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Contents for July 02, 2015

1. Nadia Granados, FF Fund recipient 2013-14, at La Plaza at The Clemente, Manhattan, July 12

Nadia Granados
"Carro Limpio, Consciencia Sucia (Clean Car, Dirty Conscience)"
July 12, 2015

La Plaza at The Clemente
107 Suffolk Street,
New York, NY 10002
Performance takes place in the parking lot on Norfolk Street between Rivington Street and Delancey Street

Colombian performance artist Nadia Granados presents "Carro Limpio, Consciencia Sucia (Clean Car, Dirty Conscience)." The artist washes a car covered with mud, pouring the water over both the car and herself. She cleans the car while doing a striptease as a man inside the car interrogates her using a megaphone. This interrogation is a series of abusive questions, simulating an interview for a visa to the United States; personal, intimate, and sexual. Directed and created by Nadia Granados. Performed by Nadia Granados and L.M. Bogad.

Nadia Granados is an artist who explores the relationships between traditional pornography, communication, and violence. Her work is both performative and technological, both art and activism, and a mix of cabaret, intervention and streaming video. The artist claims to stage anti-imperialist struggles by using tropes seen in the media. She takes advantage of the possibilities of communication in public places (on the street/web), using her body as a catalyst for social transformation. She dismantles the language used in the discourse of emancipation by bringing together, in her body, eroticism and social criticism. In doing so, she attempts to "speak" for the bodies of Latin American women. Nadia Granados' work has been presented in Canada, Venezuela, Spain, Berlin, Ecuador, Argentina, Peru, Mexico, Brazil, and Colombia. This is the first time she is performing in the United States.

This work was made possible, in part, by the Franklin Furnace Fund supported by the Lambent Foundation, The SHS Foundation, and by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.



2. Lenora Champagne, FF Alumn, new book now available


I am thrilled that New World Plays, a beautiful new book of my plays published by NoPassport Press in their "Dreaming the Americas" series, is now available.

It includes three plays: Isabella Dreams the New World, My Nebraska, and Coaticook, along with a foreword by playwright, screenwriter and director Julie Hebert, an introduction by poet, playwright and director Fiona Templeton, and a thoughtful interview by American Theatre editor-in-chief, Jim O'Quinn.

There will be a book party in September in New York, but I wanted to let you know about the book now, in time for some summer reading!

New World Plays is available in New York City at Drama Book Shop (in midtown) and at St. Mark's Bookstore (now on East 3rd Street), and online from No Passport online bookstore, amazon.com, barnes and noble.com, and lulu.com

for information on No Passport Press and to order from the No Passport online bookstore:


direct link to lulu to order New World Plays:


or to order from Amazon:


If you have thoughts about the plays, please let me know.

Have a wonderful summer!



Lenora Champagne




3. Edward M. Gómez, FF Alumn, new book now available

AS THINGS APPEAR, a new book of stories by FF alum Edward M. Gómez, a critic, arts journalist and author of numerous art books and exhibition catalogs, has been published in a limited first edition by Ballena Studio and is available through the publisher's website (www.ballenastudio.com).

The online arts magazine HYPERALLERGIC has published excerpts from "The Curator," a novella that is included in the new book. You can find those excerpts here:


"The Curator" is a rollicking send-up of the contemporary art scene, complete with a famous museum curator who finds herself in a deep, intellectual-spiritual crisis, an unscrupulous art dealer, a gang of Goth kids, some rather dubious, new art theory and lots of Chinese food!

Gómez's forthcoming live readings of selections from AS THINGS APPEAR and news about selected retail outlets at which the new book will also be available for sale will be announced on the author's website (www.edwardmgomez.com) and on the publisher's website.



4. Alan Moore, FF Alumn, new book now available

New book by Alan Moore on art & squatting released...

Occupation Culture: Art & Squatting in the City from Below Alan W. Moore

Occupation Culture is the story of a journey through the world of recent political squatting in Europe, told by a veteran of the 1970s and '80s New York punk art scene. It is also a kind of scholar adventure story.
Alan W. Moore sees with the trained eye of a cultural historian, pointing out pasts, connections and futures in the creative direct action of today's social movements.

Occupation Culture is based on five years of travel and engaged research. It explicates the aims, ideals and gritty realities of squatting. Despite its stature as a leading social movement of the late twentieth century, squatting has only recently received scholarly attention. The rich histories of creative work that this movement enabled are almost entirely unknown.

