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Contents for November 17, 2014

1. Printed Matter/artists books exhibition, 80 SWE Gallery, New York University, Manhattan, Dec. 2, 2014-Feb. 14, 2015

A major exhibition on Printed Matter and the field of artists' books will be held at NYU's 80WSE Gallery from December 2, 2014 through February 14, 2015.

Learn to Read Art: A Surviving History of Printed Matter charts the organizational history of the New York non-profit in relation to the history of artists' books and important movements in contemporary art from the 70's to present: the NY alternative space movement, downtown NYC counter-cultural scenes, and artist activism, to name several. Bringing together 40 years of printed material produced by the organization-including announcement cards, flyers, exhibition documentation, as well as books and artists' editions-the show details programming activities, administration, and other services carried out in collaboration with artists. In addition to the expansive visual installation, an area of the gallery will be converted into a fully functioning Printed Matter pop-up store, as well as an onsite bookmaking studio where six artist residents will be producing new publications over the course of the exhibition.

This exhibition is being mounted at a momentous and pivotal point in PM's history. As you may know, Printed Matter's NY and LA Art Book fairs have been a remarkable critical and popular success, with attendance akin to a music festival (36,000 attended last NY fair!). This is happening amidst a real "renaissance" in artists' book publishing as a new, digitally raised generation, rediscovers the artists' book form and its limitless possibilities. A defining character of the fair is that it reaches an audience beyond the artworld, making Lucy Lippard's vision of artists' books in newsstands and supermarkets almost palpable.

The organizing thread of the exhibition will be a chronological installation of print
material documenting Printed Matter's programming from its founding in 1976 to the present. Announcement cards, flyers, press releases, posters, and other ephemera will document the organization's history of programs, including book exhibitions, launches, artist installations, panels, performances, and other events. As part of this presentation, documentation of the long-running window installations organized by Lucy Lippard will be displayed. This series included early-career exhibitions by Jenny Holzer, Barbara Kruger and Richard Prince, among many others, and provided a public forum for some of the more provocative political art of the day. The timeline will also feature an array of documents and ephemera charting Printed Matter's organizational and administrative history, displaying memo's, budgets, inventory systems, reports, press clippings and much more.

The field of artists' books traces the historical trajectory of contemporary art, acting both as important documentation and as actual examples of the most innovative developments in post war art practices. Many of the pioneering conceptual artists, as well as performance, process, environment, sound and other experimental media artists, produced artists' books and publications; this was both out of necessity (as a way to reach audiences when there wasn't institutional or commercial representation); and by design (to circumvent both the market and the institutions that much of the work implicitly critiqued). Subsequently, artists' books have continued to provide a remarkable reflection of contemporary artistic practices at any given time. Currently we are witnessing a new generation of artists rediscovering and reinventing the possibilities of the book as artform, art-vehicle, art-concept and art-process. As one of the pioneering organizations in the field of artists' books and related publications, Printed Matter has stood at this junction throughout its 39 year history, and this exhibition proposes to provide a space for the examination and celebration of this critical cultural activity

Another huge development, is that Printed Matter is going to be moving into a much larger space on 11th Avenue in Chelsea, within the upcoming year. The space is being designed pro-bono by the internationally acclaimed firm Handel Architects, and the dramatic and spacious design will greatly enhance Printed Matter's ability to continue and develop its ever expanding programs and services. We will be launching a capital campaign in the near future to secure the substantial costs of this endeavor.

Media contact: Shonna Keegan at sk91@nyu.edu

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2. Tom Murrin, FF Alumn, at the East Village Museum, opening 2016

HOWL! Arts, Inc. and the Actor's Fund have acquired the Tom Murrin Archive for the new East Village Museum, planned to open in 2016. This body of work represents a featured addition to a growing collection of East Village archives.

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3. Kal Spelletich, FF Alumn, at Jules Maeght Gallery, SF, CA, thru January 31, 2015

Bonjour,
I have some machine robots in this upcoming exhibit.
JULES MAEGHT GALLERY
149 Gough Street @ Oak
San Francisco, Ca.
Thursday November 14, 2014
6-8 P.M.
ART IN MOTION

Do stop by and try and get a glass of wine from my wine pouring robot.
As Carol Kino says in the N.Y. Times.....

Mr. Spelletich has something more chaotic in mind for the first night of the show, where he may bring out what he calls his "more celebratory" pieces, like his hugging machine or his whiskey-pouring robots. "I'm working on that."

