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Contents for September 10, 2015

Blondell Cummings, FF Alumn, In Memoriam

The New York Times
Blondell Cummings, Dancer of Life's Everyday Details, Dies at 70
SEPT. 1, 2015

Blondell Cummings, a modern dancer and choreographer who mined quotidian experiences like washing, cooking and building to yield works celebrated for their rich characterizations and dramatic momentum, died on Sunday at her home in Manhattan. She was 70. The cause was cancer, her sister Hilda Cummings-Davis said.

Ms. Cummings's work, which fused dance, theater, mime, spoken word and video into small quasi-narrative worlds, looked, in the opinion of critics, unlike anyone else's. Long based in New York, she began her career as an original member of the House, the avant-garde dance company founded by Meredith Monk in 1968. She later oversaw her own ensemble, Blondell Cummings and Performers.

Over the years, Ms. Cummings's work was seen on prominent stages, including those of PS 1 in Queens, the Joyce Theater in Manhattan and the Brooklyn Academy of Music, as well as Jacob's Pillow Dance Festival in Becket, Mass., where she was a past artist in residence.

Known for her sinuous dynamism, Ms. Cummings, who was compact rather than willowy, could, with a flick of a wrist or the twist of a hip, inhabit a range of characters onstage: a nun, a grandmother, a construction worker, the chanteuse Josephine Baker.
"Miss Cummings is one of the most acute performers around," Jennifer Dunning wrote in The New York Times in 1984, reviewing "The Art of War/Nine Situations," a piece by Ms. Cummings, in collaboration with Jessica Hagedorn, set to the words of the ancient Chinese general Sun Tzu. "To watch her fluent hands - at one point scraping at imaginary small objects in the imaginary dust, then stretching and smoothing as they fold a shirt into a battered suitcase - is to witness rare physical acting."
Ms. Cummings's most famous work was a 1981 solo piece titled "Chicken Soup." Performed originally by her and in later years by other female dancers, it was rooted in her childhood memories of her grandmother at work in the kitchen.
In that piece, Ms. Cummings took the stage alongside a shopping bag. To a soundtrack that included music by Ms. Monk, Brian Eno and Collin Walcott; words by Grace Paley; and a soup recipe read aloud from "The Settlement Cook Book," she sat in a kitchen chair, scrubbed the floor and - no small trick - danced with a frying pan.

In interviews, Ms. Cummings, who was black, disavowed the common assumption that "Chicken Soup" was a political protest piece, explaining that it was meant only to capture in microcosm women's intimate lives around home and hearth. "There was no fast food," she told The Times in a 2007 interview. "Food took a lot of time to make. We spent more time in the kitchen. We ate there. Kids played and helped out in the kitchen. The mothers would get together in the kitchen and talk about life and their families. They'd look out the window and make comments about what was going on outside."

"Chicken Soup" was designated an American masterpiece by the National Endowment for the Arts in 2006. Blondell Cummings was born on Oct. 27, 1944, in Florence, S.C., where her parents, Roscoe Cummings and the former Oralee Williams, picked cotton. The family moved to Harlem when she was an infant and to Queens when she was a teenager.

In New York, Ms. Cummings's mother worked as a domestic and a nurse's aide, her father as a cabby. Mr. Cummings was slain by a passenger in 1985; his life and work later informed "3B49," a piece for two dancers choreographed by Ms. Cummings about the hermetic world of the taxicab.

The young Ms. Cummings earned a bachelor's degree in dance and education from New York University, followed by a master's in fine arts from Lehman College. Her dance teachers included Thelma Hill and Martha Graham.

Ms. Cummings, who early in her career was a member of the New York Chamber Dance Group and the Rod Rodgers Dance Company, taught at the Lincoln Center Institute, City College of New York, New York University, Cornell University and elsewhere.
She was the founder and artistic director of the Cycle Arts Foundation, a multidisciplinary arts collaborative.

Besides Ms. Cummings-Davis, her survivors include another sister, Gaynell Cummings.
Her other works include "Women in the Dunes," a piece, in collaboration with Junko Kikuchi, inspired by "The Woman in the Dunes," the 1962 novel by Kobo Abe; and "100% Cotton Natural Fiber," set to the music of the Malian singer Oumou Sangaré.
Another well-known piece, centering, like so much of Ms. Cummings's work, on social ritual, is "Food for Thought," a suite of dances that besides "Chicken Soup" includes "Meat and Potatoes," "Tossed Salad" and "Chocolate."



Timothy Linn, In Memoriam

Timothy Linn
September 11, 1947 - August 10, 2015

An artist with a unique and personal approach to his work, Tim Linn explored the unlimited potential of his chosen media, in the fabrication of painting and its boundaries, often pushing himself to find something new and unexplored in the process. His work in fact speaks volumes about his experimental use of materials, media and surface, to investigate and experiment with the potential of a dialogue between two and three dimensions, in particular, the relationship between painted space and shallow relief, joining object and image into a dynamic dialogue.

Linn pursued both his undergraduate and graduate degrees at the School of the Art Institute of Chicago, and was clearly influenced by the architecture of the "Chicago School". The inventive, geometric facades of buildings designed by Louis Sullivan, Frank Lloyd Wright and Mies van der Rohe, for example, were an early influence on his artwork. Linn's experiments with surface and space began early in his artistic endeavors, particularly with the surface and materials that he would use to make his work, in an attempt to step away from any self-limitation that define painted and 3-dimensional space. Throughout his artistic career, Linn explored the potential of a wide variety of surfaces and materials, including carved wood, Styrofoam, cardboard and folded paper, collaging these materials as elements to a spatial and 3-dimensional composition. His fabricated, multimedia work has a spontaneity and directness that is at once both instinctual and logical, as if they were, of necessity, interdependent. This continual experimentation with materials and shapes resulted in an extended series of wall pieces that defy categorization, challenging the viewer to explore the connections between form, space and color. Linn's large, two sided vertical works on paper, framed to be viewed from both sides, also expects or requires the viewer to explore the "content" and structure of the work, requiring their participation in it's realization. As one experiment with form and content led to one or a series of others, Linn trusted to his instincts and experience to guide his realization of the work, often surprising himself in the resulting work.

Experimentation continued with the works from the early to mid 2000's, from the painted vertical wall assemblages that resemble abstracted Oceanic totems, to the carved wood block (2005) that is both an homage to Brancusi and a freestanding, geometric icon. Linn's recent works have a formal clarity that also maintains the handmade freshness of the artist's earlier graphic/sculptural works. There is a youthful indulgence, a playful humor emanating from works on paper that have left and right panels, seemingly mirrored, but with subtle variations, and a long minimalist work of black lines that is reminiscent of Bob Rauschenberg and John Cage making their tire track impressions.
"However, the overtly simple composition of his works on paper often conceals the sophistication of Linn's process. Both minimalist and formal, they are nonetheless deeply rooted in experiment and improvisation. In the large two-sided gouaches on paper, Linn fashioned the ultimate enigma; a work of art that requires the viewer to interact with it, only to realize that it can only be fully experienced with our participation, as we interact with it, and the artist, in a visual dance." Robert G. Edelman, Painterly Geometrics, Heskin Contemporary, 2011

"Timothy Linn has developed his artistic vocabulary over years of experimentation within the traditional media of painting and sculpture, leading to a recent body of work that is compelling for its clarity and directness. Over time, he has pared down his imagery to the point where material and concept are of equal importance in the visual dynamic of his two and three-dimensional works. The work is drawn from sources as diverse as architecture; the geometries of pre-Columbian artifacts; workmanship in the recently discovered Staffordshire hoard; shapes inspired by a shampoo bottles; tap dance; jazz music; the paintings of Guston, Matisse, Cezanne, the Polish Constructivists; the enormous sculptures of Serra; and many keen observations of nature. In his synthesis of these divergent sources it is evident that Linn is entirely at ease with the complex lessons offered by modern, contemporary, primitive, and ancient art alike. His works on paper and sculpture demonstrate how an artist can work with a set of criteria and apply it with variations to different media, ultimately finding something unique and distinctive in the process. The works on paper are distinguished by their overt simplicity, coming as they do from years of searching for essential forms and reductive gesture. The format, for both the sculpture and works on paper, is primarily vertical, suggesting both figuration, and, more significantly, architectural space. In fact, a painterly architecture might be an accurate or poetic way to describe Linn's art in its lean and linear appearance." Jennifer Riley, 2010, Of Necessity at Heskin Contemporary

"Timothy Linn has collected materials over decades from natural and urban environments. Linn has utilized some of these materials in previous works and often recycles them into new pieces. The artist selects these objects, for their tactile and visual qualities, most of them, in one way or another, have an affinity with the limited geometries of primitive and ancient art." Heskin Contemporary

Timothy Linn received his MFA and BFA from The Art Institute of Chicago, Chicago, IL. In the eighties he collaborated (designing sets) with Henry Threadgill's Run Silent, Run Deep, Run Loud, Run High for BAM, Brooklyn, New York. His first one-person exhibition was in Chicago at the N.A.M.E. Gallery, in 1975. The artist has had a number of solo exhibitions in New York and Chicago. His work has also been included in numerous group exhibitions in Europe and throughout the U.S. Linn had two solo exhibitions with Heskin Contemporary, "Of Necessity, Recent Works on Paper and Sculpture", with an essay by Jennifer Riley, April-May, 2010, and "Painterly Geometrics", that included paintings, wall constructions and works on paper, February-March, 2013, with a brochure essay by Robert G. Edelman. In addition, Linn's work was included in several group shows at Heskin Contemporary, including an exhibit of a woodcut portfolio entitled "Five Fathoms", published by Protophorm Press, in 2013. Linn's work was also included in the exhibition "Painting: Expanded" at the Indiana University Center for Art and Design in December 2014, curated by the artist Jennifer Riley, where she noted about his work, that "In between are Linn's "hybrid villages" of models for unrealized large scale paintings supported by sculptural forms." Robert G. Edelman

Survivors are wife Valborg, daughters Asia, FF Alumn & Hjørdis, grandson Roman, brothers Warren & Jason, and sons-in-law, cousins, nephews & nieces.

"Tim is now at peace...at one with the cosmos. He died on August 10th surrounded by loving family and friends. Tim had a very rare Chordoma cancer in his spine, undergoing three major surgeries, radiation and targeted drug therapy over the past 4 years. He became paraplegic in December 2014, being wheelchair bound for the past 8 months. He was a dear soul mate of mine for 47 years and a loving father, grandfather and uncle to his entire family. Tim was a marvelous, accomplished artist, and we are celebrating his life and work on September 19 at 2:30 pm, at the Saint Marks Church on-the-Bowery, 13 East 10th St, New York." Valborg Linn

In lieu of flowers, please send donations in memory and honor of Timothy C. Linn to:
The Chordoma Foundation
PO Box 2127
Durham, NC 27102
or by donating on the website:



John Perreault, In Memoriam

The New York Times
John Perreault, Art Critic (and Artist) Who Championed the New, Dies at 78
SEPT. 8, 2015

John Perreault, an art critic at The Village Voice and The SoHo Weekly News who was an early champion of feminist art and the craft-oriented pattern and decoration movement in the 1970s, and who later held senior curatorial positions at the Snug Harbor Cultural Center on Staten Island and the American Craft Museum, died on Sunday in Manhattan. He was 78.

The cause was complications of gastrointestinal surgery, his husband, Jeff Weinstein, said.

Mr. Perreault started out as a poet and painter, but after being recommended by the poet and art critic John Ashbery, he began writing criticism for Art News. In 1966, The Village Voice made him its chief art critic, and he used the position to make the case for new art and work outside the mainstream, especially the creations of feminists like Judy Chicago; photorealism; art with gay content; and the pattern and decoration art associated with the Holly Solomon Gallery.

On Artopia, a blog on the website Arts Journal that he started in 2004, he described his interests as ranging "from Minimalism and Earth Art to realist painting; from pattern painting to performance art; from street works to ceramics and design."

Mr. Perreault's reviews were required reading for anyone trying to make sense of the swirling, often confusing, art scene of the 1970s, when movements and trends vied for attention.

As an artist himself, he became friends with many of the subjects he wrote about.

Alice Neel painted him, nude, in a portrait shown at her 1974 retrospective at the Whitney Museum of American Art. In "The Turkish Bath," Sylvia Sleigh painted him - nude again - with his fellow critics Lawrence Alloway and Carter Ratcliff. Depicted from the chest up, this time wearing a shirt, he was the subject of a 1975 portrait by Philip Pearlstein.

John Lucas Perreault (pronounced per-ALT) was born on Aug. 26, 1937, in Manhattan and grew up in Belmar, N.J., and other towns along the Jersey Shore. His French Canadian father, Jean, parlayed his experience cooking on merchant marine ships during the war into a series of restaurant jobs.

In high school, John scooped ice cream at a Howard Johnson's along the Garden State Parkway where his father worked. There he mastered the profit-pumping technique of creating a curled scoop that looked like solid ice cream from the outside but actually contained a large air pocket.

After studying briefly at Montclair State Teachers College (now Montclair State University), he enrolled in Kenneth Koch's poetry workshop at the New School for Social Research in Manhattan. His first poetry collection, "Camouflage," was published by Lines Books in 1966, with an introduction by Mr. Ashbery. He was also the author of the collections "Luck" (1969) and "Harry" (1974).

In the mid-1960s Mr. Perreault began exhibiting his paintings at One Eleven Gallery in Greenwich Village. He soon turned to conceptual and performance art. For the Poetry Project at St. Mark's Church-in-the Bowery, he recited a long poem, "Hunger," as color slides were projected on his back. He also did a series of street projects with Vito Acconci and, with Hannah Weiner and Eduardo Costa, organized the Fashion Show Poetry Event, which featured clothing made by Andy Warhol, Claes Oldenburg, Alex Katz and other artists.

After The SoHo News, as it had been renamed, went out of business in 1982, Mr. Perreault became the chief curator of the Everson Museum of Art in Syracuse. He was the director and curator of the Newhouse Center for Contemporary Art at Snug Harbor from 1985 to 1989, a period when, the critic Vivien Raynor wrote in The New York Times in 1995, "the Staten Island art scene experienced a kind of golden age."

He was a pivotal figure in organizing the first "Day Without Art" in 1989 to draw attention to the impact of AIDS on the arts. More than 600 cultural institutions took part in what became an annual event.

After serving as senior curator at the American Craft Museum (now the Museum of Arts and Design) from 1990 to 1993, he became the artistic director, and later executive director, of Urban Glass, a workshop and gallery in Brooklyn, and the editor of its magazine, Glass Quarterly.

