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Contents for December 11, 2014

1. Franklin Furnace HAS MOVED to Pratt Institute, Brooklyn

Franklin Furnace Archive, Inc. is now in its new offices at Pratt Institute in Brooklyn, NY. Here's our new address and telephone number, and the text of an article on the transition from Hyperallergic (and a link to the complete illustrated story). Hope to hear from you soon!

Franklin Furnace Archive, Inc.
Pratt Institute
200 Willoughby Avenue
Brooklyn NY 11205
Tel. 718-687-5800
Fax 718-687-5830
http://www.franklinfurnace.org
mail@franklinfurnace.org

JOIN TODAY!
http://franklinfurnace.org/support/membership2014/

Hyperallergic, News
Franklin Furnace, Performance Art Pioneer, Relocates to Pratt Under Long-Term Agreement by Mostafa Heddaya, December 11, 2014

The storied avant-garde performance art nonprofit Franklin Furnace has relocated to the Pratt Institute campus under an agreement that will see the organization "nest" at the institution on a long-term basis. The deal affords the public continued access to Franklin Furnace's extensive archives, which will migrate to the Pratt library after initially being housed in a dedicated on-campus office. Franklin Furnace moved into the space at Pratt on December 6; most recently based in Fort Greene, Brooklyn, the organization had been nomadic since it sold its Tribeca location in 1996.

"We started thinking about [the partnership with Pratt] in 2011, approaching my 65th birthday, and the board got a grant to look at long-term models for a sustainable future," artist and Franklin Furnace founder Martha Wilson told Hyperallergic. According to Wilson, the "small, in-your-face arts organization" she created in 1976 then decided to pursue a "nesting" relationship with "a larger, hopefully educational edifice": Pratt. The decision accompanied the university's announcement of a new Master of Fine Arts program in performance and performance studies, which is launching in 2016 and will focus on the type of work for which Franklin Furnace has long been known.
The deal, spearheaded by Wilson and Franklin Furnace board chair Coco Fusco, coincides with a separate, ongoing initiative that will see the digitization of much of their archives. A National Endowment for the Humanities grant was procured in 2009 to digitize the first 10 years of the organization's archives, with two further grants pending for the following two decades. "The goal is to be able to do research all by yourself online," Wilson said.

Andrew W. Barnes, dean of Liberal Arts and Sciences at Pratt, announced the nesting agreement in a November 4 newsletter to faculty and staff. Barnes told Hyperallergic that the terms of the partnership consist of a preliminary five-year agreement during which the fit of the two institutions will be assessed as Franklin Furnace negotiates the process of permanently integrating its archives with the Pratt library."We haven't put a timeline on when the [library] migration happens, because it's up to Franklin Furnace to determine the condition of archive and where it will fit into environmental conditions of library, hopefully within the five-year window of the initial agreement," Barnes said.

The primary Franklin Furnace collection of 13,500 artists books is currently housed at the Museum of Modern Art's Queens archive facility. Sold to MoMA in 1993, those volumes comprised first and second copies, with third copies left in Franklin Furnace's possession. Wilson estimates that this tertiary set encompasses 2,000 unique items - not all titles had third copies - describing it as a "teaching collection" that need not be treated with the same level of archival care accorded to the primary collection at MoMA. (The second copies were, per Wilson, sold by MoMA to "float the deal.")

The new relationship with Pratt will also prompt joint initiatives between the two organizations. "In addition to the archives, we'll be working together on artist projects, either doing joint grants to organizations or funding artists and artworks on or outside campus," Barnes said. "They're going to continue doing their independent work, but we will try to collaborate."

Performing Franklin Furnace, an exhibition spanning Franklin Furnace's 40-year history, organized by Independent Curators International, will be on view at Pratt's 14th street gallery in Manhattan from February 20 through April 20, 2015.

Here is a link to the fully illustrated article:

http://hyperallergic.com/167917/franklin-furnace-performance-art-pioneer-relocates-to-pratt-under-long-term-agreement/

Thank you.

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2. Martha Wilson, FF Alumn, to receive Center for Curatorial Studies, Bard College 2015 Audrey Irmas Award for Curatorial Excellence, April 15, 2015

Christine Tohme and Martha Wilson to Receive the Center for Curatorial Studies, Bard College 2015 Audrey Irmas Award for Curatorial Excellence

Award Given With Audrey Irmas Prize of $25,000
Presented at CCS Bard Gala Celebration On April 15, 2015 at 6:30pm
in New York City
ANNANDALE-ON-HUDSON, NY, December, 2014 - The Center for Curatorial Studies at Bard College (CCS Bard) is pleased to announce that Christine Tohme and Martha Wilson, are the recipients of the 2015 Audrey Irmas Award for Curatorial Excellence. The award will be presented at a gala celebration and dinner on April15, 2015 at 6:30pm in New York City.

Tom Eccles, Executive Director of CCS Bard states: "We are delighted that two extraordinary pioneers from very different parts of the globe have been selected for this year's award. Both Christine Tohme and Martha Wilson represent the dedication, persistence, and vision that every young curator should aspire to. Each in their own way has been a transformative figure often working in challenging environments and under difficult conditions."

