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Contents for June 10, 2015

1. Licio Isolani, FF Alumn, at Pratt Institute, Brooklyn, thru June 12

Dear All:

You are invited to this event. We hope you can come.


A Strange Road to Materials by Licio Isolani

Tuesday, Jun 09, 2015-June 12, 2015

Location: Steuben Gallery, Brooklyn Campus

An exhibition of the works of Emeritus Professor Licio Isolani donated to
the Mathematics and Science department in contribution to the department's
vision to create a Center for Research in Science and Arts.

Emeritus Prof. Licio Isolani, a pioneer in the exploration of plastics and
polymeric materials that were becoming available from industry in the mid
1950's and '60s, has recently donated several of his arworks to the
department of Mathematics and Science. These artworks include sculptures
made of fiber glass and colored resins as well as paintings using metallic
and transparent pigments that he produced in the period of 1954 to early

The study of polymeric materials used by artists during that time period is
today a matter of great interest in the field of Art Conservation. The
Mathematics and Science Department is presently creating a database of these
materials and professor Isolani's donation give us precious real life
examples that will be exhibited along with the materials database.

The opening of the show will feature talks by President Schutte, Architect
and designer Gaetano Pesce and Prof. Carole Sirovich, chair of the
Mathematics and Science Department. A documentary of Isolani's work as
artist and Pratt's professor by filmmaker Gerhald Wahl will follow.



2. Agnes Denes, FF Alumn, at Socrates Park, Astoria, NY, thru Aug. 30, and more


Living Pyramid in New York and Wheatfield in Milan, Italy

Socrates Park, Queens New York

The Living Pyramid opened on May 17th at Socrates Sculpture Park and will remain on view through August 30th. The park is located at 32-01 Vernon Boulevard in Long Island City, Queens; it is free and open every day from 10am - dusk.

Socrates Sculpture Park is pleased to present the latest major project by New York City-based artist Agnes Denes, who has added life to the city's skyline with a curving pyramid on the park's East River waterfront in Long Island City, Queens. Titled The Living Pyramid, Denes's new large-scale, site-specific earthwork spans 30 feet at its four-sided base and ascends 30 feet high, created with a wood understructure, and more than 25 tons of soil, planted grasses and wild flowers, It stands at the edge of the Hudson River.

Commissioned by Socrates Sculpture Park, The Living Pyramid is the artist's first major public artwork in New York City in three decades since her iconic urban intervention, Wheatfield - A Confrontation in 1982. Very few artists can fulfill the moniker of "visionary" and fewer still can match Agnes Denes in breadth, scope, and perseverance. Her work is the product of a fiercely intellectual and distinctive study of semiotics, epistemology, mathematics, history, and ecology, which are grounded in philosophical inquiry and social observation.

The Living Pyramid at Socrates unites Agnes Denes's powerful environmental interventions with her ongoing exploration and invention of pyramid structures - a form that has been central to the artist's practice throughout her long and distinguished career. For nearly five decades Denes has used the pyramid both structurally and conceptually to examine environmental priorities and social hierarchies. In the Realm of the Pyramids: The Visual Philosophy of Agnes Denes, the first solo exhibition exclusively devoted to her imaginative investigations of this iconic form, leading to the publication of the THE PYRAMID BOOK, recently took place at Leslie Tonkonow Artworks + Projects in New York City from March 14 - May 9, 2015
.The Living Pyramid was made possible, in part, with major support from the David Rockefeller Fund to honor founder David Rockefeller on the occasion of his 100th birthday.

SUMMER, 2015

Wheatfield, is an environmental installation by American conceptual artist Agnes Denes (b. 1931). A spectacular work of Ecological Land Art, to call public attention to values that are increasingly neglected by the globalized world, such as sharing food and energy, protecting the land, and fostering social and economic growth.

Wheatfield was originally conceived in 1982 and realized in New York.
In 1982, Agnes Denes received an invitation from the Public Art Fund to create a new work in New York City. Rejecting the traditional notion of the statue in the public square, she planted and harvested a large field of wheat near Wall Street in lower Manhattan - a monumental gesture that symbolized "society's mismanagement of global resources, greed, and world hunger."
Wheatfield - A Confrontation (1982) occupied two acres of wheat that is now Battery Park City. It has long been regarded as one of Land Art's most radical and significant works. In recognition of this, Denes was recently invited to install a greatly expanded re-enactment of Wheatfield in Milan, Italy, in connection with Expo Milano 2015, the universal exhibition with the theme of Feeding the Planet: Energy for Life.
For its presentation in Milan, Wheatfield grows over 5 hectares (12 acres) in a central area of the city known as Porta Nuova.

