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ABOUT GOINGS ON: How to subscribe and submit listings

Contents for October 06, 2014

1. Martha Wilson, Richard Minsky, Barbara Moore, David Platzker, Marvin Sackner, Robbin Ami Silverberg, FF Alumns, at MoMA, Manhattan, Oct. 11

Saturday, October 11th, from 10 am-5 pm, there will be a colloquium at MOMA on Collecting of Artist Books, with four panels.
The colloquium is free admission but with RSVP required by calling 212-481-0295
10 am - 5pm in the Celeste Bartos Auditorium, 4 West 54th St.

Full schedule: http://www.centerforbookarts.org/colloquium/

Admission is free; reservations are required by calling the Center for Book Arts at 212-481-0295.

Four panels covering a spectrum of critical issues will feature prominent collectors, curators and artists working in the field of artist books. The schedule includes:

10am: Welcoming Remarks
Alexander Campos, Executive Director & Curator, Center for Book Arts

Panel 1: Disseminating Ideas through Artist Books
Moderator: David Platzker, Curator, Drawings and Prints, MoMA
Philip Aarons, Collector (NY)
Richard Minsky, Founder, Center for Book Arts; Artist
Maddy Rosenberg, Executive Director, Central Booking; Artist & Curator
Marvin Sackner, Collector, Archive of Visual and Concrete Poetry (FL)
11:30-11:45am: Break
Panel 2: Artists Books: Meaning through Materials & Structures
Moderator: Molly Schwartzburg, Librarian/Curator, University of Virginia
Mary Austin, Collector (CA)
Jack Ginsberg, Collector (South Africa)
Anne Kalmbach, Co-Founder, Women's Studio Workshop
Ruth Rogers, Curator of Special Collections, Wellesley College
Robbin Ami Silverberg, Proprietor of Dobbin Mill & Artist
1:00-2:15pm: Break for Lunch

Panel 3: The Artist Book as a Vehicle of Social Commentary
Moderator: Tony White, Librarian/Curator, Maryland Institute of Contemporary Art
Barbara Moore, Art Historian & Former Rare Book Dealer (NY)
Monica Oppen, Collector (Australia)
Robert Ruben, Collector (NY)
Marshall Weber, Directing Curator of Booklyn Artist Alliance; Artist
Martha Wilson, Collector & Founder, Franklin Furnace
3:30-3:45pm: Break
Panel 4: Letterpress Today and Its Relevancy for Artmaking
Moderator: Katherine Ruffin, Book Arts Program Director, Wellesley College
Duke Collier, Collector (MA)
Robin Price, Publisher & Artist (CT)
Russell Maret, Artist (NY)
Mark Dimunation, Chief, Rare Books & Special Collections, Library of Congress

The entire event is free to the public. Please join us from 10am to 5pm at:
The Museum of Modern Art
The Celeste Bartos Auditorium
Lewis B. and Dorothy Cullman
Education & Research Building
4 West 54th Street
Free Admission. Reservations required by calling the Center at 212-481-0295.

(c)2014 Center for Book Arts, Incorporated 1974
A 501(c)(3) not-for-profit organization
28 West 27th Street, 3rd Floor. New York, NY 10001



2. David Cale, FF Alumn, at Florence Gould Hall, Manhattan, Oct. 15-16

I'm supremely proud to be a part of this. It's for two performances only. 600 HIGHWAYMEN working with a cast of 5 Nine and Ten Year Old Girls. I wrote the songs. It's on Wednesday October 15th and Thursday the 16th at 7;30 PM at the Crossing the Line Festival at FIAFF Florence Gould Hall. Hope you can come see. http://www.fiaf.org/crossingthe.../.../2014-600-highwaymen.shtml

Thank you. David Cale



3. LuLu LoLo, FF Member, in Paris, France

LuLu LoLo's Symbolic Journeys for People-an invitation from LuLu LoLo
As I wander Paris, with each step you will be with me in spirit
I will walk in your shoes:
To a place you wish to revisit
Or to a place you have never been
Or I will perform an action you have always envisioned
You will be by my side in Paris.
A photo documentation will commemorate your "Pilgrimage By Proxy"

If interested please email a response between now and November 3rd. LuLu



4. Jeanine Oleson, FF Alumn, at BRIC, Brooklyn, Oct. 14

Hi everyone!