PDF available freely online: http://www.minorcompositions.info/?p=684



5. Lorraine O'Grady, FF Alumn, in The New York Times, June 25, and more

The New York Times
Review: Lorraine O'Grady's Gift for Language and Images

Born in 1934, Lorraine O'Grady came to art late, in her 40s, but she brought to it a writer's ear for language and a painter's eye for images, both evident in this show of her early work. In 1977, in response to a personal crisis, she composed a series of collages using cutout headlines from 26 consecutive issues of the Sunday New York Times. The subjects of some of the headlines reflect a specific cultural moment, with any sense of consistency disrupted by Ms. O'Grady's scrambling of phrases.

She took similar freedoms with her own history in a performance piece from 1982, by which time she was affiliated with the Just Above Midtown Gallery, founded by Linda Goode Bryant as one of the few commercial spaces in New York to showcase experimental works by black artists. Titled "Rivers, First Draft," Ms. O'Grady's performance was conceived as a symbolic, "Pilgrim's Progress"-style version of her life as a child of Jamaican immigrants growing up in the United States. It was staged just once, outdoors, in the northern part of Central Park, and documented with color slides, which have been turned into prints for this exhibition.

That 1982 piece had more than a dozen performers in color-coded costumes. There was a Woman in White representing Ms. O'Grady's mother; three personifications of the artist (as a child in white and pink, as a teenager in magenta, and as an adult in red); and several male characters, including a love interest (the Man in Green, played a young Fred Wilson). The story took Ms. O'Grady from her native New England to a New York City of Art Snobs and Debauchees, and ended with her three very different selves joining hands.

Seen by a small audience, which included the event's curators - Horace Brockington, Gylbert Coker and Jennifer Manfredi - the piece must have been a sweet experience. The costumes are bright, the tableaus striking, the setting superb. If the narrative was confusing, Ms. O'Grady finessed the matter by calling the performance itself a collage, which allowed her to shape a personal story with the same disruptive, anarchic logic she has brought to other, larger histories through a distinguished career.

Alexander Gray Associates
510 West 26th Street, Chelsea
Closes on Saturday

and, by Alan Gilbert:

In the "Dada Manifesto on Feeble Love and Brittle Love" from 1920, Tristan Tzara famously provided instructions on how to write a Dada poem: get a newspaper and some scissors, snip out individual words and put them in a bag, shake it and then withdraw slivers of text, write down the words in the exact order in which they appear, and-voilà!-poem. Yet even more provocative than the method is Tzara's claim that, "The poem will resemble you." Similarly, although William Burroughs utilized the cut-up technique to undermine authorial intention and the way in which information serves as a means of control, the writings he produced in this manner continued to bear the impression of his obsessions: the police, queer sex, death.

Over the course of 26 Sundays in 1977, Lorraine O'Grady took scissors to the New York Times to create a series of text-based works recently on display at Alexander Gray Associates. If Tzara was convinced that his aleatory approach to writing a poem would nevertheless reflect the author, what does this involve for O'Grady, a crucial yet still somewhat overlooked artist of Caribbean descent who produced an important body of work in the late 1970s and early 1980s, including "Mlle Bourgeoise Noire" (1980-83), a set of performances/activist interventions for which she donned a dress made of white gloves and, most famously, crashed the opening of a New Museum show ("Persona," 1981) in order to draw attention to the absence of nonwhite artists?

O'Grady's exhibition at Alexander Gray was another iteration of the archival presentations of her work that have occurred at a number of different venues over the past decade or so. Cutting Out The New York Times (1977/2015) consists of 5-out of the original 26-series of newsprint-on-paper works that have been scanned, output on roughly letter-size adhesive paper, and affixed directly to the gallery's walls with anywhere between 6 and 13 sheets per work, with four oriented horizontally and one installed vertically. O'Grady clipped phrases from the New York Times and scattered them on the floor, combining randomness with agency to produce her texts. Each series starts with words and a date that almost function as a title page. Made with phrases from the Sunday, September 25, 1977 edition, "the renaissance man / is back in business" alludes to race relations, contemporary art, female artists, and film as spectacle with phrases that are direct yet made elliptical when combined on each sheet and across adjacent pages.

