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Contents for October 13, 2015

Ruth Sackner, FF Member, In Memoriam

A Force on the Miami Art Scene, Ruth Sackner Dies at 79

The Miami Herald, Oct. 11, 2015 by Carli Teproff
Ruth Sackner didn't only collect art. She lived it.
Every inch of the Miami condo she shared with her husband, Marvin, was covered with pieces from their art collection, which was all about words.
"I love living in a museum," she said a few years ago in a short video about the Sackner Archive of Concrete and Visual Poetry. "In fact when we drive up in our driveway we always say, 'Home, sweet museum.'"
The collection wasn't confined to their condo. In 2013, hundreds of pieces from the Sackner collection were put on display at the just-opened Pérez Art Museum Miami in an exhibition called A Human Document: Selections from the Sackner Archive of Concrete and Visual Poetry.
Ruth Sackner, along with her husband, amassed more than 75,000 pieces of word art, making it the largest collection in the world. She died in her sleep Saturday at 79.
Her husband of 59 years said after they ate a roast beef dinner Saturday night and watchedBarton Fink on Netflix, he turned to her and said: "Ruth, I love you."
"I didn't say it every night, but I said it last night," he said. "And she said, 'I love you' back."
When he returned from his early morning walk on Sunday, she wasn't in the kitchen as usual. Instead, he found her in bed where he left her.
"This was just so unexpected," he said. "It doesn't feel like she is gone."
Ruth Sackner was born on March 14, 1936, in Philadelphia. She graduated from the University of Pennsylvania with a degree in English.
But before graduating, she met Marvin. Marvin Sackner said he first met his wife-to-be when his friend went on a blind date with her.
About six months later, he saw her at a restaurant and he realized "how beautiful she was." After asking his friend if it was OK, Marvin called and asked Ruth on a date.
"It was a whirlwind," he said.
They were married in June 1956. Together the couple had three children. In 1964, they moved to Miami Beach because Marvin, a pulmonologist, became the chief of pulmonary disease at Mount Sinai Medical Center.
In addition to a successful medical career, Marvin Sackner also invented medical devices, giving the couple "play money," he said.
Both were interested in art. In 1974, a retrospective by Tom Phillips, a multidisciplinary British artist, in Basel, Switzerland, raised their curiosity in visual poetry.
That's when the collection began. In a 1998 Miami Herald article, Ruth Sackner explained that by combining text and visual arts there was "an extra dimension."
"I was interested in color early on, but it didn't hold my interest," she said at the time. "I felt there had to be more of a message. I needed help, you might say, and I liked the idea of a story. I liked paintings with narratives, so in some aspects this was for me another step in that direction - here I had a narrative, literally."
The couple - and their collection - became well-known in the Miami art community.
"Miami lost, today, one of its real cultural giants," said South Florida art collector Dennis Scholl. "Ruth was one of those people who really cared about culture in our community. Together they built the greatest collection in the world. That is a hard thing to do."
When the couple moved from their Venetian Island home, where they lived for 32 years, to their Miami bayfront apartment it took four months because they had to figure out where all the art would go. In the end, they were able to fit more than 600 pieces.
Visiting the Sackners was always an experience, said Alberto Ibargüen, CEO of the John S. and James L. Knight Foundation and a former Miami Herald publisher.
With art all around, "there was barely room for a bed," he said.
Ibargüen said the two were "inseparable."
"I can't remember seeing one without the other," he said. "They collected together, they presented together, they did everything together. It was an equal partnership."
The two had just completed a book, The Art of Typewriting, and were planning on speaking at Books & Books at the end of the month.
In addition to her husband, Sackner is survived by daughters Sara Sackner and Deborah Goldring, son Jonathan Sackner-Bernstein and brothers Samuel and Daniel Karsch.
Services are pending.

Read more here: http://www.miamiherald.com/news/local/obituaries/article38777727.html#storylink=cpy

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1. Franklin Furnace at Pratt Institute, Brooklyn, November 2

Past, Present, and Future: Performance + Performance Studies at Pratt Welcomes Franklin Furnace
Monday, November 2, 2015
6:30-9:15pm
Higgins Hall
Pratt Institute
1 Saint James Place,
Brooklyn, NY 11205

On November 2, 2015, Pratt Institute's new program of Performance+Performance Studies (P+PS) will be hosting an event on campus to celebrate Franklin Furnace's presence on campus and to welcome the new class of Franklin Furnace Fund recipients. Franklin Furnace will be celebrating its 40th anniversary season, while the Franklin Furnace Fund grant program is celebrating its 30th anniversary. Participating Franklin Furnace Fund recipients from the recently announced 2015-16 class will give short presentations of their proposed projects.

This event is open to the general public, but please RSVP by emailing jenny@franklinfurnace.org or by calling our office at (718) 687-5800. Please RSVP by October 20, 2015.

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2. Elly Boileau Clarke, FF Alumn, at Shout Festival, Birmingham, UK, opening Nov. 11,

Dear friends and family,

Here is an invite to the launch event of SHOUT festival in Birmingham at which #Sergina and her Simultaneous Simulations are performing. It takes place the night after Sergina's Stimulating Sexy Simultaneous Simultation of Herself at The Lowry and In Places Beginning With B at the opening night of RIGHT HERE/ RIGHT NOW at The Lowry in Salford Quays, on 11th Nov - which will also be live streamed (and archived) via This is Tomorrow.

It would be fab to see you at either one of these performances - either where I will be, or (on 11th) with one of Sergina's Simulations, who will be performing simultaneously in Berlin (Liz Rosenfeld), Brooklyn (Raul de Nieves), Belgrade (Vladimir Bjeličić) and Bristol (Kate Spence.) In addition, costumes are being designed by Patricia Muriale and makeup by Roseanna Velin. Songs have been written and produced in collaboration with many, but most recently Lin Sangster, Kanchi Wichmann and Trevor Pitt.

More info about Sergina's Stimulating Sexy Simultaneous Simultation of Herself, along with participating venues and timings, will be disseminated via Twitter & Sergina's Facebook Page.

The SHOUT performance is supported by SHOUT, Southside Business District and BOM.

Places are limited though, so if you want to go, you need to RSVP to Ian Hyde - details below.

With very best wishes,

Elly x

Birmingham's SHOUT Festival
12th - 22nd November
Your personal invite to.....

Launch Event, Thursday 12th November 8pm
The SHOUT Team would like to invite you to the launch of SHOUT 2015, Birmingham's Festival of Queer Culture.

Join us at Birmingham Open Media (BOM), in Southside, on Thursday November 12th for the spectacular launch of the seventh edition of SHOUT featuring Sergina's Stimulatingly Sexy Simultaneous Simulation of Herself at BOM and in Bedrooms in Places Beginning with B.

Doors open at 8pm, show starts 8.20pm.

Sergina first came out for parties in Berlin in 2009. This multi-person, multi-venue simultaneous performance of songs about love, sex, mobile phones and instantaneous culture by Sergina.

Following the show, artist Leon Trimble performs a live audio-visual set using re-mixed archival queer film footage, with music and dancing until late.
Places are limited for this exciting new commsion, please can you RSVP to Ian Hyde at ianhyde@blgbt.org to confirm your attendance at the launch. Further event details will be sent out to attending guests nearer the time.
Click here to download a copy of the 2015 brochure.
The full programme can also be viewed at www.shoutfestival.co.uk

We look forward to welcoming you to this year's Festival!
Best wishes from
The SHOUT Festival Team

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3. Coco Fusco, FF Alumn, in The Brooklyn Rail, now online

http://www.brooklynrail.org/2015/10/art/coco-fusco-with-laila-pedro

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4. Roberley Bell, FF Alumn, at Hermitage Museum & Gardens, Norfolk, VA, thru Dec. 7

Roberley Bell: [un]natural landscapes
Now on view at the Hermitage Museum & Gardens,
Norfolk, VA

BT&C artist Roberley Bell has a solo exhibition- a site specific interior and
exterior installation titled [un]natural: landscapes now on view at the Hermitage
Museum & Gardens in Norfolk, VA (http://www.thehermitagemuseum.org/). The
exhibition will be on view through December 7th.

