2019 | 2018 | 2017 | 2016 | 2015 | 2014 | 2013 | 2012 | 2011 | 2010 | 2009 | 2008 | 2007 | 2006 | 2005 | 2004 | 2003 | 2002

ABOUT GOINGS ON: How to subscribe and submit listings

Contents for January 14, 2015

1. Linda Montano, FF Alumn, at The Metropolitan Museum of Art, Manhattan, Jan. 18, and more






TIME: 2-4 PM







2. Aisha Cousins, FF Alumn, at BRIC House, Brooklyn, Jan. 22-23

Brer Rabbit The Opera
A Funky Meditation on Gentrification (Work-in-progress)

January 22 & 23, 2015
Tickets $15 Adv/$18 Door
Purchase at BRICartsmedia.org

Gallery Exhibition
January 9-28, 2015
Opening: January 14, 7-9 PM

647 Fulton Street (At Rockwell Place)
Brooklyn, NY 11217

Created by Aisha Cousins, Greg Tate, and Burnt Sugar The Arkestra Chamber

Dramaturgy by Charlotte Brathwaite

Directed by Letitia Guillory

Brer Rabbit The Opera will merge music, performance art, and community engagement to create a final piece that explores tricksterism, techno-animism and urban survival techniques, and tackles the modern dilemma of gentrification through the lens of legendary black folklore hero, Brer Rabbit, and his birthplace, the Briar Patch.

*PLEASE NOTE: This performance contains adult material that is not appropriate for children.

Part of the "Brooklyn in Transition" events taking place at BRIC House during the month of January. Visit BRICartsmedia.org for more information.



3. Helen Varley Jamieson, FF Alumn, now online at http://newmediawritingprize.co.uk/?page_id=557

hi friends,
happy new year, if i haven't already said it to you :)

one of the projects i worked on last year, Tales from the Towpath, has been shortlisted for the New Media Writing Prize (http://newmediawritingprize.co.uk/?page_id=557) - quite exciting news!

there is a "people's choice award" that you can vote for - please do if you have a spare moment :) all you need to do is go to http://newmediawritingprize.co.uk/?page_id=612 and click the "vote" button. (it says there that it is by maya chowdhry, but it was by 4 of us, i guess they didn't have room for all our names)

you can find out more about the project here: http://talesfromthetowpath.net/

thanks! & all the best for a great 2015 :)
h : )

helen varley jamieson



4. Alicia Grullon, FF Alumn, now online at http://www.elmuseo.org/back-in-five-alicia-grullon/ and more

Hello friends and colleagues! Happy New Year!

In case you weren't able to make it uptown to see my work at El Museo del Barrio or even if you did, please have a look at the webpage to read a great interview I had with artist Nicolas Dumit Estevez who organized and created the Office Hours (OH) program at El Museo del Barrio. The link to the interview is below the images and will either open or download: http://www.elmuseo.org/back-in-five-alicia-grullon/

Also, please have a look to a great new Bronx initiative featuring artists from the Bronx. Here's a link to my page:

I hope to see more of you in 2015!

All my best,




5. Roberley Bell, FF Alumn, in Sculpture Magazine, November 2014

Happy New Year,
Below please find the review for my recent exhibition published in the November issue of Sculpture Magazine.

The Shape of the Afternoon, deCordova Museum and Sculpture Park May-October 2014.

"...In her sumptuously colored Blobs on display at deCordova, the forms have absorbed their subjects. The soft curved shapes appear as if viscous ooze has coated one of her Wonder sculptures. The Blobs are slick, hybrid forms that alternatively feature an outgrowth of colorful lines and in others totems of abstracted birds... ..The resulting polished veneers of the Blob sculptures highlight their obvious artificiality in contrast to more natural tree stump bases. This sharp juxtaposition, in addition to their titles: For HM, for now (an homage to Henry Moore), positions them in an art historical dialogue with early twentieth century sculptors like Barbara Hepworth, Jean Arp, and Henry Moore known for their biomorphically abstract sculptures inspired by living organisms..... Bell's lustrous Blobs combine the interiority of psychologically charged biomorphism with the exteriority of the candied shells of 1970s "finish fetish" California sculpture."
Assistant Curator Lexi Lee Sullivan deCordova Museum and Sculpture Park