O'Grady keeps the collage aesthetic fairly basic-words are tilted, staggered, and generally centered, but not layered or foregrounding of their materiality-in order to demonstrate clearly both a method and a message. From "M∙ss∙ng / Persons" (10/23/77): "Marathon Mother / Is Considering a Change"; and "'Oh, God!' / Why Has Estrogen Fallen On Such Difficult Times?"; and "or / young, black and / With A Greenhouse Dream." Like the best experimental poetry, Cutting Out The New York Times both mocks and mines the more conventionally poetic. Upstairs at Alexander Gray, Rivers, First Draft (1982/2015) expands this approach into a personal-social narrative documenting a public art performance O'Grady orchestrated in Central Park in 1982. Mirroring the installation downstairs, Rivers, First Draft is installed in six mostly horizontal rows of photographs ranging from five to thirteen per cluster.

Utilizing a variety of performers in bright monochromatic clothing, each series illustrates distinct periods from O'Grady's life: girlhood and young love, social and cultural pressures, encountering thresholds and becoming an artist (O'Grady in red spray-painting a stove the same color), and the final crossing of a stream guided by a man in a gray raincoat and hat wearing a costume of a small boat called The Nantucket. (O'Grady grew up in New England.) Precisely choreographed, with characters representing various symbolic figures, Rivers, First Draft tilts between the deeply personal and the universal as it evocatively charts a process of individuation. Its specific reference is the experience of a black female artist, and yet the documentation and its presentation at Alexander Gray remains open-ended enough-perhaps even, again, poetical-that the associative logic necessary for making sense of it all invites the viewer to become a retroactive participant in the work.

Alan Gilbert is the author of two books of poetry, The Treatment of Monuments and Late in the Antenna Fields, as well as a collection of essays, articles, and reviews entitled Another Future: Poetry and Art in a Postmodern Twilight. He lives in New York.



6. Warren Lehrer, Judith Sloan, FF Alumns, at Haystack Mountain School of Crafts, Deer Isle, ME, July 3

FF Alumn Warren Lehrer presents A LIFE IN BOOKS in performance Deer Isle Maine at Haystack Mountain School of Crafts Friday July 3rd 7:30 PM
FREE and Open to the Public


Warren Lehrer
A Life in Books a multi media performance/reading

opening act with Judith Sloan

For more info: http://www.alifeinbooks.net/#tour

A LIFE IN BOOKS: The Rise and Fall of Bleu Mobley is an illuminated novel that contains 101 books within it, all written by Lehrer's protagonist Bleu Mobleya controversial author who finds himself in prison looking back on his life and career. Mobley's autobiography/apologia is paired with a review of all 101 of his books, each represented by its first-edition cover design and catalog copy, and more than a third of his books are excerpted. The resulting retrospective contrasts the published writings (which read like short stories) with the confessional memoir, forming a most unusual portrait of a well-intentioned, obsessively inventive (if ethically challenged) visionary. A LIFE IN BOOKS explores the creative process of a writer/artist, as it reflects upon a half century of American/global events, and grapples with the future of the book as a medium, and the lines that separate and blur truth, myth, and fiction.

In his funny, thought provoking performance/readings, Warren Lehrer presents an overview of Bleu Mobley's life in books via many of Mobley's book cover designs, book-like objects, and other biographical materials including animations and video performances of Mobley book excerpts by actress/poet La Bruja.


"An ingenious, one-of-a-kind novel." Kurt Andersen, STUDIO 360

"A profound commentary A Life In Books is brilliant, beautiful, delicious for eyes and mind." Andrei Codrescu, public radio commentator

"A vivid kaleidoscopic odyssey that frames one man's life through not one, but one hundred different booksand book jackets." Jessica Helfand, founding editor DESIGN OBSERVER

"A meticulously illustrated chronicle Pitch perfect." Steven Heller, THE ATLANTIC



7. Susan Bee, Harley Spiller, Robin Tewes, FF Alumns, at A.I.R. Gallery, Brooklyn, opening July 9

July 1 - 26, 2015
Opening Reception: Thursday, July 9, 2015 from 6-8pm

The proceeds from this exhibition of postcard sized works benefit the A.I.R. Fellowship Program for Emerging and Underrepresented Artists and other programs that serve A.I.R.'s mission to advance the status of women in the arts.
Wish You Were Here 14 exhibits original works by more than 300 artists including such artists as Susan Bee, Harley Spiller, Robin Tewes, Barbara Zucker, Mary Grigoriadas, Lourdes Asencio, and Aaron Morgan. The 4" x 6" artworks were created and donated by A.I.R. Gallery artists, and hundreds of national and international artists from as far away as Australia, Israel, and Japan. These cards vary widely in style and media and encompass a broad spectrum of themes. Each card is signed and dated, often with a message on the back from the artist to the collector. All 4" x 6" art works are priced at $45 per piece.



