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Contents for October 27, 2015

1. Franklin Furnace at Pratt Institute, Brooklyn, Nov. 2, location update

The location of our "Past, Present, and Future: Performance+Performance Studies at Pratt Welcomes Franklin Furnace" event on November 2 has changed to Pratt Film/Video at 550 Myrtle Ave, Brooklyn, NY 11205.

Past, Present, and Future: Performance + Performance Studies at Pratt Welcomes Franklin Furnace
Monday, November 2, 2015

Pratt Institute
550 Myrtle Avenue
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. RSVP to jenny@franklinfurnace.org



2. Martha Wilson, Edward Gomez, FF Alumns, now online at hyperallergic.com

Dear friends and colleagues:

My article about the artist Martha Wilson's exhibition of new photo-based works, which has just opened at P.P.O.W. Gallery in New York, has been published today in HYPERALLERGIC.

This article can be found here, on the magazine's website:


Best wishes to everyone...
Critic, author and contributing writer/editor for Art in America, Art + Auction, ARTnews, the Brooklyn Rail, Hyperallergic, Metropolis, Sculpture, the International New York Times, the Japan Times (Japan) and other publications
New York Correspondent, ART & ANTIQUES Magazine (U.S.A.), New York
Senior Editor, RAW VISION Magazine (U.K.), New York and London
Edward M. Gómez's new collection of stories, AS THINGS APPEAR, is available on the Ballena Studio website: www.ballenastudio.com



3. Coco Fusco, FF Alumn, in the Brooklyn Rail, Oct. 5




4. Taylor Mac, Julie Atlas Muz, FF Alumns, in the New York Times, Oct. 6




5. Elise Engler, FF Member, at Robert Henry Contemporary, Brooklyn, opening Oct. 30

Elise Engler's A Year on Broadway, Robert Henry Contemporary, Brooklyn, NY October 30 through December 20. Opening reception October 30, 6 to 9 PM.

I spent exactly one year drawing every block of Broadway in Manhattan starting on May 19, 2014 at the Broadway Bridge, just above 221st Street and several days later at Bowling Green and then alternated heading north and south. I finished A Year on Broadway on my corner at Broadway and 107th Street exactly one year later, on May 18, 2015. There are drawings of the 252 blocks depicting all four seasons including this year's brush freezing and snowy February and March. (I wasn't allowed to complain as I was a recipient of the National Science Foundation's Antarctica Artist and Writer's Grant several years ago.) On the street I made first layer of drawing/ watercolor and then completed the drawing using colored pencil and watercolors in my studio (with the help of digital images.) I enlisted a passerby to take a picture on me at every location. The final accordion folded drawing is roughly 102 feet long and 6 inches high. The drawing and the photographs will be on exhibit at the gallery.

David Owen wrote about it in New Yorker Magazine, covering the final drawing day. You can read about it here.






6. Heather Cassils, FF Alumn, now online at spillfestival.com

Hello: I'm closing the Spill Festival with my live burn piece at the National Theater

Thank you.
Heather Cassils



7. Marisa Jahn, FF Alumn, at Urban Justice Center, Manhattan, Oct. 29

On October 29, 2015, Art at UJC features two incredibly dynamic artists working at the nexus of social justice and policy, in conversation with leading cultural practitioners, advocates, and policy makers (including NYC Council Speaker Melissa Mark-Viverito).
Curated by artist Marisa Morán Jahn, The Art of Disruption, by Favianna Rodriguez, employs her signature colorful palette, solutions-oriented messaging, and archetypal figures to reimagine migration, economic equity, gender justice, and interdependence. Rodriguez is the cofounder of the cultural activist organizations Presente & CutureStrike, and her artwork has been described as "bold" and "immediate" by UTNE Magazine. Rap Sheet to Resume, by Gregory Sale (in collaboration with formerly encarcerated New York residents*), explores the notion of "threads" (uniforms, costumes, suits, or dresses) worn inside prison versus the one project participants envision wearing in the future. Sale currently works with the Anti Recidivism Coalition in Los Angeles, and he has received awards from The Andy Warhol Foundation, Ford Foundation, and Creative Capital.
"As one of the nation's leading legal service providers that serves over 19,000 of New York City's most vulnerable residents each year, UJC believes that art plays a critical role in re-sensitizing us to overlooked or complex issues," said Doug Lasdon, Executive Director of UJC.

October 29, 2015
5-6 pm: Reception for individuals who were formerly incarcerated, their friends & families
6-8 pm: Reception for general public and exclusive print sale with original artwork signed by Favianna Rodriguez.
6:15 pm
Opening Remarks: Melissa Mark-Viverito, Speaker of the New York City Council
Favianna Rodriguez, artist, activist and cultural organizer
Gregory Sale, artist and activist (w/ Susan Goodwillie & Johnny Perez from UJC)
Glenn Martin, Founder of Just Leadership USA and a national spokesperson on mass incarceration
Doug Lasdon, UJC Executive Director
Moderated by the exhibition's curator, Marisa Morán Jahn, artist, activist, UJC Designer
Oct 29, 2015 - Feb 26, 2016
To schedule a viewing, email art@urbanjustice.org
Thurs Oct 28th, noon - 1:30 pm: BYO Brown Bag lunch + Artist's Talk with Gregory Sale, Johnny Perez, and Marisa Moran Jahn. RSVPart@urbanjustice.org
Tues Dec 15th, 7:00 pm: Artist's Talk by Favianna Rodriguez. RSVP art@urbanjustice.org
LOCATION: The Urban Justice Center (40 Rector St, 9th Floor, New York, NY 10006)

*Special thanks to the "Rap Sheet to Resume" participants Lee Bentley, Catrice Bowen, Andre Cates, Candie Hailey-Means, Davon Harris, Anthony Jackson, Emmanuel Kelly, Eddie Mabane, Herbert Murray, Brunilda Rivera, Anthony Watson, John Black, Isaac Scott, and John B. Springs III.