Bell has installed her sculpture in direct dialogue with the museum's permanent
collection of antique artifacts and decorative art objects. Taking over six of the
museum's galleries, the result is a fascinating new perspective on both the
Hermitage's collection and Bell's sculpture. In addition, outside on the museum
grounds, Bell has installed an extensive site-specific sculptural installation that
utilizes the gardens and existing architecture as a frame. From the museum's
website:

This installation at the Hermitage continues Bell's decades long investigation of
the relationship between our interior and exterior worlds, as well as nature and its
synthetic likeness. This is unique opportunity to experience Bell's work installed
both inside and outside, capitalizing on the conceptual kingpin of the body of
work. Bell's boldly-colored, large sculpture from the series Other Landscapes,
recently on view in the BT&C Gallery show some things1 is included in the
exhibition. As Bell explains:

The Other Landscapes series continues to explore the space where the
artificial meets the real. My sculptures reconsider or interrogate what is real
against what is not, to the point where even nature itself is uncertain. It is
my intent to employ our imagination and our senses even with the artifice.
The Other Landscapes series is grounded in the origins of organic abstraction
and computer aided Blob Design. Bell states, "like the current trend in design
where buildings and form adopt an organic structure that is made possible only
though computer-aided technologies, my Other Landscapes sculptures reveal
themselves as natural forms, though they are, in fact, paradoxically based on
nothing that exists in nature." At the Hermitage, these sculptures are sharing
space with other objects in the museum's permanent collection allowing for rich
layers of visual texture and interpretation. At once, Bell's sculptural forms feel out
of place and at home- as if you've encountered a rare plant that is thriving in an
unlikely clearing.

Also included in the exhibition is a new series of small scale sculpture, titled
some things, initially thought of as mental preparation for Bell's large-scale work,
now a practice that has evolved into an important body of work in and if itself,
opening new avenues for Bell to explore her investigation of the boundary
between nature and artifice. These subtle works are an extension of the themes
explored in Bell's larger body of work, but on a different scale, both visually and
psychically.

The some things are crafted using a wide variety of media. Often painted white,
the uniform paint serves to both unify the discrete materials into a single form as
well as disguise them. Bell then often adds a bright accent of color- a burst of
neon orange femo clay, or bright green paint that boldly announces itself from the
white of the sculpture's body. This shock of color is reminiscent of the experience
of seeing Bell's large sculpture installed in the landscape (or here in the
Hermitage's galleries)- a burst of off-the-shelf brightness shouting out from its
surroundings. Though obviously very considered, because of their scale
combined with the artistic process, there is a palpable spontaneity inherent in
these works- a quirky liveliness which is sometimes not apparent in the larger,
more refined works. At the Hermitage, the some things share glass vitrines,
treated as precious objects alongside Asian antiquities and sterling decorative art.
They are sly imposters waiting to be identified. The effect is reminiscent of an
18th Wunderkammer, or "cabinet of curiosities"; all of the objects contribute to a
gestalt effect. This is an installation not to be missed.

For more information on [un]natural landscapes contact Hermitage Museum &
Gardens, Marketing Manager, Jennifer Lucy- 423-2052 x208 or
jlucy@thehermitagemuseum.org. Visit the museum's website here:
http://www.thehermitagemuseum.org/roberley-bell-unnatural-landscapes
For more information on Roberley Bell's larger body of work, contact BT&C
Gallery Director, Anna Kaplan at 716-604-6183 or anna@btandcgallery.com.
ABOUT THE ARTIST
Roberley Bell spent her childhood in Latin America and Southeast Asia. She
attended the University of Massachusetts and State University of New York at
Alfred from where she holds an MFA. Bell is the recipient of many grants and
fellowships including the New York Foundation for the Arts, Pollock Krasner
Fellowship, a summer Fulbright to the Netherlands and a 2010 Senior Scholar
Fulbright to Turkey. In 2012 she received a Fellowship for the Turkish Cultural
Foundation and Dave Bowen Projects. Bell has received several residency
awards both nationally and internationally, including a residency to the Stadt
Kunstlerhaus in Salzburg Austria and a Studio fellowship from the international
Studio Program in NY. Bell's work has been exhibited nationally and
internationally including at the State Tretyakov Gallery, Moscow; Alan Space,
Istanbul; Virginia Museum of Fine Arts, Richmond; Denise Bibro Gallery, NY; and
most recently in a solo exhibition at the deCordova Museum and Sculpture Park,
Lincoln, MA. A solo exhibition of Bell's work is scheduled to open September 2015
at the Hermitage Museum and Gardens in Norfolk, VA. Bell has completed public
projects in Cambridge, Pittsburgh, Chicago, Baltimore, New York, Russia, Turkey
and most recently installed her sculpture at the Albany International Airport. Bell
lives in Bethany, New York and teaches in the School of Photography at
Rochester Institute of Technology.

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5. Andrea Kleine, FF Alumn, at BookCourt, Brooklyn, Oct. 13

Come to BookCourt in Brooklyn on Tuesday October 13th, 7pm to celebrate the release of Andrea Kleine's debut novel, CALF!

Tuesday, October 13, 2015. 7:00pm
CALF Reading & Book Launch Party (& official pub date!)
BookCourt, 163 Court Street, Brooklyn, NY.

Wine!
Reading!
Book signing!
Books for sale at a sweet indie bookstore!
The New York premiere of Andrea wearing reading glasses!
& Bobby Previte, FF Alumn, and Michael Kammers playing the music of Fleetwood Mac. Yes.

"Dread stalks every page, and the result is unsettling, scary, and often brilliant. For readers looking for a sharp, twisted narrative, this is a keeper." - Publishers Weekly, Starred Review

CALF is a fictionalized account of two converging events: John Hinckley Jr.'s attempted assassination of President Ronald Reagan, and Leslie deVeau's murder of her ten-year-old daughter, a childhood friend of author Andrea Kleine. Both events took place in Washington, DC in the early 1980s. Part Are You There God? It's Me, Margaret and part Taxi Driver, this creepy, unsettling, and absolutely addictive novel is at once a penetrating character study and a meditation on the zeitgeist of the '80s.

Andrea Kleine is a five-time MacDowell Colony fellow, a Montalvo Arts Center literary fellow, and a New York Foundation for the Arts fellow. In addition to writing fiction, she is a critically acclaimed performance artist and choreographer. She has been described as an "enigmatic and eccentric" (The New York Times), "brainy, allusive Downtown artist" (The Village Voice), whose work is "wry, poignant" (The New York Times) and "something like genius" (ArtVoice).
BOOKCOURT WEBSITE: http://bookcourt.com/
FACEBOOK EVENT: https://www.facebook.com/events/883785978335756/
ANDREA's WEBSITE: http://www.andreakleine.com

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6. Christy Rupp, FF Alumn, selected for CALL

Six Artists Selected for the 2015-2016 New York City Creating A Living Legacy (CALL) Program
October 1, 2015
The Joan Mitchell Foundation is pleased to announce the six artists selected for the 2015-2016 New York City Creating A Living Legacy (CALL) Program.
Devraj Dakoji, New York, NY
Marcos Dimas, New York, NY
Ted Kurahara, New York, NY
Joe Overstreet, New York, NY
Christy Rupp, New York, NY
Tara Sabharwal, New York, NY
Creating a Living Legacy (CALL) is an initiative of the Joan Mitchell Foundation designed to provide support to mid-career and established artists in the areas of studio organization, archiving, and inventory management, and through this work create comprehensive and usable documentation of their artworks and careers. Emerging artists are trained by the Foundation as Legacy Specialists to work with the CALL artists on their documentation.
Since 2007, the Foundation has been developing programs and granting initiatives that support the unique and valued legacies of individual visual artists. The Foundation and its partners in the CALL Program seek to raise awareness and promote a national dialogue around the importance and process of documenting the diverse cultural histories of individual artists. Through the CALL program, artists ensure that their legacies will last into perpetuity preserved in their own voices, while simultaneously expanding opportunities for career advancement.
This fall, the Foundation will work with a group of artists nominated by local cultural institutions and art organizations based in New York City. The organizations have been selected as nominators based on their strong relationships with a diverse group of visual artists and their commitment to preserving the rich histories of contemporary artists in the New York City area.
The Foundation plans to continue expanding the CALL program in the years to come, through creative partnerships that produces tools and resources to assist artists in protecting and their cultural legacies. In early 2015, with the Arts & Business Council of Greater Boston/Volunteer Lawyers for the Arts of Massachusetts, the Foundation released "Creating A Lasting Legacy: Estate Planning Workbook for Visual Artists," a free resource guide developed to aid mature artists in planning for their estates. This fall, the Foundation will also partner with Voices of Contemporary Art (VoCA) to develop "Creating A Living Legacy: Artist's Voice Program," a series of panel discussions featuring artists that have completed the CALL program. Focused webinars and further outreach materials will be developed during the fall and in the coming year.

