nicolás Dumit Estévez brings together the Guerrilla Girls, Alicia Grullón, Juan Sánchez, and Mary Ting for a conversation on the legacy of activisms in the burgeoning field of socially engaged art. This dialogue serves as a point of departure for a critical reflection and post-panel discussion on the most pressing issues raised by the work of social practitioners within the arts: artists' visions versus participants' expectations; long-term commitment with collaborating communities and its demands on the artist; treading the fine line between empowering or fetishizing disenfranchised individuals and groups; and the cooptation of the "radical" for aesthetic purposes, among others.

Likewise, this panel invites all attendees to co-imagine uncharted strategies and creative pathways that can invigorate the pursuit of social justice and expand the definition of the artist and the arts in the wide, open world.



6. Beverly Naidus, FF Alumn, at Plymouth State University, New Hampshire, opening Oct. 7

Beverly Naidus has created two interactive installations, AND NOW Behind Curtain #2: The Perils and Rewards of Activism and CURTAIN CALL: Portable Altars for Grief and Gratitude. Both will be on display for the month of October at the Karl Drerup Gallery at Plymouth State University in New Hampshire. The opening is Oct 7th from 4-6 pm.

AND NOW Behind Curtain #2 features an interactive game board, including encouragement and discouragement cards; players get to share their own stories when they "win." Originally commissioned by the Wilhelm Lehmbruck Museum in Duisberg, Germany, this installation tries to inspire visitors to reclaim their voice as a activist, cautioning them that while it will not be an easy ride to shifting our world into a more equitable, sustainable one, it is necessary that we do this work now.

CURTAIN CALL's series of 12 altars focus on how we can celebrate aspects of our present moment, even as we comprehend deeply that they are rapidly going extinct. The altars made of scavenged materials, take the form of wall hangings with x-rays of the artist's body sewn into their centers. These hangings are dedicated to honeybees, monarch butterflies, fertile top soil, clean water, old growth trees, indigenous cultures, clean air, clean energy, creatures of the land, sky and sea and humans. Visitors will take small river stones, write their words of gratitude or grief on tracing paper, and leave their words, under a stone, at the foot of the altars that speak to them.

As Alice Walker says, "For we can do nothing substantial toward changing our course on the planet, a destructive one, without rousing ourselves, individual by individual, and bringing our small, imperfect stones to the pile."


Both installations want to travel, and they travel light, so if you want them in your neighborhood, just send an email to bnaidus@uw.edu.


Beverly Naidus has created two interactive installations, AND NOW Behind Curtain #2: The Perils and Rewards of Activism and CURTAIN CALL: Portable Altars for Grief and Gratitude. Both will be on display for the month of October at the Karl Drerup Gallery at Plymouth State University in New Hampshire. The opening is Oct 7th from 4-6 pm.

AND NOW Behind Curtain #2 features an interactive game board, including encouragement and discouragement cards; players get to share their own stories when they "win." Originally commissioned by the Wilhelm Lehmbruck Museum in Duisberg, Germany, this installation tries to inspire visitors to reclaim their voice as a activist, cautioning them that while it will not be an easy ride to shifting our world into a more equitable, sustainable one, it is necessary that we do this work now.

CURTAIN CALL's series of 12 altars focus on how we can celebrate aspects of our present moment, even as we comprehend deeply that they are rapidly going extinct. The altars made of scavenged materials, take the form of wall hangings with x-rays of the artist's body sewn into their centers. These hangings are dedicated to honeybees, monarch butterflies, fertile top soil, clean water, old growth trees, indigenous cultures, clean air, clean energy, creatures of the land, sky and sea and humans. Visitors will take small river stones, write their words of gratitude or grief on tracing paper, and leave their words, under a stone, at the foot of the altars that speak to them.

As Alice Walker says, "For we can do nothing substantial toward changing our course on the planet, a destructive one, without rousing ourselves, individual by individual, and bringing our small, imperfect stones to the pile."


Both installations want to travel, and they travel light, so if you want them in your neighborhood, just send an email to bnaidus@uw.edu.



7. Robert Galinsky, FF Alumn, at Bowery Poetry Club, Manhattan, Oct. 20, and more

Robert Galinsky, FF Alumn, Poetry Live at Bowery Poetry Club, NYC October 20, 9pm
Galinsky recently won the "Poet in New York" award with a performance of "FIVE FIGHTS" at the Bowery Poetry Club. Catch him as featured poet where he will bring a mix of old and new material. The evening also features an open mic so get there early to kick your work too! Bowery Poetry Club, 308 Bowery, NYC, 9pm, $10

Robert Galinsky, FF Alumn, Hosts "Inspired Word Open Mic" at Parkside Lounge, NYC October 27, 6:30pm
Galinsky hosts Monday Night NYC Open Mic @ The Parkside Lounge - Music, Comedy, Poetry
The Parkside Lounge
317 E. Houston Street
Manhattan, New York 10002
Phone: 212 673-6270, 917 703-1512
Time: Doors open @ 7pm, show starts @ 7:30pm
Full backline. Piano. Cool stage. Comfy cabaret-style seating. Cheap drinks, including the Bailout Package (shot of whisky + 22-ounce beer) for only 8$.
Cover charge:
$8 for solo performer or audience member (@ door)
$7 for solo performer or audience member (online purchase only)
$10 for solo performer or audience member + 1 non-performer friend (online purchase only)
$12 for performance duos (2 performers/one slot)
$12 for solo performer or audience member + 2 non-performer friends (online purchase only)
$15 for bands (3+ performers)



8. Linda Mary Montano, FF Alumn, at The Vortex, Austin, TX, Oct. 8-10

Linda Mary Montano
Mother Teresa
Three nights of Endurance Performance

When: October 8-10, 2014 5pm-Midnight
(Stay the whole time or come and go as you like)

Plus a "Laugh Your Chakras Awake" workshop
Saturday, October 11 from 11am-2pm. $15

Tickets for this workshop are available along with tickets for the show at www.vortexrep.org.