Mr. Perreault taught at several schools, including the New School, the School of Visual Arts in Manhattan, the University of Arizona in Tucson and the State University of New York at Binghamton. It was while teaching at the University of California, San Diego, that he met Mr. Weinstein. They married in 2008 in Massachusetts. He is also survived by a brother, Ron, and a sister, Barbara Kaska.

Mr. Perreault was the author of numerous catalogs and books, including "Philip Pearlstein: Drawings and Watercolors" (1988). His fiction was collected in "Hotel Death and Other Tales," published in 1989.

In recent years Mr. Perreault began painting again, exhibiting at Gallery 125 in Bellport, N.Y., on Long Island, where he had a second home. He turned to unusual media, including toothpaste, sand and instant coffee, a nod to Bellport's status as the summer home of the man who first mass-produced instant coffee.

"Although my guess is that the art 'object' is done with, I myself still go on making 'paintings,' but this doesn't have much to do with making salable physical objects," he told the magazine Art Experience NYC in 2011. "Making them is more like philosophical investigations, art criticism or yoga."



Candida Royalle, FF Alumn, In Memoriam

The New York Daily News
Former porn star turned director Candida Royalle dies aged 64
Monday, September 7, 2015, 8:57 PM A A A

Former porn star Candida Royalle, regarded as a pioneer for her work in front of and behind the camera, has died after battling ovarian cancer. She was 64.

The actress - whose real name is Candice Vadala - performed in more than two dozen adult films, but was best known for her work as a director, a first in the male-dominated industry.

Royalle studied dance and music at New York's High School of Art and Design, Parsons School of Design as well as the City University of New York.

"Everyone assumes I was probably given a hard time by the adult film biz but they always treated me fairly, even if they at first doubted me," she explained on her website. "They've come to respect that I was the first one with vision and recognition of what would become the 'couples' market."

News of Royalle's death sparked tributes and memories from friends and colleagues on social media, including the following:

Dear Family, Friends, Colleagues, Community, Fans and Admirers of Candice Vadala aka Candida Royalle,

This is to inform you, with heavy heart, that our beloved Candice left her ailing body on September 7 at 5:30 am. She passed on peacefully from her beautiful country home in Mattituck, Long Island, NY, with the birds she loved singing outside her window, with her three cats on her bed, and while breathing the sweet and salty ocean air. The past few days she was superbly cared for by a few devoted friends, blood family and good hospice nursing care team. Angel of love, Veronica Vera oversaw most everything. Rock star of practical matters, Mary Dorman was instrumental in taking care of many important logistics. Candice's only sister Cynthia Vadala flew in from California and her two cousins were there. Many other friends helped these past days and we can be so grateful to them, especially her dearly beloved Italian "brother" Michele Capozzi.

What happened...
The ovarian cancer that Candice had gracefully and stoically kept at bay for over five years finally became too much to bear. She had an incredible will to live, yet had suffered a lot of physical pain. Now she is free. A few weeks ago she had to go to the hospital for a few days. Her doctor, whom she loved a lot, told her she had run out of treatment options and to begin basic hospice care. She had planned to move to Manhattan this fall to be closer to more friends in what she thought would be her last few months or year. Then just about five days ago, Candice started slipping away quickly and it became evident that it was unlikely to recover.

Memorials in New York, LA and San Francisco will likely be held sometime around November, so that there is time for everyone to plan.

Candice's three beloved cats will be well taken care of. Candice's sister Cynthia will stay with them for the next few weeks. If you or someone you know can offer a fantastic home, please write Barbara Carrellas with questions or offers: barbara@urbantantra.org

Obituaries, homages, journalists...
Obituaries informing the world of Candice's many accomplishments and the great legacies she leaves are coming out internationally.For more about Candida Royalle go to candidaroyalle.com

In spite of Candice's very public personae and career, Candice was a private person. She had told her confidants she wanted "peace and quiet" when passing without a lot of people knowing. Her wishes were respected. However, now we can all spread this news, so yes, please do write and post your homages if inclined.

Candida Royalle, DHS (Doctor of Human Sexuality) - Pioneering feminist filmmaker, Author, Entrepreneur

Candida was born on October 15, 1950 in Brooklyn New York, and spent most of her adult life in New York City, with some of her 1970s in San Francisco. In 1984 Candida Royalle(r) stepped behind the camera, from "porn star" to director, to creating Femme Productions in order to produce adult films from a woman's perspective. She is considered the mother of feminist porn and in launching the couples' erotica market. She partnered with Dutch industrial designer Jandirk Groet in 1999 to create the ground-breaking line of Natural Contours(r) intimate products, launching a whole new vision in sex toy design, widely copied today. Royalle gained international acclaim as a pioneer in female sexual empowerment and expression, and she became a sought-after speaker, lecturing extensively at such venues as the Smithsonian Institute, the World Congress on Sexology, and several universities and professional conferences. She's been a guest on countless TV talk shows and written up everywhere from The New York Times to The Times of London.

In October 2004 Royalle authored, "How to Tell a Naked Man What to Do(r)" (Simon & Schuster/Fireside). Royalle was a member of the American Association of Sex Educators, Counselors and Therapists (AASECT); in 2014 she received a Doctorate in Human Sexuality for her life's work from the Institute for the Advanced Study of Human Sexuality. She was a founding member of Feminists for Free Expression (FFE), a long time animal rights champion. In 1985 Candice co-founded the first porn star support group, Club 90, of which she was an active core member until her death, and will continue to be a member in spirit. Candida Royalle leaves a great legacy.



1. Irina Danilova, FF Alumn, at Museum of Fine Arts, Nizhny Tagil, reception Sept. 11, and more

I'm off to partner Brural: Skin of Liberty, in the Museum of Fine Arts in Nizhny Tagil. 9.7-10.12. 3rd Ural Industrial Biennale of Contemporary Art reception on September 11th.

And my work is in the Perm Museum of Soviet Naive Art homage to B.U. Kashkin until October 24th.




2. Doug Skinner, FF Alumn, at Morbid Anatomy Museum, Brooklyn, Sept. 10, and more

Doug Skinner
"The Blaireau Affair" is now available from Black Scat Books!

Alphonse Allais's only novel, first published in 1899, has never been out of print in France, and has inspired four movies. It's summer in the provinces, and Blaireau, the local poacher, is convicted of a crime he didn't commit. There are futile political squabbles, a memorably obtuse constable, a couple of charming but ridiculous love stories, too much bad champagne, and innocence is rewarded in the end. It's the most extended fiction by Allais, the seminal absurdist who inspired Jarry, Duchamp, the Pataphysical College, and Oulipo. Doug Skinner has translated and annotated this delicious tale for its first appearance in English; it's available from Black Scat Books, at blackscatbooks(dot)com, in a handsome edition designed by Norman Conquest.

"An Alphonse Allais universe this little tender disordered universe of an intense and unalloyed logic" - Jacques Prévert

ALSO: "Charles Fort and the Forteans Who Followed"

Date: Thursday, September 10th
Time: 8pm
Admission: $8 ( Tickets Here )
Location: Morbid Anatomy Museum, 424 Third Avenue , 11215 Brooklyn NY

Tonight, Doug Skinner will tell the story of Charles Fort (1874-1932) and the fortean movements that he inspired. Fort wrote peculiar books containing catalogs of scientific anomalies and tongue-in-cheek speculation, written in his own bizarre and impressionistic style.
Originally championed by writers like Theodore Dreiser and Ben Hecht, Fort was later taken up by ufologists, cryptozoologists, and contrarians of every stripe. Doug Skinner has contributed to "Fate," "The Fortean Times,"
and other relevant publications, and often spoken at fortean gatherings in the US and UK.



3. Tom Otterness, FF Alumn, at Marlborough Gallery, Manhattan, opening Sept. 16

The Directors of Marlborough Gallery are pleased to announce Metal on Paper: Silverpoint, Copperpoint, and Steelpoint Drawings, an exhibition of works on paper and new stainless steel sculptures by Tom Otterness. The exhibition will open on Wednesday, September 16, and will continue through October 17, 2015.

To create the silverpoint, copperpoint, and steelpoint drawings that make up the exhibition, the artist draws with metal on prepared paper. His stylus leaves permanent metallic traces on paper that has been treated with clay, ash, and pigments, creating a sandpaper-like surface. Using the rarified technique of masters such as Albrecht Dürer and Leonardo Da Vinci, Otterness brings his own considerable skills as a draftsman, character maker and social commentator. The artist's familiar lively beings who are frequently nudged by the angst of the everyday are given fresh form. In these metal on paper works, the sculptural and the graphic become enduringly united.

In addition to the metal drawings, two sculptures in stainless steel mounted on limestone plinths, The Secret and Rabbit, (both 2015) are being debuted in the exhibition. The floppy-eared rabbit is a new character from the artist's ever-expanding menagerie, but everything from its flat feet to its facial features are quintessential Otterness. The characters in The Secret are caught in the act of innocent whispering and gallery visitors are implicitly invited to listen in on the tale being told.

Metal on Paper: Silverpoint, Copperpoint, and Steelpoint Drawings is his first exhibition to focus on drawings in over thirty years.

Sculptures by Tom Otterness are in the collections of numerous museums including The Museum of Modern Art (MoMA), New York; The Whitney Museum of American Art, New York; Israel Museum, Jerusalem; The Miyagi Museum of Art, Sendai; Beelden aan Zee Museum, The Hague; and Institut Valencia d'Art Modern (IVAM), Centro Julio Gonzalez, Valencia. Commissioned public art projects include the United States courthouses in Minneapolis and Sacramento, an extensive installation at the Governor Nelson A. Rockefeller Park in Battery Park City, Life Underground in multiple areas of the MTA 14th Street A-C-E-L subway station in New York City, The Marriage of Real Estate and Money at New York City's Roosevelt Island, Time and Money in Times Square, and Other Worlds at Hamad International Airport, Doha.

Otterness, originally from Wichita, Kansas, has been a New York resident since the 1970s. He works from a studio in Gowanus, Brooklyn.

An illustrated catalogue will be available at the time of the exhibition.



4. Chun Hua Catherine Dong, FF Alumn, at ABC No Rio, Manhattan, Sept. 10

Date: September 10
Time: 7:30pm

Revolving perceptions, activating mentalities and moments, four performance artists drive deep into forms of political performance art as public and/or private protest. Performing provocative relationships and extreme 360s between rage and peace, sublimity and rupture, the personal and the political, we find ourselves both united in motion and flung apart by centifugal forces.
ABC No Rio




5. Gabriel Martinez, FF Alumn, at The Print Center, Philadelphia, PA, opening Sept. 17

Gabriel Martinez: Bayside Revisited
September 18 - December 19, 2015
Opening Reception: Thursday, September 17, 5-7PM
Press Preview: Wednesday, September 16, 5-7PM
with the Artist and Jensen Bryan Curator, John Caperton

A dramatic, immersive multi-media exhibition incorporating several major new commissions, Gabriel Martinez: Bayside Revisited reflects on the history of Fire Island, and the once celebrated, now largely lost, population that elevated the place to an icon of Queer Culture. Presented as part of The Print Center's Centennial celebration, Bayside Revisited is one of three exhibitions that will be on view at The Print Center as part of The Print Center 100 September 18- December 19, 2015.

Martinez's work has consistently addressed issues surrounding the gay male experience and the history of gay activism from the Stonewall Riots to the beginnings of the AIDS epidemic. For Bayside Revisited, Martinez has incorporated a variety of print and photographic processes including a site-specific film installation that utilizes footage from an original print of Wakefield Poole's 1971 landmark film Boys in the Sand, shot in part on the bayside of Fire Island. Also included in the exhibition is a series of haunting images Martinez photographed in the legendary Meat Rack. Martinez's use of the printed image to celebrate, memorialize and illuminate history echoes The Print Center's approach to its Centennial.

The Philadelphia-based Martinez works principally with photography, performance and installation. He received an MFA from Tyler School of Art, Temple University, Philadelphia, PA and attended Skowhegan School of Sculpture and Painting, Skowhegan, ME. He is the recipient of both a Pew Fellowship in the Arts and a Joan Mitchell Foundation Fellowship. He has received two Individual Artists Grants from the Pennsylvania Council on the Arts and has participated in various artist residency programs including: The Rosenbach Museum and Library and The Fabric Workshop & Museum, both in Philadelphia; Atlantic Center for the Arts, New Smyrna Beach, FL; Arcadia Summer Arts Program, Mt Desert, ME; MacDowell Colony, Peterborough, NH; and Yaddo, Saratoga Springs, NY. He is Senior Lecturer in Photography at the University of Pennsylvania. Last summer, Martinez attended the Fountainhead Residency in Miami, his hometown.

Martinez has created performance-oriented events and installations for numerous venues including: Institute of Contemporary Art, Philadelphia Museum of Art, Philadelphia Art Alliance and Nexus Foundation for Today's Art, all in Philadelphia; in New York at White Columns, Franklin Furnace, Exit Art, Thread Waxing Space and the Scope Art Fair; and at Miami Art Central and Bernice Steinbaum Gallery, Miami, FL. He is included in Art & Queer Culture, Phaidon Press, 2013 and is represented by SamsØn, Boston, MA.

The exhibition has been organized by The Print Center's Jensen Bryan curator, John Caperton. Bayside Revisited will be featured in The Print Center's forthcoming Centennial publication with images of the installation; an essay by artist, writer and curator Darren Jones; and a conversation between Martinez and Caperton. Support for the exhibition has been provided by The Andy Warhol Foundation for the Visual Arts and the Edna Andrade Memorial Fund of the Philadelphia Foundation. All works by Martinez are courtesy of SamsØn, Boston, MA.

General Information
The Print Center is located at:
1614 Latimer Street
Philadelphia, PA 19103
#PrintCenter100, #GabrielMartinez

Free and open to the Public
11:00 AM - 6:00 PM, Tuesday through Saturday



6. Charlemagne Palestine, FF Alumn, at Kunsthalle Wien Karlsplatz, Austria, opening Sept. 17

Charlemagne Palestine
18 September-8 November 2015

Opening: 17 September, 7pm
Concerts: 18 September, 7pm / 12 November, 8pm

Kunsthalle Wien Karlsplatz
Karlsplatz, Treitlstr. 2
1040 Vienna
Hours: Friday-Wednesday 10am-7pm,
Thursday 10am-9pm

Blog / Facebook / Twitter / Instagram / #Charlemagne

29 January 2015-1 November, 2016

Opening: 28 January, 7pm

Witte de With I Center for Contemporary Art
Witte de Withstraat 50
3012 BR Rotterdam
The Netherlands



Kunsthalle Wien and Witte de With Center for Contemporary Art are pleased to present Charlemagne Palestine. GesammttkkunnsttMeshuggahhLaandtttt-an exhibition on the musician, composer, performer and visual artist Charlemagne Palestine including his early video works, stuffed animal sculptures, paintings, installations, and book scores alongside other works that have rarely been shown before.