About the Joan Mitchell Foundation
Established in 1993, the Joan Mitchell Foundation is an artist-endowed non-profit organization. The Foundation celebrates the legacy of Joan Mitchell and expands her vision to support the aspirations and development of diverse contemporary artists. We work to broaden the recognition of artists and their essential contributions to communities and society. Through the CALL program, the Foundation seeks to acknowledge a diverse group of artists making work of exceptional quality, who will benefit from the recognition, support and career documentation services that the program provides.

For more information on the Joan Mitchell Foundation, the CALL program, including a list of participating artists, please visit joanmitchellfoundation.org/artist-programs/call.

Contact:
Shervone Neckles-Ortiz
Artist Support Manager
212.524.0100
- See more at: http://joanmitchellfoundation.org/news/six-artists-selected-for-the-2015-2016-new-york-city-creating-a-living-lega#sthash.p5RZB0lV.dpuf

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7. Gail Vachon, FF Alumn, at 1665 Norman St., Ridgewood, Queens, thru Oct. 30

Checkered History
The Grid in Art & Life
A group exhibition of 60 artists and over 100 objects that celebrates the use of the grid as a structural component, a design element, and as a game in the creation of artworks.

Opening reception Friday, October 2, 6 - 9:30pm
On View October 3 - 30, Wed.-Sun. 1 - 7pm
1665 Norman Street, Ridgewood, Queens
Subway: L train to Halsey
Organized by Ruth Kahn and David Weinstein
www.outpostartistsresources.org

Checkered History
The Grid in Art & Life
Opening reception Friday, October 2, 6-9:30pm
On View October 3-30, 2015, Wed.-Sun. 1 - 7pm or by appointment
Outpost Gallery, 1665 Norman Street, Ridgewood, Queens, NY 11385
Gallery Phone (718) 599-2385
Subway: L train to Halsey
Organized by David Weinstein and Ruth Kahn
Emerging from a potent and ancient cross-pollination of math, weaving, and the wetware of perception, the psychological and practical application of the grid as a tool for creative expression has fueled extraordinary and imaginative solutions. The exhibition surveys and celebrates the use of the grid as a structural component, a design element, and a game in the creation of artworks. The grid is embedded everywhere in our global environment and our culture, both in and on our bodies: the quilts under which we dream; the LEGOs in the toy chest; the blasted screens in our pockets that contain our lives, and the ones where we annihilate each other over and over in game-play and where we watch ourselves do the same thing IRL on the news every night. This exhibit of 60 artists and nearly 100 objects focuses on the influence of the grid in the work of emerging and mid career artists alongside historic works, ephemera, and household objects and incorporates, painting, sculpture, textiles, video, photography, collage, interactive work, installation, site-specific work, toys, and sound.

Lala Abaddon · Meg Atkinson · Larry Auerbach · John Avelluto · Stephen Beal · Serra Victoria Bothwell Fels · Michael Caputo · Paul Corio · Caroline Cox · Ryan DaWalt · Lori Ellison · Robert Otto Epstein · Nate Ethier · Ellen Hackl Fagan · Jean Foos · Matt Freedman · Rico Gatson · Lawrence Greenberg · Crystal Gregory · Lisa Hein · Christine Heindl · Dale Henry · Robert Hickman · Brece Honeycutt · Gilbert Hsiao · Robin Kang · Suzanne Kelser · Sabine Laidig · Lindsey Landfried · Eric A. Mack · Doris Marten · Brenna Murphy · Ellie Murphy · Max Neuhaus · Fran O'Neill · Matthew Ostrowski · Rob de Oude · Alex Paik · Bruce Pearson · Ronald Pellegrino · Jerry Pinsler · Cathy Nan Quinlan · Kathryn Refi · Peggy Reynolds · Erin M. Riley · Barbara Rosengarth · Andrew Ross · Etta Sandry · Bob Seng · Filipe de Sousa · Tim Spelios · Oriane Stender · Andrew Sutherland · Laurie Szujewska · Gail Vachon · Siebren Versteeg · WallyGPX · David Weinstein · Jeremy Wood · Dustin Yellin · John Zorn

Checkered History is a is part of the SeeThru program at Outpost Artists Resources a non-profit arts organization and is made possible, in part, with support from the New York City Department of Cultural Affairs, the New York State Council on the Arts, and individual donors.

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8. Kimsooja, FF Alumn, at Centre Pompidou-Metz, France, thru Jan. 4, 2016, and more

Kimsooja - To Breathe, Centre Pompidou-Metz
October 26, 2015 - January 4, 2016

Kimsooja, To Breathe: Bottari, 2013, mixed media installation, partial installation view with the artist at the Korean Pavilion, The 55th Biennale di Venezia, photograph by Jaeho Chong, courtesy of Kukje Gallery, Seoul, Arts Council Korea, and Kimsooja Studio
Kimsooja - To Breathe, Centre Pomidou-Metz, Metz, France
October 26, 2015 - January 4, 2016

To Breathe and its latest installment at Centre Pompidou Metz seeks to be the sum of the artist's early meditation on painting, where the surface of the canvas is intuited to become a mirror that wraps identity, space, and time; and where brushstrokes are destined to dematerialize into a splitting of light.

For this exhibition Kimsooja takes on the spaces of Centre Pompidou Metz's ingenuous architecture to create a three-dimensional tableau that transforms a long span of the museum's gallery and its bay windows into a liquid-like mirrored surface, that the artist expressed to be in previous installations an ever-expanding "fabric that is sewn by our gaze1."

Thinking of mirrors as an opportunity to fold and unfold spaces (A continuation of the artist's involvement with the Korean tradition of wrapping belongings into travel bundles known as Bottari in Korean), Kimsooja first made use of mirrors for Harald Szeemann's 1999 Venice Biennale where she reflected a loaded truck onto a wall sized mirror that provided a virtual exit for the vehicle. The piece was dedicated to the refugees of Kosovo. She further explored infinite spaces by installing mirrors on the walls of a laundry installation of abandoned Korean bedcovers for A Mirror Woman (2002), and pointed to the migratory perspective opened by mirrors while reflecting the sky on the ground of her mirrored installation The Ground to Nowhere (Honolulu City Hall, 2003). Always in search of wrapping space and time, Kimsooja enveloped the transparent building structure of the Palacio de Cristal in Madrid with mirrors and diffraction films (To Breathe/Respirare, 2006); and the Korean Pavilion in Venice with diffracting spectrums and reflective surfaces (To Breathe: Bottari, 2013) that invited the audience into a journey inside and outside of themselves, and into a poetic space where our perception of light, color and orientation is deconstructed and exposed as an unfolding plane.

To Breathe, performed for the Centre Pompidou Metz spans the museum's entrance forum area, the 80 meters long Gallery 2, and the breadth of the opposite ends of two bay windows. The space of the museum's gallery will find its utmost expression as a tableau: from the windows light is split, to be reflected on an almost liquid surface and reunited inside the projection of the artist's video piece To Breathe: a series of digital monochromes accompanied by the sound of a chorus of the artist's inhalation and exhalation.

Kimsooja's everlasting examination of the dualism of light and surface, sewing and weaving, wrapping and unwrapping; her transposition of the concept of point as the pin of a needle and that of line as a thread, and of plane as the reflecting surface of a mirror, questions the foundation of materiality as it pertains to migration and exile, and exposes the complex relations of art and humanity, cultural and political existence.

1In An Interview with Kimsooja, Olivia Maria Rubio, 2006, on the occasion of To Breathe/Respirare, Palacio de Cristal, Parque del Retiro, Madrid

Centre Pompidou-Metz

Exhibition from the Collection MAC/VAL, Paris
October 24, 2015 - January 2016

Kimsooja, Bottari Truck - Migrateur, 2007, Single Channel Video Projection, silent, 10:00, loop, performed in Paris, Commissioned by Musée D'Art Contemporain du Val-De-Marne (MAC/VAL), Still Photo by Thierry Depagne, Courtesy of MAC/VAL & Kimsooja Studio
Exhibition from the Collection, MAC/VAL, Paris
October 24, 2015- January 2016
Opening Reception: Friday October 23, 2015

Kimsooja's video piece records a performance in Paris in which she evokes the constant state of migration that characterizes our global society. The Bottari Truck loaded local immigrants' bedcovers and used clothing donated from all over Paris on top of an old Peugeot pick-up truck. Kim started her "migration" from Place de la Liberation, where Musée MAC/VAL, which commissioned the piece, is located, and which is also on the border of the area of Paris where many immigrants from China, the Middle East, Africa and Eastern Europe live. The truck moved through the neighborhoods of Paris, each containing a different history of immigrants to France: Ivry (where there is a Chinese community), Place d'Italy, Bastille, Place de la Republic, Canal Saint-Martin (which used to have homeless people's tents along the canal), Gare du Nord, Goutte d'Or (where there are African, Middle Eastern, Indian communities), and finally to Église Saint-Bernard, where in 1996 many illegal immigrants fought for their rights to live in France.