8. Zachary Fabri, Clifford Owens, FF Alumns, at Skowhegan, Manhattan, Oct. 30

HARD WORK is a series of performances curated by Steffani Jemison A '08 and Clifford Owens A '04 focusing on issues of labor and production alongside economies of gift and exchange.
All performances: Friday, 7:30 PM, 136 W. 22nd Street, New York, NY
October 30
Joiri Minaya A '13
Marisa Williamson A '12
November 20
Zachary Fabri A '13
Becky Sellinger A '12
December 11
Melanie Crean, Shaun Leonardo A '04 & Sable Elyse Smith A '15
Katherine Hubbard A '15



9. Joe Lewis, FF Alumn, at Newport Beach Public Library, California, Nov. 2-Dec. 4

The Newport Beach City Arts Commission and Public Library
is very pleased to present

"American Alchemy"
by Joe Lewis
November 2 - December 4

Reception Saturday, November 21, 2015, 1-3 pm

Joe Lewis, is a nationally known artist, arts administrator, educator, and professor of Art at the University of California, Irvine.

"American Alchemy" uses cultural iconography and historical moments: the eagle, the flag, oil rigs, documents, etc., as springboards for the audience to re-investigate their personal relationships with the American historical experience. The work commemorates the environment, our political system, and occasionally takes a whimsical view of our foibles.

Critic Walter Robinson said, "for Lewis, the subject is not esthetic vanity but broader social and cultural deeds, that form both the reality and unconscious of 21st-centry life... these pictures look antique and futuristic both. Some photos have the quality of historical documents."

The exhibit is free and open to the public during library hours: Monday-Thursday, 9 a.m. - 9 p.m.; Friday andSaturday, 9 a.m. - 6 p.m.; Sunday, 12-5 p.m.



10. Terry Dame, FF Alumn, at Barbes, Brooklyn, Oct. 29

Hello friends,
I've got lots going on in the next few weeks including the only Weird Wednesday of the fall season this Thursday Oct. 29 at Barbes, a new sound installation and a Paprika Halloween show. All the details are below.

Weird Wednesday - Episode 24 - presents weird duos and we bring you not one but two weird duos.
Dalius Naujokaitis-Naujo and Daniel Jodocy are Siaubus. They play folkloric New York City music on invented instruments. Terry Dame and Lee Free are Horn of Plenty. They play folkloric music from Mars on invented instruments. This will rock.
Barbes - 376 9th Street, Park Slope

Next, I have a new sound installation just up at SVA Flatiron Gallery in Chelsea. The piece, called "Modern Age Peep Show", is a sonic exploration of the worlds fascination with the smartphone zone. The official opening is this Thursday evening. I won't be there because I will be at Weird Wednesday but the show is up for a month. Please check it out.
133 W 21st Street

Last but not least, Paprika will be in action this Halloween as usual. We will lead the Brooklyn Children's Parade on Saturday at 7pm with Samba drums and dancers followed by a full band set at Branded Saloon. It's a whole night of spooky tunes with Paprika and Julz A's Squeeze Rock starting at 9pm.
Saturday, October 31
Branded Saloon
603 Vanderbilt Ave, Prospect Heights, Bkln

Hope to see you somewhere soon.




11. Raquel Rabinovich, FF Alumn, now online at worldliteraturetoday.org


Rivers of Letters, Rivers of Mud: Reflections on Raquel Rabinovich
Marjorie Agosín