8. Joseph Kosuth, Barbara Kruger, Richard Prince, Betty Tompkins, Lawrence Weiner, Christopher Wool, FF Alumns, at Luxembourg & Dayan, London, UK, thru Sept. 5

Luxembourg & Dayan announces
Word by Word
a survey exhibition of artworks
from the '60s to present day that feature text as image and present language as an
artistic medium. Curated by Francesco Bonami, it draws together works by Carl Andre,
Nanni Balestrini, Joseph Beuys, Alighiero Boetti, Will Boone, Mark Flood, Marine
Hugonnier, Joseph Kosuth, Barbara Kruger, Glenn Ligon, Richard Prince, Tim
Rollins & K.O.S., Ed Ruscha, Rirkrit Tiravanija, Betty Tompkins, Ben Vautier,
Lawrence Weiner, Christopher Wool and more, to present a short history of pictorial language



9. Frank Moore, FF Alumn, in the East Bay Express, June 24

Frank Moore in the East Bay Express, June 24

Frank Moore's new book, DEEP CONVERSATIONS IN THE SHAMAN'S DEN, VOLUME 1, is featured in an article in the EAST BAY EXPRESS

The Infamous Interviews of Frank Moore

Interviews conducted by the controversial late Berkeley performance artist are now being published in a series of enlightening anthologies.
Frank Moore liked to push buttons. The Berkeley-based performance artist, who died in 2013 at the age of 67, was born with severe cerebral palsy that rendered him unable to walk or speak. He also only had limited use of his hands. As a child, he couldn't communicate with anyone other than his immediate family and instructors. At age seventeen, he devised a communication board with letters and basic words that allowed him to spell out sentences by pointing a stick that was strapped to his forehead at the board. That was the beginning of when Moore began to break out, not only of personal isolation, but also of oppressive societal norms and expectations.
Moore went on to enjoy a prolific artistic career (which the Express wrote about extensively in the January 29, 2003 feature, "Touching Our Private Parts"). He is most often remembered for his live performances, which usually involved a group of naked people - including himself - touching each other's bodies on stage erotically. These performances were not so much about sex, disability, or shock value as they were about transcending one's mindset in order to form visceral connections and celebrate life. Moore staged these performances in the East Bay and across the country throughout his career and aired recordings of them on his controversial Berkeley cable-access television show.
But Moore had a number of other projects too, including his online talk show Shaman's Den, which he streamed for more than two hours every Sunday night for fourteen years, starting in 1998. Throughout its run, the show featured interviews with artists, writers, politicians, professors, and just about anyone who Moore deemed interesting enough to be invited into the den. Performances of music, poetry, and nude erotic expression (of course) were also recurrent.
Moore was repeatedly praised for his ability to stir insightful conversation. His style was entirely improvisational, in a way that wasn't so much wacky as it was simply without need for notes. The pacing was slow, even with Moore's partner Linda Mac acting as a communication liaison, often guessing the end of Moore's sentences as he spelled them out on his board. The result was a test of patience, like an exercise in deeply considerate conversation. And they read that way as well.
Recently, Linda Mac and Michael LaBash (Moore's other partner) chose some of their favorite interviews from the show to be transcribed and included in the first of a series of books called Deep Conversations in the Shaman's Den. The first volume was independently published last month and is available on Moore's website (EroPlay.com). In it, author and Merry Prankster's member Paul Krassner talks about politics; LA Black Panther Party founding member Elder Freeman discusses revolution; Penny Arcade reflects on her life as a subversive artist; and anti-globalization activist Kevin Danaher speaks about international issues.
The book also includes a bonus at the end: the radical platform that Moore proposed when he ran for president in 2008. Yes, he did that, too.