See here:
https://kaltek.wordpress.com/privatepublic-sculptures/
and
http://www.nytimes.com/2014/10/26/arts/artsspecial/jules-maeght-unveils-art-in-motion.html

all hugs,
kal

www.julesmaeghtgallery.com

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4. Devora Neumark, FF Alumn, in Amiens, France, November 17-19

Devora Neumark will be taking part of the 3-day international symposium called La part artistique de lâ€(tm)habiter: perspectives contemporaines, an interdisciplinary exchange hosted by the UniversitÃ(c) de MontrÃ(c)al, UniversitÃ(c) Laval and the UniversitÃ(c) de Picardie. While in Amiens, Devora will also initiate a new performance in association with the France Terre dâ€(tm)asile housing facility for undocumented asylum-seeking youth. The schedule of events is posted here (in French only): http://media.wix.com/ugd/bc1ab6_3386b1c6ca404d9f9a53eca3ea97db7e.pdf

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5. Raquel Rabinovich, FF Alumn, at Y Gallery, Manhattan, opening Nov. 21, and more

Raquel Rabinovich, in The Brooklyn Rail, November, "IN CONVERSATION: Raquel Rabinovich with Ann McCoy." You may download a PDF of the interview here: http://www.brooklynrail.org/2014/11/art/raquel-rabinovich-with-ann-mccoy

RAQUEL RABINOVICH
GATELESS GATES

GATELESS GATES will be on view at Y Gallery from November 21st - December 23rd 2014
Opening reception: Friday, November 21st, 6pm - 9pm

Y Gallery is pleased to present "Gateless Gates," the first solo exhibition of Raquel Rabinovich at the gallery. The exhibition includes paintings from her series Gateless Gates (1995-97) and drawings from her ongoing series River Library (2002 - present).
Gateless gate is a paradox used in Zen teachings to help students realize the nature of things. It is not about a gate, but about the mind being transformed by confronting the paradox of the non-existance of the gate. The Zen Master, monk Mumon, said:
"The Great Way has no gate, A thousand roads enter it.

When one passes through this gateless gate, He freely walks between heaven and earth."
Raquel Rabinovich's work is also about transformative confrontation. When she makes art she doesn't consciously know beforehand where she will arrive; she works until she experiences no gate or barrier, until there is no separation between inside and outside and she and her work become one. In the process of working - layer upon layer of lines, marks, paint, glass or stones - she seems to conceal what is not, and reveal what is. This is an essential aspect of her working process. If one looks deeply and spends time with her Gateless Gates paintings, one will discover the title embedded into the paint, which functions as a metaphor for what happens in the act of looking at a painting. The viewer has to go through a gateless gate to understand the paintings. What counts in the painting is embedded in the painting itself. The meaning is inherent in the painting. When one thinks about what that means one is already entering the painting itself. As Rabinovich herself has said, showing her recognition of the paradoxes her works engender, "I know that a painting is finished when the ground becomes groundless and the surface dissolves into that groundlessness."

River Library is a series of drawings on handmade paper in which the artist uses mud from rivers all over the world as her medium. The layering of paper and mud onto pages parallels the formation of sediment in the depths of the rivers. Mud embodies the history of the earth and humankind - it contains life, death, and layers of accumulation. Mud, like the alphabet of a language yet to be deciphered, like a yet unwritten history of nature and culture, functions like a text that provides traces, a memory of our existence.
Rabinovich's art has always been informed by an underlying fascination with the concealed aspects of reality. She is interested in what we cannot see and seems to be invisible. She is compelled by the process of how something emerges into view from concealment. Working across mediums, this is the essence of her artwork, now, and for the past 50 years.

The Brooklyn Rail published in its November, 2014 issue "IN CONVERSATION: Raquel Rabinovich with Ann McCoy." A PDF of the interview may be downloaded here: http://www.brooklynrail.org/2014/11/art/raquel-rabinovich-with-ann-mccoy
A pamphlet with an essay by Alex Bacon titled Raquel Rabinovich's Paradoxes
accompanies the exhibition. You may download a PDF of the essay here: http://media.icompendium.com/raquelra_Raquel-Catalogue-Essay-RR-Edits.pdf

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6. Sydney Blum, FF Alumn, at Kim Foster Gallery, Manhattan, opening Nov. 20

KIM FOSTER GALLERY
529 West 20th New York 10011 212.229.0044 www.kimfostergallery.com

Sequential Abstraction
November 20 - December 20, 2014
(Tuesday through Saturday 11 am to 6 pm)
Reception: Thursday, November 20th, 6 - 8 pm

artists in order of image sequence: Joanne Leah, Diane Samuels, Ralph Bernabei, Blanche Nettles Powers, Macyn Bolt, Sydney Blum, Jim Toia, Jeff Doran, Gerald Wolfe, Paul Glabicki, Peter O'Kennedy, Moon Beom.