Raquel Rabinovich is a poet of the visual world. In the following meditation, Marjorie Agosín reflects on her fluid and ever-changing art.
When Raquel Rabinovich came to speak at Wellesley College in early spring 2015, the snow was still heavy on the ground, but the sun timidly appeared through the windows of the Margaret Clapp Library. Raquel's face seemed to be a part of this chromatic landscape, a landscape of darkness as well as light. When she began her lecture, I noticed that she was careful with her words: she always paused before speaking with a special grace, almost as if she were creating-with her presence-a visual experience. When I look at her work, I remember her serenity, and I also pause to contemplate her creations. They are ambiguous and filled with mystery. Impossible to define, they require the effort of an earnest viewer who seeks to participate in her works and inhabit her creations. The chromatic manifestations of many of her creations seem to reveal both dark and light, mysteries and possibilities. Raquel says that she does not want to explain her work; rather, we must be the ones to enter it.
I have spent much time listening to her words and reflecting quietly on her multifaceted artistic creation. In this brief meditation, I invite the reader to join me in what I have found and in what I continue to find. Her work is fluid and always ever-changing.
Raquel Rabinovich's art has to do with what at first seems to be unseen and then gradually becomes noticeable but not necessarily understood. She is interested in what is ambiguous and what takes time to be revealed. The observer must engage with her art, creating a dialogue and collaboration. More so for her, extraordinary art is an invitation to inhabit her world with those who wish to view her paintings with the serenity of an observer who is aware that what appears to be may not be-what is deeply dark may emerge also as light. . . .
Raquel's soft voice often seems to convey a deeper inner state of reflection. She uses metaphorical language to address the everyday, and it seems that her surroundings-from the forest of her home to the Hudson River, site of many metaphorical installations-are essential parts of who she is as a person and as an artist. I often ask her if I can take note of her words that, to me, seem inseparable from her art.
Born in Buenos Aires in 1929, Rabinovich was educated at the Universities of Córdoba, Edinburgh, and the Sorbonne in Paris. Due to the unstable political situation in her native country during the first reign of Juan Perón, she left for Edinburgh, Copenhagen, then Paris, went back to Argentina, and then to Montreal and New York. Her work began to gain notoriety while she lived in the US, where she began to experiment with several media: collage, pencil drawings, monochrome series, etc. Raquel is an indefatigable observer of the world around her-a world that she then meticulously, gingerly adapts to become her art. In her Rhinebeck, New York, studio, I sit quietly next to her and try to imagine what lies ensconced beyond the grays and blacks we have in front of us. As in poetry, words often give form to and become the very perception of their readers; when I regard Raquel's work, I feel I am entering a sacred visual text.
In our conversations throughout the years, Raquel has often looked at me and said that poets truly interest her, and I've smiled in response. She believes that a poetic imagination allows us to see the unseen and to perceive that which is not revealed to our eyes. I believe this is an essential way to look at her art.
The act of reading poetry also requires a passion and a commitment from the reader-an epistemological, cognitive bond that Raquel similarly requires of her art. In a recent visit this spring to her home in Rhinebeck, I had the opportunity to spend time with her-to hear her memories of Buenos Aires; to have conversations on Jorge Luis Borges, Roberto Juarroz, and Alejandra Pizarnik; and to listen to her stories of nomadic life that have inspired her art today.
Raquel believes that language and the visual arts are intertwined and in a perpetual dialogue. She says she gets her inspiration from the reading of poetry, and I feel that the work that most touches the poetic imagination is her work called River Library.
Raquel has been fascinated by rivers since the 1970s; she has said they resemble the fluidity of life-the movement of water-and in a very poignant way, Raquel once said to me and to our students at the college that rivers are free. They come and go as they please, and borders or governments do not bind them. But rivers have stories. For example, in one of her trips to India, Raquel collected mud from the Ganges. This is a sacred river, filled with rituals and burning bodies. The ashes tell an ancient story, she says. And thus, these river alphabets tell a story that precedes even the creation of language.
These river alphabets tell a story that precedes even the creation of language.
The mud Raquel collects, from all over the world, has the power to weave stories. Often in ancient history, the rivers have served as both place and destination, much like the Kumbh Mela that continues to be used for pilgrimages in India as well as the Nile, whose layers of mud bore witness to journeys made by Egyptian kings. These rivers contain layers and layers of mud. In the past, I've promised Raquel to bring mud from Chile-from the Mapocho River, where innocent bodies were thrown into this sacred body of water. I understand Raquel's magical and visionary way of thinking. She believes the rivers bring us histories and secrets.
For Rabinovich, the layers of mud-a river's mysterious process of sedimentation, blanketing, and coating-speak of a particular unity that is manifested through the fluidity of the water. It is a fluidity without boundaries, only freedom-an extraordinary metaphor for the power to imagine and to transform through art and through another kind of language. Such is a language that is manifested through the alphabets of mud that also tell stories of darkness and stories of light.
Together with the creation of the mud sequels that Raquel has been working on for a number of years, a parallel art form takes place. She calls it Emergences. Raquel started this project after she moved to Rhinebeck and began the process of collecting different rocks from the Hudson River-rocks of different shapes and colors. She worked with riverboat captains and even ecologists, searching for river sites to create these extraordinary installations. These installations can be measured and understood in terms of the six-hour cycle of high tide and flow. The stones seem edgeless, unassumingly arranged around the shorelines; they are barely seen at low tide. Instead, the eye focuses on the vertical rise and fall of the tides. The stone installations have thus become a part of the landscape and are seen as they integrate changes found in nature such as storms, wind, and erosion. Raquel has the power to synchronize such rhythms of life: the unexpected, the permanent, as well as the ebbing of things. Eventually, Raquel says that the river will make these stone installations invisible, but such is our life and the passages of life to death we are shuttled to and from. Nature will assume responsibility for the fate of the stones, much like the earth does for our lives.
Eventually, Raquel says that the river will make these stone installations invisible, but such is our life and the passages of life to death we are shuttled to and from.
As a poet and observer of the physical world, I find her art in the River Library project as well as in Emergences extraordinary. Through her art, I wonder how the possibilities of nature have been tied to the human imagination. And it is through her art that I realize that we must not seek to assume control of these processes of nature but rather be a part of them.
I often find myself thinking about Raquel's installations, her libraries of mud, and her work of multiple stones. They remain vividly in our imagination, as we can walk through them; we can see them and feel them. Often we can even hear the stones, as they are in a perpetual dialogue with the waters.
Raquel works with multiple media: mud, stones, line drawings, and monochromatic paintings, where only one color is featured-often gray, as in her series called Gateless Gates, where a series of canvases have a single color but at the same time, at the bottom of the canvas, a single text that viewers must find, must discover, and eventually internalize as their own. The range of gray spans many colors, and ultimately the gray becomes light.
From darkness to light, from visibility to invisibility, Raquel's work has special rhythms similar to the movement of rivers or the shifts one finds from darkness to light. It is the layers that Raquel adds to her work that make her dialectical vision possible, the different layers of mud she uses when working on the River Library as well as the organic juxtaposition of stones in her Emergences series by the Hudson Valley.
Her work is integral to the landscape of the water and the earth and to human experience in a state of impermanence, much like the movement of water in those rivers. I believe Raquel is a poet of the visual world; she has an extraordinary vision to articulate with natural elements a symbolic understanding of nature, its landscape, and the place we occupy in it. Her work demands of the viewer participation and openness to a pluralist consciousness and to a new way of accepting and being in the world-where fragmentations dissolve into themselves and give way to a deeper unity and fluidity, in both our inner and our outer worlds.
Wellesley, Massachusetts



12. Nicolas Dumit Estevez, Bill Aguado, FF Alumns, at 756 Beck Street, The Bronx, Oct. 29

A project by Nicolás Dumit Estévez and Collaborators: Third Action of the Series

Bill Aguado and Nicolás Dumit Estévez
Sitting on the Stoops

For the third chapter of Performing the Bronx Aguado and Estévez work to reclaim the possibilities that stoops in Bronx offer to connect with neighbors of all ages and walks of life, and hence to enact community face to face. For Aguado, the stoops of his childhood in New York City were the place where elders kept an eye on the young and safeguarded the neighborhood, children played games, and anyone could watch urban life unfold. These architectural elements, now missing in some of the Bronx's newest houses, had an important role that cannot be dismissed. They also served as social media before the advent of Facebook, Twitter and Instagram! For Sitting on the Stoops Aguado and Estévez invite friends, colleagues, and neighbors to stop by the steps of 756 Beck Street for conversation, snacks, laughter and camaraderie. Visitors are encouraged to bring folding chairs and cushions.