To create the field of wheat in Milan, more than 500.000 cubic feet of soil have been transported to the area, and 2775 pounds of seed have been planted.
Preparation of the twelve-acre field began in late February of this year. On February 28, the public was invited to participate in the initial planting.
Wheatfield was officially opened to the public on April 11 in connection with Miart 2015, Milan's international fair of modern and contemporary art. From then on, the site in the Porta Nuova district, which has been closed for over fifty years, will be open to the public as Wheatfield by Agnes Denes grows all through the summer, and the wheat is harvested in the fall.

The project is commissioned by Fondazione Riccardo Catella and Fondazione Nicola Trussardi in collaboration with Confagricoltura and it is curated by Massimiliano Gioni.

The harvest is expected to take place on July 12th 2015

The project is open to the public
Agnes Denes is represented in New York by Leslie Tonkonow Gallery, 535 West 22nd Street, New York



3. Jane Dickson, FF Alumn, at Steven Harvey Fine Arts Project, Manhattan, June 13

Saturday June 13, 4-6pm

Jane Dickson: Seen
at Steven Harvey Fine Arts Project
208 Forsyth Street, NYC

This exhibition presents significant examples of the artist's paintings from across her career, including images of Times Square from the early 80s along with later works, which place Dickson in contemporary counterpoint to earlier artist/observers of New York City such as Edward Hopper and John Sloan. The exhibition is accompanied by a color catalog with an essay by Walter Robinson.

Would love to see you there!



4. Donna Henes, FF Alumn, at Grand Army Plaza, Brooklyn, June 21

40th Annual Summer Soulstice Celebration
With Mama Donna Henes, Urban Shaman

Join New York's "Unofficial Commissioner of Public Spirit", urban shaman Mama Donna Henes, for a sizzling celebration of summer and sun on the longest day of the year. The event starts at noon on Sunday, June 21st, 2015 and the sun ceremony will begin at the exact solstice moment: 12:38pm. Look for Mama Donna and friends at Bailey Fountain, Grand Army Plaza, Brooklyn, and bring kids, dogs, drums, and plenty of spirit!

Mama Donna has been performing public rituals in various locations around New York City for more than 40 years. This will be her 40th Annual Summer Solstice Celebration.

JUNE 21, SUNDAY, 12:00 PM
12:00 PM (Noon) event starts
12:38 PM Solstice moment
Grand Army Plaza, Bailey Fountain, Park Slope, Exotic Brooklyn, NY



5. Christa Maiwald, FF Alumn, at Sara Nightingale Gallery, Water Mill, NY, thru Aug. 3

Sara Nightingale Gallery
visit/ ship: 688 Montauk Highway
mail: PO Box 1061
Water Mill, NY 11976

Sara Nightingale Gallery is pleased to present Reinventing the Helm, opening Saturday, June 6th from 6:00 to 8:00 p.m.

The artists in this invitational group exhibition examine the genres of traditional maritime and marine art using ship portraiture, seascapes, novels, folklore and ancient myths about the sea as inspiration. The obvious and straightforward have been mostly, but not altogether, thwarted here in deference to an updated and contemporary view of all things nautical. One painting by Perry Burns, whose swerving lines suggest the surface of the sea, was literally turned on its side and renamed Waterfall - a good metaphor for what one can expect from the exhibition.

While not specifically divided into categories, the works address several themes such as lost souls, meteorological events, marine life, nautical terminology and even edible fruits of the sea.
Seagull sculptures by Rossa Cole, fabricated from the plastic six-pack holders that endanger marine life, hover over a large scale sculpture of a wooden boat's ribs by Simone Douglas. Peter Buchman's rubbings/ stencils of manhole covers juxtapose one from New Orleans with one from Santa Monica, implicitly reminding us of the potential impact of too much or too little water. Dalton Portella's White Water super-imposes images of multiple storms in one composite photograph, yielding a surreal depiction of waves, clouds and sunlight which, according to one viewer, looks almost biblical. A lighthouse made of reclaimed lumber by David McQueen aims its beacon through a gallery window toward the ocean, its light a guide for someone trying to return.

The list of artists includes those with international representation and museum exhibition history, as well as emerging artists from Brooklyn, Wynwood, the West Coast and Ireland. One can expect a plethora of boats, ships, sharks, clouds and even a cake, as well as characters who may or may not be schooled in the art of helmsmanship.

