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ABOUT GOINGS ON: How to subscribe and submit listings

Contents for December 17, 2014

1. William Wegman, FF Alumn, at Senior & Shopmaker, Manhattan, thru Jan. 10, 2015

William Wegman
Cubism and Other-isms
Recent Photographs
until 10 January 2015

Senior & Shopmaker
210 Eleventh Avenue at 25th Street
New York NY 10001
T +1-212-2136767
gallery@seniorandshopmaker.com
www.seniorandshopmaker.com
Tue-Fri 10am-6pm, Sat 11am-6pm

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2. Angela Washko, FF Alumn, at Dixon Place, Manhattan, Jan. 7, 2015

THE COUNCIL ON GENDER SENSITIVITY AND BEHAVIORAL AWARENESS IN WORLD OF WARCRAFT: LIVE

Performed by Angela Washko

Wednesday, January 7, 2015
7:30 PM
Dixon Place
161A Chrystie Street
New York, NY

$12 in advance
$15 at the door
$10 students/seniors

ABOUT THIS SHOW

Introduction performance:
Good Morning to My Inbox, My Penis, My Impending Demise
by Nathaniel Sullivan
estimated runtime: 10 minutes

For three years, Angela Washko has been creating performances as The Council on Gender Sensitivity and Behavioral Awareness in World of Warcraft inside the most popular multiplayer online video game of all time. Instead of killing enemies and getting badass equipment like she used to, she started traveling to major towns to discuss the ways in which women are treated in the game-space with other players. This most recent evolution of the project includes additionally recruited council members and audience participation - as three players-turned-performers (Washko with Maj Anya DeBear and David Lublin) discuss feminism with players and audience members situated simultaneously in Dixon Place, New York and Orgrimmar, Area 52.

The event will feature an opening performance by artist Nathaniel Sullivan. Good Morning to My Inbox, My Penis, My Impending Demise is a multi-media performance about a day when Sullivan received a flurry of penis enhancement emails at work that called out his deepest and darkest fears. The story mashes up corporate verbiage with carnal desire, peels back the layer of saccharine pop to reveal the heart of darkness in the music of The Beach Boys, and calls him out on his frequent missteps in his journey to define masculinity.

"This work was made possible, in part, by the Franklin Furnace Fund supported by Jerome Foundation; the Lambent Foundation, The SHS Foundation, and by public funds from the New York City Department of Cultural Affairs in partnership with the City Council."

ABOUT THE ARTISTS

Angela Washko is a performance artist creating new forums for discussions of feminism where they do not exist. In 2012,Washko founded The Council on Gender Sensitivity and Behavioral Awareness in World of Warcraft as an ongoing intervention on communal language formation inside the game. A recent recipient of The Franklin Furnace Performance Fund Grant, a Rhizome Internet Art Microgrant, a Danish International Visiting Artist Grant and the Terminal Award, Washko's practice has been highlighted by Creative Time, Time Magazine, The Guardian (UK), ARTnews, VICE, Hyperallergic, Rhizome, the New York Times, The Creator's Project and more. Her projects have been presented at Kiasma Museum of Contemporary Art (Helsinki, Finland), Moving Image Art Fair (London and NYC), the Rotterdam International Film Festival, Institute for Contemporary Art Boston and Foundation Vasarely (Aix-en-Provence, France) to name a few.

Nathaniel Sullivan builds narratives that weave a patchwork of historical fact, rumor and personal subjectivity, that in the end, build an imagined history. He has performed multi-media lectures on subjects as varied as former French president Francois Mitterrand's last meal, basketball legend Wilt Chamberlain's sex life, and the love letters of super-banker Jamie Dimon. Nathaniel Sullivan was a recipient of the special mention prize at the Montreal Film Festival in 2006, a festival prize at the FilmWinter in Stuttgart, Germany and an audience award at The Carnegie Museum of Art in Pittsburgh, Pennsylvania.

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3. Barbara Rosenthal, FF Alumn, at Chashama, Manhattan, Dec. 17, and more

Hi, Special Friends-who-might-be-in-NY tonight,

My video NEWS TO FIT THE FAMILY will be at Chashama 461 at 461 W 126th St. I'll be giving a 10 minute talk with it, and participating on the panel with the other 5 artists.

Here's the Facebook invitation with details, and attached is the FacePage of the DVD and a review from its 1990 premiere.
https://www.facebook.com/events/819487461445384/?sid_reminder=2889019535589900288

By the way, my novel "Wish For Amnesia" is being published this month, and will contain over 50 of my photos, too (between the chapters).

Meanwhile, I invite you and guests to this free event tonight!
Best,
Barbara

Barbara Rosenthal
http://en.wikipedia.org/wiki/Barbara_Rosenthal
http://www.barbararosenthal.org/
463 West Street, #A629
NY, NY, USA 10014-2035
+1-646-368-5623 (voice and voicemail, no texts)
+1-646-541-4772 (text preferred)
eMediaLoft@gMail.com
Skype: barbararosenthal

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4. Eidia House, FF Alumns, at Plato's Cave, Brooklyn, opening Dec. 20, and more

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

EIDIA House announces its continuing exhibition initiative PLATO'S CAVE, with the 20th artist (group) in the series, The Twilight Girls.

Opening reception Saturday 20 December 2014 6-8pm
Exhibition: December 20 - January 18, 2014
Hours 1-6pm, Wednesday - Saturday (or by appointment)

The Twilight Girls, who are the collaborative duo Helen Hyatt-Johnston and Jane Polkinghorne from Sydney, Australia, have been collaborating since 1990. They work in various media including photography,
sculpture/installation and video. Working alongside their individual art practices The Twilight Girls take on a humorous and sometimes dark
interpretation of their own bodies and the world in which they exist. A
fixation on the ridiculousness of the female experience has been a
touchstone across many works that reveal pervasive elements of humour,
revolt and disgust. THE DEAD SEA explores one of their more macabre
interpretations.

Given the American's enthusiasm for the darker side of life-cite True Blood, Vampire Diaries, The Originals or Breaking Bad, and in the spirit of say, a twisted Santa Claus with butt plug Paul McCarthy styled Christmas icon-Plato's Cave takes this holiday season to a whole new level. THE DEAD SEA, not so much a landscape but a waterscape as The Twilight Girls describe it, conjures a filmic plotline in one frame (one photograph) installed in the Plato's Cave subterranean vault. This is a film without the film. Recall the now classic Twin Peaks, Laura Palmer floating in the river water. Who do those two pairs of legs belong to? What is in that dark, dark water? What happened? I want to see more. This is the craft of Helen Hyatt-Johnston and Jane Polkinghorne-dark humor that leaves the viewer in that awkward disturbing place of "That is sick but tell me the story." (OH, and have a merry happy holiday.)

