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Contents for April 13, 2015

1. Martha Wilson, Carolee Schneemann, Cindy Sherman, Britta Wheeler, FF Alumns, in hyperallergic.com now online

Please follow this link to the complete illustrated article:

http://hyperallergic.com/195681/the-radical-art-of-archiving-performance-as-practiced-by-martha-wilson/

thank you.

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2. Martha Wilson, Jess Dobkin, Andrea Fraser, FF Alumns, in Toronto, Canada, April 16-18

How Many Performance Artists Does it Take to Change a Light Bulb (For Martha Wilson)
By: Jess Dobkin
Thursday April 16
PM - 11:15PM
@Enoch Turner Schoolhouse (106 Trinity Street)
Admission: Suggested $10/Pay What You Can

FB LINK:
https://www.facebook.com/events/339784929553003/

FB LINK for twitter:
http://on.fb.me/1EHBJQB

Andrea Fraser's "Performance or Enactment" as selected by Martha Wilson
Thursday April 16
3PM - 4PM
No Reading After the Internet with Martha Wilson and Jess Dobkin
@Urbanspace Gallery (401 Richmond Street West)
Admission: FREE

FB LINK:
https://www.facebook.com/events/562461023856551/

FB LINK for twitter:
http://on.fb.me/1bycbOI

How Many Performance Artists Does it Take to Eat Brunch
With Jess Dobkin and Martha Wilson
Saturday April 18
11AM - 1PM
How Many Performance Artists Does it Take to Eat Brunch
@Onsite Gallery at OCAD (199 Richmond Street West)
Admission: FREE

FB LINK:
https://www.facebook.com/events/1553894804892555/

FB LINK for twitter:
http://on.fb.me/1Cs2BH5

Accidental Archive Symposium
Jess Dobkin in Attendance.

April 16-18
York University
4700 Keele Street
For registration and more information: yutps.ca

In addition to Jess Dobkin's performance piece, How Many Performance Artists Does it Take to Change a Light Bulb (For Martha Wilson), Dobkin and Martha Wilson will be participating in York University's Accidental Archive Symposium.

Performing the Accidental Archive is the annual graduate symposium organized by York University's MA/PhD Program in Theatre & Performance Studies. "Accidental Archive" refers to the non-essential, the contingent and the subsidiary that are unintentionally archived, or to performances that remain in different, transformed and immutable ways. Papers, performances and workshops are presented alongside keynotes by Ann Cvetkovich and Shannon Jackson (in collaboration with the Performance Studies (Canada) project, York's Faculty of Education and the AGYU).

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3. Kal Spelletich, FF Alumn, at Catharine Clark Gallery, San Francisco, CA, thru May 23

Helloo Ladies and Gentlemen,

I have an art exhibit in San Francisco that opens on Saturday, April 11, 2015 from 5-7 P.M. at the Catharine Clark Gallery.
248 Utah Street San Francisco, CA 94103
415.399.1439 m. 415.519.1439

https://kaltek.wordpress.com/intention-machinespraying-robots/
http://cclarkgallery.com/exhibitions/kal-spelletich-intention-machines-2015

It is 7 mystical robots and photos as well as some photos and machines and maybe a video.
The opening should be a hoot with guest DJ's, a Tequila Pouring machine and some surprises.

Also, in the rear media room is the brilliant Jo Harvey Allen! A video documentary and paraphernalia from the production of Jo Harvey's performance Hally Lou (1983) will exhibit concurrently in our dedicated media She will be presenting a video installation called Hally Lou! Jo Harvey has quite an illustrious career. It is a real treat to be exhibiting with her. https://en.wikipedia.org/wiki/Jo_Harvey_Allen

There are some extracurricular events during the run of the exhibit that will be a lot of fun.

On Saturday, May 2, from 7 - 10 pm, an after-party! at the Gallery. I will join with artist-musicians Scott Hewicker, Alicia McCarthy and Paul Kos for a night of DJ'd music and cocktails poured by robots.

On Thursday, May 14, from 5 - 7 pm, Spelletich and Alistair Shanks, a Buddhist chaplain who has worked with the Zen Hospice Project and in the San Francisco County Jail system, will give a talk entitled, ""Robots and Mystical Transformations: Can technology help us address spiritual questions and crises?" An electric array of music DJ'd by Shanks and Spelletich will follow.

The exhibit will close on Saturday, May 23 with a musical performance with Tome Greenwood of Jackio-O-Motherfucker from 3 - 5 pm featuring Spelletich's robots, as well as Bay Area painter, street artist and performer Chris Johanson who will make a special guest appearance at the turntables. Tom and I will be mic'ing my robots and making some wonderful sounds.

The exhibit runs from April 11, 2015 - May 23, 2015.

San Francisco, CA: Catharine Clark Gallery is pleased to announce our first solo exhibition of the work of Kal Spelletich. On view April 11 - May 23, 2015, Kal Spelletich: Intention Machines will feature approximately seven robotic sculptures, each representing an actual person influential in Spelletich's life and artistic career. Several photographs of the sun which Spelletich took with a digital camera modified with various apparati will also be presented as part of the exhibit.
room. Both artists will be present for the exhibition opening on Saturday, April 11th 2015, from 5 - 7 pm.