Reinventing the Helm opens on Saturday, June 6th from 6:00 - 8:00 p.m. and runs through Aug. 3rd.

*artist list still pending
images available upon request

Curator's Statement
You unlock the flimsy door of room 101 with an actual key. They don't have a second floor, and there is no one else staying here tonight, being that it's mid-week in the off- season. As you step over a crack in the cold linoleum floor, a waft of bleach, mildew, and what might be the stench of a dead starfish, but is actually the all encompassing odor of the full moon low tide, greets you with a nostalgic blast.
The irony that you have just come from cocktails on an immaculately varnished yacht does not elude you. Ever since your broker squandered your trust fund in junk tech stocks years ago (your reckless salad days had nothing to do with it), you have been stealthily concealing your cash deprivation from aging friends you've known since boarding school.
But now you are alone in this seaside motel, and there might be a finger of whiskey left in your flask. So you fumble for the lights, which yield an excruciating blend of cold blue fluorescent and dim yellow bulbs, a hue so excruciating, in fact, that you question the actual color of the furnishings in the room, which are few. The mirror, affixed to the back of the door with metal clips, has no empathy for your weary expression. But it does reveal the reason for your journey to this remote, foggy isthmus.
There she hangs on the wall above the bed, and despite being a bit more faded, weathered perhaps, she looks the same as she always does. Her pale thin frame of pickled oak does not outshine her countenance, which is plane and undemanding, quotidian even.
Still she has a story to tell. Of wind and waves and clouds that do not adhere to any real meteorological pattern. The listing ship, whose portrait this is, and whose name is obscured by a cresting wave, is bound for distant isles and oceans. The cargo in her hold is a mystery, as are her port of call and crew, but these are mere details. She is presented here, all sails full and by, shining in her generic glory, as a reproduction, so there may be thousands of identical ships in thousands of other motel rooms in seaside towns like this one. This thought comforts you; you have seen her before.
As you sip your whiskey and drift off into a groggy sleep, the painting, that is, the print of the painting, begins to come alive. It unfastens itself from its rusty wall hooks, hovers in the air for a fleeting moment, as if hesitating, then floats mischievously into your dream.
This is where the story begins.



6. Alexander Melamid, FF Alumn, in The New York Times, June 9

The complete illustrated article can be found online here:

Text only follows below.

The New York Times
Alexander Melamid Begins Artenol, an Art Magazine
JUNE 8, 2015

As the artist-provocateur Alexander Melamid sees it, modern art is deathly ill, but he thinks he has the cure. It is Artenol, his new quarterly magazine, described on its website as "a purgative for an ailing art world, a palliative for afflicted aesthetes."

The magazine, whose name alludes to the pain remedy Tylenol, promises to apply the sweet balm of reason and linguistic clarity to relieve such alarming symptoms as galloping absurdity, inflationary fever and intellectual congestion.

"It will prescribe art that is good for your head and not hard on your stomach," Mr. Melamid writes in an editor's note in the first issue, to appear on newsstands June 23, at a price of $10.

The cover is eye-catching. A tinted engraving of Friedrich Nietzsche's impressive head extends past the right margin, making his bushy mustache a convenient tab for turning the magazine's pages.

Inside, the philosopher Richard Viladesau explores the relationship between art and God; Ross Kenneth Urken, editor of the financial website MainStreet, considers the aesthetics of the internal combustion engine; and the radical lawyer Michael Ratner recalls the heyday of the Guerrilla Art Action Group in the late 1960s and early 1970s. Ian Frazier and Art Spiegelman, two of Mr. Melamid's closest friends, chip in with a poem and a cartoon. All of this sounds fairly straightforward. Solid, literate contributions on intriguing topics. But on closer inspection, oddities surface. Among them: a fake obituary of Jeff Koons ("Jeff Koons, Creator of Inflated Art, Is Dead"), seemingly in The New York Times and written by Mr. Melamid.

Most peculiar is the cover article, "The Death of Art." The author, a certain Rowling Dord, tells of a chance encounter with a plumber in upstate New York who turns out to be a once celebrated artist who "resigned" from the Mary Boone Gallery in the 1980s, on the eve of his first retrospective, convinced that art was dead. Now retired, he secretly labors on a "perpetually immobile machine" that will return art to a state of "pure authenticity."

The article is a hoax, born of necessity.

