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Contents for June 16, 2015

In Memoriam, Sonya Rapoport, FF Alumn

To Sonya's Dear Friends,

We are saddened to share the news that Sonya passed away Monday, June 1st. Having received a diagnosis of pancreatic cancer just two weeks beforehand, this came as a shock to us all. She is deeply missed.

Sonya was comforted by the fact that her children Hava, David and Robert were present to care for her, and her spirits were lifted by an outpouring of love from her friends and family. In accordance with her wishes, Sonya's family had a small, private service at Mountain View Cemetery.

In lieu of a formal ceremony, the family would like to invite those who knew Sonya to celebrate her extraordinary life at an informal Memorial Gathering from 3 - 6 PM on Sunday, June 21st at her home, 6 Hillcrest Court in Berkeley.

Please bring a memory of Sonya and a drink or snack to share. There is no need to RSVP, but please feel free to contact us with questions.


Hava Rapoport
(510) 658 - 4741

Farley Gwazda
Assistant to Sonya



1. Julie Atlas Muz, Mat Fraser, FF Alumns, Queen & King of The Mermaid Parade, Brooklyn, June 20

For complete information on this exciting annual event being led this year by the royal duo of Julie Atlas Muz & Mat Fraser, FF Alumns, please visit:


thank you.



2. Mel Watkin, FF Alumn, at The Sheldon Galleries, St. Louis, MO, thru Aug. 1

The 2014 Critical Mass for the Visual Arts Creative Stimulus Award Exhibition: Tate Foley, David Johnson & Mel Watkin
The Sheldon Galleries
St. Louis, Missouri
June 5 - August 1, 2015

The artists will lead a gallery talk on June 16, 2015


Mel Watkin



3. Clarinda Mac Low, FF Alumn, at Casa Mezcal, Manhattan, June 17

Join me at the Culture Push Benefit!
June 17, 2015, 6-9 PM

By now most of you know about Culture Push, the organization I began in 2009 in collaboration with Aki Sasamoto and Arturo Vidich. I'm now the Executive Director (a real learning experience, and labor of love). in 2012 we began the Fellowship for Utopian Practice, inviting creative people to bring us big ideas that combine creative work and civic engagement. Process is our product, and the emphasis is on finding a working method that can be adapted and replicated

The past three years have taught us that the Fellowship itself is a model that works--we've been able to connect Fellows with resources that allow them to make a deep impact on the communities they're working with AND develop new and innovative ways of thinking. Now that we know we're onto something good, we want to make sure that our tremendously talented and resourceful Fellows have what they need to make it work. And, since each Fellow is directly affecting the people around them, the ripple effect will be huge.

Yeah yeah yeah, but what about this PARTY??

For $100 you get delicious food (and I mean DELICIOUS), refreshing drinks, lively conversation, and good company, plus a custom auction paddle that lets you bid in the book auction.
A $35 ticket gets you everything but the auction (but pssst.... there will be auction paddles on sale at the event, in case you're moved last-minute).

Book auction?? Yes. For BOOKTOPIA! people from the Culture Push network will be auctioning off their favorite books to Benefit guests. All the books up for auction will include a creative bonus -- maybe a home cooked dinner, maybe an original drawing, maybe a live reading, or a personalized tour of the city... It promises to be a super-fun night of literary intrigue.
Purchase your ticket now! online, OR send checks or money orders made out to "Culture Push, Inc." to: Culture Push, 241 E. 7th St. #3C, NY, NY 10009.
No matter what level you purchase, your donation is tax deductible to the full extent of the law. And if you aren't able to join us on June 17th, please consider making a donation to show your support. I'll make sure you're there in spirit!

Can't wait to party with you all!

Copyright (c) 2015 Clarinda Mac Low, All rights reserved.



4. Betty Beaumont, FF Alumn, receives Awesome Foundation award

And our winner is...
We're pleased to announce that our June 2015 grant is awarded to Lost & Found, a sound art and language installation created by artist Betty Beaumont.

