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Contents for April 20, 2015

1. Monstah Black, FF Alumn, to receive Dixon Place's "The Tommy" award 2015

Dixon Place announces Monstah Black as the recipient of the 2015 Tom Murrin Performance Award, also known as "The Tommy."

The Tommy is an annual award granted to a NYC-based early career artist or company who embodies Tom Murrin's generous artistic spirit and gift for unearthing big, meaningful ideas by creating resourceful, exuberant, mysterious, enlightening, theatrical, luminous and remarkable performance. The award was created in 2013 to honor Murrin, who passed away in 2012. He was an inspiration, a mentor and a role model for countless young and emerging artists. The award is intended to provide a transformative career opportunity to its recipient, who receives a yearlong residency, followed by a 3-night run at Dixon Place and an honorarium.

Monstah Black is a performing artist known for his multi-dimensional funk drenched musical creations, blurring the lines of genre and gender. Fusing his love for music, movement, fashion and visual art, his aesthetic reflects pop culture of the 70's, 80's and 90's. He has performed internationally from Art Basel, Miami to Brazil, Scotland, Ireland, Germany and the New Media Performance Festival in Moscow. Awards include: Lower Manhattan Cultural Council, American Music Center Live Music for Dance Program, The District of Columbia Commission on The Arts and Humanities, Career Transitions for Dancers, Topaz Arts Center, NYSCA and Franklin Furnace Fund. He holds an MFA from Long Island University New Media Art and Performance Program. He was the 2013 guest mentor for the International Choreographers Residency at Dance Omi in Hudson Valley.http://monstahblack.tumblr.com/

The Panelists for the 2015 Tommy Award are: Noel Allain (Artistic Director, The Bushwick Starr), Michael Cross Burke (Professor, Trinity/La MaMa & Performance Artist), Ellie Covan (Artistic Director, Dixon Place), Alec Duffy (Artistic Director, JACK), Katy Einerson (Program Director, Dixon Place), James Godwin (Performance Artist), Jeff Jones (Curator, Little Theatre), Robert Lyons (Artistic Director, New Ohio Theatre), Kristin Marting (Artistic Director, HERE Arts Center), Salley May (Performance Artist & Avant-Garde-Arama Curator), Nicky Paraiso (Director of Programming, The Club at La MaMa), Brian Rogers (Artistic Director, The Chocolate Factory), Lucy Sexton (Producer, Director, Performer), Patricia Sullivan (Photographer, Tom' Murrin's wife), Shanta Thake (Director, Joe's Pub), Marya Warshaw (Founding & Executive Director, Brooklyn Arts Exchange), Martha Wilson (Founding Director, Franklin Furnace), and Lucien Zayan (Director, The Invisible Dog Art Center).

Tom Murrin (February 8, 1939 - March 12, 2012) also known as the Alien Comic and Jack Bump, was a performance pioneer whose life and work inspired both artists and audiences for over 40 years. He was a member of the first generation of La MaMa playwrights. Tom wrote four plays performed through La MaMa and produced by John Vacarro's Playhouse of the Ridiculous, including the offbeat hit, Cockstrong, which toured with Ellen Stewart's La MaMa Troupe to Paris, Amsterdam and Brussels. Under the guidance of famed rock manager Jane Friedman, Tom began to perform under the name Alien Comic, opening for acclaimed punk bands in rock clubs such as CBGBs and Max's Kansas City. He performed in NYC clubs and theaters as the Alien Comic, appearing in such venues as The Pyramid, 8BC, King Tut's Wah Wah Hut, Performance Space 122, Dixon Place, La MaMa, and more. Since the mid 80s, he created, performed, and curated a series of variety nights at Performance Space 122, and later at the Club at La Mama ETC and Dixon Place, called The Full Moon Show. His plays Sportfuckers and Butt Crack Bingo were produced at Theater for the New City and La MaMa and directed by David Levine. Tom was the first performance artist to appear on stage at the original Dixon Place location at 37 East First Street in 1986.

Dixon Place, an incubator for performing and literary artists since 1986 and non-profit organization is committed to supporting the creative process by presenting original works of dance, theater, music, puppetry, literature, performance and visual art at all stages of development. This local haven inspires and encourages diverse artists of all stripes and callings to take risks and push personal and professional limits. Dixon Place's foremost priorities are to serve as a safety net for artists, and to provide vivid experiences for our audiences. Dixon Place is located at 161A Chrystie Street, New York City 10002.

Dixon Place's Tom Murrin Award is supported, in part, by funds provided by the Jerome Foundation.



2. Chin Chih Yang, FF Alumn, in Times Square, Manhattan, April 22

Chin Chih Yang: An Interactive Protest against Corporate Waste April 22nd.
An Interactive Protest against Corporate Waste

Your presence is humbly requested to protest the wanton waste and corrosive policies of major corporations.

On April 22nd, NYC-based artist Chin Chih Yang will realize an independent interactive performance between 5pm and 8pm. The performance will take place in the Times Square area, where tons of aluminum cans can be consumed daily. Not institutionally backed in any way, the project is not commercial and has no foundational affiliations. Supported only by the artist and friends, the performance will reflect not only the dangers of using potentially toxic products, such as aluminum cans, but will underscore the role of individual agency in challenging the environmental damage caused by corporate-driven culture.