Helen Hyatt-Johnston was educated at Sydney College of the Arts, the
University of Sydney. She has received grants from the Australia Council for the Arts and the National Association of Visual Arts.

Jane Polkinghorne graduated with a Masters of Visual Arts from Sydney
College of the Arts, the University of Sydney, and is currently a PhD
candidate at the University of Sydney. Over the past 20 years she has
received some grants, but remains an under achiever in this area.

The Twilight Girls have shown nationally in Australia and internationally in Argentina, Taiwan as well as New York, Los Angeles and Miami.

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

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

and

EIDIA House Deconsumption & Plato's Cave Limited Editions Holiday Sale
14 Dunham Place
Brooklyn, NY 11249

Wednesday - Sunday 1-6pm or by appointment: email to:
eidiahouse@earthlink.net
All sales support Plato's Cave and The Deconsumptionists, Art As Archive projects. Also a trove of great 'stuff' and objet d'art newly displayed is for your acquisition.
Credit Cards accepted
http://www.eidia.com/store/
AND If you are into art and architecture books and periodicals (for example 3 decades of all ArtForum mags.)-we are selling many of this large collection of 3000 books.
Location: the East Village
By appointment: eidiahouse@earthlink.net Best to all in the coming holidays, Paul & Melissa eidia.com

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5. Nicolás Dumit Estévez , Papo Colo, Ricardo Miranda Zúñiga, FF Alumns, now online at elmuseo.org/playing-with-fire/

Estevez - launching "Crossfire" with El Museo del Barrio
CROSSFIRE: Artist Interviews
http://www.elmuseo.org/playing-with-fire/

Participating Artists:
Manuel Acevedo, Maris Bustamante, Papo Colo, Javier Hinojosa, Jessica Kairé, Carlos Jesus Martinez Dominguez, Ricardo Miranda Zúñiga, and Quintín Rivera Toro.

Nicolás Dumit Estévez asked artists in Playing with Fire to interview each other as well as to engage with him in Q and A's dealing with their specific contributions to the exhibition or with their art practice in general. These exchanges aim to spark conversations, debates, and to plant a seed for potential collaborations between the participants.

During the last seven years, Estévez has received mentorship in art and everyday life from Linda Mary Montano, a leading figure in the performance art field and a pioneer of the Q and A format within the arts. For example, see Performance Artists Talking in the Eighties published by University of California Press.

Crossfire was conceived and edited by Nicolás Dumit Estévez for El Museo del Barrio.

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6. Susan Newmark, Jacquelyn Schiffman, FF Alumns, at Figureworks, Brooklyn, Dec. 21

Please join us this Sunday, December 21st from 2-4PM
for the closing of "My Sister's Doll"

Refreshments, many of the artists from the show, and lots of holiday cheer!

November 14 - December 21, 2014
FIGUREWORKS
fine art of the human form
168 North 6th St. (1 block from Bedford Avenue "L" train)
Williamsburg, Brooklyn, NY 11211
www.figureworks.com
hours: Saturday and Sunday from 1-6PM

The Christmas Saga

One Christmas in the mid 1960's, my older sister, Jane, unwrapped a very special present. It was a large, beautiful doll in a special edition box - the perfect gift to steal the heart of a ten-year-old girl. A short while later, our less-privileged cousins came over, and my father, feeling charitable to the only girl in their family, made my sister give her new doll to her cousin.

My mother was furious and my sister was heartbroken. Christmas didn't end well that year. I felt so badly for my sister that I went upstairs and made a doll from an old toilet paper roll to give her as a replacement. This began a yearly tradition in which Jane has received a unique doll from me on Christmas every year. This collection has become quite eclectic ranging from exquisite finds to those on par with that first creation!

In honor of nearly 50 years of this tradition, I enlisted 50 artists to create a doll for a special exhibition where Jane will be our "guest judge". Her choice will take first prize in the show and become this year's Christmas Doll.

When I asked my artists to participate, I had no idea how enthusiastically they would embrace this side-project or how cathartic it would be for so many. Most artists have made direct connections to a similar family event that seeded lasting fond or troubled memories. As they were given no restrictions, the diversity in this work is inspired, ranging from intimate paintings to abstracted, life-size sculptures. One thing became consistent though - each doll evokes a powerful, emotional response far exceeding my initial request.

I trust this stimulating exhibition may now inspire fond memories for each of you too. Thank you all for ending this season on such a high note at Figureworks. Randall Harris, Director

Figureworks is located at 168 North 6th St., Williamsburg, Brooklyn, NY 11211, one block from the Bedford Avenue "L" train. The gallery is open to the public Saturday and Sunday from 1-6 PM and is dedicated to exhibiting contemporary and 20th century fine art of the human form.

For more information please call 718-486-7021 or visit us online at www.figureworks.com

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7. Joseph Nechvatal, FF Alumn, recent news

Dear Friends and Colleagues,

Please find documentation of three recent exhibitions and an article in Springerin Magazine

http://www.warrenneidich.com/category/work/recent-works/

NSA: USA Sound as Prophecy, Manifesta10 Parallel Programs, St. Petersburg, Russia; RedCat, LA; and Human Resources, LA
http://vimeo.com/107127430
http://vimeo.com/113576403

The Video playing in the background entitled The Search Drive. Spyware downloaded from the internet was used to make a autobiography.
http://vimeo.com/103045578

Springerin Magazine Fall 2014
http://www.warrenneidich.com/wp-content/uploads/2014/12/Springerin_Fall2014_WEB.pdf

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8. Angela Ellsworth, Christy Gast, FF Alumns, receive Art Matters 2014 grants

Art Matters announces 2014 grantees

Art Matters is delighted to announce the recipients of our fall 2014 grants. We awarded 28 grants ranging from 3,000 to 10,000 USD to artists for specific projects, travel and research, and ongoing work that breaks ground aesthetically and socially.

Mark Allen (Los Angeles, CA)
Research support for new models of artistic collaboration based on Allen's work as director of Machine Project in LA.

Kamrooz Aram (Brooklyn, NY)
Ancient Through Modern, an ongoing project that intervenes in museum collections of Islamic Art.

Ouida Angelica Biddle / ORFICE
(Long Beach, CA)
Support for ongoing work.

