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Contents for March 25, 2015

1. Martha Wilson, Franklin Furnace Alumn, to receive Audrey Irmas Award for
Curatorial Excellence

Curator Christine Tohme and artist Martha Wilson have been named winners of
2015's Audrey Irmas Award for Curatorial Excellence, given by the Center for
Curatorial Studies at Bard College.

Christine is founding director of Ashkal Alwan, the Lebanese Association for
Plastic Arts in Beirut. Tohme has been recognized with a Prince Claus Award for
contributions to the Lebanese culture.

Martha Wilson, who founded the artist-run space Franklin Furnace in 1976, has
been recipient of NEA and NYFA fellowships, Bessie and Obie awards, a Yoko Ono
Lennon Courage Award for the Arts, and in 2013 she was awarded an honorary
Doctorate in Fine Arts from the Nova Scotia College of Art and Design University.



2. William Pope.L, FF Alumn, in the New York Times, March 18

The New York Times
Art & Design
William Pope.L Makes Statements From the Fringes

LOS ANGELES - It was a plaintive sight: a monumental American flag drooping so
low on its pole that it would touch the ground were it not for a wood platform.
The artist William Pope.L was tending to the flag carefully. He lifted the tail
end, where the stripes were separated at the seams, and spread them apart, the
way you might separate a girl's long hair before braiding it.

"This is just to make sure it catches properly and doesn't tangle," he said. An
assistant switched on four large Ritter fans, the kind used by movie studios to
whip up 40-mile-an-hour winds.

Soon the flag was flying high, a wild, hydra-like form. Only it was not flying in
the open air but inside the belly of the Geffen Contemporary, a branch of the
Museum of Contemporary Art here, where Mr. Pope.L was readying his largest museum
show to date.
The effect was startling: The fabric of American democracy was disintegrating.

"That is one possible fate of America. And some people believe we are already
there," said Mr. Pope.L, 59, who had flown in from his home in Chicago for the
day to join a small installation crew and still looked like he was dressed for a
Midwestern winter, wearing a black windbreaker and a gray knit cap.

"I think there are cracks in the seams of what we are. There is a post-Vietnam
malaise as the aspirations of the '60s fell short in many ways," he added. "The
ideals of our country have been tarnished by imperialistic moves."

The man with the perplexing last name has a rich history of provocative art
installations and performances that shatter clichés about race, class and gender,
going back to one in 1991 at the Franklin Furnace in New York, called "How Much
Is That Nigger in the Window." Among other things, he stripped down to his
underwear and smeared himself with mayonnaise - a gloopy sort of whiteface.

His new show of nine recent works at the Geffen, which opens on Friday and runs
through June 28, is called "Trinket," as is the flag itself - a title that seems
to trivialize grand notions of patriotism.

"I was thinking of those little pins, lapel pins," he said, "these cheap, shiny
things like wampum. They seem to one side of the trade worthless and to the other
side, priceless."

But he added that ridicule was not his intention. "If anyone thinks I'm
besmirching or making fun of the flag, I would say that I don't share their idea
of patriotism," he said. "If I am being critical, and the flag is as strong and
resilient as they say it is, it should be able to stand up to this. This doesn't
mean I don't love my country. I'm asking questions of it."

Still, there has been blowback. The Seattle fabricator hired to make the nylon
flag refused to add a requested 51st star; the museum hired a seamstress to do
it, reflecting Mr. Pope.L's sense that the nation's current borders are too rigid.

More approachable and less confrontational in conversation than his art might
predict - he uses a lighthearted "toodleloo" for "see you later" - Mr. Pope.L
said he would not be upset if people interpreted the torn flag, which originated
in 2008 in a smaller form in Kansas City, Mo., as a response to accusations of
racial profiling and police brutality in recent months.

The show's curator, Bennett Simpson, however, cautioned against a single
political reading: "It's a screen people will project on. But it's wrong to say
his work is antiwar just because it was first made during the Iraq war, or that
the flag is about racial injustice now. You just can't reduce it to any one thing."

Mr. Pope.L's wide-ranging oeuvre - which includes drawing and painting as well as
video, text and performance - is also hard to classify. Some see it as a form of
political activism, while others connect him to a ritual-rich, antiauthoritarian
brand of postwar European conceptualism, from the shamanistic guises and
"actions" of Joseph Beuys to the living, decaying sculptures of Dieter Roth. The
art historian Kristine Stiles has proposed that Mr. Pope.L's performances "belong
to the mental, social and political theater of the absurd."

The artist is a fan of Samuel Beckett, whose novels influenced a new work for the
Geffen called "Migrant." For this piece, blindfolded performers will at set times
crawl toward one another along scaffolding near the flag. They will grope, like
so many Beckett characters, in the darkness.