Wearing thousands of strips cut from aluminum cans, the artist will construct an aluminum tree adorned with small projectors and LED lights. In an effort to creatively reconfigure the waste major corporations inflict on us and the environment, this interactive protest continues Yang's advocacy for art in public spaces. Having enacted such mobile performances as projecting a giant Taiwanese flag onto the UN building, and transforming Union Square Park into the site of an interactive protest against global warming, Yang communicates an anti-consumerist message by way of an event.

Multidisciplinary artist Chin Chih Yang was born in Taiwan, and has resided for many years in New York City. Finding the modern world both disturbing and entrancing, his work aims to capture the complex state of anxiety and compulsive-fascination specific to the contemplation of contemporary social problems. His interests in ecology and constructed environments have resulted in interactive performances and installations that have been exhibited both locally and internationally.

What: An Interactive Protest against Corporate Waste
When: April 22, 5pm - 8pm
Where: Time Square Starting (5pm-5:45pm) at 6th Avenue and 41nd Street, moving into environing areas.
Transportation: F, D, B, Q, and R train to Bryant Park
Contact: Chinchihyang@gmail.com Cell phone: 917-547-9651



3. Barbara Rosenthal, FF Alumn, at Cornelia St. Café, Manhattan, April 20, and more

Thurs, April 16: OPENING 6-8
Barbara Rosenthal, FF Alum
"Aberrant Palms" print and "Toil of Three Cities" video
in Forensics Show at Central Booking Gallery, 21 Ludlow St, NY, NY 10012, info@centralbookingnyc.com, 347.731.6559

MONDAY, APRIL 20, 6-8pm
Barbara Rosenthal, FF Alum
(with readings by Barbara Rosenthal, author; Joseph A.W. Quintela, publisher; Ron Kolm, A. D. Coleman, Jeffrey Cyphers Wright, Shalom Neuman, Ronnie Norpel, Bill Creston, and Gabriel Don.
Deadly Chaps Press
at Cornelia St. Cafe
29 Cornelia St.
NY, NY 10014
646.652.9116 (publisher)
212.989.9319 (cafe)

Wed, April 22: OPENING 6-8
Barbara Rosenthal, FF Alum
"Caveman Cartoon: Lascaux"
in "Jest Another Art Show"
Smith & Jones Gallery
6773 Classon Ave, #1R
Brooklyn, NY



4. Joseph Nechvatal, FF Alumn, at Art Laboratory Berlin, Germany, April 24

bOdy pandemOnium / Immersion into Noise / new works by Joseph Nechvatal / Opening at Art Laboratory Berlin on 24 April at 8PM


Artist Talk & Noise Music Concert: 25 April, 2PM
Exhibition runs: 25 April - 21 June 2015



5. Ruth Hardinger, FF Alumn, at LIU, Brooklyn, extended thru May 15

Dear friends,
My solo exhibition has been extended through May 15 at
Long Island University, Humanities Gallery

1 University Plaza, Brooklyn

The LIU Brooklyn campus is served by all major subway lines. IRT: 4 or 5 train (Lexington Avenue Line) or 2 or 3 train (Seventh Avenue Line) to Nevins Street Station; BMT: B, Q, or R train to DeKalb Avenue Station; IND: A, C, or G train (Eighth Avenue Line) to Hoyt Schermerhorn Street Station.

The Basement Rocks encourages a look below Earth's surface where the largest biomass on the planet resides. These underground necessary forces of life exist in the dark. I'm intrigued by how this becomes an association with early civilizations legends and mythologies that recognized human connection to, and dependence on the earth underneath our feet.

Basement rocks, the most ancient planetary stones, are 1-3 billion years old, these formations ultimately made our planet. Often found under the sedimentary rocks, these granite, schist, basalt and igneous basement rocks can be set closer to the surface and can be thicker than 30 miles below the lower sedimentary rocks. Are the basement rocks active and alive? Yes!

The Basement Rocks is an artistic expression to honor the activity and vitality in a place we don't see that yet contains profound levels of life. The Humanity Gallery is a perfect place to exhibit these concepts, not only because of the consideration of humanity with respect to the gathering of sculptures as a community encased in the glass walls that we see through, a space that (in this case) could associate to a gigantic petri dish.

My concrete and cardboard works, the Envoys, are messengers with several Agents. When I started casting concrete and cement in cardboard boxes I thought of it as a difficult or impossible action. The word names of these materials intrigued me: Concrete = fact, truth and substantiality. Cardboard = something without substance. These stelae-like sculptures became totemic forms, and can even be interpreted as a satiric worship of industrial matter that has changed the underground in negative ways. Yet during those procedures, the underground has provided humanity a life with more luxury. Conflicting forces are expressed, and instability has been created by excessiveness.

There will be a brief conversation about this installation during the opening and will include how the underground has influenced my work and my concerns about environmental impacts in the underground. My friend, musician, Andy Chase, has produced a collage of sounds entirely from the underground that will be played during the opening.

Thank you Barbara Arrindell, Bryce Payne, PhD and Ron Bishop, PhD for information shared regarding the geological and bacterial science, Ben Holtzman for sharing his seismic sounds and Vera Scroggins for sharing her sounds of fracking.

