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Contents for October 05, 2015

1. Martha Wilson, FF Alumn, at PPOW, Manhattan, opening Oct. 22

Martha Wilson
Mona /Marcel /Marge

October 22 - December 22, 2015
Opening Reception: Thursday, Oct. 22, 6-8 pm

PPOW is pleased to present an exhibition of new works by Martha Wilson. Since the early 1970s, Wilson has created conceptually based performances, videos, and photo/text compositions that grapple with constructions and manifestations of feminism, identity, and the way we construct and present ourselves. Frequently taking herself as subject, Wilson creates transgressive, avant-garde works that address political and social issues, teasing out complexity and nuance by infusing her work with playful gestures and humorous juxtapositions.

Mona/Marcel/Marge will feature new photo/text works that draw on self-portraiture, art history, political figures, and popular culture to comment on subjectivity, identity, and gender. While this new body of work draws a clear line to her work from the 70's through today, her work and attitude has evolved from what Wilson describes as "the concerns of a young woman to having fun with being an old lady," and sees her turning an eye to the way in which the public gaze projects social values onto women as they grow older. "I'm looking at age and the status of women," Wilson says, "but we are still in the same absurd state that we were in in the 70s... This is my current response to the predicament that we find ourselves in when born female."

With this body of work Wilson depicts herself in the role of subjects as diverse as famous women throughout history like Tipper Gore and Michelle Obama, a panda bear, and a Mona Lisa/Marge Simpson mash-up. The vast majority of her works include text placed alongside or overlaid upon her photographs--a direct expression of the inner landscape she is trying to craft and a comment on the experiment that she is enacting.

The works - from New Wrinkles on the Subject, in which she here turns her face into a line drawing of wrinkles, to Life/Style Lift, a portrait of her face taken while hanging upside down, spoofing a company that advertises face lifts on TV - see her meditating on the condition of and expectations for an aging woman in America.

Wilson's work also draws on art history, positioning her in relationship to the artists she admires, is responding to, and is working in relationship to or against. Portions of the gallery will be painted terra cotta red and Wedgewood blue, mimicking the walls used to display classic works of art in museums around the world. From Self-Portrait with Felt Hat, 2014, a diptych that features Van Gogh's Self-Portrait with Felt Hat, 1887/8, alongside her modern iteration of the work; to Homage to Ad, which will include nine never-before seen photos from the 1974 photoshoot for A Portfolio of Models, darkened to near-black and portrayed in a grid like Al Reinhardt's Abstract Painting, 1960-66, Wilson carves out a distinctly female position for herself in the cannon of art history.

Wilson continues to prod social norms and mine the stereotypes and conventions that plague our everyday lives in an effort to propose new ways of looking at and thinking about gender politics, identity, and social values. Subtle humor has always permeated Wilson's work, but we here see her taking a more overtly funny and lighter approach, inviting viewers to join her in laughing at the absurd reality of contemporary society.

Martha Wilson (b. Philadelphia, PA) lives and works in New York. Written into and out of art history according to the theories and convictions of the time, Wilson first gained notoriety thanks to the attention of curator Lucy R. Lippard, who placed Wilson's early efforts within the context of conceptual art and the work of women artists. Commenting on Wilson's first projects, art historian Jayne Wark wrote in 2001:
In her conceptually based performance, video and photo-text works, Wilson masqueraded as a man in drag, catalogued various body parts, manipulated her appearance with makeup and explored the effects of "camera presence" in self-representation. Although this work was made in isolation from any feminist community, it has been seen to contribute significantly to what would become feminism's most enduring preoccupations: the investigation of identity and embodied subjectivity.

Wilson's early work is now considered prescient. In addition to being regarded by many as prefiguring some of the ideas proposed in the 1980s by philosopher Judith Butler about gender performativity, many of her photo-text pieces point to territory later mined by Cindy Sherman, among many other contemporary artists.

As Founding Director of Franklin Furnace Archive, Inc., Wilson was described by The New York Times critic Holland Cotter in 2008 as one of "the half-dozen most important people for art in downtown Manhattan in the 1970s." Franklin Furnace is an artist-run space that champions the exploration, promotion and preservation of artists' books, installation art, video, online and performance art. She was a founding member in 1978 of DISBAND (including Ilona Granet, Donna Henes, Ingrid Sischy and Diane Torr), the all-girl conceptual feminist punk rock band of artists who couldn't play any instruments, and has since performed in the guises of political figures, including Alexander Haig, Nancy Reagan, Barbara Bush, and Tipper Gore. In 2008, she had her first solo exhibition in New York at Mitchell Algus Gallery, Martha Wilson: Photo/Text Works, 1971-74; in 2009, Martha Wilson: Staging the Self began international travel under the auspices of ICI (Independent Curators International); and in 2011, ICI published the Martha Wilson Sourcebook: 40 Years of Reconsidering Performance, Feminism, Alternative Spaces. Martha Wilson joined P.P.O.W Gallery in 2011 and mounted a solo exhibition, I have become my own worst fear, that September.

PPOW Gallery 535 W. 22nd Street, 3rd Floor, NYC 10011 212-647-1044 info@ppowgallery.com



2. R. Sikoryak, FF Alumn, at Dixon Place, Manhattan, Oct. 7

Dixon Place presents
Cartoon Slide Shows and Picture Performances
Hosted by R. Sikoryak

Brian Dewan (music and filmstrips)
Kevin Maher (Kevin Geeks Out)
Dyna Moe (Hipster Animals: A Field Guide)
Victor Morales (digital puppetry)
Mark Newgarden & Megan Montague Cash (Bow Wow's Nightmare Neighbors)
Lauren R. Weinstein (Girl Stories, Inside Vineyland)

With live music, video game storytelling, live drawing, gag cartoons, graphic narratives, and much more.

Wednesday, October 7, 2015 at 7:30 pm
Dixon Place, 161A Chrystie Street (btwn Rivington & Delancey), NYC

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

Advance tickets & info: www.dixonplace.org (212) 219-0736

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



3. Penny Arcade, Holly Hughes, Reno, Peggy Shaw, Lois Weaver, FF Alumns, in Lublin Performance Festival, Poland, Oct. 13-14

Penny Arcade will be performing her internationally acclaimed Sex and Censorship show Bitch!Dyke!Faghag!Whore!

at The Lublin Performance Festival in Lublin Poland October 13th and 14th

Reno, Holly Hughes and Split Britches (Peggy Shaw and Lois Weaver ) will be part of this program




4. Penny Arcade, FF Alumn, at Culture Rapide, Paris, France, Oct. 8

I am reading on Thursday, October 8th at Paris Lit Up - held at Culture Rapide (103 rue Julian Lacroix, 75020 - métro Belleville). starts around 20h30 I expect to read at approximately 21h30

I will do a 25 minute reading.

Looking forward to my first reading in Paris





5. James Siena, FF Alumn, at Omi, Ghent, NY, opening Oct. 11

ON VIEW: October 11, 2015 - January 3, 2016
Omi International Arts Center, 1405 County Route 22, Ghent, NY 12075

Linear Elements: Alain Kirili + James Siena
Reframing Nature: Allan Wexler

We are pleased to announce the opening of two exhibitions for the fall season! Join us on Sunday, October 11 from 1:30 - 4 PM for an opening reception in our Visitors Center.

The two person exhibition, Linear Elements, presents recent drawings and sculptures by Alain Kirili and James Siena.

Says exhibition curator Nicole Hayes, "the work of both Kirili and Siena use linear elements that, once assembled, take the shape of abstract forms and fields. These abstractions invite us to follow the artist's line like a path, to take a journey connecting us to ancient places, old friends, books, songs, or moments the artist has lived."

Reframing Nature features the work of Allan Wexler, who considers the natural landscape's relationship to the roots of architecture. Instead of designing physical buildings, he made work focusing on what was called anti architecture or paper architecture. The pieces on view at Omi embrace the question of "what is architecture?" that is central to his practice. Wexler's works explore human activity and the built environment. Trees flourish with their own innate structural forms, but become lumber and source material for construction in man made projects.

New Fellowship Announced
International applicants for the 2016 season of the Art Omi residency are now eligible to apply for the American Dream Fellowship, which is applicable to one artist from any country in the world who has never been to the United States. For more information on fellowships available for Art Omi, please click here.