Wafaa Bilal (New York, NY)
I Really Want to be White, an installation at the intersection of Middle Eastern decorative arts and robotics.

Garrett Bradley (New Orleans, LA)
The Discovery of American Silent Feature Films: 1912-1929, a reimagining of 12 missing early films which may have had integrated casts and/or been directed by black filmmakers.

Carolina Caycedo (Los Angeles, CA)
BE DAMMED, an art/activism project about the effects of dam construction on the natural and social landscapes of the Americas.

Andrea Chung (San Diego, CA)
Support for ongoing work.

Sean Donovan (Brooklyn, NY)
Support for ongoing work.

Craig Drennen (Atlanta, GA)
Support for ongoing work.

Angela Ellsworth (Phoenix, AZ)
Soundproofed, a solo performance in a Mormon Church-funded mall in Utah as part of the artist's ongoing Plural Wife Project.

Rafa Esparza (Los Angeles, CA)
Woven, a sculptural performance venue, consisting of a 30-foot, sprung dance floor on the Los Angeles River.

Christy Gast (Miami, FL)
Support to develop a scent that facilitates interspecies communication between humans and beavers in Tierra del Fuego.

Mariam Ghani (Brooklyn, NY)
Research toward a long-term project examining the history of the Afghan Left through five unfinished Afghan films from 1978-92.

Jeffrey Gibson (Germantown, NY)
Like A Hammer, a new performance involving Native American powwow culture, drumming, and house music.
Michelle Handelman (Brooklyn, NY)
Hustlers + Empires, a multichannel video about aging, death, and chaos.

David Hartt (Chicago, IL)
Apomorph, a film relating the Becker Friedman Institute at the University of Chicago to the Open City at the Catholic University of Valparaíso's school of architecture.

Ellen Lesperance (Portland, OR)
Support for research in the Greenham Commons Women's Peace Camp archives in London.

Naotaka Hiro & Sid M. Dueñas
(Pasadena, CA)
Support for ongoing work.

Senga Nengudi (Colorado Springs, CO)
Support for a project that involves the composition of unique personal symphonies.

Tsz Yan Ng (Ann Arbor, MI)
Support for ongoing work.

Kameelah Rasheed (Brooklyn, NY)
HOME/ARCHIVE, a collaborative archival project exploring how domestic space stages remembrance.

Marco Rios (Los Angeles, CA)
Erection Room, a site-specific installation that responds to the physical presence of people who encounter it.

ET Russian (Seattle, WA)
Support for ongoing work.

Tuesday Smillie
(Brooklyn, NY)
Support for ongoing work.

Kate Sopko (Cleveland, OH)
Support for ongoing work.

Tattfoo Tan (Staten Island, NY)
Support for ongoing work.

Kanako Wynkoop (Olympia, WA)
An experimental, multidisciplinary documentary focusing on tensions between the un-housed and the relatively privileged in Olympia, WA.

Steven Yazzie (Phoenix, AZ)
The Mountain Project, an ongoing project that involves tours of regional geographies with indigenous participants.

For more information on Art Matters, please visit www.artmattersfoundation.org.

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9. Donna Henes, FF Alumn, at Grand Army Plaza, Brooklyn, Dec. 21

40TH ANNUAL WINTER SOLSTICE CEREMONY & CELEBRATION
KEEPING THE SPIRIT FIRES BURNING FOR PEACE
With Mama Donna Henes, Urban Shaman & Friends

Description: Celebrate the first moment of winter - it gets lighter from here on!
Let us drum back the sun and reignite the light in our hearts.
Let us shine our spirit on the whole world!
This is a family friendly event. Kids and dogs are welcome.
Please bring drums, percussions and lots and lots of spirit.

When: DECEMBER 21
SUNDAY, 5:30 PM EST
RAIN OR SHINE!

Where: Grand Army Plaza, at the Fountain
Park Slope, Exotic Brooklyn, NY
2/3 subway to Grand Army Plaza
For info: 718-857-1343

Cost: Free

Contact: 718-857-1343
cityshaman@aol.com
www.donnahenes.net

* Unofficial Commissioner of Public Spirit of NYC. - The New Yorker
* For 35 years Ms. Henes has been putting city folk in touch with Mother Earth. - New York Times
* Part performance artist, part witch, part social director for planet earth. - The Village Voice
* A-List exorcist!" - NY Post
* The Original crystal-packing mama. - NY Press

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

Read her on the Huffington Post:
http://www.huffingtonpost.com/donna-henes/

Connect with her on Facebook:
http://www.facebook.com/MamaDonnaHenes

Follow her on Twitter:
http://twitter.com/queenmamadonna

Watch her videos:
http://www.youtube.com/user/MamaDonnaHenes

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

www.DonnaHenes.net
www.TheQueenOfMySelf.com
www.mamadonnasspiritshop.com
www.treeoflifefunerals.com

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10. Coco Fusco, FF Alumn, at Cooper Union, Manhattan, Jan. 23, 2015

The Artist as Debtor: A Conference about the Work of Artists in the Age of Speculative Capitalism

January 23, 2015
1-9pm
The Great Hall, Cooper Union
7 East 7th Street
New York NY 10003

We live in an era of unprecedented profits from contemporary art sales and massive debts incurred by art students. Are these phenomena related? Is it a coincidence that in an age in which art can be made from nothing, the price attached to an art degree is staggeringly high? Contemporary art institutions amass great wealth through real estate development and the value of their holdings - why then do museums, art-related businesses and art schools rely so heavily on precarious and unpaid labor provided by artists? What are the connections between big money in the art world and the big debts taken on by so many young artists? Are artists encouraged to believe that extreme economic disparity is just part of the way the art world works? Do romantic ideas about merit and talent mask a system of indenture?
Artists Noah Fischer (member of Occupy Museums) and Coco Fusco will present a conference to discuss the art and the debt economy on January 23 2015 at The Great Hall of Cooper Union for the Advancement of Science and Art. This event is made possible thanks to support from The School of Art at Cooper Union. Our featured speakers include artists Julieta Aranda, William Powhida, Martha Rosler, Gregory Sholette; writer Brian Kuan Wood; activists from W.A.G. E. and BFAMFAPHD, and cultural theorist Andrew Ross.