10. Robin Tewes, FF Alumn, at Sara Nightingale Gallery, Water Mill, NY, thru Aug. 3

Reinventing the Helm: Self-Styled Nautical Activists Pirate the Canon of Maritime Art
June 6 - August 3

The Mission of the Sara Nightingale Gallery is to be a leader in the exhibition of significant and challenging contemporary art by emerging and mid-career artists working in all mediums. The gallery encourages experimentation, diversity, dialogue and risk in contemporary arts practice and provides an exhibition space for artists' projects emphasizing the role of artists in the community at large. It seeks to enhance the careers of its artists by exposing them to new markets and opportunities. The gallery was founded in 1998.
visit / ship:
Sara Nightingale Gallery
688 Montauk Highway
Water Mill, NY 11976 Mailing Address:
Sara Nightingale Gallery
PO Box 1061
Water Mill, NY 11976
hours: 11-5 daily or by appointment
telephone: 631-793-2256 (cell)
email: sara@saranightingale.com



11. Nicolás Dumit Estévez, FF Alumn, at The Drawing Center, Manhattan, Aug. 5

Join us for the Opening Reception on Thursday, July 16, 6-8pm. No RSVP necessary.
On view as of July 17, 2015
Name It by Trying to Name It: Open Sessions 2014-15
Main Gallery

Initiated in 2014, Open Sessions is a new program at The Drawing Center through which a large group of artists consider their relationship to drawing as medium, process, and metaphor. Working together over a two-year period, Open Sessions artists participate in ongoing studio visits and discussions, punctuated by small group exhibitions at The Drawing Center, as well as other self-organized shows in New York and abroad.

Name It by Trying to Name It: Open Sessions 2014-15 includes all artists in the program, giving the first floor of the museum over to an exploration of contemporary drawing, encompassing performance, video, sculpture, and installation, as well as traditional drawing forms. The show's numerous collaborations, in which ideas and materials are shared, emphasize the medium's flexibility and process-oriented nature. The exhibition will evolve over its six-week run, as some artworks enter and exit in two-week cycles, while others remain constant throughout the show's run. Taken as a whole, Name It by Trying to Name It presents a window into nearly two years of thinking about drawing. The Open Sessions program is curated by Nova Benway and Lisa Sigal.

In addition in The Lab gallery, we will present Robin Rhode: Drawing Waves, a collaborative project by South African-born, German-based artist Robin Rhode. Rhode will exhibit his signature stop-action photographs (in which he draws in public streets and then a performer interacts with the inscribed image) in a new photographic sequence entitled Breaking Waves, 2014-15, which whimsically depicts a young boy surfing in the sea. And Rhode continues his collaboration with youths, partnering with a small group of children aged 8-10 years to create a large-scale mural of the high seas. Curated by Joanna Kleinberg Romanow, Adjunct Assistant Curator.

On Wednesday, August 5 in our Drawing Room gallery, Open Sessions will continue with its small group, artist-directed group exhibitions. Open Sessions 4 will feature the work of Colleen Asper and Marika Kandelaki, Matt Bua, Maurice Carlin (with Anne Gilman, Ethan Hayes-Chute, Annette Knol, Elizabeth Leister and Michael Namkung), Kerry Downey, Nicolás Dumit Estévez and Laia Sole, Maximilian Goldfarb, Brad Killam, Kamau Patton, and Lior Shvil. Organized by the artists and Nova Benway and Lisa Sigal, Curators of the Open Sessions program.

Open Sessions is made possible by The Andy Warhol Foundation for the Visual Arts, Faber-Castell, and with public funds from the New York City Department of Cultural Affairs in partnership with the City Council.

Robin Rhode: Drawing Waves is made possible by Lehmann Maupin, New York and Hong Kong. Special thanks to Allison and Larry Berg.

at The Drawing Center

Drawing Sound - Part I, July 8-10, 2015
Open Sessions 2014-15, July 17-August 30, 2015
Robin Rhode: Drawing Waves, July 17-August 30, 2015
Open Sessions 4, August 5-30, 2015
Drawing Sound - Part II, September 9-11, 2015

Ongoing Installations:
Abdelkader Benchamma, Through March 2016
Rachel Goodyear: Restless Guests, Through March 2016
James Sheehan: Death of Malevich, Through October 2015

About The Drawing Center
The Drawing Center, a museum in Manhattan's SoHo district, explores the medium of drawing as primary, dynamic, and relevant to contemporary culture, the future of art and creative thought. Its activities, which are both multidisciplinary and broadly historical, include exhibitions; Open Sessions, a curated artist program encouraging community and collaboration; the Drawing Papers publication series; and education and public programs.

Location: 35 Wooster Street (btwn Broome and Grand St) in SoHo, New York.

Hours: Wednesday-Sunday: 12pm-6pm; Thursday: 12pm-8pm.