Dates for Art Omi 2016 have been announced!
The residency will take place from Thursday June 16 to Tuesday July 12, 2016. Applications will be accepted online starting November 1st. For application guidelines and more information, please click here.



6. Alicia Grullon, FF Alumn, fall news

Dear Friends and Colleagues:

As autumn gears in, I wanted to take a second to catch up with you and fill you in on events I've participated so this year. But before I do, I hope you can take a moment to witness this year's Art in Odd Places public art exhibition RECALL curated by Sara Reisman and Kendal Henry from October 7th to 11th on 14th street. I will be re-staging my 2008 piece for AIOP: PEDESTRIAN, "Revealing New York: The Disappearance of Other" on Sunday October 11th from 12 to 5 pm 14th street between Avenue A & B in front of the Post office on the South side of the street.

I had a great exhibition at Casita Maria Center for Arts and Education titled "Llevar" curated by Christine Licata. It was a survey of my work and mostly focused on my social practice work and performances featuring video and documentation. If it couldn't get any better, I had the great pleasure of being in conversation with Martha Wilson, Founder and director of Franklin Furnace Archives and pioneering feminist and artist, as part of Casita's programming. A dream!

In July, I re-staged my 2011 piece "Pick It" for the Uptown Bounce at El Museo del Barrio. It was quite an experience garnering the support of strangers on NYC streets as I travelled on subway masked.

In the meantime, I was part of an incredible panel at El Museo del Barrio with dynamic women for CREATIVE TIME's salon series. The panel focused on Marc Bamuthi Joseph's "Black Joy in the Hour of Chaos" in Central Park this past June.
Some other speaking engagements included: a presentation of "PERCENT FOR GREEN: Space as Consciousness" at the Queens Museum for the United States Society on Education in the Arts and participation in a panel on the state of the Arts in the Bronx "Shifting Sands: Dynamics in the Bronx Art Space". Read this great piece on the panel for The Huffington Post.

My social practice project PERCENT FOR GREEN is going strong with workshops and pop ups this year held for Boogie Down the Boulevard at the Bronx Museum of the Arts, The Point CDC, No Longer Empty, 350NYC and with the New York Housing Authority at Betances Houses in the South Bronx. PERCENT FOR GREEN is expanding offering workshops about climate change in environmental justice neighborhoods with youth and adults. I'm still pursuing the bill and have presented at community boards as well as garnered signatures in support. Stay tuned for up dates on that.

I also had a short article, "The Movement in Inside" published in CL Magazine on my community work and and project. Also, a nice plug by artist and curator Hautey Ramos Fermin in an editorial piece for the Patricia Cisneros Collection "Different Strokes for Different Folks". And a fun evening on WBAI/Pacifica Radio program "Ecologic" on local activism.

All my best. More soon.

Alicia Grullon



7. Alison Knowles, Clarinda Mac Low, FF Alumn, at Franklin Street Works, Stamford, CT, Nov. 14

Dear Alison Knowles' collaborators, colleagues and friends,

I am so thrilled to share that Franklin Street Works will be honoring Alison Knowles at our benefit party Saturday, November 14! The party is from 5:00 - 8:00 and longtime friends of Alison's, Bibbe Hansen, Sean Carrillo, and Clarinda Mac Low, will perform scores in her honor.

Franklin Street Works is a small, not-for-profit contemporary art space that has exhibited more than 250 artists, many of them emerging artists who have gone on to be part of exhibitions at larger or more visible venues such as MoMa, The Kitchen, The Whitney Museum of American Art, and the Tate. Two of our past exhibiting artists, Juliana Huxtable and Constantina Zavitsanos, recently had residencies at the New Museum as well.

We provide honoraria for commissioned works, screening fees, materials budgets, and we give full professional support to the artists with whom we work. The money raised at this benefit party will directly benefit artists and lead to the creation of original exhibitions and new artworks.

We wanted those of you who have worked with Alison to know that we are honoring her and, if you can join Alison, the performers, the community and the Franklin Street Works team at the party, we would be so excited to celebrate with you too!


Terri C Smith
Creative Director
Franklin Street Works

PS Stamford, CT, is only 45 minutes from NYC on metro North and the venue is a 15 minute walk from the train station (which also has a robust taxi stand).



8. Nicolás Dumit Estévez, FF Alumn, at Casita Maria, The Bronx, opening Oct. 7

Join us Wednesday, October 7, 2015 at 6 PM
for the opening reception of NICOLÁS DUMIT ESTÉVEZ's
solo exhibition PERFORMING THE BRONX and other home-based actions

PERFORMING THE BRONX and other home-based actions

October 7, 2015 - January 7, 2016
Wednesday, October 7, 2015, 6 - 8 PM
Young Men Being Kind to Each Other [Part of Performing The Bronx]
Wednesday, November 18, 2015 , 4 - 6 PM


Casita Maria is proud to present Bronx artist NICOLÁS DUMIT ESTÉVEZ's solo exhibition "PERFORMING THE BRONX and other home-based actions," curated by Christine Licata. Representing a survey that spans the last 10 years of his interdisciplinary work, the show includes ephemera, video and photographs from his in-progress and past projects. Estévez's practice relies on performance as both a methodology and analytical tool to investigate, challenge and in some cases, preserve and celebrate, the socio-political practices of everyday experiences. He explores the common roles and rituals that shape our identities as both individuals and as part of the collective scenarios that define culture and society.

Throughout Estévez's work, he embodies the theatricality inherent in human behavior. Within sociology and humanities studies, this dramaturgy of life is referred to as the "performative turn." Meaning that we "perform" our daily activities and routines in society, whether social, political, economic or spiritual. We define who we are and where we belong through the enactment of learned conventions. For the artist, it is within this performative space that art and life are inherently intertwined.

The main title of the exhibition, "PERFORMING THE BRONX" comes from his recent, on-going project, supported by an Arts Fund Grant from The Bronx Council on the Arts, of the same name. For this body of work, Estévez is collaborating with Bronx-based community leaders and visionaries whose life-long dedication to the borough have shaped its history and culture. The first of which will be Arthur Avilés, the award-winning dancer, choreographer, Co-Founder and Director of The Bronx Academy of Arts and Dance (BAAD!) and artist advocate for LGBTQ rights. Together they will create a performative action in Hunts Point that will focus on positive interactions between men. As the project develops, video and photographic documentation of Avilés and Estévez's interactions, as well as Estévez's work with other Bronxites that are part of the project, will be presented throughout the duration of the exhibition.

NICOLÁS DUMIT ESTÉVEZ was born in Santiago de los Treinta Caballeros, Dominican Republic and was baptized as a Bronxite; a citizen of The Bronx in 2011. He has exhibited and performed extensively in the U.S. as well as internationally at venues such as Madrid Abierto/ARCO, The IX Havana Biennial, PERFORMA 05 and 07, IDENSITAT, Prague Quadrennial, NYU Cantor Film Center, The Biennial of Pontevedra, Queens Museum, MoMA, Printed Matter, Inc., P.S. 122, Hemispheric Institute of Performance and Politics, Princeton University, Rutgers University, Anthology Film Archives, The Institute for Art, Religion, and Social Justice at Union Theological Seminary, The MacDowell Colony, Provisions Library, El Museo del Barrio, Elizabeth Foundation for the Arts, The Center for Book Arts, Longwood Art Gallery/The Bronx Council on the Arts, the Smithsonian National Museum of the American Indian, Franklin Furnace, and Lower Manhattan Cultural Council, among others. During the past seven years, Estévez has received mentorship in art in everyday life from Linda Mary Montano, a historic figure in the performance art field. Montano and Estévez have also collaborated on several performances. His awarded residencies include P.S. 1/MoMA, Yaddo and the MacDowell Colony. He has received grants from Art Matters, Lambent Foundation, National Association of Latino Arts and Culture, Printed Matter Inc., and The Puffin Foundation. Estévez holds an MFA from Tyler School of Art, Temple University, Philadelphia, PA, where he studied with Coco Fusco; and an MA from Union Theological Seminary in the City of New York. Estévez has curated exhibitions and programs for El Museo del Barrio, The Institute for Art, Religion and Social Justice at Union Theological Seminary, and Longwood Art Gallery/The Bronx Council on the Arts, and for the Filmoteca de Andalucía, Córdoba, Spain. Publications include Pleased to Meet You, Life as Material for Art and Vice Versa (editor) and For Art's Sake.

