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Contents for November 10, 2014

1. Franklin Furnace Archive in the New York Times, November 7

Art & Design Carol Vogel The New York Times, Nov. 7

A FRANKLIN FURNACE 'NEST'

By the end of the year, Franklin Furnace, the avant-garde institution, will move to Pratt Institute's Brooklyn campus as part of a new organization in residence agreement. "We're not merging, we're nesting," said Martha Wilson, who founded Franklin Furnace in 1976 as an alternative space that oversaw projects like artist books, installations and cutting-edge performances.

Under the arrangement, Franklin Furnace will share its rich archives with Pratt; in turn, Pratt will help ensure that those materials are preserved for the future. "It puts on our campus an archive that is second to none," said Andrew W. Barnes, dean of Pratt's School of Liberal Arts and Sciences. "The idea is they stay as their own organization, and we stay as ours." The institutions plan to collaborate on projects and programs.

An exhibition, "Performing Franklin Furnace," organized by Independent Curators International, will showcase 30 historic events that took place at Franklin Furnace. It will be held at Pratt Manhattan Gallery, at 144 West 14th Street, from Feb. 20 through April 30.

Since its inception, Franklin Furnace has gone through many incarnations. It began in a TriBeCa storefront and - like other alternative spaces in the 1970s - became a hub of creativity. "Karen Finley had her first New York performance there in 1983, when she took a bath in a suitcase and made love to a chair using Wesson cooking oil," Ms. Wilson recalled. Other artists who got their start at Franklin Furnace included Jenny Holzer, Barbara Kruger, Ida Applebroog and Eric Bogosian.

In 1996, it sold its TriBeCa home, becoming what Ms. Wilson called a "virtual institution." Since then, it has made its resources electronic and overseen performances in various physical spaces as well as online. "Now we will be able to undertake ambitious projects that we couldn't have done on our own," she said.

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2. Martha Wilson, FF Alumn, in The Brooklyn Rail, Nov. 5

The complete illustrated Brooklyn Rail interview with Martha Wilson is now online at http://www.brooklynrail.org/2014/11/art/martha-wilson-with-jarrett-earnest

Here is the text only version:

The Brooklyn Rail, November 5, 2014

In Conversation
FIRST LADY OF PERFORMANCE ART
MARTHA WILSON with Jarrett Earnest

Under Martha Wilson's visionary direction, Franklin Furnace has remained a vital force in the New York art world since 1976, holding fast to its mission of "keeping the world safe for avant-garde art." For 20 years, its TriBeCa location at 112 Franklin Street was the fulcrum for much performance art history as well as a prime target for conservative ire during the Culture Wars. In the late '90s Franklin Furnace sold its loft and "went virtual," shifting its attention to "live art online"; to the Franklin Furnace Fund, its performance art granting program; and to the maintenance of its vast archives. The exhibition Martha Wilson: Staging the Self/30 Projects from 30 Years of Franklin Furnace Archive, curated by Peter Dykhuis, consists of Wilson's personal work from 1971 onward as well as one project from each of Franklin Furnace's first 30 years. It has been traveling North America for the past few years under the aegis of Independent Curators International and will reach its New York City finale as Performing Franklin Furnace in February 2015. She met with Jarrett Earnest to discuss recent news regarding the future of Franklin Furnace, dressing like Michelle Obama, and diagramming Henry James.

Jarrett Earnest (Rail): Let's begin with "the news" about the future of Franklin Furnace-

Martha Wilson: A year ago I was busy turning 65 so the Franklin Furnace board and I decided we needed a strategic plan for what was going to happen to the organization over the long term. We got a grant from the Rockefeller Brothers Fund; hired Dunch Arts, the art world consulting firm; and they helped us write a strategic plan for Franklin Furnace, a small, in-your-face arts organization, to "nest" in the arms of a larger educational edifice-much like Rhizome did with the New Museum. I asked Jennifer Miller, who is a Franklin Furnace Alum (an artist we have presented or given a grant), if she would take this idea to Pratt Institute, where she is on the faculty. She presented it to Andrew W. Barnes, Dean of Pratt's School of Liberal Arts and Sciences. In August of 2012, Coco Fusco, the chair of Franklin Furnace's board; Jennifer Miller and Martha Wilson met with Andy-and he totally loved it! Since that time, we have been discussing how Franklin Furnace and Pratt Institute might function together. We've reached an agreement: In the simplest terms, Franklin Furnace will be housed at Pratt, but we will each continue to be governed by our own boards of directors. One example of collaboration: each year we give grants to the weirdest of the weird through the Franklin Furnace Fund; those selected recipients could be guest lecturers in classrooms of Pratt. Another thing we're doing is digitizing Franklin Furnace's archives-all the slides, press releases, announcement cards, posters, video and "born digital" documentation of ephemeral practice will be digitized and published online so you can research Ana Mendieta even though you live in San Diego. Through collaboration with Pratt's School of Library and Information Science we will be able to cook up ambitious projects to document and preserve ephemeral art practice for the long term.

Rail: Congratulations-winners all! Now, to shift to your artwork: you've done performances as Nancy Reagan, Barbara Bush and Tipper Gore. Maybe it has something to do with the fact that the first First Lady was a "Martha," but what continues to interest you about the "First Lady" as a position or a figure?

Martha Wilson: Women are second-class citizens. The First Lady is not allowed to be in charge; she is allowed to beautify the roadsides or promote libraries, but she's not allowed to run things. My Barbara Bush talks quite a lot about how actually she was the one who wore the pants in the family, but she put other players like Dick Cheney out front. It's a power thing-I'm interested in the social realities of power. And we are all completely tuned into the power relationships out there, even though we claim we don't care or are unaware. One of the works in the Martha Wilson Sourcebook (ICI, 2011) is about the roles women are allowed to play: the ideal goddess role is always in the background, lurking behind housewife, secretary, professional-all the ways our roles as women are played in a social context. I got started on First Ladies with Nancy because she was so much fun, so vacant. I could make her say anything; in one performance I have her saying that "cancer is the natural response to the environment." Interestingly, I'm curating a series of performance artists for BAM and Clifford Owens wants me to perform as Michelle Obama because of my history of having done First Ladies, which adds the question of race to the whole subject of performance of the self. I'm hoping nobody throws a pie at me! It is for his ongoing analysis of what performance art is-he wants the audience to start yelling or asking questions.

Rail: It's interesting to see how it will work for you to play Michelle Obama because in an earlier interview someone asked if "you are going to be Michelle now" and you avoided it by saying, "oh no, she's too hot"-so it's not just about race but also about age and body-type, which is very complex. How are you going to deal with that?

Wilson: I'll wear a girdle-that's for damn sure! And I'm hiring a make-up artist who is going to make me up. Clifford and I had discussions about blackface. We're not going to do blackface, but I'm going to try to wear Michelle's skin tone. I have a wig and maybe I'll wear false eyelashes-I'm going to really try to look like Michelle-but she's got those guns!

Rail: To look back to your early '70s performances and your recent exhibitions at P.P.O.W., Martha Wilson seems as much a persona as any other, like when you referred to yourself in the third person. How do you see the relationship between yourself and Martha Wilson?

Wilson: That is a good question. I'm doing some new work for a show at P.P.O.W. based on an old piece I did in 1973 called "Mirror, Mirror" where I'm holding a mirror in front of my face so you see just the outline of my hair. I still have that mirror so I took a new photograph a few weeks ago. The original text said, "The schizophrenic looks in the mirror knowing that the self is absent." The new text is going to say "This artist"-distancing myself again!-"sees the dual citizenship that we all hold in self-love and self-loathing but doesn't really want to look into the darkest places." We don't want to know a lot of things about ourselves! Maybe we see those things in glimpses from time to time but we are very wily in finding ways to not see it anymore. It's a piece about that inventive quality that we all share in knowing and yet not knowing who's in there-I think that has been driving my work the whole time: knowledge of the self. Vito Acconci came to the Nova Scotia College of Art and Design (NSCAD) and told me to read The Performance of Self in Everyday Life-no! That's an interesting slip right there. It was Erving Goffman's The Presentation of Self in Everyday Life, which is about how we are performing for multiple audiences: our selves, our notion of history, as well as the people in the room. Performance is at play at all times, and that is fascinating to me.

Rail: Humor is very important in your work. When did you first start thinking art could be funny? A lot of conceptual art you talk about being exposed to at NSCAD was definitely not funny.

Wilson: No, it was not. In fact that was one of the first things that I reacted to. "Breast Forms Permutated" (1972) was a critique of Sol LeWitt's vertical, horizontal, diagonal right, diagonal left lines-the grid obsessions and the permutation concepts that were so big at the time. What annoyed me about conceptual practice was that it didn't matter. Who the fuck cares that you can enlarge the territory of a bird by moving the bird feeder three feet a day? It doesn't have an effect on people's lives. I don't know if I ever thought to myself, "how can I make that funny?" but I do make work that comes out of the condition of being a woman in relation to society, which is an absurd place because you are second-rate and at the same time are raising a family and thinking of the long-term benefit of the planet. Women, because they have babies, are stuck in a tactile relationship to the world that we live in. There was a moment in the early days when I was doing my work when I thought about Faulkner-I was really interested in Faulkner when I was a college student-there is a part in Sanctuary (1931) where the girl is raped with a corncob, which is a horrible thought but it's funny at the same time. I want to know how we can get to that place that is horrible and funny at the same time-that is my goal.

Rail: I love your relationship to literature and I suspect that part of the problem with a lot of writing and thinking about art right now is that people aren't reading poetry or literature. Were you always reading and writing?
"Nancy Reagan in Malibu" (1984). Photo by Sue Daiken.

Wilson: I was a biology major at a small Quaker school in Ohio called Wilmington College, where I thought, "this pond is too small for this fish-I'm going to go to the University of Washington in Seattle to study oceanography." I got out there and was required to use the electron microscope to do an experiment during a 45-minute window. The first week I didn't complete the experiment, so the second week I had to complete the first week and try for the second, and by the third week I'm failing the course. I went to my guidance counselor and she said, "You have really good grades in English, why don't you switch majors?" Well, that sounded good, but then why was I in Seattle instead of my small liberal arts college in Ohio where you get a lot of personal attention? So that is what I did: I went out for one semester, failed miserably, came back to Wilmington College and graduated in English in 1969.

Rail: Then you went to graduate school in Canada to write on Henry James?

Wilson: Oh yes-that was my Ph.D. thesis idea, but it was rejected. My idea was that Henry James had drawn a graph or built a model for each of his novels before he started writing. I was going to prove it by reading all his novels and recreating these models. In the early part of his career, for instance, Roderick Hudson (1875) is built on a compass so that there is a character at North, South, East, and West, and then there are interstitial characters in between. It's a pretty simple structure. Then somewhere in the middle of his career, for The Princess Casamassima (1886), he's gone 3-D-he's built a roof: the whole first half of the novel, up to the word in the sentence, is preparation for the denouement, which is the second half of the novel. By the end of his career, he has gone even further; The Golden Bowl (1904) is a carriage wobbling with one wheel missing-three characters you hear from, but not the father, even though he's there the whole time. I thought this was a completely obvious idea but my advisors said, "you can't do that-it's visual art." I got all steamed up and went across the street to the art college where I was hanging out anyway. I spoke to the president of the college who told me that the English teacher was leaving and asked if I wanted to teach English to the art students. They did not want to read; it ended up being more of a policing gig than anything, but then I was on the faculty of NSCAD so I could audit classes, meet the visiting artists, use the video equipment-through the largesse of NSCAD, I trained myself to be an artist.
Barbara Bush Portrait by Dennis W. Ho, 2005.