Christine Tohme is an independent curator and founder/director of Ashkal Alwan - the Lebanese Association for Plastic Arts. Founded in Beirut in 1993, Ashkal Alwan is committed to the production, research, and circulation of contemporary artistic and intellectual practices. In 2002, the association initiated Home Works: A Forum on Cultural Practices, a multidisciplinary platform that brings together artists, writers, thinkers, filmmakers, and choreographers, among others, for a public program of exhibitions, panel discussions, film screenings, and performances. In 2011, Ashkal Alwan opened its first multipurpose space and launched the Home Workspace Program, an annual tuition-free art-study program. Tohme received a Prince Claus Award in 2006 for her contribution to the development of critical culture in Lebanon and beyond. She is on the board of Marsa (Beirut), a sexual health center that provides specialized medical services for the general public as well as at-risk youth and marginalized communities. Tohme is also on the board of SAHA (Istanbul), an association supporting contemporary art from Turkey.

Martha Wilson is a pioneering feminist artist and gallery director, who over the past four decades created innovative photographic and video works that explore her female subjectivity. She has been described by New York Times critic Holland Cotter as one of "the half-dozen most important people for art in downtown Manhattan in the 1970s." In 1976 she founded Franklin Furnace, an artist-run space that champions the exploration, promotion and preservation of artist books, temporary installation, performance art, as well as online works. She has received fellowships for performance art from the National Endowment for the Arts and the New York Foundation for the Arts; Bessie and Obie awards for commitment to artists' freedom of expression; a Yoko Ono Lennon Courage Award for the Arts; a Richard Massey Foundation-White Box Arts and Humanities Award; and in 2013 received an Honorary Doctor of Fine Arts degree from the Nova Scotia College of Art and Design University.

The award has been designed by artist Lawrence Weiner, and is based on his 2006 commission Bard Enter, conceived for the entrance to the Hessel Museum of Art at CCS Bard. The award also comes with the Audrey Irmas Prize of $25,000 to be split between the recipients.

About CCS Bard's Audrey Irmas Award for Curatorial Excellence
For seventeen years, the Center for Curatorial Studies at Bard College has celebrated and awarded the individual achievements of a leading curator or curators whose lasting contributions have shaped the way we conceive of exhibition-making today. For the fourth time, the 2015 award will be given under the name of patron Audrey Irmas, who has bestowed the endowment for the Award. Irmas is a board member of CCS Bard and an active member of the Los Angeles arts and philanthropic community.

The awardee is selected by an independent panel of leading contemporary art curators, museum directors, and artists. Past recipients include Harald Szeemann (1998), Marcia Tucker (1999), Kasper König (2000), Paul Schimmel (2001), Susanne Ghez (2002), Kynaston McShine (2003), Walter Hopps (2004), Kathy Halbreich and Mari Carmen Ramírez (2005), Lynne Cooke and Vasif Kortun (2006), Alanna Heiss (2007), Catherine David (2008), Okwui Enwezor (2009), Lucy Lippard (2010), Helen Molesworth (2011), Hans Ulrich Obrist (2011), Ann Goldstein (2012), Elisabeth Sussman (2013), and Charles Esche (2014). The award reflects CCS Bard's commitment to recognizing individuals who have defined new thinking, bold vision, and dedicated service to the field of exhibition practice.
About the Center for Curatorial Studies
The Center for Curatorial Studies at Bard College (CCS Bard) was founded in 1990 as an exhibition and research center for the study of late twentieth-century and contemporary art and culture and to explore experimental approaches to the presentation of these topics and their impact on our world. Since 1994, the Center for Curatorial Studies and its graduate program have provided one of the world's most forward thinking teaching and learning environments for the research and practice of contemporary art and curatorship. Broadly interdisciplinary, CCS Bard encourages students, faculty and researchers to question the critical and political dimension of art, its mediation and its social significance. CCS Bard cultivates innovative thinking, radical research and new ways to challenge our understanding of the social and civic values of the visual arts. CCS Bard provides an intensive educational program alongside its public events, exhibitions, and publications, which collectively explore the critical potential of the institutions and practices of exhibition-making. It is uniquely positioned within the larger Center's tripartite resources, which include the internationally renowned CCS Bard Library and Archives and the Hessel Museum of Art, with its rich permanent collection.
General information on the Center for Curatorial Studies at Bard College can be found on the website: www.bard.edu/ccs.

For more information on the Audrey Irmas Award for Curatorial Excellence Award Gala Dinner or to purchase tickets, please contact:

Ramona Rosenberg, CCS Bard
Tel: +1 (845) 758-7574
Email: rrosenberg@bard.edu

BARD COLLEGE CONTACT:
Mark Primoff, Director of Communications
Tel: +1 845.758.7412
Email: primoff@bard.edu

CCS BARD CONTACT:
Ramona Rosenberg, Director of External Affairs
Tel: +1 (845) 758-7574
Email: rrosenberg@bard.edu

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3. Amber Hawk Swanson, FF Fund recipient 2014-15, at The Watermill Center, Water Mill, NY, thru Dec. 17

DOLL CLOSET, December 10-17, 2014 • 11am (EST) daily livestream.com/amberhawkswanson
+
December 10-17, 2014
The Watermill Center (Hamptons, NY)
broadcast via Livestream beginning at 11am (EST) each morning with daily call-ins from doll owner "Jesse" beginning at noon (EST)
livestream.com/amberhawkswanson (RSVP on Facebook)
open to the public at Watermill for live viewing on December 13, 2014 • 4-6pm (RSVP on Eventbrite)

Doll Closet will be the next in Amber Hawk Swanson's series of durational building performances, and will invite conversations about the closet as a space of both queer secrecy and doll ownership. The performance is made possible by Hawk Swanson's friend and collaborator "Jesse," an anonymous doll owner she met through their shared involvement in the doll community. The performance is inspired by the hidden room Jesse built in his home where he secretly kept his 1998 model RealDoll, Heather, for fifteen years before donating her body to be transformed and reassembled in Hawk Swanson's 2013 performance Sidore (Mark II) / Heather > LOLITA. Over the seven consecutive days of Doll Closet, Hawk Swanson will build a replica of Heather's room. Jesse will call in during select hours of each day to provide guidance and instruction. The pieces of Heather leftover from LOLITA will also be present to witness the reconstruction.