Lost & Found is a multimedia sound sculpture that fosters community education of lost languages through a participatory exhibit. Using Raspberry Pi computers housed in painted, old organ pipes, the installation will contain extinct languages from all around the world. The old wooden organ pipes that once sounded music notes in a scale will now play songs from lost languages. As visitors move through the field of pipe organs each pipe will play a song and the lost languages will come to life. As several visitors trigger multiple organ pipes, a chance symphony of voices will create a sound ethno-sphere. Created for young audiences, the project hopes to inspire children to think about their native languages, history, and culture.

Find out more about why we think this project is awesome on our website.



5. elin o'Hara slavick, FF Alumn, current events

Here are some current + upcoming events in my art life.
Hope you will have the chance to see or read some of them.
THANKS + cheers, elin

June 5 - July 4, 2015
East to East, ICA at MECA
Institute for Contemporary Art at Maine College of Art
with Shane Smith, Portland, Maine
July 2, 5-7pm Panel Discussion
with slavick + Smith and respondents
Theresa Secord + Peter Shellenberger

July 16 - August 31, 2015
Beyond the Real, Cohen Gallery, Los Angeles, CA
Opening Reception: HIROSHIMA DAY, August 6,
With a poetry reading by Lorene Delany-Ullman +I'll be there!

Fall, 2015
Hiroshima Skies, billboard project,
North Carolina Museum of Art, Raleigh

Group Shows
June 17 - 20, 2015
Photo Basel,
Cohen Gallery Booth, Switzerland

June, 2015
Hiroshma / Nagasaki 70 years later
SAPE / Angrense Society for Ecological Protection
Angra dos Reis, Brazil

June - August, 2015
The Nothing That Is - a Drawing Show in 5 Parts
(My work is in Chapter 2, Conceptual Approaches)
curated by UNC MFA Alumnus Bill Thelen,
Contemporary Art Museum / CAM, Raleigh, NC

July 8 - November 15, 2015
Camera Atomica
Art Gallery of Ontario, Toronto, Canada
With a big book by John O'Brian,
Black Dog Publishing, London, UK

October 25 , 2015 - February 14, 2016
Photography and the Scientific Spirit
curated by Alison Ferris,
John Michael Kohler Arts Center, Sheboygan, WI
Spy, collage, slavick, 2015

October, 2015
Curator, Spectre Arts, Durham, NC

American Photography, Miles Orvell, Oxford University Press, UK

Gut Feminism, Duke University Press, cover image

BLOW Photo, magazine, Dublin, Ireland

Critical Military Studies, UK

The Volta, Tucson, AZ

Fisheye Magazine, "The Swap: portraits de photographes"
Paris, France, 2015
Other Activities

Special Select Juror for the KLPA (Kuala Lumpur International Photography Award), May

Truth to Power exhibition, Pleiades Gallery, Durham, NC, July

Portfolio Reviewer
Mt. Rokko International Photography Festival, Kobe, Japan, August

elin o'Hara slavick
Director of Graduate Studies for Studio Practice
Professor of Art
Hanes Art Center CB# 3405
UNC, Chapel Hill, NC 27599











6. Alison Knowles, FF Alumn, now online at whitehotmagazine.com and more

Please visit these two links for illustrated articles about the work of Alison Knowles, FF Alumn:



Thank you.



7. Donna Henes, FF Alumn, at Socrates Sculpture Park, LIC, Queens, June 21

Sunset Solstice Celebration
With Mama Donna Henes, Urban Shaman

June 21, Sunday, 8:00 pm
Socrates Sculpture Park
32-01 Vernon Blvd., Long Island City, Queens