Rail: To continue the Great Books theme, the very first thing in the Martha Wilson Sourcebook is an excerpt from Sterne's The Life and Opinions of Tristram Shandy, Gentleman (1759 - 67). I think I understand why it's there, but I want to know why you chose to start with it.

Wilson: It's so important. We're back to Wilmington College in Ohio. For one of my English courses we read Lawrence Sterne, whose character, Tristram Shandy, used the page as art space in a very fluid manner-drawing plot lines, reproducing a page of marbleized paper, or another entire page of black paper to depict depression. It's great! I didn't know what to do with it but I put it in the back of my brain. When I got to NSCAD, Lawrence Weiner came to town with his artist book Statements (1968). One of the statements is:

One regular rectangular object place
d across an international boundary a
llowed to rest then turned to and tu
rned upon to intrude the portion of
one country into the other

It's a performance-you could go out and enact these things, or you could read about it. It exists as a visual text in the book because he doesn't put the word breaks in the "right" places-he makes a brick out of it-so the word is being used as an image.

Rail: One of the books that I believe is extremely important in performance art is Simone Forti's Handbook in Motion (1974), published by Nova Scotia College of Art and Design Press, and precisely why I think it's so important is because it works right at that place between book and performance, between text/image/action. When you first moved to New York you stayed with Simone Forti. Knowing that, and that you started Franklin Furnace as a space for artist books, which became a space for performance art-all that flows together in a way that makes total sense. How did you meet Simone Forti?
Michelle Obama Portrait by Matthew McNulty, 2014.

Wilson: She was invited to the college to work on that book, and she taught some workshops at the same time-she was in Halifax for almost a month. We interacted in different social contexts. I think I was Kasper König's assistant for her book, maybe because I knew how to copy edit. Then when she was leaving she said, "if you ever want to move to New York you can crash with me"-I never forgot that. When my boyfriend dumped my ass, I called her and said, "I'm moving to New York, can I crash with you?" She had a giant loft at 537 Broadway. She slept on the loft bed and I just put a palette on the floor. Her kitchen was way over at one end, and she would walk into the loft in a big arc over to her notebook to write something down, then she'd walk again, circling around the loft, and then write something down again-she's as good as her word; she's all about movement in space. What impressed me greatly was that she didn't know where the rent was coming from from one month to the next. I observed her for a month and I thought, "I cannot live with that kind of uncertainty-I'm going to go get a job." I was reading the paper and I saw an ad for an "editorial assistant that had art history training." I knew it was either Praeger or Abrams, so I took a chance and went up to Abrams at 8:30 in the morning. Margaret Kaplan liked the fact that I didn't bother to use an agency, I just walked in the door and she liked my résumé, which was completely naïve-I said I was blonde. That information has no business being on a résumé! So Margaret hired me to work at Abrams, which was really important. The reason I wanted to work for an art book publisher was I thought my visual art training and my interest in literature would be combined, but that is not what happens in a publishing company. I was assistant to the managing editor; the individual editors bring you a pile of paper and you write down every single thing that is in that pile and then you send it over to the design side; then they send it all back but with the design next to it, and it goes back to the same editor. So I was like an air traffic controller-not losing stuff was my job. The way you don't lose stuff is that you have parallel systems so that if you do lose it you have a way to get back to the original. Today Franklin Furnace keeps a chrono file, which is a chronological pile of every single piece of correspondence that goes out of Franklin Furnace-and I cannot tell you how many times we've used it. You remember you wrote that letter when it was snowing outside, so it was sometime between November and February-and find the damn letter written in 1988! I learned more from working at Abrams in one year than I learned at graduate school reading out of books, because it's actually happening. There was a time I assigned the wrong ISBN number to a book-they had to take the books off the boat on the dock and stamp each one with a new ISBN number; they didn't fire me but I understood that it was totally real!

Rail: So you learned you were good at organizing things?

Wilson: I learned how to do it. Margaret would go to Japan, this was 1975-she hired me and she moved to Japan for three months because the printing was being done there. So I had to run the place. Margaret and I still see each other from time to time and she feels that she is responsible for Franklin Furnace because she trained me to be a businessperson-which is true.

Rail: As someone who has experienced the coagulation of language around performance art, especially in teaching performance art, how do you approach it as a discipline, which seems problematic?

Wilson: I like RoseLee Goldberg's term, "visual art performance," because it connects all the movements that happened in the 20th century-Futurists, Russian Constructivist, Surrealists, Happenings, Fluxus-if you look at the history of visual art there is a thread of performance going through it. Unfortunately nobody is using that term, even RoseLee doesn't use it all the time. At Pratt this spring I was teaching a course on performance art as an "activist practice" because "performance art" was just too big. Dorothea Dietrich, with whom I was team-teaching, proposed we call it "Performance Art: Artist as Provocateur," because performance artists are notorious for provoking their audience. RoseLee and I disagree on one point: she would begin performance art with Alfred Jarry's Ubu Roi (1896), a work of theater. I would begin with the fist-fight the Italian Futurist had with people coming out of church at Piazza San Marco in 1910 because the Futurists were confronting the public with ideas that didn't make them happy and they were willing to fight about it-great! Here you have the confrontation of ideas and flesh at the same time.

Rail: The thing that is great about situating that Futurist action as the beginning is that it points to the importance of the document, ephemera-the flyers that the Futurists scattered. I think many of the people we think of as great performance artists are in fact also really terrific writers-writing about what they are doing. I keep trying to make an argument for Carolee Schneemann as a great writer; the same could be said about Simone Forti's book. The reason I think Franklin Furnace is so interesting and important is that it was born with an understanding of performance as profoundly related to images and text.

Wilson: The reason artists' writing is better is because it is concrete. It is about how your feet have to go in front of each other, or if you are hanging off a building how it feels to have your hair hanging down. It's very different from "writer" writing.

Rail: When performances take place in museums nothing can go wrong, and that means that no one is actually concerned with what might happen because the museum is liable and risk has been ironed out totally; it also means the work has to be at a certain level so that it won't be a disaster. However, the potential of being a disaster is part of what makes performance art exciting, and part of what makes it not theater. Is the current move to the museum an actual change in the nature of performance art?

Wilson: When we were in our own space on Franklin Street for 20 years, from 1976 - 96, we would give artists the keys and then we'd go home. On several occasions artists would perform all night long-sometimes the public on the street could see them through a video feed; Alastair MacLennan was still doing his trance-like walk 24 hours later. When the performance space was closed as an illegal social club by the New York City Fire Department, we started performing in exile, in other people's spaces. As soon as we were in their space it was their insurance, it was their egress, it was their reputation that was on the line, plus you had to load in at seven and load out at nine-we couldn't present 24-hour performances any more. I long for the days when we had control of our own space and we could just let the artist do what they damn well pleased! That is not happening anymore, and certainly not in Manhattan. I was talking to Jill Scott who had been at Marina and Ulay's performance for which they stood naked in the doorway and she said there wasn't much room between them-you had to actually touch their genitalia to get through. The orifice of the re-creation for her retrospective at the Museum of Modern Art was five feet wide, so you didn't actually have to touch either of the performers-

Rail: In fact you were not supposed to touch them.

Wilson: If you did you'd get thrown out of the museum! And, if you didn't want to get close at all, you could walk around-it was so stupid. What I didn't like about that exhibition, The Artist is Present (2010), is that the look was there, but the intentionality was gone. All those nubile bodies were husks. Marina suffering downstairs was powerful because it was her-although my friend who waited in line and finally sat across from her said she was not home-she couldn't really exchange gazes with all those people.

Rail: What does that mean about the relation of performance art to the museum?
Lawrence Weiner, Statements, 1968.

Wilson: It's a problem. It's part of the broad reification of performance art to put it in a museum context. In my opinion none of the reconstructions Marina did at the Guggenheim were successful-like recreating Acconci's "Seedbed" (1972), masturbating beneath the floorboards-the intentionality was missing. The river of time has flowed by: she's female, the platform was round, it's in a museum context, and people are having wine on top of it. The shock value, the things that made us think in 1972, were just not present for that performance in the Guggenheim. One of the things I did to teach my course was find original video of every piece we discussed, because as grainy and terrible as the video was you can feel the intentionality of the artist coming through. Here's an example: There was an installation at the Downtown Guggenheim of Robert Rauschenberg's work in which there was a little monitor on the wall that showed him moving in real time and space at Judson Memorial Church in 1970. It was 70 seconds, a loop, grainy black-and-white film, but I was so happy to see it because it proved that the fabric of time does change. As I'm standing I thought, "time moved more slowly"-the fabric of time itself was different. So performance has to live in that river and figure out how to function in the time in which it exists.

Rail: You once listed the two assets of Franklin Furnace as 1) its relationships with artists and 2) its archives as a pedagogical resource. With the nesting of Franklin Furnace within Pratt, which ensures the accessibility and safety of Franklin Furnace Archives indefinitely, how do Franklin Furnace's archives change or open up the narrative of performance art as people know it now?

Wilson: I would say it's not a narrative because there are so many different ideas being presented in the course of any one season: one artist might be talking about AIDS, another might be talking about feminism, another might be talking about religion, another might be talking about childbirth-there isn't any consistency to the program. One of the things we want to figure out with Pratt's School of Library and Information Sciences is how to improve the searchability of our stuff. Right now you can search by date, artist, and medium. But for example Karen Finley never used the term "feminism" in her press releases so if you search for "feminism" you're going to miss out on finding her. Who should identify her work as feminist? The cataloguer? The director? The artist? The thin-ice territory that we're skating on is assigning subjects to the work. But by going back to the artists, most of whom are still with us, to ask them about their intentions in doing that work in 1977, we'd develop a searchable cluster of words that can be applied to the field. If we get really ambitious we'll try and ask audience members, if we can identify people who were there, to say what they thought happened as well. We didn't have enough money so we didn't videotape everything; we have a lot of slides. Getting intellectual access to the history of the avant-garde may take some time, but it'll be worth it. Just because it's ephemeral doesn't mean it's not important!

Rail: I like the story you've told about Judy Chicago yelling at you, and you wondering, "how is that the behavior of a feminist?" You have such a different reputation where everyone says, "We love Martha-she is so supportive!" Do you see that attitude of general support a feminist political act?

Wilson: I agree with that. Feminism contributed the "personal is political"; the idea that what you do on a moment-to-moment basis is a political act. You could argue that being an artist is political, even if you are doing landscape paintings, in relation to the larger social order. I totally believe that.