Conceived as a Gesamtkunstwerk in itself, the exhibition at Kunsthalle Wien Karlsplatz will present works ranging from several decades in an all-over environment. One of the core pieces, as in any of Palestine's exhibitions, will be a piano-a Bösendorfer Imperial-fully covered with stuffed animals, the fetish objects that accompany the artist everywhere he goes. This will also serve as the setting for two performances.

Since the end of the 1960's, Palestine has executed and performed many provocative, unusual, evocative works and happenings. In his early years, he collaborated with choreographer Simone Forti and artists Tony Conrad and Richard Serra, and performed alongside avant-garde artist La Monte Young and composers Terry Riley, Philip Glass and Steve Reich. Nevertheless, Palestine always resisted being labelled as a minimalist, opting instead for the term "maximalist." In the 1970s, he produced a seminal body of videos consisting of performances made with and for the camera. In these video works, the artist creates an outward articulation of his own internal state of mind by chanting hypnotically, running hysterically, worshipping teddy bears, and drinking cognac. After years of these intense ritualistic, shamanistic music compositions and performances, his desire to develop visual works began to overshadow his concerns for music. The body of works he produced in the following three decades is therefore marked by the use of stuffed animals that are regarded as shamanic totems and inhabit his paintings, sculptures and installations.

Charlemagne Palestine (b. 1943) lives and works in Brussels. He has released more than 20 solo albums and has performed all around the world in the last 40 years. His work has been exhibited internationally at public and private institutions including: the Venice Biennale, Italy; the Whitney Museum of American Art, New York; the Museum of Modern Art, New York; Moderna Museet, Stockholm; Kunsthalle, Basel, Switzerland; the Long Beach Museum of Art; the Museum of Contemporary Art, Houston; Palais des Beaux-Arts, Bruxelles; Stedelijk Museum, Amsterdam; Documenta 8, Kassel; the Walker Art center, Minneapolis; the Art Institute of Chicago; Centre d'Art Contemporain, Geneva; Musée d'Art Contemporain, Montreal; and Wiels, Brussels. In 2014, he participated in the Whitney Biennial and performed with Simone Forti at MoMA in New York and at the Louvre in Paris.

Curator: Luca Lo Pinto

GesammttkkunnsttMeshuggahhLaandtttt is co-commissioned by Kunsthalle Wien and Witte de With Center for Contemporary Art. A different iteration of the exhibition will be on view from 29 January untill 1 May 2016.

A catalogue accompanying the exhibition will be co-published by Sternberg Press and Witte de With Publishers.

Katharina Murschetz: T +43 (0) 1 5 21 89 1221 / katharina.murschetz@kunsthallewien.at
Adelheid Smit: T +31 (0)10 4110144 / adelheid@wdw.nl



7. Monstah Black, FF Alumn, at The Martin E. Segal Theatre Center, Manhattan, October 7-9

Wednesday - Friday
October 7 - 9, 2015
The Martin E. Segal Theatre Center is pleased to announce
Prelude 2015 will feature
AnimalParts | Annie Dorsen | Asa Horvitz | En Garde Arts | Juliana Francis Kelly | Katherine Brook + Liza Birkenmeier / TELE-VIOLET | Larissa Velez-Jackson | Liza Jessie Peterson | Mac Wellman | Mallory Catlett | Mike Iveson | Monstah Black | Nature Theater of Oklahoma | Normandy Sherwood | Phillip Howze | R.B. Schlather | Renegade Performance Group | Sarah Hughes + McFeely Sam Goodman | The Foundry Theatre | Erin Markey | Vallejo Gantner | Susan Feldman | David Levine | Caden Manson & Jemma Nelson | Ryan McNarama
and more to come!

Since 2003, The Segal Center's PRELUDE FESTIVAL has presented more than 300 emerging artists and companies alongside established figures such as Richard Foreman, Marina Abramovic, Mabou Mines, Charles Mee, and many more. A public lab for sharing new ideas, the 3-day festival features brief workshop performances, readings, installations, participatory events, panels, and discussions featuring some of the most exciting artists working today. The festival, which is free and open to the public, is held in various locations throughout The Graduate Center, CUNY, including The Martin E. Segal Theatre and The Elebash Recital Hall.
Curated by Antje Oegel, Tom Sellar, and Frank Hentschker
The 2015 PRELUDE FESTIVAL is produced by Eryk Aughenbaugh
on behalf of The Martin E. Segal Theatre Center. PRELUDE takes place at
The Graduate Center CUNY, 365 Fifth Avenue (at 34th Street),
New York City 10016


Visit us at PreludeNYC.org

For volunteer opportunities please contact mestc@gc.cuny.edu

The Prelude Festival is produced by the Martin E. Segal Theatre Center, The Graduate Center CUNY.
All presentations will be held in the Elebash Hall and the Martin E. Segal Theatre
at the CUNY Graduate Center, 365 Fifth Avenue at 34th Street.
For more about the Segal, please visit our web site, www.theSegalCenter.org.



8. Ana Mendieta, FF Alumn, at University of Minnesota, MN, Sept. 15-Dec. 12, and more

Katherine E. Nash Gallery at the University of Minnesota
Covered in Time and History:
The Films of Ana Mendieta

September 15-December 12, 2015

Katherine E. Nash Gallery
University of Minnesota
405 21st Ave S
Minneapolis, MN 55454

February 28-July 3, 2016

NSU Art Museum Fort Lauderdale1
E Las Olas Blvd
Fort Lauderdale, FL 33301

November 9, 2016-February 12, 2017

University of California
Berkeley Art Museum and Pacific Film Archive
2625 Durant Ave #2250
Berkeley, CA 94720

Organized by the Katherine E. Nash Gallery, this is the largest collection of Ana Mendieta's filmworks ever presented as a full-scale gallery exhibition in the United States. A fully illustrated exhibition catalogue, available from University of California Press, includes the first published complete filmography of all the artist's filmworks. This project was made possible in part by the Dean of the College of Liberal Arts at the University of Minnesota; the National Endowment for the Arts; a gift of Agnes Gund; Harlan Boss Foundation for the Arts; Kate and Stuart Nielsen; Syma Cheris Cohn; Metropolitan Picture Framing; Epson Corporation; and Tierney Brothers Corporation.



9. Olivia Beens, Susan Newmark, FF Alumns, at Westbeth Gallery, Manhattan, opening Sept. 26

"Figuring Abstraction"
55 Bethune Street
New York, NY 10014
(between Washington and West Streets)
212 989 4640 / westbeth.org

Exhibition dates: September 26 - October 11, 2015
Reception: Saturday, September 26 6-8 pm
Hours: Wednesday-Sunday 1-6 pm

Gallery Talk: Sunday October 4, 6pm
(moderated by Susan Newmark)

Artists/Curators Jackie Lipton and Olivia Beens are pleased to feature fifteen exceptional female artists whose work reimagines tropes of beauty, terror, and whimsy for this exhibition:

Olivia Beens / Beverly Brodsky /Abigail Child / Susan Spencer Crowe / Veronica Frenning /
Mary Jones / Fawn Krieger / Jackie Lipton / Susan Newmark / Cari Rosmarin /
Sumayyah Samaha / Christina Schlesinger / Claire Seidl / Angela Valeria / Louisa Waber

Defying traditional categorizations of abstraction or figuration, this exhibition tells contemporary stories in unexpected ways. There are no borders, only variations that span stylistic expressions in a range of materials, concepts, and processes. Inner and outer worlds are made palpable through mythical, abstract and tangible spaces. The art collectively reflects a passionate connection to life. The artists presented in Figuring Abstraction range from abstractionists to figurative artists and those who use elements from both realms. The curators aim to initiate dialogues that break with the familiar territory of abstraction
versus figuration.

The paintings, sculptures, drawings, prints and film collected for this exhibition weave reverberating patterns, shared dreams, and ideas into our present awareness. And, while acutely aware of visual language, these artists make visible an internal vocabulary of art. They provide a guide for an indeterminate journey that leads to places that are by turns beautiful, jarring, cathartic, contemplative and sometimes comical.
Sculptor, Susan Spencer Crown explores visceral responses to the natural landscape and the contours that give it its visual power in her encaustic covered cardboard works. Painter, Claire Seidl says "What we see when we look at art is inextricable from our individual experiences and memories. Triggered by light, color, gesture and space, I invite the viewer to contemplate a narrative or journey." " Film historian, Tom Gunning says that filmmaker Abigail Child is "In effect, a feminist Muybridge, breaking down gestures and actions to reveal unconscious and otherwise invisible patterns." Susan Newmark's paper works explore narrative and storytelling through the creation of imaginary landscapes integrated with abstract elements and found papers from popular culture". And, painter Mary Jones starts with a "figure, cartooned and malleable..... and, a set of personal symbols, with meanings free-floating, evolved over time."

Figuring Abstraction brings together artists from disparate disciplines and ideologies, but they share an inexplicable artistic sensibility that breaks traditional boundaries of abstraction and figuration. Also "transcending boundaries" the curators have selected the work of contemporary artists who all "happen to be women".

For further information or special appointments contact:
jackielipton@gmail.com 212. 633.0127
oliviabeens@gmail.com 917.929.0403



10. Hanne Lauridsen, FF Alumn, now online at www.H7L.com/artist'sbooks

My new 'Art Car Book" is now online at www.H7L.com/artist'sbooks

Best from Hanne



11. Barbara Hammer, FF Alumn, at Company, Manhattan, opening Sept. 13

Barbara Hammer

Lesbian Whale: Early Drawings and Paintings

September 13 - October 11
Opening Reception: September 13, 6 - 8 pm

Tuesday [1969]
i lay where the wind blew over me
where the mists from the sea met the blue
i saw my stained glass self in Mission Dolores
St. Barbara with a bouquet of Swords
and rays streaming from her
plain glass head.
i saw the bronze wreath with which she would crown me
in golden gate fields
and one sword in her hand.
i took my eyes from my wallet where i carry them.
they are heavy-lidded and searching
i have cut off my nose and my brow
to see
the shadow below in the bags are the knocks since
year thirty. to thirty five. fatigue
there is a notch at the top of the nose of in the lower brow
of fatigue, perplexion, overwhelming understanding
serious yellow complexion of brow
the eyes are serious with a touch of naivete
i can remember at thirty I promised myself promising myself then
i wouldn't know where I'd be at thirty five
in Los Altos ^ what I'd be doing at 35
i was 50 miles away from here then Well here i am.
an adulterous wife
living with a classics professor
who demanded i leave when he learned i'd slept with his
well here i am telling you all this now. It's abound
i am learning to see At 40 I want to be
i carry my camera to record my vision planting in a cornfield
in this time of transition and seeing the corn
transmission not me.
transduction seeing the corn.
St. Barbara twice
and feather tree top brows waving
a jet, a jet, a jet flies over
i am not propelling it
my eyes, nitrate silver defined
blow away from me
i have looked. i catch them. put them away and sleep.

Barbara Hammer's Lesbian Whale: Early Drawings and Paintings presents previously unseen works on paper from 1968 to 1970 alongside her first five films, all of which were made between 1968 and 1972. Hammer also completed a new film for the exhibition that animates her early notebooks with voiceover commentary by friends and peers. These previously unseen drawings and paintings were made at a crucial turning point in Hammer's early work, both before and after she left her husband to pursue a career in art and film. In these drawings and paintings, the first seeds of Hammer's later film and performance works emerge alongside self-portraits, sketches, notes on future films, and drawings of the world around her.

Barbara Hammer is a pioneering experimental filmmaker who has worked across disciplines. She has had retrospectives at the Jeu de Palme (Paris), Museum of Modern Art (New York), Tate Modern, and Toronto Film Festival. A retrospective of her work is forthcoming at the Pink Life Queer Festival in Ankara and Istanbul, Turkey. Her work was included in the 1985, 1989, and 1993 Whitney Biennials and her work is included in the permanent collections of the Australian Center for the Moving Image, the Museum of Modern Art (New York), the Centre Georges Pompidou, and elsewhere. She is the author of Hammer! Making Movies Out of Sex and Life (Feminist Press 2009). She is a professor at the European Graduate School. She lives and works in New York City and Kerhonkson, New York.

88 Eldridge Street
5th Floor
New York, NY 10002

Wednesday - Sunday, 12 - 6
for more information, please contact info@companygallery.us



12. China Blue, FF Alumn, on WNYC radio, Sept. 11-12

The Calls
"The Calls" a sound piece created in collaboration with Dr. Seth Horowitz is an ode to the 9/11 event and all of the people lost as a result of the collapse of the World Trade Center.

"The Calls" will be played on September 11 in the UNUSUAL MUSIC EPISODE 96
Time: NYC at 7AM or Italy at 13:00 hours
To be replayed on Saturday September 12, NYC at 8PM

Tune in here: www.radiobandalarga.it http://www.radiobandalarga.it/play/
"The Calls": http://www.chinablueart.com/sound-art-projects/
SPECIAL 2 hour episode onSeptember 11 ... by David Riccio
This episode has been created with the New York sound artist "China Blue" who witnessed the WTC collapse. She gave us "The Calls" and her message of peace exclusively for the listeners of Unusual Music and Radio Broadband.

Line Up:
Bruce Springsteen - The Rising
REM - Leaving New York
Cat Power - Manhattan
Eagles - Hole in the world
Neil Young - Let's roll
John Hiatt - When New York had her heart broken
Paul McCartney - Freedom
Suzanne Vega - It hit home
Steve Reich - WTC 3
China Blue - The Calls
A message of peace from China Blue, NYC
David Riccio - 9/11 (From "You as I")

"The Calls" was exhibited at Pace University, NY in Digiscape: Unexplored Terrain

"China Blue...turns the notion of technological advancement into a paradox. "The Calls," (2006) is a sound piece that centers around the World Trace Center attacks that took place on Septtember 11, 2001. Voices of the control tower dispatchers with the pilots are missed with dial tones echo range of musical scale that sounds pleasant but eerie. The dial tones were derived from available statistics about the World Trade Center: how tall it was how many people died etc. Voices from the airplanes and control tower can be heard faintly in the background, preserving the fatal last minutes in a shroud of mystery."

Digiscape: Unexplored Terrain, Exhibition Catalog, Jill Conner

Copyright (c) 2015 China Blue Art, All rights reserved.

China Blue Art
PO Box 256
Warwick, RI 02888



13. Janet Nolan, FF Alumn, at 50 Warren Street, Manhattan, Sept. 18-19

You are invited to my Open Studio. I hope you will drop by.