MAC/VAL

Kimsooja, A Beggar Woman - Cairo
Smith College Museum of Art, Massachussets
October 9 - November 8, 2015

Kimsooja, A Beggar Woman - Cairo, 2001, single channel video, Tibetan Monk Chanting (sound), 8:53, Courtesy of Smith College Museum of Art and Kimsooja Studio
Kimsooja, A Beggar Woman - Cairo, Smith College Museum of Art, Northampton, Massachusets
October 9 - November 8, 2015

A Beggar Woman - Cairo is one of three videos in the Beggar Woman series of 2000-2001, including performances on the streets of Mexico City and Lagos.

A Beggar Woman - Cairo was purchased with the gift of Jungkoo An and Ae Young Han, in honor of their daughter, Sabina An, class of 2016; an anonymous gift; and funds from the Contemporary Associates.

This video is the inaugural work shown in the Museum's New Media Gallery on the lower level.

Smith College Museum of Art

Art_Textiles
The Whitworth at The University of Manchester

October 10, 2015 - January 31, 2016

Kimsooja, Sewing Into Walking - Kyungju, 1994, 19:40, silent, loop, video still, Courtesy of Kewenig Galerie, Berlin and Kimsooja Studio
Art_Textiles, The Whitworth at The University of Manchester
October 10, 2015 - January 31, 2016

Since the 1960s, a growing body of contemporary art demonstrates a new engagement with the materials and techniques of crafts, particularly textiles, raising questions about the value of the handmade in the digital age. This show will include artists such as Magdalena Abakanowicz, Tracey Emin, Grayson Perry, Ghada Amer and Kimsooja who use textiles as a powerful tool for expressing ideas about the social, political, and artistic.

Art_Textiles - runs 10 October to 31 January 2016. Free Entry.

The Whitworth at The University of Manchester

Current Group Shows

Kimsooja at Proportio

May 9 - November 22, 2015

Kimsooja, A Needle Woman: Galaxy was a Memory, Earth is a Souvenir, 2014, C-Print, 32.5 x 46.25 inches, with collaboration from Jaeho Chong (architect), Professor Ulrich Wiesner (nanomaterials sceince and engineering), photo by Aaron Wax, Courtesy of Axel Vervoordt Gallery, Antwerp, Cornell Council for the Arts, Ithaca, New York, Axel Vervoordt Gallery, Antwerp, and Kimsooja Studio
PROPORTIO, Axel and May Vervoordt Foundation, Palazzo Fortuni, Venice
May 9 - November 22, 2015

The exhibition PROPORTIO examines the role that proportion plays in our lives and the complex universe in which we live. By examining wide-ranging and diverse representations found in art, nature, physics, economics, history, science, music, medicine, and many other subjects, the study of proportion uncovers the natural patterns that are used to create everything in the material world. Proportion is not only a question of numbers. Nor is it a simple comparison of measurements and dimensions in relation to a whole. According to Plato, the definition of proportion is the transition from duality to unity. It's the investigation of how elements and patterns are connected and interconnected across disciplines. It's the investigation of how we, as humans, perceive those patterns through our senses, as well as through our intuition. It's also an exploration of how universal proportions guide our understanding of creation and the dynamic dance between order and chaos.

Throughout the course of known human history, the knowledge of proportions and sacred geometry in particular, has been applied across many civilizations for thousands of years. The sophisticated knowledge of sacred geometry, especially the golden ratio, was considered highly advanced and closely related to secretive spiritual wisdom and religious traditions. As a result, its use was controlled, because it was thought that it's misuse might have undesirable consequences. In the Western world, the knowledge of sacred geometry was so secret that it was intentionally guarded for hundreds of years and may have been purposefully forgotten or discarded.

What was known? How was this knowledge used in the past? How can it help us to understand the world around us today? As an exhibition, the aim of PROPORTIO is to re-start a contemporary dialogue surrounding the lost knowledge of proportions and sacred geometry.

PROPORTIO features specially commissioned artworks by contemporary artists, 20th century masterpieces, Old Master paintings, archaeological artifacts, as well as architectural models and a large library of historical books on proportions. All these works provide a lens to help us see what proportion can teach us about the essential design of the present and how we can use this knowledge to create a blueprint for the future. This exhibition is an opportunity to explore universal proportions and an invitation to reflect upon the interconnectedness of our universe.

Axel and May Vervoordt Foundation

Experiments with Truth: Gandhi and Images of Nonviolence

April 15 - January 3, 2016

Some of Gandhi's last possessions, ca. 1948-50. Photographer unknown. James Otis/GhandiServe
Experiments with Truth: Gandhi and Images of Nonviolence, Crescent Museum, Geneva, Switzerland
April 15, 2015 - January 3, 2016

Nonviolence immediately calls to mind a face, a smile, an easily recognizable figure: Mahatma Gandhi.
In 1927 Gandhi published an autobiography entitled "My experiments with truth." The title refers to satyagraha, the "force of truth," the cornerstone of civil disobedience that he championed and exemplified throughout his life. A milestone of nonviolent thought and action, Gandhi's life story was the natural choice for the guiding principle and title of an exhibition on the art of nonviolence.
Gandhi's personal, spiritual, ethical and political journey is illustrated in its entire complexity through a large number of documents, which include a remarkable series of photographs by Henri Cartier-Bresson. The exhibition also reveals, however, the extent of his legacy: Experiments with Truth presents nonviolence as a powerful inspirational force in the visual arts. With around one hundred items on display, the exhibition initiates a dialogue between cultures, the arts and techniques: tantric paintings, Koran parchments, Jain sculptures, Byzantine icons. Contemporary artists such as Marlene Dumas, Dan Flavin, Amar Kanwar, Kimsooja, Yves Klein, Robert Rauschenberg, and Ai Weiwei also take up the messages of nonviolence.
Experiments with Truth. Gandhi and Images of Nonviolence is organized by The Menil Collection, Houston.

Red Crescent Museum, Geneva

www.kimsooja.com

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9. Sur Rodney Sur, FF Alumn, at 315 Gallery, Manhattan, Oct 14

Wednesday Oct. 14, 7-8 pm

Sur Rodney (Sur) enigmatically recognized as an archivist, curator, artistic collaborator, conceptual and performance artist, community activist, and writer, is most renown for his position as co¬director of the Gracie Mansion Gallery (1983¬-1988). Since the early 90s Sur has been a member of Other Countries, a group of Black gay writers who publish anthologies and organize writers' workshops. Sur's work with artist's estates, at cause to the HIV/AIDS pandemic, led him to serve on the board of Visual AIDS for 15 years, where he helped establish the Visual AIDS Archive Project to assist artists with HIV/AIDS while preserving a visual record of their work and helping them reach new audiences. Sur continues to consult and work with archives and records management of artist's estates while developing projects with many artists that would include black feminist conceptual artist Lorraine O'Grady and performance artist Arleen Schloss among them. Sur is currently based in New York where he lives with his spouse Fluxus artist Geoffrey Hendricks.

315 Gallery
315 W 36th Street
New York, NY 10018
www.315gallery.com

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10. Leon Ferrari, FF Alumn, at Sicardi Gallery, Houston, TX, opening Oct. 13

LEON FERRARI: TO WRITE
October 13 - December 19, 2015
Opening Reception: Tuesday, October 13, 6-8 pm
Sicardi Gallery is pleased to announce the opening of León Ferrari: To Write, with a reception on Tuesday, October 13, from 6 to 8 pm. Curated in collaboration with the Fundación Augusto y León Ferrari, the exhibition includes drawings, paintings, collages, objects, and sculptures made between 1962 and 2008.