Rail: Do you feel there are any misunderstandings that people have about Franklin Furnace or you?

Wilson: Renaud, the director of ICI; Alaina, his director of exhibitions; Nick, the director of Pratt Manhattan Gallery, and I are trying to come up with a title for the grand finale of the current exhibition. The problem is we can't figure out where Martha stops and Franklin Furnace begins. Some people say, "Oh, that's Martha Wilson-she is Franklin Furnace." That makes me uncomfortable; we use a peer review panel to select artists, so I'm not the curator; I don't want to be the person who selects everything-it's not about my taste. It's really about what the art world thinks is necessary. I was very happy when Peter Dykhuis organized this show because it shows both halves of my brain: the administrative side that runs Franklin Furnace and the dark part where the art comes out. I was happy that he wanted to show the whole thing, the way my life is both of these things, but I am unhappy with how everybody thinks that Franklin Furnace is going to disappear as soon as Martha disappears. The move to Pratt is a way to say that this practice is valuable, it's going to be preserved-and I could walk away. I could move to Brazil. I could leave it behind and it would be fine all by itself.
Contributor
Jarrett Earnest

JARRETT EARNEST is an artist and scholar currently living in Brooklyn.

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3. Annie Lanzillotto, FF Alumn, in two new films

FF Alumn Annie Lanzillotto appears in the new films "Let's Get the Rhythm" a documentary on girls' handclapping games directed by Irene Chagall, and the feature film "Alto" a lesbian mafia comedy, written and directed by Micki del Monico. For screenings dates, follow Annie's Facebook page. Also, Annie has started a Kickstarter campaign to raise the funds to record the audiobooks for her memoir "L is for Lion" (SUNY Press) and her book of poetry "Schistsong" (Bordighera Press). You can help. Donate at http://kck.st/1x4MMkB or contact Annie at lanzillotto@gmail.com

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4. Erica Van Horn, Simon Cutts, FF Alumns, at Conway Hall, London, UK, Nov. 14-15

Simon Cutts and Erica Van Horn will present a selection of Coracle publications, both new and old, at the Small Publishers Fair, Friday and Saturday November 14th and 15th at CONWAY HALL, Red Lion Square, London WC1R 4RL (Holburn Tube) An international fair celebrating books by artists, writers, poets, composers, designers and their publishers together with a programme of readings and talks on the Saturday.
Also --there will be an exhibition of books and editions by Herman de Vries!

www.smallpublishersfair.co.uk @SmallPublishers www.coracle.ie

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5. Barbara Kruger, John Baldessari, Ed Ruscha, FF Alumns, in The Wall Street Journal, Nov. 2

Wall Street Journal
NY Heard & Scene
Barbara Kruger, Quentin Tarantino Are Awkward Honorees at LACMA Event
by
Marshall Heyman
Nov. 2, 2014 10:59 p.m. ET

For the last few years, the Los Angeles County Museum of Art's annual Art + Film benefit, underwritten since its inception in 2011 by Gucci, has been quite the affair. It honors an artist-in years past it has been Ed Ruscha, John Baldessari and David Hockney-and a filmmaker, which have included Martin Scorsese, Clint Eastwood and the late Stanley Kubrick.

This year's party, which certainly had its share of celebrities-Selena Gomez, Jennifer Lopez, Amy Adams and Kate Hudson-finally found a female honoree in Barbara Kruger. This Newark, N.J.-born artist is known for her large-scale photographs with loud, declarative captions about consumerism. One example, "I shop therefore I am," is a particularly appropriate sentiment for a gala whose tickets start at the low-end of $5,000 a ticket.

Ms. Kruger was joined on the 2014 dais by Quentin Tarantino, obviously the youngest filmmaker to be feted at this affair and with the thus-far smallest oeuvre. But he, like Ms. Kruger, is used to making over-the-top, bold statements, with movies like "Django Unchained," "Inglourious Basterds" and "Jackie Brown."

"It's nice to have a mix of people here," said Gucci's creative director Frida Giannini. "It's not just film, it's not just fashion." She said her favorite film of Mr. Tarantino's was "Pulp Fiction." "He's a genius," she added. "A total genius."

" 'Reservoir Dogs' is my favorite," said Eva Chow, a co-chairwoman and a driving force behind the party. "That was a real moment."

Many of the stars of these films, including Jamie Foxx, Leonardo DiCaprio, Eli Roth, Christoph Waltz and Tim Roth showed up to support the auteur.

"Thanks for coming out for my 'thang,'" Mr. Tarantino told Kanye West, after the singer left the side of Kim Kardashian to make a bee-line to Mr. Tarantino to take a photograph together. "I want a photo with Quentin," Mr. West told Ms. Kardashian, who said she and Mr. West were out on a "date night."

Mr. West refused to even discuss his favorite film of Mr. Tarantino's, explaining he was fearful of having anything on the record. "I don't even want to pick," he said.

Mr. Tarantino and Ms. Kruger were similarly press shy at Saturday's event. Mr. Tarantino, in particular, was profusely sweating. "It's a really lovely party," he said. And Ms. Kruger did everything in her power not to pose for too many photographs.

"This is a tremendously nervous-making moment," the artist explained. She was also quoted in a short documentary shown on Saturday that she appreciates the quotidian and its many comforts. "It's the events that make me nuts," Ms. Kruger said.

And this event is full of more over-the-top stimuli than most. For instance: Mr. DiCaprio, with an enormous amount of facial hair, was there with his girlfriend Toni Garrn, and James Franco with no hair at all. He has to shave his head every day for his new movie, "Zeroville," based on the Hollywood novel by Steve Erickson.

"And normally I have a tattoo of Montgomery Clift and Elizabeth Taylor back here," he said, gesturing to his skull which he had tried to cover with a red-and-black beanie.

There was lots of sparkling outfits, lots of cleavage and many men in sneakers. China Chow, meanwhile, wore a Moschino dress that had been made to look like a Hershey bar wrapper. During the cocktail hour, she passed out miniature Hershey bars.

"I wore the dress for George," said Ms. Chow. "Of course I did."

She was referring to Boy George, who was the evening's entertainment, performing with the Culture Club for the first time on these shores in over a decade. They sang "Karma Chameleon," "Do You Really Want To Hurt Me" and, in a nod to Mr. Tarantino's "Pulp Fiction," a cover of "Son of a Preacher Man."

Other guests included Harvey Weinstein, Brian Grazer, Linda and Jerry Bruckheimer, Sherry Lansing, Demi Moore, Kirsten Dunst and Garrett Hedlund, Charlotte Casiraghi, Lapo Elkann, Chadwick Boseman, Vivi Nevo, Dakota Johnson, Barbara Davis, Eddie Redmayne, Larry Gagosian, Dasha Zhukova, Ted Sarandos of Netflix and Cindy Crawford and Rande Gerber.

After the Boy George performance, many retired to the palatial home of Michael and Eva Chow for sliders and mini English muffins with scrambled eggs for an afterparty, which certainly benefited from the end of Daylight-saving time. Here, Mr. Foxx became a kind of unofficial master of ceremonies, picking up a microphone in the DJ booth and narrating the action.

"I know you're discussing deals and productions and movies that will probably never come out," said Mr. Foxx. "But come on and dance."

Write to Marshall Heyman at marshall.heyman@wsj.com

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6. Marina Abramović, Andrea Fraser, Martha Rosler, Cindy Sherman, FF Alumns, in The Wall Street Journal, Nov. 2

Wall Street Journal
NY Culture
Sociologist Sarah Thornton Asks: What Is an Artist?
London-based journalist and sociologist Sarah Thornton's new book, '33 Artists in 3 Acts,' explores artists' identities.
By
Jessica Dawson
Nov. 2, 2014 9:03 p.m. ET

If art is anything an artist says it is, then who gets to call herself an artist?

The London-based journalist Sarah Thornton wanted to know, so she crisscrossed the globe to interview contemporary artists for her latest book, "33 Artists in 3 Acts," to be released Monday by W.W. Norton & Co. as a follow-up to her well-received 2008 effort "Seven Days in the Art World."

In "33 Artists," the 49-year-old Ms. Thornton, who contributes to the Economist and has a Ph.D. in sociology, strings together interviews with Jeff Koons, Marina Abramović and Damien Hirst, among others, unearthing choice nuggets along the way, including a story about the fly larvae destined for a Hirst installation jetting to Doha in the comfort of Qatar Airways' business class.

But much of the book covers the conversations that followed Ms. Thornton asking each of her subjects "What is an artist?"

"My initial reaction was that it was kind of lame, because it was such a fruitless thing to try to answer," said the painter Carroll Dunham, 64, who, along with his wife, photographer Laurie Simmons, struck up a friendship with Ms. Thornton during her research visits to the couple's Connecticut country house. They appear frequently in the book, and Ms. Thorton also interviewed their daughters Grace, who was a student at Brown University at the time, and Lena, the "Girls" creator and author of the recently published "Not That Kind of Girl."

Ms. Thornton maintains that the answer to her question is the multiplicity of answers.

"Any artist worth their salt has customized the role to themselves," she said. "There are very few jobs or careers where you would get such a wide-ranging set of convincing answers."

Perhaps the fun of the book is seeing who dodges the what-is-an-artist question entirely (Mr. Koons), who dodges obliquely (Cindy Sherman : "a state of mind"), and who attempts an answer ( Zeng Fanzhi : "a solitary philosopher"), with varying degrees of success ( Ai Weiwei : "an enemy of...general sensibilities").

The book is meant to underscore the theatrical nature needed to be an artist today, which may bolster the argument in some quarters that the field is full of charlatans.

"The moment an artist has the power to designate something as art, they have to maintain that authority," Ms. Thornton said. "It puts added pressure of the role of the artist and the persona of that artist."

And what personas they have: Mr. Fanzhi collects Bordeaux; Martha Rosler hoards tchotchkes; Gabriel Orozco lives in a swank Greenwich Village townhouse.

Ms. Thornton doesn't blink at the art world's ever-growing rush of money, fame and frequent-flier cards. Power brokers like the dealer Larry Gagosian make brief appearances.

But one does get the sense that Ms. Thornton tried to crack the veneer of Mr. Koons, probing him repeatedly to discuss his notoriously opaque public image.

"The process of asking the question three times reveals how tough the persona can be, or how deep the persona is," she said.

Though big names predominate in her book, market outliers and artists critical of the system get airtime, too. The Los Angeles artist Andrea Fraser, whose best-known work was a video showing her having sex with a collector for money, has her say. New Yorkers William Powhida and Jennifer Dalton, who together in 2010 organized "#class," a gallery show that became a rallying place for political discussions of art-world mores and social relations, stand in for members of the creative working class, in that they have day jobs.