To download full press release visit www.casitamaria.org
ABOUT CASITA MARIA CENTER FOR ARTS & EDUCATION Casita Maria Center for Arts & Education is an 80-year old South Bronx-based community arts and educational organization that presents diverse, contemporary visual and performing arts and education programming for all ages. www.casitamaria.org

Additional funding support for NICOLÁS DUMIT ESTÉVEZ's project PERFORMING THE BRONX is provided by The Bronx Council on the Arts

CASITA MARIA is supported by The Ford Foundation, the National Endowment for the Arts, the New York City Department of Cultural Affairs and the New York State Council on the Arts.

6 train to Hunts Point Ave. or 2 / 5 train to Simpson St.
For more information visit www.casitamaria.org



9. Dynasty Handbag, FF Alumn, fall news

Dear Funky Freshests,
Fall is here and I dont keer. There is no reason for a season.
When you live in the desert and the seasons are deserted.
There's no water. For me to turn into whine, so jesus please keep away, as you have been doing.
The pope won't visit, what is it? Pope? Too dry for your skin, so paper thin, and the town is full of sin, buttox und botox Maddox joliepitt and gavelox.
Donut abondone us god, in our godless state, state of gold, state of greed, we need pumpkins. pleeze. thnx


Friday October 2
The Seth Bogart Show Closing Party!!!
Featuring: LIVE-VIP, Celebrity Imposters!,
Seth Bogart, DJ's Cole MGN, Nite Jewel and Baby Donut, hosted by Casey Jane Ellison.
at 356 S. Mission Road. its free mary!

Sunday October 18
Good Morning Evening Feelings at On Edge Festival, Museum of Contemporary Art, Santa Barbara
come see my new evening length performance masterpoops! I am very proud of this werq and its one hour long and you can sit in a chair! Check out a clip DH talking with celebrity guest "Womanhood" in GMEF at The Kitchen.

Saturday October 24
Pieterspace with Sacha Yanow, The Sunland Dancers
A night of weirdo lezzie performance! The Sunland Dancers open the show, with The Little Vamp (a vampire/clown/silent film star) brings her historical phantasy to Hollywood (err.. Pieter); And Dynasty Handbag performs some new "music" including a Nashville season 2 inspired cock sucking country ballad. Who curated this mess?

Wednesday November 11
Saturday November 14
NEW SHOW opening in NYC!! Double Plus at Gibney Dance Center with nibia pastrana
I Never Were Again, A Concert
Dynasty Handbag returns to NYC with a new retrospective of her golden oldies, which were never recorded or released, by people she never was.
more info Gibney Dance Center

Also I have a video in AFTERGLOW on Sunday, October 4th, at Pieterspace! I will be there not performing but dressed as a TV showing Nashville seasons 1 and 3. season 2 was a bummer.

Copyright (c) 2015 Dynasty Handbag, All rights reserved.
you are receiving this email because of your interest in Dynasty Handbag events

Our mailing address is:
Dynasty Handbag
1425 1/2 Kellam Ave
Los Angeles, California 90026



10. Judith Sloan, FF Alumn, at City Lore Gallery, Manhattan, Oct. 5

Monday October, 5: Judith Sloan FF Alumn performs

Judith Sloan Crossing the BLVD: strangers, neighbors, aliens in a new America
Monday, October 5th at 7pm
City Lore Gallery 56 E. 1st Street, NYC 10003
Tickets: $10 - https://www.eventbrite.com/e/judith-sloan-on-crossing-the-blvd-tickets-17801547909

Judith Sloan performs excerpts from a cross-media oral history project documenting the stories of recent immigrants of the most ethnically diverse locality in the country - Queens, NY.

Followed by a discussion with Warren Lehrer, co-author with Sloan of Crossing the BLVD, and three of the 79 people Sloan and Lehrer wrote about in Crossing the BLVD: Eliana Garcia, Juan Carlos Perez, and Ramon Mappala.

Crossing the BLVD winner of the Brendan Gill Prize

"Immigrant life as told in the intimate, rich, comic, ironic and sad stories so often seen but not heard in America's big cities." The Washington Post

"Crossing the BLVD is a whirlwind tour and love poem of what has often been called the most racially and ethnically diverse county in America. In the tradition of the playwright Anna Deavere Smith, Ms. Sloan performs Crossing the BLVDadopting the personae (and respectfully mimicking the accents) of the varied immigrants whose stories are in the book... The New York Times, City Room Blog, Sewell Chan

"Crossing boldly carries the tradition of oral history into the 21st Century. Electrifying!" Eve Ensler author The Vagina Monologues

Featured as a "Global Hit"

"An incredible and moving story... Sloan and Lehrer spent three years talking to immigrants and refugees in Queens, traveling the world, in a sense, while never leaving their backyard... a place where new immigrants from every corner of the globe come to start their lives in America. The result is a unique multi-media project. Oral History with a twist!" The World, PRI/BBC Marco Werman

"Behind the drab storefronts and nondescript homes that define the borough, Sloan and Lehrer discover a soulful place teaming with immigrants from Mexico to Australia whose stories unfold in a kaleidoscope of color..."

Part of "What We Bring" City Lore's programming on the 50th anniversary of Immigration Reform Act of 1965. Cosponsored by CATCH and the Center for Traditional Music and Dance.



11. Ruth Hardinger, FF Alumn, at Five Myles, Brooklyn, opening Oct. 10

Curator: Charlotta Kotik
Artists: Ruth Hardinger, Kara Rooney

Opens October 10th 5 - 8 pm


Directions: Take 2, 3, 4 or 5 trains to Franklin Avenue. Walk two blocks against the traffic on Franklin. Turn left on St Johns Place and walk 3/4 block to FiveMyles.
FiveMyles is also within easy walking distance from the Brooklyn Museum and the Eastern Parkway/Brooklyn Museum (2 and 3 trains) subway stop.

Trace and Matter are words endowed with a vastly rich and varied significance, metaphorically and figuratively. So is the work of Ruth Hardinger and Kara Rooney, the artists presented in this exhibition.
While utilizing the plethora of techniques and materials, both choose to express their ideas through the exploration of three dimensional, or sculptural idioms, with drawing, photography, digital collage or stone wool being an integral part of the work. There is an open ended dialogue of technologies and materials enacted, of past and present experience; there are traces of the multiple processes and substances used to create individual pieces. While some of these might be obscured by the ongoing conceptual development of individual works, the physical energy exerted in the shaping of the matter selected to embody these primary ideas exerts an often palpable presence. Interest in quotidian materials, up to date technologies, linguistics, past cultures, and environmental concerns, all inform the work, while demanding a reevaluation of our understanding of current artistic processes.


RUTH HARDINGER, artist statement:
Material choices and environmental activism drive my current work. My sculptures, entitled Envoys, are built with concrete and cardboard. They reference totems that could suggest embedded messages from legends or experiences to levels of greenhouse gases. These works-on-paper and sculpture invite a view of earthliness with awareness of its enchantment coupled with our current ecological harmful conditions.
A cluster of Split Envoys, standing aligned as a group or reference to community, is influenced by my interests in pre-Columbian and other ancient artifacts. Although these sculptures reach back in time they are comprised of today's highly common industrial materials. The Envelope / Envelop graphite works-on-paper are paired together as if influx. Graphite, a pure carbon, an element of carbon-based life, is a symbol of life forces I aim to express. - Ruth Hardinger

KARA ROONEY, artist statement:
On Moving Farther Away from Speech, or Hindsight is Never Twenty/Twenty, highlights the interactive subjectivity that signifies memory recall, not from a linguistic perspective, which is often unattainable, but rather from the standpoint of visual semaphore. Through the complex act of cueing, the interaction between object, scrim, and digital collage, along with the sculptural resin supports that make up the works, engender a dialogue of ever shifting fragments. The openly interpretative nature of poetry, along with the attendant metaphors of water, air and ice, visible in the reflective surfaces and photographic shards, liken this experience to recollection in real time, where the notion of fixed and stable forms is continually disrupted without ever being fully dispersed. Like stanzas in a poem the objects float in space, undeniable in the physicality of their presence, but like their literary counterparts, subject to the same slippage of interpretative device-the breakdown between memory, linguistic interaction, and actual event-that constitutes the dialectical and warring relationship between our rational and emotional minds. - Kara Rooney

Thursday through Sunday, 1pm to 6pm; or by appointment.
Take 2, 3, or 4 trains to Franklin Avenue. Walk two blocks against the traffic on Franklin. Walk 3/4 block to 558 St. Johns Place. FiveMyles is within easy walking distance from the Brooklyn Museum.