8. Claire Jeanine Satin, FF Alumn, at Antica Sacrestia Venezia, Italy,

MONDAY JUNE 8th 6 pm

Claire Jeanine Satin
Garden Books / Water Books / Art Video Works
At the Restaurant Antica Sacrestia in Venice, Claire Jeanine Satin, an American
multidisciplined artist with an extended history of exhibitions and present in
numerous collections in the USA and in Europe, will present several inedited artist's
books and two art video works on Monday, 15th of June.
During her third artist's residence in Venice as a guest of the Emily Harvey
Foundation, Claire Jeanine Satin created a surprising and magic edition of Garden
and Water Books unique pieces composed of transparent film layers with depicted
prints inspired at Venetian secret garden and water landscapes. Her book
presentation gets accompanied by the video projections of Water of Venice -
Remembering Henry James and her latest work, Water Veils. Both videos express the
esthetical quality of the water of Venice in constant movement and metamorphose,
permeated by water sound scapes by the composer Juraj Kojs with the collaboration
of video artist Rodrigo Arcaya and text fragments from a novel by Henry James, The
Aspern Papers, a plot situated in a Venetian garden near Rio Marin.
On the occasion of her show Claire Jeanine Satin will narrate her deep relationship
with Venice. Besides, the evening program offers a reading by the poetess Marisa
Tumicelli from Verona, who got inspired by Claire's art works and wrote a poetic
prose on her garden books, and an intervention by Lorenzo Isacco, export of video
productions who has followed the artist's works since 2013.
The event is coordinated and curated by Laverna.Net and Design of the Universe
and promoted by the Emily Harvey Foundation.
Many thanks to Giuseppe Veneziano for his generous collaboration to host this
event in the spaces of the Restaurant Antica Sacrestia, a name connected with the
publishing of cultural magazines and arts ever since.
Claire Jeanine Satin is a multidisciplined artist with an extensive exhibition and
collection history in the U.S. and Europe. Over ten personal exhibitions and
countless invitational shows, she has completed three public art installations; one
for the State of Alaska and two libraries in Florida; created stage and costume
designs for three dance and performance companies in Miami, Florida and produces
a line of Art-To-Wear jewelry.
A graduate of Sarah Lawrence College and and MFA in Sculpture from Pratt
Institute, after which she was awarded a Louis Comfort Tiffany Grant for Sculpture.
She has received 20 grants, fellowships, awards and residencies including two Artist
Residencies to Venice, Italy in 2009 & 2012 where she has pursued her ongoing
research regarding the" Waters of Venice ". Among other awards are a nomination
from the American Academy and Institute of Arts & Letters; a Florida Consortium
Grant of $ 15,000. Collections include: The Library of Congress, Washington D.C.,
The Museum of Modern Art, NYC; The Victoria & Albert Museum, London; The
Getty Center, Los Angeles CA.
Between 2013 and 2015 Claire Jeanine Satin participated in several group shows
dedicated to the research project Remember Henry James in Milan, Trieste, Rome.
For further information Antica Sacrestia in Calle della Corona, Castello 4463
Phone +39.041.5230749 www.anticasacrestia.it
Laverna Net www.laverna.net www.rememberjames.eu
Emily Harvey Foundation www.emilyharveyfoundation.org



9. Kyle deCamp, FF Alumn, at Movement Research, Manhattan, July 13-17

JULY13-17 3:30-6:00
Workshop in Performance
How does self-direction function in your creative practice and performance work? Are there different approaches, choices to be made? All solo, collective, choreographic/directorial practitioners interested in cross-disciplinary processes of creating and performing are welcome. The workshop is designed to expand your awareness, experience and skills in self-direction. We follow a sequence of questions, explorations, performance, reflective action and conversation, drawing on different modes of live performance. Please bring in 1-3 minutes of your material for starters.

Kyle deCamp
July 13 - July 17
Monday, Tuesday, Wednesday, Thursday, Friday 3:30 pm-6:00 pm $140
Danspace Project 131 E. 10th Street, at 2nd Avenue

Kyle deCamp is a "Bessie" winning artist whose cross-media performance work is an ongoing investigation of the intersections of art, history, and individual lives from multiple perspectives. She has taught dance, theater, and media practitioners at P.A.R.T.S. Brussels, Sarah Lawrence, Princeton, Barnard/Columbia, and Movement Research. More info at www.kyledecamp.com



10. Isabel Samaras, FF Alumn, at Cotton Candy Machine, Brooklyn, thru July 5, and more

Isabel Samaras has work in three shows this month: her "Night Blooming Blossoms of Gotham" series are part of the "Tiny Trifecta" exhibition at the Cotton Candy Machine gallery in Brooklyn, NY; "Planet of the Drapes" will be on view at the "Big Eye Spectacular" tribute show in Miami, Florida at Harold Golen Gallery; and "Tigra" will be on exhibit with other works paying homage to champions and defenders of the world as part of "Superhero," opening at Modern Eden Gallery on June 13th. (You can follow Isabel's work on Instagram @isabelsamaras.art)



11. Eleanor Antin, Rachel Mason, FF Alumns, at LACE, Los Angeles, CA, June 16, and more

Hello friends in cyber-land!