We hope to engage students, art workers, and all those interested in art's future in an extended reflection about ways that the art economy extracts financial benefits from artists who may not even be selling their art. We envision this as an opportunity for a growing movement to counter economic inequality in the arts, to gain strength from collective wisdom, and to develop better strategies for responding to situations that make many artists feel powerless.
For more information please contact: coco.fusco@gmail.com and and fischer.noah@gmail.com
Visit our blog at: www.artanddebt.org

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11. Paul Henry Ramirez, FF Alumn, at Dorsky Gallery Programs, Long Island City, thru Jan. 2, 2015

Dear Friends and colleagues,

I am pleased to be included in this wonderful group exhibition The Intimacy of Abstraction curated by Chelse L. Cookesey at the Dorsky Gallery Programs. I hope you will have a chance to visit!

Dorsky Gallery Programs
The Intimacy of Abstraction curated by Chelse L. Cookesey
November 23, 2014 - January 02, 2015
Featuring the work by Seong Chun, Lydia Dona, Moira Dryer, Steven Ellis, Andrea Frank, Angel Haro, Prudencio Irazabal, Harry Nadler, Paul Henry Ramirez, Jennifer Reeves, Theodoros Stamos.

Dorsky Gallery Programs
11-03 45th Ave., Long Island City, NY 11101
tel: 718.937.6317

Paul Henry Ramirez
W: www.paulhenryramirez.com
E: phr@paulhenryramirez.com

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12. Richard Prince, FF Alumn, in WSJ Magazine, Dec. 2

WSJ Magazine
Feature
Artist Richard Prince's Secret Retreat
One hundred and fifty miles from New York City, artist Richard Prince has been building towering sculptures on acres of rural land. Now he's getting ready to open to the public

By Kelly Crow
Dec. 2, 2014

THE MASTER OF appropriation art is quietly making his own Marfa.

Nearly two decades ago, the 65-year-old artist Richard Prince -who is well-known for photographing advertisements, biker magazines and book covers to create his own wry pieces-moved into a farmhouse. It sits at the end of a winding, woodsy lane in the Catskill Mountains, roughly 150 miles north of New York City. He told friends that he wanted to live and work there because it was so remote no one would visit him.

But like Donald Judd, who famously housed his minimalist art in storefronts around rural Marfa, Texas, Prince has been reconfiguring his own surroundings in playful ways-and now he's more willing to receive company. Since 1996, Prince has steadily amassed nearly 300 acres around his home and studio in Rensselaerville, New York, some portion of which he will use to build a space for his Ryder Road Foundation. He'll hammer out details over the next five years, he says, but the plan for the foundation is to show emerging artists he admires, such as painter Genieve Figgis. It will also give the public a rare firsthand look at his other projects nearby.

Over the decades, Prince has built or converted at least half a dozen buildings in the area to suit his eclectic sensibility-from a former red-brick bank where he now displays his rare-book library (the best go in the vault) to a former hunting cabin whose exterior he has clad entirely in shiny vinyl records. Inside the Vinyl House, he has rigged speakers to play a "loud song" he wrote whenever anyone opens the door, he says; the disco ball dangling overhead once belonged to James Brown.

The grounds surrounding his studio compound are also peppered with large-scale sculptures he's never exhibited before. These include six totem-pole-like towers he created by impaling and suspending dozens of black rubber blasting mats, the kind used by highway construction crews to keep shards from detonated rocks in place. Guggenheim curator Nancy Spector calls the towers "existential" and "paradigm-shifting" and says major museums, including her own, are aching to show them. (His work already belongs to top collectors like L.A. billionaire Eli Broad and art institutions like New York's Metropolitan Museum of Art.)

Prince's hangar-like "body shop" contains a hulking monster truck and other artistic experiments-a hubcap filled with jewel-tone stained glass; a bronze cast of a gas tank painted iridescent green. Muscle cars abound.

"A lot of stuff here I don't consider art, or at least it didn't begin as art," Prince says, steering his black Dodge Challenger around the area one drizzly afternoon. "I'm just trying to make something I haven't seen before. Cool stuff."

Only a handful of friends and collectors have ever been invited to visit him in Rensselaerville, so Prince's decision to open his studio and outbuildings to the public is significant. His ambitions for the site began to grow after the Guggenheim bought a silvery ranch-style shack he was using to display his series of painted car hoods in 2005. The museum considered the space, called Second House, and its contents a collective work of art. Two years later, lightning struck and burned the house to cinders. It was undergoing renovation, so his hoods had been safely removed, but the house itself wasn't salvageable, and Prince offered to buy it back. The museum accepted.

Still, the experience encouraged Prince to think hard about his other spaces-and the role they could ultimately play in promoting other artists' work and contextualizing his own. (For its part, Second House remains in ruins, easy to miss except for the matte-black 1973 Plymouth Barracuda he keeps parked in the tall grass out front.)

"Most people don't realize what he's been working on up there, but he never rests-he's indefatigable," says Harper Levine, a friend and rare-book seller in East Hampton, New York. "I think he's thinking more about his legacy."

Whatever he does, expect the art world to pay close attention. Raised on the outskirts of Boston, Prince electrified the New York gallery scene in the late 1970s when he made a simple yet radical gesture: He photographed an existing photo and called the second image his own. As an employee of the tear-sheet department of Time-Life, Prince clipped out hard copies of articles for magazine editors. On his own, he started saving the leftover ads, and he was struck by the stylistic similarities between everything from writing pens to luxury living rooms. He began cropping out the products' brand names and logos and then clicking his shutter. Even in isolation, the resulting images conveyed revealing values: a hunger for power and comfort.

'Most people don't realize what he's been working on up there.'
-Harper Levine

Later, he focused on subcultures the art establishment typically ignored-cowboys, Hells Angels, itinerant rockers, monster-rally fans. He read Allen Ginsberg and Jack Kerouac and scanned the rack of brown-bagged magazines in America's gas stations. He saw more than titillation-he saw desire gone desperate. The yearning in his work resonates with baby boomer collectors, particularly his series of lush paintings of pulp-novel covers featuring coy nurses. In May, Christie's auctioned his Nurse of Greenmeadow from 2002 for $8.6 million.

"Look at all the people today making things using sampled images, mashing up video clips and photographs in ways that feel incredibly common to us," Spector says. "No one does it like Richard. He changed art practice in the 20th century."

Lately, Prince has gained a younger following through his experiments on Twitter and Instagram. Most artists treat these social-media platforms as bulletin boards to promote their careers or personal lives, but Prince is trying to use these media to make art. Instead of rifling through biker magazines, he now scans Instagram for portrait subjects, adding wink-wink comments underneath slinky photos posted by models. ("All the 47 likes are mine" is one example.) In keeping with his practice, Prince then takes a screenshot of these one-sided conversations and reposts the package in toto. So far, the art world's reception of these pieces has been mixed, with critics hailing and condemning them in equal measure.