Janet Nolan
50 Warren Street

Sept 18, 5-8 pm; Sept 19, 1-4 pm and by appointment



14. AA Bronson, FF Alumn, at Salzburger Kunstverein, Austria, Sept. 18, and more

Salzburger Kunstverein / Grazer Kunstverein
AA Bronson's Garden of Earthly Delights
September 18-November 22, 2015

Salzburger Kunstverein
Hellbrunner Straße 3
5020 Salzburg
Hours: Tuesday-Sunday 12-7pm

AA Bronson's Sacre du Printemps
September 26-November 29, 2015

Grazer Kunstverein
Palais Trauttmansdorff
Burggasse 4
8010 Graz
Hours: Wednesday-Sunday 11am-6pm


The Salzburger Kunstverein and Grazer Kunstverein announce their collaboration with AA Bronson (born 1946, Vancouver). Bronson is artist and curator, subject and object, in this hybrid project. The two-part exhibition features his performances and artworks, collaborations with younger artists, and performances and artworks by friends. A pioneer of collaborative and queer visual art practice, he is the sole surviving member of General Idea (1969-94). He has had a long history with political and social issues in art and publishing, and has collaborated with many generations of artists across many disciplines. He is a founder of FILE Megazine, Toronto; Art Metropole, Toronto; The NY Art Book Fair, New York; the Institute for Art, Religion and Social Justice, New York; and AA Bronson's School for Young Shamans, which is nomadic. In the last decades he has knitted elements from various religions into his work, from Tibetan Buddhism and Shamanism to Ceremonial Magic and Santeria. In particular he is known for his performance series Invocation of the Queer Spirits, which he first contrived in resistance to the New York commercial gallery scene. These allow no audience and no documentation, and nothing is for sale.

AA Bronson's Garden of Earthly Delights
at Salzburger Kunstverein
Opening: September 18, 8pm

The exhibition begins as a queer reflection on Hieronymous Bosch's triptych Garden of Earthly Delights, painted circa 1500, here married with Japan's famous Zen garden of Ryōan-ji, constructed in 1499. Both works-the painted garden and the rock garden-offer us a vision of the spiritual as a constructed universe. This exhibition has two components: in the Main Hall, the audience circumambulates a garden of herbs, the witch's beloved mugwort. An enormous mandala formed of rose petals greets guests at the entrance: Chrysanne Stathacos assembles this mandala through the course of the openings, chatting with guests. The garden is dominated by Folly (Lana's Boudoir), a red and white striped tent, a kind of Medieval peep show. Other garden follies include antique Chinese pots: the first is King of Cups, a garden fishbowl with living goldfish; the second is a giant lidded pot on a high stand, named Family Secrets. A family of taxidermied deer feed on the mugwort. And the dark arts of New Orleans' infamous lesbian priestess, JX Williams, are represented by a single altered sledgehammer (Stick to Hit the Devil 3, 2015). Two small photographs of flaming jockstraps by Matthias Herrmann complete the mise en scène. These sculptural installations are framed by a soundscape constructed from birdsong by Ebe Oke, and an "introduction" by Gareth Long. The second component of the exhibition takes place in the Kabinett: AA Bronson and Keith Boadwee have collaborated on an homage to the anus. They present a painting series titled "PLAID," performative works created by squirting paint from their sphincters. The paintings are simultaneously a nod to and simulacrum of classic modernist serial painting and Actionism both; they posit the body, and especially-in Freudian terms-the anus, as the fount of creation. AA Bronson says: "The asshole IS the revolution."

AA Bronson's Sacre du Printemps
at Grazer Kunstverein
Opening: September 26, 12:30pm

Stravinsky and Nijinsky's scandalous ballet of 1913 gives name to this sequence of rites and sacrifices, overseen by sage elders, here in the person of AA Bronson himself. The exhibition opens with a mandala of rose petals by Chrysanne Stathacos, a twin to a similar installation in Salzburg. The artist will install the work during the opening and chat with the public. This mandala is framed by What a Beautiful World!, a wallpaper installation by Yeonjune Jung that looks at sites of gay trauma in London. Cabine, a kind of fortune-teller's tent by AA Bronson and Scott Treleaven, commands the first in a series of galleries. It is here that Michael Dudeck will perform his intense durational work based on ritual Hebrew text. Sharing the space is Ashes to Ashes, the remains of a performance by Nicolaus Chaffin and AA Bronson, invoking the spirits of the dead in Fire Island's Magic Forest, where countless men who died of AIDS have had their ashes spread. Blue, by AA Bronson with Ryan Brewer, depicts the artists as spirits of the dead. Highlights in the rooms that follow are: a series of portraits of burning penises and a book inspired by a dancer's jockstrap, both by Matthias Herrmann; a ritual space constructed of paintings of magical sigils by Elijah Burgher; and Igshaan Adams chanting inside a labyrinth of veils. The exhibition-within-the-exhibition, Queer Zines, brings together more than 150 independently published queer zines from the '70s to today. Jockstrap (for David) is a custom jockstrap made of cloth tape by Mark Jan Krayenhoff van de Leur: the jockstrap or dancer's strap reveals itself as queer reliquary, rather than athletic aid. And K8 Hardy's Untitled (Jockstrap Dress) is exactly that, a dress constructed of new and used jockstraps. Other works by JX Williams and AA Bronson complicate the selection. Each of these works tells a piece of a story, a history, and together they become a kind of pagan romance, a series of rites, a sacrifice, and a gathering of sage elders: AA Bronson, and many of the artists, will be present at the opening to tell these stories, to weave the history or dance the dance that is AA Bronson's Sacre du printemps.

Press contacts: Michaela Lederer: lederer@salzburger-kunstverein.at and Tanja Gurke: tg@grazerkunstverein.org



15. John Ahearn, FF Alumn, at Dorian Grey Gallery, Manhattan, Sept. 10

SAVE THE DATE: September 10th, 6-9 pm.Dorian Grey Gallery is proud to present KIDS, with photographer Martha Cooper's Street Play and sculptor John Ahearn's Walton Avenue life casts. Friends and artistic collaborators, John Ahearn and Martha Cooper capture the creative spirit of kids on the gritty streets of the Lower East Side and the Bronx. Exhibition opens September 10th and continues through October 4th 2015.For additional information visit : http://www.doriangreygallery.com/kids.html



16. Michelle Stuart, Beatrice Glow, FF Alumns, at Wave Hill, The Bronx, opening September 19

Field Notes: Matthew Friday, David McQueen, Michelle Stuart

Opening Reception: Saturday, September 19, 2-4:30PM

Observation and notation are central to the creative practice of many artists. Field Notes brings together the work of Matthew Friday, David McQueen and Michelle Stuart, whose projects, in Glyndor Gallery and on the grounds, encourage visitors to discover connections of their own. Whatever the medium used, the notes, sketches, photos and videos they have taken during travel and exploration are integral to the work on view. Matthew Friday presents a field station of sorts, documenting the changing ecologies of the lower Hudson Valley Watershed. David McQueen constructs an imagined narrative between Samuel Clemens (Mark Twain) and his wife Olivia during their two-year sojourn in Wave Hill House (1901-1903). Michelle Stuart's drawings and photographs are generated from extensive travels in Morocco in the early 1980s.

In the Sunroom Project Space, two site-specific installations open, both by the 2015 Van Lier Visual Artist Fellows: Julian Chams has created tactile, photo-based assemblages of images from places nearby and remote, recent and past, showing the interconnectedness of humans and their surroundings; Beatrice Glow's installation converts the Sun Porch into a tearoom, retelling trans-Pacific histories using sights and scents that reference the spice trade.


A 28-acre public garden and cultural center overlooking the Hudson River and Palisades, Wave Hill's mission is to celebrate the artistry and legacy of its gardens and landscapes, to preserve its magnificent views, and to explore human connections to the natural world through programs in horticulture, education and the arts.

West 249th Street and Independence Avenues · Bronx, NY 10471 · 718.549.3200 · www.wavehill.org



17. Karen Shaw FF Alumn, at Braithwaite Fine Art Gallery, Cedar City UT, opening Sept. 10

If you happen to find yourself in or near Cedar City UT please stop by for ABC (Assemblage, Book Arts, Collage) at the Braithwaite Fine Arts Gallery in Cedar City Utah. Opening on September 10 with a reception on Sept. 10, 7-9.
On Sept. 15 there will be a talk by Dr. Matt Weeg on Assemblage in Nature and on Sept. 16 a panel on Book Arts.

Hope you can stop by.



18. Félix González-Torres, FF Alumn, in Rearview


In the wing mirror of the passenger side of a vehicle, objects are closer than they appear.

The texts re-published in the Rearview series are those that we wish to draw attention to perhaps because they reveal certain "blind spots" in contemporary art criticism. These "found" documents (indeed, quasi-artifacts) are prefaced by one of our writers.

A dialogue made of gold: such was the conversation between artists Roni Horn and Félix González-Torres, initiated in the early 1990s and only interrupted due to González-Torres's death in 1996. It all started on a spring afternoon in 1990, when González-Torres, along with his partner Ross Laycock, visited Horn's solo exhibition (April 22-July 22, 1990) at Temporary Contemporary, the temporary venue of the Museum of Contemporary Art in Los Angeles, and encountered her 1982 work Gold Field.

Placed directly on the floor, Gold Field consists of a large and thin rectangular sheet made of one kilo of pure, annealed gold. Gold Field presented itself as "a new landscape, a possible horizon, a place of rest and absolute beauty,"(1) giving the couple solace from their dramatic situation: Laycock was dying of AIDS, surviving the show only by six months, and the overall vision of the U.S. as a country that was facing "the abandonment of the ideals on which (it) was supposedly founded" (2) was somber and asphyxiating.

Three years after this encounter with Gold Field, González-Torres and Horn meet. Touched by their common affinities, Roni Horn sends Félix González-Torres a square of gold foil, a sheet similar to those made by the artist and placed in stacks to be taken by visitors, yet made of gold, a tribute to their newly-born friendship. That same year, González-Torres makes Untitled (Placebo - Landscape for Roni) (1993), an endlessly replaceable and forever-lasting golden collection of candies wrapped in golden paper.

Three years later, at the beginning of January 1996, Félix González-Torres dies in Miami of AIDS-related complications. The following month, Roni Horn's solo exhibition "Earths Grow Thick: Works after Emily Dickinson" (February 3-April 21, 1996) opens at the Wexner Centre for the Arts, at Ohio State University, in Columbus, a show that will then be presented at the Davis Museum and Cultural Centre, at Wellesley College, Wellesley (October 22-December 29, 1996) and at the Henry Art Gallery of the University of Washington, Seattle (July 3-September 28, 1997). The exhibition's catalogue includes "1990: L.A., "The Gold Field"," a text by González-Torres in which absences are deeply felt, as the work was not included in the show, and the author was no longer alive, and which celebrates a friendship that, even when shaped by the artists' common interest in fragility and delicacy, outlives death.

Every time I read this all-encompassing text I fall victim to a psychoauditory sensation, as if William Basinski's music were being played around my head. It may be because both text and music are founded on ever-changing repetitions, where the erosion of time affirms itself as being the organic condition for a progressive form of life-as if the awareness of having numbered days were the only formula by which to experience endless love.

Through Félix González-Torres's words, Roni Horn's Gold Field enters the aforementioned paradigm in the form of a whispered suggestion, an impartial advice. It is not there to distract us from our finite condition, nor to mislead us from the unequal society of our own design. In acting as a reminder, the work points towards the necessity of a better life for as many as possible. In giving a new name to "something that had always been there,"(3) it entangles invention with a possible external factual optimization.

Here minimalism stands for honesty: Gold Field seems to acknowledge its own partiality within the daily, perpetuating the notion that the creation of meanings exists only as the outcome of new encounters. The work insinuates that the supremacy of the truths that we're exposed to will be settled by the people with whom we are going to stress-test the actual truths. From here on the company of the visit to an exhibition becomes more important than the specific exhibition itself.

-Ricardo Benassi

1990: L.A.,"The Gold Field" by Félix González-Torres

1990: Already ten years into trickle down economics, a rise in cynicism, growing racial and class tension, and the widening gap between the very rich and the rest of us. L.A. before the riots of 1992. A time of defunding vital social programs, the abandonment of the ideals on which our country was supposedly founded. The erasure of history. The Savings and Loan bailout with our tax dollars. "The economic boom" of the Reagan Empire thanks to the tripling of the national deficit. The explosion of the information industry, and at the same time the implosion of meaning. Meaning can only be formulated when we can compare, when we bring information to our daily level, to our "private" sphere. Otherwise information just goes by. Which is precisely what the ideological apparatuses want and need: "You give us 30 minutes and we give you the world." A meaningless one. With internets and highways included. A virtual state of containment. How could the famous "taxpayer" remain idle and voiceless when for every dollar we spent for welfare the government spent six dollars for the Savings and Loan orgy? That was our money that ended up paying for mega takeovers, super mergers, environmentally destructive "developments," and bigger and better (now empty) office spaces. Because it does not mean anything. The American family doesn't know how to get upset, how to understand a bill of 500 billion dollars. But it can get extremely interested in a 10 thousand dollar grant from the NEA. 500 billion is unthinkable. That amount is not personal. On the other hand, 10 thousand dollars is the down payment for a small home, or a trailer. Now that's meaning.

The list of hard data from that fabulous decade was depressing. Especially in the face of public inaction, and the absence of an organized reaction to so many devastating statistics such as the fact that in 1980 the ratio of the U.S. Government budget for housing to military expenditure was 1:5. By 1989 it was 1:31. Since 1980 Federal support for housing assistance has been slashed by more than 80%. According to the Census Bureau, mobile homes were the fastest growing type of dwelling in the 1980s, as the cost of traditional houses soared beyond the reach of many. Nearly 16 million Americans-about one in sixteen-now live in mobile homes. But in a way we built a lot of "safe housing" during that time. According to the September 13, 1992 New York Times, the nation's incarcerated population increased by nearly 130% over the decade. We have the highest rate of imprisonment of any industrialized nation. During those same years we witnessed the top one percent of American households grow richer. By 1989 that 1% was worth more than the bottom 90%. In those "Dynasty" years the number of children living in poverty increased by 21%. By 1992, 7% of all infants, and nearly 17% of African-American infants were born underweight-the highest rate since 1978. The state with the highest child poverty rate is Mississippi-home of the American Family Association, one of the most vocal organs of the Right Wing Religious Industry.

