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Contents for May 18, 2015

1.Lorraine O'Grady, FF Alumn, at Alexander Gray, Manhattan, opening May 28

Lorraine O'Grady
Opening Reception: Thursday, May 28, 2015, 6 - 8 pm
Exhibition Dates: May 28 - June 27, 2015

Alexander Gray Associates presents an exhibition of artworks by Lorraine O'Grady, focusing on two early series that are foundations for O'Grady's performance and critical development, representing two approaches to finding one's personal and artistic self. The exhibition debuts photographs of O'Grady's performance work, Rivers, First Draft (1982/2015) and features selections from her first collages Cutting Out The New York Times (1977/2015). The works reveal the artist's nuanced perspectives on art history-specifically Dada and- and the topical issues of the late-1970s and early 1980s, when Multiculturalism and Feminism were articulated and tested in the art world. Typical for O'Grady's practice, complex theoretical concerns collide with the mining of family history, and the works from this period result in deeply personal portraits of the artist's community and values, taking form in New York-the city, its art world, and its media.

The exhibition includes a selection of collaged poems from the series, Cutting Out The New York Times. The series was created over twenty-six consecutive Sundays during the summer of 1977, resulting in twenty-six text-based images assembled from headlines and advertising tag-lines. O'Grady explains, "I would smoosh the cut scraps around on the floor until a poem appeared." At that time, O'Grady was teaching the course "Futurist, Dada and Surrealist Literature" at the School of Visual Arts in New York, while simultaneously exploring alternative avenues of creative fulfillment and expression. Her interest lay in challenging the Dadaists' and Surrealists' embrace of the random and irrational as oppositional attitudes to rational Western society, O'Grady surrendered to the random in order to expose and force meaning back into it, "an effort to construct out of that random public language a private-self, to rescue a kind of rational madness from the irrational Western culture." Reproductions of the original collages are applied directly to the wall, moving the word from the page to three-dimensional space, further developing an aesthetic exercise, exploring a means of visual and performative expression beyond the purely linguistic. Relating the poems to Concrete Poetry, O'Grady creates their visuality through the linear and syncopating placement of the cut-outs. The juxtapositions of size and style between the typefaces add to the collages' visual rhythm. The poems themselves touch on themes such as love, family, womanhood, hybridity, race, and self, subjects that would unfold in O'Grady's subsequent performances and artworks.

Also included in the exhibition is an installation of the photographic series Rivers, First Draft (1982/2015), including forty-eight images of the 1982 performance O'Grady created for the public art program, "Art Across the Park." Rivers, First Draft was performed in the Loch, a northern section of Central Park, on August 18 and was envisioned by O'Grady as a "collage-in-space," with different actions taking place simultaneously on two sides of a stream and further up a hill. She describes the performance's structure as a "three-ring circus," in which multiple temporalities and micro-narratives coexist and speak to O'Grady's life experiences. The narratives that compete for attention present multiple realities with the aim of uniting two different heritages, the Caribbean and New England, and three different ages and aspects of O'Grady's self, family dynamics, and artistic identity. As O'Grady states, "In my work I keep trying to yoke together my underlying concerns as member of the human species with my concerns as a woman in black in America... because I don't see how history can be divorced from ontogeny and still produce meaningful political solutions." The piece was performed only once, for a small invited audience of friends from Just Above Midtown gallery and the occasional passersby. It involved seventeen performers, including O'Grady, with precisely designed costumes and props. The characters were designated by their vibrantly colored clothing, such as the Woman in Red (O'Grady's adult self), the Woman in White (O'Grady's mother), the Teenager in Magenta (O'Grady's adolescent self), the Young Man in Green, and the Black Male Artists in Yellow. Performed in the daylight, the lush green sun-dappled nature of the Loch was a prominent backdrop, adding to the conglomeration of saturated color and sound. O'Grady's succinct selection and cropping of images reflect this simultaneity and the dream-like quality of the original performance. Only Kodachrome 35 mm slides of the piece serve to memorialize the event. In collaboration with Kodak, the 2015 manifestation of Rivers, First Draft captures the rich colors and deep contrasts of the performance, achieved with analog and digital technology and photographic paper from Kodak's headquarters in Rochester, NY. For O'Grady, "The paper and the process created the perfect look for the then and now of this new/old work."