Prince's appropriating methods have gotten him into trouble, notably five years ago when photographer Patrick Cariou sued Prince for copyright infringement after the artist appropriated Cariou's images of Rastafarians for his 2008 series, "Canal Zone." Prince won the suit on appeal in March 2014, but he says the ordeal took a toll. "I had museums calling me, yelling, 'You have to win!' " he says. "I know it was a bigger fight for appropriation, but I also wanted to say, 'F- you.' "

Prince says he wishes now that he had sought rights to use Cariou's photographs. He never wanted to be in the center of a cause célèbre. A lanky, balding man with a repaired harelip, he is affable but shy in crowds. Half Gallery dealer Bill Powers says Prince is the kind of artist who skips his own gallery openings or slips out early, uneasy amid the schmooze. He is liveliest in his writing about art or pop culture, but he often writes under aliases: John Dogg, Howard Johnson, Fulton Ryder. Even around longtime friends, Prince can be a mystery. Most days, they say, he would rather be at home with his wife, Noel Grunwaldt, and their two children, reading or making art or arranging other artists' works into fresh juxtapositions.

"Hugh Hefner did all his work from his bed," Prince says. "He had a big-ass bed and a mini-fridge and a Franz Kline hanging in there. Home-that's where I'm fearless."

All of which could make a visit to his house in Rensselaerville catnip for adventuring contemporary art lovers-if Prince can winnow a way to let the pilgrims in and still get work done.

RENSSELAERVILLE (POPULATION 1,843) is a former Dutch colony tucked into the rolling hills of the Catskills, about 30 miles from the closest interstate. During the meandering drive up from New York City, it becomes clear what a profound influence the region has had on Prince's work since he moved here in 1996. His sculptures include renditions of tire planters, sawhorses, picnic tables and basketball hoops, a nod to the objects that adorn just about every yard here.

"Everyone here builds their own sawhorses, so I started collecting them," he says one afternoon, turning down the unmarked road that leads to his house. Eventually, he stacked his sawhorses nearly 20 feet high in delicate Jenga fashion and had the totem pole cast in bronze.

Prince discovered the area in 1991 through a friend who liked to fish for trout nearby. He moved first into a little house on Main Street; then, a few years later, he bought the rolling meadow he occupies now. "I needed to walk out my front door and walk on lawn instead of sidewalk," he says.

His compound is anchored by the green-and-white farmhouse, with its quaint porches and gables, and a semicircle of larger outbuildings he's added over the years. The space that comes closest to achieving the cavernous warehouse atmosphere coveted by rising-star artists today is the "body shop," with its 16-foot ceilings and concrete floor. In the back he's added several rooms with white-cube walls and honey-glow lighting, so he can bring in works and play around with layouts before big shows. Earlier this year, he had a quartet of orange-and-black 1970 Dodge Challengers and 1969 Chargers in the center. The walls were rimmed with "Joke" paintings-written har-har gags inspired by comic Rodney Dangerfield, part of a long-running series by the artist. A wall-size relief of the Allman Brothers on a train track hung nearby. (A cutout in the center of the relief contained some gravel. He's dubbing the photo-relief technology a "Photo Mil.")

For visitors, an arguably bigger reward lies in seeing elements like the clunky yellow Ford F-150 he has parked in the dim front room of the shop. He says he bought the truck from a neighbor soon after he moved here, but since then it's become an artistic dilemma: "I can't figure out what to put in the truck bed," he says, patting the tailgate. His stained-glass hubcap rims are a surprise as well; he says he recently taught himself the craft, but adds, "We're not going to hire 50 guys to start churning them out."

There are also some misfires, like the tall plywood security tower he has sitting in another area covered by a white car-camper top. He intended to paint jokes within conversation bubbles on its interior, but once he started mapping out the bubbles, he realized it didn't work. So he stopped, but he didn't toss it out. He doesn't mind walking around the albatross. He might set it on his grounds somewhere, eventually.

What the body shop reveals is that Prince has a working-laboratory approach to art; he tinkers and stews and isn't overly precious about his output. "I just need an environment where I can experiment," he adds.

Larry Gagosian, Prince's dealer, says the buildings mirror their maker: "He's not building these spaces to impress people; like his work, it's organic. But he's slowly and methodically creating this terrific cultural landscape."

'He's not building these spaces to impress people; like his work, it's organic.'
-Larry Gagosian

The studio sits near the body shop, and it's half-library, half-workshop, with stacks of canvases (more "Jokes") and wall-size photos he took of Monument Valley a few years ago. His staff says he tends to play a song he likes-by Kanye West, say, or the Mamas & the Papas-on a repeated loop for days until they revolt. As a result, he can often remember what music he was listening to while he worked on specific pieces. "When I made Adam Lindemann's 'Rasta' painting, I was listening to Coldplay," he says.

The library in his studio spans a long wall, and it represents a fraction of Prince's vast collection. Prince ranks as one of the world's top collectors of rare 20th-century books-particularly authors from the Beat Generation and just beyond, according to his friend Levine. Prince owns several presentation copies of Kerouac's On the Road, versions that predate even the first edition. He owns the only known copy of Howl that Ginsberg signed and gave to Kerouac. He has 22 first editions of Vladimir Nabokov's Lolita and the original manuscript of Joseph Heller's Catch-22. These and others he keeps in custom-made, black clamshell boxes.

"The book is the central object of his life," Levine says, "and seeing his libraries shows you how his fascination for, and love of, books informs his art."

Take his prized "Nurses" series, which began when he and a bookseller buddy of his, John McWhinnie, started collecting old copies of pulp novels. After a while, Prince noticed that he had at least 30 different copies that featured nurses, a fetishist's Florence Nightingale dream. In a key twist, Prince printed copies of these covers but painted drippy, white masks atop the women's come-hither expressions. Suddenly, his cover of a cover looked more like a poster for a low-budget horror film.

In 1994, Prince opened his own bookstore in Rensselaerville, called R'ville Books. Locals enjoyed his stop-in visits to local eateries like the Hilltown Café and the Palmer House Café, but they didn't take to his bookstore's rows of gory comics and pulp novels. According to studio manager Betsy Biscone, "Ninety percent of the people who came in had no idea what to make of it." He shut down the store in 2000 but has since revived a by-appointment version as a zine publisher on Manhattan's Upper East Side. It is named after one of his noms de plume: Fulton Ryder. (He is also creating a work space in Harlem to use during his New York stays.)