Ruth Hardinger



6. Alison Knowles, FF Alumn, receives 2015 Francis Greenburger Award

Omi International Arts Center Announces 2015 Francis Greenburger Award Winners

Five Established Artists Receive the Francis J. Greenburger Award for a Total of $62,500

Omi International Arts Center (Omi) announce today the five artists who will receive the 2015 Francis J. Greenburger Award, a $12,500 prize that aims to honor established artists whose extraordinary merit within the art world has not been fully recognized by the public. Francis J. Greenburger, founder of Omi and notable New York City real estate developer, invited an acclaimed artist, art historian, museum professional, gallerist and collector to each select one recipient whom they believe to fulfill the mission of the award. The awards, totaling $62,500, will be presented in New York City on April 21, 2015 during a ceremony at the New Museum from 6 to 8 p.m.

The distinguished group of artists includes Charles Juhász-Alvarado, Steve Wolfe, Alison Knowles, Suchan Kinoshita and Malcolm Morley. These notable artists were selected by Ursula von Rydingsvard, Roland J. Augustine, Claire Bishop, Oliver Kruse, and Andy and Christine Hall, respectively.

"Omi International Arts Center constantly strives to foster an environment of creative exploration and professional opportunity. Each year, this ceremony is a chance for incredible artists to gain increased exposure for their work," said Francis J. Greenburger, Founder of Omi International Arts Center and Chairman of Time Equities, Inc. "It's our honor to award these individuals, who we believe are shaping the art world of tomorrow, with a platform to engage with an art-focused audience and earn increased recognition for their contributions."

Alison Knowles, selected by Claire Bishop

Alison Knowles is a Fluxus artist who works across media, including performance and experimental book art. In 1966, Knowles' The House of Dust, part of James Tenney's mainframe computer work in chance based, or aleatory, art was recognized at the time as the first computer poem on record, and won a Guggenheim Fellowship in 1968. Knowles work has been in shown in major exhibitions at the Tate Museum, London (1968), the Guggenheim, New York (2009), MoMA, New York (2011), and Walker Art Center, Minneapolis (2014). In May 2011, Knowles was invited to appear at The White House in An Evening of Poetry.

Claire Bishop is an art historian and critic. She currently teaches Contemporary Art at the CUNY Graduate Center. Prior to this, she taught at Warwick University (UK) and the Royal College of Art, London. She is a regular contributor to Artforum and has had numerous books published. In addition to her criticism and scholarly work, she has curated exhibitions of art.

The awards were founded in 1986 after a conversation Mr. Greenburger had with his friends, André Emmerich and Clement Greenburg, during which André said, "The best and brightest artist of each generation are known, but not to everyone. Ask the inner circle and they can tell you." This statement is the inspiration and founding principle of the Francis J. Greenburger Awards.

Since 1986, Omi International Arts Center has awarded 45 artists the prestigious award and this year the award adds five impressive artists to its roster of winners.

The event is open to the public, and those interested must RSVP by April 13 by contacting greenburgerawards@timeequities.com. For more information visit: http://www.omiartscenter.org and select 'Francis J. Greenburger Awards' under the calendar tab.

About Omi International Arts Center

Omi International Arts Center is a notforprofit arts organization with residency programs for international visual artists, writers, musicians and dancers. The 300 acre campus is also the site for The Fields Sculpture Park, a public exhibition space with nearly 80 contemporary sculptures; Architecture Omi, exploring the intersection of architecture, art and landscape; and Education Omi, an arts education programs for children.



7. Stefanie Trojan, FF Alumn, launches new website at stefanietrojan.de

Finally it is done:
my new website!


best wishes, Stefanie



8. Peter Downsbrough, FF Alumn, at Staatliche Museen zu Berlin, Germany, April 21

Artist Talk: Peter Downsbrough in conversation with Michael Lailach, Kunstbibliothek

April 21, 2015, 6 - 8 p.m., Kunstbibliothek, Staatliche Museen zu Berlin, Matthäikirchplatz, 10785 Berlin

Dear Sir or Madam,

The artist Peter Downsbrough (b. 1940), one of the pioneers of conceptual art, has developed a minimalistic, but complex visual vocabulary to investigate the given space in a very precise way. In his talk he will discuss his decisive part in the history of an ongoing artistic practice, the so called "artist's book". Since the early seventies, he has published some hundred books. He has incorporated words and line drawings into his books, later integrating maps and photos of urban spaces. He is one of the artists who continue to use the book as another space to present and distribute their work.

The artist talk will be accompanied by an exhibition of the books by Peter Downsbrough in the foyer of the Kunstbibliothek.

The conversation is in English.

With kind regards

Prof. Dr. Moritz Wullen
Direktor, Kunstbibliothek - Staatliche Museen zu Berlin



9. Peter Cramer & Jack Waters, FF Alumns, now online in I-D Magazine

Peter Cramer & Jack Waters in an I-D magazine special feature "the colorful activism of new york's most radical queers"




10. Michelle Stuart, FF Alumn, at Parafin, London, UK, thru May 9

Michelle Stuart
Trace Memory: Selected Works 1969-2015
27 March - 09 May 2015

18 Woodstock Street
London W1C 2AL
+44 (0)20 7495 1969


Parafin is pleased to announce an exhibition by the acclaimed American artist Michelle Stuart. This will be Stuart's first exhibition in London since 1979, when she showed at the ICA.

Since the 1970s, Michelle Stuart has been internationally recognized for innovative works that synthesize Land art, drawing and sculpture. Stuart's original approach to material and process has seen her create large-scale site specific works in the landscape, sculptural installations incorporating objects, drawings, and audio-visual elements, photographs and drawings and sculptures that bring the material of landscape - earth and rock - into the gallery. Her work articulates a profound engagement with the physicality of space and landscape and the contextual overlapping of nature and culture.