Lorraine O'Grady has exhibited at MoMA PS1, New York (2014); Walker Art Center, Minneapolis, MN (2014); 1a Bienal International de Arte Contemporáneo, Cartagena, Colombia (2014); Studio Museum in Harlem, New York (2013 and 2012); the Whitney Biennial, New York (2012 and 2010); Arab Museum of Modern Art, Doha, Qatar (2012); La Triennale Paris 2012, France (2012); Institute of Contemporary Art, Boston, MA (2012); Prospect.2 New Orleans, LA (2011); Goodman Gallery, Johannesburg, South Africa (2011); Manifesta 8, Murcia, Spain (2010); Museum of Modern Art, New York (2008); Art Institute of Chicago, IL (2008); and Museum of Contemporary Art, Los Angeles (2007). Her work is represented in the collections of the Museum of Modern Art, New York; Art Institute of Chicago, IL; Los Angeles County Museum of Art, CA; Brooklyn Museum, New York; Rose Art Museum, Waltham, MA; Walter Art Center, Minneapolis, MN; and Fogg Art Museum at Harvard, Cambridge, MA. She was a resident artist at Artpace San Antonio, TX. O'Grady has received numerous awards, including a Creative Capital Grant, the CAA Lifetime Achievement Award, Life Time Achievement Award from Howard University, the Art Matters grant, and United States Artists Rockefeller Fellow. O'Grady's work will be the subject of one-person exhibitions at The Studio Museum in Harlem, New York (2015); Carpenter Center for the Visual Arts, Harvard University, Cambridge, MA (2015); and Centro Andaluz de Arte Contemporáneo, Sevilla, Spain (2016).

Press Inquires

Alexander Gray Associates
Through exhibitions, research, and representation, Alexander Gray Associates spotlights artistic movements and artists who emerged in the 1960s, 1970s, and 1980s. Influential in political, social and cultural spheres, these artists are notable for creating work that crosses geographic borders, generational contexts and artistic disciplines. Alexander Gray Associates is a member of the Art Dealers Association of America.

Alexander Gray Associates
510 West 26 Street, New York NY 10001 United States
Telephone: +1 212 399 2636
Tuesday - Saturday, 11:00 AM - 6:00 PM



2. Heather Cassils, FF Alumn, at MU, Eindhoven, The Netherlands, opening May 22

With Incendiary MU presents Canadian, Los Angeles-based artist Heather Cassils, an agitator whose images seduce and provoke. It showcases Cassils' live durational works and the resulting performative objects, which melt, flash and burn with visceral intensity. The exhibition will inflame your imagination in a dark labyrinth of deconstructed bodies.

Using their physical body to form a visual language, Cassils speaks to the unrepresentability of trauma despite our routine consumption of violent images. Cassils' latest work, Inextinguishable Fire, premiering in MU, captures in slow motion the artist being engulfed in flames. Cassils opens the exhibition with the performance Becoming An Image that stages an all-out attack on a 2000-pound clay plinth in total darkness, except for the photographer's intermittent searing flash.

For each performance Cassils trains their body to become a new kind of sculptural mass. Throughout these incarnations Cassils performs trans not as crossing from one sex to another, but rather as a continual becoming, a process-oriented way of being that works in a space of indeterminacy, spasm and slipperiness.

22 May - 19 July 2015

Friday 22 May at 20.00
With opening performance
Becoming An Image

Design Debate
Salvation or Destruction?
and Marli Huijer
Wednesday 20 May

Friday 19 June

Torenallee 40-06
5617 BD Eindhoven
Strijp S
The Netherlands



3. Tom Leeser, FF Alumn, at Alabama Contemporary Art Center, Mobile, thru Dec. 20

Alabama Contemporary Art Center
History Refused to Die

Tom Leeser Video Installation with Joe Minter


Tom Leeser, the Director of the Center for Integrated Media and the Program of Art and Technology in the School of Art has created a multichannel video installation in collaboration with sculptor Joe Minter for the Alabama Contemporary Art Center (AC) exhibition: History Refused to Die, in Mobile, Alabama.

History Refused to Die is an exhibition that features over 75 works by 15 Alabama self-taught artists from the collection of William S. Arnett and Souls Grown Deep Foundation, examining the textured African American experience in Alabama. In addition to the exhibit in Mobile, the Montgomery Museum of Fine Arts, in Montgomery, Alabama is also hosting a collection of the works from the foundation.