FiveMyles is in part supported by the New York State Council for the Arts, Public Funds from the New York City Dept. of Cultural Affairs in partnership with the City Council, Council Member Laurie Cumbo, Foundation for Contemporary Arts, the Greenwich Collection, the Gould Family Foundation, the Andy Warhol Foundation for the Visual Arts, the O'Grady Foundation, the New York State Council for the Humanities and the Lily Auchincloss Foundation.




12. Saya Woolfalk, FF Alumn, at Sugar Hill Children's Museum of Art and Storytelling, Manhattan, thru Oct. 3, 2016, and more

Hope you are having a lovely start to your Fall!

If you are in the New York Area, I am excited to announce the opening of a new series of my murals at the Sugar Hill Children's Museum of Art and Storytelling. The Pollen Catchers' Color Mixing Machine, is comprised of six site-specific works inspired by a collaboration with my four year old daughter, Aya Woolfalk Mitchell. Special thanks to the young artists of Cre8tive YouTH*ink and curator Lauren Kelley for working hard to make the murals a reality.

The show opened Saturday, October 3rd with kid friendly workshops as well as two other exhibitions opening curated by Lauren Haynes, Rocio Aranda-Alvarado, and Lauren Kelley.

If you are on the West Coast, the Seattle Art Museum recently commissioned a new video installation (pictured above) for their exhibition Disguise: Masks and Global African Art. The project is the brain child of the amazing curators Pamela McClusky and Erika Dalya Massaquoi and the exhibition ran in Seattle this summer. The show is now traveling to the UCLA Fowler Museum where it will open on October 17th.

I hope to see you soon.



The Pollen Catchers' Color Mixing Machine @ the Sugar Hill Children's Museum of Art and Storytelling
curated by Lauren Kelley
898 St Nicholas Avenue
155th Street, New York, NY 10032

The murals will be exhibited for a year in the fantastic new David Adjaye designed building on 155th street and St Nicholas. The adjacent galleries host an exhibition organized by Lauren Haynes from The Studio Museum in Harlem entitled People, Places, and Things: Selections from The Studio Museum as well as the exhibition Txt: art, language, media, which investigates new forms of literacy and the visual impact of this on everyday life, from the literature of ABCs and spoken word poetry to text messaging and emojis. Txt is co-curated by Rocio Aranda-Alvarado from El Museo and Lauren Kelley from Sugar Hill Children's Museum of Art & Storytelling.

Disguise: Masks and Global African Art @ UCLA Fowler Museum
October 18, 2015 - March 13, 2016
The show is organized by the Seattle Art Museum and is curated by Pamela McClusky, Curator of African and Oceanic Art for the Seattle Art Museum, and Erika Dalya Massaquoi, Consultant Curator.

Jakob Dwight / Brendan Fernandes / Nandipha Mntambo / Emeka Ogboh / Wura-Natasha Ogunji / Walter Oltmann / Zina Saro-Wiwa / Jacolby Satterwhite / Sam Vernon / Saya Woolfalk

Between History and the Body @ The 8th Floor Gallery
The Shelley & Donald Rubin Foundation
curated by Sara Reisman
July 9 - October 16, 2015
The 8th Floor
17 West 17th Street, NYC

Between History and the Body is an exhibition that looks closely at the ways in which cultural identity is defined, how it is used as a force of exclusion, and how it works as a unifying and transformative energy among artists of diverse cultural backgrounds.

Elia Alba, Firelei Baez, Nick Cave, Jean-Ulrick Désert, Nicolás Dumit Estévez, Brendan Fernandes, Jeffrey Gibson, Shaun Leonardo, Ana Mendieta, Paul Anthony Smith, Chungpo Tsering and Saya Woolfalk.
"ChimaTEK: Future Relic," Saya Woolfalk's optically dazzling installation in the gallery's front room, revolves around a female mannequin adorned with jewelry and lace - a New Age goddess figure." Ken Johnson, New York Times, review of
Anthems for the Mother Earth Goddess, Andrew Edlin Gallery

Future Perfect, by Leslie Weeden, Brown Alumni Magazine

Saya Woolfalk: 'ChimaTEK: Hybridity Visualization System' The New York Times review by Ken Johnson

David Ebony's Top 10 New York Gallery Shows for January by David Ebony - Recommended as top 10 New York Gallery Shows for January 2015

Saya Woolfalk at Leslie Tonkonow Artworks + Projects'ChimaTEK: Hybridity Visualization System' on ART HAPS

Instagram photo by Jerry Saltz
"Roberta told me not to miss the last week of Saya Woolfalk"
Panel: Facing the Alien @ B3 Biennial of the Moving Image
Expanded senses and other dimensions, a discussion about Science Fiction and the Future

Friday, October 9th, 11am-12pm
Museum Angewandte Kunst, Frankfurt
Jason Wishnow (digital filmmaker, USA),
Johannes Grenzfurthner (author/director/programmer, Austria)
Nael Gharzeddine (author, Lebanon)
Saya Woolfalk (artist, USA, Japan)
Moderator: Uri Aviv (Director Utopia Film Festival, Israel).

Visiting Artist Lecture: Saya Woolfalk '01
November 5, 4 - 6 PM
Brown University
Granoff Center for the Creative Arts, Martinos Auditorium
Presented as part of the Brazenly Brown Lecture Series.
Visiting Artist Lecture: Saya Woolfalk
November 18, 12pm - 1pm
Virginia Commonwealth University, Department of Craft/Material Studies
Bowe Street, Room 535
Richmond VA



13. Peggy Shaw, Lois Weaver, FF Alumns, at Abrons Art Center, Manhattan, Oct. 23-25

Live Art Development Agency, London presents
Just Like a Woman: NYC Edition
Friday 23 to Sunday 25 October 2015
Abrons Arts Center, New York

Full programme details and booking information available here

"Girls will be boys and boys will be girls. It's a mixed up muddled up shook up world." Lola, The Kinks
The Live Art Development Agency (LADA) returns to New York, in partnership with Chelsea Theatre, to present a three-day programme of shows, debates, lectures, installations, screenings and book launches looking at the performance of identity - the ways femininity can be 'performed' and representations of gender can be queered through performance.

With women performing women, women performing men, men performing women, and artists who go beyond the limits of gender altogether, Just Like A Woman features a dazzling array of US and UK artists including Lois Weaver, Peggy Shaw, CHRISTEENE, Narcissister, Kris Grey, Dickie Beau, Lucy Hutson, George Chakravarthi, Harold Offeh, Lucy McCormick, The Girls, and The Famous Lauren Barri Holstein.

Just Like A Woman will open with the launch of The Only Way Home Is Through the Show: Performance Work of Lois Weaver, edited by Jen Harvie. Please do join Lois, Jen and special guests for cocktails at 6pm on 23 October to celebrate this extraordinary publication.

Just Like A Woman is part of LADA's Restock, Rethink, Reflect initiative on Live Art and Feminism, and follows LADA's successful Access All Areas event on Live Art and Disability at Abrons in 2014.

Supported by the British Council.

A London version of Just Like A Woman will be presented at Chelsea Theatre on 13 and 14 November 2015.



14. LuLu LoLo, FF Alumn, on 14th Street, Manhattan, Oct. 9-11

October 9, 10, & 11th

Public performative action of Joan of Arc of 14th Street: Where are the Women? to be showcased in the 2015 edition of the Art in Odd Places festival

Where are the Women? will highlight the lack of public monuments honoring women in New York City. On October 10th and 11th 2015, LuLu LoLo as Joan of Arc of 14th Street will begin her performance beneath the statue of Jeanne d'Arc on the façade of the Jeanne d' Arc apartments at 200 West 14th Street and march East to the Southwest corner of Union Square at University Place.

There are currently 150 monuments honoring men in New York City and only 5 honoring women: Joan of Arc, Golda Meir, Gertrude Stein, Eleanor Roosevelt, and Harriet Tubman. The performance will call attention to the enormous gulf in the representation of women in our collective history and issue a call-to-action.