In Doll Closet, Amber Hawk Swanson transforms the process of building and the resulting replica as a platform for members of the doll community-and Jesse specifically-to respond to mainstream misrepresentation of doll ownership. The performance highlights alternative narratives of owners who use their relationships to dolls as a way to explore their own gender, obtain uncomplicated companionship, and connect with a community in the face of social anxiety and loneliness. Doll Closet not only provides a necessary vehicle for members of the doll community to speak for themselves without risking their anonymity, but also asks what kinds of intimacies, relations, and unanticipated connections can flourish in secrecy. It explores how the interior space of the closet can be rendered as both capacious and collective.

Hawk Swanson has been a part of the doll community since 2005 after acknowledging her failed attempts to date "organic" women and developing an affinity with "doll husbands" who consider dolls to be life partners. In 2006, she commissioned the fabrication of Amber Doll, a RealDoll made in the artist's likeness who became her artistic and romantic companion for five years. Hawk Swanson's projects with dolls are part of an ongoing exploration of their material capacities for synthesis and salvation-that is, the personal and political promise of the copy.

Doll Closet will take place three years to date from Amber Doll > TILIKUM (2011) and one year to date from LOLITA-the first two in an alchemic performance series transforming lifelike silicone sex dolls into models of captive whales. Over the ten days of TILIKUM, Hawk Swanson transmogrified Amber Doll's body into a replica of Tilikum, a bull orca living in captivity at SeaWorld Orlando who had been involved in three human deaths. In LOLITA, Hawk Swanson dismantled two other dolls, Heather and Sidore (Mark II), who were donated by their longtime partners and owners Jesse and Davecat. During the 70-hour broadcasted performance, Hawk Swanson used their silicone flesh and PVC skeletons to construct a replica of Lolita, the oldest living killer whale in captivity, while members of the doll and marine mammal activist communities participated via call-ins. In his calls, Jesse described the room in which he hid and surveilled Heather.

Doll Closet takes up the narrative Jesse introduced to LOLITA. During the construction process, Jesse will phone in to explain how, after noticing seven feet of empty space behind a wall through a hole left by the previous residents of his 1940's colonial-style home, he fashioned a secret room secured by a locking pin system inspired by bank vaults and a surveillance camera-which both protected the closet and kept watch over Heather. Hawk Swanson will simultaneously receive phone and Skype calls from other members of the doll community, as well as manage a special page on the doll forum Our Doll Community where owners will share images of their dolls' spaces. The act of building a "private" room in the open will thus generate a public yet interior space, where conversations can air what had previously been confined to secrecy. Through the durational process of replicating Heather's original closet, Hawk Swanson expands her ongoing exploration of how replicas become unique objects and function as vehicles for discourse.

Amber Hawk Swanson (b. 1980, Davenport, Iowa) is a video and performance artist living and working in New York City. Hawk Swanson has exhibited internationally, including at Palais de Tokyo (Paris, France); Denny Gallery (New York, NY); and Locust Projects (Miami, FL). Her recent residencies include Lower Manhattan Cultural Council Workspace (New York, NY); Skowhegan School of Painting & Sculpture (Skowhegan, ME); MacDowell (Peterborough, NH); and Yaddo (Saratoga Springs, NY). Her work is included in the permanent and MPP collections of the Museum of Contemporary Photography in Chicago. She holds an MFA from the School of the Art Institute of Chicago (2006).

Amber Hawk Swanson is the recipient of a 2014 Franklin Furnace Fund Grant and a 2014-15 Sharpe-Walentas Residency (formerly the Marie Walsh Sharpe Space Residency).

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

The Watermill Center Residency Program is made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature, and by generous grants from the Jerome Robbins Foundation, Rockefeller Brothers Fund, and by the many individual donors and members of the Byrd Hoffman Water Mill Foundation Board of Directors who made contributions during the Annual Summer Benefit and Auction.

Livestream Facebook Event Page
Watermill Live Viewing Facebook Event Page

Video production and streaming by Renato Velarde.

Doll Closet is dedicated to the memory of Barbara DeGenevieve, (1947-2014), artist, mentor, friend.

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4. Alan Sondheim, FF Alumn, now online

ISIS, Absolute Terror, Performance - archive for the month -

http://www.alansondheim.org/adage.png

The month of empyre special topic,ISIS, Absolute Terror, Performance, co-moderated by Johannes Berringer and Alan Sondheim, is over. Please go to the archives; I think, given the state of the world, this is urgent reading -

http://lists.cofa.unsw.edu.au/pipermail/empyre/2014-November/thread.html

check out also
http://lists.cofa.unsw.edu.au/pipermail/empyre/2014-December/thread.html

since the discussion spills over (time-zone dependent)

Thank you,

Alan

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5. Cathy Weis, FF Alumn, at WeisAcres, Manhattan, Dec. 14

Sundays on Broadway
December 14, 2014
8pm
WeisAcres: 537 Broadway #3, New York, NY

Free admission

Cathy Weis will perform Jury Duty or (perhaps) The Bottom Fell out of the Tub in addition to excerpts from her Haiku Series featuring dancer Ashley Brockington and musician Lee Free.