Mr. Pope.L is famous for his own "crawls," physically punishing street
performances dating to the 1970s in New York. To feel and express some of the
vulnerability that homeless men and women experience, he relinquished his own
verticality in an aggressively vertical city. The crawls were "immensely
important," said Adrienne Edwards, a curator for the Performa arts organization,
who considers the artist "wickedly sophisticated in the way he involves or
implicates us in his encounters."

"Pope.L is not just there to entertain you but to teach," she said. "He creates
this open space by twisting and turning things, making things illegible, so that
you will join him."

During one crawl through Tompkins Square in 1991, he wore a business suit while
arduously dragging his body along the ground, using his elbows and knees. For
other crawls up Broadway, in a nine-year project called "The Great White Way," he
wore a Superman costume. He has since organized group crawls with volunteers in
different cities to call attention to "the tons of homeless people on our streets."

A native of Newark, Mr. Pope.L started the crawls during his 20s while studying
art in graduate school at Rutgers - a time when his brother, aunt and two uncles
were living on the streets. His brother had recently been released from prison.
"There's this cycle where people are institutionalized and then released without
the family being notified," he said.

Raised in New Jersey and New York City, he described his childhood as "unstable,"
with an alcoholic mother and an absent father. But he also remembers moments of
camaraderie, including the verbal play that his mother, uncles and aunts enjoyed
in the kitchen. One would make up or read a line from a Gwendolyn Brooks or
Langston Hughes poem, and others would take turns adding to it.

"It was amazing to see how they would ad lib, one after another," said Mr.
Pope.L, who has written poetry and fiction as well. "It was always fun when the
ball dropped, but it was also fun to see how long they kept it in the air."

His mother was also creative with names, forging the surname Pope.L by combining
their father's last name, Pope, with an "L" for Lancaster, her maiden name, using
a self-conscious period in place of a hyphen. And his grandmother, who once had
her quilts in a show at the Studio Museum in Harlem, taught him how to make do
with very little: "Have-not-ness permeates everything I do," he once said.

After earning his master's degree in art at Rutgers in 1981, he turned to
experimental theater. In 1990, he began teaching at Bates College in Maine. The
first play he directed was Lorraine Hansberry's "A Raisin in the Sun," casting
both white and black actors as members of the Younger family. He was on the
college's faculty for 20 years before joining the visual arts department at the
University of Chicago, where he continues to teach today.

He said he took the Chicago job to be closer to his son, now 7, whose mother
lives in the city. "In my family, for a whole phalanx of men, the relationships
between sons and fathers have been very broken," he said. Growing closer in turn
inspired a new artwork at the Geffen: 29 small photographs called "Looking for
the Sun," pun intended, about how fathers both "possess and don't possess" their
children. He photographed his son without showing his face: in a crowd, from
behind or just out of frame. It is a melancholy series about the blind spots of
intimacy. The artist scattered the photographs throughout the galleries here,
creating quiet moments off to the side of the boldly theatrical fraying flag.

"It's hard to think of an artist with greater range," said Elsa Longhauser, the
director of the Santa Monica Museum of Art, who gave Mr. Pope.L a solo show in
2007. "He does create these powerful spectacles drawing attention to issues that
you just can't ignore but he also makes exquisite, subtle works." The centerpiece
of the show, "Art After White People," was a grove of palm trees that he
installed in a dark gallery and spray-painted white.

"The understanding was that the paint would kill the trees," she recalled. "But
they didn't die - which in itself was an incredible metaphor."

At the Geffen, hundreds of painted onions serve as the natural, unruly element
displaced in the museum setting.

They will sprout but also shrink and wrinkle over the course of the show. "They
will just get smaller and smaller and implode, consuming themselves from the
inside," Mr. Pope.L said, making them sound like raisins in the sun. "It's a very
American kind of dissolution."



3. Murray Hill, FF Alumn, in the New York Times, March 20

The New York Times
Adam Horovitz, a Beastie Boy in Middle Age

Longtime fans of the Beastie Boys could be forgiven for imagining that the
rappers would be perennially young, forever New York's impish hometown heroes,
ollieing past authority on their way to after-hours fun.

In truth, Adam Horovitz, 48 and better known as Ad-Rock, hasn't set foot on a
skateboard in a decade. "It's way too much work," he said. He doesn't rage the
way he did in the old days, either. "I'm certainly not going to take ecstasy and
hit the club and listen to whatever, like, electronic dance music hit," he said.
"I got no business going to a club. I'm a terrible dancer. I got a bad back."

All of this made him, in some ways, perfect for the part of an early-to-bed,
stay-at-home, sweater-wearing New York dad in Noah Baumbach's new movie, "While
We're Young." The art-filled apartment, the casually mussed gray hair, the Wilco
collection - "I'm pretty much that person," Mr. Horovitz said. "Except for the
Wilco CD."

The comedy, which opens March 27, stars Ben Stiller as a stalled midcareer
documentary filmmaker, with Naomi Watts as his film producer wife. Their personal
and professional lives are turned upside down when they meet a young Brooklyn
couple, played by Adam Driver and Amanda Seyfried, who bicycle everywhere, make
artisanal avocado ice cream, and prefer VHS tapes and typewriters to digital files.