"Part of me feels like the book should have a qualifier, like '33 Successful/Famous Artists in 3 Acts,' " Mr. Powhida, 38, said. "Jen and I, we don't really belong."
Popular on WSJ

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7. Melva Bucksbaum, Cindy Sherman, FF Alumns, in The Wall Street Journal, Nov. 5

Wall Street Journal
NY Heard & Scene
Guests Get Smashed at Performa Gala
An Interactive Dinner for Renaissance Women
By
Marshall Heyman
Nov. 5, 2014 7:11 p.m.

With the fall gala season upon us, sometimes you need to shake things up to make an evening exciting.

That's what the performance-art organization Performa tried to do in Williamsburg on Tuesday when it honored its "Renaissance women." Most of them were in attendance, including Maria Baibakova, Melva Bucksbaum, Wendy Fisher, Shelley Fox Aarons, Maja Hoffmann, Pamela Joyner, Cindy Sherman and Laurie Simmons. The French actress and singer Charlotte Gainsbourg, who moved to New York in August, was the evening's co-host.

"So far, I like it," she said of the city.

Stefano Tonchi, editor of W magazine, brought Ms. Gainsbourg aboard. "When I think of performance and performance art, I can't think of anyone better," he said.

Having these ladies around might make an evening memorable enough, but Performa founder RoseLee Goldberg enlisted Jennifer Rubell to create a food performance. The first thing you saw when you walked into the banquet hall at Weylin B. Seymour's, the beautifully restored former Wiliamsburgh Savings Bank across from Peter Luger Steakhouse, was a wooden structure from which chickens were suspended over deviled eggs.

"I don't think the chickens are real," said the real estate entrepreneur Keith Rubenstein.

"They're rubber, Keith," responded his art-collector wife, Inga.

Guests were instructed to tap the chickens with a wooden stick. Paprika came out to season the deviled eggs.

"Jennifer wanted to say this wasn't your typical rubber-chicken dinner," said Ms. Goldberg, referring to the social circuit's often-boring meals.

The artist Francesco Vezzoli, who has plans to present a new piece with Performa, casually admired the setup. Will his next work feature plastic birds? "There will be naked sexy bodies," said Mr. Vezzoli, "but no rubber chickens."

There were also semi-naked bodies at the Performa benefit, though whether they were sexy was up for debate. Several waiters, a few of whom said they also worked as professional dancers, were shirtless and wore only jockstraps and backless chaps. It was definitely a look.

Their first job was to help serve soup. Once soup was on, the chickens dropped down to destroy the table of deviled eggs, and guests were encouraged to throw their bowls into the plastic-lined box. Ms. Sherman suggested we throw ours from our seat.

Of course, as with most carnival games, we missed, embarrassingly, and we were reprimanded. But most everyone else had more luck. This meant the noise and reverberation of crashing ceramic went on for some time.

"It's almost like a sound performance," said Ms. Simmons.

"What's the next course?" asked Ms. Sherman.

The next course featured carve-your-own suckling pig and chicken, as well as plates of beets, squash and turnips. Then the semi-naked waiters returned with phallic branches of Brussels sprouts, sprouting from you-know-where. They handed you a knife, and you had to shear your own.

Mac Premo, a sculptor from Park Slope, said interacting with the Brussels sprouts was slightly problematic because the vegetables were undercooked.

"They need to be softer so they come right off the vine," he said. "I did have a lot of fun carving the pig, though."

"It's good to have a sculptor on hand," said his tablemate, Jordan Roth, president of Jujamcyn Theaters.

Any uneasiness-unintentionally breaking a plate on the floor, for example, or the possibility of accidentally slicing off a waiter's private parts-was purposeful, felt Ms. Baibakova.

"Art is supposed to challenge us," she said. "It's not supposed to be comfortable."

The final interactive element was the search for dessert. Guests were given hammers and instructed to smash the tables (made especially for the party from medium-density fiberboard and Melamine). The act of hammering tables was, admittedly, enjoyable.

The results: not as much. Inside the tables were colored confetti, Vosges chocolate, cotton candy and some cookies which, after all that hammering, were barely intact.

The result, as younger guests started arriving for an afterparty, made the space look like a bit of a dump.

"Imagine walking through this room if you hadn't been at dinner," said Ms. Rubell, surveying the detritus. "It's kind of like walking through the first-class cabin after a long flight."

Ms. Rubell, who is asked to do these kinds of dinners "about 100 times a year, and I do two or three," said she was particularly interested in things that are right in front of you that reveal something later, as well as how the act of destroying objects can be a joyful one.

At that moment, friends came over to congratulate Ms. Rubell on a successful evening. One tripped en route on a broken table.

"Yeah," said Ms. Rubell, as the friend regained her balance. "Don't die."

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8. Cathy Weis, FF Alumn, at WeisAcres, Manhattan, Nov. 16

November 16, 2014: Sundays on Broadway

WeisAcres
537 Broadway #3
New York, NY 10012
Free admission
Cathy Weis will perform Jury Duty or The Bottom Fell out of the Tub in addition to excerpts from her Haiku Series featuring performers Jeremy Pheiffer, Ashley Brockington, and musician Lee Free.

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9. Claire Jeanine Satin, FF Alumn, upcoming events

CLAIRE JEANINE SATIN has been invited to present her ART TO WEAR jewelry designs in a TRUNK SHOW at the Museum of Art/NSU, Ft Lauderdale, Florida on JANUARY 15, 2015.

Her UNIQUE REPURPOSED AND UPCYCLED designs are presently represented at the Museums' Shop. Her work can be seen on Etsy, Pinterest Instagram and ART TO WEAR BY SATIN.

She has been invited to participate in the 7th International Artist's Book Triennial Vilnius 2015 which will travel to Germany, Italy, Lithuania, Austrailia, and the USA from 2015 - 2018. Works have been selected by an international jury for their highest artistic level.

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10. Magie Dominic, FF Alumn, in Canadian Writers Abroad, now online

Magie Dominic, interview with Canadian Writers Abroad, http://bit.ly/1wDTxtk

Magie Dominic is interviewed by Canadian Writers Abroad regarding the writing process for her new memoir "Street Angel"; on being a Canadian writer who is writing outside of Canada, and on being multi-disciplinary: art, poetry, essays, and memoir.
Interview link: http://bit.ly/1wDTxtk

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11. Danielle Abrams, Anya Liftig, FF Alumns, in Brooklyn and Boston, thru Nov. 15

Petrichor Performance Collective and Panoply Performance Laboratory present an exchange of ideas and performative works in Brooklyn and Boston entitled Practice, Practicing, and the Perpetual Becoming of Performance
Friday, November 7
Roundtable Discussion: 6pm
Performances: 7pm-11pm
Saturday, November 8
Performances: 7pm-11pm
@
PPL Space
104 Meserole Street
Brooklyn, NY, 11206
(L to Montrose, G to Broadway, M to Lorimer)
FREE (suggested donation $5-15 for the artists' travel)
Participating Artists from Petrichor:
Danielle Abrams, Leah Rafaela Ceriello, Dell M. Hamilton, Tiara Jenkins, Ryan McMahon, Helina Metaferia, Cris Schayer, Bryana Siobhan, Kledia Spiro, Nathaniel Wyrick.

The following weekend, PPL will complete the exchange in Boston at the School for the Museum of Fine Arts:
Friday, November 15
Roundtable Discussion: 6pm
Performances: 7pm-11pm
Saturday, November 16
Performances: 7-11pm
@
School of the Museum of Fine Arts, Boston
230 The Fenway
Boston, Massachusetts 02115
Participating Artists Include: Chloe Bass, Ayana Evans, Anya Liftig, Kikuko Tanaka, Zhenesse Heineman, Future Death Toll (Edward Sharp and David Griess), Esther Neff and Brian McCorkle (PPL), Glasshouse Project (Lital Dotan and Eyal Perry), Ivy Castellanos, and Wild Torus (Amy Mathis and Mike Voztok).

ABOUT THE EXCHANGE:
How does an artist design and practice a practice? More importantly, how does an artist practice within constantly fluctuating ways of learning? This performance exchange is meant to address questions of process and pedagogy and to interrogate collectivity and community as a part of the practices of artists operating in Boston, New York City, and beyond.

Performance art, termed as such, has experienced a major shift between 2006 and 2014 "inside" and "outside" art worlds. The "professional" artists from the NYC area and student artists alike will ask critical questions of themselves and each other to determine how the MFA program, the collective, the artspace, the panel discussion, and other forms of social learning, are integrated within performance art practices today. The artists will question pedagogy, community, collectivity, and how our organizational and pedagogical practices operate in conflux with our performance work. Group discussions in each location with be focused around making a practice and will be allowed to digress in any of these directions. This exchange is curated/organized by Helina Metaferia and Esther Neff, respective members of Petrichor and Panoply.
MORE INFO: http://panoplylab.wordpress.com/2014/11/03/practice-practicing-and-the-perpetual-becoming-of-performance-petrichor-performance-collective-panoply-performance-laboratory/

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12. Peter Cramer & Jack Waters, FF Alumns, at MixHive, Brooklyn, Nov. 11

FOR IMMEDIATE RELEASE
For more information please contact Peter Cramer
PO Box 20260 New YOrk New YOrk 10009
917 803 0501

Black Spring #2
A multi media performance created for & by Peter Cramer
with Jack Waters and John Michael Swartz of the band NYOBS.

Opening NIght of MIX NYC 27 !!
Tuesday November 11 @ 7:45pm.
@ MIX HIVE, 337 Butler St., Brooklyn, NY 11217
FREE
http://www.mixnyc.org/27/event/black-spring-2/

Peter Cramer will restage Black Spring, his death-defying feat as depicted in Corrective Measures: Politically Speaking, his first Super 8 film, which premiered at MIX 's inaugural festival in 1987. His original action was at Terminal New York a massive groundbreaking exhibition at the Brooklyn Army Terminal in 1983. Cramer's new 16mm print will enhance the reenactment, along with new footage in multi-screen delivery. Jack Waters reprises the reading of Henry Miller's Black Spring. Accompanying the original soundtrack will be additional new music by NYOBS, a band including Cramer, Waters, and John Michael Swartz.

This event is in honor of the 2014 preservation of CM:PS by the efforts of Naked Eye Cinema, a program of Allied Productions, Inc., in consultation with BB Optics
and the generous support of The National Film Preservation Foundation. Special thanks to Julia Kim and Erica Titkemeyer.

Peter Cramer is a New York-based performer, artist and activist of more than 30 years.
His works have been presented at ABC No Rio, The Kitchen, Danspace Project, Dixon Place, MIX NYC, Franklin Furnace,
internationally at FRISE (Hamburg), and Centro de Cultura Contemporánea De Barcelona (CCCB) as well as numerous NYC nightclubs and galleries.
A recent Kathy Acker Award recipient for his work as founder of Le Petit Versailles Garden and non profit Allied Productions,Inc. he is a member of Visual AIDS and
his work with Jack Waters were included in two recent VA organized exhibits at La Mama Galleria.