Quick Story: A metal pipe handle got stamped into my left cheek while I tried to escape from a stroller on the campus of the Los Angeles County Museum of Art. I was about 3 years old and I still have the scar, which is why I am so excited to share...

The Los Angeles premiere of my film is happening at the largest museum in the Western United States, the place where I fell in love with art, the place which left a physical impression on my face as a reminder of my hometown of Los Angeles, LACMA.

I want to cordially extend the invitation to this and a few other upcoming shows and I hope that you can either attend or pass this along to any friends who might find these events exciting.


Los Angeles!

The Los Angeles Premiere of The Lives of Hamilton Fish
Tuesday June 23 at 7:30 PM
LACMA's Bing Theater.
The event is free and open to public.

some times presents Experiments in Narrative Acts
Tuesday June 16, 2015 from 7-9:30 pm

with Eleanor Antin, FF Alumn, Ann Hirsch, and Rachel Mason, FF Member, moderated by Catherine Wagley.

LACE (Los Angeles Contemporary Exhibitions)
6522 Hollywood Blvd.
The event is free and open to public.
New York!

Tuesday, July 21 at 7:30 PM

The Lives of Hamilton Fish screening at Anthology Film Archives as part of their Show&Tell Series

Tickets $10.00

Sunday, July 26, doors at 6:00PM
A live concert of the songs from The Lives of Hamilton Fish at Joe's Pub
$Tickets 15



12. John Baldessari, William Pope.L, FF Alumns, in The Wall Street Journal, June 5

The Wall Street Journal
The Style Scene at MOCA's Annual Gala
June 5, 2015 10:58 a.m. ET

STARS FROM THE ART and entertainment worlds mingled across one glamorous canvas of a space last Saturday at the annual gala of the Museum of Contemporary Art in Los Angeles. Artist Shepard Fairey, architect Frank Gehry, Oscar-winning actress Patricia Arquette and young director Gia Coppola all attended the event, which honored the 83-year-old artist John Baldessari.

Over cocktails, guests perused the MOCA's current exhibit by artist William Pope.L, called "Trinket." During dinner, museum director Philippe Vergne acknowledged the evening's presenter, Louis Vuitton, for supporting the museum's education program. "I was told nothing beats French elegance and French education, so thank you," he said.
After dessert, the live sounds of Janelle Monáe had guests jumping up to dance, including Ms. Arquette, who wore a tasseled necklace and a sheer gray ensemble. Of her going-out style strategy, she said: "I don't want to feel a lot of pressure about getting dressed. What's cool about fashion is some people do it really great and [then] it is an art form."
Actress China Chow illustrated Ms. Arquette's sentiment literally as she spread the graffiti-printed skirts of her dress, care of Moschino by Jeremy Scott, in front of a projection of a Baldessari lithograph that read: I Will Not Make Any More Boring Art.

The full illustrated article is online at http://www.wsj.com/articles/the-style-scene-at-mocas-annual-gala-1433516316



13. John Baldessari, FF Alumn, in T Magazine, June 11

T Magazine
A Dual Review of What's New Starring Natasha Lyonne and John Baldessari

The full illustrated article is at http://tmagazine.blogs.nytimes.com/2015/06/11/take-two-natasha-lyonne-john-baldessari/?_r=0



14. Saya Woolfalk, FF Alumn, at Andrew Edlin Gallery, Manhattan, opening June 25

Andrew Edlin Gallery
134 Tenth Avenue
New York, NY 10011
Anthems for the Mother Earth Goddess
June 25 - August 15, 2015
Opening reception: Thursday, June 25, 6:00 - 8:00p.m.