In his capacities as an artist, Zen philosopher, ardent activist, inventor and musician, Kal Spelletich has spent his creative career exploring the powerful possibilities of combining art and mysticism with the rigors of science and technology. Spelletich is well known for his mechanized, fire-ensconcing robotic art, but his latest work leans away from pyrotechnics and towards a spiritual vein. Intention Machines features seven headless robots- avatars of friends, mentors and heroes who have profoundly influenced the artist's life. Each robot is titled for its namesake, and wears unwashed work clothes previously owned and worn by the person embodied by the work. Poet and artist Lawrence Ferlenghetti and Emory Douglas, Minister of Culture for the Black Panther Party, are among those represented by Spelletich's machines. His mechanical models genuflect, clasp hands in prayer and whirl like Sufi dervishes. Viewers activate the robots by touching an interface sensor that enables the machine to 'read' the viewer, and react with a responsive gesture. Sensors on the robots are programmed to detect a variety of inputs: proximity, touch, force, breath-alcohol content, polygraph metrics, and ambient sound. Responses are spontaneous and unique-the robots have no stored memory. Each of the photographs in the exhibit relates to the same individuals personified by the robotic sculptures. Spelletich took the photographs with a digital camera modified by a child's magnifying glass and lenses cannibalized from old slide projectors in an attempt to view the sun in a way one cannot with the naked eye. Spelletich's process is very much rooted in his desire to pay homage to his mentors. The work titled after Martha Wilson was taken while Spelletich was conjuring her during a partial solar eclipse.

Several special collaborative events will take place as part of Spelletich's exhibit. On Saturday, May 2, from 7 - 10 pm, artMRKT San Francisco will co-host an after-party at Catharine Clark Gallery in conjuction with the art fair festivities at Fort Mason. Kal Spelletich will join with artist-musicians Scott Hewicker, Alicia McCarthy and Paul Kos for a night of DJ'd music and cocktails poured by Spelletich's robots. On Thursday, May 14, from 5 - 7 pm, Spelletich and Alistair Shanks, a Buddhist chaplain who has worked with the Zen Hospice Project and in the San Francisco County Jail system, will give a talk entitled, ""Robots and Mystical Transformations: Can technology help us address spiritual questions and crises?" An electric array of music DJ'd by Shanks and Spelletich will follow. The exhibit will close on Saturday, May 23 with a musical performance from 3 - 5 pm featuring Spelletich's robots, as well as Bay Area painter, street artist and performer Chris Johanson who will make a special guest appearance at the turntables.

Kal Spelletich | Intention Machines
April 11 - May 23, 2015
Saturday, April 11 : Opening reception with the artist 5:00 - 7:00 pm
This event is free and open to the public.

Kal Spelletich: Born and raised in Davenport, Iowa, Kal Spelletich received his undergraduate degree at the University of Iowa, and an M.F.A. from The University of Texas at Austin, both in the field of Media Art. For 25 years, Spelletich has been exploring the interface of humans and robots, using technology to reconnect people with intense, real-life experiences. His work is interactive, requiring participants to enter or operate his pieces, often against their instincts of self-preservation. He probes the boundaries between fear, control and exhilaration by giving his audience the opportunity to operate fascinating and often dangerous machinery. In 1988, Spelletich founded Seemen, his interactive machine art performance collective. Since then, he has performed, exhibited and lectured worldwide, collaborating with scientists, musicians, politicians and actors on various projects. Spelletich's work has been included in numerous museum and gallery exhibitions over the past two decades, including the de Young Museum, SFMOMA, Exploratorium and Yerba Buena Center for the Arts, San Francisco, CA; California Folk Art Museum, Los Angeles, CA; Museum of Art and History, Santa Cruz, CA; Oakland Museum of California, Oakland, CA; and Headlands Center for the Arts, Marin, CA. He has also exhibited internationally in Namibia, Germany, Croatia and Austria. Kal Spelletich lives and works in San Francisco, California.

http://kaltek.wordpress.com/
http://kaltek.org/

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4. Dan Graham, FF Alumn, at ETH Zurich, Switzerland, opening April 14

Dan Graham-with an intervention by Günther Vogt
15 April-21 June 2015

Opening: Tuesday 14 April
5pm: roundtable discussion by Dan Graham, Prof. Günther Vogt, Prof. Jacques Herzog, moderated by Prof. Dr. Philip Ursprung

ETH Zurich, Hönggerberg, HIL, gta exhibitions
Stefano-Fanscini-Platz 5
8093 Zurich
Switzerland

www.ausstellungen.gta.arch.ethz.ch

Dan Graham has been one of the most influential conceptual artists since the 1960s. His oeuvre is wide-ranging: as a gallerist, critic, curator, and artist, he has enduringly shaped the discourse of contemporary architecture, art, and music. The exhibition Dan Graham-with an Intervention by Günther Vogt at ETH Zurich looks specifically at his interest in architecture and urban planning, and explores his significance for architectural theory. His writings, like "Homes for America," are considered required reading in the theory of architecture and take the polemical position that the actual city of the 21st century will be located in the suburbs.

His most recent works include the Roof Garden at New York's Metropolitan Museum, created in cooperation with landscape architect Günther Vogt, a professor at ETH Zurich. In the exhibition at ETH Zurich, Graham and Vogt's collaboration is explored in a site-specific presentation. Additionally, models of Graham's unrealized architectural projects are shown and Graham's videos on phenomena of architecture are presented in staged interiors that rec all single family homes from the suburbs. An artist's book by Dan Graham is being published to accompany the exhibition.

About gta exhibitions
gta exhibitions is part of the Institute of History and Theory of Architecture (gta) at ETH Zurich. The exhibition program serves as an interface between theory and practice, showcasing research and teaching in the Department of Architecture. The thematic field of architecture is extended through interdisciplinary approaches and critically reflected through an experimental approach to the medium of the exhibition.

gta exhibitions is curated by Fredi Fischli and Niels Olsen.