According to Jennifer Howse, who led the March Dimes Birth Defect Foundation in 1992, the proportion of pregnant women without prenatal care was 25%, the highest in 20 years. We now rank 20th among industrialized nations in preventing infant mortality, and when it comes to immunizing infants against polio, we now rank behind 16 other nations, including Mexico. But who cares. We kicked butt in Grenada. We got more stealth bombers, plans for a real star wars system of toys, and a glamorous, anorexic first lady who exhorted all of us to "just say no." To say no to the formulation of meaning, to concentrate instead on a photograph of two men kissing, or of a crucifix. Symbolism sells. History doesn't. We must remember that most of the social security net the revisionists wanted to dismantle then (and now) helped cut the poverty rate almost in half, and poverty amongst the elderly by an even greater degree. And we must remember that the war on poverty in the 1960s and 1970s brought many needy Americans medical care, food stamps, prenatal and infant care, legal services, college tuition and guaranteed student loans which enabled many of us to forge a better life. (I can attest to that.) Those programs, according to the New York Times editorial on May 6, 1992, brought the poverty rate down from 19% in 1964 to 11% in 1973.

One of the dangers of the new technologies of information is that they do not guarantee an informed or active public. Sound bytes replace arguments. The statistics on the economic decline of the so-called typical normal American family mean very little to them. One of the effects of the division of labor is the misrepresentation of facts, issues, and events as completely isolated, independent of each other. It does not occur to many that bailing out the white collar crimes of the 1980s means less money for hospitals, repairing roads, and school lunches (remember ketchup as a vegetable?).

And it's precisely here where the radical right and their allies in the Religious lndustry have been so brilliant in their strategy of deflecting meaning by using charged symbolic images of homosexual acts (among others). Why bother with the destruction of the environment or lack of adequate health care when we have a black and white photo of two men kissing? Now that's real meaning. Unfortunately, we in the cultural left are more than eager to play the role assigned to us. We are invited to participate in a debate that has never really been a debate, but a travesty, a red herring to keep us occupied. We should not reply with the First Amendment and so-called freedom of expression, we should redirect the circus toward our agenda and expose what they really want to avoid mentioning. We should fight hate and the dissemination of ignorance and fear with the effective use of history and fact. Ideology cannot stand it when we make connections.

L.A. 1990. Yes, it was a very depressing, and very hard to sustain any sense of hope in such a bleak social landscape. How is one supposed to keep any hope alive, the romantic impetus of wishing for a better place as for as many people as possible, the desire for justice, the desire for meaning, and history?

L.A. 1990. Ross and I spent every Saturday afternoon visiting galleries, museums, thrift shops, and going on long, very long drives all around L.A., enjoying the "magic hour" when the light makes everything gold and magical in that city. It was the best and worst of times. Ross was dying right in front of my eyes. Leaving me. It was the first time in my life when I knew for sure where the money for rent was coming from. It was a time of desperation, yet of growth too.

1990, L.A. The Gold Field. How can I deal with the Gold Field? I don't quite know. But the Gold Field was there. Ross and I entered the Museum of Contemporary Art, and without knowing the work of Roni Horn we were blown away by the heroic, gentle and horizontal presence of this gift. There it was, in a white room, all by itself, it didn't need company, it didn't need anything. Sitting on the floor, ever so lightly. A new landscape, a possible horizon, a place of rest and absolute beauty. Waiting for the right viewer willing and needing to be moved to a place of the imagination. This piece is nothing more than a thin layer of gold. It is everything a good poem by Wallace Stevens is; precise, with no extra baggage, nothing extra. A poem that feels secure and dares to unravel itself, to become naked, to be enjoyed in a tactile manner, but beyond that, in an intellectual way too. Ross and I were lifted. That gesture was all we needed to rest, to think about the possibility of change. This showed the innate ability of an artist proposing to make this place a better place. How truly revolutionary.

This work was needed. This was an undiscovered ocean for us. It was impossible, yet it was real, we saw this landscape. Like no other landscape. We felt it. We traveled together to countless sunsets. But where did this object come from? Who produced this piece that risked itself by being so fragile, just laying on the floor, no base, no plexiglass box on top of it. How come we didn't know about her work before, how come we missed so much? Roni's work has never been the darling of the establishment. Of course not. Some people dismiss Roni's work as pure formalism, as if such purity were possible after years of knowing that the act of looking at an object, any object, is transfigured by gender, race, socio-economic class, and sexual orientation. We cannot blame them for the emptiness in which they live, for they cannot see the almost perfect emotions and solutions her objects and writings give us. A place to dream, to regain energy, to dare. Ross and I always talked about this work, how much it affected us. After that any sunset became "The Gold Field." Roni had named something that had always been there. Now we saw it through her eyes, her imagination.

In the midst of our private disaster of Ross's imminent death, and the darkness of that particular historical moment, we were given the chance to ponder on the opportunity to regain our breath, and breathe a romantic air only true lovers breathe.

Recently Roni revisited the Gold FieId. This time it is two sheets. Two, a number of companionship, of doubled pleasure, a pair, a couple, one on top of the other. Mirroring and emanating light. When Roni showed me this new work she said "there is sweat in-between." I knew that.

(1) Félix González-Torres, "1990: L.A., "The Gold Field"," in Roni Horn. Earths Grow Thick (Columbus: Wexner Center for the Arts, 1996), 68.
(2) Ibid, 65.
(3) Ibid, 69.

Félix González-Torres, "1990: L.A., "The Gold Field" first appeared in the catalogue Roni Horn. Earths Grow Thick (Columbus: Wexner Center for the Arts, 1996). The text is reprinted with the kind permission of Roni Horn, the Wexner Centre for the Arts, and The Félix González-Torres Foundation.

Cuban-born Félix González-Torres (1957-1996) was one of the most important artists of the last decades of the twentieth century. His works added a poetic, personal tone to the legacy of Minimalism, and represented his ongoing engagement with social and political issues, including those related to his own sexuality. In doing so, González-Torres radically diluted, in artistic terms, the borders between private and public life.



19. Sol LeWitt, FF Alumn, at Konrad Fischer Galerie, Dusseldorf, Germany, thru Oct. 31

Konrad Fischer Galerie

Sol LeWitt

Konrad Fischer Galerie Dusseldorf
Platanenstrasse 7
40233 Dusseldorf
Hours: Tuesday-Friday 11am-6pm,
Saturday 11am-2pm


Konrad Fischer Galerie Berlin
Lindenstrasse 35
10969 Berlin
Hours: Tuesday-Saturday 11am-6pm


Download the art-agenda iPad App Share

Sol LeWitt: Wall Drawings, Grids on Color
September 4-October 31, 2015
Opening: Thursday, September 3, 6-9pm
Konrad Fischer Galerie Dusseldorf

Sol LeWitt: Wall Drawings, Grids on Black and White
September 5-October 31, 2015
Opening: Friday, September 4, 6-9pm
Konrad Fischer Galerie Berlin

LeWitt began his artistic career in the early 1960s with modular and serial constructions. He used repetition and the progression of simple three-dimensional geometries to place his works on a rational foundation, making them straightforward and repeatable. His aim was to abolish the inevitable illusionism of the painted surface, as well as to oppose its implicit claim to the uniqueness of the manually executed work. Later, LeWitt developed the medium of the wall drawing as a means of returning to the surface while still avoiding the problems of painting. He eliminated the physical support that usually lies between the exhibition wall and the artistic markings, placing them in an ideal space of their own. Conversely, he sought to ensure that the drawn traces would not stand out from the wall but form a single visual entity with it. Thus, for his earliest wall drawings LeWitt used hard pencils that produce a faintly visible line. He also opted for a type of drawing that, thanks to precise instructions, could be executed by draftsmen other than the artist himself.

From his own perspective, LeWitt's wall drawings solved a whole series of problems that had plagued art, especially painting, and opened up a broad new field of activity for himself. He avoided the illusionism, expressiveness, and narrativity of painting. He excluded moments of perception from the work's production, negated the importance of artistic execution, and left the work's realization to others, without calling his own position as "author" into question. He made it possible for sparing sets of instructions to trigger the realization of wall-filling works, whose conceptual character nonetheless prevents a "feeling of the sublime" (Immanuel Kant) from arising. Finally, he responded to the critique of art's commodity character by declaring that art as idea is not for sale, although the right to realize a work can be bought and sold. With his wall drawings, LeWitt became very successful very quickly. Among other things, he realized a wall drawing at Konrad Fischer's gallery on Neubrückstraße in Dusseldorf as early as 1969.

Among the particularly rigorous works that are characteristic of this period are a number of wall drawings from 1979 (Wall Drawings #314 and #318, now realized in Berlin, as well as #317 and #319, now realized in Dusseldorf). In the first pair of drawings, each wall is vertically or diagonally divided into a white field and a black one, while in the second, the wall surfaces are divided horizontally and vertically or diagonally into four colored fields (red, yellow, blue, and black). Latex paint is used. In each drawing, the entire wall is covered with a one-inch grid of pencil lines. Another variant of the color drawings is Wall Drawing #322. Here, the pencil grid covers a wall that is vertically divided into five fields using the colors employed by LeWitt at the time-the three primary colors plus black and white. Much later, he conceived new variations on the pattern, such as Wall Drawing #622. Here, he uses a new technique for the color fields, the overlapping of color ink washes covered with a horizontal/vertical as well as a diagonal grid. In a sense, the use of the grid structure represents a return to the early days of the artist's wall drawings. However, since the networks of the grid are now larger than they had been some ten years earlier, the geometric structure functions as an aid for measuring the large color fields.

Even though it is possible to verify conclusively the nominalistic dependence of the perceptible phenomenon on the concept and to retrace the steps of a thought process that ruthlessly excludes all speculation regarding transcendence, the executed drawing still contains a pointedly disconcerting moment. It is impossible to perceive the work as a unified phenomenon. The large color fields can only be taken in from a distance, while one must be much closer to the work to perceive the pencil grid. The viewer is forced to take different positions, each of which entails the loss to perception of one of the drawing's elements. While the drawing is conceived in such a way that its idea can be understood completely, its perception is driven by an uncontrollable and seemingly irrational moment of incompleteness and loss. The result is an unsettling conflict between what there is to see and what there is to know. But instead of resolving this conflict in favor of what there is to know, LeWitt followed his own premise from the "Sentences"-the postulate that the perception of ideas leads to new ideas-and designed drawings like Wall Drawing #726A, in which the instructions are calculated from the beginning to produce a result marked by indeterminacy.

Excerpt from the exhibition text written by Ulrich Loock (August 2015)
Translation: James Gussen



20. Lenora Champagne, FF Alumn, publishes new book

No Passport Press
invites you to a
Book Launch for NEW WORLD PLAYS by Lenora Champagne

424 West 44th St. (between 8th and 9th Avenues)
Thursday, October 1, 2015 from 6:30 - 8 p.m.
RSVP via email newdramatists@newdramatists.org or via phone 212-757-6960.

New World Plays, in No Passport's "Dreaming the Americas" series, includes three plays, a foreword by playwright, screenwriter and director Julie Hebert, an introduction by poet, playwright and director Fiona Templeton, and an interview with the author by American Theatre editor-in-chief, Jim O'Quinn.

NoPassport is a theatre alliance & press devoted to live, virtual and print action, advocacy and change toward the fostering of cross-cultural and aesthetic diversity in the arts. NoPassport Press' founding editor is playwright Caridad Svich. www.nopassport.org



21. Brendan Fernandes, FF Alumn, at Mixed Greens, Manhattan, opening Sept. 10, and more

Dear Friends,

September is here! This month I am excited to share that I am opening a solo show of my works at the Varley Art Gallery in Markham, Ontario. This show explores the orientalist ballet "La Bayadere" and the roots of the "arabesque" as a semiotic and dance position. The show opens on Sunday September 20th with a reception, artist talk and performance from 1-4pm . As well I will be creating a site specific window installation and performance for Mixed Greens in Chelsea, NYC opening September 10th from 6-8pm. Lastly on September 11th at 6-8pm I will be on a panel at The 8th Floor Gallery speaking about language and performance. This talk is part of the public programming for the exhibition "Between Body and History". The show has garnered much press and I am especially proud of the review in Forbes Magazine that highlights my work with forerunners in the art world.

Sending my best,




22. Chun Hua Catherine Dong, FF Alumn, at ABC No Rio, Manhattan, Sept. 10

Date: September 10
Time: 7:30pm

Revolving perceptions, activating mentalities and moments, four performance artists drive deep into forms of political performance art as public and/or private protest. Performing provocative relationships and extreme 360s between rage and peace, sublimity and rupture, the personal and the political, we find ourselves both united in motion and flung apart by centifugal forces.
ABC No Rio




23. Annie Lanzillotto, FF Alumn, in CSA Lateral, now online

Annie Lanzillotto

I'm just beginning to absorb reading this article that just came out about me and my work and health. Very deep study.




24. Franc Palaia, F FAlumn, in Poughkeepsie Journal, Sept. 3

Hello Friends,
Just wanted to pass along this recent article from last Friday's Poughkeepsie Journal's Enjoy section.
Hope everyone had a great summer!

From murals to found art, Palaia's palette has broad sweep.
Poughkeepsie Journal, Sept 3, 2015

Franc Palaia's "Solar Windows III" is included in the10th Annual Saunder's Farm Outdoor Sculpture show, Garrison, NY Sept 5 - 0ct. 30, 2015

My artwork encompasses several media: photography, sculpture, light boxes, murals, public art, artist books, graphic design, as well as a practicing curator, gallerist and musician.

Since 1990 my work has been addressing environmental issues, specifically in the form of illuminated photo-sculpture. The early works were made of found and recycled domestic and industrial objects, such as crates, suitcases, appliances, lamps, auto parts, furniture and even an entire car. I incorporate fluorescent and LED lights into these objects to illuminate photo transparencies that I make from my photography from various parts of the world. The imagery ranges from environmental pollution, international murals and street art, architectural structures and antiquity, war scenes and natural phenomena, to name a few.

Found objects inspire me by making me think about the objects' former life and how I can re-purpose it into something new and useful, both visually and functionally, in essence giving the object a second life, perhaps, and hopefully, a better life. Many times the found object is a catalyst for creative inventiveness. The incorporated illuminated photo, or photos, make the viewer focus on the image, which brings extra attention to it. People are naturally attracted to light in any form.

My murals and public art are almost always inspired by history of the area where the mural is located. For example, three major murals I have painted in Poughkeepsie since 2002 all reflect the history of their neighborhoods, and they include the "Olde Main Street Mural" on Main and Markets streets, the "Italian Heritage Mural" at Dongan Park, Little Italy, and the "Ice House Mural" on the riverfront, on Waryas Park's Ice House restaurant. Poughkeepsie is a very rich historical city, so there is always an abundance of imagery to work with. I am always excited by murals because they are the best medium for an artist. They are an important medium because they bring art out into the real world, where people from all walks of life can interact and engage with them no matter their education, language or their age. Murals activate the environment and allow artists to make a major public statement as compared to exhibiting in a gallery, where very few people actually see the work. Murals also last on average 20 years as compared to a gallery for museum exhibit which usually lasts one or two months.