Mr. Horovitz plays the friend who brings Mr. Stiller's character, Josh, back to
reality. "You're an old man, with a hat," he admonishes, when Josh takes to
wearing a fedora.

He may not be playing against type, but for Mr. Horovitz, making the movie was a
stretch - a welcome one. With the Beastie Boys on indefinite hiatus after the
2012 death of Adam Yauch, a.k.a. MCA, Mr. Horovitz has been casting about for a
new creative role, he said over coffee recently. "It's weird when you have an
identity for so long, that that's who you are," he said of his 30-year reign as
Ad-Rock. Post-Beastie, "I haven't figured out what that identity is."

With Mike Diamond (Mike D), he is working on a Beasties memoir - but it won't be
ready anytime soon. "As a band, we always took a really long time to make
records, so unfortunately, we got into that habit of, like, 'we'll work on it
tomorrow,' " Mr. Horovitz said. He had acted in small films in the '80s and early
'90s, and he and Mr. Baumbach are friends, introduced years ago through Mr.
Horovitz's sister Rachael, a film producer. So when Mr. Baumbach approached him
with the role, "I feel like he did me a big favor," Mr. Horovitz said.

Mr. Baumbach had long thought about casting him. "I love Adam's voice, I love his
countenance - there's something very dry about him," he said. Earlier he'd
considered him for "Greenberg," another film starring Mr. Stiller. All three grew
up in New York, the children of artistic parents. "There's a sensibility that we
all connect to," Mr. Baumbach said, and shared cultural references. (Cookie Puss,
a trippy Carvel ice cream cake that wound its way into the Beastie Boys debut
single, looms large.) All are parents - Mr. Horovitz has a young son - and Mr.
Baumbach, 45, was a longtime Beasties fan.

But, he said, "Probably not until I was cutting the movie did I sort of look at
it and think: There's definitely an added poignancy to seeing Ad-Rock in middle
age, with a baby. It's certainly a reminder to me that I'm not 25 anymore."

Writing the film was a way to work through those universal anxieties about aging
and maturity, Mr. Baumbach said. It's about "our relationship to our own
childhoods as we become parents or don't become parents," he said, "and the
appropriation of the culture" that has sped up in the digital era, as generation
gaps have shrunk. The movie opens with a lullaby version of David Bowie's "Golden

Mr. Horovitz is a presence on Twitter and Instagram, but mostly, he said: "I
don't get caught up in what the kids are doing today. I don't really care." (He
was put off by a techno track playing at the cafe during the interview. "Every
song on the radio has this," he complained of the breakbeat, then added,
grinning, "I say that as if I listen to the radio.")

He took his role in "While We're Young" seriously, calling on his best friend,
Nadia Dajani, an actress he has known since childhood, to help prepare. "I was
definitely nervous, because I don't know what I'm doing," he said. His earlier
acting career foundered when he couldn't ace auditions. "I went in for the Doors
movie, with Oliver Stone," Mr. Horovitz recalled. "I was definitely stoned, and
as I walked in I looked at him and I was like, 'You're not going to cast me in
this movie, right?' He's like, 'No, I don't think so.' "

Mr. Horovitz is not expecting agents to come calling now, but he would like to
work on soundtracks, as he did last year, for the baseball documentary, "No No,"
about the pitcher Dock Ellis. He's a devoted softball player himself - for 10
years he's run a friendly park league with his wife, the singer Kathleen Hanna,
and downtown performers like Murray Hill and Bridget Everett, the bawdy cabaret
singer. Mr. Horovitz plays bass in her band. "I call him 'Adam
what-are-we-wearing Horovitz,' because he always wants to do something crazy,"
she said. (A wrestling singlet has been discussed.)

Ms. Everett was surprised at first that Mr. Horovitz, a rock 'n' roll hall of
famer, wanted to join her small act, but she discovered that they had the same
sensibility; he also helped produce her forthcoming Comedy Central special, and
cameoed on "Inside Amy Schumer." "He can do exactly what he wants to do, and
that's what he's doing," Ms. Everett said.

Mr. Horovitz seconded this: "I don't really have long days very often," he said.
"It's fantastic." He makes music daily, on his laptop, but rarely raps. "It's
depressing," he said. Then he brightened. "I'll do it later, I think," he said.
"I'll be, like, the oldest rapper alive."

For fans worried that Mr. Horovitz is already AARP-ready, or has lost his
youthful comedic snap, fear not. He can still go on an extended riff about
mystery novels written by cats.

Beyond the film, what else is he excited about? "I've got a sandwich," he said, a
specialty pastrami banh mi, sold for charity at the New York shop Num Pang. "Some
people - your Jay Zs, your Sean 'Puffy' Combs, your Master Ps - they have
sneakers, clothing lines," Mr. Horovitz said. "Who gets a sandwich? Not that many
people. The Count of Monte Cristo! So I'm part of a lineage, and I feel very
proud of it."