Outside 756 Beck Street
Bronx, NY 10455

Date and Time:
Thursday, October 29th, 3:00 - 6:00 pm

RSVP: indioclaro@hotmail.com

All initial components documenting Performing the Bronx will be exhibited at Casita Maria as part of Estévez's solo show: Performing the Bronx and other home-based actions. For more information: http://www.casitamaria.org/files/FY16_NDE_Press_Final_9.14.pdf

About Performing the Bronx:

Nicolás Dumit Estévez works with a small group of iconic Bronxites to co-develop with him performative actions that they present together in private or in the Bronx's public realm, focused on the histories that tie these individuals to specific communities and neighborhoods in their borough. These otherwise ephemeral gestures are recorded in photography, video and writings. All of these materials serve as the basis for a future publication conceived and edited by Estévez.

Performing the Bronx is an expansion of Estévez's on-going efforts to generate work with and within different communities in the Bronx. It is also representative of his interest in recovering, reclaiming and remembering histories of the area's inhabitants that run the risk of being effaced by time, lost in the midst of neighborhoods in flux, or dismissed by dominant discourses that often position themselves at the center of the conversation. With Performing the Bronx Estévez continues working to contributing to the archives of the place he calls home.

Performing the Bronx is made possible with public funds from the Bronx Council on the Arts through the Department of Cultural Affairs' Greater New York Arts Development Fund Program. Performing the Bronx has also received support from Casita Maria, the Bronx Academy of Arts and Dance (BAAD!) and Mothers on the Move (MOM).

Bill Aguado retired in 2011 as Executive Director of the Bronx Council on the Arts
(BCA). Yet, he continues his work begun in 1972 in community and cultural activism and advocacy and lends his expertise on behalf of emerging artists, community cultural groups and community-based organizations. In recognition of his accomplishments, Lehman College awarded Bill Aguado an Honorary Doctorate in Arts in May 2014. In May 2015, Mr. Aguado was appointed Commissioner for a seven-year term on the New York City Taxi and Limousine Commission. Through Mr. Aguado's guidance, the Bronx Council on the Arts (BCA) saw the elevation of local arts as a respected and valued asset in the Bronx. Over the length of his tenure at the BCA from 1978 through June 2011, funding for Bronx arts organizations and artists increased dramatically, demonstrating the importance of community arts and artists representing people of color. Among Mr. Aguado's many accomplishments were: open Longwood Arts Gallery in 1986, the creation of BRIO, an artist fellowship program, in 1988; the creation of the Bronx Writers' Corp in 1994, which places poets and writers in programs serving at-risk children; and the founding of the Bronx Tourism Council in 1991. In 1996, Aguado helped found the BCA Development Corporation, which was created to develop the Art Handlers Workforce Program and other entrepreneurial initiatives. In honor of his mother, and in reflection of his strong belief in the importance of supporting and recognizing the sacrifices and contributions of single parents as role models in our communities, Mr. Aguado established the Josephine Aguado Scholarship Fund at Hostos Community College. As a cultural activist and arts consultant, he consulted with The Women's Housing and Economic Development Corporation (WHEDCO) to shape the vision and development of the Bronx Music Heritage Center (BMHC), celebrating the musical heritage of the Bronx. He also organized the Conversing Bricks permanent sculptural installation, created by Hatuey Ramos-Fermín and situated at Hostos Community College. In September 2013, Aguado curated an exhibit at the Longwood by the artist and cancer survivor Esther Pagan: My Colors of Cancer a multi-media installation of photographs, handcrafted hats, sculpture and poetry. Most recently he helped engineer the Casitas Archives at Hostos Community College. A founding member of the New York City Latino Commission on AIDS, Mr. Aguado was also appointed by Governor Mario Cuomo to serve as a Trustee of SUNY at Purchase. In 1972, he started the first alternative school in the Bronx in partnership with Fordham University.

Nicolás Dumit Estévez treads an elusive path that manifests itself performatively or through experiences where the quotidian and art overlap. 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 Pontevedra Biennial, The Queens Museum, MoMA, Printed Matter, Hemispheric Institute of Performance Art and Politics, Princeton University, Provisions Library, El Museo del Barrio, The Center for Book Arts, Longwood Art Gallery/BCA, 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. Residencies attended include P.S. 1/MoMA, Yaddo and the MacDowell Colony. Born in Santiago de los Treinta Caballeros, Dominican Republic, in 2011 Estévez was baptized as a Bronxite; a citizen of the Bronx.



13. Liliana Porter, FF Alumn, at Institute of Fine Arts, Manhattan, Oct. 28

A Conversation with Liliana Porter and Edward Sullivan
Wednesday, October 28, 2015
6:00 PM in the Lecture Hall
The Institute of Fine Arts
1 East 78th Street
About the Forum: This forum - generously funded by the Institute of Studies on Latin American Art (islaa) and coordinated by Professor Edward Sullivan - invites distinguished visiting lecturers to the IFA to foster greater understanding and recognition of Latin American art around the world. For more information on ISLAA, click here.
Public lectures at the Institute of Fine Arts are made possible by our generous supporters. Please make a gift today to help the IFA continue providing superior public programming for years to come. Click here to make your gift online to the IFA Annual Fund, or find out more information about supporting the Institute.