I just wanted to let you know about a few events I have coming up:
Performance at BRIC, Tuesday, Oct. 14 @ 7pm as part of a program called Utterances that Martha Wilson and Ben Thorpe Brown are organizing. I'll be presenting another excerpt of the opera, but this time with Beth Griffith and Rainy Orteca performing!

Okay, that's about it for now. Hope to see you and that you are all doing well!




5. Nina Sobell, FF Alumn, at Fusion Arts Museum, Manhattan, opening Oct. 16, and more

The L. E. S. Scene - Then and Now
Opening October 16th, 6 - 9PM
Fusion Arts Museum
57 Stanton Street, NY


The Mask Show
Opening October 18th
Emily Harvey Foundation Gallery
Venice, Italy
in memory of Emily Harvey


Drawing Show
Opened September 3
80 Three Colt Street
London, UK

Nina Sobell
cell 646.319.1303



6. L. Brandon Krall, FF Alumn, at YoFi Film Festival, Yonkers, NY, Oct. 19, and more

a. My film, An Evening with Quentin Crisp, will be screened as part of the YoFi Film Festival on the 19th of October at 11 am, MetroNorth Hudson River Line to Yonkers and easy walk up Main Street to Riverdale Avenue. http://yofifest.wix.com/yofifest

b. I will be performing a selection of literal figuratives as part of the Blago Bung annual event at the Emily Harvey Foundation on the 23rd of October at 7pm emilyharveyfoundation.org



7. Dan Kwong, FF Alumn, at National Asian American Theater Festival, Philadelphia, PA, Oct. 10-12

Dan Kwong will be performing his newest work WHAT? NO PING-PING BALLS? as part of the National Asian American Theater Festival in Philadelphia, October 10, 11,12 at the InterAct Theater.

Kwong teams up with world-reknowned drummer Kenny Endo in a moving, insightful and hilarious tribute to Kwong's late mother, Momo Nagano. It's the tale of a Japanese American woman from "the greatest generation", living life unapologetically as a single parent and artist and joyously defying society to define or constrain her.

Kwong traces his mother's journey from all-American girlhood in Los Angeles to WWII internment camp; from defiant marriage with a Chinese immigrant to single divorcee with four young kids; from urban housewife to Venice Beach artist. As Nagano's path traverses the terrain of the Civil Rights Movement, modern feminism, and hippie counter-culture, we witness her courage, stubborn determination and fierce motherly devotion.

Along the way Kwong shares his experiences as the only son, providing his signature comedy through puppetry, props and song - and demonstrating that the apple doesn't fall far from the tree, as Nagano herself has a sense of humor that shines throughout.

WNPPB is rich with multimedia: home movies, animation, documentary footage, archival family photos and period television clips transport the audience into the world of this unusual woman and her unique interpretation of family.

Immensely entertaining, WNPPB also informs and educates: about Japanese-American internment; single Asian American mothers of multiple generations; the evolution of women's rights, and the modern American family. In researching single motherhood in the U.S., Kwong was struck by the absence of Asian Americans; an invisibility which resonates with much of the Asian American experience in general. Through video interviews with other Japanese American single moms from the 1960s through today, Kwong weaves the multiplicities of their experiences into the show while revealing commonalities from their cultural background.

Throughout the show, master taiko drummer Kenny Endo contributes sensitive and powerful live musical elements on taiko, percussion and Japanese flutes, to complete Kwong's compelling storytelling.

Fri Oct. 10 @ 2PM
Sat Oct. 11 @ 8PM
Sun Oct. 12 @ 2PM

InterAct Theater
2030 Sansom Street
Philadelphia 19103


to support this project please visit:


thank you.



8. Nicolás Dumit Estévez, Nao Bustamante, Papo Colo, Ricardo Miranda Zúñiga,
FF Alumns, at El Museo del Barrio, Manhattan, thru January 3, 2015

PLAYING WITH FIRE: Political Interventions, Dissident Acts, and Mischievous Actions
September 6, 2014 - January 3, 2015

The exhibition, as part of El Museo's Carmen Ana Unanue gallery is guest curated by multi-disciplinary artist Nicolás Dumit Estévez.