Images from other countries also inspire me. I have been photographing murals from over 25 countries since 1976. A recent photo series from 2013 are murals of Cuba. I was there for two weeks in 2013 before President Obama's loosening of diplomatic ties. I compiled 80 murals and street art, and have written, lectured and presented samples of the series in local publications and galleries. I plan to make a book of this work later this year.
I am participating is four outdoor sculpture shows this summer and fall and they include Beacon 3D, in Beacon N.Y., Catskill Interpretive Center Art Park,(the Windmill) in Mt. Tremper near Woodstock, NY, The North Bennington sculpture show in Bennington, Vermont and the 10th Annual Saunder's Farm sculpture show in Garrison, NY,(pictured above). All the four outdoor works are illuminated by solar panels.

Artist Franc Palaia has presented more than 40 solo shows and 350 group shows regionally, nationally and internationally. He is the recipient of 20 grants, fellowships and residencies, including the Rome Prize, Tiffany Grant and Polaroid Sponsorships. His exhibitions include the Metropolitan Museum of Art, L.A. MoCA, P.S. 1, Whitney Museum Annex, the New Museum, Museum of Neon Art, Newark Museum, Center for Photography in Woodstock, Dorsky Museum, Montclair Museum, New Jersey State Museum, Salvador Dali Museum, Spain, the Clocktower, Artists Space, Franklin Furnace, the High Museum and OK Harris. Public collections include, the Newark Museum, Brooklyn Museum, Mc Donald's Corp., Robert Wood Johnson, Kean University, Museum of Modern Art, Morris Museum, American Academy in Rome, among others. Visit http://francpalaia.com/; contact him at francpalaia1@gmail.com




25. Adele Ursone, FF Alumn, at Artemis Gallery, Northeast Harbor, ME, opening September 10

Adele Ursone presents A Moment In Time at Artemis Gallery, 1 Old Firehouse Lane, Northeast Harbor, ME, from Sept. 10-Sept. 25, 2015. Artemisgallery.com



26. Ken Friedman, FF Alumn, now online

Dear Colleagues,

A nice surprise arrived this morning over coffee and the news. An exhibition review in the New York Times took me to the Museum of Modern Art web site, where I found this article about my life as an artist in the 1960s.


Warm wishes,




27. Donald Daedalus, FF Alumn, at BronxArtSpace, The Bronx, opening Sept. 12

Donald Daedalus in Hot And Cold? exhibition at BronxArtSpace, September 9-October 10. Opening Reception September 12, 5-8pm

Four glass models from "Imagined Bonds, Impossible Escape," will be on exhibit. The sculptures render the theoretical designs of black holes, as inspired by scientific illustrations and the evolution of the visually depicting the unseeable.

305 East 140th Street #1A
Bronx, NY 10454



28. Jane Dickson, FF Alumn, at Wallworks NY, The Bronx, September 12

Please join me for the
Return of City Maze Closing Reception

Saturday September 12th
3:00 - 5:00pm

@Wallworks NY
39 Bruckner Blvd, South Bronx, NYC
6 train to 138th St & 3rd Ave



29. Brendan Fernandes, Nicolás Dumit Estévez, Saya Woolfalk, FF Alumns, at The 8th Floor, Manhattan, September 11

Please join us at The 8th Floor on Friday, September 11th from 6-8:00pm
for a conversation between
Brendan Fernandes, Nicolás Dumit Estévez, and Saya Woolfalk

Brendan Fernandes, Nicolás Dumit Estévez, and Saya Woolfalk
in conversation with Sara Reisman
Friday, September 11, 2015

RSVP: media@sdrubin.org

On September 11, 2015, The Shelley & Donald Rubin Foundation will host a conversation at The 8th Floor between Brendan Fernandes, Nicolás Dumit Estévez, and Saya Woolfalk that will explore how voice, gesture, and choreography figure into each artist's practices. Working across diverse media including video, collage, sculpture, and photography, each artist addresses gesture as a preconditioned cultural construct to be transcended. Fernandes and Estévez both demonstrate the nuance of voice and pronunciation as signifiers of class and cultural identity. In Woolfalk's ChimaTEK series, she has created a parallel culture in which ordinary limits imposed by racism, sexism, and ethnocentrism no longer apply.

For more information on The 8th Floor,
please visit The8thFloor.org

17 West 17th Street, 8th Floor
New York, NY 10011



30. Ruth Hardinger, FF Alumn, at Alliance Gallery, Narrowsburg, NY, thru Oct. 3

Ruth Hardinger

Displaced Landscape, Delaware Valley Arts Alliance, Alliance Gallery, Narrowsburg, NY, through October 3.

the web site is www.delawarevalleyartsalliance.org
Gallery hours: Tue-Fri 9-5, Sat 10-4, closed Sun & Mon



31. Clifford Owens, FF Alumn, at Invisible Exports, Manhattan, opening Sept. 11

Dear Friends and Colleagues:

I'm pleased to invite you to a special, private preview of my upcoming solo exhibition "Clifford Owens" opening on September 11, 2015 at Invisible-Exports.

The exhibition is comprised of a suite of 15 new works on paper, a new color photograph, a new video, and a new live performance based on a score written for me by artist Vaginal Davis.

The private preview is on September 11, 2015 from 5 - 6PM. If you're not able to attend the private preview, I hope to see you at the public opening from 6 - 9PM. Invisible-Exports is located at 89 Eldridge Street, New York, New York.

All best,



32. LoVid, FF Alumns, September-October events

Hello FF friends!

We wanted to let you all know of some upcoming events all around NY state.

All the best and see around in the fall,
Tali and Kyle

*September 9
Handmade Abstract
Co-curated by Elizabeth Ferrer and Jenny Gerow

Gallery at BRIC House
September 9, 2015 · 7:00 PM-9:00 PM

Handmade Abstract will bring together 13 emerging and mid-career artists who are dedicated to the visual language of abstraction and whose work emphasizes the handcrafted nature of the art and processes of fabrication.
Artists included: Katie Bell, Maria Chavez, Michelle Forsyth, Carl E. Hazlewood, LoVid, Marisa Manso, Lael Marshall, Christian Maychack,Leeza Meksin, Liz Nielsen, Courtney Puckett, Mary Schwab, Lizzie Scott

*September 10
Crashed and Trashed: Greene Reporting
Incident Report Viewing Station
348 Warren Street, Hudson NY

A new installation of artifacts will be on view September-October.

* September 19, 2015 1pm - 5pm
Olana State Historic Site
5720 Route 9G | Hudson, NY 12534 | 518-828-0135
Tickets at: http://groundswell2015.brownpapertickets.com/

The Olana Partnership and Wave Farm's WGXC 90.7-FM are pleased to co-present a third iteration of their award-winning exhibition event Groundswell. On Saturday September 19, 2015, hundreds will converge at Olana State Historic Site for site-specific performance and works in sound, installation, broadcast, and movement.

Wave Farm is delighted to announce the 2015 participating artists who reflect on and react to Olana and its integral viewshed as an ambitious and early environmental work: John Cage Trust with Seth Chrisman, John Cleater, Brian Dewan, Gambletron, Tyson Hauf, Bernd Klug, LoVid, Douglas Irving Repetto, and Quintron.
More info: https://wavefarm.org/wgxc/calendar/09a6h6

* September 23 2015 5 - 7pm
Opening reception for The Luminous Surface
Salisbury University
University Gallery & The Electronic Gallery
Fulton Hall 109 & TETC 317

The Luminous Surface includes 34 self-illuminating works by 40 Contemporary Artists working with Light, Sound & Video in physical space. Curator, David Linton has assembled a broad survey of works addressing the subject, object, and temporal processes of "the luminous" as they perceptually and cognitively intersect the representational planes of mediated human experience. Artists include: Benton C. Bainbridge, Jonas Bers, Naval Cassidy, Brian Chase, Maximus Clarke, Cürt Clönïngër, Daniel Conrad, Thomas Dexter, Eric Barry Drasin, Jeff Donaldson, R. Luke DuBois, Echodes: Angie Eng & Rhys Chatham, Bradley Eros, FF Alumn, David First, Jason Scott Furr, Richard Garet, David Gladden, C. Tara Gladden, Andrea Haenggi, Kato Hideki, Brian Kane, Victoria Keddie, Adam Kendall, Scott Kiernan, Katherine Liberovskaya w/ Al Margolis, David Linton, Jeanne Liotta, FF Alumn, LoVid, Matthew Ostrowski, Marie-Hélène Parant, Peter Rose, Stephen Schaum, Ursula Scherrer, Matthew Schlanger, Raphaele Shirley, Jeremy D. Slater, Phillip Stearns, Sara C. Sun, Walter Wright

*September 24 7-9pm
Opening Reception: The Experimental Television Center: A History, ETC . . .
September 25-November 21, 2015
205 Hudson Street Gallery
Hunter College MFA Campus
New York, New York

Gallery entrance is on the south side of Canal between Hudson and Greenwich Streets
For more information please call 212-772-4991 or email awischme@hunter.cuny.edu

We're delighted to be included in an exhibition surveying one of our greatest allies and a source of inspiration; Experimental TV Center. We have some videos in the show and we'll be doing some public programs in October and November (more on those later).

Artists featured in this exhibition include Benton Bainbridge, Irit Batsry, Peer Bode, Nancy Buchanan, Barbara Buckner, Shalom Gorewitz, Alex Hahn, Barbara Hammer, FF Alumn, Shigeko Kubota, LoVid (Tali Hinkis and Kyle Lapidus), Jackson Mac Low, Kristin Lucas, Darrin Martin, Marisa Olson, Paik, Alan Sondheim, FF Alumn, Walter Wright, and Arnie Zane.

* September 25-26
iParade #3: Disintegrative Fabrication
Premier during Hyperplace Troy

We are thrilled to premier our new episode in the iParade series created for, about, and with, Troy NY. The work will premier in Troy during a mini-festival we co-organized with Andrea Williams and several Troy based institutions.

iParade is a series of locative media-works, created by LoVid as smart-phone Apps. iParade uses GPS data and includes video, sound, and texts that are accessible only in specific geographic locations. The content is inspired by, and recorded in the same locations, such as a street, a building, or a city park. To watch the work in full, visitors need to physically relocate themselves to access uploaded segments that are linked to each particular location. iParade renews viewers' appreciation of their physical environment by providing a unique perspective into narratives and abstractions of public spaces.
iParade#3 Disintegrative Fabrication is made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature, and Wave Farm Fiscal Sponsorship.

More on iParade and Hyperplace to come later in the month.

iParade#3: Disintegrative Fabrication is featured this month in an exhibition at Streaming Museum, curated by Juliette Yuan http://streamingmuseum.org/lovid-iparade-creative-process/




33. Stacy Scibelli, FF Alumn, at LES Projects, Manhattan, opening Sept. 12

Art Pow Wow Launch + Exhibition
LES Projects

Curated by Cathleen Cueto and Natalia Yovane
On view: September 12 - September 13, 2015
Opening Reception: Saturday, September 12, 6-9pm
Open Sunday, September 13th, noon-6pm - live performances start at 4:30pm

LES Projects, 175 Rivington Street, New York, NY

Art Pow Wow is a social network and e-commerce website where selected artists can connect with an international community of artists, sell their art directly to collectors, and trade their work with other artists. The artists featured on Art Pow Wow are selected by a panel of their peers. The website donates 2% of the website's earnings to Solar One, an organization dedicated to green energy development within urban environments. To celebrate the public launch of the website, the founders organized an exhibition at LES Projects from Saturday, September 12th to Sunday, September 13th, 2015. The exhibition will showcase work by artists Philip H. Ashley, Agata Bebecka, Sara Berks, Kate Davis Caldwell, Roger Carmona, Katie Cercone, Noa Charuvi, Maria Jose Duran, Josh Elrod, Rachel Fainter, Rebecca Goyette, Alejandro Guzman, Hai-Hsin Huang, Pooneh Maghazehe, Michelle Matson, Jenny Morgan, David Mramor, Gregg Louis, Chris Oh, Gabriel Pionkowski, Matias Santa Maria, Stacy Scibelli, Matt Stone, Francesca Strada, Trish Tillman, Denise Treizman, and Michael Yaikel, with live performances by the Go! Push Pops collective and Enid Ellen, and bartending by Beverly's.



34. Priscilla Stadler, FF Member, at Jamaica Center for Arts and Learning, Queens, opening Sept. 10

"Welcome to Fragile City: Jamaica" is a new site-specific installation created for the "Artists Co-op" exhibition at Jamaica Center for Arts and Learning (JCAL).

Opening Reception: Thursday 9/10/15, 6 - 8 pm
Artists' Talk: Saturday, 9/12/15, 1 - 2:30 pm

Exhibition open Monday - Saturday, 10 - 6 through Oct. 31st, 2015

161-04 Jamaica Ave., Jamaica, N.Y.

Saturday Sept. 19th, 2015

"Wear is Love? Healing Garments" for the Queens Art Intervention on 9/19 from 2 - 5 pm on Queens Boulevard in Elmhurst.

This public interaction subtly addresses the tremendous rift caused by the backlash against a homeless shelter that opened last year in Elmhurst, Queens, NYC.

Welcome to Elmhurst, my neighborhood. It is a community in need of healing and compassion. To do this on an individual level we'll invite passersby to select a part of their self that's been injured and together we will *zap* it - with love, using cheesecloth that I've dyed with both color and love. All are welcome!

Last year when a large homeless shelter opened with no notice it caused an aggressive backlash among longterm residents who felt it was being imposed upon them - a community made up primarily of immigrants - after the shelter had been rejected by a more affluent, white section of Queens. In spite of some legitimate concerns, there has been name-calling, mistrust and racist stereotyping on both sides, but especially towards the residents of the shelter.

In the spirit of cultivating connection I will be working with Team Love - a diverse, multilingual, intergenerational group of people - to offer these interactions to all who would like to participate. All are welcome!

Thanks to the Queens Art Intervention , a project of RPGA.org for supporting "Wear is Love" and recognizing that art can help us connect, heal, and think beyond stereotypes.

For specifics please see the public facebook invite at
and yes, you are invited!-)

Check out some images from Wear is Love? at the Biology of Love exhibition at Queens College in May, 2015.
Best wishes,

Priscilla Stadler
@priscillastudio instagram



35. Donna Henes, FF Alumn, at Grand Army Plaza, Brooklyn, Sept. 23

Autumn Equinox Celebration with Donna Henes, Urban Shaman

Join New York's "Unofficial Commissioner of Public Spirit", in the heart of Brooklyn, for a rousing sunset celebration of the first day of Fall.
This will be Donna's 40th Annual Autumn Equinox Celebration.

This year's event will take place:

Wednesday, September 23 at 6:30 PM
Grand Army Plaza, Bailey Fountain
Park Slope, Exotic Brooklyn

Rain or Shine!