We are pleased to announce our upcoming exhibition Sequential Abstraction, works by twelve gallery artists. Several artists start with a systematic approach, a fuzzy logic, resulting in artwork created and constructed by their imposing algorithm. Others use imagery that borders on the recognizable to create a narrative. While some relish in unpredictable encounters.

Sydney Blum's "Fuzzy Geometry" and Jeff Doran's "suspended assembly" define space within concentrated dimensions, creating ordered and increasingly focused energy with an intrinsic symmetry. Ralph Bernabei's "Wrapped Volumes" stretches the paint beyond a two-dimensional plane searching for transendence through transcending, Whereas, Macyn Bolt's folded and distorted shapes create the illusion of depth, containing spatial tensions within their own borders.

Paul Glabicki's "Relativity" drawings are a relentless accumulation of images, data, form and color progressively added in pairs - one element in relation and relative to another. Moon Beom's rhythmic method of painting yields a distinct visual structure where abstraction and nature fluidly embrace, creating a visual synthesis of East and West. Gerald Wolfe's "Variations Continued" combines the patchwork aspect of quilt making with the fluid, interwoven nature of Aramaic script. Diane Samuels' "Mapping Sampsonia" redraws sections of an alley in front of her studio on handmade Abaca paper. Joanne Leah uses sequential photography to capture a moving image.

Peter O'Kennedy's "Bumps and Scratches" is an ongoing photographic project that records imperfections in vehicles, caused by accidental collisions. Jim Toia and Blanche Nettles Powers choose to remove themselves from the art making process as much as possible. That is, they let chance mitigate outcome by leaving a great deal up to nature. Their manipulations combined with chance leads to surprising results. Only a few of their experiments pass their standards of approval.

www.kimfostergallery.com

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7. Krzysztof Zarebski, FF Alumn, at Creon, Manhattan, Nov. 19

DJ Sexy Turntable
Performance by Krzysztof Zarebski

one night only
Wed, Nov 19, 7:30 pm - doors open at 7 pm

CREON
238 East 24 St, 1B at 2nd Ave
646-265-5508, creongallery.com
Subways: 6 or R to 23 St

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8. Pope.L, FF Alumn, publishes new book

Pope.L: Showing Up To Withhold
by The Renaissance Society at the University of Chicago
William Pope.L and Karen Reimer (eds)

American artist (b.1955) William Pope.L's 30-year multi-disciplinary art practice has insistently concerned itself with the manner in which difference is demarcated economically, socially, culturally, and politically. Widely acclaimed for his provocative performances, installations, photographs, drawings, and paintings, the work of this prolific artist has permanently shifted art world discourse around race and inequality, as well as around each medium he has opted to use.

In addition to functioning as a catalog of Forlesen, Pope.L's 2013 exhibition at the Renaissance Society, this book uses the three main components of that exhibition-Skin Set Drawings: The Space Between the Lines, the latest iteration in this series of drawings ongoing since the late 1990s; the sculpture/audio work Du Bois Machine; and the video installation Unfallen-as platforms upon which to build an exploration of the relations between the works in Pope.L's practice over his 30-year career.

Texts include essays by Lawrie Balfour, Nick Bastis, Lauren Berlant, and K. Silem Mohammad, and an interview between the artist and Hamza Walker. It is co-published with the University of Chicago Press.
224 pages
200+ plates, full color
10" w x 9" h
Hardbound

$45.00
ISBN: 978-0-226-20006-4
Published October 2014

For more information and to purchase the book please visit

http://the-renaissance-society.myshopify.com/products/william-pope-l-showing-up-to-withhold

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9. Bogdan Perzynski, FF Alumn, at Museum of Human Achievement, Austin, TX, thru Nov. 23

I am glad to announce my participation in the following exhibition. I have new video installation exhibited during this and next weekend at the Museum of Human Achievement, 3600 Lyons Rd, Austin, TX. This exhibition is a part of the East Austin Studio Tour (E.A.S.T.) The exhibition features work by over 90 artists, who created living room, kitchen, bathroom, etc, similar to IKEA walking through pathway.