4. Larry Litt, FF Alumn, at Shades of Gray Pub, Manhattan, March 30
Poet collaborating with experimental music on the edge of New- with Supolo
Monday- March 30 - SHADES of Gray PUB - 125 East 15 St.- bet. 3 rd
ave-Irvington----- 8 :00 pm -10pm
POET- Larry Litt - Dying Artist Laughs-
He spoken word and performance artist who's work has been seen and heard at the
Guangju Biennale, Pratt Falls, Emily Harvey gallery,1993 Venice Biennale, Holly
Solomon Gallery, 1995 NYC (1992), La MAMA La Galleria, NYC (1990), and many other
venues. His publications include Ingot of Ideas, Aesop's America, Art 20/21 The
Turn of the Century, and eine DATA base. He's also a percussionist and amazing
vegan chef.
Lorin Roser - is a multimedia artist, composer and animator whose work utilizes
mathematical algorithms and physical simulations in his 3D architectural
animations exhibited at Plum Blossoms, Super Deluxe, Tokyo, Hallwalls,
Harvestworks, Flushing Town Hall. His recent music is created with realtime
manipulation of polynomials. As a musician, Roser has performed at CBGB's, Emily
Harvey Foundation with Larry Litt, White Box with Elliott Sharp, events for
curator/performance artist A. Schloss. https://soundcloud.com/strangeattraction
https://soundcloud.com/strangeattractor and vimeo.com
Writer -Eleanor Heartney , art critic will appear as a guest too



5. Buzz Spector, FF Alumn, at 55 Prince St., Manhattan, April 2
Michela Bondardo is pleased to present an event that brings together two short
movies and their creators, Buzz Spector and Marjorie Welish, for a screening and
discussion. This event will take place at 55 Prince Street, lower level, on April
2nd at 7PM.
For Marjorie Welish, studio practice has frequently led to considering the
diagram, for an image that one might read. Newly completed is Push Bar To Open,
a video incorporating art intended to address the functional differences between
an 18th-century residence in Edinburgh and what it has become: a 20th-century
project space for art. How may we read the space we inhabit for the
temporalities that mark it? How may we build a montage of these functional
relations through notations that express the new reality? Of some of Marjorie's
visual art seen here it has been said:
For Welish there is a logic of entailment -an implicative structuring of the
place of painting which is constantly in movement towards a serial outside. I use
the term 'serial' here to indicate that the move to the outside enabled by these
works is not a mere evaluation, nor completion, nor simple circumscription of
boundaries, edges or limits, but a suspension of the determination of interior
and exterior, a suspension, that is, to say, of the singularity of painting.
There is a deferral; a play of identity and difference set in motion ...
As Buzz Spector has written, "Books are formal presentations of text. They have
titles, after all, and come jacketed, with paragraphs of introduction slipped
[within] their covers." Spector's work engages every aspect of the construction
of a book, from binding through pagination to the praise found on its paper
wrappers. Informing this attention to physical circumstance is the evidence of
absorption in the making of a book, registering conspicuously in the hands; as
though marked with signs of thought, hands size up materials to incorporate or
reject for the work in process, hesitating, pushing away, retrieving materials
that now seem right for decisive action. In Selected Poems, Spector's short video
of the artist at work making a collage from found words, all this absorption is
palpable. The voiced reading of the very words of the text meanwhile creates its
own scenario.
Artist/critic Marjorie Welish has had shows in New York, Chicago, Philadelphia,
the Denison University Museum, Granville, Ohio, and at the Miami University Art
Museum, Oxford, Ohio. She has received many grants and fellowships for her art,
including: Adolph and Esther Gottlieb Foundation, Elizabeth Foundation for the
Arts, The Fifth Floor Foundation, Guggenheim Foundation Fellowship,
Pollock-Krasner Foundation, and Trust for Mutual Understanding (supporting an
exchange between the International Studio Program, New York and the Artists'
Museum, Łódź, Poland). In July, 2010, she was an artist-in-residence at The
School of the Art Institute of Chicago. In 2006, she received a Fulbright Senior
Specialist Fellowship in art, to teach at the University of Frankfurt, where she
also worked to complete a limited-edition constructed art book, Oaths? Questions?
, in collaboration with James Siena, published by Granary Books in 2009; with a
Fulbright, she taught and worked at the Edinburgh College of Art in the spring of
2010. Of the Diagram: The Work of Marjorie Welish (Slought) compiles papers given
at a conference on April 5, 2002, at the University of Pennsylvania, devoted to
her writing and art: https://slought.org/resources/of_the_diagram Welish's book
of art criticism is Signifying Art: Essays on Art After 1960 (Cambridge
University Press), and she has written for Art Monthly and Bomb magazine, among
many others. More information on Welish may be found at
Buzz Spector is an artist and critical writer whose art has been the focus of
exhibits at the Art Institute of Chicago, Corcoran Gallery of Art, Washington,
DC, Huntington Museum of Art, Huntington, WV, Mattress Factory, Pittsburgh, PA,
and the Orange County Museum of Art, Newport Beach, CA. Spector's work makes
frequent use of the book, both as subject and object, and is concerned with
relationships between public history, individual memory, and perception. He was a
co-founder of WhiteWalls, a magazine of writings by artists, in Chicago in 1978,
and served as the publication's editor until 1987. Since then Spector has written
extensively on topics in contemporary art and culture, and has contributed
reviews and essays to a number of publications. A volume of selected interviews
of Spector plus new page art, Buzzwords, was published in 2012 by Sara Ranchouse,
Chicago. He is also the author of The Book Maker's Desire, critical essays on
topics in contemporary art and artists' books (Umbrella Editions, 1995), and
numerous exhibition catalogue essays, including N. Dash (White Flag projects, St.
Louis, 2013), Luis Camnitzer: Forewords and Last Words (Mildred Lane Kemper Art
Museum, St. Louis, 2011), and Dieter Roth (University of Iowa Museum of Art,
1999). In 2013 Spector was awarded the Distinguished Teaching of Art Award by
the College Art Association. Among his other recognitions are a Louis Comfort
Tiffany Foundation Fellowship in 1991 and National Endowment for the Arts
Individual Artist Fellowships in 1982, 1985, and 1991. Spector is Professor of
Art in the Sam Fox School of Design & Visual Arts at Washington University in St.
Louis: http://samfoxschool.wustl.edu/portfolios/faculty/buzz_spector