Brian Adam Douglas
Chris Doyle
Peter Fend
Katerina Lanfranco
Rigo 23
Kevin Sampson
Saya Woolfalk

Andrew Edlin Gallery will host its final exhibition at its Chelsea location with a presentation by seven artists who were invited to create works related to the environment and install them directly onto the walls, ceilings and floors of the gallery. Each artist will be given a large chunk of the space and seven days and nights to complete their piece. The building will then be demolished sometime in the near future.



15. Robert Rauschenberg, FF Alumn, in T Magazine, June 3

T Magazine

Robert Rauschenberg's Endless Combinations

By Dan Chiasson June 3 2015

WHEN YOU'RE LOOKING for the Robert Rauschenberg archive, everything starts to resemble a Rauschenberg. The chance juxtaposition of a vibrant yellow school bus next to a red Staples sign seems somehow intended, part of the artist's grand design. So too might the pale lavender blossoms of wisteria that frame the gray painted door tucked away in a hardscrabble industrial zone of lots and chain-link fencing.
Behind that door in Westchester County, N.Y., is an astounding secret: a fluorescent-lit hangar hung with nearly a hundred rusty bicycles; Rubbermaid tubs full of old neckties and scraps of bright, patterned fabric; boxes marked "Polaroids" and "Playing cards from Japan"; dark blue bags labeled "Merce Mannequins" (Merce Cunningham, the dancer and choreographer, was the artist's friend and collaborator) and file cabinets, some still taped shut, containing folders of ephemera along with correspondence from the likes of Jacqueline Onassis, Jasper Johns and Richard Gere. Rauschenberg purchased the high-security warehouse, which contains areas for art conservation and cold storage facilities, in 2006, to consolidate his art holdings. After the artist's death at age 82 in 2008, it took four years for his assets to be transferred from the estate to the Rauschenberg Foundation; after that, most of the contents from his properties in Manhattan and on Captiva Island, Fla., were packed up and transported here. Earlier this year, a team of archivists started to unpack the shipment, which includes 269 boxes of paper, 50 boxes of audiovisual data and 45 boxes of "source materials": the things Rauschenberg kept around him that he might one day have turned into artworks.
A source material, for Rauschenberg, could have been almost anything. Among the most prolific and consistently surprising American artists, he worked for over 50 years in a variety of media from feathers, stuffed goats, socks and neckties to cardboard, grass and scrap metal, in genres including choreography, costume design, photography, printmaking and painting. He is most famous for the "combine," a form he more or less invented that merged three-dimensional collages with sculpture, sometimes with the batty ingenuity of a Rube Goldberg. Few works capture so arrestingly the process that brought them into being: In a finished Rauschenberg, you see a goat, a tire, a tennis ball, but more than that, you see the insights that brought them together. Each component keeps its integrity within a composition in which everything contributes to a profound effect of overall beauty. Indeed, few artists of his era so unabashedly strove for beauty, even majesty: The logic of his work, beginning with cast-offs and flotsam, demanded it. It was the dare he put to himself in everything he made.

RAUSCHENBERG WAS also a fanatical collaborator. Even as a young artist in New York in the '50s, he made a kind of photography with his then-wife, Susan Weil, exposing blueprint paper to a sun lamp. Weil would lie on top, Rauschenberg would direct the light, and the two of them would treat the resulting form with a solution of hydrogen peroxide. His iconic "Erased de Kooning Drawing" - a small de Kooning he acquired, in 1953, from the master and then painstakingly erased (he said it took him a month) and framed - is sometimes seen as the effrontery of a young punk. But Rauschenberg revered de Kooning, and de Kooning chose the drawing he gave away, selecting a specimen he said he would miss. For an exhibition in 1955, Jasper Johns, Rauschenberg's New York neighbor and lover at the time, created the label.
The Rauschenberg Foundation is already learning the hard way about some of the murkier features of collaboration. Rauschenberg left $606 million in trust; the three trustees of his estate, friends and business associates of the artist, initially figured that $20 million each would be the appropriate compensation for their services. The Foundation balked at the bill, claiming that it amounted to an hourly rate of $40,000 per person; the trustees, meanwhile, argued that the trust's value had tripled to more than $2 billion under their watch. A Florida court awarded the trustees $24.6 million last August, a verdict that the Foundation has appealed.
Such disputes happen in families, and Rauschenberg ran his headquarters on Captiva like one. His home was comprised of several indigenous buildings which he bought one after another to prevent the expansion of a nearby resort; he preserved, too, one of the last remaining patches of jungle on the island, cutting only a narrow path through it. His staff tended the mango trees and sent the fruits as gifts to friends far and wide. By Rauschenberg's expanded definitions, the path and mangoes were also, arguably, artworks.