Where: The VORTEX
2307 Manor Rd. Austin, TX 78722
Free Parking. Bus Route
The Butterfly Bar @The VORTEX--open nightly at 5 pm
Patrizi's serves dinner nightly.

Admission: $10-$30 Sliding Scale
Available at www.vortexrep.org or 512-478-5282
Limited seating. Advanced Purchase Recommended.
Radical Rush offers limited free tickets each performance in the spirit of sustainability, accessibility, and participating in the gift economy. Radical Rush tickets released at 5pm each night--first come first serve! In-person only.

Linda Mary Montano makes her triumphant return to Austin as Mother Teresa for three nights of endurance performance at The VORTEX. Wednesday-Friday, October 5-7 from 5pm-Midnight, join this legendary performance artist as she becomes Mother Teresa. Robert Palmer-style "Addicted to Love" attendants will assist her. While endurance attendance is recommended, audiences may come and go from the theatre. The performance will climax at 11:30pm each night as it moves into The Butterfly Bar. She will also be offering a workshop on Saturday, October 11 from 11am-2pm ($15).

Montano is a seminal figure in feminist performance art, and her work since the mid-1960s has been critical in the development of performance and video by, for, and about women. Dissolving the boundaries between art and life, Montano continues to actively explore her art/life through shared experience, role adoption, and intricate life-altering ceremonies, some of which last for seven or more years. Her artwork is starkly autobiographical and often concerned with personal and spiritual transformation. She explores the way artistic ritual, often staged as individual interactions or collaborative workshops, can alter and enhance a person's life, creating the opportunity for focus on spiritual energy states, silence, and the cessation of art/life boundaries.

Montano has been featured at museums including The New Museum in New York, MOCA in San Francisco, and the ICA in London. She participated in Taiwanese performance artist Tehching Hsieh remarkable year-long work (1983-84), Art/Life: One Year Performance-a work that broke open many people's concept of performance art as the two artists were bound to each other by a length of rope 24 hours a day for a whole year. Her endurance works have lasted hours, weeks, and years--each one a unique exploration of life/art.

Linda Mary Montano's extraordinary career has influenced thousands of performance artists. She taught in the Art Department at The University of Texas at Austin from 1991-98. She is a mentor and coach to many artists including The VORTEX's dear friend Annie Sprinkle. Montano even made a guest appearance in Annie's erotic experiment, MetamorphoSex at The VORTEX in 1995.

This is a unique opportunity to experience Linda's work up close and personally at The VORTEX and to participate in her workshop.

See more at: http://www.lindamontano.com/




9. Betty Beaumont, FF Alumn, at 3A Gallery, Manhattan, Oct. 3

In celebration of Betty Beaumont's solo exhibition
That Obscure Object Of Desire at 3A Gallery
You are invited to a B Y O B (Bring Your Own shopping Bag) Party
Friday, October 3rd from 5 to 8 pm
Drinks will be served
RSVP to studio@bettybeaumont.com
Special (high end) shopping bags are desired
Tickets are required * *
* * Go to 3A Gallery, 179 Canal Street, near The Bowery, to pick up your ticket (admits you + a
friend whom you would like to introduce to Betty's work).
3A Gallery hours are: Friday + Saturday 11 am to 5 pm and by appointment
For your convenience in picking up tickets the gallery will be open Friday October 3rd from 11
am to 6:30 pm
Party is near the gallery at the studio of Betty Beaumont.
The exact address is on the ticket



10. Erin Markey, Neal Medlyn, FF Alumns, in The New Yorker, Sept. 29

The New Yorker
The Theatre September 29, 2014 Issue
Sweet and Vicious
A leading light of the alt-cabaret movement jump-starts the party.
By Michael Schulman
Ten years ago, Bridget Everett was waiting tables and singing karaoke two or three times a week. She was a classically trained singer, but rocking out to "Piece of My Heart" and "You Oughta Know" unleashed something in her. "I used to always either rip my shirt or rip some guy's shirt. I don't know how I never got stabbed," Everett said recently. (She was calling from a nude beach.) One night, the artistic director of Ars Nova caught her at Sing Sing, in the East Village, and corralled her into doing a show. Since then, her uninhibited performances have been a boozy staple of the downtown cabaret scene, most often at Joe's Pub, where she sings with her band, the Tender Moments.
If Everett has a dominant gift, it's the ability to whip an audience into a frenzy. She describes her onstage persona as that of "a crazy maniac who doesn't get laid enough, so I have to put my sexual energy somewhere." Wearing scanty, ridiculous outfits that reveal her Rubenesque curves, she typically closes a show by pulling a man onstage and sitting on his face. It would be transgressive if it weren't so joyful. And yet Everett's shows are more complicated than burlesque, punctuated by monologues that drift into half-ironic melancholy before a power anthem (say, her signature song, "Titties") comes along to jump-start the party. She's a hot mess with absolute command over the room. No wonder Patti LuPone, another woman of endless moxie, has performed with her, both downtown and at Carnegie Hall.
For the most part, though, Everett's performances have little to do with the decorum of Café Carlyle. Growing up in Manhattan, Kansas, she revered not Barbara Cook but Debbie Harry and Richard Pryor. She is now at the center of what's sometimes called alt-cabaret (though it owes more to performance art), whose leading lights include Justin Vivian Bond, Cole Escola, Erin Markey, and Molly Pope. Many of them found a testing ground at "Our Hit Parade," the ribald monthly series that Everett co-hosted, with Kenny Mellman and Neal Medlyn, from 2008 to 2012. Through Oct. 16, she returns to Joe's Pub with "Rock Bottom," featuring original songs co-written with Marc Shaiman and Scott Wittman ("Hairspray"), Matt Ray, and Adam (Ad-Rock) Horovitz, of the Beastie Boys. The show is more structured but no less wild than her concert gigs. "I don't want to break up any marriages," she said. "I just want people to feel as alive as I do in that moment." ♦



11. Greg Sholette, FF Alumn, at Station Independent, Manhattan, opening Oct. 10

Our Barricades by Greg Sholette
Opening: October 10th, 6-9 pm
On view through November 1st, 2014

For his second solo show at Station Independent the New York based artist Greg Sholette presents recent sculpture, drawings and design prototypes from two overlapping bodies of work: his ongoing graphic novel series "Double City," and "Our Barricades," a multi-faceted research project for and about the precarious 99%. Both reflect the artist's response to complex struggles in search of political and economic justice from New York City to Ukraine to the Gulf region in the Middle East.