6. LAPD, FF Alumns, at Skid Row History Museum and Archive, LA, opening April 11
Exhibition: Blue Book / Silver Book
Saturday, April 11 through June 27
Open: Thursday, Saturday, Sunday 2-5 ~ Friday 3-6
Skid Row History Museum and Archive
440 S. Broadway, Los Angeles, CA 90013 ~ Mezzanine Level
OPENING RECEPTION APRIL 11, Saturday, 6-9 pm
A project of The Los Angeles Poverty Department ~ Tel. 213 413-1077 ~
www.lapovertydept.org. For Further Information on the Exhibition and Special
Events Please call or email info@lapovertydept.org
Los Angeles Poverty Department is pleased to announce the opening of our Skid Row
History Museum and Archive, and its inaugural exhibition, "Blue Book / Silver
Book," running Saturday, April 11 - June 27. The exhibition juxtaposes dueling
city development plans for the future of Skid Row, both created in the mid 1970s,
as a way of making transparent the role urban design plays in determining the
fate of communities.
The exhibition consists of a minimal installation of physical objects: two books,
one Blue one Silver, on a bare table. As visitors turn the pages of each,
thematically linked photos, videos, audio and paper documents, pop up, projected
on the gallery walls.
The show is curated by LAPD and designed by LAPD in collaboration with Robert M
Ochshorn. Ochshorn is a researcher at the Communications Design Group (San
Francisco, USA), where he designs media interfaces for extending human perceptive
and expressive capabilities. Ochshorn designed video / computer installation
elements of LAPD director John Malpede's "Bright Futures" project produced by
MIT's Center for Advanced Visual Studies.
This exhibition " Blue Book / Silver Book" historically contextualizes both
adoption of the city plan that saved the low income housing in Skid Row (known as
the Blue Book) and the defeat of a front running alternative "Silver Book" plan
that proposed "massive development of the area." In the wake of the
clear-cutting of historic Bunker Hill in 1955, Skid Row was headed for a similar
"redevelopment," under a proposed general development plan known as the "Silver
Book." Community advocates, frustrated by the wholesale displacement of Bunker
Hill residents, organized and presented an alternative plan, one that saved the
single room occupancy hotels and committed resources to renovating and augmenting
this housing and locating social services in the area. This plan, known as "The
Blue Book," was adopted by the city, in part as a strategy that would "contain"
poor people in one corner of downtown. Significantly, it had the reverse effect
of also preventing upscale development within Skid Row. As a result, the area's
primary stakeholders remain its low-income residents, and their interests are
increasingly prioritized as the community works to create a vibrant, viable
neighborhood. This show utilizes the interplay of historical documents and
non-linear, digitally reconfigured content--activated by each visitor--to unfold
its story, thereby creating a mechanism for each visitor to experience the
exhibition uniquely.
In a second museum space an extensive archive of Skid Row History (planning
documents, articles, videos, audios, interview transcripts etc.), will be
available for casual and scholarly research. Visitors will be able to access
this archive, comment upon it and use it to further explore the show's themes.
About the Skid Row History Museum and Archive
The Skid Row History Museum and Archive is a pop-up exhibition /performing arts
space curated by LAPD. It foregrounds the distinctive artistic and historical
consciousness of Skid Row, a 40-year-old social experiment. The Skid Row History
Museum and Archive functions as a means for exploring the mechanics of
displacement in an age of immense income inequality, by mining a neighborhood's
activist history and amplifying effective community strategies. The space
operates as an archive, exhibition, performance and meeting space. Exhibitions
will focus on grassroots strategies that have preserved the neighborhood from
successive threats of gentrification and displacement, to be studied for current
adaptation and use. The space will be activated by performances, community
meetings and films addressing gentrification and displacement locally, nationally
and globally.
Robert M Ochshorn holds a BA in Computer Science from Cornell University and
worked as a Research Assistant in the Interrogative Design Group at MIT and
Harvard. In 2012, he was a researcher at the Jan van Eyck Academie (Maastricht,
NL), where he developed the open-source InterLace software that was used in
collaboration to create the web-based documentary Montage Interdit (presented at
the Berlin Documentary Forum 2, June 2012, Berlin, Germany), and he has recently
completed a residency at Akademie Schloss Solitude (Stuttgart, Germany). He has
performed, lectured, and exhibited internationally.
Currently celebrating its 30th year, Los Angeles Poverty Department was the first
ongoing arts initiative on Skid Row. LAPD creates performances and
multidisciplinary artworks that connect the experience of people living in
poverty to the social forces that shape their lives and communities. LAPD's works
express the realities, hopes, dreams and rights of people who live and work in
L.A.'s Skid Row. LAPD has created projects with communities throughout the US
and in The Netherlands, France, Belgium and Bolivia.
LAPD's Skid Row History Museum and Archive project is supported with funding from
the California Arts Council's Creative California Communities Program, The Doris
Duke Charitable Foundation and The National Endowment for the Arts.
Henriëtte Brouwers
Associate Director