One of his boldest book moves came four years ago when he printed his own version of The Catcher in the Rye, substituting his name for J.D. Salinger's. One day, he and a few friends set up shop a block north of the Metropolitan Museum of Art, arranging the volumes on a picnic blanket. Asking price? $66. "A few people stopped because they recognized the cover, but when they saw his name, they didn't know what to do with it," Levine says. After about an hour, it started raining, so the group left.

Prince later sold dozens of these books at a rare-book convention where his reputation-both as a collector and an artist-preceded him. But the rest he keeps in his archives, which could also become part of his foundation.

Sitting in his studio, Prince says books remain his biggest muse, with good reason: "They tell stories, and art is about stories-at least mine is."

RICHARD PRINCE'S STORY doesn't begin with a book, however; it starts with a painting of a sailboat. Born in Panama in 1949 to a father who worked for the government, he says, he remembers that the only work of art in their prim, proper house was a painting of a sailboat that his father loved and hung above the living room sofa. Prince hated the sailboat.

In 1954, Prince moved with his family to a "white, Protestant, Republican" neighborhood in Braintree, Massachusetts, south of Boston. His mother strove to create a respectable home for Prince and his sister, Susan, but Prince felt pinched by the Eisenhower perfection. What he liked was the wide green-and-beige-striped wallpaper at his grandmother's house: "People gave her s- for it, but I thought that wallpaper was the best thing since sliced bread."

Without books around, he began to develop his sense of aesthetics by noticing how neighbors and friends arranged their living rooms, how tables and lamps had certain places in a space. At a young age, he also found he had a natural talent for drawing and would sketch family members on holidays. (He says he's been estranged from them for years.) At the age of 10, he saw West Side Story, and after that he dreamed of moving to New York and wearing a sleek, black suit like Bernardo, the Puerto Rican gang leader in the film.

His artistic awakening kicked into higher gear while he was attending a "hippie-dippie" college in Maine that has since closed. That's where Prince met his mentor, George Burk, a barrel of a man who taught figure drawing. Prince befriended Burk and his wife, eating in their art-filled home. For the first time in his life, he says, "I didn't feel like I needed to fit in."

In August 1973, he moved to 34 Renwick Street in the Brooklyn neighborhood of Bedford-Stuyvesant and quickly realized that he wasn't going to make his mark on the New York art scene by drawing figures. He picked up a camera instead.

Glenn O'Brien, a writer who became friends with Prince in the 1980s, says he's not sure Prince's artistic epiphany arrived in the basement of the Time-Life building, as Prince so often recounts. "With Richard, you never really know the truth," O'Brien says. "Even after all this time, I'll sometimes say, 'Wait a minute,' but I know artists have to create a myth about themselves."

Prince insists he was working at Time-Life in 1977 when he created Three Coats of Paint. A series of photographs of a green patch of paint-with the original photo and then a subsequent photo of each new snapshot-it's the first work of art he says he felt proud of. Were they all the same patch or different iterations? Was that distinction clear? "When I did that, I felt like I'd hit territory without a net," Prince says. After that, he turned to magazine ads, seeking additional visual cues. His career snowballed from there.

Recently, he hung a sepia-tone, wall-size photo of a crowd at the original Woodstock concert on the side of his studio. He built a stage in front, where he plans to hold a jam-session concert on site every summer. Standing nearby that drizzly day, wearing paint-splattered khakis and a baseball cap, Prince chuckles and points up at it.

"I thought I had a big crowd, but see? The image has been repeated," he says, gesturing to the same people, copied and multiplied to grander effect. "What a joke! I think it's great."

Corrections & Amplifications
A room in artist Richard Prince's studio in Rensselaerville, N.Y., is rimmed with photographs he took of Monument Valley in Utah. An article and photo caption in the December-January WSJ. Magazine incorrectly said the photographs were taken at the Grand Canyon in Arizona. Also, Mr. Prince's studio is located roughly 150 miles north of New York and about 30 miles from the closest interstate. The article incorrectly gave the distances as 200 miles from New York and 60 miles from the closest interstate.

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13. Yoko Ono, FF Alumn, at MoMA, opening May 17, 2015

MoMA Announces 2015 Yoko Ono Show
Artnews by John Chiaverina Posted 12/11/14

Today the Museum Of Modern art announced its first solo exhibition dedicated exclusively to the work of Yoko Ono. Titled "Yoko Ono: One Women show, 1960-1971," it will run from May 17 to September 7, 2015.

The show will focus on what the museum calls "the decisive decade"-works made by Ono between 1960 and 1971-and will culminate in the artist's unofficial 1971 MoMA debut, which involved Ono releasing flies onto the museum grounds and inviting the public to track them as they moved out of the building and into the city at large.

Also appearing in the show will be approximately 125 of Ono's early works on paper, installations, performances, audio recordings, and films, all which will be shown alongside rare archival materials. Additionally, Ono's signature interactive Bag Piece (1964) will be on display along with other interactive works including Painting to Be Stepped On (1960/61).

Materials from the exhibition draw heavily from MoMA's 2008 acquisition of the Gilbert and Lila Silverman Fluxus Collection Gift, which beefed up the museum's Ono holdings substantially, adding approximately 100 of the artist's works and related ephemera to their collection.

Copyright 2014, ARTnews LLC, 40 W 25th Street, 6th Floor, New York, N.Y. 10010. All rights reserved.

See more at: http://www.artnews.com/2014/12/11/moma-announces-2015-yoko-ono-show/#sthash.HfiTuUuD.dpuf

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14. Lily Tomlin, FF Alumn, receives Kennedy Center Honor

The New York Times Arts
Kennedy Center Honors Five, Second to None

By EMMARIE HUETTEMAN and JADA F. SMITH, DEC. 7, 2014

WASHINGTON - There is a certain reassurance that comes with being an honoree of the John F. Kennedy Center for the Performing Arts, Tom Hanks said Sunday as he arrived at the annual gala: It's the comfort in knowing that unlike at other awards ceremonies, he cannot lose.

"You can all get dressed up and feel great about the work that you did, about the people that you work with, and then they say somebody else's name and you feel horrible for about six hours," he said.

Indeed, Mr. Hanks, 58, known for star turns in "Philadelphia" and "Forrest Gump," among many other films, did not leave the 37th annual Kennedy Center Honors empty-handed. Bestowing its highest honors on five distinguished artists, the center recognized Mr. Hanks, the comedian Lily Tomlin, the singer Al Green, the ballerina Patricia McBride and the singer-songwriter Sting.