Recent publications that include their histories are "Alternative Histories: New York Art Spaces, 1960 - 2010 edited by Lauren Rosati and Mary Anne Staniszewski and "Gentrification of the Mind: Witness to a Lost Generation" by Sarah Schulman. Cramer and Waters are also subjects of an oral history conducted by Art Spaces Archives Project at the Smithsonian Institution/Archives Of American Art

Recent Reviews:
http://artforum.com/archive/id=47279

http://www.nytimes.com/2013/06/21/arts/design/not-over-25-years-of-visual-aids.html

http://www.nytimes.com/2013/07/12/arts/design/gordon-kurtti-project.html

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13. Hector Canonge, FF Alumn, upcoming events

After finishing his work and residency programs in Colombia, New York City based interdisciplinary artist, HECTOR CANONGE is currently in Quito, Ecuador, where he will present his Performance Art work, conduct workshops and start a series of initiatives denominated "Enmarcacciones: Laboratorio de Performance" (Performance Art Lab). While in Quito, the artist will be participating and introducing new works in the following programs and venues:

NO LUGAR Gallery
- November 4 - 8, 18:30 hrs.
Performance & Talks exploring the construction(s) of national identity and economic dependency.
CENTRO DE ARTE CONTEMPORÁNEO DE QUITO, CAC
- November 6 and 7, 18:00 hrs.
Performance "CRUSH" and Workshop: Performance Art: Context, Narrative and Embodiment.
LA MULTINACIONAL
- November 8 - 10, 16:00 hrs
Laboratorio de Performance, "ENMARCACCIONES" and Public Interventions in the Historic Center
Hector Canonge is an interdisciplinary artist based in New York City where he studied Comparative Literature, Filmmaking and Integrated Media Arts (MFA). His work incorporates the use of New-media technologies, physical environments, cinematic and performance art narratives to explore and treat issues related to construction of identity, gender roles, and the politics of migration. Challenging the white box settings of a gallery or a museum, or intervening directly in public spaces his performances mediate movement, endurance, and ritualistic processes. Some of his actions and carefully choreographed performances involve collaborating with other artists and interacting with audiences. His visual arts projects and performance art work have been exhibited and presented in the United States, Latin America, Europe and Asia. In 2014 Canonge was nominated by the Fundación Cultural del Banco Central Bolivia as resident artist and curator for Centro Cultural Santa Cruz. After completing his term, he moved to Berlin to participate, a guest artist, in the Month of Performance Arte in Berlin. Following his work, he launched the project "CONeKTOR" in varios cities in Eastern Europe, among them Krakow, Budapest, Bratislava, Prague, and Vienna where he collaborated with local artists presenting works with the assistance of local organizations. Canonge returned to North America to participate in the Encuentros 2014 in Montreal, Canada, and in the Miami International Performance Art Festival. Currently, the artist is working in a new body of work with exhibitions, performances, workshops, and residencies in Argentina, Bolivia, Chile, Brazil, Colombia, Ecuador and Peru. In the USA, Canonge participated a guest artist in the Latino Bronx Biennial in NYC, and in the Beyond Limits Postglobal Mediations exhibition of the San Diego Art Institute in San Diego, California.

Hector Canonge
Interdisciplinary Artist, www.hectorcanonge.net
Co-founder & Director, QMAD, www.qmad.org

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14. Sean Leonardo, FF Alumn, at The Brooklyn Museum, Nov. 13

The White Tux Returns...
Taxi Dance
¡Only $2-A-Song!

THURSDAY - NOVEMBER 13TH
6:30PM - 10:00PM | Brooklyn Museum | Foyer

Taxi Dance at Brooklyn Museum
A One Night Only - Performance Dance Party

LADIES
An evening dedicated to you and your choice. A carefully selected group of beautiful men are waiting to be your dance partner.

¡Only 2 Dollars-A-Song!

As part of my participation in Crossing Brooklyn

Join artist Shaun Leonardo and company in re-defining the Taxi Dance Hall -
a popular nightclub phenomenon in the United States during the 1920s and 1930s, which emerged from the Barbary Coast dance hall in San Francisco.

Resurging in New York among Latin American communities since the 80's, under the name Bailarina Club, these taxi dance halls invite men to pay young female dancers to be their dance partner, for the duration of one song, per song. While the taxi dance hall provides music and a dance floor, these women, known as taxi dancers, are paid by commission to dance with their male patrons via a "ticket-a-dance" system.

Shaun Leonardo's Taxi Dance performance revises this 'romantic transaction' by giving women the chance to pay men for a dance at only $2 a song - reversing the exchange. Join us for an energetic and passionate dance party that may also challenge your ideas of companionship and perspectives on gender dynamics.

Read More...
Viewed Above: Shaun and partner (Tiki Tiki Club, No Longer Empty, LIC, New York, 4/15/13), 2013-14

Copyright (c) 2014 Shaun Leonardo, All rights reserved.

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15. Dick Zigun, FF Alumn, at La MaMa, Manhattan, thru Nov. 16

From Coney Island, Dead End, Dummy opens this weekend at La MaMa! Please spread the word to your community.

Dead End, Dummy
Written by Dick Zigun
Directed by Trav S.D.

November 7, 2014 - November 16, 2014
10pm Fridays & Saturdays / 6pm Sundays
The Club at La MaMa - 74A East 4th Street, Upstairs

$10 Tickets are still available for this show. Purchase here before they run out.
https://web.ovationtix.com/trs/pr/937454

Dead End Dummy is an expressionistic Halloween time trip that uses the eerie atmosphere of the sideshow to take you into the mind of a disturbed vaudeville ventriloquist, played by Sideshows by the Seashore's Scott Baker - who actually performs ventriloquism in the role. His journey takes him from vaudeville and melodrama, through gramophones and silent films, old time radio, and 50s television and ultimately a Quixotic attempt at a vaudeville revival. Along the way, he meets his nemesis Thomas Edison (Douglas Mackrell, The Royal Order of the Holy Mackerel), and is separated from the love of his life (singer Poor Baby Bree) The show features a live musical score, played on cello, piano, uke and toy xylophone by Becca Bernard, and was directed by downtown showman Trav S.D., who most recently produced and directed the sold out NYC Fringe hit I'll Say She Is, the first ever revival of the Marx Brothers' first Broadway show.

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16. Carmelita Tropicana, Ela Troyano, FF Alumns, at 80WSE Gallery, Manhattan, November 12-14

RECYCLING ATLANTIS
Uzi Parnes, Carmelita Tropicana, Ela Troyano
A live exhibition
In celebration of the artist, philosopher and educator Jack Smith
November 12th, 13th & 14th from 5:00pm - 9:00pm
Free and open to the public
80WSE Gallery l NYU Steinhardt
80 Washington Square East, NewYork, NY 10003
Steinhardt.nyu.edu/80wse

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17. Rose English, FF Alumn, publishes new book

Abstract Vaudeville The Work of Rose English

Edited by Martha Fleming and Doro Globus; text by Guy Brett, scripts by Rose English, and interviews by Anne-Louise Rentell
Ridinghouse 2014
£37 | $65
27 × 20 cm | 10 5/8 × 7 7/8 in
Hardback
432 pp, 450 colour ill
ISBN: 978 1 905464 82 1

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18. Allen Ginsberg, Andy Warhol, FF Alumns, in The Wall Street Journal, Nov. 5

The Wall Street Journal
NY Culture
Warhol Films Make a Late Debut at Brooklyn Academy of Music
Live Accompaniment Features Warhol-Era Musicians as Well as Newer Players Bradford Cox, Eleanor Friedberger
By
Andy Beta
Nov. 5, 2014 10:32 a.m. ET

In the summer of 1963, Andy Warhol came into possession of a hand-held Bolex camera. It was a simple device that could be mounted on a tripod and loaded with 100 feet of film, able to record about 21/2 minutes of black and white images, but not sound.

He set about using it for a series of his "screen tests" from 1964 until 1968, stating his intent in his 1980 book, "POPism: The Warhol '60s": "I only wanted to find great people and let them be themselves...I'd film them for a certain length of time and that would be the movie."

Starting Thursday, 15 previously unseen Warhol films will begin screening at the Brooklyn Academy of Music, featuring members of Warhol's Factory coterie such as Edie Sedgwick and Marisol Escobar, beat writers Jack Kerouac and Allen Ginsberg, and visual artist Marcel Duchamp.

Geralyn Huxley, curator of film and video at the Andy Warhol Museum in Pittsburgh and one of the producers of the series, estimates there to be nearly 500 such films, though many weren't seen outside the artist's studio.

"The films that we are showing in this program were ones that had not been preserved after his death," she said. "We saw them and thought we could do another original program. It's using Warhol's films in a public way with new soundtracks."

At BAM, they will be accompanied by live music ranging from '70s punk artists Tom Verlaine of Television and Martin Rev of Suicide to newer singers Eleanor Friedberger and Bradford Cox of Deerhunter, as well as the former Luna and Galaxie 500 guitarist Dean Wareham.

Mr. Wareham curated the music for this new program. "Adding music brings out something else in these films," he said. "Each film has something fascinating in it. Warhol is always playing with light or psychology."

Participating in the concert gave Ms. Friedberger a new appreciation both for Warhol's work and the cultural nexus that was New York City in the 1960s.

"The amount of films he made was staggering," she said. "People, including myself, are drawn to the Warhol world as a place for all things cool and creative that happened in New York at one time-a time that doesn't seem to exist anymore. Having that kind of time capsule is really special for people."

Even Ms. Huxley, who is deeply familiar with Warhol's work, experienced a jolt of surprise at what was found, such as a film from 1963. "There's a film called 'Me & Taylor' where Warhol and Taylor [Mead, another Factory regular] are mugging for the camera in his home," she said. "It's funny because Warhol is in front of the camera, and he's in very few of his films."

For Mr. Wareham, Warhol's films continue to defy easy categorization, even as artists, filmmakers and musicians of all stripes have absorbed his pop aesthetic for decades.

"His paintings are widely considered classics, and they're not difficult, even while they're revolutionary and a threat to Abstract Expressionism," he said. "But Warhol's films are strange. These films are silent, and even when there's nothing going on in the film, there's always something going on."

Mr. Wareham added: "Forty-five years later, they're still challenging."

"Exposed: Songs for Unseen Warhol Films" runs at the Brooklyn Academy of Music from Thursday through Saturday, 30 Lafayette Ave., Brooklyn; 718-636-4100; bam.org.

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19. Karen Finley, C. Carr, Peter Cramer, Ethyl Eichelberger, Lori E. Seid, Jack Waters, Martha Wilson, FF Alumns, in The New York Times, Nov. 5

The New York Times
Karen Finley: Keeping Her Clothes On but Still Causing a Stir
By STEVEN McELROYNOV. 5, 2014

"I want to start bartending," the performance artist Karen Finley said, and her friend Chip Duckett, an events promoter and publicist, jumped right in. "Come over to my house," he said. "I'm tired of pouring my own drinks."

But Ms. Finley, standing in the backyard of the Lower East Side arts center ABC No Rio, surrounded by walls covered in bold graffiti, was mainly feeling nostalgic; "the fabric of night life is different now," she said later. After all, it's been quite a while since Ms. Finley smeared her naked self in chocolate and honey (or did very naughty things with canned yams) in fearless performances at ABC No Rio and long-gone spaces like Palladium and Danceteria.