14. Lorraine O'Grady, FF Alumn, at Harvard University, Cambridge, MA, opening October 29

Lorraine O'Grady: Where Margins Become Centers
Shahryar Nashat: Skins and Stand-ins
October 29, 2015-January 10, 2016

Opening: October 29, 5:30-7pm

Carpenter Center for the Visual Arts at Harvard University
24 Quincy Street
Cambridge, Massachusetts 02138
United States
Hours: Wednesday-Sunday 12-7pm

T +1 617 495 5666

Lorraine O'Grady: Where Margins Become Centers
Level 3, Sert Gallery

In a career spanning four decades, Lorraine O'Grady has consistently pursued a multidisciplinary practice that challenges the societal conventions through which we understand and interpret gender, class, sexuality, art history, and race. She burst onto the New York scene in the early 1980s with her performance Mlle Bourgeoise Noire (Miss Black Middle-Class), a beauty queen persona in a pageant gown made of 180 pairs of white gloves, whipping a cat-o'-nine-tails at openings and shouting poems against the racial divides permeating the black and white art worlds. O'Grady subsequently found her way through photography, performance, writing, photomontage, and film to critically engage complicated power structures, institutions, and social constructs. Her potent observations on feminist histories, interracial relationships, biculturalism, and Western subjectivity are
no less topical today and, in fact, even more urgent as we routinely bear witness on social media and news outlets to the dualisms between black identity and white identity, rich and poor, females and males.

The exhibition Lorraine O'Grady: Where Margins Become Centers features art from five bodies
of work, including photography, film, collage, performance documentation, and writing. The works of art and archival documents collected for this exhibition reveal the artist's ongoing interest in critiquing the systemic powers affecting social behavior. O'Grady was born in Boston to upper-middle-class West Indian parents and educated at Wellesley College. Her inherited biculturalism-a young black woman coming of age in Anglo-Saxon New England-and participation in interracial relationships are grounds for
a unique perspective from both within and on
the periphery of diverse social spheres. Juxtaposing and collaging seemingly disparate dichotomies, the artist
uses the extreme margins to explore the central undergirding and structures that support social oppositions. Her work challenges what is unwittingly or involuntarily agreed upon on a society-wide scale in a march toward dismantling accepted constructs. Her visual art and writing ultimately disturb consensus as an overall means of cultural criticism.

Artist talk: Lorraine O'Grady, November 17, 6pm, organized in conjunction with and support from the Harvard Art Museums.

Shahryar Nashat: Skins and Stand-ins
Level 1 and Gallery 1510 at the Harvard Art Museums

Shahryar Nashat uses photography, sculpture, performance, and video to disrupt and reframe acts of looking in order to bring the uninvited or disregarded into the forefront. He works with figurative and abstract sculpture to push against frequently circulated-and often idealized-representations in visual and intellectual culture. His impulse is to direct our gaze toward the appearance of objects and movement of human bodies that art history, modern dance, sports, Minimalism, fashion, and advertising have ignored or pushed aside. Nashat thus draws attention to and prioritizes the vulnerable and the fragile-the seemingly imperfect. And as part of this process of reframing the way we see things, he emphasizes the permeability of human skin and its susceptibility to scratches, punctures, and tears. In doing so, he fixates on both the concept and construction of the prosthesis. This extension and support for the body is laden with great potential for release from a deeply engrained understanding, and thus expectations, of how a body should look and move, something other than notions of perfection-something that is independent and autonomous from canonical orders.

Installed on Level 1 of Le Corbusier's 1963 Carpenter Center and intervening in the galleries of the adjacent Harvard Art Museums, the exhibition Shahryar Nashat: Skins and Stand-ins features a combination of video, sculpture, architectural interventions, and commissions that create a cohesive environment where the sensibilities and physicality of spectators become formally implicated in the artist's inquiries.

Lorraine O'Grady: Where Margins Become Centers and Shahryar Nashat: Skins and Stand-ins are curated by James Voorhies, John R. and Barbara Robinson Family Director.

Carpenter Center for the Visual Arts
Carpenter Center for the Visual Arts at Harvard University is dedicated to the synthesis of art, design, and education through the exhibition of existing works and production of new commissions. It strives to bring people, ideas, and objects together in generative ways that provide unparalleled experiences with contemporary art, ultimately enriching the creative and intellectual lives of our audiences.



15. Sanja Ivekovic, Ana Mendieta,FF Alumns, in The Village Voice, Oct. 27

The Village Voice, Oct. 27, 2015

There are two principal ways to build a museum collection. There's the old-fashioned way: Inherit it from museum trustees. The second method consists of buying targeted works of art to fill in where museum gifts leave gaps. But what happens when an institution's prolonged inattention leaves generation-size holes in its collection? This is the pickle MoMA finds itself in today. After losing track of the contemporary-art plot in the late 20th century, the institution is desperately playing catch-up in the 21st.

Though MoMA has had its share of excellent recent exhibitions - most notably "One Way Ticket: Jacob Lawrence's Migration Series" and "Scenes From a New Heritage" (a smart rehanging of its postwar stash) - other shows have featured the kind of unseemly glitz British tabloids gleefully deride as mutton dressed as lamb (see the exhibitions "The Forever Now" and the atrocious "Björk"). Still, MoMA - being MoMA - always has a new trick up its sleeve. "Transmissions: Art in Eastern Europe and Latin America, 1960-1980" is the museum's latest effort at looking smartly contemporary. Like a pair of plus-size gaucho pants, the show can appear either baggy or flattering - depending on your angle of vision.

The result of an in-house curatorial initiative the museum launched in 2009 called Contemporary and Modern Art Perspectives (C-MAP), MoMA's 2012 display "Tokyo 1955-1970: A New Avant-Garde" explored one particular void in the collection: postwar Japanese art. For "Transmissions" the museum (as informed by C-MAP) brings together two of its problem areas - conceptual art in Eastern Europe and Latin America - into a single display. If MoMA were located in rural Pakistan, "Transmissions" would count as an arranged marriage. In Manhattan's midtown the union is a happy one. This is because the exhibition's subterranean premise bundles many so-called "peripheral" histories: In the 1960s and '70s, activist conceptualism became the go-to style for global artists. This coincided with the period when MoMA turned its back on experiments in political conceptualism.