This is a family friendly event. Bring dogs, kids, drums and plenty of spirit.

For more info, contact:

Donna Henes is an internationally renowned urban shaman, award-winning author, popular speaker and workshop leader whose joyful celebrations of celestial events have introduced ancient traditional rituals and contemporary ceremonies to millions of people in more than 100 cities since 1972. She has published four books, a CD, an acclaimed Ezine and writes for The Huffington Post, Beliefnet and UPI Religion and Spirituality Forum. A noted ritual expert, she serves as a consultant to the television and motion picture industry. Mama Donna, as she is affectionately called, maintains a ceremonial center, spirit shop, ritual practice and consultancy in Exotic Brooklyn, NY where she offers intuitive tarot readings and spiritual counseling, and works with individuals, groups, institutions, municipalities and corporations to create meaningful ceremonies for every imaginable occasion.


Watch her videos on YouTube:

Read her on the Huffington Post:

Read her on Beliefnet:

Connect with her on Facebook:

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36. M. Lamar, FF Alumn, at First Unitarian Congregational Society, Brooklyn, Sept. 16

First Unitarian Congregational Society
116 Pierrepont St, Brooklyn, New York 11201

My new piece DESTRUCTION is a futuristic narrative of mourning that is only interested in the second and third stages of grief, anger and bargaining. The anger is the DESTRUCTION of the world that has produced this endless death cycle of incarceration, assassination at the hands of the state via police shooting and the social death of abject poverty. The Bargaining is with the dead themselves to bring them back to life or wake them from their sleep to fight in the revolution of the DESTRUCTION of the world. This piece does not have the first and final two stages of grief Denial, depression and acceptance. For this grief there will never be acceptance. DESTRUCTION is our mourning song in action.

M. Lamar

for tickets: http://issueprojectroom.org/event/m-lamar-destruction



37. Tomislav Gotovac, FF Alumn, in The New York Times, Sept. 3

The New York Times

Review: 'Transmissions' at MoMA Explores an Era When Art Upended Tradition
SEPT. 3, 2015

A visit to "Transmissions: Art in Eastern Europe and Latin America, 1960-1980," a big, spirited group show that opens on Saturday at the Museum of Modern Art, is like walking into a party of extremely personable strangers conversing on subjects you can't quite make out. For every name you recognize, there are 10 you don't. Multiple languages - Czech, Romanian, Slovak, Spanish, Portuguese, as well as English - fill the air. As for topics discussed, art, poetry, film and theater seem to be getting about equal time.

One thing everyone's talking about, at different intensities, is politics, namely the anti-institutional politics that took the form of mass civil disobedience throughout Europe and the Americas in the 1960s and led to new forms of art. And on that subject almost everyone speaks and shares an aesthetic language, the language. It's the language of Conceptualism, which, with an accent on ideas over things, process over results, ephemeral over permanent, arrived at this critical time, spreading across a pre-Internet globe through a kind of cultural telepathy.

It's important that MoMA has elected to kick off its season with this show. Others would have been more inviting. (Picasso is on the way.) But in the past several years, the museum has begun - just - to expand its antique Paris-New York view of Modernism. "Transmissions" confirms the move in that realistic direction. Significantly, about half the works are recent acquisitions.

Playing catch-up brings problems, one being the impulse to do too much too fast. An earlier show and model for this one, "Tokyo 1955-1970: A New Avant-Garde," in 2012, presented so much new material that some viewers felt swamped. I didn't; I loved every mind-stretching minute. I also saw the need to present comparable material regularly, in focused shows. Such shows already exist, just waiting to be realized.

Much of the "Tokyo" exhibition came from previously untapped areas of MoMA's collection. "Transmissions" is, with six exceptions, all-MoMA, and, like the earlier show, a product of an in-house initiative called Contemporary and Modern Art Perspectives, or C-MAP. Introduced in 2009, the initiative encourages MoMA staff to study holdings long overlooked, largely by networking with scholars and institutions in Asia, Eastern Europe, Latin America and elsewhere. This means that curators may be exploring ground new to them, just steps ahead of their audience, which gives the C-MAP shows a refreshing, in-progress air, a buzz of surprise.

And, yes, "Transmissions" does hit you with a ton of stuff, about 300 pieces, from large installations to note-scrawled bits of paper, with a concentration on photographs and film. Stylistically, the look is loose. How could it not be, with cultures located half a globe apart brought together? But the basic narrative is fairly tight. From the 1960s onward, parts of Latin America and Eastern Europe were in comparable states of political turmoil, under repressive governments, with avant-garde art under fire. And that art had risen in the larger international context of disillusionment with prewar Modernism, and, specifically, abstract painting - once progressive, but now safe and state-approved.

Something had to give, and in the show's first gallery, we find artists pushing abstraction around, messing it up. Lygia Clark, in Brazil, turns sculpture, once sacrosanct on pedestals, into a species of hand-held device. The Argentine-born Lucio Fontana slashes his canvases; the Brazilian Willys de Castro makes his pencil-thin. Jésus Rafael Soto, a Venezuelan transplant to Europe, adds vibrating wires to paintings. An émigré in the opposite direction, Gertrud Goldschmidt, known as Gego, gives wire sculptures the grace of drawings. Julio Le Parc, an Argentine in France, sidesteps conventional media entirely to create little theaters of flashing, shifting light.

As the 1960s went on, and political and economic crises deepened worldwide, art behaved in increasingly unruly ways, with traditional priorities upended. Objects became optional; actions, central. Individual artists melded into collectives. In Caracas, a collective of artists, poets and critics called El Techo de la Ballena (The Roof of the Whale) took to the streets with aggressively anarchic, bourgeoisie-baiting performances - one was called "A Tribute to Necrophilia" - which they documented with snapshots.

Dozens of these pictures, time-scorched, are enshrined in the show's second gallery, surrounded by relics of Eastern European collectives like the Gorgona Group in Zagreb, Croatia, and Aktual Art in Prague, which both had impressive individual members. I'd like to know more about Aktual Art's Sonia Svecova, based on a few zany collages and an artist's book here. Her colleague Milan Knizak is more generously represented: He created dozens of actions in the form of written notes placed in numbered envelopes, and MoMA has his entire file. Although there isn't much here by the interesting Gorgona member Josip Vanista, maybe that's just as well: He spent most of his career drawing single, horizon-like lines on paper.

[this article is accompanied by photographs of "Showing Elle" (1962), by Tomislav Gotovac, one of about 300 pieces, from large installations to note-scrawled bits of paper, in the exhibition. Credit Tomislav Gotovac
"What was left out of a drawing was more important than what was put into it," he said in an interview. "It led to simplicity, to reduction, to emptiness. And then to silence."

Silence can be a commanding political tool: It can leave an opponent having to guess what you're thinking. And, of course, speech is even more effective. David Lamelas of Argentina used it with particular force in his "Office of Information About the Vietnam War at Three Levels: The Visual Image, Text and Audio," created for the 1968 Venice Biennale. An installation of a kind of corporate workplace sealed in a glass box, the piece generated live broadcasts, in three languages, on the war. No aesthetic removal here; this was art in the bad-news now. (The version of the piece in the show is a recent replica, using audiotapes from the original.)

By the time he made this piece, Mr. Lamelas had been jailed four times by the military police in Buenos Aires. In 1968, he moved to London. Other artists stayed home and marked rebel territory where they were. In the same year, in Vienna, the feminist artist Valie Export stopped traffic when she appeared in public wearing crotchless pants. (Born Waltraud Lehner, she took her professional name from a brand of cigarettes.)

Marisol Escobar's 1962 sculpture "Love," with an upside-down Coke bottle jammed into a woman's mouth, is still a shocker. And in Argentina, Oscar Bony caused a scandal when he hired a working-class family to pose in a gallery, then paid them twice the pittance the father made on his regular job. In a stroke, economic realities were revealed. The government, embarrassed, clamped down. Mr. Bony retreated from art making for seven years.

And some artists routinely worked in retreat. In Bucharest, Romania, during the punishing regime of Nicolae Ceausescu, Geta Bratescu and Ion Grigorescu each made films in which they were the only performers, strictly within the privacy of their studios. In Mr. Grigorescu's 1978 tour de force, "Dialogue With President Ceausescu," the artist plays the roles of interviewer and interviewee and gets to say exactly what he wants to a man he despises, fears and will never meet.

Mr. Grigorescu's film comes at the end of the show, which has been organized by a suite of MoMA curators, including Stuart Comer, Roxana Marcoci and Christian Rattemeyer, with two curatorial assistants, Giampaolo Bianconi and Martha Joseph. And by the time you've reached his piece, you've probably made a bunch of new friends; you've certainly been in contact with some extraordinary artists: Artur Barrio, Beatriz González, Tomislav Gotovac, Sanja Ivekovic, Jiri Kovanda, Edward Krasinski, Marta Minujin, Ewa Partum and Henryk Stazewski, not to mention a slew of brilliant graphic designers. Yet you may still feel on unfamiliar ground, because they are all part of an art world very different from the one we know now.

It was one in which some artists - those in this exhibition, anyway - took it as part of their job not to cooperate with powers of rule; to question all authority, including the authority of pleasure, the market and self; to approach art as a place set aside for asking questions and proposing answers that won't be asked or proposed elsewhere. This kind of thinking is unpopular now, which doesn't mean it's not true. That's why we need MoMA to give us true history. We need role models, whole house parties of them, to remind us of what's been so we'll know how to go. That's what history's for.

"Transmissions: Art in Eastern Europe and Latin America, 1960-1980" runs through Jan. 3 at the Museum of Modern Art; 212-708-9400, moma.org



38. Gilbert & George, FF Alumns, in The New York Times, Sept. 4

New York Times, Sept. 4, 2015


Review: Gilbert & George in the Early Days, Sending Up a Religion Called Art


'The Early Years'

Museum of Modern Art

Through Sept. 27

If you were frequenting New York galleries in the early 1970s, you might have witnessed one of that period's most memorable works of performance art, at Sonnabend Gallery: the British duo Gilbert & George's "Singing Sculpture." Wearing suits and ties, and with their skin covered in metallic paint, they stood on a table and robotically lip-synced to an old recording of the Depression-era song "Underneath the Arches." A video of them, reprising their performance at Sonnabend in 1991, is included in "Gilbert & George: The Early Years," an engaging Museum of Modern Art survey of their doings from 1969 to 1975.

Gilbert Proesch and George Passmore met as students at St. Martin's School of Art in London in 1967, soon after which they determined that everything they made or did in art and life would be sculpture, and that their partnership itself would be a living sculpture. Their anti-elitist slogan was "Art for All," but if their art was populist, it was in a peculiarly ambiguous way: While their work could be broadly comically entertaining, it was a highly sophisticated and knowing response to the avant-garde art of its time.

Since the 1980s, Gilbert & George have been known for aggressively overbearing large-scale photomontages resembling modern stained-glass windows, in which they are depicted amid sometimes politically provocative allegorical images. This show, organized by David Platzker, a MoMA drawings and prints curator, reveals them starting out in their 20s in a disarmingly playful spirit of self-invention.

The show features many small-scale printed works, including exhibition announcements, mail art and booklets. Like just about everything in this exhibition, the material mocks the sentimental grandiosity that tends to accrue around celebrated art and artists: "It is our intention to bring everyone to a realization of the beauty and necessity of our sculpture," reads an oration by the artists in a publication called "The Ten Speeches."

One art-life activity to which they devoted themselves was drinking. Along with a sketchy mural-scale charcoal drawing of themselves in a bar, and a video of them drinking gin, are two funny sculptural objects: a wineglass with its stem bent, so that it appears dizzily inebriated, and a green gin bottle, partly flattened as if it had passed out, called "Reclining Drunk."

The show's most compelling piece hinges on the association of art with religion. A triptych on artificially aged paper, measuring more than nine feet high and 25 feet wide, is titled "To Be With Art Is All We Ask." Nearly life-size charcoal drawings of the artists, relaxing in their customary suits and ties in bucolic settings, flank a long hand-printed text. A kind of prayer to Art, it begins: "Oh Art, what are you? You are so strong and powerful, so beautiful and moving. You make us walk around and around, pacing the city at all hours, in and out of our Art for All room."

It's worth reading to the end, for despite its gently satirical tone, it truly expresses the joys, frustrations, anxieties and despairs that a life devoted to art necessarily entails.



39. Buzz Spector, FF Alumn, at Center for Book Arts, Manhattan, opening Oct. 2, and more

I'll open a small show of my work with the book as art on Friday, October 2nd (on view through December 2) at the Center for Book Arts, 28 West 27 Street, 3rd floor, New York, NY 10001. I'll give a gallery talk at the exhibit reception on Friday, November 20, at 6:30 pm, and will lead a weekend workshop, "The Book Under (de-) Construction," at the Center on November 21-22.





40. Charles Clough, FF Alumn, at Hamburg, NY Public Library, opening Sept. 17

September 9, 2015
The Clufffalo Institute announces:
An exhibition of 21 paintings by Charles Clough will be presented as part of the Hamburg, New York Public Library's Ribbon Cutting Ceremony. Also on display is Clufffalo: Hamburg, the mural painted by Clough and 140 participants on October 25, 2014 as part of the Albright-Knox Art Gallery and Erie County Public Art Initiative (http://www.clufff.com/ClufffaloHamburg.pdf). The Ceremony takes place at the Library on September 17, 2015 from 2-4pm. The exhibition will remain on view through December 31, 2015.
Charles Clough has prepared his studio in the Print Shop on the Roycroft Campus, East Aurora, New York as a painting workshop open to the public. Participants, up to six at a time, may paint for an hourly rate of $100. Boards are available to paint and take: 8 x 10 inches: $20, 16 x 20 inches: $50, 24 x 30 inches: $100. Paint and "big finger" painting tools are provided. The workshop is an opportunity to explore "painterly gestural abstraction", rooted in 10th century Chinese brush-work, J.M.W. Turner, Impressionism, Fauvism, Surrealism and Abstract Expressionism.
Each season an ongoing painting will be available for participants to add to and Charles Clough to "edit." The painting for autumn 2015, along with photos of its evolution, will be exhibited in The Neil and Barbara Chur Family Gallery in the Power House from November 13 - December 31, 2015.
The Clufffalo Painting Workshop is available Wednesday through Sunday between 10 am and 7 pm beginning September 12 through September 24 and October 1 through November 1st. Call 646-283-6964 to make an appointment. Drop-ins may be accommodated based on availability. The Clufffalo Painting Workshop is located in Suite 120 in The Print Shop on the Roycroft Campus, 21 South Grove Street, East Aurora, New York 14052. Visit www.clufff.com, email: charlie @ clufff.com.