From the Montgomery Museum of Fine Arts site:

In commemoration of the fiftieth-anniversary of the Selma-to-Montgomery March, the Museum will present this collection of works by a group of Alabama's most important self-taught artists who were active in the latter part of the twentieth century. These artists-Thornton Dial and the Dial Family, Lonnie Holley, Joe Minter, and others.

From the Mobile, Alabama publication, the Lagniappe Weekly :

"The AC exhibit covers a breadth of personalities, subjects and mediums. A video installation by Tom Leeser takes entrants on a tour of Joe Minter's sprawling Birmingham sculpture garden African Village in America. At the rear of the building, an interior representation takes up a darkened cavernous room, Minter's creations swaddled in spotlights as film clips dance on the walls around them."

In addition to the projection mapped video installation, Tom Leeser also directed three documentary interviews for the AC's new video information gallery. AC Executive Director, Robert L. Sain, organized the exhibition in Mobile and worked closely with Tom and Joe Minter both on-location and with the AC installation. Alumni from the Center for Integrated Media- Tyler Calkin (Art/IM), Emily Lacy (Film/Video/IM) and Nathan Ruyle (Theater/IM) also played a pivotal role in the production, editing and post production sound work.

History Refused to Die is curated by William S. Arnett and Robert L. Sain and it runs from March 14, 2015 through December 20, 2015



4. elin o'Hara slavick, FF Alumn, at ICA, Portland, Maine, June 5-July 5, and more

East to East, exhibition with Shane Smith at ICA in Portland, Maine, June 5 - July 5, 2015

Work included in the show Photography and the Scientific Spirit, John Michael Kohler Art Center, Wisconsin

Solo Show, The Invisible is Still Invisible, Cohen Gallery, Los Angeles, CA, July/August, 2015

thanks, elin o'Hara slavick



5. Paul Zelevansky, FF Alumn, at New Media Film Festival, Los Angeles, CA, June 10, and more
Paul Zelevansky, FF Alumn, at New Media Film Festival in L.A. June 10; and CREATE/Three Rivers Arts Festival in Pittsburgh, June 11.

Wednesday, June 10 12:30-3:00pm, The Landmark Theater, Los Angeles, CA.

"Mister Rogers for Adults": A series of one-minute videos centered on Fred Rogers' philosophical and educational thinking. Built around footage from the many Mister Rogers Neighborhood episodes, Rogers' many public appearances, his extensive music and writing, and additional text and music, these spots engage social life and personal responsibility, work, creativity, love, and loss.



Thursday, June 11th, 11:00am, Wyndham Grand Hotel, Pittsburgh, PA

"SWALLOWS 2.0": An animated fable about four birds who one day lose their home tree in some smoke. The original graphics made up of green phosphorescent blocks, dots, lines and a single typeface on a black screen, were created on a 1980s Apple iie computer. In the seven chapters of the story, the Swallows are confronted with some harsh existential lessons, including the unpredictability of the computer media which produced them. SWALLOWS 2.0 re-imagines and restructures the original project with the addition of new sound effects, text, music samples, and video clips. This conversation between old and the new technologies, and varied approaches to telling stories, is an essential through line in the work.




6. Doug Beube, FF Alumn, at SONYA, Brooklyn, May 30-31, and more


Please note my new email address is, doug@dougbeube.com. If you accidentally email me at, dbeube@mindspring.com it will be forwarded to my current address but soon it will no longer work as I will be closing my Earthlink account.

SONYA is having their open studio on May 30 & 31. My studio will be open from 12-6 pm both Saturday and Sunday. The list of other participating artists can be found on the SONYA website. Looking forward to seeing you here.



I'll be teaching my workshop, Radical Bookworks: Repurposing Found Books at one of my favorite places at the Penland School of Crafts in North Carolina this summer, session #6, from Aug. 9-22nd. Penland is less than an hour north east of Ashville, NC.



Finally, if you know of anyone who needs a place to rent in Fort Greene to live for the month of August please have them contact me.