The exhibition coincides with the opening of International Pop at the Dallas Museum of Art. Curated by Darsie Alexander and Bartholomew Ryan and organized by the Walker Art Center, the exhibition includes Ferrari's iconic sculpture La civilización occidental y cristiana, which was censored when was first shown in the Di Tella Prize Exhibition in Argentina in 1965.

León Ferrari: To Write explores the role of writing in Ferrari's diverse artistic production. Pairing abstractions with the artist's politically critical objects and collages, the exhibition makes a case for the strong interrelationships between these seemingly diverse projects.

About the Artist
Born in 1920 in Buenos Aires, León FerrarI's artistic practice encompassed the media of painting, collage, sculpture, poetry, and printmaking. Known internationally for his often-provocative social and political critiques, Ferrari made work that was highly critical of war, social inequality, discrimination, and abuses of power.

In the 1950s, Ferrari traveled repeatedly to Italy, where he began making sculpture. In the early 1960s, he began exploring the connections between word and line in Cuadros escritos (Written Paintings) and Dibujos escritos (Written Drawings) and he continued these explorations throughout his career. These abstract "writings" on canvas and paper combine dry pastel, graphite, watercolor, and colored pencil to make lyrical, almost calligraphic imagery.
In the late 1960s, Ferrari participated in the collective known as Tucumán Arde. The group intended to draw attention to the conditions of the Tucumán Province through an intervention into the circuits of mass communication, countering the official news media of the Argentine dictatorship. During this period of increasing political activism, Ferrari published what would become a famous manifesto and call-to-arms for artists, in which he wrote, "Art is not beauty or novelty, art is effectiveness and disruption..."

Ferrari's work is included in numerous important international collections, including: Bronx Museum of the Arts, Bronx, NY, USA; Casa de las Américas, Havana, Cuba; Centro Wifredo Lam, Havana, Cuba; Cisneros Fontanals Art Foundation (CIFO), Miami, FL, USA; Daros Latinamerica Collection, Zürich, Switzerland; Davis Museum, Wellesley College, Wellesley, MA, USA; Diane & Bruce Halle Collection, Scottsdale, AZ, USA; Harvard Art Museum, The Fogg Museum, Cambridge, MA, US; The Jack S. Blanton Museum of Art, Austin, TX, USA; Museo Carrillo Gil, Mexico City, Mexico; Museo de Arte Contemporáneo de Bahía Blanca, Argentina; Museo de Arte Contemporáneo, Argentina; Museo de Arte Latinoamericano de Buenos Aires (MALBA), Argentina; Museu de Arte Moderna de São Paulo, Brazil; The Museum of Fine Arts, Houston (MFAH), TX, USA; The Museum of Modern Art (MoMA), New York, NY, USA; and Tate Modern, London, UK; among others.

For more information, please visit www.sicardigallery.com, contact the gallery at press@sicardi.com, or call 713.529.1313.

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11. Nancy Buchanan, FF Alumn, at University of California Irvine, opening Oct. 22, and more

JONNY

PREMIERE
Thursday 22 October 2015 18.00 - 21.00

ON VIEW
23 October - 19 December 2015

WITH
Ivan Argote, Nancy Buchanan, Distruktur, Viking Eggeling, VALIE EXPORT,
Sylvie Fleury, Lotte Meret, George Petrou, Jonnine Standish, amongst others

In addition to this group exhibition, My work is included in
The Experimental Television Center: A History, Etc . at Hunter College

and in "A Performative Trigger" at UC Irvine.

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12. John Ahearn, Richard Artschwager, Dara Birnbaum Roy Colmer, Jaime Davidovich, Mary Beth Edelson, Su Friedrich, David Hammons, Joan Jonas, Louise Lawler, Howardena Pindell, Yvonne Rainer, Kiki Smith, FF Alumns, at MoMA PS1, Long Island City, Queens, thru March 7, 2016

https://news.artnet.com/art-world/greater-new-york-2015-artist-list-336493

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13. COBRA, FF Alumns, in The New York Times, Oct. 8

The New York Times
Cobra Artists Worked With a Passionate Style to Match Their Name
By ROBERTA SMITH
OCT. 8, 2015

Cobra, one of the least-known of postwar Europe's avant-garde movements, came together in Denmark in 1948 and disbanded by 1951. Its prime movers included Asger Jorn, a brilliant, restless Dane; Pierre Alechinsky of Belgium; and three Dutch artists: Karel Appel, Corneille and Constant. They named themselves using the first letters of the cities where most members resided: Copenhagen, Brussels and Amsterdam. But Cobra also fits the vehemence and flexibility of the style, which, during its brief life, breathed fire and shape-shifted like crazy.

You sense this volatility in "The Avant-Garde Won't Give Up: Cobra and Its Legacy," a remarkable exhibition at Blum & Poe, organized by the independent curator Alison M. Gingeras. It's stylishly installed in five rooms painted in saturated hues perfectly keyed to the group's wildness. (Designers of museum exhibitions should visit for the wall colors alone.)

But, mainly, there are the freedom and irreverence of the art itself - the bright, thickly painted surfaces; the often slurry hybrid creatures inhabiting them; as well as the masklike sculptures. Neither exactly human nor animal, these beings speak of the devastation of World War ll but also of the determination, fueled by acidic humor and joy, to survive it.

It's easy to see why Cobra has been neglected. Unlike more studied postwar art movements here and abroad - Group Zero, Gutai, Art Informel - Cobra does not point ineluctably toward Minimal and Conceptual Art. It's an outlier: painting-centered, expressionistic and Northern European, in addition to being rather theory-averse. It looked to outsider, children's and non-Western art for inspiration, as had the German Expressionists, Picasso and Paul Klee. Today, it reaffirms the connection of psyche, hand and eye that a lot of today's artists - from Brian Belott to Josh Smith to Nicole Eisenman - seem to be searching out.

Paralleling the rise of American Abstract Expressionism, Cobra also offered a less austere version of action painting and allovercomposition, while melding figuration and abstraction, as Jackson Pollock and Willem de Kooning did in the early 1950s.

The show even nods to Cobra's Danish precursor: the country's underground resistance artists, known as Helhesten or Hell-Horse, formed during the dark days of the war in opposition to the social realism imposed by the Nazis. Several Helhesten members segued into Cobra - not only Jorn, but also Henry Heerup, Egill Jacobsen, Else Alfelt and Carl-Henning Pedersen. Their efforts, ranging from 1936 to 1949, start the show with a bang, against red walls. Pedersen's "Glittering Landscape," from around 1949, is an allover slab of white and yellow paint incised with faces that seems to have been painted atop van Gogh's "Starry Night."

One of the lesser-known names is Eugene Brands, a Dutch artist whose exceptional masks are familiar only from handsome photographs, taken by Frits Lemaire, that sometimes show the artist wearing them (cue the Cindy Sherman reference). They are shown on a wall with small bronze heads by Sonja Ferlov Mancoba. Their robotic boxiness presages digital presences, starting with the video arcade phenomenon Pac-Man. Her husband, the South African artist Ernest Mancoba, who died in 2002 at the age of 96, contributes a delicate, allover work from 1963.

Jorn is ubiquitous, portraying the punch-like wanderer Melmoth in oil in 1955 and collaborating with other artists. He would go on to help found the conceptually inclined Situationist International and then his own Scandinavian Institute of Comparative Vandalism. Also here is his well-known example of such high jinks, from 1962: a found 19th-century thrift store painting of a little girl, accented with mustache and goatee, à la Duchamp's Mona Lisa, and seemingly defaced with the rallying cry that is this show's title.

It's a lot to absorb, and there's a second installment, opening at Blum & Poe's Los Angeles flagship on Nov. 5. It will emphasize Cobra's legacy, which would seem to begin with so-called Neo-Expressionism in the 1980s. It's also time for a thorough Jorn retrospective in New York. The last was in 1982 at the Guggenheim.

"The Avant-Garde Won't Give Up: Cobra and Its Legacy" runs through Oct. 17 at Blum & Poe, Manhattan; 212-249-2249, blumandpoe­.com.