Tickets: Adults: $5; Students & Seniors: $3; Children under 12: Free
Thursdays 6-8pm free admission for all visitors.

Connect: 212.219.2166 | info@drawingcenter.org | drawingcenter.org

The Drawing Center is wheelchair accessible.

Copyright (c) 2015 The Drawing Center, All rights reserved.

Our mailing address is:
The Drawing Center
35 Wooster Street
New York, NY 10013



12. Judith Sloan, FF Alumn, at NY Institute of Technology, Manhattan, July 13, and more

FF Alumn Judith Sloan in performance

KO Festival, Amherst MA, July 10, 11, 12
New York Institute of Technology July 13

For details and ticket links: http://www.earsay.org

Sloan performs Crossing the BLVD: strangers, neighbors, aliens in a new America
A multi-media performance as a solo show in Amherst MA, and with a multi-ethnic cast on July 13 with Najla Said, Riti Satchdeva, Krussia, Nikaury Roman and Joel L. Daniels in New York City

As immigration policy is hotly debated around the country in terms of national and cultural security Crossing the BLVD: strangers, neighbors, aliens in a new America presents the human stories of why immigrants and refugees have migrated to the US and what their experiences have been since they came here pre- and post-9/11. Based on Lehrer and Sloan's critically acclaimed book, actor/writer Judith Sloan channels many of the people that the couple interviewed on their three-year journey around the world through the borough of Queens, New York. The performance is illuminated by projections of Lehrer's stunning photographs along with an original soundtrack of music and sounds, including Sloan's audio mixes, music by Scott Johnson and Gogol Bordello. Home to the New York airports, Queens, is no longer made up of neatly partitioned ethnic enclaves. Today the choreography of Queens, a place where residents speak 138 different languages, is one of chaotic co-existence. This group portrait of a multi-ethnic, multi-racial community is a magnifying glass for the future of America. Above all, Crossing the BLVD is a celebration of resilient, prismatic character in search of home.



13. Sol LeWitt, FF Alumn, at Fundación Botín, Santander, Spain, opening July 18

Sol LeWitt
17 Wall Drawings, 1970-2015
18 July 2015-10 January 2016

Fundación Botín
Marcelino Sanz de Sautuola, 3


Curated by John Hogan and by Benjamin Weil

The exhibition space of the Botín Foundation in Santander will host the exhibition Sol LeWitt: 17 Wall Drawings, 1970-2015 from 18 July to 10 January 2016. Organized in collaboration with the Yale University Art Gallery and the Estate of Sol LeWitt, it is Spain's most ambitious exhibition to date devoted entirely to Wall Drawings by one of the leading lights of 20th century art who is regarded as the father of Conceptual Art.

The exhibition-curated by John Hogan, Director of Installations and Archivist of Wall Drawings at the Yale University Art Gallery who, since 1982, worked as a drawer for Sol LeWitt; and by Benjamin Weil, Artistic Director of the Botín Centre-will offer visitors a unique view of the stylistic and conceptual development of wall drawing in the artist's oeuvre.

Sixteen of the Wall Drawings from the selection on display in the exhibition, executed between 1970 and 2015, have never been shown before in Spain-only the seventeenth drawing was previously shown here in 1989-and most of them have never been shown again since they were first made more than twenty years ago. In addition, Wall Drawing 7A will be executed for the first time in the Botín Foundation's exhibition space.

Sol LeWitt: 17 Wall Drawings, 1970-2015 revolves around one of LeWitt's basic theoretical principles which has since then become widespread in the practice of contemporary visual art: namely, the supremacy of the idea and of the creative process over the work of art proper. As the artist himself pointed out: "The idea is the machine that makes the work of art."

Additionally, the collection of Wall Drawings on show in Santander reflects the extraordinary consistency of LeWitt's systematic explorations and the notable diversity and evolution of his artistic praxis, both from a stylistic point of view (from his simple geometric figures to "continuous" and "complex" forms) and in terms of the variety of media used (graphite, colour pencils, India Ink and acrylic paint).

Apart from the works on view in the exhibition space, visitors will be able to view Wall Drawing #499 (Flat-topped pyramid with color ink washes superimposed), 1986, originally installed in the conference hall of the Botín Foundation in Santander in 1992, which is to be re-installed for this exhibition.