Additional work may be viewed on my website www.roberleybell.com
roberley bell



6. Jacob Burckhardt, Kazuko Miyamoto, FF Alumns, at 128, Manhattan, thru Feb. 1

128 Rivington Street, New York, NY 10002
galleryonetwentyeight.org 212-674-0244
Jingle Jangle Jungle
January 9 -¬ February 1, 2015

Opening Reception: Friday, January 9, 2015 ¬ 6-¬8pm
Gallery Hours: Wed ¬- Sat 1¬-7 pm & Sun 1¬-5 pm

Jingle Jangle Jungle in NYC continues in 2015 with new work by onetwentyeight artists. As we go into our
28th year with a bing bang boom, we're still bad crazy wonderful. This group show is curated by Shintaro.
Taku Arita, Richard Armijo, Hugh Burckhardt, Jacob Burckhardt, Chris Craig, Ken Cro¬Ken, D. Fenn, Tommy Flynn, Ikuko Furusho, Jefre Harwoods, Stan Kaplan, Fumiko Kashiwagi, Larry Kenny, Alex Khomski, Gloria Kline, Yuko Kondo, Judy Linn, Kaitlin Martin, Mieko Mitachi, Kazuko Miyamoto, Nami Mo, John Monaghan, Eileen Mullan, Ne'Ne', Sylvia Netzer, Yukako Okudaira, Toki Ozaki, Ilona Pachler, Cari Rosemarin, K. Saito, Gordon Sasaki, Nick Hugh Schmidt, Flavia Souza, Akemi Takeda, Angela Valeria, Joy Walker, Fumio Yamaguchi...



7. Ray Johnson, FF Alumn, in The New York Times, Jan. 8

The New York Times
Art & Design
Always on His Own Terms
Ray Johnson Defies Categories 20 Years After His Death
JAN. 8, 2015

Twenty years ago next week, the artist Ray Johnson jumped off a low bridge in Sag Harbor, N.Y., and backstroked placidly out to sea. Two teenage girls saw him plunge into the frigid water and tried to alert the police, but when they found the station closed they went to see a movie instead, a detail many of Mr. Johnson's friends said would have delighted him.

Why he took his life at the age of 67 - when he was healthy, had money in the bank for the first time and was one of the most revered underground artists of the last half of the 20th century - is a question none of those friends have been able to answer. (The poet Diane di Prima wrote angrily: "I can't imagine what you thought you were doing/what was the point of jumping off that bridge/after so many years of playing it cool.") But in many ways Mr. Johnson conducted his death exactly as he had conducted his life and his work - enigmatically, defiantly on his own terms and with an intense privacy that somehow coexisted with a compulsively public persona.

Mr. Johnson heralded several art movements, almost simultaneously. He was making work that looked like Pop in the 1950s, years before his friend and sometime rival Andy Warhol did. He was a performance artist before there was a term for such a thing. He mined ground later occupied by Conceptual art (whose pretensions he loved to razz: "Oh dat consept art," says a figure in one of his collages.) And he was the father of mail art, spreading his collages and Delphic text works through a vast web of fellow artists, friends and complete strangers, making him a one-man social-media platform for a pre-Internet age.

But every time mainstream recognition approached, Mr. Johnson - who lived as frugally as a monk and played the art world's holy fool - seemed to dance away. Courted in the 1990s by the pinnacle of commercial acceptance, the Gagosian Gallery, he turned even that courtship into farce by demanding a million dollars each for collages then selling in the four-figure range; they've since advanced only into five figures.
"He was a guerrilla fighter against materialism and fame, and in a sense he's still fighting today," said Frances F. L. Beatty, president of Richard L. Feigen & Co., the gallery that represents Mr. Johnson's estate.