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6. Linda Mary Montano, FF Alumn, now online and more

http://youtu.be/mYO_-pFvu4A

DEAR PROFESSORS, COLLEAGUES,

For 7 years I was with my father at the end of his life. While he was well, we began a video collaboration then he became ill. I continued videotaping us.

7 years ago JENNIE KLEIN premiered DAD ART at Ohio Sate University.

I am ready again to share.

DETAILS:
It is best in a "theatre" with video/great sound/lights ... But can be adapted .

Needs 3-7 volunteers to be onstage with me. One MC, a " counselor" etc....

Time: about 3 hours.

Can also be a culmination of a Skype workshop ....then I come for the performance.

CONTACT:
Please reshare the post if you wish and know someplace interested in this EXPERIENCE OF SHARING GRIEF/TRANSFORMATION.

IN ART/LIFE/LOVE;

Linda Mary Montano

845 399 2502

lindamontano@Hotmail.com

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7. Vernita Nemec, FF Alumn, at Viridian Artists, Manhattan, opening Dec. 11

HOLIDAY MADNESS!
December 9 - January 10, 2015
Reception Thursday, December 11, 6-8

Chelsea: Viridian Artists Inc. is pleased to present the exhibition "Holiday Madness". The show opens December 9th and continues through January 10, 2015. In celebration, there will be a reception Thursday, December 11, 6-8PM. Dress festively!

"Holiday Madness" is in the air! One could feel it even before Thanksgiving and the leaves had fallen! Flu shots, snowstorms, end of the year cries for contributions, gift-buying decisions, long trips home to relatives, delayed flights, and all the thought-provoking frustrations associated with the holiday season will be upon us in no time.

But, we can help you with one of these dilemmas by suggesting that instead of heading to department stores or going on the web in search of the perfect gift - buy ART for everyone!

Nothing in this exhibit of more than forty artists is priced too high nor bigger than 24 inches across ( well, maybe a few will be...) so wrapping will be no problem. Just a ribbon is all you will need and we'll even have that here for you!

And if you have a really long list or are on a budget, Viridian is again featuring a section we like to call YE OLDE ARTE SHOPPE where everything costs $99 or less. All kinds of artist-made cards, books, jewelry, prints, tree ornaments, etc for you to choose from that will thrill and surprise your receivers.

Make an artist and yourself happy by doing one-stop shopping with champagne and cookies to help you celebrate! Looking forward to seeing you December 11th (or any other day) with glitter in your hair!
- Vernita Nemec, Director

Gallery hours: Tuesday through Saturday 12-6PM

For further information please contact the gallery at 212 414 4040 or viridianartistinc@gmail.com

www.viridianartists.com

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8. Robin Tewes, FF Alumn, at The New Museum, Manhattan, Dec. 14

Please join us for the 1st annual L.E.S. Art Drive Benefitting The Bowery Mission
held at the New Museum's ground-floor space at 231 Bowery on
December 14, 2014 from 1:00-6:00 PM.

The L.E.S. Art Drive is a one-day silent auction supported by the Lower East Side's visual arts community to benefit The Bowery Mission.

Please visit http://bidpal.net/lesartdrive for a sneak peak and to start bidding on the work!

For more information on the L.E.S. Art Drive, please email artdrive@fremontblueevents.com

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9. Helen Varley Jamieson, FF Alumn, at Gastatelier, Platform, Munich, Germany, and Online, Dec. 12

The net artists Gretta Louw and Helen Varley Jamieson warmly invite you to the Gastatelier, PLATFORM (Munich) on Friday 12 December at 19.00, for an evening of networked performance: an exhibition tour and the launch of "CyPosium - the book", with online performative readings.

You can also attend the book launch online: http://www.cyposium.net/event/launch-cyposium-the-book/

The exhibition "Net Work" is curated by Gretta Louw, the current guest artist at PLATFORM. The exhibition deals with work that is located at the intersection of performance and net art. The emerging genre of networked performance makes strong statements about the development of art history, and also about our relationship to technology and its impact on culture, society, labor and psychology. The exhibition presents works by Gretta Louw, Luke Munn, Igor Stromajer, Annie Abrahams and plan b (Sophia New and Daniel Belasco Rogers) and a new project developed by Louw during her residency at PLATFORM: "The Net Work Copendium" is an-always evolving collection of short films by artists working with digital networks and performativity and gives the viewer a unique introduction to this avant-garde form of art production.

Edited by Annie Abrahams and Helen Varley Jamieson, "CyPosium- the book" presents selected material from the CyPosium, a one-day symposium held in 2012 to discuss cyberformance - live performance events connecting remote participants via the internet (http://www.cyposium.net). The contributors are Adriene Jenik, Alan Sondheim, Alberto Vazquez, Annie Abrahams, Auriea Harvey and Michaël Samyn, Cherry Truluck, Clara Gomes, Helen Varley Jamieson, James Cunningham, Joseph DeLappe, Liz Bryce, Maria Chatzichristodoulou, Maja Delak und Luka Prinčič, Miljana Perić, Rob Myers, Roger Mills, Ruth Catlow, Stephen A. Schrum und Suzon Fuks. Some of these contributors will appear live on Friday evening from their locations around the world, to read extracts from the book.