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14. Robert Mapplethorpe, FF Alumn, in The New York Times, Oct. 7

The New York Times
Mapplethorpe Photograph Brings $478,000 at Auction
By DANIEL MCDERMON

A photograph by Robert Mapplethorpe, once denounced in the United States Congress, sold at auction at Sotheby's in New York on Wednesday for $478,000, including fees.
"Man in Polyester Suit," a black-and-white image from 1980 depicting a black man wearing a three-piece suit, with his penis exposed, was estimated at $250,000 to $350,000.
The image helped touch off a cultural conflagration in 1989 when Senator Jesse Helms cited it among examples of "filthy art" which had received funding from the National Endowment for the Arts.
"Man in Polyester Suit" was also part of a show of Mapplethorpe works that led to criminal obscenity charges against the director of Cincinnati's Contemporary Arts Center. (He was acquitted in 1990.) The decidedly not-safe-for-work image, which cannot be reproduced here, can be easily found through a search engine.
In subsequent years the image has come to be seen as a key Mapplethorpe work, touching on issues of race, class and sexual stereotypes. The last time this print was sold at auction, in 1992, it traded hands for $9,900 (about $17,000 when adjusted for inflation).
Mapplethorpe will also be the subject of a retrospective exhibition next year in Los Angeles at the J. Paul Getty Museum and the Los Angeles County Museum of Art.

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15. Sol Le Witt, Lucy Lippard, FF Alumns, in The Wall Street Journal, Oct. 8

The Wall Street Journal
U.S. NEW YORK NY CULTURE
Book Store Gets to Heart of the Matter With Expansion
By ANDY BATTAGLIA
Oct. 8, 2015

Of New York's many bookstores, there may be only one that stocks volumes published on pages made of sandpaper and glass.

That would be Printed Matter, Inc., a not-for-profit destination for artists' books which offers playful and conceptually minded publications ranging from picture collections and photocopied magazines to small-edition curios made by hand.

Founded in 1976 as part of the downtown art scene, Printed Matter has served as both a resource and a hub for such work over the last decade. Next week, it will move from its location in the Chelsea gallery district to a nearby space with extra room for exhibitions and programming that reveal the many possibilities of artists' books.

"The book is an architectural object with moving parts and multiple surfaces," said Max Schumann, director of Printed Matter and steward of its growth in recent years. "It can be multidimensional and interactive."

The new home on 11th Avenue at West 26th Street features twice the square footage and two stories, connected by a spiral staircase. Mr. Schumann said the expansion was needed because inventory, programming and staff have all more than doubled over the past decade.

The NY Art Book Fair, an annual gathering organized by Printed Matter, has helped that growth-last month it drew 35,000 attendees to view artists' books from 380 exhibitors at MoMA PS1 in Queens. But more is attributable to the long-standing reputation of the shop itself.

When shopping around his 1968 publication "Statements," a pioneering work in the artist-book legacy, Lawrence Weiner said bookstores in the city didn't know what to do with a volume comprising nothing more than descriptions of ideas for artworks. ("One sheet of plywood secured to the floor or wall," reads one page. Another: "One standard dye marker thrown into the sea.")

"Printed Matter did-and still does-serve an extremely important function," Mr. Weiner said of a store that was conceived by artist Sol Le Witt and critic Lucy Lippard to champion just that type of work.

Among its current stock of 12,000 titles are meticulously handmade books as well as several decades' worth of 'zines-small-circulation periodicals often printed via photocopier and focused on eccentric fields of interest from punk rock to esoteric history.

'Zine culture relates to the underground press of the '60s and all the way back to political pamphleteering in the 18th century, Mr. Schumann said of a lineage that prizes independent and idiosyncratic publishing.

As a nonprofit, Printed Matter covers 55% of its operating costs through sales, with grants and other fundraising making up the rest.

"We're not based on commercial interest," Mr. Schumann said. "Sales is an important part of our income, but our mission is to foster the distribution and understanding and appreciation of artists' books."

A capital campaign has already secured $750,000, with hopes of raising $1 million, to cover costs of the move and build-out of the new space, designed pro bono by New York-based Handel Architects. The operation includes a staff of 10 to oversee everyday business and a series of events.

"They involve everybody from established artists to people who are really new to art-making. It's democratic," said Josh Smith, a painter whose work in book form includes "The Signing," a facsimile of the sign-in book from a gallery show of his in 2007. The text is nothing but names scrawled on the page.

"Asperity," by David Stairs, lists statistics comparing the U.S. to other cultures around the world, all screen-printed on sandpaper. An issue of the experimental-poetry journal "Generator" came published on a single sheet of glass.

Such books share shelf space at Printed Matter with more conventional works, with new areas designated for exhibitions curated to give artists' books more context.

"They have consistently good programming that is often overlooked because their space has been small," said Miriam Katzeff, co-founder of the influential art-book publishing enterprise Primary Information. "They have created an audience."

The first exhibit in the new shop, set to open to the public next Thursday, is a survey of Paper Rad, a collective that published 'zines and directed various web activities from 1997 to 2009. Another will be an exhibit of a mail-art piece inspired by the late artist Ray Johnson, known, in part, for sending out drawings and asking for additional decoration from random recipients in a chain.

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16. Laurie Anderson, FF Alumn, in the Wall Street Journal, Oct. 8

The Wall Street Journal
U.S. NEW YORK NY HEARD & SCENE
Reflecting on 'A Heart of a Dog'
Taking a walk with performance artist Laurie Anderson and her new dog, Will
By MARSHALL HEYMAN
Updated Oct. 8, 2015

On Thursday evening, the performance artist Laurie Anderson showed her movie, "Heart of a Dog," to local audiences at a premiere at the New York Film Festival.

But glamorous screenings don't mean small errands can be ignored, and earlier that morning, Ms. Anderson had to take her dog Will, a border terrier, for a walk.

"Heart of a Dog," which will open at Film Forum on Oct. 21, was originally commissioned in 2012 by a French German television company that produces films by artists, said Ms. Anderson. (HBO will air the movie in the spring.)

"They asked me to do a film about my philosophy of life," she recalled, "and I thought, if I had one, I wouldn't put it in a movie." But her dog had just died and someone suggested perhaps that could be a subject on which she might ruminate.

The dog in question is Lolabelle, a rat terrier that played piano and made art, who died in 2012. Ms. Anderson's husband, the late singer Lou Reed, died a year later.

Unlike Lolabelle, her current dog Will "doesn't paint, he doesn't do any of those things," Ms. Anderson said, as she and Will entered the elevator in the building of her Canal Street studio to head downstairs for the walk. Will had just stolen a muffin or two from a bowl on a table in Ms. Anderson's apartment.

"He likes to make up games," she explained. "He's a guy's dog. He tries to bond. Lolabelle was a lovely, sweet, piano-playing terrier, and Will is, like, 'Awesome. How's it going with you guys?' And don't you think he looks like Anthony Hopkins?"

As she and Will crossed the West Side Highway to the running path, Ms. Anderson explained that after Lolabelle died, she and Mr. Reed didn't have any plans to get a new dog.

"But we just happened to be at a breeder in Western Connecticut," Ms. Anderson explained, a twinkle in her eye. Elisabeth Weiss, who taught Lolabelle how to play piano, had brought them there. The border terriers they met, Ms. Anderson added sheepishly, were named after the royal family: a Kate, a Harry, and, of course, a Will.

At first Will was very shy, but, Ms. Anderson remembered, "We took him outside, and he started dancing around and twirling, and we thought, 'Maybe we'll just take him for a day.' And that turned into another day, and then we had 12 collars and 18 toys for him."

Laurie Anderson at the Venice International Film Festival in September. ENLARGE
Laurie Anderson at the Venice International Film Festival in September. PHOTO: NORDESTFOTO/SPLASH NEWS/CORBIS
As Will raced toward Tribeca, Ms. Anderson explained that her new movie, is, in part, about love and death, but in a light-handed kind of way.

"It's ineffable and it's very hard to talk about. Language fails you," she said, as Will stopped to relieve himself at a garbage can by Vestry Street and Ms. Anderson stared out at the waves in the harbor, noticing an abandoned blowup dolphin in the water. "I learned how to get old from Lolabelle. She slowed down and sat and basked in the sun. She wasn't in a big rush. That's how to go."

As they walked, Ms. Anderson hesitantly took a few moments inside a gated dog park to let Will run around with a couple of larger dogs.

"He's definitely a rough-houser. He's beyond the opposite of Lolabelle. Lolabelle didn't like other dogs. But tails are wagging, so that's good," Ms. Anderson observed. "Lou called him Little Willie. Little Willie's about to go into action."

After a quick jaunt around Pier 25, Ms. Anderson explained that her film was also about time and how to push through regrets and sentimentality. Though Mr. Reed plays a doctor, briefly, in the film, and his song "Turning Time Around," plays at the end of the film, Ms. Anderson doesn't speak much of him in it.