MoHA Press Release:
http://us6.campaign-archive2.com/?u=1ba73ce2c03995467869283dc&id=afca0e2dc5&e=59f2130c6c

MoHA HOURS:
Saturday Nov 15th: 11am-7pm
Sunday Nov 16th: 11am-9pm
Saturday Nov 22nd: 11am-Midnight
Sunday Nov 23rd: 11am-7pm
Store hours also by appointment (please contact notanikea@gmail.com)

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10. Hector Canonge, FF Alumn, current events

Interdisciplinary artist, Hector Canonge, continues his work in various countries in Latin America. Having completed his last presentations in Ecuador and Peru, Canonge will be participating in programs in Bolivia and Chile as well as organizing a residency program for performance artists in Argentina.

In Bolivia, Canonge will participate in CLANDESTINO, a festival of Live Action Art in Oruro, the oldest silver mining city in South America (November 21-23). In Chile, the artist will present new work at DEFORMES, The Fifth International Performance Art Biennial, in the southern city of Valdivia (November 24 - 29), and in the independent program for performance POSTA SUR taking place in the port city of Puerto Montt (December 4 - 6). In Argentina, Canonge will launch "PERFORMAXIS" a residency program to explore collaboration in performance while living together with five other artists coming from various regions in the Andes. The project will take place in collaboration with one of the leading centers for Live Action Art in the city of Buenos Aires (December 9 - 15).

Canonge is scheduled to return to the USA in early 2015 to start working on a new initiative, and complete a series of long term projects.

Hector Canonge
Interdisciplinary Artist, www.hectorcanonge.net

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11. Katya Grokhovsky, FF Alumn, November events

Dear Friends and Colleagues,

Hope you are well,
I would like to inform you of my news and events taking place this November :

EXHIBITIONS:
"BODY LANGUAGE"
Group Exhibition curated by Chelsea Haines
Artists: Katya Grokhovsky, Antonia Dias Leite, Noilin O Kelly, Maayan Sheleff, and Alex Verhaest.
Opening: Wednesday November 12, 6pm-8pm
Exhibition: November 13-14, 12-6pm; Saturday Nov 15, 2-6pm
Performance: Katya Grokhovsky - November 15, 4pm
Residency Unlimited
360 Court Street (enter church building through main entrance )
Brooklyn, NY 11231

and

"A WICKED PROBLEM"
Participants: Emily Baierl, Greta Byrum and Annabel Daou, Hank Ehrenfried, Caitlin Foley and Misha Rabinovich, Katya Grokhovsky, Oree Holban, Antony Hudek, Felix Kalmenson, Audra Lambert, Clarinda Mac Low, Jennifer Ogburyk, Beth Reitmeyer, Emily Thomas, and Anuj Vaidya
Opening: Friday November 14, 6pm-8pm
Exhibition: November 14 - December 20, 2014
Gallery Hours: Wed - Sat, 12pm-6pm
EFA Project Space
323 W. 39th, 2nd Floor
New York, NY 10018

and

CURRENT RESIDENCY:
RU-Residency Unlimited
September - November 2014
NYC

and

FEMINIST URGENT:
ROUNDTABLE #2
Friday 21st November 7.30pm
@ BHQFU - Bruce High Quality Foundation University
34 Avenue A, New York, NY 10009
TBA
Feminist Urgent is an in-flux open-forum, discussion, journal, social practice, community founded by Katya Grokhovsky

and

RECENT PRESS:
Press for Slow Dance Project @ Art in Odd Places Festival NYC October 2014:
Hyperallergic
Bedford+Bowery
Gothamist

Best Wishes
Katya Grokhovsky
www.katyagrokhovsky.net
https://www.facebook.com/katyagrokhovsky
https://twitter.com/KatyaGrokhovsky
http://katyagrokhovsky.tumblr.com/

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12. Laurie Anderson, Jenny Holzer, Sol LeWitt, Robert Rauschenberg, FF Alumns, in The New York Times, Nov. 17

The New York Times
Art & Design
Vast Space and Art to Fill It
Mass MoCA Partners With Major Contemporary Artists
By JUDITH H. DOBRZYNSKI
NOV. 16, 2014

Taking another leap in its evolution from a disused 19th-century factory complex into a 21st-century center for visual and performing arts, the Massachusetts Museum of Contemporary Art is set to announce on Monday that it has forged six new 15- to 25-year partnerships with big names in contemporary art, including James Turrell; the Robert Rauschenberg Foundation; the Easton Foundation, which controls the estate of the sculptor Louise Bourgeois; Laurie Anderson; and Jenny Holzer.