"CyPosium - the book" is published by Link Editions in partnership with La Panacée (Montpellier). Copies can be odered through Lulu.com, and the online e-book is free: http://linkeditions.tumblr.com/cyposium

Friday 12 Dezember, 19:00
Gastatelier, PLATFORM
Kistlerhofstr. 70 > Haus 60 > 3. Stock
81379 München
platform-muenchen.de

helen varley jamieson
helen@creative-catalyst.com
http://www.creative-catalyst.com
http://www.talesfromthetowpath.net
http://www.upstage.org.nz

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10. Miao Jiaxin, FF Alumn, announces new project

Dear friends and colleagues,

Hello again! Last week I announced my new project:
BLIND MEETING IN BUSHWICK
A Tribute to Barbara DeGenevieve
In this 24-hour project (with 3 days Free accommodation in Brooklyn), the participant will meet a "friend" who he/she knows from social media sites but has never met in person previously... More details are here.
https://www.facebook.com/miaojiaxinstudio

Today I'm very excited to announce another project that I prepared since September.
WE SHARE POSSIBLE
Miao Jiaxin Studio is looking to sponsor sneakers for 5 street performance artists world-wide for one year...
More details are here.
https://www.facebook.com/wesharepossible

Please help me to LIKE this new Facebook page: We Share Possible

Thank you so much for your time!

All the best,
Miao

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11. Peter Downsbrough, FF Alumn, at àngels Barcelona, Spain, opening Dec. 12

àngels barcelona
focuses on the debate of contemporary culture and art practices

Peter Downsbrough
Photographs
11.12.14 > 06.02.15
Opening / Inauguración: 11.12.14, 19 h.

This exhibition could have been titled "Geometrizing life in the photographic work of Peter Downsbrough", after Lucy Lippard's notion of photography*, mainly because the third exhibition by Peter Downsbrough at àngels barcelona focuses on the conceptual photographic work that the artist has been consistently producing since 1978 and that has been of major relevance in his multidisciplinary artistic practice which includes sculpture, works on paper, photographs, films and books.

The combination of seriality in Downsbrough's use of photography and his interest in vernacular architectural settings (industrial zones, suburban homes, gas stations, train tracks, etc) inscribes his work within a critical response to the architecture and the new modes of production that emerged in late capitalism, thus placing his work within the logic of acceleration, consumption and repetition, also found in conceptual photographic works of the same period by artists such as Dan Graham, Sol LeWitt and Ed Ruscha. His intention is not to produce spectacular, or sublime, images but rather to explore the relationship between time and place by using the camera's viewfinder as a structuring tool, by never cropping his images post-exposure and by avoiding metaphorical illusions by not giving titles to his photographs, thus only naming them by giving the place and date, as their reference, in the style of a traveling diary.

(*) Anyone taking a photograph is geometrizing life". Lucy R Lippard, Six Years: The Dematerialization of the Art Object from 1966 to 1972, University of California Press; Reprint edition (7 April 1997).

Upcoming Fairs:
ARCO, Madrid - 2015
25.02.> 01.03
Gallery Artists: Pep Agut / Efren Álvarez / Peter Downsbrough / Marcelo Expósito / Harun Farocki / Esther Ferrer / Joan Fontcuberta / Ion Grigorescu / Daniela Ortiz / Mabel Palacín / Jaime Pitarch / Jorge Ribalta / Pedro G. Romero / Mireia c. Saladrigues / Michael Snow / Richard. T. Walker /

àngels barcelona
c/ pintor fortuny, 27 - 08001 Barcelona, Spain
T +34 93 412 54 00 - info@angelsbarcelona.com

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12. Michelle Stuart, FF Alumn, at The Drawing Center, Manhattan, Dec. 13

CONVERSATION
with Michelle Stuart and Connie Butler
at The Drawing Center
Saturday, December 13 at 4pm

Connie Butler, Chief Curator at the Hammer Museum, Los Angeles, and former Chief Curator of Drawing at The Museum of Modern Art will discuss Michelle Stuart's long and distinguished career, with a special focus on her most recent photographic works, on view at Leslie Tonkonow Artworks + Projects, New York, through December 20, 2014.

The compositions in Silent Movies (November 1 - December 20), created over the last two years, present universal themes with deeply personal associations. They contain keys to resonant events and evoke times and places in a manner both specific and archetypical. "The effect can be cinematic," as The New Yorker described, "full of jump cuts, or meditative." Stuart uses the vast archive of analog and digital photographs that she has taken and collected for almost half a century and activates their aesthetic potential by re-contextualizing them in groups, often altering them to weave personal stories. With abundant literary, cinematic, and historical references, these works do not merely address memories, but the very process of recall itself.

The artist will also sign copies of the book Michelle Stuart: Drawn from Nature, with essays by Anna Lovatt and Nancy Princenthal et al. and Michelle Stuart: Sculptural Objects, with text by Lucy Lippard and Michelle Stuart.

Copyright (c) 2014 The Drawing Center, All rights reserved.
This is a note to people interested in The Drawing Center.