In the planning stages for Artenol, Mr. Melamid was keen to go all-in on Nietzsche, famous for his pronouncement that God is dead. When the die-cut templates for a Nietzsche-shaped magazine came back from the printers in China, David Dann, the magazine's sole editor and designer, asked Mr. Melamid for the Nietzsche article. Mr. Melamid, perplexed, responded, "What Nietzsche article?"

Scrambling, Mr. Dann came up with his fanciful tale about the artist "John Deaux," written by a fictitious academic at the nonexistent Bayonne College. The college is a sly reference to the period, beginning in the late 1980s, when Mr. Melamid and his artistic partner at the time, Vitaly Komar, created a fictitious artistic movement that they called the School of Bayonne.

Artenol, in other words, seems very much like a cross between The New Criterion and Mad magazine - a platform for serious writing but also a kind of satellite dish tuned to receive and transmit Mr. Melamid's wiggly brain waves.

It could hardly be otherwise, considering the source. Throughout his long career, both in the Soviet Union and the United States, Mr. Melamid, now 69, has perpetrated one long series of subversive stunts.

In the late 1960s he and Mr. Komar, influenced by Pop Art and Dada, turned the visual language of Socialist Realism into a series of wicked commentaries on the absurdities of Communism. After leaving the Soviet Union in the 1970s, the pair used the same approach but with different targets. In one project, aimed at the excesses of the auction market, they created a company that bought human souls (Andy Warhol donated his) and sold them to the highest bidder.

Mr. Melamid parted company with Mr. Komar more than a decade ago and began painting old master-style portraits of hip-hop artists and Russian oligarchs. More recently, he created the Art Healing Ministry, inviting the afflicted to enter a SoHo storefront for treatment by exposure to artworks by masters from Raphael to Roy Lichtenstein.

Artenol grew from Mr. Melamid's increasing despair at the state of art criticism, and, more sweepingly, his conviction that modern art has been a colossal mistake.

"I started to read Artforum in the 1970s, and it made no sense, but I thought, 'Perhaps my English is not good enough,' " he said in an interview in his apartment near Times Square, with Mr. Dann, and his publisher, Gary Krimershmoys. "But my English got better, and I still didn't understand. I knew that the truth did not exist in the Soviet Union, but in America I expected to find it. Instead, I encountered the abyss of human thinking."

Artenol's mission, in part, is to talk about the arts in language intelligible to an educated, nonspecialist reader. "We want to fill the art space with some sense, to fill it with human thinking," Mr. Melamid said. "It is the rehumanization of art."

Mr. Dann described the target audience as "New Yorker readers looking for content that's a bit more adventurous and irreverent," a formulation that Mr. Melamid listened to raptly, as though hearing it for the first time. "Me, I have no clue," he said. "Thank God my editor knows."

The very compact staff consists of Mr. Melamid and Mr. Dann, who began working with Mr. Melamid in the early 1990s, during the School of Bayonne period. "I am the ideologue; he actually makes the magazine," Mr. Melamid said, nodding in Mr. Dann's direction.

Most of the money for Artenol comes from Mr. Krimershmoys, who is also a partner in the Art Healing Ministry. Like Mr. Melamid, he is an émigré from the former Soviet Union with a lofty sense of the magazine's subversive mission.

This would seem to be a paradox. Mr. Krimershmoys left the financial industry to create an art advising business, and for a time was an art dealer as well. His wife, Denise, owns the Vohn Gallery and doubles as the accounts and circulation manager of Artenol.

"I left finance because it is too commodified, but when you are an adviser and dealer, it can become very similar," Mr. Krimershmoys said. "This is our stand-up-and-scream moment."

By this point in the conversation, the health metaphors had vanished. Artenol, it seemed, was both pill and projectile. "You aim high and see if the bullet hits the target or falls to the ground," Mr. Krimershmoys said.

The image set Mr. Melamid to thinking. "You know, when you fire a gun, there is always the chance that someone will be killed," he said.

"Not necessarily a bad thing," Mr. Dann said.



7. R. Sikoryak, Kriota Willberg, FF Alumns, at Dixon Place, Manhattan, June 10

Dixon Place presents

Cartoon Slide Shows and Picture Performances
Hosted by R. Sikoryak

Liana Finck
Cynthia Kaplan with Michael Hunter and Tony Salvatore
Flash Rosenberg
Whit Taylor
Julia Wertz
Kriota Willberg
With live drawing, music, graphic history, medical humor, and more.

Wednesday, June 10, 2015 at 7:30 pm

Dixon Place
161A Chrystie Street (btwn Rivington & Delancey)

$12 (advance)
$15 (at the door)
$10 (students/seniors)
or TDF

Advance tickets & info:
(212) 219-0736
More info:

(The Dixon Place Lounge is open before, during, and after the show. All proceeds directly support DP's mission and artists.)