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5. Sanja Iveković, Cecilia Vicuña, FF Alumns, at e-flux, Manhattan, opening April 17

So You Want to See
Sanja Iveković, Rajkamal Kahlon, Victoria Lomasko, OKO, Cecilia Vicuña, Carla Zaccagnini
April 17-June 6, 2015

Opening: Friday, April 17, 6-9pm

Talk: Wednesday, April 15, 7:30pm
What, How & for Whom in conversation with Sanja Iveković, OKO, and Cecilia Vicuña

e-flux
311 East Broadway
New York, NY 10002
Hours: Tuesday-Saturday noon-6pm

www.e-flux.com

Curated by What, How & for Whom

So You Want to See brings together six female artists from decidedly different places and of different generations, using distinct methods of aesthetic investigation through works situated within various historical and social contexts, as well as within different genealogies of contemporary art and of its role within society. Yet their work testifies to parallel preoccupations across different social and artistic matrices that all share a keen interest in investigating the ways in which social norms become naturalized, and the role images play in this process.

For decades, feminist writers have critically analyzed the way regimes of representation take hold of mainstream media to the extent that they are not recognized as representations at all. But any assumed position of power over the productivity of visuality is subject to constant struggle and renegotiation. Through their distinct approaches, the artists in this exhibition build alternative projects for seeing, attempting to activate images from the opposite side in order to denaturalize and estrange them-to produce new ways of seeing other than mere observing.

While many works deal with issues of women's struggle for emancipation and equality, both historically and in contemporary conditions, the exhibition revolves around different approaches to ways of looking and seeing. It attempts to sketch out the interplay of relations between what we obstinately refuse to see and what we desire to see. Appropriation, collage, critical juxtaposition, reworking of documentary approach, and the combining of various cultural references are among the chief strategies that artists in the exhibition use in order to confront and subvert perceptions of what is customary, normal, and taken for granted. The works presented strive to make contradictions apparent, to expose the mechanisms through which meaning is formed through visuality, and to dispute the processes through which the interpretation of history is constructed.

Carla Zaccagnini refers back to the protest attacks on paintings carried out by suffragettes in museums in UK in the early twentieth century, looking into their iconoclastic gestures to explore an awareness of the power of images as well as the economic and symbolic value of art in relation to militant political engagement. Sanja Iveković's collages explore the image a woman is expected to project of herself in order not to be branded as improper or even dangerous, and its relation to the image of femininity produced by mass media. OKO uses street art techniques of wall drawing and paste-up, combining images appropriated from both iconic art works and popular sources to create phantasmagorical displays, resulting in an estranging effect that is often humorous and disconcerting at the same time. Using the method of a simple and straightforward street interview, Cecilia Vicuña creates an action that is at once political and poetic by asking about the role of art in politically turbulent times. Rajkamal Kahlon appropriates and subverts colonial imagery and aesthetics of (Western) ethnography, linking historical and present-day imperialism to bring about a belated visual rehabilitation of the figures depicted. Victoria Lomasko's graphic reportages probe into contemporary Russian social conflicts, including political show-trials, modern slavery, the situation of sex workers, and internal colonialism.

This is an all-woman exhibition, and feminist it is. And with that it bypasses the discussions focusing solely on the representation of gender, and instead reiterates the need for dealing with the ways in which gender, class, and race oppression interact and influence each other in attempting to imagine a new way of seeing-and a more just society.

For further information, please contact magdalena@e-flux.com.

The exhibition received support from the Foundation Croatia House and Office for Culture, Education and Sports of the City of Zagreb.

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6. Robin Tewes, FF Alumn, at MaryMount College, Manhattan, opening April 16

Confluence and Influence
Hewitt Gallery of Art
MaryMount College
221 East 71st street
April 12-Apri 30th, 2015
Opening April 16, 2-6PM

Robin Tewes will have 5 paintings in the exhibition.

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7. Ken Butler, FF Alumn, at West Park Presbyterian Church, Manhattan, April 18

ComposersCollaborative, Inc. presents

An Evening with Ken Butler's Hybrid Visions

"... a ceaselessly inventive instrument builder, coaxed flashing lights and simple, throbbing melodies from his one-string "K-Board," over which blew an extraordinary trumpet-like solo on a small strip of latex." - Steve Smith, The New York Times, 11/16/13

Ken Butler
with special guest percussionist Rich Stein
Saturday April 18th
7:30 PM
West-Park Presbyterian Church
W 86th St & Amsterdam Ave. (northeast corner)
General Admission $15 (students and seniors w. ID $10)
Ken Butler's hybrid musical instrument sculptures, collage/drawings, performances, and audio-visual installations explore the interaction and transformation of common and uncommon objects, sounds, and altered images as function and form collide in the intersections of art and music.
To watch Ken Butler videos, visit http://kenbutler.squarespace.com/videos-about-kb/
For further information
contact CCi Artistic Director
Jed Distler
tel. (212) 920-0726
jdistler@composerscollab.org

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8. Ann Hamilton, FF Alumn, at Wexner Center for the Arts, Columbus, OH, April 23-26

the theater is a blank page
Ann Hamilton and SITI Company
Artist Residency Award Project
April 23-26, 2015

Wexner Center for the Arts
The Ohio State University
1871 North High Street
Columbus, OH 43210

T +1 614 292 3535

wexarts.org
Facebook / Twitter / Instagram

The Wexner Center for the Arts presents the world premiere of the theater is a blank page, an immersive performance created by renowned visual artist Ann Hamilton and theater innovators SITI Company. The production, the first full collaboration between the artists, was created through a Wexner Center Artist Residency Award and is a signature moment of the Wexner Center's 25th anniversary season.