"Our Barricades" consists of a series of stark black and white bas-relief pieces graphically linking the oily materiality of street barricades to global petro-politics and the war on terror. Taking their queue from urban struggles and DIY barriers constructed out of tires in the city squares of Istanbul, Oaxaca and Ukraine Sholette's graphic novel inspired imagery comments on the environmental afflictions of the Anthropocene while making allusion to the Pergamon Frieze as well as the writings of H.P. Lovecraft and Reza Negarestani. Throughout the exhibition Sholette will invite Station Independent visitors to collaborate on imagining their own modern barricades capable of defending against surveillance, data mining, and the general precariousness of early 21st Century existence.

Hanging above these works is the latest chapter of "Double City," a serialized sci-fi narrative in the form of a graphic novel that revolves around three, down-and-out creative workers who get caught up in a growing underground mutiny organized by disgruntled artists, interns, exhibition installers and struggling MFA students. Drawn with brush and ink on a continuous thirty foot scroll chapter three focuses on Karl Lorac, an aging, white male artist who works days as a museum preparator. Feeling increasingly marginalized Karl's sense of resentment mingles alarmingly with the inevitable paranoia generated by our total surveillance society. His response is to barricade himself behind a sculptural barrier made up of artworks, plywood, automobile tires and other assorted materials both real and imagined.

Greg Sholette has exhibited his work nationally and internationally at The Queens Museum of Art in New York; Dia Art Foundation in New York; Museum of Modern Art in New York; Plato's Cave in Brooklyn, NY; Momenta Arts in Brooklyn; New Langton Arts in San Francisco; Santa Fe Art Center in New Mexico; 126 Gallery in Galway, Ireland; Enjoy Public Art Gallery in Wellington, New Zealand; Moderna Galerija in Ljubljana, Slovenia;; Carpenter Center for the Visual Arts at Harvard University; Taipei Art Museum in Taiwan; and on the streets and avenues of New York City.

And please join us Wed, October 15 at 6:30 PM for a special presentation on the history of barricades with Andrew Hemingway (Emeritus Professor in History of Art, University College London).
Our Barricades by Gregory Sholette @ Station Independent Projects, NYC

Station Independent Projects
164 Suffolk Street, NYC 10002




Gallery Hours: Thursday to Sunday, Noon-6pm and by appointment

F to Delancey Street or JMZ to Essex Street

Between Stanton and East Houston

Follow Station Independent Projects on Twitter:


Like Station Independent Projects on Facebook:




12. Nicole Eisenman, FF Alumn, in The New York Times, Sept. 25

The New York Times
A Career of Toasting Rebellions
A Nicole Eisenman Midcareer Survey in Philadelphia
Revolting via Canvas
PHILADELPHIA - Queer is here to stay. So are feminism, art history, unruly flesh, anarchic laughter and painting. You'll find them all in "Dear Nemesis, Nicole Eisenman 1993-2013," at the Institute of Contemporary Art here, a spicy and tightly edited midcareer survey of one of the most interesting New York artists to come out of the 1990s.
The first part of that decade, with multiculturalism peaking and postmodern thinking still warm, was American art's last sustained countercultural moment. All kinds of productive hell was breaking out. The 1987 financial crash had blown down the protective walls surrounding the market. Gatekeepers staggered around in confusion. A long-excluded population - women, nonwhite artists and those of heterodox gender persuasions - capered onto the scene.
Ms. Eisenman was part of the arrival. Born in 1965 in France, she graduated in 1987 from the Rhode Island School of Design and was soon living in New York and painting big, funny, irascible pictures of women in revolt. People noticed. In 1992, she was in a slew of smart group shows and with another artist, Chris Martin, she organized one of her own, "The Lesbian Museum: 10,000 Years of Penis Envy," at Franklin Furnace. Solos quickly followed, as did a spot in the 1995 Whitney Biennial.
Success can lead to strutting, but not in her case. She was sort of a studio wonk. As a kid, she had scanned art history books the way people surf the Internet today. Ancient Greek sculpture, Renaissance painting, Bosch, Goya, Ashcan: They all flashed by, they all seeped in. For her initial New York shows, including her Biennial appearance, she turned galleries into studios, pinning up just-done pictures and painting murals on the walls.
You can get some sense of the look of that work from a 1999 painting called "Man Cloud," in which a tangle of writhing male nudes floats grandly on high, completely ignored by female couples dozing, body to body, on the grass below: Sistine Chapel meets Thomas Hart Benton meets Classic Comics.
Earlier in the decade, the mix was similar, but the politics harsher. In the 1993 "Monorail Over No Man's Land," one of over 120 works here, Ms. Eisenman gives the conventional Renaissance battle scene a new spin: Packs of women take men captive, truss them up and treat them rough. In "Minotaur Hunt (Large)," from the same year, Picasso's bull-headed alter ego gets his comeuppance at the hands of a horse-riding Amazon band. Some viewers took such images as militant, anti-male anthems. But, while certainly asserting female power, they're really cartoon sendups of that idea.
Clear to everyone was the artist's gifts as a painter, her abilities so secure as to let her stretch, mold and push the medium to its limits, which is what she's been doing for some 25 years. The retrospective is not, however, framed chronologically, as a record of a progressively developing style. Progress, like programmatic politics and brand production, doesn't seem to interest Ms. Eisenman much. Style is something she goes back and forth with, trying this, returning to that, renegotiating particulars every time out.
Continue reading the main story
This sort of improvisatory rhythm isn't the most practical career strategy. Flexibility can be taken for inconsistency. Variety gets the market all confused. But it's her way, and because the sensibility is consistent throughout, she makes it a good, fruitful way.
This is not to say that there have been no distinctive shifts in her output. Around 2000, she seems to have had maxed out on the "classical" nude crowd scenes and political jokes. A large, bust-length portrait from that year, of a green-skinned woman of Botticellian perfection and Picabian spookiness, is unlike anything that preceded it. It was followed by a series of experimental depictions - in paintings, prints and plaster sculptures - of the human face that is collectively, above all, a daring and virtuosic formal exercise.
In a 2006 painting, "Mountain Man," the face is slathered on, the nose a thick dollop of squeezed-from-the-tube red pigment. The features look oddly edible, as if they were meat and candy and already being nibbled away at. A 2011 picture called "The Stranger" is different in every way. The face is painted a solid, textureless black, the features defined by patterns of fine drawn or incised white lines. The image is as crisp as a Luba mask or a Japanese woodcut.
As the art historian Julia Bryan-Wilson notes in the catalog, in much of Ms. Eisenman's recent work, race, as judged by skin color, is an inoperative category. So is gender. The two lip-locked, passed-out lovers in "Sloppy Bar Room Kiss" could be male or female. The single regal, full-length figure in "Deep Sea Diver" is both.
The artist has raised and finessed the question of either/or in her self-portraits. In one drawing, she has long, feminine blond hair; in another, she tries on a bunch of male roles: soldier, banker, jockey, werewolf. Will the real Ms. Eisenman please stand up? She is doing so, and has been, right along.
In the last several years, she's been painting new, more personal, even autobiographical group scenes, wonderful ones, but closer in spirit to the bad-dream world of James Ensor or Edvard Munch than to classical Greece. In the 2008 "Brooklyn Biergarten II," dozens of figures sit around tables in a lantern-lit pavilion at the edge of a dark wood. This could be a Williamsburg bar with artists, students, suits and longtime residents mingling. But it has a hellish look. Nobody's smiling. Despite beers' being knocked back, the people look frozen and blank, like zombies. Sitting alone and observing the room from a distant table is Death, with a skull face and a black hood.
Even in the 1990s, when AIDS was raging and the conservative tide rising, Ms. Eisenman tended to favor the metaphorical over the immediately topical. Yet her art was always deeply, forwardly political, and still is. In one unforgettable 2009 picture, we see a procession of exhausted, diseased-looking people pushing a broken-down car through a suburb. A woman carries a baby. A child holds out a bowl; the blind-leading-blind men from Bruegel's great painting stumble into view. Ms. Eisenman's picture is titled "The Triumph of Poverty," and it couldn't be more timely.
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And her investment in the politics of gender remains strong. In 2005, she and the artist A. L. Steiner founded Ridykeulous, an activist, lesbian, feminist project with a wide-reaching collective membership. One of the group's functions is to organize and preserve an archive documenting not just the history of art by women and queer artists, but also the history of the position of that work within an industry that continues to rest on the hard, high cushion of straight, white, male privilege.
An installation of Ridykeulous material, with a sizzling cache of letters from the likes of Kathy Acker, Lucy R. Lippard, Adrian Piper, Carolee Schneemann and a polygendered passel of younger artists, is in the Institute of Contemporary Art's lobby. It's intended to complement the retrospective - organized by Kelly Shindler for the Contemporary Art Museum in St. Louis, and in Philadelphia by Kate Kraczon - though once you start reading, it's hard to stop and move on.
Still, it's the Eisenman show you're here for, not just for the story it tells of a remarkable career now in its prime, or for the way it captures an alternative piece of the American past that has only begun to be studied. You're here to see the images - gross, tender, hilarious - one by one. A perplexed man holds his shadow in his arms like a baby. Death consults a Ouija board to learn the future. Gender-war scenes turn everyone into barbarians. Two kissing faces turn into one.
Everywhere you look, new ideas whiz around everywhere, almost too fast. The great thing about art is it lets you catch a thought and hold it as long as you want.
"Dear Nemesis, Nicole Eisenman 1993-2013" runs through Dec. 28 at the Institute of Contemporary Art, University of Pennsylvania, 118 South 36th Street, Philadelphia; icaphila.org.



13. Richard McGuire, FF Alumn, in The New York Times, Sept. 25

The New York Times
Sharing a Sofa With Dinosaurs
'Here,' Richard McGuire's Book, an Exhibition at the Morgan
Continue reading the main story Slide Show

Slide Show|7 Photos
Windows to Time
Windows to Time
CreditFred R. Conrad/The New York Times