Doug Beube
69 Fort Greene Pl.
Brooklyn, NY
718-834-8432 (h)
917-757-5758 (m)



7. Yoko Ono, Joseph Kosuth, Lawrence Weiner, FF Alumns, in The New York Times, May 14

The New York Times
Review: In 'Yoko Ono: One Woman Show, 1960-1971,' Text Messages From the Edge

On the principle that imagining something can make it real, Yoko Ono gave herself a solo exhibition at the Museum of Modern Art in 1971. What was the likelihood of the museum's coming up with the idea on its own? Practically zero. Historically, women were rarely shown there; nonwhite women, never. And, most of Ms. Ono's work was on a far-out fringe of art-world orthodoxy where, to her cost and our good fortune, she chose, in her early years at least, to stay.

Tangible evidence of that 1971 MoMA solo exists. There are photographs of Ms. Ono standing with her work in the museum's Sculpture Garden. There are newspaper clippings of advertisements for the show, even a few reviews. But, it turns out, the "reviews" are just quotes collected from visitors. The Sculpture Garden shot is a cut-and-paste job. So is a promotional image of her seen standing outside the museum, under an awning emblazoned with its name. She holds a large shopping bag printed with the letter "F" and positions it near the "A" in Art.

And as to what was in the purported show? There seemed to be just one piece: a bottle holding a swarm of houseflies that Ms. Ono claimed she had doused with her favorite perfume and released in MoMA's garden, from which point they dispersed into the museum and the city beyond. The art lover's task then became to track the flies down, an effort that demanded close, diligent looking at everything, everywhere, at buildings all over town, at people passing by, at trash in the street. And it meant keeping all senses alert: for the telltale sound of a buzz, the whiff of a scent, the tickle of tiny feet on the skin.

So what began as a fiction, a political gesture, a guerrilla gag mocking institutional pretensions and exclusions, became, potentially, something else, and more: a proposal that art is a state of sharpened attention that infiltrates and elevates life. Did the fiction have any effect at the time? Hard to say. But now, more than 40 years on, it's become a reality in "Yoko Ono: One Woman Show, 1960-1971," which opens at MoMA on Sunday.

Organized by three of the museum's curators - Klaus Biesenbach, Christophe Cherix, and Francesca Wilmott - it's essentially an archival display. Filled out with objects and films, and enhanced by a sound track, it consists mainly of works on paper. And most of those carry words, the outstanding example being the 151 hand-typed note cards that, in 1964, became "Grapefruit: A Book of Instructions and Drawings."

The book, probably Ms. Ono's best known piece, had an inauspicious start. Ms. Ono compiled it from accumulated manuscripts and self-published it in the cheapest possible format. At the time, her reputation was still confined to a small circle of avant-garde artists, writers and musicians in New York and Tokyo. Even though what she was doing in the book with language and ideas was radical, work that would bring fame later to Conceptual artists like Joseph Kosuth and Lawrence Weiner, she could barely give copies away.

All that changed a few years later. In 1970, "Grapefruit" was reissued by Simon and Schuster, with an introduction by John Lennon, who had married Ms. Ono the previous year. It was a hit, an instant staple of college-kid libraries. It was, however, more often treated as an object to own rather than as a book to read. And when it was read, it was misread. With its haiku-length texts directing readers to perform one gnomic act or another, it was often taken for head-trippy, fake-Zen fluff.

A mistake. It's a fibrous, beautiful, cleareyed document, seriously speculative, diarylike in its intimacy. It has a dose of Dada wit, as in its suggestion that the reader "walk all over the city with an empty baby carriage." And there's the lyricism - "Take a tape of the sound of snow" - of a natural poet, which Ms. Ono is. But the overall tone is a light-dark mix, hard to pin down. One entry that begins "Imagine one thousand suns in the sky at the same time" and ends "Make one tunafish sandwich and eat" is like a vision of the apocalypse punctuated by a pratfall. Then comes this:

"When a person hurts you badly

line up 100 panes of glass in

the field and shoot a bullet

through it.

Take a copy of a map made by

The cracks on each glass and

Send a map a day for 100 days

To the person who has hurt you"

And this:

"Hide until everybody goes home.

Hide until everybody forgets about you.

Hide until everybody dies."

Prickly and pain-laced, (the first work in the MoMA show is an apple placed on a plexiglass stand, where it will stay until it rots), the book can say violent things in an unperturbed way, can sound simultaneously chipper and desolate. To read the entire typescript, installed in sequence across a long museum wall, takes a little time but is well worth doing. It's an absorbing experience and a useful introduction to the mood of much of the rest of the show.