During her performance, Ms. LoLo will invite the public to pose with a placard proclaiming their choice of a woman who deserves a permanent monument in New York City. The audience's choices and images will be documented and shared publicly here: https://www.facebook.com/wherearethewomenmonuments

Saturday, October 10th and Sunday, October 11th (same schedule for both days)
• 1:00-1:30 pm: Jeanne d' Arc apartment building, 200 West 14th Street at 7th Avenue
• 1:30-2:00 pm: North side of 14th Street, 7th Avenue to Union Square Park
• 2:00-2:30 pm: Southwest corner of Union Square, 14th Street and University Place
• 2:30-3:00 pm: Gandhi Statue, Southwest corner of Union Square Park

AiOP Opening Reception: Friday, October 9th
• 5:00 - 8:00pm at Pedro Albizu Campos Plaza14th Street between Avenues B & C (southside)
• Rain time 7:00 -10:00pm at Campos Community Center 611 East 13th Street



15. Ann-Marie LeQuesne, FF Alumn, at Icebox Project Space, Philadelphia, PA, Oct. 8

Ann-Marie LeQuesne
Philadelphia Performances
Icebox Project Space
1400 N. American St.
Philadelphia, PA 19122
Thursday, October 8th - 6-9
Join me at Icebox for the screening of two recent performances in Philadelphia.
CRESCENDO was filmed in Icebox Project Space. As participants processed into the space - in order of height and speaking their initials (or barking) - the sharp staccato sounds became tones that extended and mingled in the long echo of the space.
Fanfare for Crossing the Road has been performed in London, Helsinki, Lisbon, Cardiff, New York and now, Philadelphia. At each performance I ask musicians and performers, positioned beside the traffic lights, to mimic the digital acoustic crossing sounds for the blind (different everywhere). On September 3rd, as temperatures rose to 95F(36C), three piccolo players and three speakers, dressed in woollen uniforms, stood to attention and performed the sounds at 38th St & Woodland Walk on the UPenn Campus - a truly heroic performance.



16. Greg Sholette, FF Alumn, at Boys & Girls High School, Brooklyn, Nov. 14-15

The 2015 Creative Time Summit: "The Curriculum NYC"
November 14-15, 2015

Boys and Girls High School
1700 Fulton Street
Brooklyn, NY 11213

Reserve your seat with us today

After two years, the Creative Time Summit-the world's largest international conference on art and social change-is headed home to New York City! Creative Time Summit: "The Curriculum NYC" will take place at the Boys and Girls High School in Bedford-Stuyvesant, Brooklyn on November 14 and 15, 2015.

Building on the Summit held at the Venice Biennale in August, the New York Summit is dedicated to education and other ways knowledge is disseminated and obtained. "The Curriculum NYC" will focus on the effects of specific education policies in the United States. From within Boys and Girls High School, which has come to symbolize both the democratic ambitions and the pervasive inequalities of public education today, we will explore the relationship between knowledge and geopolitics, pedagogical art practices, omissions in contemporary curricula, and political issues such as the re-segregation of public schools and student debt.

In addition to hosting presentations by a distinguished roster of over 50 participants, the Creative Time Summit: "The Curriculum NYC" invites attendees to join in our afternoon sessions, which will comprise break-out sessions held in the school's classrooms. Taking the form of roundtables, open dialogs, or workshops, they will provide opportunities for more intimate exchanges among attendees, special guests, Summit presenters, and students or teachers from Boys and Girls High School. While diving deeper into urgent pedagogical issues, sessions will also address topics specific to the field of socially engaged art.

Keynote addresses will be given by investigative journalist Nikole Hannah-Jones and artist/community activist Boots Riley. Participants include Bill Ayers, Luis Camnitzer, Hope Ginsburg, Gugulective (Athi Mongezeleli Joja), Hans Haacke, Tia Powell Harris, Kemi Ilesanmi, Rolling Jubilee (Laura Hanna and Astra Taylor), Stanley Kinard, Pedro Lasch, Simone Leigh, MFA NO MFA (ex-USC students), Naeem Mohaiemen, Pepón Osorio, Jolene Rickard, Andrew Ross, and Jennifer Scott.

Workshops, roundtables and panels to be led by the Center for Artistic Activism, Flux Factory, Deborah Fisher, Noah Fischer, Not an Alternative, Silvia Juliana Mantilla Ortiz, Douglas Paulson, Laundromat Project, Marinella Senatore, Visible Project, Gregory Sholette, Daniel Tucker, Caroline Woolard and Sue Bell Yank. In addition, there will be a featured special project by Chto Delat.

Get your tickets for "The Curriculum NYC" today!

Special opening event by The Visible Project
On the High Line at West 16th Street
Friday, November 13, 6pm

Creative Time Summit: The Curriculum NYC kicks off with an opening event co-presented with High Line Art. Curated by Matteo Lucchetti and Judith Wielander of the Visible Project, the event will include site-specific performances by Marinella Senatore, Nástio Mosquito, and others to be announced. Performances are free and open to the public.



17. Jacob Burckhardt, FF Alumn, at Spectacle Theater, Brooklyn, Oct. 14

I hope you can come to my next film screening, on

Wednesday, October 14, at 7:30PM (sharp). $5

Part of the Millennium Film Workshop series, at:

Spectacle Theater, 124 South 3rd Street (near Bedford Ave.),
Williamsburg, Brooklyn, New York, 11249

Mostly Documentaries, from Japan, New Jersey, Estonia, NY, PAlermo, some old ones, some new ones, some rarely seen



18. Joseph Nechvatal, FF Alumn, releases new book

i am pleased to officially announce

my upcoming book of poetry

Destroyer of Naivetés


punctum books * brooklyn, ny



Joseph Nechvatal



19. Penny Arcade, FF Alumn, now online at run-riot.com, and more

new interview Penny arcade Run Riot


Penny Arcade + Paul Giamattii and others in Frances Stolz's film installation San Francisco thru Nov 2


New Article on Penny Arcade in Attitude Magazine




20. Whitney Vangrin, FF Alumn, at MX Gallery, Manhattan, Oct. 13

Hello All,

I would like to extend an invitation to my upcoming performance, Pump Screen, taking place Tuesday October, 13th 2015 730 PM at MX Gallery 177 Canal between Mott and Elizabeth.

Pump Screen will see trance movement and sound combine with lip sync of pre-recorded sung and spoken vocals. Regimented physical sequences merge with impulsive spasms of the body. The physical actions of the performance reverberate through live projection, creating a distortion of reality and emphasizing the merger between authentic and staged action. I aim to blur distinctions that exist between being and role-playing, in a direct reference to Ingmar Bergman's film Persona, while making additional allusions to a wide range of performances captured on film.

The performance addresses the desire to create as a compulsion, which stems from an inability to respond authentically to others. Pump Screen seeks to reconcile the disconnection of the individual from the greater population, via the use of visceral actions to ignite empathy within the performer and within the audience, in an effort to begin to understand and sympathize with bodies in pain.

I am looking forward to this work and I hope to share the experience with you all. For those of you who cannot make the live performance I will be posting a live stream to FB and my website www.whitneyvangrin.com the day of the show.

Whitney Vangrin



21. Jane Dickson, FF Alumn, in Times Square, Manhattan, Oct. 16

T.SQ Newsstand

October 9 - 18, 12:00pm - 7:00pm
Broadway Pedestrian Plaza, 44th/45th St.

I am one of 8 artists participating in Kimou "Grotesk" Meyer's reinvention of the iconic NYC newsstand of yesteryear with a pop-up installation. A custom T.SQ publication, along with copies of Juxtapoz Magazine and Brooklyn's own Victory Journal, and souvenir multiples will be available for purchase. Guest clerks each day!