Sol LeWitt devoted a substantial part of his career to producing books, publications, prints and other multiples. The Archivo Lafuente, a key international documentary collection specializing in 20th century art, has collaborated to complement the exhibition with a selection of artist books that will help visitors contextualize LeWitt's Wall Drawings with the rest of his oeuvre. Lastly, a relevant collection of documents related to the artist and his work will be on display in the exhibition.

The show will be accompanied by an exhibition catalogue collecting some of Sol LeWitt's writings, alongside several texts by experts and personal recollections by contributing artists. The exhibition's curator Benjamin Weil has made the selection, which explores the artist's development and oeuvre.

Sol LeWitt: 17 Wall Drawings, 1970-2015 reaffirms the Botín Foundation's ongoing commitment to research into the genre of drawing (which up to this point has focussed on Spanish artists) and it directs the spotlight back onto an exploration of the creative process, which is a key aspect of the institution's training programme that includes the Visual Arts Grants and the Villa Iris Workshops, given by international artists.

Sol LeWitt was a key player in the establishment of Conceptual Art, a movement that has made a deep and lasting mark on contemporary artistic praxis. At the beginning of the 1960s, artists distanced themselves from the predominant Abstract Expressionism and conferred equal, or even greater importance, to the creative process leading to the work of art than the resultant work of art itself, thus separating the concept or idea from its execution.



14. Michael Bramwell, FF Alumn, at Maryland Institute College of Art, Baltimore, MD, July 27

FF Alumn Michael Bramwell Lectures at Maryland Institute College of Art, Baltimore, Maryland.

Michael Bramwell will be a visiting critic in the graduate art program this summer and deliver a lecture entitled: Framing the World, on July 27, 2015 at 5: 30 p.m. in Fred Lazarus IV Auditorium.



15. Joan Jonas, FF Alumn, at Teatro Piccolo Arsenale, Venice, Italy, July 20-22

They Come to Us without a Word II
July 20-22, 2015, 9pm

in collaboration with Teatro Fondamenta Nuove and the Università Iuav di Venezia (IUAV)

Teatro Piccolo Arsenale
Campo della Tana


Pavilion of the United States
56th International Art Exhibition - La Biennale di Venezia
Joan Jonas's They Come to Us without a Word
Presented by the MIT List Visual Arts Center
Commissioner and Co-Curator: Paul C. Ha, Director of the MIT List Visual Arts Center
Co-Curator: Ute Meta Bauer, Director of the NTU Centre for Contemporary Art Singapore, Nanyang Technological University

Video and performance art pioneer Joan Jonas has created a multimedia installation entitled They Come to Us without a Word for the United States Pavilion at the 56th International Art Exhibition - la Biennale di Venezia, which was awarded a Special Mention, and is on view until November 22, 2015.

In conjunction with her U.S. Pavilion exhibition, the MIT List Visual Arts Center in collaboration with Teatro Fondamenta Nuove and IUAV presents They Come to Us without a Word II, a new performance conceived and directed by Joan Jonas. The performance features newly composed music by Jonas's longtime sound collaborator, the American jazz pianist and composer Jason Moran. Moran will play live, accompanying Jonas for the performance.

The performance premieres July 20, 21 and 22, at 9pm, at Teatro Piccolo Arsenale, Campo Della Tana, Castello, Venice.

Joan Jonas's performance and her U.S. Pavilion installation both evoke the fragility of nature in a rapidly changing situation. "Although the idea of my work involves the question of how the world is so rapidly and radically changing, I do not address the subject directly or didactically," said Jonas. "Rather, the ideas are implied poetically through sound, lighting and the juxtaposition of images of children, animals and landscape." The performance will feature reedited video footage from the installation in the U.S. Pavilion as well as performative elements developed from a three-week artist led workshop conducted in June and July with students from IUAV.

Tickets for the performance can be purchased online at joanjonasvenice2015.com.

They Come to Us without a Word II is organized in conjunction with the United States Pavilion at the 56th International Art Exhibition - la Biennale di Venezia by the MIT List Visual Arts Center.

The performance is organized in collaboration with Teatro Fondamenta Nuove and the Università Iuav di Venezia (IUAV), with a specific support by Fundación Botín, Santander; Galleria Alessandra Bonomo; Max Mara; Thyssen-Bornemisza Art Contemporary; and an anonymous donor.



16. Anna Banana, FF Alumn, at the Art Gallery of Greater Victoria, BC, Canada, opening Sept. 18

Opening at the Art Gallery of Greater Victoria
Sept. 18, 2015

Anna Banana



Goings On is compiled weekly by Harley Spiller