office: 213-413 1077

Los Angeles Poverty Department
PO Box 26190
Los Angeles, CA 90026



7. Jayoung Yoon, FF Alumn, at Columbia University, opening April 3, and more
March 23 -April 9, 2015.
Opening Reception: April 3, 5-7pm
Teachers College Macy Gallery
444 Macy Building, Columbia University
525 West 120th Street
New York, NY 10027

This group exhibition "Repsychling" presents the works of professional,
self-taught, and student artists who investigate processes which explore art
making through recycling, repurposing and repetition. The group exhibition
introduces art that explores how artists' conceptualizes what they see through
materiality, multiplicity and replication. The diversity of participating artists
in "Repsychling" offers new perspectives and raises inquiry of the traditional
paradigms of art in society and art education through materials and reiterations
of content.
BODY and SOUL, 2015 Kreft Juried National Exhibition
March 24 - April 12, 2015
Opening Reception: April 10, 7-9pm

Concordia University Ann Arbor
Kreft Center for the Arts
4090 Geddes Road
Ann Arbor, MI 48105

2015 Kreft Juried National Exhibition examines and illustrates the relationship
between these two entities. Coupling them immediately suggests pairs of
opposites: physical and metaphysical, flesh and spirit, earth and heaven. How do
we live in the body and yet recognize and celebrate the soul? How is one
manifested through the other? What do they tell us about the nature of human
personhood? What might it mean to be "soulful"?

Dispatches from eternity
April 11 - May 3, 2015
Opening Reception: April 11, 6-8 pm

Theo Ganz Studio
149 Main Street
Beacon, NY 12508
Jayoung Yoon



8. Paco Cao, Nicolás Dumit Estévez, Xaviera Simmons, Valerie Tevere & Angel
Nevarez, FF Alumns, at the Old Bronx Borough Courthouse, opening April 23