Come visit me while I clerk the newsstand on Friday, October 16th from 4pm-7pm



22. Sherman Fleming, FF Alumn, now online


I hope all is well with you and yours

Sherman Fleming



23. Taylor Mac, FF Alumn, in The New York Times, Oct. 2

The New York Times
Oregon Shakespeare Festival Plans Shakespeare 'Translation' Project
OCTOBER 1, 2015

Taylor Mac, Kwame Kwei-Armah, Lloyd Suh, Lisa Peterson andNaomi Iizuka are among the diverse group of playwrights theOregon Shakespeare Festival has enlisted in a three-year effort to "translate" Shakespeare's plays into contemporary modern English, with the goal of making the sometimes difficult plays more accessible to contemporary audiences while also "bringing fresh voices and perspectives."
"Play On! 36 Playwrights Translate Shakespeare" pairs playwrights and dramaturges to work on 39 plays attributed to Shakespeare, including "Edward III" and "The Two Noble Kinsmen." More than half of the playwrights are women and more than half are minorities, according to a news release.
Lue Morgan Douthit, the festival's director of literary development and dramaturgy, said in a statement that while the new versions would not be translations in the strictest sense, the word captured what she characterized as "the rigor" of the project. Unlike free literary adaptations of the sort included in projects like the Hogarth Shakespeare, the Oregon effort allows no cutting or editing of scenes, no changes to a play's setting or references, and no insertion of a playwright's "personal politics."
"The writers get the great joy of tagging along with the world's best poetic dramatist," Ms. Douthit said. "It will be the geekiest exercise ever."
A pilot for the project, Kenneth Cavandar's translation of "Timon of Athens," was produced at the Alabama Shakespeare Festival in 2014. The Oregon Shakespeare Festival, in Ashland, Ore., said it may produce one or more of the modern translations, while also continuing its commitment to staging original-text versions of all of Shakespeare's plays between 2015 and 2025.



24. Allen Ginsberg, FF Alumn, in The New York Times, Oct. 2

The New York Times
Emory Acquires Trove of Rare Jack Kerouac Material
OCTOBER 1, 2015

Emory University has acquired a collection of material relating toJack Kerouac, including correspondence with Neal Cassady and Allen Ginsberg, and rare photographs showing Kerouac from childhood through the years shortly before his death in 1969.
The collection, purchased from John Sampas, Kerouac's brother-in-law and literary executor, is to be announced today at Emory's renamed Stuart A. Rose Manuscript, Archives and Rare Book Library, which already has substantial Kerouac holdings, including objects like his Army rucksack, a painting box and a scroll of paper similar to the one on which he typed "On the Road."
In addition to written material, the new cache includes artifacts like an early passport misspelling Kerouac's last name and a number of personal and family photographs labeled in his own hand.
"Just looking through it, you can see right away how intimate the material is, how much of his life it covers, from childhood portraits to his early writing, when he's still 'John Kerouac,' " Kevin Young, the library's curator of literary collections, said in a telephone interview. "You can really see both his beauty, and the beauty of his writing."
The material, which has not been processed, contains a typescript for the play "Beat Generation," which Kerouac wrote after the success of "On the Road" in 1957. (It went unproduced, and largely forgotten, though parts were integrated into the 1959 film "Pull My Daisy.")
It also contains manuscripts and correspondence dating from the 1940s to the 1960s, including a letter in which Kerouac teased Ginsberg about his promiscuous epistolary habits.
"Cher Allen, Pourquoi tu n'ecrit pas?" Kerouac wrote in a typed letter dated Aug. 11, 1954. "You seem to be writing to every Tom Dick N Harry except me. You betray your ambition - but please remember, Sage, a useless tree is never cut up into a coffin. Enuf nonsense, I'm just 'pulling your leg' like Neal, uck, uck, uck."



25. Ed Ruscha, FF Alumn, in The New York Times, Oct. 2

'Double Standard,' at Alden Projects, Takes a Photographic Trip to the Past
OCT. 1, 2015
A life-size, black-and-white photographic silk-screen depicting a Greyhound bus graces most of one long wall at Alden Projects. A wonderfully deadpan homage to the American road, this 36-foot-long picture was created in 1967 by Mason Williams, who, the following year, would win three Grammy Awards for his guitar instrumental "Classical Gas." During that time Mr. Williams also was writing for and performing on "The Smothers Brothers Comedy Hour," one of the great television shows of all time.
What's not so widely known about Mr. Williams is that he and Ed Ruscha have been friends since they were fourth-grade classmates in Oklahoma City, and that they collaborated on numerous zany conceptual projects during the '60s. Along with copious archival materials, the photographs, books, prints and drawings in this gallery's first exhibition - "Double Standard: Ed Ruscha and Mason Williams, 1956-1971" - reveal a mutually inciting relationship comparable in some ways to that between Picasso and Braque in pre-World War I Paris.
A book called "Royal Road Test," from 1967, documents a collaborative Dada-like action. While Mr. Ruscha drove a car at high speed along a desert highway, Mr. Williams threw a Royal typewriter out of his window. It was said to have been the same model Jack Kerouac used to write "On the Road." Another passenger, Patrick Blackwell, then photographed the parts of the disintegrated machine.
A series of 14 vintage photographs never before exhibited documents Mr. Williams's 1967 effort to create what he conceived of as the world's largest drawing: an image of a sunflower limned in smoke by a skywriting biplane. The same year, Mr. Ruscha used an airplane to create his celebrated book of aerial photographs, "34 Parking Lots." That's an interesting coincidence - both artists using airplanes to make artworks in the same year - and there are others in this revelatory show.
'Double Standard:
Ed Ruscha and Mason Williams, 1956-1971'
Alden Projects
34 Orchard Street
Lower East Side
Through Oct. 18



26. Robert Mapplethorpe, FF Alumn, in The New York Times, Oct. 2

The New York Times
Mapplethorpe Print at Center of Culture Wars Returns to Public Eye
OCT. 1, 2015

Twenty-five years ago this month, a Cincinnati jury wrote an exclamation point into the story of the culture wars that were raging through art museums and academia. The jury acquitted that city's Contemporary Arts Center and its director of criminal obscenity charges for exhibiting a group of photographs by Robert Mapplethorpe, graphic sexual images that became a watershed in debates about what constituted art, what kinds of art should be supported by government money and who should have the power to decide such questions.
Among the handful of these images carried through the halls of Congress by Senator Jesse Helms - the standard-bearer opponent of taxpayer support for what he called "filthy art" - was "Man in Polyester Suit": a tightly cropped picture of the torso of a black man wearing a three-piece suit, with his large penis hanging out, like a Montgomery Ward catalog hacked by Tom of Finland, with an assist from Duchamp and Groucho Marx.
That photograph, made in 1980, just before the AIDS crisis exploded, was not one of the seven that generated the obscenity charges. But in the years since the case, it has come to be regarded as perhaps the most important picture from the show, as well as Mapplethorpe's most slyly powerful work, a deadpan commentary on race, class, sexual stereotypes and the slippery nature of photography itself that continues to jangle nerves in ways that his overt S-and-M pictures never quite did.
On Wednesday, a print of the work will be auctioned by Sotheby's, the first time in 23 years that any of the 15 prints from the edition have come up for public sale. The auction and a Mapplethorpe retrospective that will feature the image, opening next year at the J. Paul Getty Museum in Los Angeles, and the Los Angeles County Museum of Art, are returning "Polyester Suit" to the spotlight for a kind of victory lap, and in the process are raising questions about whether images still have the same kind of ability to unsettle and provoke.

"I think it's still one of the images that would draw attention and make people very uncomfortable, even 25 years later," said Dennis Barrie, who was the director of the Contemporary Arts Center at the time of the trial and who could have served prison time if the verdict had gone the other way. "It's this complex message about race and black men and black power and black sexuality that really got to Helms and some of the other opponents." When William F. Buckley Jr. traveled to Cincinnati to see the exhibition, Mr. Barrie recalled, "he came back out of the galleries, and he specifically mentioned 'Man in Polyester Suit' when he told me that it was a beautiful show, except for about 15 pictures. And I said, 'Well, we're only being indicted for seven.' "

Joshua Holdeman, Sotheby's worldwide head of 20th-century design, photographs and prints, said: "I think the issues that are at play with this image are still very much happening today. It's not like race is off the table." It might be partly for those reasons that public institutions have tended to shy away from the picture. Only three prints are in museum collections - one shared by the Getty and the Los Angeles County Museum; one at the Guggenheim; and the third at the Stedelijk Museum in Amsterdam; the image that is to be auctioned has been owned for more than 20 years by a collector in Amsterdam who has chosen to remain anonymous. (Most news organizations, like this one, will still not publish the picture, and Mr. Holdeman said that even now it probably could not be used on an auction catalog's cover.)