41. Betty Tompkins, FF Alumn, at FUG, Manhattan, opening Sept. 11

REAL ERSATZ, an exhibition of new work by Betty Tompkins at FUG (Foundation University Gallery).

SEPT 11th 2015, 6-9PM
FUG 431 E 6th St, BSMT, New York, NY 10009

BHQFU, New York's freest art school, is pleased to present REAL ERSATZ, an exhibition by Betty Tompkins and her first New York solo show since 2009. In her new body of work Tompkins plays with the idea of the real, the fake and the area in-between. Using both digital prints and paintings of the same image she explores the interaction that these different mediums have with each other. The exhibition will open a conversation between photorealism and technology as well as the experience of medium, scale and color in contemporary art.

Recognized for her exploration into sexuality and her controversial 'Fuck' paintings of the 1970s, this exhibition marks a new direction in Tompkins work whilst celebrating her as a transgressive icon.

About Betty Tompkins
Betty Tompkins' work in the 1970s pioneered a confrontational (and controversial) investigation into sexuality that was considered publicly uncouth, especially for a female artist, and went largely under recognized. Her work was rediscovered in 2002 when it was exhibited in New York, instantly placing her in the canon of transgressive art and bad-girl icons. Since then, Tompkins has continued to unapologetically push the envelope and has incorporated digital production into her painting practice.

About FUG
The FUG (Foundation University Gallery) is an extension of the BHQFU curriculum into the realm of the exhibition, hosting individual artists projects, public lectures, exhibitions and events.

BHQFU is New York's freest art school offering a full curricula of critique courses, studio residencies, and special events from our FU headquarters at 34 Avenue A. Our educational programming is enriched by a rigorous exhibition series at our university gallery, FUG.

For press Inquiries please contact Sean J Patrick Carney: sean@bhqfu.org

Exhibition on view Sept 12th - October 18th 2015
Thursday - Saturday 12-5pm
FUG 431 E 6TH BSMT NYC 10009



42. Susan Bee, FF Alumn, book launch event at Columbia University Rare Book & Manuscript Library, Manhattan, opening Sept. 16

Fabulas Feminae
Writing and design by Johanna Drucker
Full-color artwork by Susan Bee
from Litmus Press
A poet-artist collaboration
64 pp. • $24.00
ISBN: 978-1-933959-27-6
Order from Small Press Distribution
Fabulas Feminae contains two dozen profiles of famous women in a collaborative book project created by Susan Bee and Johanna Drucker. These two distinguished artists have combined their talents to produce a work that is contemporary in tone, a minor monumental tribute to a diverse gallery of heroic women from across history. The text was composed using a natural language-processing technique that samples a large corpus and compresses it algorithmically, mirroring the sampling techniques of collage practice in the visual images. Strikingly designed, with bold blocks of text that echo the graphic features in the imagery, the result is a fresh, engaging, and informative poetic work of historical and critical expression.
Upcoming events in New York

Granary Books: The Book Undone: Thirty Years of Granary Books
Exhibition including artwork and books by Susan Bee
Columbia University Rare Book & Manuscript Library
Opening 6:30-9pm, Wednesday, September 16th, Butler Library, Columbia University
September 8, 2015 through January 30, 2016. Open to the public during library hours.

Book Signing
Fabulas Feminae & Actualities (Norma Cole & Marina Adams)
Friday, September 18th, 3-5pm
Table W06, New York Art Book Fair, MoMA PS1, 22-25 Jackson Ave., Long Island City, NY 11101

Reading and Book Release Party
with Susan Bee, Johanna Drucker, Norma Cole, and Marina Adams
Saturday, September 19, 6-9pm
Southfirst Gallery, 60 N 6th St, Brooklyn, NY 11249

"Some day, one imagines, Susan Bee and Johanna Drucker will themselves appear as featured figures in a book like this one. For now, their revised martyrology presents a catalogue of some two-dozen new saints whose colorful lives appear in equally colorful spreads of condensed shaped text and eccentrically dispersed images. With their networked fields of iconic, schematic semiotics, these collaborations are fables of historiography itself. The result, predictably, is fabulous." - Craig Dworkin
"An homage to 25 legendary women through the centuries-from Susan B. Anthony to Susan Sontag, from Lizzie Borden to Lucille Ball-Fabulas Feminae is also a necessary intervention. When a famous life is over, the wild biography is often shaped to fit a tame narrative structure; Drucker and Bee use collage and algorithmic language processing to disrupt that pattern and make these lives wild again." - Jena Osman
"This book is a wonderful mixture of the scholarly, the feminist, the playful, and the girlish about fabulous women from his(her)story-queens, notorious assassins, novelists, sharp-shooters, divas, vanguard painters, suffragettes, comedic redheads, eccentric poets, visionary nuns, songstresses, saviors of their people by two fabulous feminists artists and fabulists Susan Bee and Johanna Drucker. It will appeal to and inspire readers of all ages. Bee's rich, sprightly, dense collages and Drucker's sculptural text design are as interesting as art as the algorithmically dissociated but completely comprehensible and thrilling text." - Mira Schor



43. Cathy Weis, FF Alumn, at WeisAcres, Manhattan, fall 2015

Cathy Weis Projects announces the fall 2015 season of Sundays on Broadway, an ongoing series featuring film screenings, performances, discussions, and all manner of gatherings on Sunday evenings at WeisAcres in SoHo. Events will take place September 27-December 6, at 6pm, and are free and open to the public. WeisAcres is located at 537 Broadway (buzzer no. 3), between Prince and Spring Streets. Visit cathyweis.org for more details.

The fall 2015 series will feature the following events:

September 27: screening of Hangman Takuzo by Yasuko Yokoshi
October 4: screening of The Legend of Leigh Bowery by Charles Atlas
October 11: screening of Robert Whitman's Swim and other works
October 18: discussion with Carolyn Brown and Sara Rudner
October 25: informal performance by Douglas Dunn + Dancers
November 1: discussion with Gary Chryst and William Whitener, moderated by Wendy Perron
November 8: screening of Choreartium by Leonide Massine, discussion with Wendy Perron and Tatiana Massine Weinbaum
November 15: informal performances by Jennifer Miller, FF Alumn, Jon Kinzel, Vicky Shick and Cathy Weis
November 22: informal performances by Juliette Mapp and Cathy Weis
November 29: young artist showcase featuring work by Dana Florin-Weiss and Jeremy Pheiffer
December 6: informal performances by Jodi Melnick and Cathy Weis



44. Guy de Cointet, FF Alumn, at Museum Leuven, Belgium, September 17, 2015-January 10, 2016

Guy de Cointet
September 17, 2015-January 10, 2016

M - Museum Leuven
L. Vanderkelenstraat 28
B-3000 Leuven
Hours: Friday-Tuesday 11am-6pm,
Thursday 11am-10pm

T +32 16 27 29 29

Guy de Cointet (1934-83) conceives art as an interplay of colour, language and form. His fascination for language and meaning is expressed in his drawings, books and performances. Fragments of text, colourful objects and actors blend the everyday with the absurd. His artworks come to life in performances.

The artist moved from Paris to New York in 1965, where he came into contact with Pop Art. In Los Angeles, he went on to develop his own enigmatic visual language. De Cointet's work is a source of inspiration to artists today working in the field between performance and visual art.

Guy de Cointet was fascinated by how language is used in different forms, from advertisements and conversations to literature, soaps and radio. In his drawings, texts and performances, he introduced new ways of engaging with words, form and meaning. De Cointet broke language down and transformed letters into visual, rhythmic signs with clean lines and primary colours. Viewers decipher his texts not to discover the meaning of his art, but simply to enter into a dialogue with it.

De Cointet's performances grew from his desire to explain his texts using objects and speech acts. He drew inspiration for his absurd dialogues from popular culture, literary sources and everyday conversations. Enlightenment goes hand in hand here with confusion.

M is presenting the first solo exhibition of his visual work in Belgium. The show includes a wide range of works: from the first encrypted drawings and books, to the later monologues, set designs and theatrical productions inspired by the current events of his time, mass media, and popular culture.

Curator: Eva Wittocx

In collaboration with the Estate of Guy de Cointet / Air de Paris, Paris.

During the Playground performance festival in Leuven two performances will be presented:

-Comme il est blond! (ou: De toutes les couleurs), 1982, recreation 2014 at STUK art center on 21 and 22 November
-Esphador Ledet Ko Uluner!, a reading from a book by Guy de Cointet at M - Museum on 22 November

Full program online soon: www.playgroundfestival.be

The exhibition is related to Alfred Jarry Archipelago, a series of projects and exhibitions around the French writer Alfred Jarry (1873-1907) sketching a subjective view of his heritage. A project initiated by La Ferme du Buisson (Noisiel) and Le Quartier (Quimper), in collaboration with Museo Marino Marini (Florence).



45. Tamar Ettun, FF Alumn, at Fridman Gallery, Manhattan, opening Sept. 19

Alula in Blue

September 19 - October 24, 2015
Opening reception: Saturday, September 19, 6-8pm
A catalog, with essays by Claire Barliant and Natasha Marie Llorens, will accompany the exhibition.

The program of events accompanying the exhibition includes:

Thursday, September 24, 7pm
Discussion Panel on the relationship between sculpture and performance moderated by Steven Henry Madoff with artists Tamar Ettun, Jessica Segall, Molly Lowe and Deville Cohen.

Thursday, October 8, 7pm
Workshop "Find Your Spirit Animal" with Shaman Itzhak Beery. Space is limited, RSVP required.

Friday, October 23, 7pm
Performances by The Moving Company members.
New pieces created individually by members of The Moving Company in response to the exhibition. With Maia Karo, Tina Wang, Rebecca Pristoop, Sabrina Shapiro, Mor Mendel, Laura Bernstein, Tyler Patterson, Asher Mones.

Alula: the process of a bird's wing corresponding to the thumb and bearing a few short quills - called wing. Merriam-Webster Dictionary, 2015.

Fridman Gallery is pleased to present Alula In Blue, Tamar Ettun's first solo exhibition with the gallery, incorporating sculpture, performative installation and video. This new body of work centers on expressing primal empathy, a bodily impulse beyond or before intellectualization.

Ettun's sculptures and performances reflect her vision of movement and stillness, temporality and permanence. Working to invert this duality, Ettun creates durational performances that incorporate stillness, and sculptures that capture gestural movements. Each gesture is suspended. Each object performs a task: an immense inflatable bubble is squashed between the gallery's columns; a series of limbs grip found objects, creating horizontal totems.

The duality present in Ettun's practice - movement/stillness, functionality/abstractness - applies to relationships between objects and movers, and between the viewer and the work. Mirror neurons are said to be responsible for empathy; we are capable of feeling another's suffering so viscerally, that it becomes our own. "I see stillness as an expression of trauma that is repetitive and unchangeable. Trauma damages the ability of an individual to feel empathy towards the other." When movement replaces stillness, and objects acquire new meanings, viewers are enticed to empathize with the work as a metaphor for the world at large. Like a bird's alula lifting its flight, interaction with Ettun's installations and performances elevates our spirit.

Ettun's works are a formal investigation of materials and the visceral world. She breaks apart and assembles objects that normally would not combine, thereby creating unique and transformative pieces that evoke abstracted narratives. Ettun sources discarded commodities that have specific functional use and constructs new assemblages, stripping the original objects of their familiar meanings. The resulting sculptures resemble futuristic creatures that have evolved organically and bonded like groups of dancers or lines of poetry.

The video featured in the exhibition is the first part (Blue) of a video and performance tetralogy - Mauve Bird with Yellow Teeth Red Feathers Green Feet and a Rose Belly - choreographed by the artist and performed with the members of The Moving Company, the performance group she founded in 2013. A new installment will premiere each year until the completion of the project in 2018. Each part will be based on a color and season - Blue/Winter, Red/Spring, Yellow/Summer, Orange/Fall - and will incorporate an abstracted narrative of absurd physical tasks performed by movers interacting with objects.

Work in the exhibition was created with support from The Watermill Center and Fountainhead Residency.

Tamar Ettun (b.1982, Jerusalem) is a Brooklyn based sculptor and performance artist. She is the founder and director of The Moving Company. Ettun received her MFA from Yale University in 2010 where she was awarded the Alice English Kimball Fellowship. She studied at Cooper Union in 2007, while earning her BFA from Bezalel Academy. She has exhibited and performed at numerous venues, including: The Watermill Center, Vanity Projects, e-flux, Transformer, NADA NYC, Madison Square Park, Braverman Gallery, Indianapolis Museum of Art, Andrea Meislin Gallery, PERFORMA 11, PERFORMA 09. Ettun has been honored by many organizations, including Franklin Furnace, Iaspis, The Pollock Krasner, Fountainhead Residency, The Watermill Center, MacDowell Fellowship, Abrons Arts Center, The Lower Manhattan Cultural Council, Art Production Fund, Socrates Sculpture Park, Artis, RECESS, and Triangle Arts Association. Ettun is currently working towards a solo show at the Uppsala Museum of Art that will open in 2016.

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46. Brooke Singer, FF Alumn, now online at http://www.toxicsites.us/


Brooke Singer, FF Alumn, has just launched ToxicSites an interactive data visualization and sharing platform exposing the worst toxic contamination sites in the U.S.

Here is a link to an announcement of the launch:

Toxic Sites pieces together complex data from the Environmental Protection Agency (EPA) to explore the over 1300 Superfund sites, or the worst toxic contamination sites, in the U.S. The project is by media artist Brooke Singer and funded by the Open Society Foundations' Documentary Photography Project.

Programming at Toxic Sites during Photoville:

Dr. Sarah Durand, Biologist
Saturday, September 12 from 2-4pm in the Toxic Sites tent at Photoville

The Greenpoint Bioremediation Project (gBP)
Sunday, September 13 from 4-6pm in the Toxic Sites tent at Photoville

Gowanus Canal Walking Tour with The Gowanus Canal Conservancy
Friday, September 18 from 10:00-11:30am at Union Street Bridge (Union Street between Bond and Nevins Streets, Brooklyn 11215)

Gowanus Canal Clean & Green Paint Out
Saturday, September 19 from 10am-4pm at The Salt Lot (2 Second Avenue, Brooklyn 11215)

Public Lab Ghost Stream Mapping
Saturday, September 19 from 12-4pm in the Toxic Sites tent at Photoville



47. Ricardo Miranda Zuniga, FF Alumn, at Transitio MX 06 Festival de Artes Electrónicas y Video, Mexico City, Sept. 25-Oct. 4, and online

Ricardo Miranda Zuniga presents a geography of being : una geografia de ser (2012/2014) will be installed as part of Transitio_MX 06 Festival de Artes Electrónicas y Video - http://transitiomx.net/ in Mexico City September 25th through October 4th. If you're not traveling to Mexico City, the game is online:



Goings On is compiled weekly by Harley Spiller