Throughout Stuart's career photography has been a key element within her practice and this exhibition will focus on an important body of recent photographic works. In these Stuart exploits photographs - taken during her travels or in the studio, as well as collected from archival sources - to create complex grid configurations. The grids articulate connections between images and places, and suggest grand narratives of journeys across time and space. Stuart has likened these to 'silent movies'. An inveterate traveller herself, these works encompass a range of loci from New York and Paris to the mountains of Machu Picchu and the oceans of Polynesia.

Alongside these new photographic works Parafin will exhibit a selection of important older works including drawings, earth rubbings, site documentation and book-objects. Notable are a group made at sites around Avebury and the Ridgeway in 1980-81 incorporating earth from the sites and photographic documentation. Taken together, the old and new works suggest a remarkably consistent approach in which the artist's abiding concerns with place, site, history and memory are addressed through different media. The exhibition will suggest a direct trajectory from an earth 'drawing' of 1969 to Stuart's most recent photographic work.

Since the early 1970s, Michelle Stuart has been included in Documenta 6, Kassel and biennials in both Asia and the Middle East. Recent important exhibitions include Michelle Stuart: Drawn From Nature at the Djanogly Art Gallery, Nottingham, the Parrish Art Museum, New York and Santa Barbara Museum of Art, 2013-14. She was included in the important survey exhibitions Afterimage: Drawing through Process, the Museum of Contemporary Art, Los Angeles and Contemporary Arts Museum, Houston, 1999-2000; Ends of the Earth: Land Art to 1974, Museum of Contemporary Art, Los Angeles and Haus der Kunst, Munich, 2012; Alice in Wonderland at Tate Liverpool, 2012; and On Line: Drawing Through the Twentieth Century at MoMA, New York, 2010.

Stuart's work is in major museum collections internationally, including MoMA, New York, the Museum of Contemporary Art, Los Angeles, San Francisco Museum of Modern Art, the National Gallery of Art, Washington, the National Gallery of Australia, Canberra, Moderna Museet, Stockholm and the Los Angeles County Museum of Art. Both the Whitney Museum of American Art and the Metropolitan Museum of Art in New York recently acquired major works.

For further information please visit www.parafin.co.uk



11. Bruce Barber, Yoko Ono, Martha Rosler, Lawrence Weiner, FF Alumns, at Artspace, New Zealand, Auckland, thru May 23

Imaginary Audience Scale curated by Adnan Yildiz ARTSPACE New Zealand, 27th March through 23rd May 2015 Imaginary Audience Scale features: Billy Apple(r), Art & Language, Bruce Barber, Ayse Erkmen, Natalia LL, Len Lye, John Miller, Yoko Ono, Martha Rosler, Lawrence Weiner, Stephen Willats


Bruce Barber is participating in a collateral exhibit for the 2015 Venice Biennial (May-November) 2015. ​His catalogue Spectres of Marx is available at the Palazzo Mora and on line. Personal Structures: Time, Space Existence, an exhibition curated by Rene Rietmeyer, Valeria Romagnini and Rachele De Stefano of the Global Art Affairs Foundation www.globalartaffairs.org/



12. Jay Critchley, FF Alumn, in Provincetown, MA, opening May 8

Jay Critchley, FF Alum, "Jay Critchley, Incorporated" survey show in Provincetown: https://www.paam.org/exhibitions/jay-critchley-incorporated/

Curated by:
Bailey Bob Bailey
Opening Reception:
Friday, May 8, 7pm

We're thrilled to present Jay Critchley, Incorporated: the first-ever museum survey of Provincetown artist Jay Critchley's work, spanning more than 30 years. We hope you'll join us for a free reception celebrating the opening of this exhibition on Friday, May 8 at 7pm. https://www.paam.org/exhibitions/jay-critchley-incorporated/

Critchley's notoriety is fueled internationally by the alternative and mainstream media with one compelling, visionary proposal and idea after another, relentlessly tackling the big issues of our time, always with a baffling sense of humor, seriousness and timing: from global pathogens to plastics and the car culture, from climate change to corporate domination. What is the American Dream? He asks.

Resourceful at locating inspired places and ethereal niches to realize his ideas, Critchley finds unexpected and imagined locations and architectural sites for his temporary installations, subversive actions and performances and synergistic collaborations: transforming nuclear cooling towers and pre-demo motels, his backyard septic tank and an underground mausoleum, historic outhouses and Boston's Big Dig tunnels.

The global media has created an interactive relationship with Critchley's "public proposals" and projects − an unintended collusion that promoted and disseminated his ideas − long before social media.

His corporate personas and enterprises have challenged the dominance of corporations in a democratic society. He is founder and President of the NRC, (Nuclear Recycling Consultants,) TACKI (Tampon Applicator Creative Klubs International), Old Glory Condom Corporation (worn with pride country-wide the patriotic condoms imprinted with the American flag), and the IRS (International Re-Rooters Society), with its annual ritual and the burning of a Christmas tree/boat at sunset in Provincetown Harbor.