Foundations are inherently conservative, but this one takes its cues from an extrovert. People who knew Rauschenberg liked him, almost without exception. In the early years, his affability was sometimes held against him, when, in the milieu of the Abstract Expressionists, scowling was the sanctioned response to the modern condition. If the Rauschenberg Foundation wants to preserve the spirit of its namesake, therefore, it has some paradoxical tasks: It must protect his art but preserve his openness, and it must convey the feeling of excitement and potential in a body of work that is now, with the artist's death, a fait accompli. Since 2012, the Foundation has converted the homes and studio on Captiva into an artists' residency, where some furniture, paint cans and the flatbed printer he called "Janis Joplin" still remain. They also turned the artist's former residence and studio on Lafayette Street in downtown Manhattan into a scholarship center and headquarters, which now administers a global philanthropy program, in line with Rauschenberg's passionate belief that art could connect people across cultural lines. You could argue that the Foundation is creating, in a social space, a giant Rauschenberg: his final, most collaborative and most interactive environment, the ultimate manifestation of his wish to live inside of his art and to invite others in, too.
The next step is to figure out what to do with the sublime piles in Westchester. On a frigid afternoon in February earlier this year, I was buzzed in by a man in his 70s wearing a denim shirt. Thomas Buehler, the warehouse manager, holds his considerable wit in reserve but brightens noticeably when he mentions the artist, and one cannot help but feel that some effort of recreating the Captiva studio guides his decisions at the warehouse, which looks a little like a cross between Charles Foster Kane's Xanadu and a suburban Lowe's. A manual scanner and paper shredder framed his small, open-air desk; deep shelves supported lumber of all sizes; drills, vices and saws covered a worktable.