Together, the artists' work will fill about 90,000 square feet of new space. These galleries will bring Mass MoCA's exhibition areas to roughly 260,000 square feet after the renovations announced last summer, funded partly with $25.4 million from the state. Mass MoCA will then rank among the largest art museums in the country, just shy of the gallery space at the Los Angeles County Museum of Art.

When the new spaces are opened in 2017, they will turn this institution in North Adams, Mass., into what Joseph C. Thompson, its director, calls "a campus of museums" with a diverse set of curatorial viewpoints. "We're teaming up with people who have great bodies of artworks that we are hosting," he said.

At its opening in 1999, Mass MoCA, which has no permanent collection, was a showcase for large-scale art exhibitions, often commissioned or created on site, and a contemporary performing arts program. But in 2008, in a 25-year agreement with the Yale University Art Gallery, Mass MoCA turned over several galleries to Sol LeWitt's large-scale wall drawings. When they proved popular, drawing visitors between the museum's changing exhibitions, a light bulb went off for Mr. Thompson; he has been working on partnerships to fill his empty buildings ever since.

The long-term pacts he has devised - sometimes structured as cost-shares, allowing Mass MoCA to expand at minimal expense - are unusual for art museums, which more typically borrow collections for short-term exhibitions. "These partnerships come from the opportunities created by the space," said Michael Govan, who worked on Mass MoCA in the 1980s, when it was just an idea, and is now director of the Los Angeles County Museum of Art. "Most museums are looking to expand, or they are expanding." Mass MoCA "could be a model for communities that are willing to invest in space," he added. "There are a lot of collections out there in storage."

And there are a lot of artists who would like to fill space. "If you go there and see the Sol LeWitt installation, you'll understand how meaningful it can be," said Mr. Turrell, who works with light. He will have 35,000 square feet at Mass MoCA - as much as he had at his recent 10-month retrospective at the Los Angeles County Museum of Art - for 25 years. In it he will place nine or 10 of his works, including several borrowed from his family and from the Guggenheim Museum. Mr. Turrell is also creating a two-story version of his Ganzfeld work - an immersive light field that challenges visitors' depth perceptions - and he will turn a water tank into one of his "skyspaces." As his part of the deal, he plans to donate one or two works.

The Rauschenberg Foundation will use its 20,000 square feet to show some of Robert Rauschenberg's monumental works, including "Synapsis Shuffle," a 52-panel piece from 1999 with painted passages and photographic images that he intended viewers to shuffle like a deck of cards, changing the sequence. It will also exhibit works by artists who have had residencies at Rauschenberg's former home in Captiva, Fla.; and it will invite scholars from the Williams College/Clark Art Institute art history program to curate exhibitions of his pieces and art by others to provide a "new view" of Rauschenberg's works.

"We don't want to build a Robert Rauschenberg museum," said Christy MacLear, executive director of the foundation, which has been placing the artist's works in museums around the country. She said the financial details at Mass MoCA remain to be defined, but added, "We'll support the programs."

In another space, Ms. Holzer, a Conceptual artist, said she would display "some old, some new" works, including her signature electronic light projections of poetry and slogans, and a new piece, still in development, that would allow visitors with smartphones to see augmented reality projections, blending the real with 3-D virtual objects.

The Easton Foundation will fill 5,000 square feet with six to eight massive carved marble sculptures by Bourgeois. Some have never been seen in public and at least one, about 7 by 7 by 11 feet, will require cutting through a wall for installation.

For Ms. Anderson, Mass MoCA is creating installation galleries; a production studio where visitors can watch her create audio and video works; and a display of the costumes, instruments, paintings and other objects she makes.

Finally, in collaboration with Bang on a Can, a new-music consortium, Mass MoCA will develop an interactive music room, where people can try hundreds of original instruments that were handmade by the composer Gunnar Schonbeck.

The museum's curatorial team will gain about 20,000 square feet of gallery space in the renovation and installation projects, leaving only one significant building in the 26-building complex left to develop. Mass MoCA has raised $13.5 million of the $30 million it needs to supplement the state funds and to build a maintenance reserve and endowment.