But the art world may be finally starting to conquer Mr. Johnson's will to resist it. A spate of books, exhibitions and museum acquisitions has come along in recent months, as his work has been discovered, yet again, by a generation of younger artists, like Matt Connors, Hanna Liden, Adam McEwen and Harmony Korine. This time, as money and power loom ever more powerfully in art circles, it seems to be Mr. Johnson's role as a heroic-comic Bartleby that makes him particularly attractive to younger artists. But the shape-shifting ways in which he operated outside art's normal channels - through the post office, street performances and artist's books - also resonate for 21st-century artists whose work fits uneasily into the conventions of museums and galleries.
Continue reading the main story

Performa, the performance-art biennial, is organizing a tribute to Mr. Johnson for its 2015 iteration, which takes place in November. One aspect will be the dissemination - through ads, mailings and websites - of Johnson material, like a silhouette of his profile that he mailed out during his lifetime and asked people to alter and send on. The idea, said RoseLee Goldberg, Performa's founder and director, is to stimulate a similar kind of free-form exchange now, online, on paper, and through other means, with Mr. Johnson as presiding spirit.

"We want to start it very early, so it will have time to grow extra arms and legs and heads," she said.

As correspondent and collagist, Mr. Johnson was manically prolific. Even now, bins, binders and file folders full of unseen and largely unstudied material reside in closets - and an unused bathroom - at the East 69th Street townhouse of the Feigen gallery, "the Ali Baba's cave of Ray's archive," as Ms. Beatty calls it. (Some of that work is on display in a show at the gallery through Jan. 16, "Ray Johnson's Art World.")
Waiting recently for a visit from curators from the Metropolitan Museum of Art, who were interested in seeing some Johnson works for acquisition, Ms. Beatty flipped on a closet light to show floor-to-ceiling stacks of light-blue archival boxes.

"You could happily, as far as I'm concerned, spend the rest of your life right in here," she said. (A small army of doctoral students and scholars is indeed at work now sorting through his vast output.)

Raised in a working-class family in Detroit, Mr. Johnson hit the ground running as an artist before he was out of his teens. In 1945, he ended up at Black Mountain College, the Modernist hothouse near Asheville, N.C., where he studied with Joseph Albers and Robert Motherwell and began friendships with John Cage, Jasper Johns and the sculptor Richard Lippold, with whom he was romantically involved for many years.
After moving to New York and working as a studio assistant to the painter Ad Reinhardt, he began making works that he called "moticos" - possibly an anagram of the word "osmotic" - filled to overflowing with the pop-culture imagery from magazines, advertising and television that was starting to saturate society. Elvis Presley and James Dean surfaced repeatedly, like twin deities, and Mr. Johnson often took this work to the streets, displaying it on sidewalks and in Grand Central Terminal to generally perplexed passers-by.

"Some people just didn't get it, and other people like me thought he was an absolute genius," said the painter James Rosenquist, with whom Mr. Johnson corresponded for years, often asking him to forward mailed artworks on to Willem de Kooning.
"Sometimes I did what he asked and sometimes I just couldn't part with them," Mr. Rosenquist said, adding: "I really miss him because I accumulate all these strange things that I'd like to mail him, but I can't because he's not there."

Influenced by ideas of chance and Zen Buddhism, Mr. Johnson came to develop a hieroglyphic-like language in which image and word melted into each other, a language so complex it cried out not for curators but military code-breakers.

William S. Wilson, one of Mr. Johnson's closest friends and a leading scholar of his work, recalled the almost religious gravity with which Mr. Johnson viewed not only making art but also putting it into the world. Mr. Wilson once drove Mr. Johnson to see the publisher Harry Abrams, who was interested in buying work. Mr. Johnson emerged from Mr. Abrams's office in a fury with his briefcase of collages, Mr. Wilson said, "and flung himself on my lap crying because Abrams had asked him to throw in a 13th collage for free if he bought a dozen, as if Ray was selling eggs."