8. Dylan Marcus, FF Member, now online at thecreatorsproject.vice.com

An article on the art of Dylan Marcus, FF Member, is now online here:


Thank you.




9. Brendan Fernandes, FF Alumn, at Seattle Art Museum, WA, opening June 19, and more

Dear Friends!
I am excited to share news of two important show I am participating in this month. On June 19th "Disguise: Masks & Global African Art" opens at the Seattle Art Museum (SAM). I am thrilled and excited about this show which features a large number of my works including two new commissions. This show will be traveling to the Brooklyn Museum, Brooklyn and the Fowler Museum of Cultural History, LA in 2016. Attached are two videos created by SAM that give a sneak peak into my work and this show.
Thereafter I will open a solo show, "Still Move" that features a new dance and movement installation at the Southern Alberta Art Gallery (SAAG) in Lethbridge, Alberta. The opening is scheduled for June 26th with a live performance and reception. I hope you all can see these shows and share in my summer bliss!

Cheers, Brendan Fernandes



10. Nigel Rolfe, FF Alumn, at Pierogi Boiler, Brooklyn, June 26-27






Graduating Students from the Royal College Of Art. LONDON.UK
School Of Fine Art Performance Pathway.
Program Leader. Prof Nigel Rolfe.




11. Joseph Nechvatal, FF Alumn, now online at thecreatorsproject.vice.com

@ VICE : Artist "Paints" with Artificial Life and Computer Viruses


Joseph Nechvatal



12. Linda Mary Montano, Nicolás Dumit Estévez, FF Alumns, in new book

Ecosexuality: When Nature Inspires the Arts of Love, SerenaGaia Anderlini-D'Onofrio, Lindsay Hagamen.

Inside this book is "Sex-Ecology and the Spiritual Implications of Guilt and Pleasure in the Act of Loving the Earth," an interview between Linda Mary Montano and Nicolás Dumit Estévez http://ecosexbook.com/authors2/

About the publication:
Is Eros the untapped renewable energy of our time?

Ecosexuality explores the relationship between sex, ecology and social change. It integrates seductive, inspiring and practical approaches to creating a loved-based, sustainable culture. Ecosexuality brings together the voices of 30 leaders to converge the multiple energies of the ecosexual movement, its versatility of styles and diversity of genres convey a compelling variety of perspectives on this emerging social movement.

Can we make love the ecology of life? Can we treat the Earth as the revered lover we all share? Can we truly create a love-based, sustainable culture. Ecosexuality addresses these and other engaging questions in this first world-wide collection that gives voice to the ecosexual awakening.

To learn more about the publication:

To order a copy:



13. Lucio Pozzi, FF Alumn, at Palazzo Vitelli a Sant'Egidio, Perugia, Italy, thru Oct. 15

Au Rendez-vous des Amis
Group Show by Fondazione Burri
27 June - 15 October
27 giugno - 15 ottobre, 2015
Palazzo Vitelli a Sant'Egidio
Città di Castello
Perugia, Italy
(Italian text below)
My painting The Marriage of Order and Chaos (Wm. Blake), 2014, [90 1/2 x 74 3/4 inches] will be exhibited by Fondazione Burri in a group show for the artist's centenary. To find its title I consulted, as I often do, with my writer friend Mario Diacono. This work is part of the Scatter Group paintings, started a few years ago, works that are painted with acrylics on stretched canvas. I start by placing the canvas flat on the floor and spreading one coat of diluted paint as a ground onto which, once dried, I then spread another liquid coat. After both are dry, I hang the canvas on the wall and warm myself up by imitating and translating into geometric areas outlined by masking tape some of the chanced stains. To do so, I use thick paint applied with a palette knife. Then, I proceed following the vagaries of thought and emotion, by covering again and again what's there with thick unpredictable areas of knife-applied paint. Most of the time, since I only add coats of paint, I feel I must risk further and cover previously applied forms even if they please me. The outlines of what was covered transpire under the new coats of paint. I never know when the painting is completed.