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13. Suzanne Lacy, FF Alumn, at Museo Pecci Milano, Italy, thru Jan. 6, 2015

Suzanne Lacy
Gender Agendas
14 November 2014-6 January 2015

Museo Pecci Milano
Ripa di Porta Ticinese 113
Milan
Hours: Tuesday-Sunday noon-7pm
Free entrance

T +02 36695249 40 or 0574 5317

www.centropecci.it

Pending the opening of the new Prato complex planned for spring 2015, the Luigi Pecci Centre for Contemporary Art celebrates its fresh start with a new season in its Milanese branch, the Milan Pecci Museum, at No. 113 Ripa di Porta Ticinese. The Centre is taking this opportunity to launch a whole new line of investigation, dedicated to the protagonists of international art who did pioneering work in the sixties, seventies and eighties. The series will be opened by Suzanne Lacy, with a themed retrospective titled Gender Agendas which will remain from 14 November to 6 January.

The exhibition presents, for the first time in Europe, a large series of works of this Los Angeles artist, known as one of the initiators of the crucial operation of blending conceptual and performance art with social commitment in the early seventies in Los Angeles. Her activity ranges from explorations of the body and intimate reflections to the production of large and lengthy public demonstrations involving dozens of artists and thousands of spectators.

The exhibition, curated by the new director Fabio Cavallucci in collaboration with Megan Steinman, presents some of the works in which the artist has addressed the essential themes of the female condition: sexual exploitation and violence; aging and media representation of the older woman; and social issues ranging from racism to the conditions of labor and class--themes which were provocative and avant-garde in the seventies and eighties and are still highly topical today.

The exhibition proposes re-adaptations of some of Suzanne Lacy's most important works. One of these, Prostitution Notes (1974), was an investigation of prostitutes and their exploitation in some areas of Los Angeles, with interviews in the bars and clubs where they hung out. In Three Weeks in May (1977), working in agreement with the Los Angeles police from whom she received daily information, the artist indicated on a map of the town the places where sexual violence against women took place, writing the word RAPE in red on them. The map became redder every day, visually demonstrating the dramatic nature of the problem. In Mourning and In Rage (1977) is a work created at the time when there had been a brutal strangling of ten women by a serial killer in Los Angeles. With other activists, Suzanne Lacy presented herself in front of the Los Angeles city hall with ten female figures covered in black robes from head to foot. Each of these pronounced a protest against a different type of violence against women, subverting the mass media coverage from a focus on specific victims histories to the general culture of violence.

The exhibition includes more recent works such as Full Circle (1994), in which the artist displayed rock monuments dedicated to important women from Chicago, and Storying Rape (2012), a discussion among important media personalities, activists and politicians in an attempt to find a different way of describing sexual violence-a new cultural narrative. Finally, there is a video and paper document archive section which reveals the artist's multifaceted interests, with many works including the early ones on the theme of the body and flesh.

A special catalogue will be produced for the occasion, the first in a series published by Mousse, which covers Suzanne Lacy's whole career, with texts by Sally Tallant, an interview with Suzanne Lacy by Fabio Cavallucci, and the reproduction of many works produced by the artist from the seventies up to the present day.

Press offices
Maria Bonmassar
maria.bonmassar@gmail.com / T + 39 06 4825370 / +39 335 490311

Ivan Aiazzi
i.aiazzi@centropecci.it / T + 39 0574 531828 / +39 331 3174150

Museo Pecci Milano is an subsidiary exhibition space of Centro per l'arte contemporanea Luigi Pecci.
Promoted by the Tuscan Region and the Municipality of Prato.

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14. Magie Dominic, FF Alumn, in the National Post, Toronto, Canada, Nov. 13

Magie Dominic, FF Alumn, published an Op-Ed addressing childhood memories of Newfoundland in the 1950's and the ocean and unique Newfoundland Labrador landscape.

The full illustrated op-ed is linked here: http://bit.ly/1yDFkgI

Her complete text follows below:

Op-Ed, National Post, Toronto, Ontario, Canada. November 13, 2014

Magie Dominic: New York, by way of Newfoundland

In an elevator this week, a woman spoke about holidays and our summer vacations, and I mentioned that I grew up in Canada.

"You're from Canada?" she said," I'm from Ohio!" as if it, too, were a separate country. Most people in New York are from elsewhere. The city is where we work. People get paid to live here.