Combining Ann Hamilton's conceptual, visual art-based perspective on performance with SITI Company's skills as theater-makers, the theater is a blank page pushes the artists' aesthetics into fresh experimental territory. The work's title metaphorically refers to the meta-experience of reading-being aware of both the solitary act of reading and of the author's narrative journey.

As an extension of this idea, Hamilton and Anne Bogart, Leon Ingulsrud, and Ellen Lauren (SITI's co-artistic directors on this project) will focus on the apparatus of theater-its architecture, mechanics, and tools-as well as on the audience's immersion in the performance's ever-evolving layers of images.

Text from Virginia Woolf's novel To the Lighthouse (1927), known for its shifting temporal and psychological perspectives set alongside poignant ruminations on loss, subjectivity, and perception, will be another point of departure for the work.

By bringing together these pivotal artists of different disciplines who have found deep kinship at the Wexner Center, the center underscores its mission of 25 years: to serve as a laboratory for creative exploration, and to offer a space where audiences can witness the creative process as it unfolds.

More information on the theater is a blank page

The artists
Internationally renowned installation-art pioneer Ann Hamilton, who lives and works in Columbus and is a Distinguished University Professor in The Ohio State University's Department of Art, has engaged the Wexner Center since New Works for New Spaces (1990-91), one of its inaugural exhibitions, and was the subject of the center's 1996 survey of her multimedia work, the body and the object. She developed her interest in video through the support of the center's Film/Video Studio Program and launched her first collaborations with performing artists such as choreographer Meg Stuart and multidisciplinary visionary Meredith Monk in projects spearheaded and commissioned by the center's performing arts department. In addition to representing the US at the 1999 Venice Biennale, Hamilton has exhibited installations at such major institutions as the Park Avenue Armory, Guggenheim Museum, and Museum of Modern Art in New York, and has received the prestigious MacArthur "Genius" Award, among countless others.

Through Wexner Center creative residencies SITI Company has created and premiered multiple works at the center, including Bob (1998), Alice's Adventures (1998), Room (2000), and Score (2002), and presented several other productions on the center's stages. Among other notable accolades, SITI Company has received the Rene Castillo Otto Award for Political Theater and the American Theatre Wing Award.

Hamilton met SITI Company through SITI's repeat visits to the Wexner Center, which led to her inviting SITI actors and designers to take part in her acclaimed, large-scale installation the event of a thread at the Park Avenue Armory in late 2012. This success triggered their interest in joining forces for the theater is a blank page.

About the Wexner Center Residency Awards
As a research and development laboratory for the arts in all disciplines, the Wexner Center has offered substantial support to artists to develop new work since 1991, allowing hundreds of artists to create new work or explore new creative directions. The center's support for artists through residencies and commissions underscores its commitment to being a catalyst to fueling the creative expression of our time, while complementing Ohio State's mission as a leading research institution. Among the diverse artists who receive production assistance each year, recipients of the Wexner Center Artist Residency Award constitute a special category. Significant innovators in each of the center's program areas are selected annually by the center's director and curators to receive support through the Wexner Center Artist Residency Award Program.

More on Wexner Center Residency Awards
Wexner Center Residency Awards video

Press contacts
Jennifer Wray: T +1 614 247 6241 / jwray@wexarts.org
Erik Pepple: T +1 614 292 9840 / epepple@wexarts.org

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9. Tomislav Gotovac Slaven Tolj, Alexander Viscio, FF Alumns at Galerie Michaela Stock, Vienna, Austria, opening May 15

APPROPRIATION | PERFORMANCE | PART 1
16.5. - 31.5.2015
Opening: Friday, 15th May, 5 am

WHERE: Galerie Michaela Stock, UNTERER STOCK, Schleifmühlgasse 18, 1040 Vienna

Vlasta Delimar (HR), Sandro Ɖukić (HR), María José Alós Esperón (MEX), Sebastian Gärtner (A), Tomislav Gotovac (HR), Verena Melgarejo Weinandt (D), Marko Marković (HR), Veronika Merklein (D), Siniša Labrović (HR), Amanda Piña (MEX), Goran Škofić (HR), Elisabeth Tambwe (DR Kongo), Slaven Tolj (HR), Anna Vasof (GR), Alexander Viscio (USA), Beate Susanne Wehr (D)

The gallery opens with an empty room.
Without a doubt, living and working conditions have significantly changed over the past years due to social, political and technological developments and visual references to existing pictures - interpictoriality - have become part of the artistic discourse. A work of art, thus, constantly reaches beyond itself as it refers, either
consciously or unconsciously, to something that already exists. The history of art is always a history of mediation and appropriation, of models and patterns. But it is not solely about detecting models, but also about finding a certain cultural implication or institutionalization of art, the system, after all, that the model is part of.
The performance artists from different countries and cultural backgrounds who have been invited shall at the opening or in the course of the following week, spontaneously present action-focused or ephemeral artistic performances dealing with the art of appropriation, either at the gallery or somewhere in the city.
It is up to the individual artists how they will later choose to document their performance at the gallery. The exhibition will be topped off with lectures of every artist and Scientists at the gallery and during the Vienna Gallery Weekend lectures and discussions about this topic.

The performance-exhibition concludes with the second Part APPROPRIATION | INTERPIKTORALITÄT | PART 2, which will be opened at the famous Vienna Gallery Weekend (29.5.-31.5.). At this weekend the documentation and result of the performance-exhibition will be shown in NEXT DOOR and UNTERER STOCK galerie michaela stock.