GETTING from here to there can be hard enough. But it has taken Richard McGuire 25 years to do something even more complicated: get from here to here.
In 1989, Mr. McGuire, then an aspiring New York artist better known for playing bass in the postpunk band Liquid Liquid, published a 36-panel comic that hopped backward and forward through millions of years without leaving the confines of a suburban living room, thanks to the use of pop-up frames-within-frames inspired by the relatively new Microsoft Windows.
The comic, "Here," appeared in the journal Raw. It was Mr. McGuire's first published comic, but it was immediately recognized as a milestone and a challenge by fellow cartoonists like the young Chris Ware, who has credited it with capturing "something closer to real memory and experience than anything that had come before."
Mr. McGuire, now 56, mostly sat out the graphic-novel boom that followed, instead turning his attention to designing toys, covers for The New Yorker, animated films and children's books. But now he has popped up through a wormhole of his own, with a full-color, book-length version of "Here" that once again transforms a corner of his childhood living room in New Jersey into a staging ground for all of earthly history.
Each two-page spread features a fixed view of the room in a certain year, with pop-up windows giving glimpses of what might have been visible in exactly that spot at various moments in the past and future: from the tail of a passing dinosaur to a 1960s children's birthday party to a quiet late-21st-century fireside chat.
If the conceit seems fantastical, Mr. McGuire explained in an interview, it mimics our everyday experience of time.
"I've been thinking a lot about how seldom we're in the moment, how we're always thinking about something else, making plans, remembering," he said. "But occasionally we get flashes of being right where we are."
The reconceived "Here," published by Pantheon, won't be released until December. But it is receiving a preview in "From Here to Here: Richard McGuire Makes a Book," an exhibition that opened on Thursday at the Morgan Library & Museum, featuring his drawings, notebooks, source photographs and other material.
To Mr. McGuire's admirers, the book promises to leapfrog immediately to the front ranks of the graphic-novel genre.
"All comics are somehow sheet music of time, but Richard's book is a symphony," the cartoonist Art Spiegelman, the former co-editor (with his wife, Françoise Mouly) of Raw, said in an interview. "I can't think of too many works that totally justify the odd share of attention comics have gotten in recent years, but this is one of them."
Mr. McGuire, who lives in Greenwich Village and has contributed illustrations to The New York Times, said he had never really considered himself a cartoonist. "I've always had a foot in that tribe, but I'm not really of it," he said.
Over the years, "Here" had tugged at him. In 1998 he signed a contract to turn it into a book, but he couldn't make it work and put it away.
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The death of both his parents and an older sister in the mid-2000s, and the experience of cleaning out his childhood home, brought him back to the project with renewed energy and a mountain of source material.
"I had all these family photographs," he said. "But I was still asking myself: 'How do I go forward? How do I go back?' "
The book began taking shape during a yearlong fellowship at the Dorothy and Lewis B. Cullman Center at the New York Public Library, where he roamed the library's enormous holdings of prints and illustrated books for ideas about color palette, narrative structure and form. (He had already hit on the idea of using the gutter of the book as the room's corner, and was delighted to see the same trick in an erotic 19th-century Japanese book, which is displayed - opened to a relatively chaste page - in the Morgan exhibition.)
He also dug deep into the library's historical collections, researching all aspects of the house site's history, including long-vanished fauna, the advance and retreat of glaciers and the language of the Lenni Lenape, whose early contacts with European settlers are depicted in a sequence of witty panels with subtitles.
His hometown, Mr. McGuire discovered, had some brushes with American history with a capital H, including a visit by Ben Franklin, who traveled to the grand colonial pile across the street from the McGuire family home on the eve of the Revolution to argue with his estranged loyalist son, who was living there. (In the interview, Mr. McGuire would refer to the town only by a Lenni Lenape name, Ompoge; the Morgan show identifies it as Perth Amboy.)
"I found so much amazing stuff; some people encouraged me to have footnotes," he said. "But I knew it wasn't that kind of book. I had a motto: Make the big moments small, and the small moments big. I wanted it to be about undocumented moments, the forgotten little things."
"Here" is full of cameos of family and friends, and everyday moments - a child doing a handstand, a man falling off a ladder - based on family photographs or other vernacular images. (One photo of a woman holding a baby, a motif that recurs in various eras, came from a trove of snapshots Mr. McGuire found in a garbage can.)
There are also some winking references to the original comic, including the black cat seen in the original wandering across the bottom of several panels in a small box labeled "1999." In the book, it reappears ambling in the opposite direction - a cat from the future transformed into a cat from the past.
As for the future, the book version takes a much longer view, flashing forward to the rising seas that come pouring into the house in 2111, a 24th-century radioactive disaster, a hopeful natural regeneration (complete with strange new animals) and, finally, beginning eight million years from now, the inevitable death of the sun, noted in a television documentary playing in the background on an ordinary evening in 1999.
"In early versions I was going to have this big climactic scene, but that seemed corny," Mr. McGuire said. "Instead, I just put it on TV."
On Tuesday, as part of a program celebrating Mr. McGuire's book, Matt Knutzen, the New York Public Library's geospatial librarian, will give a "Here"-like talk at the Morgan on the history of the Morgan's Madison Avenue site. Meanwhile, in New Jersey, Mr. McGuire's artistic project, in its own strange way, has become as much a part of the story of the spot it chronicles as Ben Franklin or the Lenni Lenape.
So can he imagine a future historical marker on his childhood front lawn declaring " 'Here' was here"?
He laughed, then shook his head. "If the book is about anything, it's about impermanence," he said. "The now is the only thing that exists."
"From Here to Here: Richard McGuire Makes a Book" is on view through Nov. 9 at the Morgan Library & Museum, 225 Madison Avenue, at 36th Street; 212-685-0008, themorgan.org. On Tuesday at 6:30 p.m., Mr. McGuire and others will discuss his book and the exhibition.



14. Claire Fergusson, FF Alumn, at American Flatbread, Manhattan, Oct. 21, and more

in celebrating with
our favorite musician The Legendary RT
on his Birthday!!
Benefit Bake for The Claire & Jan Binney Lang Art Foundation

~ The Silent Auction continues ~
~ The Legendary RT continues ~
The show must go on!

September 30th - 5-9pm at American Flatbread
If you are unable to join us this evening,
Save The Date(s) of our upcoming Benefit Bakes!
October 21st - November 18th - December 9th

$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!