"Of course, it sucks to not have him here," she said. "He helped me so much in making things. He'd always say, 'That's too obscure. Why don't you just say it? Say what you mean.' When I couldn't finish my last album, he said, 'I'm going to come to the studio until you finish it.' He was the most wonderful person in the world and I feel so lucky to have been with him. I try to focus on that."

As Ms. Anderson and Will re-approached Canal Street, she admitted she was surprised she hadn't done more filmmaking over the course of her career. "In a funny way, it combines all the stuff I like to do: stories, images and music. I know how to do this."

Early viewers of "Heart of a Dog" have told her the movie "doesn't sound like a film, or it doesn't look like a film."

"And I take that as a compliment," she said, beaming, holding Will on his leash.

Write to Marshall Heyman at marshall.heyman@wsj.com

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17. Cathy Weis, FF Alumn, in The Wall Street Journal, Oct. 7

The Wall Street Journal
ARTS ARTS IN REVIEW DANCE REVIEW
Evoking '60s Loft Life at 'Sundays on Broadway'
Cathy Weis opens her SoHo workplace and home for a special series called 'Sundays on Broadway'
By ROBERT GRESKOVIC

WeisAcres is what Cathy Weis calls her workplace and home at 537 Broadway in New York's SoHo neighborhood. Ms. Weis, who has been creating fascinating and award-winning performances that pair dance with video and technology for over two decades now, has recently opened her loft space for the second year running to host a show-and-tell series called "Sundays on Broadway."

The informal one-off events feature, in the wording of a news release, "film screenings, performances, discussions, and all manner of gatherings" and are free and open to the public. Attending one offers a taste of what, in the 1960s and 1970s became familiar as loft dancing.

Once you ring buzzer No. 3 and get admitted, you're in a mint sampling of another era. If you bypass the tiny elevator and opt to climb three flights of well-worn stairs, the creaking of the wood takes you back to the time before SoHo became the commercial area that bustles outside 537's door. When you reach WeisAcres, a sign asks you to leave your shoes in the hall, before finding yourself in the open, 35-foot-wide space with "no columns," as Ms. Weis, who has lived here since buying the place in 2005 from fellow choreographer Simone Forti, notes about the dance-friendly place.

A homey array of seating presents itself: chairs, benches, mats, sofas, as well as a throw-pillow-dotted, colorful area rug for those limber enough to sprawl while taking in the proceedings. Ms. Weis, who has a reedy speaking voice and suffers from multiple sclerosis, is an easygoing host, taking time to give anyone unfamiliar with locations like hers details of the past.

No. 537 Broadway has a history as one of the artists' cooperatives known as "Fluxhouses" that came into being during the mid-'60s and early '70s. It was the 16th such building that George Maciunas (1931-1978)-a Lithuanian-born American artist who headed the post-Dada, 1960s avant-garde art movement called Fluxus-acquired as "live, work, show" spaces for the city's visual and performing artists.

This year's "Sundays" have already offered a screening of choreographer Yasuko Yokoshi's "Hangman Takuzo," a poetic, stream-of-consciousness video about a Japanese performance artist who has practiced "the art of suspension" for over 40 years by hanging himself from a tree in his garden, using a makeshift harness looped under his chin. Most recently, filmmaker Charles Atlas showed "The Legend of Leigh Bowery," which documents an Australian-born (1961-1994) provocateur on London's club and gallery scene who made his extraordinarily costumed person into a performance art object. Each evening includes a wrap-up talk-back that draws into the conversation a mix of people close to the subjects and those who attend out of general curiosity.

Informal performances by dancers-choreographers Juliette Mapp, Jodi Melnick, Douglas Dunn and Ms. Weis herself remain in the offing this year. So do improvised showings from Jon Kinzel, Jennifer Miller and Vicky Shick. And conversations with veteran 20th-century dancers Carolyn Brown, Sara Rudner, Gary Chryst and William Whitener are on this slate. A film made of a recent German reconstruction of "Choreartium," a now seldom seen but once prominent 1933 Brahms ballet by Léonide Massine, will be screened and discussed by the choreographer's daughter, Tatiana Massine Weinbaum.

Ms. Weis has a sign-up sheet on hand for getting email announcements of her "Sundays"; anyone else interested in the individual events, which so far need no reservations, can learn more at cathyweis.org. The atmosphere of these gatherings is congenial and casual; padding around in stocking feet sets a comfy tone. And while the atmosphere evokes New York in the 1970s, the artistry on view feels up to the minute.

Mr. Greskovic writes about dance for the Journal.

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18. Susan Bee, FF Alumn, in Gowanus Open Studios, Brooklyn, Oct. 17-18
Dear friends,

I will be participating in Gowanus Open Studios on Saturday, October 17 and Sunday, October 18th from 12-6pm, along with my artist neighbors: https://www.artsicle.com/Susan-Bee
Come by to see new paintings, books, and prints!

All the best,

Susan Bee

Studio address: 290 President St., between Smith St. and Court St. Near "F" or "G" train at Carroll Street (use North exit). Ring the bell marked "studio" at top of brownstone stairs, then go up one more flight of stairs.

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19. Pat Oleszko, FF Alumn, at Plaza Cultural Garden, Manhattan, Oct. 17

A short free Spectacle of Some Import

Saturday October 17th @ 4PM
at the Plaza Cultural Garden
9th St & C, Lower East Side
Part of the grand HONK! festival

Pat Oleszko and the cast-off thousands
a-dress the chilling nature of Arctic drilling, spilling and killing
with Bi-polar Bears and furry fury
the volumi-nuts Writhing Tide
an inflated QUIT DRAGGIN'
and the accursed (S)hellish Drilling P'atform

all orchestrated to the troubled-some tunes of
Ken Field and his mighty Band o' Rigged Workers.

We won and we're rubbing it in.

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20. Stefan Eins, FF Alumn, at CREON, Manhattan, opening Oct. 28

STEFAN EINS
Criminal Core in the Republican Party

Oct 28 to Nov 25, 2015
Opening Reception Wed, Oct 28, 6 to 9 pm
Hours Tue to Sat, noon to 6 pm

Press Release http://artforum.com/uploads/guide.003/id13044/press_release.pdf

CREON
238 East 24 St. (near 2nd Ave)
New York, NY 10010

Contact: 917.605.0974
norm@creongallery.com
www.creongallery.com

Donald Trump: "I will tell you that our system is broken, I gave to many people before this - before two months ago I was a businessman. I give to everybody. When they call, I give. And you know what, when I need something from them two years later, three years later, I call them. They are there for me. That's a broken system." Since 2012, Trump has donated $463,450 to Republicans and $3,500 to Democrats.

Convicted: Petraeus, Libby, Traficant, Watt, Abrams, Deaver, Butz, Mitchell, Agnew, Nixon

Savings and Loan scandal ($1.4 trillion bailout): Charles Keating, when asked if massive lobbying efforts had influenced government officials, replied "I certainly hope so."

Ninety percent of the corporations that were criminally convicted between 1989 and 2000 donated overwhelmingly to the Republican Party in 2012 . . . Regan's October Surprise . . . Cheney and Rumsfeld's Waterboarding . . . Bush's Invasion of Iraq . . .

"Eins' apple is the one that Einstein threw on Newton's head." ARTFORUM
"Otherworldly" artnet
"Utopian" Art in America
"All together an idea man" New York Times
OneUnoEins.com

Eins is the founder and director of FASHION MODA an ongoing cultural concept. It's been 30 years since the 1980 Graffiti show at FASHION MODA and nearly 30 years since Jenny Holzer first collaborated with Lady Pink. In this exhibition, Eins, a pioneer, continues trail blazing. Here the mammalian instinct to play and create, essential for the survival of the species, is unfettered by regulations and restrictive social patterns.

www.creongallery.com

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21. Doug Skinner, FF Alumn, releases new broadside

Black Scat Books has just released its eighth broadside, "Limerickshaw:
Haiku for the John." I've selected sixteen classic dirty limericks, and rewritten them as haiku. Cleansed of rhyme, each haiku reveals the laconic narrative at the core. Norman Conquest's design incorporates an equally classic erotic Japanese print, showing a heteronormative couple generating children. It's suitable for the boudoir or bath, although perhaps not other places in your home.

12 x 18 inches; printed on prime 80# UV-coated, acid-free stock.
Only $10 from Black Scat Books, at blackscatbooks(dot)com.