OPENING LECTURE
Saturday, 16th May
Dr. Renate Buschmann/Imai Düsseldorf | "Zweiter Aufguss? Die Reinszenierung von Performances"
Sandro Dukić | Still movement - Homage Nan Hoover

PERFORMANCE:
Vlasta Delimar | Cycle: Erzsebet Bathory | Unterer Stock Galerie michaela stock | 16.5.
Sandro Dukić | Still movement - homage Nan Hoover | 16.5.
María José Alós Esperón | Vox Populi | Sound Collaboration: Fabián Avila | 15.5. | NEXT DOOR
Sebastian Gärtner | kil khor kora | 15.5. | Schleifmühlgasse, Mühlgasse - Faulmanngasse - Wienzeile - Schleifmühlgasse
Tomislav Gotovac | Talking Rio (Rio Bravo), 1982 & Joe Williams Rocks in my Bed, 2001| 15.5. | Galerie Michaela Stock
Verena Melgarejo Weinandt | TBA | Wien
Marko Marković | Presentation of Power | Wien
Veronika Merklein | TBA | Wien
Siniša Labrović | Marching | 22.5. | Scharzenbergplatz
Amanda Piña | TBA | 19.5. | Nadalokal
Goran Škofić | BlackOut | Wien
Elisabeth Tambwe | Le Discours d´une duree de 50 min prononcé le 26 juillet 2007 | 28.5. | NEXT DOOR
Slaven Tolj | TBA | Wien
Anna Vasof | Fingerprints and Signature for the Today's Eternity | Wien
Alexander Viscio | StandBy, Sebastian | Wien
Beate Susanne Wehr | I am here - Hommage an On Kawara | 15.5. & 30.5. | Wien

Friday, 29th May, from 5 - 6:30 pm
Lectures and discussions on the various methods of appropriation in the visual arts with art historians, lawyers and journalists
WHERE: Bildraum 07, Burggasse 7-9, 1070 Vienna

Dr. Christoph Zuschlag/ art history and art education
Dr. Judith Elisabeth Weiss/ art history, ethnology
Dr. Philip M. Jakober/ intellectual property lawyer, musician
moderator: Manisha Jodathy/journalist

Saturday, 30th May, from 2 - 3:30 pm
Lecture & Round Table: Performance im Spannungsfeld - Perzeption und Dokumentation
WHERE: Galerie Michaela Stock, Schleifmühlgasse 18, 1040 Vienna

Dr. Ursula Maria Probst/ curator, art critic
Dr. Guido Isekenmeier/ english philology, computational linguistics, computer science
Mag. Günter Schönberger/ managing director of Bildrecht Österreich

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10. Jonah Bokaer, Agnes Denes, FF Alumns, selected as 2015 Fellows of the John Simon Guggenheim Memorial Foundation

Congratulations to Agnes Denes and Jonah Bokaer, FF Alumns, who have been selected as 2015 Fellows of the John Simon Guggenheim Memorial Foundation. More information here: http://www.gf.org/fellows/current/

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11. Larry Walczak, FF Alumn, at Eyewash, Brooklyn, thru May 3

Eyewash, the Williamsburgh, bklyn migratory gallery, presents PAPER JAM: exploring Visual Strategies for Social Concern, a group exhibition at Schema Projects, 92 St. Nicholas Ave. in Bushwick, Brooklyn. Open Friday, Saturday and Sunday from 1-6 through May 3rd. Featured artists include Elise Engler, Michael Waugh, Jim Torok, David Pierce and others. Curated by Larry Walczak. For more info eyewashart.com or call 718-362-9813.

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12. Mary Lum, FF Alumn, in Artforum and in Harper's Magazine, March 2015
Mary Lum, FF Alumn, has her work reviewed in the March 2015 issue of Artforum, and featured in the March 2015 issue of Harper's Magazine. Please follow these links:

http://harpers.org/archive/2015/03/untitled-1474/

https://artforum.com/inprint/

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13. Doug Beube, Susan Newmark Fleminger, FF Alumns, at Central Library, Brooklyn, April 22

Dialogues in the Visual Arts Series II
Join us for the second season of conversations moderated by arts professionals with contemporary Brooklyn visual artists. All events are held in the Information Commons Lab.
Susan Newmark Fleminger, Program Curator
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 pm
For more information about this series please visit
http://www.bklynlibrary.org/events/exhibitions/dialogues-visual-arts-ser
Central Library
10 Grand Army Plaza
Brooklyn, NY 11238

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14. Susan Mills, FF Intern Alumn, at Freshkills Park, Staten Island, May 9, and more

Here is a new short video about my ongoing book project with Freshkills Park, Staten Island, New York City. The Freshkills Park site is in a continual phase change from landfill to park, a conceptual and physical reclamation. This project reimagines the invasive Phragmites (the common reed) as a generative material, and with that, is a form of recycled art. Rather than introducing new materials to express recycling or upcycling, this project uses plants that are now growing on site naturally, looking to the future of the land and expressing the possibilities in renewal.

http://freshkillspark.org/os-art/uncommon-pages

An upcoming site tour and bookbinding workshop is scheduled for May 9th and co-presented by Freshkills Park and the Center for Book Arts.
http://freshkillspark.org/event/uncommon-pages-tour-and-workshop

Thanks,
Susan Mills
http://www.susanmillsartistbooks.com

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15. Annie Lanzillotto, FF Alumn, at Tribeca Cinemas, Manhattan, May 15