15. Doug Skinner, FF Alumn, in new Shavertron Press publication

Doug Skinner,
Richard Toronto has written the definitive work on the artwork of Richard Shaver, in two volumes, with over 300 illustrations. I wrote the introduction for the second volume, linking Shaver's preoccupation with stones and pareidolia to the long tradition of scrying and lithomancy.
It's published by Shavertron Press, and you can find it on Amazon. Here's Toronto's description:

In 1960, science fiction writer Richard Sharpe Shaver discovered "rock books" on his Wisconsin farm. He concluded they were not just rocks, but intelligently designed documents, the recorded history of an ancient, pre-deluge civilization. For 15 years he decoded the rock book texts and images he found embedded in stone, and soon began painting and photographing what he found. It was an alien world that few other than Shaver could see. Shaver also wrote essays to complement his paintings. He wrote of the people and customs of Earth's pre-history-the half human, half fish Mermen and women-documenting their daily lives in intimate detail. He left behind a body of work that has languished in obscurity for decades. Richard Toronto has gathered together the largest collection of Shaver's art ever to see print. Presented in two volumes, with more than 300 illustrations, "Rokfogo: The Mysterious Pre-Deluge Art of Richard S.
Shaver" presents the paintings, photographs, and essays that made up Richard Shaver's ante-diluvian cosmology. Now considered an Outsider artist, Shaver was a pulp fiction writer during Amazing Stories' golden era. Shunned by mainstream science fiction fans for his radical ideas, Shaver died in obscurity in 1975, leaving behind his legacy of the "sensual art of the ancients."



16. Doug Beube, FF Alumn, at the Morris Museum of Art, Morristown, NJ, thru Dec. 7, and more

Pulp Culture: Paper is the Medium at the Morris Museum of Art, Sept. 21-Dec. 7, 2014
6 Normandy Heights Rd, Morristown, NJ 07960

Somewhere Between Creation and Destruction at the Hartford Art School's Joseloff Gallery, Sept. 18-Oct 26, 2014
200 Bloomfield Ave, West Hartford, CT 06117



17. Adrianne Wortzel, FF Alumn, October events



"archipelago.ch: Fumiya Island" by Adrianne Wortzel and Daniel Bisig Inclusion in " Input", in collaboration with artist group Super/Collider.
The event will be an exploration of the body's relationship to digital technology and art.

4th October, 2014 12:00pm - 4th October, 2014 6:00pm Queen Elizabeth Olympic Park, London, Greater London, E20 2ST Queen Elizabeth Olympic Park

The Floating Cinema Fun Palace is curated and produced by the Floating Cinema 2014 volunteers. Floating Cinema is an Up Projects production supported by The Legacy List, the charity of Queen Elizabeth Olympic Park.

Project URL: http://adriannewortzel.us9.list-manage1.com/track/click?u=46b15139b3e664fff919bd6f9&id=84caa86a7e&e=9e42c6a7bc


If you are in New York, please join me for the screening of "archipelago.ch: Fumiya Island" by Adrianne Wortzel and Daniel Bisig, followed by a Q&A session.

Program - Shorts: Time Travelogues
Saturday, October 18, 2014
1:30 pm - 3:30 pm 1:00 PM

Join Imagine Science Films shorts program Time Travelogues, exploring historical science across the globe, followed by Q&A. Witness stories inspired by pivotal events of the past, including the discovery of Ebola in 1976, the onset of the atomic era in the 1940s, and NASA's launch of the Golden Record aboard its spacecraft in 1977.

Eugene Lang College The New School for Liberal Arts
65 W 11th St, Rm 500 Wollman Hall
New York, NY 10011
(Greenwich Village)

Program: Time Travelogues- Historical science across the globe

Cost: $10 public, $5 students, New School students free with ID

Tickets at: http://adriannewortzel.us9.list-manage1.com/track/click?u=46b15139b3e664fff919bd6f9&id=d3d509ad65&e=9e42c6a7bc



18. LoVid, FF Alumn, October events


4:30 PM

Amsterdam Ave & W 140th St
New York, NY 10031
Attendance by RSVP ONLY

Hyperplace Harlem iParade times:
Saturday, October 4, 1- 2 pm
Sunday, October 5, 3 - 4 pm

New York, NY (For Immediate Release) -- LoVid is proud to present iParade #2: Unchanged When Exhumed for Hyperplace Harlem, October 4 - 6, 2014. Tali Hinkis and Kyle Lapidus, practicing as artist collective LoVid will present iParade #2: Unchanged When Exhumed, the second in a series of site-responsive media works, exploring the relationship between human memory and physical place. The iParade series are locative films - composite audio, visual and text art experiences - activated in response to participants' geo-coordinates. IParade: Unchanged When Exhumed is specifically inspired by Hamilton Grange, Alexander Hamilton's historic home, as well as archival film footage created by City College students during the 1940s and 1950s.

IParade: Unchanged When Exhumed is divided into five locative films, each created in response to the environmental, historical, architectural and/or social topography of a particular West Harlem location. To access the work in full, participants must travel along a predetermined route through each of these five distinct locations. At each destination, the user is able to retrieve the custom locative film via his/her mobile device. Thus iParade shifts the technology paradigm, engaging active sensory participation rather than reinforcing detachment. In addition to reflecting the general "What is place?" theme of Hyperplace Harlem, iParade navigates local narratives and revisits abstractions of public space, as well as treating the phenomenon of displaced memory and its connection to technology. IParade #2: Unchanged When Exhumed is produced with the generous support of NYSCA, Wave Farm, Rhizome, Franklin Furnace, Experimental Television Center and The City College of New York.

About LoVid:
LoVid creates custom-tooled machine-meets-craft interfaces to explore technology's effect on the evolution of culture. LoVid's interdisciplinary work considers the invisible or the intangible, leveraging user-controlled environments to recalibrate thought and sensation between human and virtual scales. LoVid's practice includes participatory public art, handmade technologies, textiles prints, App-art, experimental video and immersive installations.

Press Contact: Art Antidote, Sarah Lehat, 646 376 8021, sarahlehat@gmail.com




Ignivomous joins forces with City College of New York, Art in FLUX, Maysles Cinema, Tatiana Pagés Gallery and Clayton Williams Community Garden to present Hyperplace Harlem, a 3-day interdisciplinary arts festival, October 4 through 6, 2014.