Of course, such a stance meant that developing a market for Mr. Johnson's work during his lifetime was next to impossible, and in many ways his critical stature still suffers because of this. "He kind of landed by default in the book and ephemera world, and to a large extent that's really where his work has been living," said Brendan Dugan, owner of the NoHo bookstore and gallery Karma, which organized an exhibition of late Johnson work last fall.

Mr. Dugan said he had been drawn to Mr. Johnson in part because of his avid following among younger, punk-influenced artists but also those whose work seems to have little affinity with Mr. Johnson's, like Mr. Connors, an abstract painter who is featured in "The Forever Now: Contemporary Painting in an Atemporal World" on view now at the Museum of Modern Art.

In an email, Mr. Connors said: "I am always very excited by artists who create their own very specific codes, languages and grammars. He's speaking his own language and talking to and about specific people, but he also loves to share it with you." The effect is "kind of like a queer and gossipy downtown Joseph Beuys."

For the show at Karma, Mr. Dugan was allowed to pore over reams of paper works in the Feigen archive, made by Mr. Johnson mostly in the last decade of his life, "and what I saw was a total discovery to me, because a lot of it was very raw and very punk," he said. "Here was this guy in his 60s, and he's still up to it, to the very end, pulling in new material from the culture and making this very weird stuff that feels very contemporary now."

Ms. Beatty, who struggled for years to get Mr. Johnson to agree to a major exhibition at the Feigen gallery, remembered that he called her three days before he died. "And he said, 'Listen, Frances, I'm planning to do something big and after that, you'll finally be able to do your show.' And I had no idea what he was talking about, but I thought maybe he was actually giving in, after playing cat and mouse for so long.
"Well, of course, little did I know, and that's how it always was with Ray - how little did we know," Ms. Beatty said, adding, "It was a lived-for-art life, 100 percent, all the way to the end."

Correction: January 9, 2015
An earlier version of this article omitted part of the title of the show at the Feigen gallery. It is "Ray Johnson's Art World," not "Ray Johnson's World."



8. Jenny Holzer, Robert Irwin, Kimsooja, Ann Messner, Andy Warhol, William Wegman, FF Alumns, at UMCA, Amherst, MA, opening Jan. 21

40 Years / 40 Artists
January 22 - March 8, 2015
Opening Reception | January 21, 5:00-7:00 p.m.

Music by the Mother Pluckers and the UMass Vocal Suspects

For 40 years, the UMCA has brought the contemporary art world to the Pioneer Valley. A who's who list of renowned artists from over 15 countries had their start right here.

And now, as part of our anniversary celebration, 40 of these artists are giving back to the UMCA with new artworks gifted to our collection.

40 Years/40 Artists features these newly donated works by artists whose exhibitions at our museum ― at crucial moments in their careers ― had the effect of opening up dialogue about ideas relevant to contemporary art and society.

Participating artists include:

Eve Aschheim
Alice Aycock
Radcliffe Bailey
Miroslaw Balka
Dawoud Bey
Daniel Buren
Lynne Cohen
Donna Dennis
Brendan Fernandes
LaToya Ruby Frazier
Tom Friedman
Frank Gohlke
David Goldblatt
Matthew Higgs
Jenny Holzer
Robert Irwin
Julie Mehretu
Ann Messner
Stephen Petegorsky
Ellen Phelan
Jefferson Pinder
Avery Preesman
Scott Prior
John Riddy
Tim Rollins & K.O.S.
Sheron Rupp
Katy Schimert
Anna Schuleit
Frederic Schwartz
Joel Shapiro
Joel Sternfeld
Elizabeth Stone
Beat Streuli
David Teeple
Mickalene Thomas
Francesc Torres
George Trakas
Billie Tsien/Tod Williams
Andy Warhol
Carolyn Webb
Carrie Mae Weems
William Wegman
James Welling
Allan Wexler
Peter Wuethrich

Please go to our website to view past landmark exhibitions of all artists featured in this exhibition: https://fac.umass.edu/UMCA/Online/4040Archives

The UMCA gratefully acknowledges the support of Grumbacher

Additional thanks to Rob Kimmel Design

University Museum of Contemporary Art
University of Massachusetts Amherst
151 Presidents Drive
Amherst, MA 01003-9331
Open: Tuesday-Friday, 11 AM-4:30 PM
Saturday/Sunday 2-5 PM
Closed: Mondays and holidays




9. Paul Henry Ramirez, FF Alumn, at Akron Art Museum, OH, Jan. 24-May 3

Paul Henry Ramirez

Akron Art Museum

Dear Friends and Colleagues,

Happy New Year!