Yo! Get ya tickets!
I performed a couple lines in this great new film called "Alto" by Mikki Del Monico -- it's NY premier is Fri May 15.
(I may be on screen, maybe on the cutting room floor... who knows?) Fun either way!
Tickets are selling out fast.
$15
Fri May 15th
7PM
"Visionfest 15: The Other Festival"
at Tribeca Cinemas, 54 Varick Street, corner of Laight Street - New York City, 11222
(Visionfest 1&2, Program 05, "Visions of Love, Family & LGBT" section)
http://visionfest.com/film_festival/films/2015/

Alto, Written and Directed by Mikki del Monico. Shake the Tree Productions - Toni D'Antonio.
http://www.altothemovie.com/

A lesbian mob comedy...enough said? An improbable love, the mob and family traditions gone awry all pave the way to laughter in this character-rich story that explores uncharted territory. When unlikely worlds collide, chaos ensues and it all comes down to: Two girls. One gun. The Mob. Because coming out to family is hard, but coming out to FAMILY is funny.

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16. Donna Henes, FF Alumn, at Grand Army Plaza, Brooklyn, May 2

from MAMA DONNA HENES, URBAN SHAMAN:
WEEKLY LISTINGS for May 2nd

Event:
CHANTS FOR PEACE: CHANCE FOR PEACE
A Participatory May Day Ceremony for Peace on the Planet
With Mama Donna Henes, Urban Shaman & Friends

Description: Join us in an innovative Maypole Dance!
We will create and fly ribbons inscribed with messages of peace and hope.
In the tradition of Buddhist prayer flags, borne by the wind,
these STREAMS OF CONSCIENCE will carry our positive energy, blessings,
and best intentions to all corners of the earth.

These banners have been used many times since 1980 (**see attached images**).
At each event, new streamers are added and old ones re-read
and freshly endowed with the continuous collected energy of by now,
countless thousands of people.

A family friendly event.

When: MAY 2
Saturday, 11:00 AM - 2:00 PM (ongoing)
Rain date: Sunday, May 3, 12:00 noon - 3:00 PM

Where: Grand Army Plaza
Bailey Fountain
Park Slope, Exotic Brooklyn

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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17. Laurie Anderson, Steve Buscemi, FF Alumns, in the New York Times, April 9

The New York Times
Laurie Anderson to Receive Yaddo Artist Medal
by: Andrew R. Chow (4/9/2015)
Laurie Anderson will receive the second annual Artist Medal awarded by Yaddo, the artist colony in Saratoga Springs, N.Y. The ceremony will take place June 1 in New York and will be hosted by Steve Buscemi and Kate Valk.
Ms. Anderson, the experimental composer and performance artist who rose to prominence through the New York Downtown scene in the 1970s, has had residencies at Yaddo in 2011, 2012 and 2014. "It wasn't just a refuge or an interlude," Ms. Anderson said in a statement of her time at Yaddo. "It helped me to reset my work habits and schedules."
Ayad Akhtar, Eisa Davis and Young Jean Lee will perform at the benefit. Last year, the medal was awarded to Philip Roth.

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18. Richard Artschwager, Dancenoise, Ann Hamilton, Andy Warhol, FF Alumns, in The Wall Street Journal, April 10

The New Whitney Marks a Change in Museum Design
"The Whitney Museum reopens in May in a vast space designed to wow artists as much as audiences."
By: Kelly Crow, April 10, 2015

The new home of New York's Whitney Museum of American Art has a facade that does double duty as a canvas, a vast gallery with no columns, funky elevator interiors and tantalizing hidden passages.
The features are a blueprint for museums today, as institutions the world over compete harder for the chance to mount crowd-pleasing shows by big names. Instead of courting donors with grand galleries or stark white rooms for displaying masterworks, museums are luring star artists with buildings that they can engage and ultimately reshape with their work.
The Whitney's downtown space, which opens May 1, has been outfitted with an unprecedented array of materials and architectural elements designed to wow artists as much as audiences.
With its move from the city's Upper East Side to a Renzo Piano-designed building in the Meatpacking District, the 84-year-old museum is changing far more than its address. The new building's nearly 50,000 square feet of gallery floors will be made of neither trendy concrete nor lavish marble. Instead, Whitney officials chose reclaimed Heart pine from former area factories, so artists could hammer nails into it or tear up small sections if needed. (The museum has a cache of extra planks in case anyone does.)
A latticelike grid on the ceiling of the main gallery means artists won't have to cut through drywall to suspend their work. That 18,200-square-foot room has no columns, making it the largest museum gallery in New York City with uninterrupted views.