He is also founder and director of the Provincetown Community Compact and the annual Swim for Life, which has raised close to $4M for AIDS, women's health and the Provincetown community.
Critchley's work is exhibited, performed and presented throughout the US, Europe, Columbia, Argentina and Japan. He has won awards from Massachusetts Cultural Council, Boston Society of Architects, Smithsonian-Cooper Hewitt Museum in NYC and an HBO Audience Award at the Provincetown International Film Festival. He has been awarded artist residencies at Williams College, Harvard University, AS220 in Rhode Island, MilePost5 in Portland, Oregon, Harvestworks NYC, and Fundacion Valparaiso, Almeria, Spain and CAMAC, Marnay sur-Seine, France.

Critchley is featured in: Ptown Diaries, documentary film, 2009; the book Ptown-Art, Sex, and Money on the Outer Cape by Peter Manso, 2002; Under Wraps, documentary film, 1996; PBS documentaries: Provincetown, USA, 1990; Troubled Waters-Plastics in the Marine Environment, 1989; The Cultural Battlefield: Art, Censorship, & Public Funding by Jennifer A. Peter and Louis M. Crosier, 1995; and Sex and Death to the Age of 14, by Spaulding Gray, 1986.

A Jay Critchley, Incorporated catalog will be published by Provincetown Arts Press in collaboration with the Provincetown Public Library, who will publish it in eBook format. In 2016 the show will travel to Florida Atlantic University Galleries in Boca Raton. Future venues will later be announced.

Ancillary Events

Sunday, May 3, 10am, free and open to the public

Breakfast with Jay

Join Jay Critchley for a gallery walk-through and a discussion of his exhibition. Immediately following the talk is the closing reception for the Appearances: Eco-Arts Festival. Dorothy Palanza, Festival Chairperson, offers closing remarks and light refreshments will be served.

Fredi Schiff Levin Lecture

Tuesday, June 9, 7pm, free with Museum admission ($10)

Critchley and curator Bailey Bob Bailey discuss Critchley's innovative career and this unique exhibition.

The Fredi Schiff Levin Lecture Series was established in 2003 in honor of the artist Fredi Schiff Levin, a member of Provincetown's arts community from the 1960s until her passing in 2002. PAAM gratefully acknowledges John and Toni Levin, and Liz Lovati of Angel Foods, who make this program possible with their generous support. FSL lectures are free to PAAM members and open to the public with Museum admission ($10).


Jay Critchley



13. C. Michael Norton, FF Alumn, at Brian Morris Gallery and Buddy Warren Inc., Manhattan, opening April 30

I am very happy to tell you that I will be showing my painting with Brian Morris Gallery and Buddy Warren Inc.. New York City
opening Thursday, April 30 thru June 6, 2015

It would be wonderful if you could stop by the opening or come to the exhibition during its run.

Warmest regards,


"The Wolf I Feed"
C. Michael Norton
opening Thursday April 30 7-10 pm

April 30 thru June 6, 2015

Brian Morris Gallery and Buddy Warren Inc..
171 Chrystie Street New York, NY 10002
Between Delancey and Rivington Streets

(347) 261-8228



14. Joan Jonas, FF Alumn, in The Wall Street Journal, April 17


The Wall Street Journal, April 17, Icons

Joan Jonas Readies Her Exhibit at Venice Biennale
Multimedia artist Joan Jonas, who will represent the U.S. at this year's Venice Biennale, is preparing her exhibit

by Jessica Dawson

In an art world infatuated with the young and marketable, Joan Jonas is neither. At age 78, she is not yet a top-selling artist, and her multimedia work is challenging to collect and show. Yet the State Department has chosen Ms. Jonas to represent the U.S. at this year's Venice Biennale-easily one of the highest honors for a living artist.

"It's hard to conceive" of her new status as a sort of U.S. ambassador, said Ms. Jonas in an interview in her SoHo loft days before her departure for Venice, where the Biennale opens May 9. During the interview, she quieted her spirited white poodle, Ozu, with the occasional treat. "I can't say that I represent all aspects of America. Who does? It's an odd thing."

Her election to the pavilion represents a victory for mature artists making complex, even unclassifiable, work. She has broken ground for decades. Some of Ms. Jonas's first videos and performances in the early 1970s incorporated movement (usually her own), video feeds both live and taped (a radical gesture at the time) as well as drawing, masks and assorted totems that would reappear in later works. Her 1972 piece "Organic Honey's Visual Telepathy"-in which she used mirrors and video feeds to play on our perception of space-evoked a multisensory experience well before such events became commonplace.

"What's really current about Joan's work is her multimedia aspect," said Paul Ha, director of the Massachusetts Institute of Technology's List Visual Arts Center, which submitted Ms. Jonas's name to a State Department panel. "When you think about how we consume visual content... it's not about looking at one screen. It's about being consumed and surrounded."

Representing the U.S. at the Biennale in 2013 was installation artist Sarah Sze , who constructs massive yet intricate structures from everyday objects. Earlier winners have included Ed Ruscha and Robert Gober.

In recent years, museum programming has focused more on performance events. In conversation, Ms. Jonas will remind you that such events have been around since at least the Renaissance and were integral to major 20th-century movements like Dada, which arose as a reaction to the atrocities of World War I. "Performance emerges when there is chaos or uncertainty in the world," Ms. Jonas said. "And now of course the world is in total chaos. It gives people a chance to speak spontaneously to an audience. And with the addition of social media-Twitter, Facebook -people perform all the time" by maintaining their public images.

Though trained as a painter and sculptor, Ms. Jonas was captivated by what she saw at the happenings and experimental dance events she attended in downtown New York in the late 1960s. In recent years, Ms. Jonas favors creating immersive environments using video, drawing, filmed footage and sound.