Hyperplace Harlem is the brainchild of artist duo Tali Hinkis and Kyle Lapidus, aka LoVid. Inspired by LoVid's iParadehttp://vimeo.com/44785209, a series of site-specific media works responding to geographic coordinates and environmental conditions, Hyperplace Harlem sets out to explore the concept of place.

As technology and mobility evolve, our notion of place sustains rapid and repeated transformations. The effects of our shifting environment impact local and global systems, provoking communal mutations in both urban and rural communities. Hyperplace Harlem unites close to 30 visual, music, literary, movement and new media artists in five venues across Harlem to examine the morphology of our new technological landscape.
Navigating themes of gentrification, psycho-geography, local ecology, urban decay, socioeconomic and identity politics, Hyperplace Harlem features site-specific works, screenings, readings, performances, workshops, and discussions that intend to bridge ethnic divides and foster cross-cultural engagement. In addition, Hyperplace Harlem places special emphasis on projects experimenting with cutting edge technologies: architectural simulations; virtual (sometimes user-driven) environments; original technology and hacked console interfaces; Eco Art installations; and audience-initiated performance art.
Hyperplace Harlem artists include Alexia Welch, Anna Cahn, Annie Seaton, Anthony Locane, Audra Lambert, Brooke Singer, Carla Perez‐Gallardo, Carolyn Lazard, Dirk de Bruyn, DJ Rhizome, Dominique Wohrer, Ephraim Asili, Élan Jurado, eteam, Jenny Gräf, João Enxuto & Erica Love, Judith Escalona (MediaNoche), Kara J. Schmidt, Katherine Liberovskaya, LaTasha N. Nevada Diggs, Leila Nadir + Cary Peppermint (EcoArtTech), LoVid, Michelle Rosenberg, Origomu, Randall Horton, Savona Bailey-McClain, Stacy Parker Le Melle, Stephanie Rothenberg, Tamara Gayer, William Tucci, Yeah Dawg!!! and Zefrey Throwell. Hyperplace Harlem is made possible in part with public funds from NYSCA's Electronic Media and Film Presentation Funds grant program, administered by The ARTS Council of the Southern Finger Lakes and a regrant from the Canary Project. For more information, please visit http://www.ignivomous.org/hyperplace/harlem.

Press Contact: Art Antidote, Sarah Lehat, 646 376 8021, sarahlehat@gmail.com



19. Pablo Helguera, Liz Magic Laser, John Jesurun Patricia Hoffbauer, Andy Warhol, FF Alumns in PAJ fall 2014issue

PAJ Publications releases new journal issue & new book

PAJ 108 (FALL ISSUE) Just Published

In this issue:
• The Room Trick: Sound as Site by Manuel Cirauqui
• Community Theatre -- The New York Season 2013-14, a critics' roundtable with Joseph Cermatori, Miriam Felton-Dansky, and Ryan Anthony Hatch
• Thinking and Writing About Bodies by Patricia Hoffbauer
• Orbiting Andy Warhol's Silver Factory by Kenneth King
• Remembering the Coup: Chilean Theatre in 2013 by Alexandra Ripp
• Performing with Objects: Andrew Galeano in conversation with Joanna Matuszak
• PLAY: Pillars (for David Moodey) by Robert Ashley
• Art and Performance Notes by Andrew Cappetta, Cristina Modreanu, Paul David Young, and Daniel SackBook reviews by Susan Tenneriello

Check out online archive of PAJ Video and Audio Clips!

Now available on Kindle:
PAJ 100-Performance New York
PAJ 107-Performance Drawing
newARTtheatre by Paul David Young

PAJ's first title in the new Performance Ideas small book series, newARTtheatre, focuses on one of the hotly discussed issues of today: the turn by visual artists to the processes and practices associated with theatre, looking at important strategies artists are favoring in performance, video, photography, installation, and conceptual projects.

Select artists featured:
Pablo Helguera, Liz Magic Laser, David Levine, Janet Cardiff, John Jesurun, John Kelly, Elisabeth Subrin, Alix Pearlstein, Ohad Meromi, Xaviera Simmons



20. Donald Daedalus, FF Alumn, publishes new digital edition


Donald Daedalus publishes new digital edition of "Story of the Glittering Plain, or the Land of Living Men" (available on iTunes Bookstore for iPad and OSX, 177 pages)

"Story of the Glittering Plain, or the Land of Living Men" (1891) was published shortly after "News from Nowhere." merged fantasy with the supernatural. It was arguably the first modern fantasy novel. Set in Northern Europe in the dark ages, our protagonist Hallblithe has to rescue his love held hostage. This journey takes him to the utopic Land of the Glittering Plain where immortals reside.

This digital edition makes use of the page designs and fonts found in William Morris' Kelmscott edition. This work is part of a larger collection of digital books that comprise project bookEnd at the Center for Book Arts (October 10-Jan 15, 2014).




21. Donna Henes, FF Alumn, at Grand Army Plaza, Brooklyn, Oct. 11

Urban Shaman Hosts 2nd-Annual Brooklyn Blessing of the Animals

Exotic Brooklyn, New York¬-¬-Brooklyn's Blessing of the Animals is back! Bring your pets - on leashes, in carriers, cages or bowls - to Bailey Fountain at Grand Army Plaza in Brooklyn on Saturday, October 11th from Noon - 4 PM for this 2nd-Annual non-denominational ceremony led by Urban Shaman Donna Henes.

Mama Donna (as she is affectionately called) is a renowned ceremonialist, author and ritual expert who has been leading public rituals in New York City for 39 years. She has been dubbed by The New Yorker as "New York's Unofficial Commissioner of Public Spirit". At this event, Donna offers blessings of health, protection, gratitude and love to all our furry, scaled and feathered friends.