Ms. Ono was born in Tokyo in 1933. When she was 12, she saw the city firebombed and leveled. She grew up in cosmopolitan comfort: Her father was a banker; her mother was from an aristocratic family. One parent was Buddhist; the other Christian. After the war, she moved with them to the United States, lived in Westchester and went to Sarah Lawrence College, where she wrote poetry and studied philosophy. Temperamentally, she felt herself an odd fit wherever she was.

When she left college to marry the experimental composer Toshi Ichiyanagi, her parents cut her off. The couple settled in Manhattan in a community of downtown avant-gardists. John Cage was the presiding senior figure, George Maciunas an organizational force on the rise. Conceptual Art, which privileged ideas over things, was in the process of being invented. Ms. Ono had a foundational part in that, initially by hosting concerts and dance performances in the Chambers Street loft she shared with Mr. Ichiyanagi, and then through her own cross-disciplinary output.

With her first New York gallery show in 1961, she began chipping away at divisions between art and life, artist and audience, making paintings composed on cast shadows, and others that people could add to, and walk on. A trip to Japan the next year turned into a long, fertile sojourn. There she developed some of the extraordinary vocal pieces - ululating, keening, infantile, erotic - that play in the exhibition and that would eventually change the sound of pop music, as the careers of contemporary singers like Björk, who has a simultaneous show at MoMA, attest.

In Japan, Ms. Ono presented her first texts-only exhibition, and some of her most radical performances had their debut. One was "Cut Piece," for which she knelt on a bare stage, placed a pair of tailor's scissors in front of her and directed the audience to snip off her clothing. Dating to 1964, it opened a path for younger performance artists like Marina Abramovic to place themselves physically in harm's way at the hands of an audience.

Back in New York, now married to the artist Anthony Cox and loosely affiliated with a network of Conceptualists known as Fluxus, she produced films and objects of only middling interest: interactive things like the hand-held, mirrored "Box of Smile" and poetical "Glass Keys to Open the Skies." With her daring earlier ephemeral art now scattered and half-forgotten, her work gained a reputation for whimsy that it has never quite shaken.

In 1966, came a circumstantial change. John Lennon visited a London show Ms. Ono was preparing and liked what he saw. They became a collaborative couple. Jointly conceived projects like their 1969 peace campaign, with its bed-ins and billboards announcing "War Is Over! (If You Want It)," were very much a product of her sensibility. Mr. Lennon, for his part, encouraged and promoted her vocal work. (A set-aside room devoted to Plastic Ono Band material documents that.)

In a larger way, though, her position as his wife obscured her independent career. Worse, it left her a natural target for the misogyny and racism that she had always battled. Her subsequent roles, honorably assumed, as celebrity-widow and political spokeswoman have tended to blunt the edge and limit the variety of new art she's made in recent decades, and set a '60s aura around it.

This impression is neatly countered by the exhibition's most recent piece, dated 2015. Commissioned by MoMA and titled "To See the Sky," it's a free-standing steel spiral staircase that leads upward toward something I had never noticed before: a clear glass skylight piercing the museum's sixth-floor gallery ceiling. The sky, limitless and shifting, source of nurture and destruction, has been a central image in Ms. Ono's art all along. Viewed through the gallery skylight, it makes an attractive goal for a climb.

But as you reach the top of the staircase, something unnerving happens. The structure starts to wobble and sway, like a ship on a moody sea. Looking skyward becomes hard; your gut tells you to focus on where your feet are. Even when you've come back down, it takes a minute to find your land legs. So, just when you thought you were in for a bit of transcendence, free and clear, you've been given a wake-up poke, a little slap of fear, a reminder that looking for light is perilous; danger is always near; which is the message that this imaginative, tough-minded and still underestimated artist has been delivering for years.

"Yoko Ono: One Woman Show, 1960-1971" runs from Sunday to Sept. 7 at the Museum of Modern Art; 212-708-9400, moma.org.



8. Royal Osiris Karaoke Ensemble, FF Alumns, in Ridgewood, Queens, May 18, and more

Restless in Ridgewood:
This week's programs at Royal Osiris Karaoke Ensemble's LUV Pavilion
652 Woodward Avenue, Ridgewood, Queens.
info@royalosiris.com | 315.834.2569

All events are at 8PM and free of charge.