Our mailing address is:
The Drawing Center
35 Wooster Street
New York, NY 10013

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13. Andrea Kleine, Bobby Previte, FF Alumns, in the New York Times, Dec. 7

The New York Times
Dance Review
One Choreographer Speaks Through Another
Andrea Kleine's Take on Yvonne Rainer at Chocolate Factory
By SIOBHAN BURKE
DEC. 7, 2014

Andrea Kleine might be younger and less famous than Yvonne Rainer, but she and that postmodern dance pioneer have a few things in common. Both are choreographers and writers. Both left dance for other media - Ms. Rainer for film in the early 1970s, Ms. Kleine for literary pursuits 10 years ago - but eventually came back.

Ms. Kleine's return comes in the form of a wry, poignant and lengthily titled new work, which had its premiere on Wednesday at the Chocolate Factory Theater in Queens: "Screening Room, or The Return of Andrea Kleine (As Revealed Through a Re-Enactment of a 1977 Television Program About a 'Long and Baffling' Film by Yvonne Rainer.)."

The work itself is not unlike the title, a realm of alternate routes and nested stories, running its own kind of elaborate course. And though it's largely autobiographical, it feels bigger: the story of anyone who has chosen one path and switched to another, anyone nomadic, anyone about whom the question "What is she up to these days?" has been asked. In other words, most of us.

"Screening Room" begins with the titular re-enactment - a late-night talk show episode reproduced verbatim - in which the severe Ms. Rainer (played by Ms. Kleine) attempts to discuss her film "Kristina Talking Pictures" with the obtuse host, Robert Gardner (Bobby Previte), and the finicky film critic Deac Rossell (Paul Langland). For the most part, they talk around and over her. Mr. Previte grills her about her past as a choreographer and its relationship - or lack thereof, he contends - to the film, whose main character, Kristina, has also changed fields. (A former lion tamer, she's now "trying out some sort of theatrical enterprise.")

Instead of clips from the film, we get live performances, beginning with Anya Liftig and the estimable Vicky Shick: Ms. Liftig frantically packing a suitcase, Ms. Shick exquisitely measuring space with her limbs. Throughout the work Ms. Kleine interweaves physical tasks with her own evocative text and loosely recounted passages from Catherine Lacey's novel "Nobody Is Ever Missing."

At a certain point the show restarts, but now the performers are playing themselves, and Mr. Previte is introducing a "long and baffling piece by Andrea Kleine." Ms. Kleine works her way through a monologue about why she stopped dancing - putting Mr. Previte and Mr. Langland momentarily to sleep with reflections on "the futility of art in general" - and into a bright white spotlight, where, finally, she dances.

In this tentative but sly sidestepping routine, performed in profile, every movement seems essential, which isn't always the case in "Screening Room." A chaotic, climactic scene for the whole cast, to Mr. Previte's roiling score, recalls the violent ocean mentioned in the text. But the text is richer. Perhaps Ms. Kleine intends for us to ask: Why dance?

Here is a link to the complete illustrated article
http://www.nytimes.com/2014/12/08/arts/dance/andrea-kleines-take-on-yvonne-rainer-at-chocolate-factory.html?module=Search&mabReward=relbias%3Ar%2C{%222%22%3A%22RI%3A17%22}&_r=0

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14. Katherine Behar, FF Alumn, at YoungArts Foundation, Miami, FL, thru Dec. 20, and more

"Modeling Big Data" showing in Miami and Detroit

Dear Friends,

My new video series "Modeling Big Data" is included in two group exhibitions, both opening this Saturday, in Miami and Detroit. If you are in either city, please stop by. I will be at the opening in Miami and would love to see you there!

Best wishes,
Katherine

Iceberg's Tongue
Emmy Catedral
Katherine Behar
Sarada Rauch
JD Fernandez
Claudia Pena Salinas
Caroline Burghardt
Baris Gokturk
Becky Brown

ICEBERG'S TONGUE is a group exhibition hosted by James Weingrod, the current National YoungArts Foundation artist-in-residence in Visual Arts, at the YoungArts Foundation in Miami. The exhibition will run from 7 December through 21 December, with an opening reception on 6 December to coincide with Art Basel 2014.

ICEBERG'S TONGUE gathers artists who, in their work and practice, speak to nomadic existence. The artists in the exhibition approach provisionality, impermanence and movement from different perspectives, ranging from astronomical constellations, to transcultural mythology, to big data. The works, in painting, video, sculpture, and mixed media, chart myriad instances of transient objects, artifacts, and gestures.

The aesthetic of passage and circulation is matched by the sprawling, circuitous architecture of the NE 2nd Avenue studio building, itself a temporary camp for nomadic artists who travel to participate in the YoungArts residency program. In Iceberg's Tongue, transient objects converge, momentarily "popping up" in a transient space, only to disassemble and disperse in a few weeks' time.

Organized by James Weingrod and Baris Gokturk, the exhibition includes works by artists Emmy Catedral, Katherine Behar, Sarada Rauch, JD Fernandez, Claudia Pena Salinas, Caroline Burghardt, Baris Gokturk, and Becky Brown.

ICEBERG'S TONGUE is free and will be open to the public 7 - 21 December 2014, from 9 AM - 6 PM. The YoungArts Foundation Studio is located at 2144 NE 2nd Avenue in Miami.

ICEBERG'S TONGUE will appear concurrently in the space with a second exhibition, "Sunk", organized by General Practice's Carlos Rigau.