In the middle of the central warehouse space, dozens of oversize plastic containers stood shrink-wrapped together. Over the next couple of years, Christy MacLear, the executive director of the Foundation, and Francine Snyder, its senior archivist, will lead the process of unpacking and sorting the contents of the boxes, moving the more obviously useful materials to the Foundation's NoHo headquarters. The rest will remain in the warehouse for researchers with more idiosyncratic requests: to see the page from Boxing & Wrestling magazine that inspired a 1962 silkscreen, or the other fabrics Rauschenberg might have considered for his 1970s "Jammer" series. They will classify the objects in the source-materials collection based partly on what they are - bicycles, neckties, books - and partly on what they might have become: combine, collage, installation, set. A system too rigid or inert, and the élan of Rauschenberg's dynamic method will be lost. But where do the intentions of an artist - especially an artist like Rauschenberg - end? How should a working method that prized the disruption of categories be reflected in his archive?
Rauschenberg once wrote: "Painting relates to both art and life. Neither can be made. (I try to act in that gap between the two.)" Much of what MacLear and Snyder encounter falls into that gap. I opened a tub full of fabric: a roll of sheer material with red polka dots, some shiny, burgundy satin, some nappy gray wool. A few of the samples had patches missing or other evidence of having contributed to some work of Rauschenberg's, now dwelling who knows where in the world. A box labeled "photos": Were these finished artworks, materials intended for a collage, candids of life on Captiva or, most likely, some combination of all of the above? In the back room were wooden crates I took to be intentionally mislabeled ("chair"; "step") to conceal priceless sculptures and other three-dimensional works, although it was nowhere apparent which ones. On the wall hung a yellow railroad crossing sign emblazoned with Rauschenberg's initials: "R.R." There is a famous photograph of the artist painting on glass at Cape Canaveral, with the space shuttle set to launch in the background. A similar "R.R." sign is at his side, one of many he collected.
After a few minutes of searching and sifting, Snyder produced a pile of thick white cards, each of them featuring a colorful swatch of paint and, beside it, a formula: These were the colors found in Rauschenberg's studio at the time of his death. The index will be helpful to future conservationists should a Rauschenberg piece ever need to be restored - but for me, the cards also summoned a kind of dream archive, where living admirers might reconstruct or mimic Rauschenberg's methods - mixing his colors, maybe even borrowing a little swatch of his unused fabric, taking a vintage bicycle for a ride.
AND THEN THERE ARE his papers. In a file cabinet, personal letters from the choreographer Trisha Brown and Al Gore shared folders with a clipped-out New York Times review of a sushi place and a cartoon of a guy taking his pet radish for a walk. The impression is of a life in which making art was, to a remarkable degree, an extension of friendship. Each of these correspondences hints at the wider social and political worlds in which Rauschenberg held a stake; indeed, one of the most unusual things about an archive like Rauschenberg's is how many items within it could be in someone else's archive. A "Christmas List" from 1978 includes such names as Woody Allen, Jimmy Carter, William S. Burroughs and Andy Warhol. There is a warm thank-you note from Onassis for an unspecified Christmas gift, alongside the typed application (marked "PLEASE DESTROY") Burroughs made for a Guggenheim Fellowship, with Rauschenberg's concise recommendation clipped to its back.
Rauschenberg wrote mainly in pencil, often on a yellow legal pad, in block letters that suggest both how arduous writing was for him - he was dyslexic and, it would appear, self-conscious about it - and how graphic, how attentive to appearance, were even his private jottings and notes to himself. You can see his brilliance for arrangement even when he's writing a postcard. Other papers show him experimenting with puns, homespun adages, epigrams: "A STORY OF SURELOCK HOMES," "I WANT TO MEET A RICH ROACH," "SUNSETS AND STRAWBERRYS NEVER APEAR THE SAME." For Rauschenberg, titles were of extreme importance, not to limit or clarify the work but to add to it another layer of poetry and complexity. He was, apparently, virtually a non-reader, but his instincts about language, concision and metaphor are, in fact, a poet's instincts.
When I was getting ready to pack up, we made a discovery: in a folder, a cache of color copies with Rauschenberg's name and the Captiva address in green at the top, and the title, all in bold, "RR Key Lime Pie Recipe." He got so many requests, it seems, that he kept a stack of these sheets on hand to give out to his guests. This was a characteristic gesture; so too was his claim there was nothing to it - just some sweetened condensed milk, lime juice and egg yolks, all poured into a store-bought crust. More than anything, Rauschenberg taught us that whatever we happened to have already would more than do; the genius was in the combination. Later, when I received a scanned copy of the recipe from Buehler, it struck me that if I followed his instructions down to the letter, even freezing the extra lime juice in ice-cube trays as he instructed, I'd be making a Rauschenberg myself.
Can be found online at http://www.nytimes.com/2015/06/03/t-magazine/robert-rauschenberg-endless-combinations.html



16. Harley Spiller, FF Alumn, in The New York Times, June 12

The New York Times
June 12, 2015
For Children
By Laurel Graeber

'A Buck Is a Book' (Sunday, June 14) Lots of people like to collect money, but not for the same reasons as Harley J. Spiller: He prizes cash that's quirky. Mr. Spiller, a.k.a. Inspector Collector, will visit Bank Street Bookstore with anecdotes from his new book, "Keep the Change: A Collector's Tales of Lucky Pennies, Counterfeit C-Notes, and Other Curious Currency" (Princeton Architectural Press). Children at this free event can inspect bills under ultraviolet light, handle rare pieces of money, design their own cash and even learn unusual facts about ordinary currency: Who knew that pennies planted in a garden could repel slugs? From 2:30 to 5:30 p.m., 2780 Broadway, at 107th Street, 212-678-1654, bankstreetbooks.com.



Goings On is compiled weekly by Harley Spiller