On this recent night, she was fully clothed and celebrating after a performance of her latest work, "Written in Sand," at the Baruch Performing Arts Center, a moving tribute to her many friends - David Wojnarowicz and Ethyl Eichelberger among them - who died of AIDS in the early years of the disease's New York rampage.

"I couldn't have done it 10 years ago," she said. The show would have been too painful, but now, with some distance, "thinking about the people who have lost their lives, I feel invigorated," she said. "It's a privilege to be able to create the work."

Besides, her friends deserve their tributes, and most didn't get them when they died, she said later. "At that time," Ms. Finley said, "people couldn't publicly grieve. It was taboo." Families of the dead would just take the bodies and essentially vanish, she said. "They wouldn't announce the life, so why announce the death?" she said. "You could never have a proper funeral."

When she and some friends arrived at ABC No Rio after her show, an opening-night party for the graffiti art exhibition "If These Walls Could Talk" was already happening, and it soon morphed into a closing party for Ms. Finley's show. (Though there will be one more performance, Nov. 22 at the Laurie Beechman Theater.)

"I first saw Karen here and then showed up and said, 'Whatever you need, I'll do it,' " said Lori E. Seid, who worked with Ms. Finley many times, usually behind the scenes as a technical director. "It was a Karen Finley performance of, oh, food things. And monologues of the heart."

Among the others sipping Champagne and telling tales of the '80s were Sur Rodney (Sur), a fixture on the East Village arts scene since the late 1970s and the curator of the 2013 exhibition "Not Over: 25 Years of Visual AIDS"; the drag performers Brandon Olsen and Chris Tanner; the photographer Timothy Greenfield-Sanders; Martha Wilson, the founding director of Franklin Furnace; and Tigger, a burlesque performer.

"Tigger does incredible burlesque, boylesque," Ms. Finley said. "It's on another level, on a gender-bending level."

Cynthia Carr was there, too, recounting the reaction to "Unspeakable Practices, Unnatural Acts: The Taboo Art of Karen Finley," a Village Voice cover story she wrote in 1986 that opened, enticingly, "A raw quaking id takes the stage. ..."

Some other Voice writers - mainly male ones who wrote about politics - thought her article would make their work seem less legitimate, Ms. Carr said, and protested.

"It was all about yams," she said. "There were cans of yams sitting on people's desks. I was so shocked, I had no idea. I just knew Karen was a great artist. Her work back in the clubs was very raw, dealing with rape and incest and things like that, and always talking about them without euphemism."

Ms. Finley is, at 58, perhaps a bit less wild these days as a resident of Sleepy Hollow, N.Y., a professor at New York University and the mother of Violet, a plucky 21-year-old student there, who does not study with her mom. ("I get enough lectures," Violet said, and they both laughed.)

But in the '80s, her shows were boundary-busting enough to cause a notable tumult: In 1990, after being awarded an individual artist grant from the National Endowment for the Arts, Ms. Finley and three others became known as the N.E.A. Four when the grants were revoked after Congressional passage of a "decency clause." She was named "the chocolate smeared woman" and took the fight to the Supreme Court, but lost her case in 1998.

"I think I definitely was demonized for my expression," she said.

Midnight loomed, and Ms. Finley was almost ready to head home. Back inside, Paul Nebenzahl, her partner, both personal and professional, of about four years (though they've known each other since childhood), was playing harmonica for a group of rapt partygoers. Mr. Nebenzahl also performed in "Written in Sand," providing musical accompaniment and interludes between some of the heaviest poems.

Another small group wandered in, including Peter Cramer and Jack Waters, who ran ABC No Rio almost three decades ago while living in the basement. Mr. Waters looked around the space, where bold black-and-white works by Mike Estabrook, Carol Warner and other artists were on display. "It's a remaining vestige of a culture that doesn't exist anymore," he said of the space. Except that for this night, at least, the culture was very much alive.

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20. Gabrielle Hamilton, FF Alumn, in The New York Times, Nov. 3

The New York Times
Dining & Wine | Cookbooks
A Cookbook That Veers From the Usual Recipe
Review: 'Prune' by Gabrielle Hamilton

By JULIA MOSKIN
NOV. 3, 2014

Since 1999, when the chef Gabrielle Hamilton put Triscuits and canned sardines on the first menu of her East Village bistro, Prune, she has nonchalantly broken countless rules of the food world. The rule that a successful restaurant must breed an empire. The rule that chefs who happen to be women should unconditionally support one another. The rule that great chefs don't make great writers (with her memoir, "Blood, Bones and Butter").

And now, the rule that restaurant food has to be simplified and prettied up for home cooks in order to produce a useful, irresistible cookbook.

Prune has always been an idiosyncratic restaurant, with no culinary mission - like Italian tradition with Brazilian flavor, or American comfort meets Pacific Rim - other than to serve what Ms. Hamilton likes to eat. So, in "Prune" the book, as in the dollhouse-size dining room, broiled grapefruit sit next to poached peaches with toasted almond cream, and Siberian manti share space with New York deli-style egg sandwiches.

It is the closest thing to the bulging loose-leaf binder, stuck in a corner of almost every restaurant kitchen, ever to be printed and bound between cloth covers. (These happen to be a beautiful deep, dark magenta.) Additional notes from Ms. Hamilton in black Sharpie are scribbled on most pages; instructions appear to be written on masking tape and pasted in. Written as if it were a manual to the sous-chefs in her kitchen, the book is fresh, fascinating and, occasionally, maddening.

You will not be reminded at the beginning of a recipe to preheat the oven, but you will be reminded to save the tags from a box of clams for 90 days in case of a (highly unlikely) visit from the inspectors of the New York City Department of Health. Some not-so-basic cooking skills are taken for granted: cutting vegetables into mirepoix, lemons into supremes, and salami into batonnets.

There is no recipe index, no sweeping introduction explaining the chef's vision and story arc, and few of the explanatory headnotes that make recipes approachable to novice or nervous cooks.

That said, the recipes are very clear and unusually specific - far from the "combine as usual and cook until done" shorthand used by many chefs - because, as is perfectly clear from the minutely detailed descriptions, warnings, admonitions and directions on every page, Ms. Hamilton is a kitchen control freak of epic proportions. To cook from this book is to succumb to her control, which, if you are a fan of her work, is entirely pleasurable.

For her Breton Butter Cake, for example, described as "impossibly difficult," the instructions are broken down into 37 separate steps. But if you follow them minutely (as I did), you will have successfully made one of the earth's most delicious sweets, a cake that combines the best elements of poundcake, croissants and salty caramel: "butter and sugar barely held together by flour."

In her recipe for salt-packed beef tenderloin and a lemony fried-bread tomato salad, many small details ("roughing up" the parsley leaves between hands instead of chopping them, holding back on salt in the salad to complement the meat and using extra-virgin olive oil to make the croutons) all contribute to the precise balance of the dish.

(She reminds her cooks, "Good oil is rarely recommended for frying so don't ever do this when you go on to work in a real restaurant, but here at Prune I really prefer the flavor it adds.")

She is never fussy for the sake of it. Rarely are there more than two or three elements in a dish, and often one of them is the unexpected twist that makes Prune dishes memorable. To the classic combination of spring onions and romesco, for instance, she adds lime. To fennel and butter, trout roe. And she comes up with ideas that have nothing to do with time spent in culinary school and everything to do with creative artistry: green tomatoes cured with salt and sugar and sprinkled with fried pistachios; pumpkin cooked in ginger beer; razor clams with paprika butter and hominy.

And fortunately, partly because her restaurant's work space is no larger than a suburban home kitchen, she is also an unapologetic user of shortcuts like blenders and food processors; boxed chicken stock, canned chickpeas and Pam cooking spray; and supermarket products like Thomas' English muffins, Sacramento tomato juice (for the famous Bloody Mary menu), and Grape-Nuts cereal.

Ms. Hamilton is full of edicts and opinions, emphatically expressed but not always explained. Is there a reason that balsamic vinaigrette is forbidden, "always and forever"? Why is it so important that candied lemons be cold when served with peppermint-chocolate patties? What is so wrong about shaping ice cream into a quenelle? ("We don't want to send that message.")

Among cookbook authors, there are kitchen pals, like Ina Garten and Deborah Madison, who want you to find your own pleasures; and kitchen dictators like Ms. Hamilton, Suzanne Goin (who also believes in the one right way to make her food), and Marcella Hazan, who rarely explained anything except to say that it was the Italian way. At least Ms. Hamilton has a lodestar of pleasure, even for family meal, the rushed preshift dinner that in some kitchens is considered a chore to cook; in others, an honor.

"Finally," she says at the end of the chapter devoted to the meal, "enjoy yourselves. If this isn't one of the highlights of your day, you are in the wrong industry. To feed ourselves and each other is the name of the game and should bring you great, thundering pleasure."

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21. Zachary Fabri, FF Alumn, at Ryan Lee Gallery, Manhattan, Nov. 18-Dec. 8

RLWindow
Zachary Fabri: Chanting Black Clouds
November 18-December 8, 2014

RYAN LEE presents Chanting Black Clouds (2010) by Brooklyn-based artist Zachary Fabri in RLWindow, a work that considers the correlation between physical and psychological weight. The 1:20 minute digital video shows Fabri with more than a dozen helium balloons tied to his hair as he runs back and forth through an otherwise empty room. The obvious physical weight of his dreadlocks is challenged by the balloons, which take on an illusive, cloudlike quality and allow the hair to float in space. The style, which Fabri wore for 15 years, is closely associated with his Caribbean heritage, which he acknowledges carries its own psychological burden surrounding social and political constructs. A meditative look at history, physicality, and nostalgia, Chanting Black Clouds precludes Forget me not, as my tether is clipped, a 15-minute video shot in Harlem's Marcus Garvey Park that follows Fabri through a transformation incorporating the helium balloons, ending in the cutting of his dreadlocks. Chanting Black Clouds has been exhibited previously in Berlin and New York.

Zachary Fabri (b. 1977, Miami, FL) received a Master of Fine Arts from Hunter College in 2007. He has since exhibited widely including at Art in General, New York, US; Athens Institute for Contemporary Art, Athens, US; Berlin/Chongqing Video Art Festival, Organhaus, Chongqing, CN; Brooklyn Museum of Art, New York, US; Contemporary Arts Museum Houston, US; Czech Center, New York, US; El Museo del Barrio, New York, US; Exit Art, New York, US; Florianópolis, BR; La Biennale de Querétaro, Querétaro, MX; Museum of Art, Fort Lauderdale, US; Museum of Contemporary Art Calgary, Calgary, CA; Nordic Biennale, Moss, NO; Performa13, New York, US; Real Time Festival, Reykjavik, IS; Studio Museum in Harlem, New York, US; and Walker Art Center, Minneapolis, US.