Tracing the founding of El Museo del Barrio by Raphael Montañez Ortíz at the end of the 60s, an era of social unrest and radical activism in the United States as well as throughout the Americas, the works in this exhibition target colonialism, imperialism, urban neglect, and cultural hegemony with a vast array of weapons, including irreverence and humor. The artists confront the status quo with a wide range of disarming conceptual strategies and aesthetic detonators. The fire that surfaces in some of the artworks points to an equally dangerous and alluring element that consumes and transforms, one that must be handled with care.

Playing with Fire: Political Interventions, Dissident Acts, and Mischievous Actions purposely welcomes impolite, undomesticated, rebellious, hilarious, and even sacrilegious discourses and gestures that stick out their tongues at oppressive systems and push for the re-politicization of society and the art space.

See below for the list of participating Artists in this exhibition:
Manuel Acevedo
Maris Bustamante
Nao Bustamante
Papo Colo
Abigail DeVille
Alejandro Diaz
Adonis Flores
Ester Hernández
Javier Hinojosa (b. 1956, México, D.F.) with the collaboration of Melquiades Herrera (Mexico, D.F., 1949-2003)
Jessica Kairé
Carlos Jesus Martinez Dominguez
Ricardo Miranda Zúñiga
Carlos Ortíz
Pedro Pietri
Jesús Natalio Puras Penzo (APECO)
Quintín Rivera Toro
Juan Sánchez



9. Lawrence Weiner, FF Alumn, at Fonderie Darling, Montreal, Quebec, thru Dec. 7

Lawrence Weiner / Li Ran as part of
BNLMTL 2014: L'avenir (looking forward)
October 9-December 7, 2014

Opening: Thursday, October 9th at 5pm

Fonderie Darling
745 Ottawa street
Montreal Quebec
H3C 1R8 Canada

T +1 514 392 1554




10. Robbin Ami Silverberg, FF Alumn, at Galerie Druck & Buch, Vienna, Austria, and more

FF Alumn Robbin Ami Silverberg's solo exhibition of artist books: Reality is as thin as paper.
Open until October 8th, 2014 at Galerie Druck & Buch, Vienna, Austria.


Today a review came out in the largest newspaper in Hungary, Nepszabadsag:



11. Beth Lapides, FF Alumn, now online at www.makers.com, and more

Beth Lapides and UnCabaret in a film on PBS
MAKERS: Women In Comedy.
Series about women rewriting the history of various things.
Now online at www.makers.com


Offers a workshop which is a 4 week session starting on Oct 13. 4 Mondays. The Beth Lapides Workshop. For Performers, Writers and Other Humans.

Info www.uncabaret.com/workshops.

Great for stand up, storytelling, memoir, one person shows, spoken work, pitches.

happy fall!



12. Barbara Kruger, FF Alumn, in the Wall Street Journal, October 2, 2014

Life & Style
Artwork Recalls Early Days for a Food Festival Guru

Lee Brian Schrager's favorite possession in his Miami home is a print photo series by artist Barbara Kruger that he bought in New York City at age 25 during the 1980s art boom.

The nine color lithographs depict photos of men and children making gestures that reference sign language (they aren't actual sign language). Each photo contains one word that strung together read: We Will No Longer Be Seen and Not Heard.

"It's a big statement," says Mr. Schrager, who is vice president, corporate communications and national events, at Southern Wine & Spirits of America Inc., a major alcoholic-beverages distributor in North America. Mr. Schrager is better known as the founder of the Food Network's South Beach Wine and Food and New York City Wine and Food festivals-annual events featuring celebrity chefs, eating and drinking that are widely attended by food lovers. He started his career as a chef and then became a South Beach Miami club and restaurant owner, before honing his skills as a food-celebrity guru.

The Kruger photo series was Mr. Schrager's first art purchase, bought for $6,500 in 1985 after an art adviser friend recommended the artist as a good investment- but with the caveat "always buy what you like," says Mr. Schrager, who is 55 years old. Ms. Kruger first gained prominence in the 1980s for her edgy photo-based artwork that often used media imagery and bold text to challenge social norms about gender, consumerism and other topics.