Il mio quadro The Marriage of Order and Chaos (Wm. Blake), 2014, (Il matrimonio di ordine e caos) [cm. 230 x 190] sarà esposto dalla Fondazione Burri in una mostra di gruppo per il centenario dell'artista. Per aiutarmi a scegliere il suo titolo mi sono rivolto, come faccio spesso, all'amico scrittore Mario Diacono. L'opera fa parte dello Scatter Group, pitture iniziate qualche anno fa. Sono dipinti in acrilico su tela montata su telaio. Per incominciare, sdraio la tela sul pavimento e ci spargo sopra una prima mano di colore diluito, sopra la quale poi aggiungo un'altra mano di colore liquido. Dopo che queste si sono asciugate, appendo la tela sul muro e mi riscaldo copiando in forme geometriche stagliate con nastro adesivo alcune delle macchie che si sono formate. Uso pittura spessa applicata con spatola. Poi, saltando di palo in frasca, seguendo il corso imprevedibile del pensiero e delle emozioni, continuo ad aggiungere forme che coprono le precedenti. I profili di quel che è stato coperto si intravvedono sotto le nuove forme. Sovente, per spingermi sempre più in là, devo sacrificare colori e formazioni che mi piacciono. Non so mai quando un quadro è finito.



14. Kal Spelletich, FF Alumn, at New Museum Los Gatos, CA, thru Sept. 27

I am in this exhibit
"Giants in the Sky: The Rise and Fall of Airships" in Los Gatos California.
I am exhibiting a Flying Boot,
a Portable Flying Machine In A Valise
A Hugging Machine
And some videos.
The exhibition will be on view from June 6 through September 27, 2015
The Public opening is June 6, 2015 from 12 - 5 pm
Formerly the Museums of Los Gatos, New Museum Los Gatos will open on June 6th, 2015.
Free Admission all day to NUMU!
Great art and living history. Performance art featuring Dani Dodge. Robots lovingly created by Kal Spelletich. Interactive displays, the interplay of art and music, performance art, story telling and robots!

all bestest,



15. Jack Waters and Peter Cramer, FF Alumns, at BAM, Brooklyn, June 18 and more

Jack Waters and Peter Cramer in the world premier of Jason and Shirley at BAM Cinema Fest June 18 @ 7pm. http://www.bam.org/JasonandShirley
West Coast premieres at Frameline San Fransisco June 23 and OutFest Los Angeles July 11.
A new feature directed by Stephen Winter based on a reimagination of what happens behind the scenes on the set of Shirley Clarke's Portrait of Jason.
"What Interior. Leather Bar. (Frameline37) did for Cruising (or, perhaps more accurately, what Drew Barrymore and Jessica Lange's version of Grey Gardens did for the original documentary by the Maysles brothers), Jason and Shirley does for Oscar-winner Shirley Clarke's seminal, controversial Portrait of Jason. Director Stephen Winter (Chocolate Babies, Frameline21) presents a fictitious account of the making of Portrait of Jason, a groundbreaking example of confessional biography, famously shot in one grueling 12-hour session in Clarke's apartment in Manhattan's Chelsea Hotel. For his reimagined scenario, Winter, brilliantly borrowing the look and feel of 1960s cinéma vérité, depicts the behind-the-scenes power struggle between the white Jewish director and her eccentric gay African American star, Jason Holliday, a pill-popping, boozy hustler with dreams of becoming a cabaret superstar (just one of the many similarities Jason has to Little Edie). Upon Portrait of Jason's release in 1967, critics were divided between condemning it as exploitation and hailing it as a masterpiece; famed director Ingmar Bergman called it "the most extraordinary film I've ever seen in my life." Did Shirley bait Jason into unraveling on camera, or was this Jason's plan all along? And just what was the nature of Jason's relationship with Shirley's husband, the devastatingly handsome actor Carl Lee? Mixing fantasy and reality with enthralling performances from Jack Waters (The Male GaYze, Frameline14) and Sarah Schulman in the title roles, Jason and Shirley is a fascinating exploration of art, race, privilege, sex, and-most provocatively-the fine art of manipulation.- Joe Bowman.



16. Harley Spiller, FF Alumn, on St. Louis Public Radio, now online, and more

Harley Spiller, FF Alumn, spoke about his new book, "Keep the Change: A Collector's Tales of Lucky Pennies, Counterfeit C-Notes, and Other Curious Currency" with St. Louis Public Radio's Don Marsh for 20 minutes this past week. The resulting podcast can be found online here:



please consider dropping in to Harley's program this Sunday, June 14, from 2:30-5:30 pm at Bank Street Bookstore, on the corner of 107th and Broadway in upper Manhattan. Come for a few minutes or the whole time - there will be prizes for all and a chance to handle rare numismatic artifacts. Thank you.



Goings On is compiled weekly by Harley Spiller