MONDAY, May 18:
Meg Mondays #2: Sleepless In Seattle
Re-imagined by ROKE in LUV-Vision, a kaleidoscopic re-edit with new soundtrack, followed by a post-show discussion with LUV experts Anthony Graves , Claudia Bitran, and Savannah Reich

TUESDAY, May 19:
Megan Byrne | Find the current, move the force. Love is for distributing.

Continuing her work directing improvisors, Megan Byrne will use her "Mediums" scores to explore the currents of all that is love. In a one day micro residency the performers will work on being conduits to a range of experiences past, present and future from quiet sorrow to elation. We will work to create a clear and grounded experience for both the performer and viewer, ultimately ending in positivity (or at least resolve).
Performances by Antoinette Aurell, Laurie Berg, Rebeca Medina, Katrina Reid and Tara Willis
Music by Karl Scholz
Vagina Tent Sculpture Installation by Liliana Dirks-Goodman
Directed by Megan Byrne in collaboration with the artists
8pm Sharp to 9pm... hang out in the LUV pavilion post show

Participants will learn simple and effective self defense maneuvers and practice these moves with other participants. Each will play the role of aggressor and defender before switching partners. The simulation of violence will reveal romantic and sexual compatibility.

FRIDAY, May 22:
The Georges with Troostite and David Finkelstein
Laborious sorrows posted on dead walls exclaiming fringe ideas. And music!
The Georges are an ever-shifting group of our favorite performers, and they will make an exclusive appearance at the LUV Pavilion with Troostite to create an unforgettable musical/other experience.

Saturday, May 23 // 8:00pm
Royal Osiris Karaoke Ensemble's The Art of LUV Revisited
Monday, May 25
Meg Ryan Monday: You've Got Mail in LUV-vision
Tuesday, May 26
TITANIC: A work in progress re-imagining of the classic film by Claudia Bitran
Wednesday, May 27

Friday, May 29

Saturday, May 30 // 8:00pm // $15
CATCH 69 + Closing Night Party!
CATCH, everyone's favorite hydra-headed, multi-disciplinary, rough-and-ready series of performance events, couples up with ROKE for an evening of devotion to the goddess Aphrodite herself. Via the frenzied union of performance and karaoke, CATCH 69 conjures a commingling, intertwining invocation of Luv.

Visit immediatemedium.org/projects/luv-pavilion or royalosiris.com for updates or to learn more.

This project is supported, in part, by funds from the Nancy Quinn Fund, a program of A.R.T./New York, and public funds from the New York City Department of Cultural Affairs and the New York State Council for the Arts.




9. Erica Van Horn & Simon Cutts, FF Alumns, at Offprint London, May 22-25

Erica Van Horn and Simon Cutts will be
presenting a selection of Coracle publications at OFFPRINT LONDON, 22-25 May 2015 Tate Modern Turbine Hall, Bankside London SE1 9TP

for details www.offprintlondon.com



10. Gigi Otalvaro-Hormillosa, FF Alumn, at Counterpulse Theatre, San Francisco, CA, May 29-31

Gigi Otalvaro-Hormillosa FF Alum to premiere "Psychic Gold" at This is What I Want 2015 Festival, May 29-31

Performing vignettes based on her critical sex writing and erotica, Otálvaro-Hormillosa inspires sensual thinking and dialogue around gender, race, and sex. In her new work Psychic Gold, she stages images of desire and converses with historical and contemporary figures like Freud, Sor Juana, and men of different backgrounds to reflect on female "masculinities."