My commissioned site specific installation "Eccentric Stimuli" will be featured in the Beauty Reigns: A Baroque Sensibility in Recent Painting exhibition at the Akron Art Museum January 24 - May 3, 2015. If you are in Akron, Ohio, I hope you have the opportunity to see this wonderful exhibition.

Best regards,

Paul Henry

Current Exhibitions:

Beauty Reigns: A Baroque Sensibility in Recent Paintings, traveling to the Akron Art Museum, Akron Ohio January 24, 2015 - May 3, 2015 (catalogue)

Akron Art Museum
1 South High Street, Akron OH

Upcoming Exhibitions:

Our America: The Latino Presence in American Art, traveling to the Utah Museum of Fine Arts in Salt (catalogue)

Lake City, UT February 6 - May 17, 2015
Utah Museum of Fine Arts
410 Campus Center Drive
Salt Lake City, Utah

RYAN LEE, New York
515 West 26th Street, Third Floor
New York, NY 10001 (212) 397-7742

phone: 718.344.9593

Copyright (c) 2014 Paul Henry Ramirez, All rights reserved.



10. John Cage, Yvonne Rainer, Robert Rauschenberg, Cathy Weis, FF Alumns, at WeisAcres, Manhattan, Jan. 25

Cathy Weis Projects Announces Winter 2015 Season of Sundays on Broadway

January 25: Marathon Screening of 9 Evenings: Theatre and Engineering films


WeisAcres (537 Broadway, #3)

The winter series kicks off on January 25 with encore screenings of the 9 Evenings: Theatre and Engineering films directed by Barbro Schultz Lundestam and produced by Billy Klüver and Julie Martin for Experiments in Art and Technology. These films document the collaborations between artists and engineers from Bell Laboratories who took part in the 9 Evenings at the 69th Regiment Armory in New York City in October 1966. Curated by Julie Martin and Cathy Weis, ten films will be screened over the course of ten hours. Films include: David Tudor's Bandoneon! (a combine), John Cage's Variations VII, Deborah Hay's Solo, Övynid Fahlström's Kisses Sweeter than Wine, Robert Rauschenberg's Open Score, Yvonne Rainer's Carriage Discreteness, Steve Paxton's Physical Things, Robert Whitman's Two Holes of Water - 3, Alex Hay's Grass Field, and Lucinda Childs' Vehicle. A detailed schedule is available at www.cathyweis.org/calendar/



11. Frank Moore, FF Alumn, now online at http://jukepop.com/home/read/2077?chapter=44

From Frankly Speaking: A Collection of Essays, Writings & Rants by Frank Moore
Chapter 44 - An Open Letter To Senator Jesse Helms



12. Jay Critchley, FF Alumn, now online at jaycritchley.com

Happy NY!

My 32nd annual Re-Rooters Day Ceremony, presented by the IRS (International Re-Rooters Society) - Hands Up! We Can't Breathe! !ehtaerB t'naC eW !pU sdnaH was held January 7, 2015 after the "Twelve Days of Stockpiling". The Cape Cod Times published a piece and video of the ritual: www.jaycritchley.com Thanks.

Jay Critchley



13. M. Lamar, FF Alumn, at San Francisco Art Institute, CA, opening Jan. 30

Spring 2015

San Francisco Art Institute
800 Chestnut Street
San Francisco, CA 94133


San Francisco Art Institute (SFAI) is a place for new questions and adventurous ideas. Join SFAI for a spring season of exhibitions, screenings, and lectures that provide direct access to the artists and practices that advance our culture.

Lectures and exhibitions are free and open to all.