I grew up in Newfoundland during the 1940s and 1950s. It was the Second World War, and tens of millions of people were dying worldwide. Bette Davis, Benny Goodman, Abbott and Costello. Then Ed Sullivan and Bonanza.

I lived in New York during the explosive years of the 1960s and the anti-war movement. The boycotts and protests. I read on flatbed trucks with remarkable poets. Woodstock, Vietnam, Napalm. Love-ins, long hair, drug overdoses and body paint. Neighbours who looked exactly like Jesus. All we were saying was give peace a chance. The Beatles. Janis Joplin. Miniskirts. A man walked on the moon.

I marched against AIDS in the 1980s and buried 23 friends. People who'd marched for peace in the sixties died from AIDS in the eighties. This world has been shot through the heart.

I'm still in New York, after a thousand detours. Where concrete is closer than flowers. Where buildings seem to hold up the sky.

But at dusk when sunlight pierces a window and it shines like a mirror, and you can see clouds in a rose-coloured orange-blue sky that are so beautiful they can stop New Yorkers right in their tracks for at least 20 seconds, and when the wind sounds like surf, I can, momentarily, capture a Bonne Bay, Newfoundland memory.

Thousands of blueberries. The smell of pine. Strong tea over a wide open fire

I had a new book published this summer, from a Canadian press, and I wrote about what it was like to grow up in Newfoundland in the middle of the 20th century. I wrote about Bonne Bay, an exquisite dot on the world map.

When I was a child in Newfoundland, in a town surrounded by forest, we travelled to Bonne Bay every summer - about a two-hour drive from our house.

Bonne Bay was our only family vacation. It was the price of a tank of gas, but it was one full week inside the gates of heaven. Bonne Bay was the ocean and bright-painted dories. High crashing waves. It was our big canvas tent, which was generally waterproof.

Thousands of blueberries. The smell of pine. Strong tea over a wide open fire. Hot soup beneath Newfoundland stars. Flaps over a tent window flying open at night, revealing pockets of sky and a moon.

Bonne Bay was a choir heard in the crashing of waves. Green and black seaweed tangled around driftwood and shells. A moon being swallowed by clouds. It was hundreds of birds, like colourful marbles. Smoke from a campfire touching the clouds. A Newfoundland sky filled with thousands of colours. It was train tracks and dandelion seeds floating like snow.
Related

Dave Bidini: A road trip to Newfoundland with a decidedly lo-fi soundtrack

People go to the water when they have a dilemma. It's as if the waves can wash troubles away.

And at the end of each Bonne Bay summer, a circus came to our town for a week. The carousel, and guess-your-weight games. Cotton candy and the smell of hot buttered popcorn. A woman on a flying trapeze.

That's who I wanted to be. Sailing across the Newfoundland forest, barely touching a leaf. And when the trapeze act was over, I'd watch the carousel horses with their wooden manes streaming behind as they ran into the wind.

I'm in New York, where the summer has passed, but I can imagine that Bonne Bay Newfoundland ocean, hear the high crashing waves, the sounds of wild birds and thunder. I can see flowers and mountains and that travelling circus in my mind whenever I want to.

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15. Mierle Laderman Ukeles, FF Alumn, current events

Upcoming, Current, and Recent Work by Mierle Laderman Ukeles

Mierle Laderman Ukeles in Artforum:
Hill, Wes. "Brisbane: Mierle Laderman Ukeles." artforum.com (http://www.feldmangallery.com/media/ukeles/general%20press/2014_ukeles_artforum_hill.pdf) , November 1, 2014.

and

UPCOMING AND CURRENT WORK:

Mierle Laderman Ukeles - 'Maintenance Art Works 1969 - 1980'
Solo Exhibition
February 7 - April 26, 2015
Marabouparken & Konsthall C, Stockholm, Sweden

and

The City Lost & Found: Capturing New York, Chicago, L.A., 1960-1980
Exhibition
October 25, 2014 - January 11, 2015
Art Institute of Chicago
111 South Michigan Avenue
Chicago, IL
"Blurring traditional boundaries between artists, activists, planners, and journalists, The City Lost and Found offers an unprecedented opportunity to experience the deep interconnections between art practices and the political, social, and geographic realities of American cities in the 1960s and 1970s."
The City Lost & Found... webpage (http://www.artic.edu/exhibition/city-lost-and-found-capturing-new-york-chicago-and-los-angeles-1960-1980)

and

Work It Out
Exhibition
October 24 - December 7, 2014
Momenta Art
56 Bogart Street
Brooklyn, NY
"Momenta Art is pleased to present WORK IT OUT, a group exhibition that investigates the links between labor, actualization and transformation from multiple perspectives. As Mierle Laderman Ukeles' Manifesto was intended as a rejection of "progress" as a principle of capitalism, the Enlightenment idea of "progress" has long become objectionable in the leftist intellectual landscape. Nevertheless, the works in this exhibition resonate with, contradict, and deviate from Kojève's interpretation of dialectic and "progress"."