Mr. Schrager likes that the photos are a powerful message he can pass casually in his home each day. "It can mean a bunch of different things" depending on the context, he says. The artwork recalls a time for Mr. Schrager when he didn't own his own place to live or have many permanent roots. At the time, "I wanted something that was mine," says Mr. Schrager, who now owns homes in New York City and Asheville, N.C., in addition to Miami.

The art purchase spurred a life-long love of photography, he says. Mr. Schrager and his partner own hundreds of photos, many that rotate in and out of storage. "But the Kruger has never gone into storage," he says.

Finding a wall to accommodate the large artwork has proved challenging over the years. Through several moves it has hung in a living room, dining room, bedroom and most recently in an entrance hallway, he says.

Mr. Schrager is about to move again, and his new Miami home has lots of light that streams in from many windows. As a result it has few large walls that will hold the piece.

"I've been sleepless about where it will fit," he says.



13. LAPD, FF Alumns, in Gladys Park, Los Angeles, CA, Oct. 18-19

5th FestivalFor All Skid Row Artists
October 18 and 19, 1 - 5 pm, 2014 in Gladys Park
This fall, the Los Angeles Poverty Department's Festival for All Skid Row Artists will celebrate its 5th annual incarnation. On Saturday and Sunday, October 18 and 19, from 1 - 5 PM daily, more than 80 artists living and working in Skid Row will assemble in Gladys Park, at the corner of 6th and Gladys Streets, for a weekend of live performances and visual arts showcasing the diverse range of talents among Skid Row residents.
Over the past four years, LAPD's Festival for All Skid Row Artists has grown to become a treasured and much anticipated event for both artists and audiences alike. Here you can hear what you usually don't hear about Skid Row: yes, the community is poor, but it is rich with talent! Skid Row is rich with well-trained and experienced musicians who write and perform their own repertoire in many forms: rap, reggae, gospel and rock, jazz etc., and powerful spoken word that comes from the heart and gets everyone on their feet. Also visual artists have found a home at the festival to produce and share their craftsmanship and talent. The creativity stations have expanded and are booming with energy. Every year more children are participating and spend hours drawing and listening to the music. The Festival for All Skid Row Artists shows that Skid Row is a community, where many artists live and where people speak out and interact. A testament to the artistic vibrancy of the community, many artists who have performed at previous LAPD festivals have signed up and are slated to perform in this diverse mix. Artists like LAPD member and poet Michelle Yvonne-Autry, cabaret singer and Downtown Neighborhood Council president Patti Berman, and artist/designer/entrepreneur and rapper Crushow Herring, to name a few, will perform. Franc's Melting Pot will end the first day of the festival with their kinetic Jazz and Blues and Tommy Newman and Joseph Warren will close the festival with a band of Skid Row's top musicians, especially brought together for this occasion.



14. James Godwin, FF Alumn, at Dixon Place, Manhattan, Oct. 14

Tuesday, October 14 at 7:30pm
Draw it Out!
hosted by James Godwin

Draw It Out! is an evening of drawing and drinks where anyone from any skill level can learn some new tricks. Draw It Out! will get your creative juices flowing and supercharge your skills-all over a cocktail or five.

James Godwin is a performance and visual artist and puppeteer. He is a founding member of the Elementals puppet company and "Uncle Jimmy's Dirty Basement." His work has been presented all over NYC and beyond in such venues as P.S.122, Dixon Place, DTW, Franklin Furnace, LaMama and the Walker Art Center. He was also a cast member of Henson Alternative's off broadway show "Stuffed and Unstrung." James' one man show, "Lunatic Cunning" was awarded a 2012 project grant from the Jim Henson Foundation and had its premiere at Dixon Place in N.Y.C. in April of that year.