Iceberg's Tongue
Exhibition: December 7-21, 2014
Opening reception: Saturday, December 6, 3pm-3am

National YoungArts Foundation Studio
2144 NE 2nd Avenue
Miami, FL, 33137

More info: www.youngarts.org/artbasel
More info: https://www.facebook.com/events/1376909922603089/
Press contact: James Weingrod jamesweingrod@gmail.com

and

Re:Collect 2014

I'm thrilled that Melanie Manos has selected my work for inclusion in Re:Collect 2014, a group exhibition at Re:View Contemporary in Detroit.

Re:View Contemporary Gallery is pleased to present Re:Collect 2014, the gallery's only annual group exhibit, including all gallery artists.

In this edition of Re:Collect, each gallery artist curated an artist whose work they consider relevant in contemporary practice today. The exhibit will be in Re:View's Gallery 1 space, and runs through Sunday, December 21.

Katherine Behar [Curated by Melanie Manos]
Iris Eichenberg [Curated by Adam Shirley]
Skye Gilkerson [Curated by Megan Heeres]
Barbara F. Kendrick [Curated by Tim van Laar]
Anthony Marcellini [Curated by Marie T. Hermann]
Jonathan Rajewski [Curated by Simone DeSousa]
Chris Samuels [Curated by Ian Swanson]
Michaela Mosher [Curated by Cedric Tai]
Dustin J. Farnsworth [Curated by Kate Silvio]
James Stephens [Curated by Sharon Que]
Scott Allen [Curated by Matthew Zacharias]
Re:Collect 2014
Exhibition: December 6-21, 2014
Opening Reception: Saturday, December 6, 5pm-10pm
In conjunction with Midtown's Noel Night

Re:View Contemporary
444 W. Willis
Units 111 & 112
Detroit, MI

More info: http://www.reviewcontemporary.com/exhibitions/current/
More info: https://www.facebook.com/events/352572854923389/

Copyright (c) 2014 Katherine Behar, All rights reserved.
You are receiving this email because you are a friend or colleague, or because you have expressed an interest in my work.
Our mailing address is:

Katherine Behar
Department of Fine and Performing Arts
Baruch College, One Baruch Way
New York, NY 10010

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15. Kathy Brew, FF Alumn, upcoming events

Greetings dear friends.

I hope this finds you and yours all very well at the closing of 2014. It's been quite a year.
I'm adjusting to the new life, day by day, and moving into a different place after the deep grief from the loss of both Roberto and my brother Harry this year.

http://www.legacy.com/obituaries/nytimes/obituary.aspx?pid=169094071

legacy.com/obituaries/nytimes/obituary.aspx?pid=172357479

Looking forward to the new year...

I wanted to share this information with all of you who were so supportive to Roberto and me during his illness.
And to express my deepest gratitude for all the kindness and support offered. It has meant so very much.

ROBERTO GUERRA DOCUMENTARY FUND:
In partnership with UnionDocs, I've launched a film fund in Roberto's name. For those of you who have already donated to the fund, many thanks. So far we have raised $1,330 with a goal of $15,000. Anyone looking to make
a year-end tax-deductible contribution, perhaps you might consider this.

http://donate.uniondocs.org/campaigns/roberto-guerra/

MEMORIAL FOR ROBERTO - SAVE THE DATE
SATURDAY, January 31st, 2015, 3 pm at St. Peter's Church
619 Lexington Avenue @ 54th Street
(If you think you'll be able to attend, please send me an email back so I can get a sense of numbers for
the reception.)
(I'll actually be in Peru on the anniversary of Roberto's passing - January 10th - and will be holding a memorial
there as well.)

DESIGN IS ONE: LELLA & MASSIMO VIGNELLI with bonus extras now available on DVD
For those looking for holiday gifts, maybe this might be something to consider for those interested in design...This is now available in the U.S.
For those out of America who might be interested, send an email and we'll be investigating international sales of the DVD.
Meanwhile, international viewing of the film (minus the bonus extras) is available on Vimeo.
https://vimeo.com/ondemand/designisone

Please use this link if you choose to purchase the new DVD release:
http://firstrunfeatures.com/designisonehv.html

All best for this holiday season and coming new year!

With love,
Kathy

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16. Dieter Roth, FF Alumn, at Kunstmuseum Stuttgart, Germany, Dec. 13-April 12, 2015

Dieter Roth
Balle Balle Knalle
December 13, 2014-April 12, 2015

Kunstmuseum Stuttgart
Kleiner Schlossplatz 1
70173 Stuttgart
Germany
Hours: Tuesday-Sunday 10am-6pm,
Friday 10am-9pm
T +49 (0) 711 / 216 196 00
info@kunstmuseum-stuttgart.de

www.kunstmuseum-stuttgart.de

The Swiss artist Dieter Roth (1930-1998) is one of the most influential creative minds of the 20th century. His rich and multifaceted oeuvre offers an exemplary illustration of the blurring of the boundaries between the arts-the process in which, in the 1960s, artists left the traditional forms of expression, painting and sculpture, behind in order to explore new genres such as the multiple, performance art, body art, and the multimedia installation. Previous displays of Roth's work have devoted too little attention to a central feature: the involvement of language and literature in his art, which runs like a common thread through almost all parts of his oeuvre.