Work It Out webpage (http://www.momentaart.org/momenta-art-work-it-out.html)

and

Lucid Gestures
Exhibition
October 24 - November 24, 2014
McCagg Gallery, Diana Center, Barnard College
3009 Broadway,
New York, NY
"Enjoy a special exhibit of alumnae artists curated by Vanessa Thill '13 and Eunice Yooni Kim '13."
Lucid Gestures webpage (http://barnard.edu/events/lucid-gestures-exhibition-barnard-alumnae-artists)

and

Mierle Laderman Ukeles: Maintenance Art Works 1969-1980
Solo Exhibition
October 11 - November 30, 2014.
Institute of Modern Art, Brisbane, Australia
Ground level, Judith Wright Centre of Contemporary Arts,
420 Brunswick St, Fortitude Valley QLD 4006, Australia
"The IMA presents Maintenance Art Works 1969-1980, a survey of Mierle Laderman Ukeles's early works. Although Ukeles took a seminal position in early conceptual and feminist art and is represented in almost every anthology of 1960s and 1970s artists, her work has not yet been explored for its wider significance. The exhibition presents major works spanning a decade of production and is based on a show at Ronald Feldman Fine Arts gallery in New York 1998. This is the first solo exhibition of Ukeles's practice in Australia."
Exhibition webpage (http://www.ima.org.au/mierle-laderman-ukeles-maintenance-art-works-1969-1980/)
Artforum review of the exhibition (http://www.feldmangallery.com/media/ukeles/general%20press/2014_ukeles_artforum_hill.pdf)

and

RECENT WORK:

SERVING II: WHO KEEPS THE CITY ALIVE?
Performance
September 21, 2014, 5-6:30pm
Performance at School 75, 5 Bolshaya Posadskaya, St. Petersburg, Russia
The performance was a commissioned collaboration between Manifesta 10 Public Programs and the Art Prospect Festival by CEC Arts Link, St. Petersburg Russia, curated by Joanna Warsza and Susan Katz, together with the Sanitation Department of St. Petersburg.
Manifesta webpage (http://cal.manifesta10.org/en/event/168)

A+nd

Labor Intensive
Exhibition
June 21 - July 25, 2014
Ronald Feldman Fine Arts, New York, NY
"Ronald Feldman Fine Arts is pleased to present Labor Intensive, a group show that expands the defined role labor plays in our individual lives and society as a whole. Often overlooked are the beauty and dignity in work and their potential to be powerful forces of change. All of the selected artists represent labor as the manifestation of ideas, and ultimately, will."
Wall Street International article (http://www.feldmangallery.com/media/labor%20intensive/2014_labor%20intensive_wall%20street%20international_staff.pdf)

and

Making Room -- Spaces of Anticipation
Exhibition
June 13-August 2, 2014
ar/ge Kunst Galerie Museum, Bolzano, Italy
"Making Room is an exhibition exploring the idea of space in relation to the artistic, cultural and curatorial practices that produce it. Accordingly, it brings together works and collaborations by artists, architects and designers from different generations and geographies, each of them stressing the mutual correspondence and influence between social practices and the environments that play host to them."
Making Room webpage (http://www.argekunst.it/en/making-room-spaces-of-anticipation/)

and

How We Want to Live
Exhibition
April 11 - September 7, 2014
Shedhalle, Zurich, Switzerland
"The exhibition shows artistic works from 1969 until the present that take up different aspects of care work and offer insight into the crisis of social reproduction. It also opens a space for discussion around collective practices of care, as well as reflection on current (local) strategies of self-organization."
How We Want to Live webpage (http://www.shedhalle.ch/2013/en/116/HOW_WE_WANT_TO_LIVE)

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16. Mat Fraser, FF Alumn, now online at avclub.com

Mat Fraser interviewed by A.V. Club: http://www.avclub.com/article/american-horror-storys-mat-fraser-wont-star-your-i-211688

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Goings On is compiled weekly by Harley Spiller