No Longer Empty is pleased to present When You Cut into the Present the Future
Leaks Out at the Old Bronx Borough Courthouse. Built 1905-1914 and attributed to
architects Michael John Garvin and Oscar Florianus Bluemner, the Courthouse, once
boasting granite floors, lavish stairways, and bronze doors, remains adorned by a
statue of Lady Justice. Listed on the National Register of Historic Places in
Bronx County, the Beaux Arts-style building has been shuttered for 37 years.
The Old Bronx Borough Courthouse is taken as both site and theme: a time capsule,
witness, and symbol existing within a plurality of narratives about its future
role in the neighborhood. Referencing a quote by Beat generation poet William S.
Burroughs, When You Cut into the Present the Future Leaks Out echoes approaches
attributed to cut-up poetry, early Hip-Hop, Spoken Word, and the sculptural
practice of artist Gordon Matta-Clark, who sliced into urban spaces as social
commentary. The exhibition will occupy three floors and include the works of 26
artists and site-specific works commissioned by No Longer Empty. Curated by
Regine Basha for No Longer Empty
Location: 878 Brook Ave (at the intersection of East 161 St and Third Ave)
Opening Reception: Thursday, April 23, 6-9pm
Viewing hours: April 23-July 19, Thursday-Sunday, 1-7pm
Directions: 2 or 5 train to 3 Ave-149 St, walk northeast on Third Ave, left onto
Brook Ave (10 min); 4, B, or D train to 161 St-Yankee Stadium, walk east on 161
St (20 min) or take Bx6 bus to Elton Ave-E 161 St
Daniel Bozhkov / Melissa Calderon / Beth Campbell / Paco Cao / Onyedika Chuke /
Abigail DeVille / Teresa Diehl / Elastic City (Todd Shalom) / Nicolás Dumit
Estévez / Ellen Harvey / Skowmon Hastanan / Adam Helms / Iman Issa / Paul Ramirez
Jonas & Deborah Fisher / Lady K Fever / Michelle Lopez / Ivan Navarro / Daniel
Neumann & Juan Betancurth / Shellyn Rodriguez / David Scanavino / Lisa Sigal /
Julianne Swartz / Xaviera Simmons / Valerie Tevere & Angel Nevarez
A series of events and educational programming will be presented in conjunction
with the exhibition: No Longer Bored Family Days, BX200 Virtual Artist Studios,
Teens curate Teens (TCT) exhibition and teen day, Bronx Fashion Week, conceptual
walks with Elastic City, New York Public Library Community Oral History Project,
performance with Bronx Academy of Arts & Dance, walking tours by Ed García Conde,
Founder and Editor of Welcome2TheBronx.
SAT APR 25, 1-4pm: No Longer Bored Family Day: Urban Gardening Workshop
SUN APR 26, 3-5pm & FRI JUN 12, 6-8pm: BX200 Virtual Artist Studios
SAT MAY 16, 1-7pm: Teens curate Teens exhibition opening and teen day
SAT MAY 9: Bronx Fashion Week
FRI May 29, 1pm & SAT May 30, 1pm & 5pm: Conceptual walks with Elastic City
and much more to be announced! Check back soon for details.
ArtsConnection / Bronx200 / Bronx Academy of Arts & Dance (BAAD!) / Casita Maria
Center for Arts & Education / DreamYard Project / Ed García Conde,
Welcome2TheBronx / The Kelly Street Community Garden / New York Public Library
Community Oral History Project / Percent for Green / South Bronx Overall Economic
Development Corporation (SoBRO)
#nolongerempty #oldbxcourthouse #whenyoucutintothepresent
This program is supported, in part, by public funds from the New York City
Department of Cultural Affairs in partnership with the City Council and with
generous support from NYC Department of Small Business Services, New York City
Economic Development Corporation, National Endowment for the Arts, The Joan
Mitchell Foundation, The Robert Lehman Foundation, and The Gilbert MacKay
Foundation. Support for No Longer Empty's educational programming is provided by
The Mary Duke Biddle Foundation and The American Chai Trust. We gratefully
acknowledge our project partner, Liberty Square Realty Corporation. Opening
reception sponsored by Bronx Brewery.
Official media sponsors: WNYC Radio and Ed García Conde, Welcome2TheBronx.



9. Jennifer Miller, Cathy Weis, FF Alumns, at WeisAcres, Manhattan, March 29

Cathy Weis Projects presents Sundays on Broadway on March 29
WeisAcres, 537 Broadway #3, New York, NY
Reservations are required because seating is limited. RSVP to info@cathyweis.org
What's the difference between watching dance in the flesh and in its digitized form?
On Sunday, March 29, we will see both. In the flesh, you will watch dances by Jon
Kinzel, Jennifer Miller, Vicky Shick, and Cathy Weis. Also in the flesh, you will
witness twin fortune tellers, conjuring up from the depths of a crystal ball
footage of rare dances by Steve Paxton and Poppo and the GoGo Boys (plus four
others) not seen in thirty years. This is the final event of the season and the
fourth in a series of evenings exploring this developing theme.



10. Alexander Viscio, FF Alumn, at Museum of New Art, Detroit, MI, opening May 8

Very excited to have an image in DETROIT!

"Shooting Star" 2012, will be in The Selfie Show at MONA in Detroit, May 8th.
Thank you Jef Bourgeau

The Museum of New Art in Detroit has my image "Shooting Star" on their FB timeline:

Alexander Viscio



11. Terry Dame, FF Alumn, at Barbes, Brooklyn, March 26

Hello friends and lovers of music and art!

Episode 22 of my Weird Wednesdays (on Thursdays) monthly series is coming your
way on March 26th...March is Weird String Month and will feature guest artists
Kelvin Daly on Filipoberiophone and Nick Demopolous on his SMOMID. I myself will
be doing a new little improvised ditty for Electric Slinkys and Sitello plus
another weird little sonic surprise...
Barbes, in addition to new creative music, offers delicious tap beer (and full
bar) and nice French people. Come on down enjoy some amazing musical innovations.
Below are details about the artists and a link to our Facebook page. Pay us a
visit, like us and never miss a minute of the odd and fantastic. Hope to see you
there and happy Spring!
Peace and love...and weirdness,


Terry Dame's Weird Wednesday Episode 22 - Weird Strings
THURSDAY, March 26 @ 7:30-9:30pm Sharp(ish)!
376 9th St, Brooklyn, NY 11215
(347) 422-0248

More about the Artists:
Kelvin Daly is a musical improviser, poet, songwriter, and visual artist who
specializes in designing, building, and composing on new musical instruments,
with a focus on bowed strings and instruments that favor multiple playing
approaches. He has done collaborate work with theatre, dance , and circus, spent
much of his life as a street performer, and currently does his solo project
focused on the possible relations between voice, text, and musical improvisation.
He is a member of the 23 Windows studio collective, where he builds h is pieces
and often improvises on the roof in the middle of the night.