In many ways "Transmissions" is an exhibition that charts vast swaths of the institutional road not taken. As such, we can view it as a real-time chronicle of the museum hedging its bad bets: Most of the works MoMA is displaying here are pieces the museum recently added to its collection. Regardless, "Transmissions" is a significant and welcome detour from MoMA's paleolithic Paris-New York axis. Its genuine novelty, in fact, dwarfs the show's shortcomings.

What happens when an institution's prolonged inattention leaves generation-size holes in its collection?
A roomful of vitrines stuffed with ephemera by Latin American and Eastern European collectives (the most prominent of which are the Venezuelan group El Techo de la Ballena and the Yugoslavian publication Gorgona) is followed by galleries containing pointedly political installations by South American artists David Lamelas and Marta Minujín. A ho-hum section of stripe-based experiments by Paris-based formalist Daniel Buren and his Polish counterpart Edward Krasinski - one room features nine Home Depot-type wall treatments connected with a single strip of Scotch tape - is nearly forgotten by the time a viewer arrives at the area containing the provocations of firebrands Sanja Ivekovic, Ana Mendieta, and VALIE EXPORT.

Two works by EXPORT, who was born Waltraud Lehner and adopted the uppercase name of a popular cigarette brand, nearly light up the place. The first, Aktionshose: Genitalpanik (Action Pants: Genital Panic), from 1969, pictures the artist as a young flamethrower lounging desultorily on a couch in crotchless jeans. The second, TAPP und TASTKINO (TOUCH and TAP CINEMA), is a video of a street performance in which a young EXPORT, wearing a box for a bra, invites men to fondle her breasts in public. The pleasure derived from seeing regular Josefs awkwardly grope this feminist is such that one nearly forgets to ask the obvious: What is this Austrian's work doing in a show about Eastern European and Latin American conceptualism?

More conciliatory surprises lurk, namely Braco Dimitrijevic's billboard-size photographs of casual passersby (aimed at the primacy of Yugoslav communist officials back in the day and celebrities currently); a grainy but inspiring 1979 video of the Colectivo de Acciones de Arte (CADA) distributing milk and civility in Pinochet's impoverished Chile; and, finally, Oscar Bony's La Familia Obrera (The Working-Class Family), a photographic portrait of a real-life Argentine family the artist put on a plinth in 1964 along with a plaque bearing the following message: "Luis Ricardo Rodriguez, a die cutter by profession, earns double what he does at work by being on exhibit with his wife and child during the run of this exhibition."

Whatever shortfalls this show of global conceptualism may have, Bony's piece alone is worth the price of your ticket.

'Transmissions: Art in Eastern Europe and Latin America, 1960-1980'
Museum of Modern Art
11 West 53rd Street
212-708-9431, MoMA.org
Through January 3, 2016



16. Jack Waters, FF Alumn, in The Village Voice, Oct. 27

The Village Voice, Oct. 27

Fan-fic, takedown, celebration, earnest imaginative inquiry, or hothouse meta-cinematic folly -whatever Stephen Winter's Jason and Shirley plays like to you, here's one truth we can toast: Shirley Clarke's 1967 doc Portrait of Jason remains incandescent, a performance/interview film in which a 33-year-old gay cabaret performer and hustler calling himself Jason Holliday indulges in cocktails and tall tales before Clarke's camera. The loquacious Holliday busts out impressions, nightclub jokes, snatches of showtunes, stories about tricks and Miles Davis. He's a scream, a one-man party - and he's determined to keep his true self hidden. And then, as the film - and Clarke's twelve-hour interview - reaches its end, Holliday's guard gets shattered by questions from behind the camera, and you witness something even more extraordinary than the performance. That is, unless Jason's tears at film's end are just as much a put-on as his high spirits at the opening.
Winter touts Portrait of Jason as the only film canonized by critics to star a gay black man. That may be true; if you haven't seen Clarke's uniquely dramatic examination of this man and his masks, you truly should get right on it, pronto. Winter's film could be titled Portrait of Portrait of Jason. It's a re-creation of that marathon interview in Clarke's apartment at the Chelsea Hotel, a prickly and entirely fictional speculation on what might have happened during the many hours from which Clarke shaped her movie. It's painstaking enough that the occasional anachronisms hurt, and there are enough mistakes and lapses of charity thatJason and Shirley has been denounced by Milestone Films, the restorers and current distributors of Portrait of Jason.
Jason and Shirley
Rating:NR Genre:ComedyRunning Time:77 min.Showing Today In:1 Theater
But for all Jason and Shirley's juddering VHS photography and efforts at found-footage vérité, no thinking person could mistake Winter's fervid speculations for truth: The movie builds to a harrowed Holliday (Jack Waters) wailing like the undone hero of some Greek tragedy, and then it wraps with a rimshot. This Clarke (Sarah Schulman) nearly gives up on her project at the literal eleventh hour, leaving the room to wearily toke - and asking her neighbor/lover Carl Lee (Orran Farmer) to dope Jason up and then to break her subject's spirits and get him to speak truths. "She wants a tour of Niggertown," Lee says.
"She wants the 'Swanee River'?" Holliday asks.
Winter's interest in representation and appropriation inspires him to an often unflattering vision of Clarke. Early on, she presses Holliday about what it feels like to have sex with white women for money. Holliday turns the table, of course, as that table seems to have been set up exclusively for the turning: Why, isn't that just what he's doing in this interview? Clarke, who must have been smarter than this portrayal allows, looks stymied by this.
Jason and Shirley is imprecise, even maddening history, but it's hair-raising as historicity: Exposed here is the longstanding and somewhat vampiric process of white artists extracting for their work minority perspectives and experiences. I don't believe that that's what Clarke did, exactly, but this provocation of a film - so pained, so smartly acted - demands a reconsideration of her achievement. Since Portrait is a masterpiece, it can take it.

Jason and Shirley
Written and directed by Stephen Winter
Opens October 20, MoMA



17. Andrea Kleine, FF Alumn, at Diesel Books, Oakland, CA, Oct. 27, and more

Andrea Kleine, FF Alumn, at Diesel Books, Skylight Books, Powell's, & more beginning October 27

Andrea Kleine reads from her debut novel, CALF, at various locales on the West Coast.
in conversation with Tom Barbash
Soft Skull Press Night: Andrea Kleine & Wally Rudolph
in conversation with Vanessa Veselka
in conversation with Mattilda Bernstein Sycamore.