15. John Cage, Yoko Ono, FF Alumns, in the Wall Street Journal, Oct. 3

Book Review: 'Topless Cellist,' by Joan Rothfuss
Never an outright feminist, Charlotte Moorman applied herself to the liberation of the female body from clothes.
Norman Lebrecht
Oct. 3, 2014

For a tantalizing moment at the turn of the 1960s, avant-garde classical music flirted with sexual liberation. Something had to happen to get new music out of its postwar rut. The mainstream, led by Pierre Boulez and Karlheinz Stockhausen, was locked into tuneless serialism, while John Cage 's fantasies-throw dice before you play-were too way-out to catch on.

Into the genre burst a cellist from Little Rock, Ark., who promptly took her top off. New music needed Charlotte Moorman (1933-91). Vivacious, flirtatious and altogether oblivious to her impact on puritanical spectators and society, the topless cellist proclaimed that music should be fun and free.

Topless Cellist
By Joan Rothfuss
MIT, 447 pages, $34.95

When she got arrested half-naked in 1967, freedom itself seemed to be at stake, and her air-brushed image raced around the world's press. Some felt that Moorman made the most of her unremarkable assets, but a ground-breaking, entertaining new biography by Joan Rothfuss argues that Moorman was more seminal than she ever knew. Yoko Ono, a close friend who writes the foreword to "Topless Cellist," calls her "the Queen."

New York around 1960 was a hotbed of visual experimentation and, by contrast, one of the most conservative musical cities on earth. Visual artists were engaging with live performance while musical performers were mostly just doing the same old thing. Yoko Ono, a struggling Japanese artist, was keen to cross genres. She wrote "Of a Grapefruit in the World of Park" for Moorman to play in Ms. Ono's one-woman show on Carnegie Hall's smaller stage. "Seated on a toilet bowl," wrote one reviewer, "with her back to the audience, and making non-cello sounds on her cello as the score indicated, Miss Moorman again had cause to wonder whether her long musical education was being properly applied."

It seems unlikely, on the evidence assembled by Ms. Rothfuss, a Minneapolis art curator, that Moorman devoted much time to wondering about anything. The child of an Irish mother and a possibly Jewish father, born in Little Rock in November 1933, Charlotte won a beauty prize before she took up the cello in earnest and went to study music at Centenary College of Louisiana. Her lack of inhibition was soon apparent. Her conductor in the Shreveport Symphony, who was also a professor at the school, remembered: "The dean of the music school had a studio directly under the student practice room. One day, he came to my office and pounded on the door. 'You've got to do something-you've got to go upstairs. This screwing has got to stop.' Apparently someone upstairs was using the practice room for non-practice activity." It was Charlotte and her boyfriend. When the conductor conveyed the message to Charlotte, she "didn't get embarrassed or apologetic or anything-she simply said 'Oh.' "

An early marriage to the college boy and a run of successful auditions got her regular concert work, rising to a sought-after seat in Leopold Stokowski's American Symphony Orchestra. But the marriage failed under the frequent absences of working musicians, and Charlotte was never going to settle with being orchestral rank-and-file. She needed, somehow, to shine.

In New York, she met a concert organizer, Norman Seaman, who helped young artists make their debuts at small halls, more for pleasure than profit. Seaman taught Charlotte how to arrange an event. She came into contact with Stockhausen, Cage and Earle Brown, as well as the Japanese composer Toshi Ichiyanagi and his wife, Yoko Ono. Charlotte got hooked on the new.

In June 1963, she rented Judson Hall on 57th Street to put on an avant-garde festival at her own expense. Somehow she made the festival a New York fixture for the next 15 years.

Stockhausen, offering her his work "Originale," insisted on the participation of Nam June Paik, a radical Korean-born composer who had lived and performed in Germany. Paik was the inventor of a subgenre of "action music." During a piano etude in Darmstadt, he had jumped off-stage and cut off part of Cage's tie with long-bladed scissors. In Düsseldorf, he had thrown rotten eggs at the audience while playing Beethoven in his underpants. In one of his scores he wrote: "Take off a pair of nylon panties and stuff them in the mouth of a music critic."

During "Originale," Moorman took off her dress and played "startlingly nude," as Ms. Rothfuss puts it. In "Human Cello," by Paik, she drew a bow across the composer's naked torso, gripped between her legs. She played "The Swan" by Saint-Saëns in see-through cellophane and "Véxations" by Satie with breasts bobbing over the keyboard. In Yoko Ono's "Cut Piece," she sat impassive on the floor while audience members cut off her clothes. These were heady, crazy events, harbingers of a new concept of public performance.