The notion of an artists' playground extends to aspects as prosaic as the elevators. Whitney curators asked Richard Artschwager, a conceptual Pop artist who often played with motifs of scale involving furniture, to enliven the interiors of the elevators. Mr. Artschwager, who died two years ago, created cartoonish wall panels that make the elevators look as if they're each transporting an oversize table, door and basket.
Jonathan Borofsky, known for his series of "Hammering Man" sculptures and paintings, was given a blank space on the fifth floor. Now, several men appear to be sprinting across the expanse.
New York artist Mary Heilmann, who makes colorful, geometric paintings, plans to use the museum's exterior as her canvas. From one of the dozen metal anchors embedded in the facade, she will dangle a 30-foot-tall pink vinyl panel against the museum's northern wall. (Each anchor can bear the weight of a 600-pound work of art.) She's also painting several dozen marine-plywood chairs in rainbow hues to be used for public seating on one of the museum's four terraces.
Ms. Heilmann said the Whitney's anything-goes attitude matches the creative ambitions of contemporary artists. "Taking art out of the frame," she said. "Today, it's all about that."
The museum also is trying to be flexible behind the scenes. Every gallery has Wi-Fi in case creators want to link their works to the Web. The Whitney is treating artists in its collection like VIPs, offering guided tours before the $422 million museum officially opens. On April 24, there will be a midday launch party just for artists in the collection.
With the Whitney's approach catching on, art experts said, old-guard institutions may have to adopt a similar philosophy: Have art, bring sledgehammer.
"The Whitney is making a lot of museums rethink everything," said Martin Friedman, former longtime director of Minneapolis's Walker Art Center. "They're not trying to look corporate or institutional. They're inviting artists to have fun."
Historically, collectors encouraged museums to create spaces that resembled cultural temples, with classical columns and ornate crown moulding to match the significance of the objects on display. In recent decades, many museums and galleries favored an architecture of stark white-cube rooms with walls treated in sleek, modern finishes.
Art prices climbed, and donors wanted their museums to look every bit as lush. Last fall, architect Frank Gehry said he wanted to use ordinary concrete for some sections of the new Louis Vuitton Foundation in Paris. But the museum's owner, luxury-goods executive Bernard Arnault, insisted he use a higher-quality concrete, Mr. Gehry said. Mr. Arnault, through a spokeswoman, declined to comment.
When the Whitney began considering designs more than a decade ago, Adam Weinberg, the director, said he asked architects for the exact opposite. He said he didn't want to give the museum's future home a "skin" whose purpose was merely to impress. Such polish might dissuade artists from taking risks inside, he said. "We want the building to look rough and ready."
Elisabetta Trezzani, an architect with Mr. Piano's firm who helped manage the project, said she built scale models of the galleries in a Brooklyn warehouse and encouraged Mr. Weinberg to bring over curators to test floor stains and approve finishes. "They kept telling me, 'Don't make it precious,'" Ms. Trezzani said of the overall look.
Critics are still weighing in on the results, but from a distance the building does look more like an industrial jumble than a monolith. Panels of steel and glass rise in staggered configurations, reminiscent of an aircraft carrier. Inside, elevators move along a central, structural spine, with airy, cantilevered galleries facing south while administrative offices and classrooms face north. Terraces offer a panorama that extends from the Statue of Liberty in New York Harbor to the Empire State Building in Midtown and beyond. Overall, the effect of the architecture is snugly understated, particularly in a city dominated by skyscrapers.
The Whitney's relaunch comes at a time when artists are flocking to alternative art spaces that boast grittier settings. The High Line, a 1.5-mile art park built atop a former elevated railway that runs beside the new Whitney building, received six million visitors last year-a tally matched only by the Metropolitan Museum of Art. The Whitney's annual attendance in its former home hovered around 350,000, a figure it hopes to triple in its new location.
Cecilia Alemani, chief curator of the High Line's art, said the challenging aspects of the park-it stands 30 feet above street level-appeal to artists seeking novelty. Among the 130 art projects held on the High Line since it opened six years ago: El Anatsui hung a 157-foot-wide tapestry made of pressed tin and mirrors beside the park while dancers with the Trisha Brown Company stood on the High Line and nearby roofs, mimicking each other's movements like an aerial game of telephone.
Ms. Alemani said she expects the High Line will collaborate with the Whitney on art projects. The two organizations already share a billboard on a nearby street and take turns displaying images of art on it. Right now it features a pop-culture collage by Michele Abeles.
In a crowded museum landscape, art spaces must offer a wider array of options for artists, said Rebecca Robertson, president of the Park Avenue Armory, a cavernous, former military facility built in 1881. Today, it often serves as a performance venue. "Artists like to work off context, so they want spaces that have their own energy-they feed off it."
Three years ago, Ms. Robertson invited artist Ann Hamilton to come "investigate the Armory," she said. Ms. Hamilton liked what she saw and used it to make "the event of a thread," a soaring piece that wouldn't easily fit in any New York museum. Ms. Hamilton threaded 42 park swings through a single, curtain-like swath of white silk, which she draped from the Armory's 80-foot-high ceiling. As visitors sat in the swings, they could look up and watch the silky configuration undulate overhead. During the work's first month on view, 72,000 people came by.
Last fall, artist Douglas Gordon and pianist Hélène Grimaud drew crowds by creating a shallow lake on the Armory floor that slowly filled in around the pianist as she played. Every performance of "tears become...streams become..." sold out.
Audiences, like artists, are growing restless with status-quo shows and are seeking out spaces that surprise, Ms. Robertson added. That explains why museums like the Whitney are catering to artists whose works are experiential or immersive. In late-2013, Japanese polka-dot painter Yayoi Kusama sparked three-hour waits at New York's David Zwirner gallery when she unveiled "Infinity Mirrored Room-The Souls of Millions of Light Years Away," an installation of mirrors and tiny colored lights. Stepping in, people appeared to be floating in a galaxy of stars. Ms. Kusama's work now belongs to collector Eli Broad, who said he hopes to install it in his namesake museum opening in Los Angeles in September.
Ultimately, the Whitney's artist-first interiors were informed by the museum's history, said Donna De Salvo, chief curator. Before joining the Whitney 11 years ago, Ms. De Salvo worked in London's Tate galleries, which gained a buzzy reputation in 2000 by inviting artists to make elaborate works in the institution's five-story Turbine Hall, a sweeping space that once housed a power station's generators. Ms. De Salvo said the Tate spurred her to give artists free rein, as did the Whitney's signature show, the Whitney Biennial.
These sprawling surveys have chronicled generations of art trends in the U.S. The biennials have been a linchpin of the museum since shortly after New York heiress and collector Gertrude Vanderbilt Whitney opened it in 1931.
Biennials typically involve dozens of artists, so space gets crowded quickly. In the Whitney's former home, designed by Marcel Breuer, Ms. De Salvo said, artists often tried to stake their space by burrowing into unlikely spots. In 1985, artist Kenny Scharf displayed his Day-Glo designs in the museum's bathrooms. During last year's biennial, artist Charlemagne Palestine hung stuffed animals and speakers broadcasting a sound piece in the Whitney's stairwells.
Ms. De Salvo said she expects artists will explore the new building's nooks and crannies. "Come check out the secret catwalk," she said during a recent visit. Standing in the museum's new theater, Ms. De Salvo slipped behind a hidden door offstage and walked onto a narrow wedge of floor separating a pair of parallel windows on the theater's western side. Audiences sitting across the room aren't meant to notice the outer window because it serves merely as a sound buffer, but Ms. De Salvo said artists will likely pounce.
"I can't help but think that someday an artist is going to do something incredible in here," she said, walking between the panes. "I just want artists to play this building like an instrument."
The Whitney's inaugural show in its new home, "America is Hard to See," focuses mainly on its greatest hits. These include Edward Hopper's painting of a row of shops, "Early Sunday Morning," Jasper Johns's neo-Dada version of the U.S. flag, "Three Flags," and Andy Warhol's silk-screen row of "Green Coca-Cola Bottles."
In coming months, the museum plans to install a 1920s player piano in the theater to play songs composed by Conlon Nancarrow, a U.S.-born artist who lived mostly in Mexico. Jay Sanders, curator of performance, said he also has invited the 1980s art duo Dancenoise to perform a mix of spoken word and music. Poet and jazz musician Matana Roberts is scheduled to come by, reflecting how intermingled art mediums have become. The fall's likely blockbuster will be a retrospective of New York painter Frank Stella, and Spring 2016 will see an installation by Laura Poitras, who directed the Oscar-winning documentary, "CitizenFour."
For now, artists in the Whitney's inaugural exhibit keep filtering in to make last-minute adjustments to their works. Paul Chan, a Hong Kong-born artist who grew up in Nebraska, said his 2005 video work, "1st Light," comes with a long list of logistical requirements. The video, which uses cascading silhouettes to evoke an urban shadow play, must be projected so that its images span the width of a room. If people want to walk through the room, they need to step into the work, or inch awkwardly around it.
Mr. Chan said the museum, which owns the work, granted his every request. Now he just wants to see how the public responds. "Kids tend to be more courageous, running through it or lying down on it," he said. "They instinctively know how to play."