With Stephen Colbert serving as host, it was a vibrant night of tributes and performances. Audacious ballet duets honoring Ms. McBride, 72, who for 28 years was a principal dancer and George Balanchine's muse at New York City Ballet, were mixed with showstoppers like Mavis Staples and Sam Moore's stirring rendition of "Take Me to the River" for Mr. Green, a writer of the song.

Sting, 63, the former Police frontman, who has sold nearly 100 million albums, said Sunday that he had a lot on his mind; on Tuesday he will join the cast of "The Last Ship," his struggling Broadway musical inspired by his childhood. But for the moment, he had other things to consider, like the Kennedy Center medal hanging on a ribbon around his neck.

"I'm not sure when I'll wear it again, but I think I look very fetching in it," Sting said.

At the White House before the gala, President Obama remarked on the honorees' contributions to American culture. Those comments struck Ms. Tomlin, 75. "I felt like we should be called upon to do something meaningful," she said.

On Saturday, standing under chandeliers and gilt-framed portraits of early American war heroes, a diverse crowd toasted the honorees during the annual dinner at the State Department. Secretary of Commerce Penny Pritzker mingled with former stars of "Law & Order," members of the band Earth, Wind and Fire, ballerinas, silver-haired television anchors and mezzo-sopranos. Senator Patrick J. Leahy, Democrat of Vermont, was seen chatting with Bruce Springsteen - there to pay tribute to Sting - just a few feet from the House Democratic leader, Nancy Pelosi of California, who was talking with Mr. Colbert.

Just being there, Mr. Green said, "means the world to me." The 68-year-old soul singer turned Baptist preacher said the honor was different from selling millions of records or winning multiple Grammys. "I worked 40 years to get this one," he said Saturday.

The performance will be broadcast Dec. 30 at 9 p.m. on CBS.

A version of this article appears in print on December 8, 2014, on page A16 of the New York edition with the headline: Kennedy Center Honors Five, Second to None. Order

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15. Patricia Hoffbauer, FF Alumn, receives Gibney Dance in Process residency award.

Gibney Dance announces a $750,000 gift from The Andrew W. Mellon Foundation in support of its Dance in Process (DiP) creative residency program for mid-career artists. As the inaugural funder of the program, Mellon's support enables significant expansion of the DiP model-which was developed over a two-year pilot period-to fund 30 three-week residencies for 30 artists over three years at the Gibney Dance Choreographic Center at 890 Broadway.

Gibney Dance's DiP program is a comprehensive New York City-based creative residency for mid-career artists who are in the "mid-stage" of developing new work. The program focuses on work that has progressed beyond initial research; developing work that requires technical support in a theater or production laboratory setting; and work that requires uninterrupted space and support in which to test new ideas and directions. DiP provides a concentrated period of residency time with continuous access to studio and rehearsal space, a significant stipend, and technical and administrative resources available at both 890 Broadway and the Gibney Dance Performing Arts Center at 280 Broadway.
The DiP program is based in the historic 890 Broadway building where Gibney Dance has, over the last three years, established subsidized rehearsal space and an array of artist services for the dance community. This generous investment by The Andrew W. Mellon Foundation enables Gibney Dance to deepen its support to artists and establish 890 as a Choreographic Center-the only one of its kind in New York City.
The expansion of DiP is a component of Gibney Dance's $10M Campaign for 280 Broadway: Making Space for Culture, which will fund renovations within 280 Broadway as well as new and expanded artistic and community programs. The newly transformed 280 Broadway will be a multi-purpose center-a preeminent training ground, a tripartite performance complex, an affordable workspace hub, and a springboard for social action. These new resources will allow Gibney Dance to both expand and deepen its existing programs. Artists will benefit from interactions between Gibney Dance's initiatives for performance, dance training, professional development, rehearsal space, creative residencies, and artistic process-holistically supporting their entire journey from studio to stage. The expanded opportunities and resources at 280 Broadway-including the soon-to-be-opened Learning & Leadership Studio and Community Action Hub-will enable Gibney Dance to further develop synergies between all its endeavors, contributing to the dynamism of the entire organization.
"I am so thankful to The Andrew W. Mellon Foundation for their visionary support of the DiP program," says Gina Gibney, CEO and Artistic Director of Gibney Dance. "Support of this level will enable an unprecedented number of mid-career dance artists to create new work at our Choreographic Center at 890 Broadway while also taking advantage of the wealth of community resources available (or about to become available) at 280 Broadway."

Gibney Dance created DiP to strategically deploy the organization's resources so that they may have the greatest possible impact on the dance field. DiP specifically addresses some of the field's most pressing needs and connects them with Gibney Dance's strengths: centrally located facilities, thoughtfully designed programs, a deep understanding of dance-maker's needs and a built-in community of artists and dance professionals.

ABOUT THE ANDREW W. MELLON FOUNDATION
The Andrew W. Mellon Foundation currently makes grants in four core program areas: Higher Education and Scholarship; Scholarly Communications and Information Technology; Art History, Conservation, and Museums; and Performing Arts.
Within each of its core programs, the Foundation concentrates most of its grantmaking in a few areas. Institutions and programs receiving support are often leaders in fields of Foundation activity, but they may also be promising newcomers, or in a position to demonstrate new ways of overcoming obstacles to achieve program goals.
The Foundation's grant-making philosophy is to build, strengthen and sustain institutions and their core capacities, rather than be a source for narrowly defined projects. As such, the Foundation develops thoughtful, long-term collaborations with grant recipients and invests sufficient funds for an extended period to accomplish the purpose at hand and achieve meaningful results.

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16. Murray Hill, FF Alumn, in The Wall Street Journal, Dec. 13

A Little Holiday Zaniness
(FROM THE WALL STREET JOURNAL 12/13/14)
By Andy Battaglia

When it comes to Christmas in New York City, there are lots of ways to celebrate - especially downtown.

Many are holiday-themed shows staged by unconventional performers such as Murray Hill, a drag king who calls himself "the hardest-working middle-age man in show business."