Nick Demopoulos is guitarist, sound designer, performer and instrument creator.
For Weird Wednesday Nick will be performing with his Smomid, a guitar-like
interface and Pyramidi, a triangular midi interface resembling a console. In
January 2015 he released his first full length album of music created only with
Smomid and Pyramidi instruments called Rhythms of Light. Some of the interests he
explores and employs in his music are artificial intelligence, micro tonality and
algorithmic improvisation. With his Smomid Nick has been featured on the
Discovery Science Network, Guitar World, Create Digital Music, Metal Injection
and Popular Noise Magazine among others. For more information please visit:

Terry Dame is a composer, sound artist, multi-instrumentalist, instrument builder
and educator.
Dame leads the invented instrument ensemble Electric Junkyard Gamelan and the
solo offshoot projects involving original interactive controller instruments
known as ElectronGong and The Science Music Road Show. She curates the monthly
music series Terry Dame's Weird Wednesdays at Barbes Brooklyn. Now in its third
year, the series is dedicated to instrument inventors and players of objects and
other musical oddities. As a side person Ms. Dame performs saxophones and
percussion in a variety of groups including Kenny Wollesen's Himalayas and
Wollesonic Laboratories, Jessica Lurie's Plate Tiptonics, Paprika and the EDM
project Daughter Of Darrr with controllerist/dj Julie Covello.




12. Susan Newmark Fleminger, FF Alumn, at Brooklyn Public Library, Grand Army
Plaza, March 25, and more

Dialogues in the Visual Arts
Spring Series
Join us for the second season of conversations moderated by arts professionals
with contemporary Brooklyn visual artists.
Susan Newmark Fleminger, Program Curator
Street Art/ NYC: Street Art & Graffiti in the Metropolis
Street art today has become a global phenomenon transforming the urban landscape
into a mesmerizing open-air museum. With moderator Lois Stavsky (editor of
StreetArt/NYC), and artists Alice Mizrachi, Cern and Meres One. Wednesday, March
25, 6:30 pm
What Does the Book Have to Do with It?
The Book in Contemporary Art
Long familiar as a container for information, books allow artists to push beyond
ordinary categorizations and combine media to create sculptural objects, textural
inventions and unique visual narratives. With moderator Maddy Rosenberg, and
artists Tomie Arai, Doug Beube and Anne Gilman.
Wednesday, April 22, 6:30
Day In Day Out: The Art of Social Commitment
A conversation on commitment related to artistic actions, performances,
choreographies and projects informed by the burgeoning fields of socially engaged
art and practice. With moderator Nicolás Dumit Estévez and artists Gonzalo
Casals, Ernesto Pujol and Martha Wilson. Wednesday, May 27, 6:30 pm
All events are held in the Information Commons Lab. Free of Charge.



13. Lady Pink, FF Alumn, on Oxygen network and online, March 31

http://www.oxygen.com/street-art-throwdown I'm sure you missed the first few fun
filled episodes of Street Art Throwdown on Oxygen (you can catch their web site).
But the Pink Lady of the house will be the guest super star judge in the finale
next week Tuesday March 31



14. Monstah Black, FF Alumn, at Lava, Brooklyn, March 28

Choreographer Monstah Black, DJ Manchildblack and theater artist Ashley
Brockington invite you to join them, on March 28, at LAVA, for a three-hour dance
workshop where they will investigate a structural intervention in the current
modality of protest, by engaging the body and the beat as tools of liberation.

From training on the sly with the Capoeristas of Brazil and marching with South
African Freedom Fighters to throwing teargas canisters back at the police in
Ferguson, movement is an integral part of the way we deal with conflict, the way
we struggle for freedom.

Last Night a DJ Gave me Life is an experiment in theater, where the community is
invited to engage with one another in creating physical movement that embodies
the call to justice. This will be a performance of tension, release, healing and

When: March 28, 2015, 6-9pm
Where: LAVA, 524 Bergen St., Brooklyn, NY.
Door: $15-$25 sliding scale




15. Peggy Diggs, Harley Spiller, FF Alumns, now online at coinbooks.com

Please visit this link for a review of the work of FF Alumns Peggy Diggs and
Harley Spiller


thank you.



Goings On is compiled weekly by Harley Spiller