More info about the festival: http://www.thisiswhatiwantfestival.com/festival-2015/#events
More info about the artist: gigiotalvaro.com



11. Penny Arcade, FF Alumn, now online at chelseanow.com and more

I am in my last stretch of work in progress with Longing Lasts Longer

the next 4 mondays at 7pm at Joe's Pub May 18- June 8th

hen I will be rehearsing it thru July to premier at Edinburgh in August and in London in November

here is a link and short video


heres an interview from last week I think you will like



penny arcade



12. Marina Abramović, FF Alumn, at MONA, Tasmania, Australia, June 13-Oct. 5

Marina Abramović
Private Archaeology
June 13-October 5, 2015

Museum of Old and New Art (MONA)
655 Main Road
Berriedale, Hobart


The Museum of Old and New Art (Mona) collaborates with Marina Abramović in a solo exhibition, Private Archaeology, featuring more than 40 seminal works chosen to celebrate her return to Australia after 17 years. While not a retrospective, the exhibition documents a career spanning more than 40 years and explores how Abramović has reduced and refined her work to focus on a central, unifying ideology: what she calls "the art of the immaterial." This involves the use of objects and simple rituals-either by the audience or the artist herself-to transport each participant to consciousness of the present moment. Private Archaeology includes sound pieces, video works, photographs, sculptures and interactive works using the The Abramović Method.

The exhibition is named for Private Archaeology-a series of four cabinets each including objects selected by Abramović because of their importance to her life, including objects dedicated to her Mona experience.

Curated by Nicole Durling and Olivier Varenne, Mona's senior curators.

June 14, 13.30h: The conversation: Marina Abramović and David Walsh, Odeon Theatre, Hobart.

Throughout the exhibition Cinemona will run a series of films about the artist.

The catalogue
A 160-page exhibition catalogue, Marina Abramović: Private Archaeology, including a foreword by Mona founder David Walsh, along with essays by Associate Professor Justin Clemens and Mona writer Elizabeth Pearce.

The catalogue includes stills from Abramović's early performances, as well as extensive installation shots of the entire Mona exhibition, including her transitory works, a new edition of Private Archaeology made for Mona, and Counting the Rice exercise.

Date of release: September 2015; pre-orders available from June 13.

About the artist
Marina Abramović was born in 1946 in Belgrade, Serbia. In 1976 she moved to Amsterdam, where she began working with Ulay, her lover and creative collaborator, and together they explored their cultural identities and personal ritual through performance art. In 2001 Abramović moved to New York, where she now lives and works. In her pioneering performance works she has used her body as both her subject and medium, enduring pain, exhaustion and danger in the quest for emotional and spiritual transformation. She has been the subject of numerous solo and group exhibitions worldwide at institutions including the National Gallery of Victoria (1979); the Art Gallery of New South Wales and the National Gallery of Victoria (1981), the Museum of Contemporary Art, Sydney (1998), Solomon R. Guggenheim Museum, New York (2005), Museum of Modern Art, New York in (2010), the Garage Centre for Contemporary Culture, Moscow (2011); and Kunsthalle, Vienna (2012). Abramović's work was also included in Documenta VI, VII and IX (1977, 1982 and 1992); Venice Biennale 1976 and 1997, with the exhibition of Balkan Baroque in the latter earning her the Golden Lion Award for Best Artist.

For more information: Delia Nicholls, media manager



13. Rae C. Wright, FF Alumn, at ifp Media Center, Brooklyn, May 22

Rae C Wright, FF Alumn, Panelist for THE IMPROFILM FESTIVAL at ifp Media Center 5.22.2015 from 3-5 p.m.
Ms. Wright will be the featured panelist with Professor Campbell Dalglish from CCNY, CUNY.
This short film festival will feature 8 shorts and celebrates collaborative filmmaking without scripts. Described as "
"Compellingly real stories, internally engaging, in the realm of Mike Leigh and John Cassavetes."
For information & tickets call 212.477.6654.
The ifp Media Center is located at 30 John Street, Brooklyn, NY 11201.



14. Joyce Cutler-Shaw, FF Alumn, at Durango Arts, CO, thru June 27, and more

Dear Friends,

To let you know of a new exhibition on now in Colorado http://durangoarts.org/art-library/joyce-cutler-shaw-presents-the-language-of-gesture. Two other exhibits on currently, "100 Artists, 100 Years," at the Oceanside Museum April - July http://oma-online.org/?portfolio=100-artists-100-years
"Unbound" Artists Books from the Atheneum Music and Art Library Collection at the New Central Library in San Diego, CA http://sdpl.bwcs-hosting.com/cal/event/showEventMore.rdo;jsessionid=F11B79EB92B69FA46B069C90475206C2





15. Agnes Denes, Lorraine O'Grady, FF Alumns, now online in T Magazine, May 15

Please visit this link to the fully illustrated article


thank you.



Goings On is compiled weekly by Harley Spiller