"I'm doing Christmas the way I wanted to do it as a kid," Mr. Hill said.
Billed as "A Murray Little Christmas," Mr. Hill's show on Saturday at Greenwich Village's Le Poisson Rouge is a variety show with a colorful cast that includes the cabaret star Bridget Everett and burlesque performers Perle Noire, Trixie Little and Mr. Gorgeous.
"I have all kinds of whack-jobs in there," Mr. Hill said of a show he has been presenting at various venues since 1999.
The television variety shows Mr. Hill grew up watching - by the likes of Dean Martin, Dolly Parton and Sonny & Cher - are what initially inspired him. Then, he added his own twist.
"I'm like everybody's favorite uncle at Christmastime," Mr. Hill said of his Borscht Circuit persona, which draws on hammy jokes - "Some people have 'em at the first hello, I have 'em at the wide polyester tie" - and occasional forays into song.
For Mr. Hill's vocal performance of "Have Yourself a Murray Little Christmas," an announcement for the show promises that "tissues and earplugs will be available to the audience upon request."
On Sunday, the downtown show circuit will be treated to a monologue performance by the campy filmmaker John Waters.
In "A John Waters Christmas," Mr. Waters takes the stage at City Winery in Tribeca to share his holiday hopes and dreams, among them an aspiration to one day produce "a Christmas TV show even more ludicrous than Judy Garland's," he said.
His current touring show, which plays in 17 cities this year, follows in a lineage that includes a musical release, also titled "A John Waters Christmas," with collected strange songs such as "Here Comes Fatty Claus" and "Santa Claus Is a Black Man."
"My relationship to Christmas growing up was good," Mr. Waters said. "I didn't have any traumas. But I also recognize that some people hate Christmas and understand how painful it can be."
Next week at Joe's Pub, the singer and cabaret storyteller Justin Vivian Bond presents "Star of Light! An Evening of Bi-Polar Witchy Wonder."
The show, which runs from Wednesday to Dec. 23, is "about belief," the artist said.
"Because we have Christmas, Hanukkah, the solstice and so many different kinds of celebratory events, I decided to do a show about choosing what you believe in - from a sort of pagan witchy perspective."
Details about the show remain secret, but Justin Vivian Bond spoke of a special fascination with Taylor Swift as New York's new "global welcome ambassador" and with the religious grounding of Christmas.
"There will be tales of my romance with Jesus," the artist said. "There's no reason to think that Jesus doesn't love me and that I might meet him on OkCupid."
On Wednesday and Thursday, the singer-songwriter brother and sister Rufus and Martha Wainwright bring a downtown sensibility to Town Hall on West 43rd Street.
"Rufus and Martha Wainwright's Noel Nights," featuring guest appearances by Emmylou Harris, Cyndi Lauper and Renee Fleming, continues the musical tradition started by the siblings' folk-singing parents, Kate McGarrigle and Loudon Wainwright

"It took a long time for me to realize, accept and embrace," said Rufus Wainwright, "but it's astounding how much good music there is for Christmas, whether it's religious or classical or jazz or everyday fare. One cannot help but be seduced by the veneer of it all."
Martha Wainwright said the premise of the variety show is to simulate a holiday night at home, with all its coziness and craziness.
"The feeling on stage is very much one of in the living room," she said.
Ms. Wainwright's only concern is what to wear.
"I have a slight clownish element in my closet and in my life," she said.
"Usually what happens is I bring a bunch of things that are crazy, and then Rufus will show up invariably with something absolutely gorgeous, and then I try desperately to find something to match the audacity of his," Ms. Wainwright said. "I try to match his sparkle with color."
Copyright (c) 2014 Dow Jones & Company, Inc.

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17. Laura Hoptman, FF Alumn, in The Wall Street Journal, Dec. 13

Art History In The Re-Making
(FROM THE WALL STREET JOURNAL 12/13/14)
By Andy Battaglia
Stock Market Quotes, Business News, Financial News from www.commodities-report.com
A sense of history looms over "The Forever Now," a painting exhibition opening on Sunday at the Museum of Modern Art, even though none of the work on display is even 10 years old.
"The contemporary attitude toward what could be considered a new idea or innovation is different," said Laura Hoptman, the show's curator. "What do you do after the end of history? That's were we are now."
The show, she said, is an attempt at real-time art history when the idea of new painting styles and movements seems to have run its course. With access to limitless archives online, she said, references to the past have become a part of progress.
"There's a huge amount of information that we have," Ms. Hoptman said. "Not just new information but old information, which is new. On the Internet, an artifact looks the same as a picture from yesterday."
The subtitle for the show, "Contemporary Painting in an Atemporal World," borrows an idea from science-fiction and cultural critiques like Simon Reynolds's book "Retromania," which describes the decade of the 2000s as an era when cultural progress stopped and styles from the past, present and future came to coexist.
"One of the things that is most obvious about contemporary art over the past 10 or 15 years is its pluralism," Ms. Hoptman said. "Everything is going on all the time and everywhere. Art history is a discipline of putting things in order and creating a story, and it's getting harder. That story has come to an end, and we have to figure out what to do."
The condition applies to artists as well. The 17 painters in "The Forever Now," which mixes young and emerging artists with more established figures, hail mostly from the U.S. and Europe. Each was selected, the curator said, to represent different ways of reconciling the past.
"As long as you're respectful of quality and the history of art, then you can use it freely," said Josh Smith, who adopts familiar historical styles - referencing disparate sources from Abstract Expressionism to Paul Gauguin and Edvard Munch - in paintings that range wildly in terms of style and technique.
Matt Connors, whose paintings in the show evoke the geometry and elemental colors of artists such as Josef Albers and Ellsworth Kelly, said he finds nourishment from the past.
"It doesn't seem unusual to me to continually be in a research mode," the 41-year-old artist said. One of the joys of his work, he added, is "connecting to other artists and other histories."
Amy Sillman, the oldest artist in the show at 59 (the youngest is 28-year-old Oscar Murillo), described the current state of painting as consistent with the way most artists now work, drawing from references across the ages.
"I look at stuff from ancient Egypt, and I also look at now," she said. "I don't think about it as art history - I think about it as art. People live with everything at once, including the future."
Painting is especially well-suited to this sort of time travel, or "the quality to transcend time," said Charline von Heyl.
"It doesn't even matter what the message of a painting is," Ms. von Heyl said. "A painting is going to have the same relation to the body with the same visual implication as it did 300 years ago, 200 years ago, 100 years ago. There is almost nothing else in the world that does that."
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"The Forever Now" opens Sunday at the Museum of Modern Art, 11 W. 53rd St.; 212-708-9400; moma.org.
Copyright (c) 2014 Dow Jones & Company, Inc.

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18. Christy Rupp, FF Alumn, now online at gallery.98bowery.com

Christy Rupp: Rats and Other Early Works, 1979-1983 is now online only at gallery.98bowery.com

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Goings On is compiled weekly by Harley Spiller