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19. Jenny Holzer, FF Alumn, in the New York Times, March 24

The New York Times
Evening Hours #25
By: Bill Cunningham
March 24, 2015

The New York City AIDS Memorial, on Seventh Avenue across from the former St. Vincent Hospital, will open in later 2015 to honor the 100,000 New Yorkers who have died of AIDS. Last week, Beth Rudin DeWoody hosted a reception at her Upper East Side apartment to mark the added involvement of the artist Jenny Holzer, who will design the surface of the memorial with lines from a Walt Whitman poem. This text was accompanied by a photograph.

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20. Donald Daedalus, Nicolás Dumit Estévez, Josh Harris, Pablo Helguera, Yoko Inoue, Juana Valdes, FF Alumns, at Center for Book Arts, Manhattan, opening April 17

THEN & NOW: TEN YEARS OF RESIDENCIES AT THE CENTER FOR BOOK ARTS

http://centerforbookarts.org/event/2015-spring-exhibitions-opening/
APRIL 17 - JUNE 27
OPENING: APRIL 17, 6:00 AM -8:00 PM

Organized by Alexander Campos, Executive Director & Curator, Center for Book Arts, and Erin Riley-Lopez, Curator, Freeman Gallery, Albright College

This exhibition examines two of the Center's core programs: theArtist-in-Residence Workspace Grant program and the Scholarship for Advanced Study in Book Arts. As part of the Center's 40th anniversary year, selected work will be shown from approximately 50 artists who participated in these programs over the last ten years.

For each participating artist, work completed during his/her past residency will be presented along with new work. Artists included are: Manuel Acevedo, Tomie Arai, Katie Baldwin, Stephanie Beck, Emily Blair, Terry Boddie, Amy Chan, Cecile Chong, Ana Cordeiro, Cesar Cornejo, Donald Daedalus, Aurora De Armendi, Prudence Dudan, Dahlia Elsayed, Nicolás Dumit Estévez, Frances Gallardo, Chitra Ganesh, Hadassa Goldvicht. Tal Halpern, Josh Harris, Pablo Helguera, Wayne Hodge, Kyle Holland, Wennie Huang, Yoko Inoue, Katarina Jerinic, Jennie C. Jones, Rajkamal Kahlon, Gautam Kansara, Jessica Lagunas, Catarina Leitao, Liz Linden, Celine Lombardi, Jason Lujan, Lee Marchalonis, Kimberly McClure, Sarah McDermott, Colin McMullen, Ivan Monforte, Carlos Motta, Shervone Neckles, Heidi Neilson, Asuka Ohsawa, Sara Parkel, Shani Peters, Kameelah Rasheed, Taylor Reid, Benjamin Reynaert, Julie Schumacher, Zoë Sheehan Saldaña, Karina Skvirsky, Natalie Stopka, Tattfoo Tan, Amanda Thackray, Juana Valdes, Angie Waller, James Walsh, Jenifer Wightman, and Liz Zanis.

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Goings On is compiled weekly by Harley Spiller