"She's interested in elements of storytelling, but she's not interested in conventional dramatic structure," said Henriette Huldisch, the MIT List Visual Arts Center curator who organized a primer surveying Ms. Jonas's video and performance from 1972 to 2005 that opened on April 7 in Boston. "They're more abstract and dreamlike."

In Venice, Ms. Jonas plans to immerse visitors to the neoclassical American pavilion in a single narrative that spans the pavilion's five rooms. Ms. Jonas will rework footage from an earlier piece, "Reanimation," a work she performed first in 2010. It takes inspiration from "Under the Glacier," an Icelandic novel by Nobelist Halldór Laxness about a church emissary sent to investigate claims of supernatural activities. The Venice piece will incorporate background footage from Cape Breton Island in eastern Canada, where Ms. Jonas summers, and will take ghost stories as one of its themes. The artist says we can also expect a major drawing installation, footage of her late dog Zina as well as a brief appearance by Ozu himself.

Yet those familiar with Ms. Jonas's improvisational methods know that changes may happen up until deadline and that the final piece is always in flux. "We are supposed to be ready on May 6," Mr. Ha said, citing the date of the fair's preview. "I know she will be tweaking until May 6 at 10 a.m."

Such agility has helped Ms. Jonas weather fluctuating interest in her output over the years. Though major institutions such as New York's Museum of Modern Art own significant works (the museum acquired its first Jonas in 1975), Ms. Jonas has remained, as she herself puts it, "an artist's artist."

Market validation has come slowly, and though Ms. Jonas sells prints and drawings, her major works resist the easy pull that painting and sculpture can have on collector dollars-especially the kinds of transactions that happen at the international art fairs, which Ms. Jonas avoids when possible. "I go if I'm invited," she said of the fairs. "But sometimes I find it really depressing. It's not nice to be an artist in that situation."

"She has been for 40 years making this kind of work," Mr. Ha said. "The art audience and the museums have finally caught up."



15. Adam Pendleton, FF Alumn, in The Wall Street Journal, April 17

Adam Pendleton: The Making of an Art-World Star
Virginia-born Adam Pendleton's race-infused take on the 20th-century avant-garde, 'Black Dada,' is conquering the art world one major venue at a time. London's Pace Gallery is next.

by Ellen Gamerman

Adam Pendleton is a textbook case in how to take off-big time-in the art world. Global gallery? Celebrity and hedge-fund collectors? Affiliations with major museums? Check, check, check.

There is a wait list for Mr. Pendleton's work at Manhattan's Pace Gallery, where the 31-year-old New Yorker is one of the gallery's youngest artists. Collectors of his pieces, which the gallery prices from $25,000 to $150,000, include Leonardo DiCaprio, Venus Williams and Steven A. Cohen, according to a person who works closely with the artist. Trustees of the Whitney Museum of American Art, the New Museum and the Guggenheim in New York all are collectors of Mr. Pendleton's work, according to his gallery, and his works are in the permanent collections of institutions such as New York's Museum of Modern Art and the Museum of Contemporary Art Chicago.

He is booked with exhibitions through 2018. A silk screen by Mr. Pendleton, "Black Dada (A/D)," marked a record for the artist at auction when it sold at Sotheby's in London earlier this year for $104,700, more than four times its high estimate. This week, a collection of new work went on display at Pace's London location, and he will make a major contribution to the Belgian pavilion at next month's Venice Biennale.

Mr. Pendleton's conceptual artworks include silk screens on canvas, with elements such as blown-up photographs, repurposed text and block letters. Most pieces start with grainy, black-and-white photocopies. "This," he said, slapping a hand on his laser copier during a recent visit, "is the queen of the studio."

Much of his art is underpinned by an idea he calls Black Dada, which fuses race with the early 20th century avant-garde, including Dadaism. His book dedicated to that concept, "Black Dada Reader," will be published this spring.

Adam Pendleton's Art
Adam Pendleton's conceptual artworks, often involving themes of race and the avant-garde, include silkscreens on canvas, with elements such as blown-up photographs, repurposed text and block letters.
1 of 5 fullscreen

'Independance (Harvest: 3,000 Years),' 2014-2015 Adam Pendleton/Pace Gallery, NY and London ...

'Black Lives Matter #2,' 2015 Adam Pendleton/Pace Gallery, NY and London

'Black Lives Matter #2' (wall work), 2015 Adam Pendleton/Pace Gallery, NY and London

'Black Dada (D),' 2014 Adam Pendleton/Pace Gallery, NY and London

'Black Lives Matter #2,' 2015 Adam Pendleton/Pace Gallery, NY and London

"He took the project of his life-of being an artist-very, very seriously from a very young age," said Pace CEO Marc Glimcher. Referring to the artist's work on his book, which includes historical and contemporary writing and original essays, he continued: "If you spend 10 years working on the 'Black Dada Reader' even more intensely than your own paintings, which are really intense, you get someone like Adam Pendleton."

Mr. Pendleton also has snagged a residency at MoMA. For the residency-offered only twice before, to artists who had existing relationships with the museum-he is creating a work based on the institution's archive of Avalanche, an artist-centric magazine from the 1970s. As another part of the residency, he will travel to sites of racially charged violence such as Ferguson, Mo., where unarmed black teenager Michael Brown was fatally shot by a white police officer last year.