RLWindow is a dedicated exhibition space featuring video, installation, and performance art designed to engage High Line visitors, viewable from the elevated park at 26th Street. Capitalizing on the gallery's position overlooking the High Line and its visibility to almost 5 million yearly visitors, RLWindow will show innovative, experimental, and collaborative projects by international, contemporary artists, including RYAN LEE gallery artists and outside collaborations.

Forthcoming projects include work by Maria Antelman, Juan Capistran, Kevin Cooley, LaToya Ruby Frazier, Mariam Ghani, Kakyoung Lee, Shin il Kim, Gabriel Lester, Peter Sis, Sandy Skoglund, and Stephanie Syjuco.

Please contact Courtney Willis Blair at 212-397-0742 or courtney@ryanleegallery.com for further press inquiries.

Join the conversation! Use #RLWindow and #ryanleegallery in social media posts to actively participate in and document your engagement with RLWindow. Follow us on Twitter and Instagram @ryanleegallery.

www.ryanleegallery.com

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22. Joan Jonas, Shirin Neshat, Yvonne Rainer, FF Alumns, in WSJ Magazine, Oct. 29

WSJ Magazine - What's News
Performa's 10th Anniversary Gala Honors the Art World's Renaissance Women
For its 10th anniversary, Performa-a New York nonprofit dedicated to performance art-looks at the genre's surprisingly long history, and the women who embody its spirit today.
by
Megan Conway
Oct. 29, 2014 10:44 a.m. ET

IF YOU ASK ROSELEE GOLDBERG, performance isn't the maverick art form it's often made out to be, though she'll happily agree it's enjoying a moment in the sun. Since 2004, when Goldberg founded Performa-perhaps the world's foremost organization dedicated to the genre-live artwork has earned top billing at museums and galleries, celebrated for its counter-market values, whiff of rebellion and sheer theatricality. "People have been won over," says Goldberg, an art historian and curator, but "this live aspect of performance making, really designing public spectacle, was there for hundreds of years," from the fireworks displays at Versailles to the theme of this fall's gala celebrating Performa's 10th anniversary: the Renaissance.

Goldberg cites La Festa del Paradiso, an elaborate showpiece conceived by Leonardo da Vinci on the occasion of the marriage of Isabella of Aragon and Gian Galeazzo Sforza in 1489, as one of the earliest known examples of performance art in history. "Before there were movies, before there was mass entertainment, artists were responsible for creating entertainment for princes and the like," she says.

Scheduled for November 4 at the Weylin B. Seymour's Williamsburgh Savings Bank, in Brooklyn, the gala will feature Fecunditas, an immersive food performance by artist Jennifer Rubell, and will honor what Goldberg has termed Performa's "Renaissance women"-the artists and patrons (the da Vincis and Sforzas) who've worked with the nonprofit, many since its inception. "Performa alumni become part of our rich heritage," says Goldberg. "You take on ideas and you make them in all possible ways. Each of these women works with incredible generosity."

Here, 12 women-Performa artists, board members, supporters and more-answer the question, What makes a modern Renaissance woman?

ROSELEE GOLDBERG | FOUNDING DIRECTOR AND CURATOR OF PERFORMA
"Renaissance men and women dramatically shaped our understanding of the world and gave us a vision of what it might be. They were explorers in every sense-intellectually, philosophically, geographically. They changed ideas about perspective, mathematics, architecture, medicine, image making. In celebrating this group, I want us to acknowledge a group of women who have shaped late-20th-century culture and who continue to shape our new century in the most radical and far-reaching ways. Their work is inspiring, deeply considered, generous. Knowing them and their work makes us each more profoundly human and more deeply aware of the shifting values in our communities and how we might all contribute to them for the better.

"When I came to New York in the '70s, I was met by extraordinary women in the art world-artists, writers, critics, curators, patrons-and, over the decades, their numbers have only grown. They are a solid block of sensibilities and power; they make the rich tapestry of culture that is New York as well as cultural institutions across the country. For our Renaissance celebration, I wished to bring together these women who have inspired, shaped, enabled and imagined a world of ideas and aesthetics for our time."

LAURIE SIMMONS | ARTIST
"According to wikiHow, 'A Renaissance person refers to a polymath-a person who is talented academically, athletically, in etiquette, well balanced and well educated in many different areas.' That is definitely not me. I can do maybe one to three things really well (on a good day), and I prefer to leave the Renaissance to the 15th and 16th centuries (though it might be fun to dress up in a costume for the Renaissance Faire). Wiki also says, 'If you are called a Renaissance man or woman, it is a great compliment'-so I'm very flattered."

MARIA BAIBAKOVA | PHILANTHROPIST AND ART COLLECTOR
"I like to think that the Renaissance woman integrates the learnings of the women who trailblazed before her, doesn't get caught up in the race for perfection and instead enjoys the sometimes bumpy but always exciting ride that is her life."

TOBY DEVAN LEWIS | PERFORMA BOARD MEMBER
"For me, being a 21st-century Renaissance woman is to be very involved, not only in museums, but in galleries and organizations that support art."

WANGECHI MUTU | ARTIST
"A Renaissance woman of the 21st century has awoken and is self-aware and conscious of her rights and her ability to maneuver and operate at the highest level available to her. A woman this enlightened knows there's no such thing as 'You can't do that,' and so she's doing it all. And doing it well. Performa is that cauldron that constantly stirs 'it' all up into one big delectable soup."

WENDY FISHER | PERFORMA BOARD MEMBER
"For me, it means all boundaries are fluid and that one can create and innovate in any space that one is drawn to."

JENNIFER RUBELL | ARTIST
"All women have always been Renaissance women. We are never only one thing, one medium, one way of thinking. Being a 21st-century Renaissance woman is about rejecting the idea of a human as a brand and embracing the full complexity of our identity."

YVONNE RAINER | CHOREOGRAPHER AND FILMMAKER
"I think you got the wrong woman."

JOAN JONAS | ARTIST
"I didn't see a major difference between a poem, a sculpture, a film or a dance. While I was studying art history I looked carefully at the space of painting, films and sculpture-how illusions are created within a framed space, and how to deal with a real physical space with depth and distance. When

I switched from sculpture to performance, I just went to a space and looked at it. I would imagine how it would look to an audience, what they would be looking at, how they would perceive the ambiguities and illusions of the space. An idea for a piece would come just from looking until my vision was blurred. I also began with a prop such as a mirror, a cone, a story."

CINDY SHERMAN | ARTIST
"I have no idea, but in the 21st century, all women should be considered Renaissance women because they're juggling their lives, their families, keeping a home, plus jobs-they're cooks, drivers, stylists, accountants, therapists, gardeners, housekeepers, nannies, etc."

PAMELA JOYNER | BUSINESSWOMAN AND ARTS PATRON
"Today's Renaissance woman must have abundant curiosity and a willingness to take calculated risks. This vantage point will enable her to set visionary goals and achieve unprecedented successes. At her best, she is an inspiration to and a guiding light for future generations of Renaissance women."

SHIRIN NESHAT | ARTIST
"A desire to constantly reinvent yourself, your body, your character and your art; to age gracefully and wisely; to look beautiful; to remain feminine; to be in love; to take risks; to remain a student; to be strong; to allow vulnerability; to be humble; to avoid overconfidence; to avoid competitiveness; and to embrace failure."

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23. Jay Critchley, FF Alumn, in the Cape Cod Times, Oct. 25

The Cape Cod Times, by CYNTHIA McCORMICK Posted Oct 25, 2014@2:00 am

Like the AIDS epidemic, the Ebola outbreak in West Africa is highlighting the contrast between the haves and have-nots in terms of geography, poverty and health care.

Like the AIDS epidemic, the Ebola outbreak in West Africa is highlighting the contrast between the haves and have-nots in terms of geography, poverty and health care.

But t while the AIDS crisis sparked a social justice movement in the United States that helped bring gay rights out of the closet - and encouraged the development of effective new medications - it remains to be seen whether the increased attention given to Ebola will result in better health care and access to food and water for the residents of stricken West African countries, activists and public health officials say.

"It brings up the conflict between the First World and the Third World," said Provincetown artist Jay Critchley, who created the Old Glory Condom Corp. in the 1980s to bring attention to the need to practice safe sex to prevent AIDS. Critchley has been active in raising awareness about AIDS and raising money for research since the early years of the virus, which caused public alarm much as Ebola is now.

The poorest, most undeveloped nations in the world are bearing the cost of environmental destruction and emerging viruses, Critchley said. Poverty, lack of clean water - especially in the dry season - and lack of access to health care plague the Ebola-stricken countries of Liberia, Guinea and Sierra Leone and aggravate attempts to fight the epidemic, he said.

Technology makes it easy for viruses to travel to Europe and the U.S., Critchley said. "Everybody is surprised it ended up in this country. What did we expect?"

But public health officials have said they expect U.S. infection control practices and health care infrastructure to prevent an Ebola outbreak from happening here.

So far there have been a few sporadic cases of Ebola in the U.S. - and one death.

"I think the Ebola thing is more exotic," Critchley said.

In West Africa, however, more than 4,000 recent deaths are attributed to Ebola. And public health officials said it could get much worse there.

Dr. Thomas Frieden, director of the U.S. Centers for Disease Control and Prevention, said the current Ebola outbreak is the worst in the virus's history and is so deadly that he compared it to the HIV/AIDS epidemic.

HIV/AIDS is still raging out of control in parts of the African continent, including South

Africa, which has more than 6 million people living with AIDS and more than 200,000

AIDS-related deaths a year.

Public health officials blame a number of factors including poverty, sexual violence, the low status of women, lack of good health care and a poor governmental response for the high numbers.

Here in the U.S., research for AIDS got off to a slow start.

Members of the public were not sure how people got the disease, but it was associated with the deaths of gay men and drug addicts, said Max Sandusky, director of Prevention and Screening for the AIDS Support Group of Cape Cod.

"For it to become noticed as a problem in the general public was when Ryan White, a young child, got AIDS" from a blood transfusion, Sandusky said.

At the start of AIDS epidemic "people were very fearful," Massachusetts Department of Public Health Commissioner Cheryl Bartlett said Wednesday after an address to municipal health agents and board of health members in Hyannis.

Initially, life expectancy was just six months, she said.

People believed it was easily transmitted - via a toilet seat or touch, Critchley said. He remembered police officers in Provincetown being given rubber gloves to ward off infection.

"It took a lot of education" for people to get the message about HIV transmission, Bartlett said.

It takes intimate contact - sexual contact, the sharing of dirty needles and, in the past, blood transfusions - to transmit HIV, Sandusky said. "You wouldn't need to quarantine anybody with HIV," he said.

As the HIV/AIDS epidemic swept across America, members of the gay community struggling for answers came out of the closet and let their sexual identities be known, often for the first time.

"It was a major impetus for gay rights," Critchley said.

The years of struggle have paid off, at least in the developed world, as medications made HIV into more of a chronic illness than a death sentence, Sandusky said. He said there are now fewer than 1 million people living with HIV/AIDs in the U.S.