Walter and McBean Galleries exhibition

January 30-February 28, 2015
Curated by Hesse McGraw, Vice President for Exhibitions and Public Programs

Opening: Friday, January 30, 7-9pm
Performance of Surveillance Punishment and the Black Psyche: Friday, February 13, 8pm

M. Lamar's exhibition NEGROGOTHIC strips the American enterprise to its hardcore components of race, sexuality, violence, and optimism. In imagery that links the histories of slavery and Robert Mapplethorpe, and through sound that connects Lamar's operatic counter-tenor with doom metal, the artist offers a searing and soaring portrait of the contemporary United States.

Through an immersive video projection, a haunting soundtrack, large-scale prints, and sculptural props, Lamar unveils a stunning, epic vision of black male figures in transition. Lamar's expansive narrative draws from his own African American heritage, and performs a cultural grand tour that bridges the slave ship and bondage imagery, lynchings with capital punishment, and the Negro spiritual and contemporary protest. In this fearlessly constructed landscape, Lamar projects ecstatic resistance toward both the subjugated and essentialized black male.

Here we witness the violence of our past and freedoms of the present, alongside the ongoing inability of the American justice system to materially protect black lives. Lamar painfully evokes injustice, even as he occupies the transcendent, empowered role of the diva.

M. Lamar works across opera, metal, performance, video, and sculpture to craft sprawling narratives of racial and sexual transformation. His work has been presented internationally, most recently at Participant Inc., New York; New Museum, New York; Södra Teatern, Stockholm; Warehouse9, Copenhagen; WWDIS Fest, Gothenburg and Stockholm; The International Theater Festival, Donzdorf, Germany; Cathedral of Saint John the Divine, New York; Performance Space 122, New York; and African American Art & Culture Complex, San Francisco.

Spring 2015 public programs

Jennifer A. González
Friday, January 30, 4:30pm

Asuka Ohsawa
Friday, February 6, 4:30pm

Eva Franch i Gilabert
Tuesday, February 17, 7:30pm

Rirkrit Tiravanija
Friday, February 20, 7pm

Mariah Robertson
Tuesday, February 24, 7:30pm

Eva Hayward
Friday, February 27, 4:30pm

Lewis Hyde
Tuesday, March 3, 7:30pm

Shaun Leonardo
Friday, March 6, 4:30pm

Jon Rubin
Tuesday, March 10, 7:30pm

Mel Chin
McBean Distinguished Lecture
Tuesday, April 7, 7:30pm

Jonn Herschend
Friday, April 10, 4:30pm

Michael Jones McKean
Tuesday, April 14, 7:30pm

Annie Lapin
Tuesday, April 21, 7:30pm

Erick Beltrán
Friday, April 24, 4:30pm

Constance M. Lewallen: Conversation + book release of 500 Capp Street
Tuesday, April 28, 7:30pm

SFAI's exhibitions and public programs provide direct access to artists and practices that advance our culture. The Walter and McBean Galleries, established in 1969, present exhibitions at the forefront of contemporary art practice. The gallery serves as a laboratory for innovative and adventurous projects and commissions new work from emerging and established artists.

Join SFAI's mailing list to receive monthly updates about lectures, special events, and exhibitions: sfai.edu/eventmail

SFAI's exhibitions and public programs are made possible by the generosity of donors and sponsors. Major support is provided by Grants for the Arts/San Francisco Hotel Tax Fund.

Program support is provided by the National Endowment for the Arts, Harker Fund of The San Francisco Foundation, The Phoebe Snow Foundation, Mental Insight Foundation, Walter and Elise Haas Fund, The Andy Warhol Foundation for the Visual Arts, Kadist Art Foundation, Fort Point Beer Company, Gregory Goode Photography, Meyer Sound, The Lucas Family Foundation, and Thomas J. Fogarty, MD. Ongoing support is provided by the McBean Distinguished Lecture and Residency Fund, The Buck Fund, and the Visiting Artists Fund of the SFAI Endowment.



Goings On is compiled weekly by Harley Spiller