Too much, of course, for New York's finest, who arrested Moorman in February 1967 after she finished performing Paik's "Opera Sextronique," naked but for strips of electric lighting festooned around her body. A grumpy judge in his 60s, Milton Shalleck, found her guilty of showing her breasts in a way that might "attract individuals eager for a forbidden look." He gave her a suspended prison sentence, which she did not appeal. Conviction was worth more to her than acquittal. Moorman was briefly America's equivalent of the French Revolution's Marianne. (The judge, too, got his Warhol minutes of fame.)

For the rest of her life, Moorman carried on playing unclothed, putting on festivals, cadging handouts from Ms. Ono and John Lennon, and keeping creditors at bay. She was always happier topless than stark-naked, sensitive to her ever-spreading hips and belly. She confronted the onset of breast cancer full-on in 1979 with a set of post-mastectomy photographs. So powerful was her effect that the Manhattan borough president David Dinkins declared Jan. 11, 1989, to be Charlotte Moorman Day. The topless cellist died on Nov. 8, 1991, eight days short of her 58th birthday.

Never an outright feminist, Moorman applied herself to the liberation of the female body from clothes, of music from old rules and of a performer's life from the dull realities of having to earn a living. Ms. Rothfuss has written not just a fine biography of an absorbing character but a necessary one-a closely researched tale of a life in art where all was fleetingly possible. The illustrations, needless to add, are exhilarating.

-Mr. Lebrecht's most recent book is "Why Mahler?: How One Man and Ten Symphonies Changed Our World."



16. Vito Acconci, Adrian Piper, Paul Ramirez Jonas, FF Alumns, in The New York Times, Oct. 2

The New York Times
The Artist Next Door
Crossing Brooklyn,' Local Talent at Brooklyn Museum
OCT. 2, 2014

An Ode to a Borough's Creativity

All conceivable kinds of artists live and work in Brooklyn. They come from all over the United States and the world. Many of them exhibit regularly in high-profile galleries. Tons more - veterans as well as up-and-comers - are not well known but worthy of notice. So "Crossing Brooklyn: Art from Bushwick, Bed-Stuy, and Beyond," an exhibition at the Brooklyn Museum billed as a "major survey" of Brooklyn-based artists, should be exciting and revelatory.

Disappointingly, it's not. Organized by Eugenie Tsai, the museum's contemporary-art curator, and Rujeko Hockley, an assistant curator, this anodyne, 35-artist show favors a particular type of artist: one who engages in the sorts of activities associated with Relational Aesthetics or, more broadly, social practice.

Evidently counted out from the start were artists who toil in studios making paintings, sculptures and other sorts of objects intended just to be looked at. Only one traditional painter was picked: Cynthia Daignault, whose 365 small, nondescript paintings of the sky in various states are installed in a room of their own.

The curators focused mainly on artists who venture outside their workshops to try to involve other people in participatory and interactive events. What's striking about the works selected is how mild they are. There's little that risks offending or alienating anyone.

In their introduction to the exhibition catalog, Ms. Tsai and Ms. Hockley observe that "artists today seem less interested in ambitious structures and organized movements and more interested in personal response and reaction." They speak of an "ethos of individual impact and the powerful accretion of microresponses." They conclude, "We are responsible for our own behavior; through our actions and interactions, we can make a difference in or neighbors', and our own, lives." The ideal artist, they seem to think, is a creative, benevolent teacher who helps people learn to share, care and be nicer to one another.

Miguel Luciano, for example, helped children in Kenya make vinyl kites imprinted with their own, life-size photograph portraits. A selection of these is suspended in the museum. Mr. Luciano also created a movable sculpture called "Pimp My Piragua": a tricycle with a fancy ice box in front that is fashioned like a customized car with a built-in sound system and embedded video screens. With bottles of colored syrups and a block of ice on top, he pedals around town, stopping to serve the Puerto Rican shaved ice confection called piragua. Mr. Luciano will ride the tricycle and offer piraguas to visitors at various times during the exhibition.