The print's estimate is $250,000 to $350,000. The last time this print sold at auction, in April 1992, while the controversy surrounding it was still relatively fresh, its estimate was $3,000 to $5,000, and it sold for $9,900, according to Christopher Mahoney, senior vice president of Sotheby's department of photographs.

The most expensive Mapplethorpe to change hands at auction so far is a portrait of Andy Warhol that sold for $643,200 at Christie's in 2006 (about $760,000 today). But none of the photographs from what are known as the X and Z Portfolios - the explicit sexual images and classicized, mostly nude, portraits of black men - have drawn the kind of price estimated for "Polyester Suit," which means that if it meets or exceeds expectations, the market for Mapplethorpe's work could accelerate more broadly.
"I think everybody who owns this particular work knows how important it is, and none of them want to let go of it - it's not been a work that anyone has bought to hold for just a few years," Mr. Holdeman said. "I think of it as his most conceptual piece. You either have to write an 800-page dissertation about it, or you have to look at it as a kind of perfect joke and laugh. It works on so many levels, and there's still so much going on in it."



27. Eileen Myles, FF Alumn, in The New York Times, Sept. 28

The New York Times
Review: In 'I Must Be Living Twice' and 'Chelsea Girls,' Eileen Myles Ruminates
SEPT. 28, 2015

"I had always figured if I had a book I'd want my face all over it," the narrator of Eileen Myles's autobiographical cult novel "Chelsea Girls" (1994) thinks to herself at a party for one of her early poetry collections.
She's again got her wish. A reissue of "Chelsea Girls," a coming-of-age story in part about the author's sexuality ("You said I made being a lesbian look all right," her narrator comments), has on its cover a striking black-and-white photograph of Ms. Myles taken in 1980 by Robert Mapplethorpe. Androgynous, defiant, perhaps a bit glassy-eyed, she resembles the young Mick Jagger as merged with Cat Power.
A new book of Ms. Myles's poetry, "I Must Be Living Twice: New and Selected Poems 1975-2014," also features a prominent photograph of the author on its cover. More than three decades later, in torn jeans and a plaid work shirt, her hair gray and shorn, she stares frankly into the camera, Lou Reed's sister from another planet, a canny urban survivor.

Does it matter what a writer looks like? When one has two books out, each with her image across two-thirds of the cover, it's a question we're invited to ask. The answer is no, with an asterisk.
Looks may not be everything (very often the best writers resemble mole people) but they aren't nothing. You scan writers' photographs for clues about how they wish to be seen or not seen. As the Arab proverb has it, "A stranger filleth the eye."
Ms. Myles is lucky enough to have one of those faces that suggests she's been to places the rest of us have not. You want to know where she's come from; you want to know where she's going.
Ms. Myles has published some 20 books of poetry, fiction and criticism, all with small presses. She's been a fixture on New York City's downtown literary and art scenes. Her new book of poems, and the reissue of "Chelsea Girls," both from a major publisher, Ecco, make this seem like a moment for her.
It's one she's earned. "Chelsea Girls," which tracks her from a Roman Catholic upbringing near Boston in the 1950s and '60s through the discovery of drugs, girls, poetry, poverty and George Plimpton's book parties in Manhattan, seems funnier and more honest and raw now than it did in 1994. It transmits its meanings along what she calls, at one point, "a glowing cord of drunkenness and sex."
The book has a yearning quality and a sweetness that prevent it from being a mere time capsule or Henry Miller-like debauch. As a young woman the narrator shoplifts coats from the J. Press store in Harvard Square. Her father, an alcoholic, delivered mail on the Harvard campus.
She'd picked up on what wearing decent brands might mean. "These indicated that you would probably go to college," Ms. Myles writes, "drive a sports car, have a career and go to Europe at one point." She adds: "There was so much hope in clothes."
Ms. Myles's unadorned, come-as-you-are poetry, as witnessed in "I Must Be Living Twice," also has a strong autobiographical element. Her Boston-area childhood, and her uneasy sense of the region's WASP elite, informs two of her most volatile poems.

One of these, "On the Death of Robert Lowell," is unprintable here, outstandingly so. Suffice to say that Ms. Myles has little feeling for "the old white-haired coot."
In "An American Poem," she imagines herself part of the Kennedy family. "Shouldn't we all be Kennedys?" she asks. About her expensive education as part of the clan, she adds:
Listen, I have been educated.
I have learned about Western
Civilization. Do you know
what the message of Western
Civilization is? I am alone.

Offbeat humor floats up alongside the poem's drifting sadness. ("Am I the only one with bleeding gums tonight," the poet asks.) She worries the Kennedys will boot her from the compound.
I became a lesbian.
Every woman in my
family looks like
a dyke but it's really
stepping off the flag
when you become one.
Alongside a few new poems, the work in "I Must Be Living Twice" is drawn from 10 earlier books of Ms. Myles's verse. The first five of these, from "The Irony of the Leash" (1978) through "Maxfield Parrish" (1995), contain her best work.
A falling off began with her collection "School of Fish" (1997) - the poems become less exact in their detail, less antic in their wit. When this writer is off her game, she is really off her game.
But I prized many of the poems in the first half of "I Must Be Living Twice." There's a surfeit of life poured into them, often from unexpected angles. A 1991 poem, "Triangles of Power," begins with what is perhaps the crispest possible New York City update on William Carlos Williams's "This Is Just to Say":
Got a slice
burned the roof
of my mouth.
Knew I would
it was
Will someone put that in the subway? There's a good deal of Frank O'Harain her poems. Ms. Myles does this, she does that. She drinks too much beer, she falls into bed with strange women. Is it lust or something more? she often wonders. In "Mr. Twenty," perhaps the best poem from "School of Fish," she writes:
Naturally I'll play Stanley
an angry white lesbian
walking through the burning
streets yelling Stella.
Ms. Myles's best poems may be informal and unmetered, but they are rhetorically organized and they curve their way toward the important questions about life and art and love.
You find yourself caring about where this writer has come from, and where she's going. No Mapplethorpe photograph necessary.
I Must Be Living Twice
New and Selected Poems 1975-2014
By Eileen Myles
356 pages. Ecco/HarperCollins. $29.99.
Chelsea Girls
By Eileen Myles
274 pages. Ecco/HarperCollins. $16.99.



28. Moe Angelos, FF Alumn, in The New York Times, Sept. 29

The New York Times
Review: In 'Elements of Oz,' Smartphones Enhance a Celebration of 'The Wizard of Oz' Film
SEPT. 28, 2015

MONTCLAIR, N.J. - "Next time I'll bring one of my grandsons," cracked a woman behind me at "Elements of Oz," a technologically sophisticated new show from the Builders Association that riffs on the celebrated movie "The Wizard of Oz."
Good idea, I thought. Just don't bring Patti LuPone. That estimable performer, as you may know, recently made news when she snatched a cellphone from a patron's hand at a performance, in high dudgeon over that audience member's constant texting. At "Elements of Oz," having its premiere as part of the Peak Performances season at Montclair State University here, viewers are encouraged to use smartphones or tablets during the performance.
These devices are not, of course, meant to be used for random texting and calling. You download a special app that instructs you to put your phone in airplane mode until the show starts. The app then provides access to various elements that enhance the production, primarily nifty filters that, when you point the phone at the stage, add new layers of imagery to the action. When Dorothy's house in Kansas flies skyward, for example, you can hold up your phone and see a real corker of a tornado and slashing rain that isn't apparent to the naked eye.
Directed by Marianne Weems, "Elements of Oz" was jointly created by James Gibbs and Moe Angelos. Ms. Angelos is also one of the three performers, alongside Sean Donovan and Hannah Heller. A loose, loopy and enjoyable seminar on the making of the movie and its influence on pop culture, the production combines live video and performance - several famous scenes from the movie are more or less filmed anew before us - with anecdotes about its production and other random arcana about the film and the book it was based on by L. Frank Baum.
Did you know that many people believed that dark theories about the financial system were embedded in the book's playful story line? In one of the show's goofier digressions, we see a re-creation of an interview between Mike Wallace and Ayn Rand in which she spouts her cranky capitalist cheerleading through puffs of smoke.
Ms. Angelos is the narrator who guides us along the show's winding path, not unlike that famous yellow brick road. Using a selfie stick (Glinda's star-tipped magic wand is one, too), she films herself as she talks, and her image is projected on a large video screen above the stage. Several screens are used, sometimes simultaneously, to show people scrolling through YouTube videos pertaining to the movie, some of which are highly amusing; one gay man gives a nicely lucid elaboration of the movie's distinctive appeal for homosexuals. (Friend of Dorothy, for those unfamiliar with the term, is a winking code name for a gay man.)