"What these projects share is a question about authorship and a question about who gets to write history," said MoMA associate director Kathy Halbreich. Of Mr. Pendleton's plans to visit cities marked by recent conflict, she said: "How do you go to Ferguson as an artist? And how do you not go as a voyeur? I think this is all part of the art."

Mr. Pendleton grew up painting in the basement of his family's house in Richmond, Va., studying art by Jasper Johns, Robert Rauschenberg and whomever else he could find on the shelves at the local bookstore. His father ran a construction company and played guitar. His mother, a teacher, loved books. By age 14, he was reading works from her collection with titles as sophisticated as "Compulsory Heterosexuality and Lesbian Existence."

While attending the private Collegiate School in Richmond, he traveled alone and with his father to galleries and museums in New York. "It was an encounter with something extraordinary," he said of those first forays into the art world.

In 2000, he studied in an international art program in northern Italy. While other students carved elegant Madonnas from their marble blocks, he hacked clumsily at his slab. "The teacher was like, 'What is this?' " he recalled. His response, "A building," didn't convince his instructor of his technical skills.

Undaunted, he kept painting when he returned home, sending slides of his works to New York galleries and following up with phone calls. One dealer, who was also an assistant to artist Sol LeWitt, put Mr. Pendleton in a group show. Mr. LeWitt saw one of Mr. Pendleton's works on a visit to the gallery. He was impressed, and traded one of his gouaches for a painting by the 18-year-old unknown. Today, some of Mr. Pendleton's best-known works reference imagery from a conceptual project by Mr. LeWitt known as incomplete open cubes.

Mr. Pendleton sounds matter-of-fact about the chance encounter with a famous artist whose early praise helped propel his career. "That is what a life in art is," he said, "a series of perpetually unexplained events."

Write to Ellen Gamerman at ellen.gamerman@wsj.com




16. Alicia Grullón, FF Alumn, at Casita Maria Gallery, The Bronx, opening April 22

Alicia Grullón: LLEVAR Opens
at Casita Maria Gallery on
Wednesday, April 22, 2015
BRONX, NY - (April 2015) Casita Maria is proud to present Bronx-based artist Alicia
Grullón's solo exhibition LLEVAR, curated by Christine Licata. Representing a survey that spans the last 10 years of Grullón's interdisciplinary practice, the show includes a
combination of on-going and individual projects that explore the politics of race, gender,
class and economics between underrepresented communities and society as a whole.
Throughout her work, she interweaves sculpture, language, photography, video and
performance, blurring the boundaries between documented reality and staged theatricality. The title of the exhibition, LLEVAR is taken from one of the most complex verbs to translate in Spanish. Understanding its meaning requires taking into account the other words, grammatical structures and intention of the speaker (the "linguistic environment"). In English, it can mean any of the following: to lead, to drive, to bear, to keep account, to direct, to last, to cost, to take away, to get along with, to receive, to carry, to wear, to include and to become. For Grullón, the verb llevar mirrors the dynamic complexity and depth within social and economic cultural relationships. Her overall practice explores the historical, environmental and political influences on minority communities as well as ways that stereotypes, governmental policies and the media can be influenced and changed. The concept of action-based, "social sculpture" plays a critical component in her work. The role of the artist in society and how art can actively serve and shape community are questions she considers throughout her practice. Within Grullón's ongoing project, PERCENT FOR GREEN, she aims to pass a legislation that would allocate city-funded construction budgets to support sustainable green initiatives in underserved areas in New York City. Through creative brainstorming and information-driven interviews, roundtables, workshops, lectures, panels and discourse-driven performances, her goal is to encourage and empower local residents and their community leaders to take action on climate change through finding accessible, local solutions to this global, cataclysmic issue.

In addition to the practical applications of art interventions, Grullón seeks to expose and
transform how cultural histories are constructed and experienced within society. Using
current events and factual, historical narratives where power relations are in question, she
stages in-situ theatrical reenactments and public, performative interventions that reveal the institutional practices and underlying foundations that support social and economic
inequality, structural racism, stereotypes and racial profiling.

For example, throughout her Revealing Ethnographies and Becoming Myths series (2005-present), she conceals her individual persona through masks constructed from political data, academic, news and mass media ephemera that deal with these issues. The process of constructing the masks directly onto her face while interacting with passersby initiates a dialogue around the information contained within them, uncovering the larger identity-based challenges within diverse ethnic groups.

Grullón is also an arts educator, teaching youth the power of their own voices and the
agency they potentially have in their communities. Throughout her exhibition, she has
invited the Global Kids initiative to be an integral part of her exhibition's public
programming. Led by Youth Specialist, Ramon Ramirez (who is also the Founder and
Director the Welfare Poets), Global Kids is a leadership and activist program for Middle and High School students currently partnering with The Bronx Studio School for Writers and Artists and Casita Maria's Afterschool program. The students take trips to Washington D.C. and Costa Rica to learn about civil rights, legislation and indigenous cultures.

For Grullón's opening reception on April 22 the students will share what they learned in
their travels and the practical applications of this knowledge in the South Bronx. Then, on
May 28, Global Kids will participate in the workshop "Take Back Our Gold", a look at the business of buying and selling gold in pawn shops. The students will investigate the
underlying agendas behind pawn brokers, a staple in largely low-income, economically
struggling communities, as well as learn about the political influence of gold and its
international and local trade value.