A couple of artists are into bartering. Documented by texts, photographs and a video, McKendree Key's "The Den Transaction" consists of a nicely furnished, one-room cabin she built in the backyard of her Bedford-Stuyvesant brownstone, where guests may stay in exchange for goods and services. Heather Hart's "Trading Post" is a waist-high block of wood on which she's placed a found object. Viewers are invited to take the object and replace it with one they deem of equal value. On Oct. 25, Ms. Hart will supervise a temporary marketplace called "Bartertown," where visitors may trade with others all kinds of items, including intangibles like songs and ideas.
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Nobutaka Aozaki sets up outdoors and makes funny portraits of people using a black marker to add their distinctive features to the yellow smiley face on plastic shopping bags. He'll be doing this in the museum during the show.

Dressed in seemingly official uniforms, the three members of a group called "Tatlo" take to the streets where they invite people to sit with them in a portable white kiosk to answer survey questions about life in Brooklyn and the other boroughs. They'll continue their project within the exhibition, where they post filled-in questionnaires on a wall.

Wandering around outdoors is a subject for several artists. Marie Lorenz's videos show her walking around industrial areas from the perspective of a camera attached to her back. We also see her rowing on the East River from the point of view of a camera attached to supports extending from the stern of a boat she designed and built. Yuji Agematsu picks up bits of stuff off the street, which he presents in a vitrine, like natural history museum specimens. Matthew Jensen hiked the woods of New Hampshire every day of one winter month. On each outing, he collected a bundle of twigs, leaves and dried flowers, shown in the exhibition as pallid still life photographs.

Seen against the historical background of nonstudio avant-gardism, from early 20th-century Dada to Happenings of the 1950s and '60s to the guerrilla performances of Vito Acconci and Adrian Piper in the 1970s, these activities appear woefully innocuous and unadventurous.

There are some works that have more substance either visually or conceptually. Paul Ramírez Jonas's life-size cork statue of a horse on a high pedestal has considerable sculptural presence. It also has a less interesting interactive feature: The pedestal serves as a bulletin board to which visitors may pin whatever things they like.

Drew Hamilton's "Street Corner Project" is a wonderfully realistic, scaled-down replica of a bodega in Bushwick. Kambui Olujimi's kaleidoscopic, symmetrically quartered video projections of slow-moving clouds are hallucinogenically hypnotic.

William Lamson built a raft designed to sink just below the water's surface while holding him afloat, giving the illusion that he's miraculously standing on water. A video of the artist struggling to get up on his craft is amusing, and the passages in which he appears to be standing on the smooth surface of the Delaware River are curiously calming.

Nina Katchadourian presents a triptych of video self-portraits she made in an airplane lavatory. In them, she's costumed herself using paper towels and other available materials to resemble the subjects of Dutch old master portrait paintings, and she's expertly lip-syncing the three harmonies of a Bee Gees song. It's hilarious and gripping to watch and listen to.

Daniel Bejar's conceptually intricate presentation of textual and photographic documents called "The Gaddafi Plot" derives from two odd coincidences: Saadi el-Qaddafi, one of Col. Muammar el-Qaddafi's sons, planned to flee Libya for Mexico under the name Daniel Bejar, and the younger Mr. Qaddafi physically resembled this Mr. Bejar. It could be the basis for a screwball thriller movie.

For "Trading with the Enemy," Duke Riley bred and trained a flock of homing pigeons to fly from Havana to Key West, Fla. Half the birds carried contraband Cuban cigars. This sounds like fiction, but he really did it, if videos shot from cameras on the other pigeons are to be believed. In the museum, live pigeons will inhabit a small house cobbled together from found materials.

But these more compelling works are outnumbered by tepid, didactic, unoriginal and complacent ones. Brooklyn artists deserve better than this too-small, ideologically blinkered exhibition.

"Crossing Brooklyn: Art From Bushwick, Bed-Stuy, and Beyond" runs through Jan. 4 at the Brooklyn Museum, 200 Eastern Parkway, at Prospect Park; 718-638-5000, brooklynmuseum.org.