Doug Skinner

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22. Ang Sion, FF Intern Alumn, at Panoply Performance Laboratory, Oct. 17

song to remind you of yourself
in collaboration w. michael sloan warren

performancy forum: quinquennial
a 12-day conference of
live performance, talks, discussions,
workshops, & curatorial projects

panoply performance laboratory
104 meserole st, brooklyn, new york
saturday, oct. 17
performances in the 4:00-11:00 pm realm

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23. Kristine Stiles, FF Alumn, new publication
I'm pleased to announce the publication of this handsome new bi-lingual (German/English) volume, edited by Gabriela Gantenbein and with contributions by Hélène Cixous, Peter Engelmann, Rainer Fuchs, Gabriela Gantenbein, Jean-Luc Nancy, and Kristine Stiles (who wrote on Ion Grigorescu and Dan Perjovschi). Translations by Georg Bauer, Gaby Gehlen, Paul Maercker, Laurent Milesi, Claudia Simma, and Rachel Stella. 224 pages with numerous illustrations.
ISBN 978-3-7092-0176-3 Publication date: September 2015

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24. Frank Moore, FF Alumn, now online at jukepop.com

We are very excited to announce:

DEEP CONVERSATIONS IN THE SHAMAN'S DEN, VOLUME 1
by Frank Moore

is now being serialized on Jukepop.com

Chapter 1 - Preface / Paul Krassner
http://jukepop.com/home/read/9120?chapter=1

ABOUT THE BOOK

Frank Moore's Shaman's Den streamed live on the internet almost every Sunday night from 1998 until Frank's death in 2013. The Shaman's Den was a 2 1/2-hour variety show featuring in-studio concerts by bands from around the world and in-depth conversations about politics, art, music, and life.

In this volume, the first in a series, Frank and his guests explore a wide-open field of topics and present new, alternative ways of looking at everything from current economic and political situations to personal relationships.

The first interview featured in this volume is a conversation with PAUL KRASSNER, comedian/satirist and co-founder of the Yippies, from 1994.

"Frank: You always have inspired me.

Paul: Well, I'll tell you Frank, it's a two-way street 'cause you inspire me. So, let's continue to inspire each other.

Frank: How?

Paul: How? Because you work hard ... and you say what you mean ... and you communicate. It's difficult to communicate and you do it. And that's the most important thing ... that's what life is about is communication. And I respect it a lot. So, what else is there to do in life but communicate. You know, and you do it with passion and honesty. So that's inspiring."

ALSO FEATURED IN THIS VOLUME:

STEPHEN EMANUEL, musician, nurse and long-time friend

LOUISE SCOTT, "International bag lady" and long-time friend

DR. RICHARD KERBAVAZ, ENT doctor and surgeon

DAVID JOHNSON, one of the San Quentin Six, and ELDER FREEMAN, Catholic priest and founding member of the L.A. Black Panther Party for Self-Defense

SASHA CAGEN, Quirkyalone creator and author

PENNY ARCADE, New York performance artist

GERALD SMITH and TRACY JAMES, political activists and pirate radio DJs

MICHAEL PEPPE, San Francisco anti-performance artist and composer

KEVIN DANAHER, co-founder of the human rights and social/economic/environmental justice organization, Global Exchange

JOHN THE BAKER, singer, songwriter, punk musician and community organizer

"Talking with you was one of the most surprising, thought-provoking, inspirational experiences I've ever had. I feel like you've updated and expanded my definitions of art, conversation, intelligence, and even how I interpret the concept of 'a person'." - Capital, guitarist, Shroomy Shroom

" ... thoughtful questions well asked. It's a rare skill these days." - Shannon Flattery, Touchable Stories

"He's an amazing inspiration for anyone seeking freedom of expression without any physical or mental boundaries." - Silke Tudor, S.F. Weekly

"Freedom and the power of free speech has become the signpost of (Frank Moore's) work from the 1960s to today ... His career's work has been to burst through the barriers of social isolation that separate people." - Nick Stillman, Editor, NYFA Current

Published by Inter-Relations

You can buy the printed book or e-book here!
http://www.eroplay.com/shamansden/#order

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25. Joseph Nechvatal, FF Alumn, at Galerie Richard, Manhattan, Nov. 15-Dec. 16

announcing
Joseph Nechvatal
Odyssey pandemOnium
a migrational metaphor
November 15th - December 16th
Galerie Richard 121 Orchard Street, New York City

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26. Bob Goldberg, FF Alumn, at Dixon Place, Manhattan, Oct.14

Dear Friends and Relations:

This Wednesday, October 14th 2015, the Lounge at Dixon Place will feature a solo performance by Bob Goldberg and his Famous Accordion Stylings - original and pre-owned tunes, on accordion with occasional singing - including songs from his upcoming solo recordings ("Movie Music" and "Regular Music"), and others he's played with The Famous Accordion Orchestra, Le Nozze di Carlo and Washboard Jungle.

Bob Goldberg and His Famous Accordion Stylings The Lounge at Dixon Place 161a Chrystie Street (just north of Delancey - 2 doors up from Sammy's Roumainian) New York NY 10002

Wednesday October 14
7:30 PM

$10 sugg. donation. Drinks available.

I hope to see you there!

http://dixonplace.org/performances/bob-goldberg-and-his-famous-accordion-stylings/
https://www.facebook.com/events/1525140404444463/

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27. Kal Spelletich, FF Alumn, October events

Hello,
I am involved in 5 excellent events this week.

a. Tuesday, October 13 6:30pm - 8:30pm, 115 1/2 Bartlett Street, San Francisco, CA 94110
You are cordially invited to a reception for the re-election of Sheriff Ross Mirkarimi -- the most progressive Sheriff in the U.S.!
http://www.reelectrossforsheriff.com/

b. Thursday October 15, 2015
I am in an exhibit at The Jules Maeght Gallery 149 Gough Street in San Francisco 6 to 9 pm. I will have some interactive tree machine robots and a special surprise or two!

c. Later that night, Thursday, we are having a book release party at Adobe Books at 3130 24th street. From 7P.M. on.
http://www.adobebooks.com/ for a book on STREETOPIA, an exhibit I helped curate and construct.
https://www.facebook.com/events/598630346942102/

d. Friday October 16, at The Luggage Store Gallery on 1007 Market Street,
http://www.luggagestoregallery.org/
more better Streetopia events.
Where it all started. COME CELEBRATE THE RELEASE OF THE STRETOPIA BOOK WITH A NIGHT OF READINGS, SONGS, PERFORMANCES AND FOOD! @ the newly renovated Luggage Store Gallery.
Doors open at 7pm

e. Sunday October 18, The 3rd LAST Festival October 16-18 Stanford University Cubberley Auditorium
http://www.lastfestival.org/
The LAST (Life Art Science Technology) festival celebrates the confluence of art with the technologies and sciences that are shaping the 21st century. Free and open to everybody. I will be giving the closing remarks of the festival. "A Clash of Titans: the Counterculture and the Digital Society"

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28. Andy Warhol, Claes Oldenburg, FF Alumns, in The New York Times, Oct. 8

The New York Times, Oct. 8, Inside Art, by Robin Pogrebin and Hilarie M. Sheets

One Couple's Collection
When the Minnesota art dealer Gordon A. Locksley mounted Andy Warhol's first exhibition in Minneapolis, he introduced Warhol to two local collectors, Miles and Shirley Fiterman, whom he went on to photograph for his celebrated Polaroids.
Now 12 items from the Fitermans' extensive collection - valued at about $70 million and including works by Oldenburg, Miró, Lichtenstein and Picasso, as well as Warhol - are coming up for auction at Christie's, to be sold in three evening sales, on Nov. 9, 10 and 12. "They have artists in great depth," Laura Paulson, Christie's chairwoman of postwar and contemporary art, said of the collection. "Miles and Shirley were incredibly passionate - it really can't be overstated - they were actively involved as a couple in collecting. They had deep relationships with their dealers and with the artists they collected."
Ms. Fiterman, 90, lives in Palm Beach; her husband died in 2004 . Among the highlights of the sales are Roy Lichtenstein's "Crying Girl" (1964) and Picasso's "Homme Assis" (1972). Over several decades, the Fitermans donated or aided in the purchase of some 70 works for the Walker Art Center. In 1993, they donated a 15-story building to the City University of New York.

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Goings On is compiled weekly by Harley Spiller