During her Closing Reception and Artist Talk on June 24, Grullón will be in conversation
with artist Martha Wilson. A groundbreaking pioneer in political art-activism and
performance, Wilson is also the Founder and Director of the Franklin Furnace, one of the
most important arts organizations for contemporary, experimental art practices in New York City. Together they will discuss their respective work, the theories behind their ideas and unconventional artistic processes.

"Alicia Grullón's artistic practice is crucial to the growth and progress of underserved communities. LLEVAR is an interactive guidebook, mapping the routes to positive change. Her work empowers our youth and families with the knowledge and agency to create a society that equally respects and unifies our needs and goals," explained Christine Licata, Curator and Director of Performing and Visual Arts at Casita Maria

CASITA MARIA CENTER FOR ARTS & EDUCATION is an 80-year old South Bronx-based community arts and educational organization that presents diverse, contemporary visual and performing arts and education programming for all ages. www.casitamaria.org Casita Maria's Gallery's exhibitions and public programs are supported by the Ford Foundation and public funding from the New York City Department of Cultural Affairs and the New York State Council on the Arts.

ALICIA GRULLÓN is an interdisciplinary Bronx based artist. She received a BFA from New York University and an MFA from the State University of New York at New Paltz. Most recently she was a part of "inClimate" an exhibition on climate change and the city
presented by the Franklin Furnace Archives and its Founder, Director Martha Wilson. In
2014, she was a presenter at the Queens Museum for the "Open Engagement"
Conference and spoke about her green legislation project PERCENT FOR GREEN at the
Association of Art Historians in London. She was awarded residencies with the Bronx
Museum of the Arts, Arts Council Korea, Five Colleges Women's Studies Center, Volunteer Lawyers for the Arts and in Germany for Migrating Academies. Grullón has presented at El Museo del Barrio for "La Bienal (S-Files)," Performa 11, The Bronx Museum of the Arts "AIM Biennial," Art in Odd Places and in Socrates Park. Her work has been funded by the Puffin Foundation, the Bronx Council on the Arts, the Department of Cultural Affairs of the City of New York, the Crompton Foundation and the Franklin Furnace Archives. She was an Artist Fellow in 2013 with A Blade of Grass Foundation and Culture Push. In October 2012, Grullón received the Sol Sharvio Award for Emerging Artist in the Marketplace. Her
work has been published in NY1 Noticias, ArtFAGCity, Brooklyn Rail and New York Daily News.


Media Contact
Elaine Delgado
Director of Marketing & Individual Giving
(787) 627-9228
Casita Maria Gallery
928 Simpson Street,
6th Floor Bronx, NY 10459
Gallery Hours
Mon-Fri: 10 AM - 6 PM
Sat-Sun: By appointment

April 22 - June 24, 2015
Wed., April 22, 2015
6 - 8 PM

Youth Workshop:
Thurs., May 28, 2015
3:00 - 4:30 PM

Wed., June 24, 2015
6 - 8 PM



17. Roger Shimomura, FF Alumn, at Greg Kucera Gallery, Seattle, WA, April 23

The Legacy of Justice Committee invites you to
CELEBRATE Gordon's Birthday
and to
SNEAK a PEEK at Roger Shimomura's new large mural
"Gordon Hirabayashi, American Patriot"
for the new Hirabayashi Place affordable housing building at 4th S. and S. Main St.
Thursday, April 23, 2015 6-8 pm
Greg Kucera Gallery
212 Third Avenue S. (1 1/5 blks. from Hirabayashi Place). Seattle
Please RSVP: legacyofjustice@interimicda.org or 206.624.1802

April 2 - May 16
Buster Simpson - Double Bound
Opening reception: Thursday, April 2, 6-8
Artist talk: Saturday, April 4, at noon
Meet up with us at James Harris Gallery at 11:00 for Mary Ann Peter's talk. Anne Focke will act as moderator for both talks.

212 Third Avenue S | Seattle WA 98104

Open Tuesday through Saturday 10:30 - 5:30



18. Harley Spiller, FF Alumn, in Fine Books & Collections magazine, now online

Fine Books & Collections
April 14, 2015
A Coin Collector's Tales
by Rebecca Rego Barry

Just in time for Tax Day, Harley J. Spiller, aka Inspector Collector, releases Keep the Change: A Collector's Takes of Lucky Pennies, Counterfeit C-Notes, and other Curious Currency (Princeton Architectural Press, $19.95). In this upbeat and quirky account, Spiller shares his passion for mutilated money. "Mint" may appeal to most collectors, but Spiller prefers patina--misprinted bills and discolored dimes. Much like a collector of imperfect books, Spiller considers use, even damage, worthy of study and appreciation. He writes, "I thrill to the serendipitous discovery of mangled money, whether it is coaxed out of its camouflage within a muddy tree bed or dusty corner or found smack in the middle of a road."

Skimming the history of penny production, banknote engraving, and artists who alter dollars and cents (Mark Wagner among them), Keep the Change is slim and selective, e.g., when one thinks of maimed coins, what comes directly to mind are those decorative, elongated pennies cranked out of machines in touristy locales, and yet, they make only a brief appearance in the book's illustrated glossary. (What is the history of those souvenirs? Does Spiller collect them?) And yet its 112 pages are packed with fascinating facts, colorful illustrations, and zippy writing. Those with an interest in money (and presumably, that's just about everyone) will find it enjoyable.




Goings On is compiled weekly by Harley Spiller