But with AIDS still not under control in sub-Saharan Africa, it remains to be seen what will happen with the Ebola epidemic in West Africa, where hospital supplies and even safe drinking water can be difficult to come by.

The bodily fluids of Ebola patients are highly contagious when the patient is actively symptomatic, posing a threat for caretakers and family members.

"It's another virus. And there'll be more," said Critchley, who links the emergence of new viruses and their spread to environmental destruction and climate change.

"We need to look at the larger impact of humans on the planet," Critchley said.

Follow Cynthia McCormick on Twitter: @cmcormickCCT.
See more at: http://www.capecodtimes.com/article/20141025/NEWS/410240350/-1/NEWSLETTER100#sthash.V3vE

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24. Belinda Powell, FF Alumn, at Whitebox Art Center, Manhattan, Nov. 15

Dear Friends,

I am writing to invite you to see Belinda Powell at the Cavellini Centennial exhibition:

Opening, Performances, and Poetry Readings in honor of GAC. (Guglielmo Achille Cavellini)

Whitebox Art Center, 329 Broome Street

between Chrystie and Bowery,

Saturday, November 15 6 to 10pm.

Belinda will be performing two songs!
We will be celebrating "self-historification" and the Cavellini who invented the term.
Would love to see you there!

Britta Wheeler, Ph.D.
www.brittawheeler.com
www.belindapowell.com

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25. Robin Tewes, Jane Dickson, FF Alumns, at Pace University, Manhattan, thru Nov. 18
October 23-November 18, 2014
Pace University Faculty Exhibition
Barbara Friedman Linda Gottesfeld Jane Dickson Robin Tewes Louis Cameron Carl Fudge Robert Kozma Derek Stroup Inbal Abergil Jennifer Schwarting Charlotte Becket Liz Young Jillian McDonald Roger Sayre
Peter Fingesten Gallery, Pace University, One Pace Plaza, 'B Level' (Entrance on Spruce St.)
Gallery Open Hours:
Tuesday- 2:30- 5:00
Thursday- 3:30- 6:00
Friday- 12:00- 4:00 and by appointment (212-346-1894).

The Art Department's faculty are dedicated teachers with distinguished
records as practicing artists and scholars. They have participated in
various professional art exhibitions, including solo exhibitions both in
NYC as well as internationally. Individual faculty members have exhibited
their work at the Whitney Museum, PS1/MoMA and the Getty Museum.
The faculty have received major public art commissions and numerous
state, national and international awards for their work.
By subway: 4, 5, 6 to Brooklyn Bridge/City Hall; R, W to City Hall/Broadway; A, C, E, J, M, Z, 2, 3 to Broadway-Nassau/Fulton St. More information: Fine Arts Department at 212-346-1894 or finearts@pace.edu.

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26. Guerrilla Girls, Rashaad Newsome, Betty Tompkins, at Select Miami, FL, Dec. 4-7

ANNOUNCING A NEW ARTIST PROJECT!

Milk and Night is a collective of guest artists and curators who explore the role of feminism in the art world. Together, they share a vision inspired by traditional feminist practices channeled through contemporary artists and media, offering a unique platform of intellectualism within the new generation of voices

For SELECT Miami, Milk and Night will present visual works and will conduct surprise performances by Go! Push Pops and Legacy Fatale.

Artists represented in their booth : Guerilla Girls, Kembra Pfahler, Betty Tompkins, Nancy Azara, Nicole Nadeau, Narcissister, Anne Sherwood Pundyk, India Salvor Menuez, Ange (ThreeAsfour), Bianca Casady, Jemima Kirke, Lola Montes Schnabel, Kara Rooney, Virginija Babusyte-Venckuniene, Amanda Keeley, Coco Dolle, Carol-Anne McFarlane, Mika Azegami-Parlá, Samoa and Victoria de Lesseps.

ADDITIONAL SPECIAL ARTIST PROJECTS BY:

SELECT Miami is proud to announce its 2014 artist projects program featuring new works and performances by Rashaad Newsome, Rachel Mason, Bauhelm Enterprises, Ventiko, Alfredo Salazar Caro, and Elan Jurado.

GENERAL INFORMATION
ADMISSION: FREE ENTRY
VIP AND PRESS PREVIEW
Tuesday, December 2nd: 4 - 8 pm
Sign up for VIP
GENERAL HOURS
Wednesday, December 3rd: 11 am - 8 pm
Thursday, December 4th: 11 am - 8 pm
Friday, December 5th: 11 am - 8 pm
Saturday, December 6th: 11 am - 8 pm
Sunday, December 7th: 11 am - 6 pm
SELECT 2014 is publicly endorsed by Mayor Philip Levine.
www.select-fair.com
CONTACT SELECT
Office: 718-832-6100
Email: director@select-fair.com
Press Inquiries: April@sparkplug-pr.com

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27. Betty Tompkins, FF Alumn, at 55 Gansevoort Street, Manhattan, opening Nov. 13

Betty Tompkins, FF Alumn, presents SMOOCH, opening November 13, 7-9 pm and on view 24/7 through Dec. 13 at 55 Gansevoort Street, Manhattan.

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28. Irina Danilovah, Bruce Barber, EIDIA House, Jeanine Oleson, FF Alumns, at Parsons, Manhattan, Nov. 13-14

Project City Drawings will be presented on Friday, November 14th, at 2:25pm

INTERNATIONAL CONFERENCE EXPLORES ART AT THE OUTERMOST LIMITS OF LOCATION SPECIFICITY AT PARSONS NYC.

The Project Anywhere conference (free event to attend) will explore the challenge of producing and disseminating art and research outside traditional circuits. How should art and research that takes place outside traditional contexts and timeframes in the fields of the visual arts, design and performance be validated, experienced and disseminated? What alternatives exist to the traditional role of the curator? How should art and research be validated within institutional contexts that typically champion the traditional journal based-paradigm for evaluating research outcomes? How do we negotiate the relative values of direct sense experience and exegetical and paratextual elements? Is documentation necessarily a "second best" experience? What kinds of evaluative criteria should we apply to interdisciplinary projects that straddle aesthetic and other realms? What are the outermost limits of location-specificity?

DATES: Thursday 13th - Friday 14th November / 9:30 - 6PM
LOCATION: Theresa Lang Community and Student Center, Arnhold Hall. 55 West 13th Street, Room I202 (use stairs to the left of the security desk on entry), New York, NY 10011
WEBSITE: http://www.projectanywhere.net/conference/
RSVP: projectanywhere@gmail.com

Participating artists

Daniel G. Baird, Bruce Barber, Erin Bosenberg, Ella Condon, Irina Danilovah, DEPARTMENT OF BIOLOGICAL FLOW (Sean Smith and Barbara Fornssler), DISPATCH (Howie Chen) , Steve Dutton, EIDIA House (Paul Lamarre & Melissa P. Wolf), Ronit Eisenbach, Les Joynes LIN + LAM (H. Lan Thao Lam), Hans Kalliwoda, Marcus Kreiss, LIMINAL DOME (Anna Romanenko, Björn Kühn and Gabriel Hensche), John R. Neeson, Arthur Ou, Jeanine Oleson NUCLEI (Fernando do Campo, Laura Hindmarsh, Claire Krouzecky and Alex Nielsen), Carrie Paterson, Kamau Patton, Gary Pearson, THE PLIMSOLL INQUIRY (Maria Kunda and Fiona Lee), Honi Ryan, John Ryan, Jeff Stark, Ian Strange, Andy Weir, Leanne Zacharis

Conference organizers:

Sean Lowry (Project Anywhere and The University of Newcastle) and Simone Douglas (Parsons Fine Arts, School of Art, Media and Technology, Parsons The New School for Design) This two-day conference is provided free of charge by Project Anywhere and Parsons Fine Arts, School of Art, Media and Technology, Parsons The New School for Design.

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29. mAgdalen Wong, FF Alumn, at 437A Pulaski St., Brooklyn, opening Nov. 12

Dear Friends :

We hope you are enjoying a lovely autumn. We like to invite you to the opening of our inaugural exhibition, NOVEMBER, at 437 A. mAgda, Skye, and Xinyi are excited to present works by five artists at our home / space : Justin Cooper, Eric Mack, Irini Miga, Anna Mikhailovskaia, and Cici Wu.

NOVEMBER
November 12 - December 10 . 2014

OPENING
Wednesday . November 12 . 7 - 9pm

437 A Pulaski Street, Apt. 2
Brooklyn, NY 11221

We hope you could join us ! See you there !

Cheers,
mAgdalen

You may also contact 437.A.info@gmail.com to schedule a time to see the show.

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30. Doug Skinner, FF Alumn, at Morbid Anatomy Museum, Brooklyn, Nov. 18

An Illustrated Lecture with Doug Skinner

Date: Tuesday, November 18
Time: 8pm
Admission: $12
Place: Morbid Anatomy Museum, 424 Third Avenue, Brooklyn.
This lecture is presented by Shannon Taggart, Programmer in Residence of the Morbid Anatomy Museum.

In the first of this two evening series, Doug Skinner discusses the life and work of the extraordinary Elizabethan polymath John Dee: sorcerer, astronomer, astrologer, alchemist, mathematician, antiquarian, imperial apologist, bibliophile, historian, and adviser to the queen. Such a life defies chronology, so his many interconnected activities are approached through the dreams that he noted in his household diary. Each glimpse into Dee's psyche reveals another facet of his unique career.

Part 2: Thursday, November 20: Sex and Spirits: The Dee / Kelley Plural Marriage - An Illustrated Presentation with Don Jolly.

More info at morbidanatomymuseum(dot)org.

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31. Nancy Burson, FF Member, now online at youtube.com/watch?v=q45N68b_Gns

Hi Everyone,
Here's the link to our new music video!
http://www.youtube.com/watch?v=q45N68b_Gns
Please share it with all your social media contacts.....with Love,

Nancy Burson
www.nancyburson.com
Harold Moss of FlickerLab
www.flickerlab.com

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32. Edward Gomez, FF Alumn, now online at hyperallergic.com

New York
Sat morn, Nov 8, 2014

Hello, friends and colleagues:

My article about the New Zealander Susan King's unusual drawings and her just-opened exhibition at Andrew Edlin Gallery in NY has just been published today in the U.S.A.-based, online, arts-and-culture magazine HYPERALLERGIC. It appears in this magazine's "Weekend" section, here:

http://hyperallergic.com/161790/explosive-drawing-susan-kings-mash-ups-strange-landscapes-and-other-worlds/

This is one of the most significant exhibitions in the self-taught/outsider art field to appear in a long time. King's work represents a major discovery in this field.

In this latest HYPERALLERGIC article, there is a photo I shot myself in New York last week. It shows artist Susan King and her sister. In this photo, they're holding and looking at a copy of RAW VISION (autumn 2014 issue, number 83), with its red, 3D cover, and Susan King is wearing the 3D glasses that come with this latest issue of that magazine. In this magazine, there is another article that I wrote, which introduces RAW VISION's readers to Susan King's personal story and her art.

I send you best wishes...

EDWARD

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Goings On is compiled weekly by Harley Spiller