"a breathtaking book" - Book Riot
"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 (Counterpoint/Soft Skull Press) 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. Hinckley and deVeau, both found not guilty by reason of insanity, were sent to St Elizabeths Hospital where they met and later became lovers. 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, a meditation on the zeitgeist of the '80s, and an unflinching depiction of violence, both intimate and sensational.

Andrea Kleine is a five-time MacDowell Colony 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).
more info: http://andreakleine.com



18. Fiona Templeton, Lenora Champagne, FF Alumns, at Theaterlab, Manhattan, December 10-20

Announcing the full production of

by Khadijah Queen

2014-15 Winner of the

Directed by Fiona Templeton

At Theaterlab
357 West 36th Street, 3rd floor (elevator), New York, NY 10009
A, C, E, 1, 2, 3 to Penn Station
B, D, F, M, N, Q, R to Herald Square
click here for a map

Performances Thursday thru Sunday, December 10th-20th 2015
8pm Thu-Fri-Sat, 3pm Sun
1 hour approx with no interval

click here for TICKETS

Cast: Lenora Champagne, Helga Davis, Stacey Robinson, Yon Tande,
Dawn Saito, Zselyke Tarnai, David Thomson

Costumes: Liz Prince Choreogaphic consultant: Daria Faïn Lighting: Jeff Nash

For the 2014-15 Award, the judges were unanimous in selecting Khadijah's play, NON SEQUITUR. We found it experimental in conception, language and performance approach, and by turns hilarious and moving. The play had a sold-out reading at the New Ohio Theater in November 2014. See our new dedicated website at www.lesliescalapino.org
Khadijah's play NON SEQUITUR is a high theatrical challenge - its dozens of characters have voices on multiple registers: the voices in our heads, under our breaths, on our voicemail, hard to have to listen to, hilarious voices, blurted voices, bodily voices, but compact, searing, terse, not clamorous. They form an absurdity only too recognizable. This is our own experience and others' in bed together, our conscious and unconscious lives. Prejudice and pain, slapstick and delicacy. Her deftness of touch is masterful. In each line the actor must live a life.

Litmus Press is publishing NON SEQUITUR as a book in 2015 to coincide with the full production of the play by The Relationship.

KHADIJAH QUEEN is the author of Conduit (Akashic Books 2008), Black Peculiar (Noemi Press 2011), and Fearful Beloved, forthcoming from Argos Books in fall 2015. Her chapbooks are No Isla Encanta (2007) and bloodroot (2015), both from dancing girl press; the digital chapbook I'm So Fine: A List of Famous Men & What I Had On (Sibling Rivalry 2013); and Exercises in Painting, due out from Bloof Books in 2016. Reviews of her work can be found in Los Angeles Review, Spoon River Review, Open Letters Monthly, Mosaic, The Volta and other publications. Individual poems and prose appear or are forthcoming in Fence, Tin House,RHINO, jubilat, Tupelo Quarterly, Memoir, CURA, Best American Nonrequired Reading, Rattle, Aufgabe, The Volta Book of Poets, The Force of What's Possible and widely elsewhere. She has performed at the Bowery Poetry Club, Sarah Lawrence College, The New School, Georgia Institute of Technology, Center for Book Arts (NYC) and other venues nationally. Since 2008, she has curated the annual multi-genre, multicultural, women/LGBTQIA-focused reading series Courting Risk, and currently serves as board chair for the feminist publisher Kore Press. In 2016, she will join the new Mile-High MFA in creative writing at Regis University as core faculty.

FIONA TEMPLETON is a poet, director and Artistic Director of The Relationship. Her 6- part epic The Medead appeared this year from Roof Books.
For more on The Relationship see, www.therelationship.org

The Leslie Scalapino Award
In memory of Leslie Scalapino, her extraordinary body of work, and her commitment to the community of experimental writing and performance. The Leslie Scalapino Award recognizes the importance of innovation in writing for performance, and wishes to encourage women writers in this field by offering opportunities to reach a wider audience, and to gain recognition, through realized readings and productions.

The Leslie Scalapino Award production is supported by a grant from the Leslie Scalapino/O Books Fund. The Relationship is funded in part by New York State Council on the Arts.

The Relationship is a 501(c)(3) tax-exempt organization in the state of NY.

queries to home at therelationship.org
www.therelationship.org www.lesliescalapino.org

The Relationship | Fiona Templeton, Artistic Director | 100 Saint Mark's Place #7 | New York | NY | 10009



19. Helen Varley Jamieson, FF Alumn, online, November 7

We have (another) situation!
Saturday 7 November, 19:00 (Rio time)
find your local time here: https://tinyurl.com/q4yfd5h
online and onsite at Multicidade International Festival of Women in Theatre, Rio de Janeiro

As the 2016 Olympic Summer Games draw closer, international attention is focused on Rio de Janeiro and in particular the challenge of cleaning up the heavily polluted waters of Guanabara Bay, where many sports will take place. In a live online cyberformance, We have a situation! asks questions about the quality of the water, where the pollution comes from and what is being done about it; and connects Rio's situation to the problem of water pollution globally. The audience, both online and at the Multicidade Festival in Rio de Janeiro, will participate in an open conversation around the issues raised in the performance.

Audiences around the world can join the live performance and discussion and interact in real time via text chat. We have a situation! uses UpStage, a purpose-built cyberformance platform which is accessible to anyone with a standard browser and internet connection. Audiences need only click on a link to the live stage, which will be available shortly before the performance at http://www.wehaveasituation.net.

We have a situation! is a series of live, trans-border, online-offline participatory performances addressing current cross-cultural issues. It began in 2012 as a collaboration between APO33 (Nantes), Furtherfield (London), mad emergent art centre (Eindhoven), Schaumbad Freies-Atelierhaus (Graz) and Helen Varley Jamieson.