17. Jill Scott, FF Alumn, at MUMA, Melbourne, Australia, Oct. 11

Jill Scott's "Taped," performed at Franklin Furnace November 8, 1979, is being reenacted in Melbourne.

Dear All,

Just a note to let you know you know that my old performance from 1975, called "Taped", ( where I was taped to the wall) is being re-enacted and re-performed by other performers at the upcoming show "Art as a Verb" at MUMA in Melbourne. Australia.
The original Video " Stick a Round" will also be shown. Here are the dates:
Opening- 3rd of October and again on October 11th.
Please check out the web site for details: http://www.monash.edu.au/muma/exhibitions/
Cheers......Jill Scott



18. Marina Abramović, Vito Acconci, John Baldessari, Andrea Fraser, Tehching Hsieh, Claes Oldenburg, Yoko Ono, , Martha Rosler, Jill Scott, FF Alumns, at MUMA, Melbourne, Australia, thru Dec. 16
Art as a Verb
Presented by MUMA in association with Melbourne Festival
3 October - 16 December 2014
Opening function: Saturday 4 October, 3-5pm

Curatorium: Charlotte Day, Francis E. Parker & Patrice Sharkey
Artists: Marina Abramović, Vito Acconci, Bas Jan Ader, Paweł Althamer & Artur Żmijewski, Francis Alÿs, Billy Apple, John Baldessari, Brown Council, Catherine or Kate, Clark Beaumont, Martin Creed, DAMP, John Davis, George Egerton-Warburton, Peter Fischli & David Weiss, Emily Floyd, Ceal Floyer, Heath Franco, Alicia Frankovich, Andrea Fraser, Ryan Gander, Agatha Gothe-Snape, Matthew Griffin, Bianca Hester, Hi Red Center, Christopher L G Hill, Tehching Hsieh, Tim Johnson, Allan Kaprow, Peter Kennedy, Sister Mary Corita Kent, Anastasia Klose, Laresa Kosloff, Jiří Kovanda, George Kuchar, George Maciunas, Basim Magdy, Paul McCarthy, David McDiarmid, Ian Milliss, Kate Mitchell, Bruce Nauman, Rose Nolan, Claes Oldenburg, Yoko Ono, Ariel Orozco, Deborah Ostrow, Mike Parr, Campbell Patterson, Kenny Pittock, Stuart Ringholt, Sarah Rodigari, Robert Rooney, Martha Rosler, Eva Rothschild, Tony Schwensen, Jill Scott, Kateřina Šedá, Christian Thompson, Rirkrit Tiravanija, Gabrielle de Vietri and Franz West
Art as a Verb is a major thematic exhibition that takes as its departure point the concept of art as action, both inside the gallery and beyond. Drawing upon the unbridled energy and anarchy of fluxus and happenings, and looking back to a moment when art dematerialised, Art as a Verb presents a range of projects from the 1960s to today that challenge the traditional role of the artist and the site of the museum. What constitutes the work of an artist? How do the varying roles of an artist (as instigator, facilitator, teacher, performer, consumer or visionary) fit within broader society? And how does the museum support art forms that function beyond the art object? Bringing together artworks from a wide range of Australian and international practitioners, Art as a Verb will feature documentation of actions and performances, situational pieces, instructional works, manifestoes and interactive props.



19. Harley Spiller, FF Alumn, at Seward Park Library, Manhattan, Oct. 21

Money Matters: A Pocketful of Change: Money Across the Ages
Tuesday, October 21, 2014, 6 p.m.
Seward Park Library
192 E Broadway, New York, NY 10002
(212) 477-6770
Fully accessible to wheelchairs

The New York Public Library's Money Matters series is made possible thanks to the generous support of McGraw Hill Financial.

Spend an hour with Harley Spiller aka Inspector Collector and learn the ins and outs of coins and other international forms of money from across the ages. From wampum belts and cowrie shells to golden dollars and collectible mistakes, this lively hands-on exploration exposes facts and figures about pennies, nickels, dimes, quarters, and more. Learn what exactly happens when the U.S. Mint uses 25,000 pounds of pressure to create coins; why a Caribbean nation intentionally drilled holes in its coins, and a whole lot more.



Goings On is compiled weekly by Harley Spiller