Mama Donna's Brooklyn Blessing of the Animals is a free, family-friendly event.

Here are the exact details:

October 11th
Saturday, Noon - 4:00 PM
Rain date: Sunday, October 12, Noon - 4:00 PM

Brooklyn Blessing of the Animals
With Mama Donna Henes, Urban Shaman

Our animal friends bless us every day with their love and devotion. Here is an opportunity to celebrate their special place in your life. Mama Donna will offer your animal loved ones sacred blessings of health, protection, gratitude and love.

Grand Army Plaza, Bailey Fountain
Park Slope, Exotic Brooklyn.
(2/3 train to Grand Army Plaza)
For more information contact:
718-857-1343 or cityshaman@aol.com
About Mama Donna:
* Unofficial Commissioner of Public Spirit of NYC. - The New Yorker
* For 35 years Ms. Henes has been putting city folk in touch with Mother Earth. - New York Times
* Part performance artist, part witch, part social director for planet earth. - The Village Voice
* A-List exorcist!" - NY Post
* The Original crystal-packing mama. - NY Press

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

Read her on the Huffington Post:

Connect with her on Facebook:

Follow her on Twitter:

Watch her videos:

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




22. Alicia Grullon, FF Alumn, October events

Alicia Grullon will be on a panel at El Museo del Barrio Wednesday October 1, 2014 6-8:30 pm on Art and Social Engagement.
Also, some media attention regarding PERCENT FOR GREEN, Grullon's social practice project focused on creating green legislation in environmental justice communities. It is part of InClimate a 7 project exhibition presented under the auspices of Franklin Furnace and curated by Regina Cornwell. PERCENT FOR GREEN is also part of the Bronx Climate Justice Platform, a collection of demands and legislation addressing environmental injustices in the City.
Grullon will be doing a workshop:
TUESDAYS September 30th, October 7th, 14th, & 21st
At the Hunt's Point Library
4:00 to 5:30 pm
Ages 8-17
Workshop limit 10 to 12 participants
What's your solution for change? For this workshop, we will talk about environmental concerns and how they connect to bigger issues in our communities. We will create flyers for with your solutions. Then, we will print your designs and distribute the flyers throughout the neighborhood. This workshop is a part of PERCENT FOR GREEN a socially engaged project by Alicia Grullon. It is presented in part by the Hunt's Point Library in collaboration with Casita Maria Center for Arts and Education and Mobile Print Power.

Grullon's work is included in "Caribbean: Together Apart- Contemporary Artists from (part of) the Caribbean" from the Luciano Benetton Collection.
Published by FABRICA, Italy 2014. With text contributions from: Luciano Benetton, Rocio Aranda-Alvarado, Tony Bechara, and Sasha Dees.
isbn# 978-88-98764-22-8
Also read Grullon's interviews of Bronx artists as part of the Bronx Artist Documentary Project. http://www.bronxartistdocproject.org/media.html



23. Sean Leonardo, FF Alumn, at The Brooklyn Museum, Oct. 3

Crossing Brooklyn
Oct 3 | 2014 | Brooklyn Museum
Morris A. and Meyer Schapiro Wing and Iris and B. Gerald Cantor Gallery, 5th Floor
featuring photographs of the Taxi Dance performances
Reflecting the rich creative diversity of Brooklyn, Crossing Brooklyn presents work by thirty-five Brooklyn-based artists or collectives. The exhibition and related programming take place in the galleries and on the grounds of the Museum, as well as off-site in the streets, waterways, and other public spaces of the borough. Emphasizing artistic practices that engage with the world, the exhibition includes artists who aim to expand their focus and have an impact beyond the studio and the museum.
Organized by Eugenie Tsai, John and Barbara Vogelstein Curator of Contemporary Art,
and Rujeko Hockley, Assistant Curator of Contemporary Art, Brooklyn Museum.



24. Emily Roysdon, FF Alumn, fall events

Hello Hello

I would like to announce some projects and exhibitions. It has been a few years since I have sent an email like this, and if there is one thing you gather from this flag waving - let it be this ::

I am having a solo show at Participant, Inc in NYC opening January 4th.
As the hometown of my heart, I would love to see you there.
save the date!

Exhibitions this Fall:
- Sites of Reason: A Selection of Recent Acquisitions, Museum of Modern Art, New York, June 11-September 28

- I'm excited about this exhibition of new work and having been at this great festival two years running. Portland Institute of Contemporary Art, T:BA Festival, curated by Kristan Kennedy, September 11- October 11

- Moderna Exhibition, Moderna Museet (Malmo), September 18th - January 25

- Framed Movements, Australian Contemporary Art Center, October 10 - November 23

- I have had the honor of a two year commission with If I Can't Dance and Stedelijk Museum. I presented a performance at the Stedelijk last winter and now the cycle closes with performances and a symposium, November 28-30

- Participant, Inc., NYC (solo show)
January 4 - February 15, 2015

- LTTR is working together again, archival exhibition at Tensta Konsthall, Stockholm
June 2015

- Secession, Vienna (solo show)
September 2015

my News:
- I've been hired as Professor of Fine Art at Konstfack: University of Art, Craft and Design in Stockholm. I was part of designing a new masters program starting this Fall.

- My work has been acquired into the permanent collection of Museum of Modern Art (NY), Moderna Museet (Stockholm) and The New York Public Library, The Miriam and Ira D. Wallach Division of Art, Prints and Photographs.

- I've had the pleasure of working with many great collaborators in the last year, including Eleanor Bauer, Babi Badalov, Katinka Marac, Rob Halverson, and The Knife (I co-wrote a track, Stay Out Here, on their new record).

*click here to see images of my recent project OUR SHORT CENTURY installed in Venice for the Future Generation Art Prize and at the 19th Sydney Biennale:

my very best,
Emily Roysdon



Goings On is compiled weekly by Harley Spiller