The Rio situation is created by Helen Varley Jamieson with online collaborators Gabriella Sacco (Italy/Netherlands), Elaine vaan Hogue (USA), Letícia Castilho (Brasil), Miljana Perić (Serbia) and Vicki Smith (Aotearoa New Zealand). In Rio de Janeiro, collaborators include Multicidade workshop participants and Haveté Sustentabilidade, a collective addressing sustainability issues through workshops and practice.

Multicidade: http://multicidade.com/
We have a situation! http://www.wehaveasituation.net/

We have a situation! Saturday 7 November, 19:00
find your local time here: https://tinyurl.com/q4yfd5h
helen varley jamieson
We have a situation! Rio de Janeiro - JOIN US ONLINE on 7 November 2015
Unaussprechnbarlich, MÃ1/4nchen, November-Dezember 2015



20. Michael Smith, FF Alumn, at Electronic Arts Intermix, Manhattan, Oct. 28

TerrorVision: Spine-Tingling Signals from the EAI Vault
Videos by Cynthia Maughan, Peggy Ahwesh, Michael Smith, Cecelia Condit, Takeshi Murata, Tony Oursler, and George Kuchar

Beneath the Skin (1981), Cecelia Condit Wednesday, October 28

6:30 pm

Electronic Arts Intermix (EAI)
535 West 22nd Street, 5th Fl.
New York, NY 10011

Admission Free

EAI presents a seasonally themed free screening of macabre media that digs through the tropes of horror cinema. Although narrative, genre, and lurid popular entertainment may seem an unlikely source of inspiration for artists' media, the grotesque-and specifically its situation within the televisual dimension-has crept into approaches as varied as the diary video, direct-camera performance, film/video hybrid, and datamosh. By dissecting and reanimating the themes and scenarios of horror film and television, the artists offer a subversive post-mortem on the syntax and politics of the genre while offering a glimpse of the unknown, mysterious, and shocking that lurk at the video signal's outer limits.

Monster Voice, the first of several direct-camera performances by Cynthia Maughan included in the program, features the artist adopting a faux-ghastly tone of a grindhouse movie trailer announcer to describe a stereotypical woman-in-peril plot. In The Scary Movie, Peggy Ahwesh directs two young girls through a series of familiar horror film gestures set to a madcap audio assemblage of anarchic sounds and screams. Michael Smith's sitcom-style Secret Horror finds average guy "Mike" ironing his pants in front of the TV before a gang of spooks arrive to whisk him away on a comic nightmare. Cecelia Condit plunges the viewer into a suburban nightmare in the uncompromisingly grisly yet eerily sing-songy Beneath the Skin, a tale of violence between partners that freely mixes processed film and video and found footage to invoke crossed identities and subterranean states. Takeshi Murata exhumes a scene from Mario Bava's quintessential Italian gothic horror film Black Sunday to send star Barbara Steele reeling through a soupy digital mist. Catholic ritual, sexuality, and alienation course through Tony Oursler's vampire video Sucker. And George Kuchar's 1987 video diary The Creeping Crimson offers a closing meditation on the season and mortality; as he writes, "It is fall and Halloween, and mom is in the hospital. The leaves are red and the mood is blue, but life drips on."

Cynthia Maughan, Monster Voice, 1975, 1:52 min
Peggy Ahwesh, The Scary Movie, 1993, 8:16 min
Michael Smith, Secret Horror, 1980, 13:38 min
Cynthia Maughan, Frozen and Buried Alive, 1975, 1:30 min
Takeshi Murata, Untitled (Silver), 2006, 10:37 min
Cecelia Condit, Beneath the Skin, 1987, 11:27 min
Cynthia Maughan, Suicide, 1974, 2:00 min
Tony Oursler, Sucker, 1987, 5:34 min
Cynthia Maughan, Coffin from Toothpicks, 1975, 1:54 min
George Kuchar, The Creeping Crimson, 1987, 12:50 min

Total running time: 70 min
About EAI
Founded in 1971, Electronic Arts Intermix (EAI) is a nonprofit arts organization that fosters the creation, exhibition, distribution, and preservation of moving image art. A New York-based international resource for media art and artists, EAI holds a major collection of over 3,500 new and historical media artworks, from groundbreaking early video by pioneering figures of the 1960s to new digital projects by today's emerging artists. EAI works closely with artists, museums, schools and other venues worldwide to preserve and provide access to this significant archive. EAI services also include viewing access, educational initiatives, extensive online resources, technical facilities, and public programs such as artists' talks, screenings, and multi-media performances. EAI's Online Catalogue is a comprehensive resource on the artists and works in the EAI collection, and features expansive materials on media art's histories and current practices: www.eai.org

Electronic Arts Intermix
535 West 22nd Street, 5th Floor
New York, NY 10011
t (212) 337-0680
f (212) 337-0679

EAI's Public Programs are supported in part by the New York State Council on the Arts, with the support of Governor Andrew Cuomo and the New York State Legislature, and the New York City Department of Cultural Affairs, in partnership with the City Council. EAI also receives program support from the Andy Warhol Foundation for the Visual Arts.



21. Ann-Marie Lequesne, FF Alumn, current events

Philadelphia Performances are online
CRESCENDO was filmed in Icebox Project Space - a former industrial cold storage building in North Philadelphia - on August 30th, 2015. As participants processed into the space - in order of height and speaking their initials, or any initials, (or barking) - the sharp staccato sounds became tones that extended and mingled in the long echo of the space. One month later, the resulting video was projected back into this huge space (the projection was 25' x 80'), with two instances of the performance screening simultaneously. (The exhibition continues until 30/10/15.)

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). What you can't see in the Philadelphia video is the temperature. At 2pm on September 3rd, as it 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. (Fanfare is also showing at Icebox until October 30th.)



Goings On is compiled weekly by Harley Spiller