Much of the show, which runs a little under 90 minutes with no intermission, involves live filming of those re-creations, with the actors playing the central characters Glinda, the Wicked Witch of the West, the Tin Man and the Scarecrow. (The Cowardly Lion makes but a cameo appearance; maybe nobody could manage a respectable imitation of the inimitable Bert Lahr.)
All play Dorothy at one point or another, looking cheerfully ludicrous in her signature pigtails and gingham pinafore. But it's to Mr. Donovan that falls the honor of belting out the movie's signature song, "Over the Rainbow," which he does in a sweet, feminine croon that evolves into a very masculine boom.
He's accompanied, in one of the most charming uses of smartphone technology, by any number of others: When the song strikes up, myriad self-made videos posted to YouTube (presumably) of all and sundry singing that classic tune suddenly appear on phones and tablets all over the theater, so that a whole chorus sings along from cyberspace. It's an ineffably sweet moment that illustrates the pervasive cultural reach of the movie; on my screen two teenage girls popped up, pouring their hearts into their throats in a nondescript bedroom somewhere.
Ms. Angelos fills us in on lore about the movie's making: how theremarkable scene of Dorothy emerging from the black and white of her humble Kansas house into the dazzling Technicolor world of Oz was created in one take; how Margaret Hamilton, who played the Wicked Witch of the West, sustained serious burns when a trap door she was supposed to disappear down didn't open; how the actors playing the flying monkeys took their share of hard knocks too, dropping from the wires used to get them aloft so often that mattresses were piled on the studio floor to cushion their falls.
The live re-creations of scenes from the movie are technically marvelous; the digital video (by Austin Switser) is dazzlingly pristine, and it's fun, at least for a while, to watch the wry comic impersonations of the performances in the movie. Ms. Angelos trills giddily as Glinda, or rather Billie Burke as Glinda; Ms. Heller cackles with a throaty gusto as the Wicked Witch; Mr. Donovan flips nimbly between the Tin Man and the Scarecrow.
But ultimately these sequences don't provide enough comic stimulation to justify their length. It begins to feel a bit too much like a draggy day on the back lot, and you might find yourself tempted to escape the app and fire up the real movie on your phone, blissfully free of fear that an usher, or the spirit of La LuPone, will descend upon you malevolently like a flying monkey.
Through Sunday at the Alexander Kasser Theater, Montclair State University, Montclair, N.J.; 973-655-5112; peakperfs¬.org.



29. Kate Gilmore, FF Alumn, in The Wall Street Journal, Oct. 5

The Wall Street Journal
A Red Carpet for the Hoi Polloi, With Paparazzi Included
Oct. 4, 2015

Zara Zakrzewski, a natural-sciences student at Fordham University, went straight from class to an event at Brookfield Place on Thursday night. There, she found herself making a grand entrance, slowly descending the red carpet-draped marble staircase on the arm of a tuxedoed male model into the Winter Garden Atrium, where her picture was snapped by awaiting paparazzi.
"I didn't know what to expect, but I was not expecting that," she said.
Ms. Zakrzewski had arrived at the launch party for MOVE!, a three-day festival in which participatory art experiences collide with the glitz and glamour of high-end fashion. First presented in 2010 at MoMA PS1, MOVE! is the brainchild of writer David Colman andCecilia Dean, co-founder of art-fashion magazine Visionaire.
The common feeling driving many of the experiences at MOVE! is of being thrust into the spotlight.
Barbara Ragghianti, who works for a luxury jewelry brand, had her own taste of stardom.
She walked briskly down a green screen-flanked runway while a woman with a clipboard called out instructions: "Keep going, keep going-no, don't come back!"
When Ms. Ragghianti finally made it off the runway after her second attempt, she discovered her performance had been seamlessly inserted into actual fashion-week footage. "I never thought I'd look at myself on the runway, but it actually wasn't as bad as I thought it would be," she said.
Another instant runway star, Tom Leonardis,president of Whoop, Inc., similarly expressed wonder at the sight of himself on-screen. "There I was-a model!" he said. "At 5-foot-5-and-a-half!"
Elsewhere at the festival, outgoing types could learn and perform dance moves in exchange for free macarons, or acquire their own personal Diane von Fürstenberg wrap dress-printed all over with a kaleidoscopic pattern of their face.
Willing subjects could even sit for gender-switching makeovers.
On Thursday night, an arsenal of Yves Saint Laurent beauty products were deployed to wipe out all traces of femininity from the face of New York Magazine writer Dayna Evans.Sporting thicker brows, harder edges and a five o'clock shadow, Ms. Evans completed the transformation by donning a baseball cap and leather jacket.
"I feel like I'm in a Halloween costume," she said.
The obvious centerpiece of the festival, however, is the staircase and red-carpet experience. For about three hours on Thursday, six male models took turns making arriving guests feel like celebrities.
"I'm not a fashion person," said Kate Gilmore, the multimedia performance artist who devised the piece in collaboration with fashion designer Italo Zucchelli. "I usually work with galleries and museums, and I don't really know a lot about fashion. So it was a question of how to stay true to my voice as an artist but still have fun with it."

Lavishing VIP treatment on the public felt like a natural fit for the artist, whose work is often about ordinary people rising against the odds.
"The red carpet is typically reserved for this very elite, very specific group of people," she said. "This piece opens it up so everybody can experience the awe and wonder of being a star-and the wonder and awe of being surrounded by these beautiful, beautiful men and their beautiful outfits."
Naturally, Ms. Gilmore had to try out the piece for herself. "I had all six models walk me down."
Judging by the paparazzi-friendly expressions, most of the attendees at Thursday's event seemed to relish their newfound celebrity status, even while acknowledging the folly of all the pomp and circumstance.
"That was ludicrous and humiliating," said art historian Claire Bishop, still lingering on the edge of the red carpet. "I was kind of enjoying it."



30. Hector Canonge, Chun Hua Catherine Dong, LuLu LoLo, FF Alumns, in the Queens Chronicle, now online


Performance Artists Come to Queens for Forum
Posted: Thursday, October 1, 2015 10:30 am
by Andrew Benjamin, qboro contributor | 0 comments
What is art? It's a persistent question many have tried to answer. A clear definition might be hard to reach, but performing artists are exploring the question as a part of a new program in Queens.
The Queens Museum hosted a panel Sunday called "TALKaCTIVE: A Performance Art Conversation Series," the first in a free, monthly presentation where performance artists can present their past work and hold a moderated conversation about it. The series is open to the public, and audience members can ask questions.
The invited artists for the panel were Thomas Albrecht, Chun Hua Catherine Dong (who called in via Skype), Rory Golden, LuLu LoLo and Nyugen Smith. Harley Spiller, deputy director of Franklin Furnace Archive, Inc., moderated the conversation.
Among the highlights of the presentations were LoLo's gender-bending performances as the early 20th-century "Gentleman of 14th Street." The dapper gentleman would tip her hat and greet those who walked by. She clocked in 1,074 greetings and tips of the hat.
The program was organized by internationally recognized interdisciplinary artist Hector Canonge. He wanted to open a dialogue between the audience and artist. "I wanted to create a serious conversation to be a focus of this program," he said. "It's about sharing. It's about contextualizing the work. It's something we don't do much in performance art."
Moderator Spiller contemplated the importance of what performance artists do and put context about the motivations of a performance artist. "You're there to engage the public in your work. You're trying to engage more people in these ideas," he said. "Performance art is infusing your body in the world. You're trying to get some reaction."
Technology's tie to performance art also was mentioned. Golden used Instagram during the program for his presentation. Dong stated that technology gives the viewer an opportunity to be a part of the performance. "The audience using the technology is a performance itself," she said.
The next forum in the series will be held on Oct. 17.
When: Sat., Oct. 17
Where: Queens Museum, Flushing Meadows Corona Park
Website: queensmuseum.org



Goings On is compiled weekly by Harley Spiller