Roth, in fact, considered himself a writer first and foremost; not unlike Marcel Broodthaers, he saw his production of visual art as a way to support himself as he wrote. Throughout his life, Roth wrote lyric poetry, essays, plays, and diaries, edited journals, and worked as a publisher. For evidence of how closely his literary work was intertwined in his own mind with his wider creative output, we only need to look at the 26 volumes of his Collected Works, where poems appear mixed freely with prints.

The very roots of Roth's art lie in literature. As a teenager, he wrote his first lyric poetry; in the 1950s and 1960s, concrete poetry and Fluxus inform his work. He would subsequently distance himself from both movements, but their influences are discernible in Roth's visual art. In Reykjavík, for example, Roth initially worked mostly on books in which he pursued the further reduction of his concrete poems; the resulting works are considered important antecedents for the medium of the "artist's book." Works in the form of objects such as the "literary sausages," for which Roth pulped books, are likewise based on the principles of concrete poetry, but refract that school's emphasis on the poet's linguistic tools through the prism of irony.

In the mid-1960s, the use of perishable materials, the rejection of familiar artistic practices, and the integration of process-based aspects, but most importantly, the playful engagement with words and their various levels of meaning suggest affinities with Fluxus artists such as Arthur Köpcke and Emmett Williams, who were also personal friends of Roth's. Another aspect that becomes more and more significant in his art is the relationship between language and music, between the word and sound; that is evident in the "Olivetti-Yamaha-Grundig Combo" he constructed in the early 1980s in collaboration with Björn Roth: a contraption involving a typewriter, an organ, and a recording device designed to produce musical renderings of poems and letters.

The exhibition will present significant works from different periods in Dieter Roth's oeuvre in order to demonstrate the inextricable interconnection between text and image in his art and to show how his work on his literary production and his visual art influence each other. The show's perspective will also suggest a reassessment of the art of the 1960s, whose profound transformations should perhaps be described not as an "exit from the picture" (Laszlo Glozer), but rather as an "exit from the book."

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17. Dynasty Handbag, FF Alumn, at Abrons Art Center Experimental Theater, Manhattan, Jan 16-18, 2015

SOGGY GLASSES RETURNS!
If you did not get a chance to see the sold out BAM shows, now you can miss this one too!

at AMERICAN REALNESS festival in January 2015!

"Soggy Glasses is any indication, Dynasty Handbag is an important force in the visioning of what we, as a culture, consider avant-garde, heroic, and hilarious." - Iris Cushing, Hyperallergic

"Outrageously smart, grotesque and innovative." - The New Yorker

FRI JAN 16, 8:30 PM
SAT JAN 17, 10:00 PM
SUN JAN 18, 8:30 PM
Run time: 60 minutes
ABRONS ARTS CENTER EXPERIMENTAL THEATER
466 Grand Street / tickets $20
Tickets
for industry discounts and booking email Alexandra Rosenberg at rosiemanagement@gmail.com

Soggy Glasses, A Homo's Odyssey, is a feminist, comedic, fanny-packed, monomythic hero-journey. Using Homer's Odyssey as both dramaturgical framework and toilet paper, Dynasty Handbag recasts the masculine allegory of returning home in a feminist context, on a voyage though her extremities, heart, mind, bowels, and artist colon-y. Using voiceovers, video interaction, and a giant plush "hero" sandwich, Dynasty Handbag employs the female physical and spiritual body as the terrain for her journey home, in an ultimate Homeric search for her true nature, and she will most likely fail.

Soggy Glasses, A Homo's Odyssey was originally commissioned by Franklin Furnace for the BAM 2014 Next Wave Festival. Soggy Glasses was supported by residencies at Yaddo and The MacDowell Colony, and is made possible, in part, by a 2014 LMCC Process Space artist residency (lmcc.net).

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18. Betty Tompkins, FF Alumn, at Louis B. James Gallery, Manhattan, opening Dec. 11

REAR WINDOW TREATMENT

Deric Carner, Barb Choit, William E. Jones, Michael Mahalchick, Brad Phillips, Betty Tompkins

Opening Thursday December 11, 6:00 -8:00

For more information, please email david@louisbjames.com or call 212 533 4670

Louis B. James Gallery
143B Orchard Street
New York NY 10002

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19. Liz Magic Laser, FF Alumn, in Parkett 95, now available

a large ›library and a small ›museum on contemporary art

Parkett 95
Cover Rosemarie Trockel
Vol. 95:
Jeremy Deller
Wael Shawky
Dayanita Singh
Rosemarie Trockel
and more in this issue including

Robotics expert Rolf Pfeifer talks to editors Mark Welzel and Jacqueline Burckhardt, editor-in-chief Bice Curiger, and Suzanne Zahnd about Jordan Wolfson's Female Figure and the increasing acuity of artificial intelligence; Ralph Rugoff looks closely at the invisible paintings of Bruno Jakob; and David Levine surveys museum exhibitions of performance and how they reflect a changing field. The INSERT showcases recent performances and related works by Ulla von Brandenburg, Boris Charmatz, Marvin Gaye Chetwynd, Anna Gaskell, Liz Magic Laser, Marcello Maloberti, Sarah Michelson, Adam Pendleton, Amalia Pica, Alexandra Pirici, Lili Reynaud Dewar, and Ugo Rondinone.

For more details on Parkett, its artists' editions, subscriptions, and back issues, and to connect on facebook please visit
www.parkettart.com

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Goings On is compiled weekly by Harley Spiller