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Contents for November 30, 2015

1. Danielle Abrams, FF Alumn, at Institute of Contemporary Art, Boston, MA, Dec. 3

Hung Out to Dry, a performance by Danielle Abrams in which racial integration at Black Mountain College in 1944 is examined alongside the enforced busing and desegregation of the Boston Public Schools 30 years later.

With a cast including:
Bianca Broxton, Dell Hamilton, Ryan Leitner, John McCool, Zahirah Nur Truth, Rachel Shiloach, Christine Tinsley, and Anthony Young
Sets and Costumes by: Alexandra Borovski

Thursday, December 3
ICA Forum : On Education and Black Mountain College as part of "Leap Before you Look: Black Mountain College 1933-1957"
The Institute of Contemporary Art, Boston
100 Northern Avenue
Boston, MA 02210
617-478-3100
http://www.icaboston.org/events/ica-forum-education-and-black-mountain-college

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2. Rosamond S. King, FF Alumn, at Metropolitan Museum of Art, Manhattan, Dec. 4

Instrumental by Rosamond S. King
A free, intimate poetry performance
at the Metropolitan Museum of Art
two 30-minute sets: 6:30 & 7:30 sharp!
Friday 4 December 2015

Poet and performance artist Rosamond S. King investigates what is instrumental for life today using her signature verse cabaret style, which includes poetry and self-arranged popular songs.

@ The Met: 5th Ave & 82nd St, Gallery 681 - The Instruments Gallery

MetFridays Poetry Reading presented with Poets House
http://www.metmuseum.org/events/programs/met-live-arts/poetry-rosamond-s-king
http://www.poetshouse.org/programs-and-events/readings-and-conversations/poetry-reading-rosamond-king
www.rosamondking.com

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3. China Blue, FF Alumn, at MANA Contemporary, Jersey City, NJ, opening Dec. 12, and more

News from China Blue
Memory Network IV
China Blue in "Mixing Medias"
Carole A. Feuerman Sculpture Foundation
In collaboration with
Mana Contemporary and the Eileen S. Kaminsky Family Foundation
presents
MIXING MEDIAS: 2015

Opening
Saturday, December 12, 2015
3 pm - 6 pm
Closing January 31, 2016

MANA Contemporary, Rm 456
888 Newark Avenue
Jersey City, NJ 07306

Exhibition open weekdays between 1:00 to 6:00 pm

and

I have been nominated for a two year appointment as the
Artist-in-Residence
At the Norman Prince Neurosciences Institute, at the Rhode Island Hospital.

During the residency I will be working closely with the institute's physicians and scientists while creating new work.

For the close of the residency I have been invited to organize an exhibition of the works I created during my time in residence.

I can't wait to show you what I will do.

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

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4. Nicolás Dumit Estévez, Papo Colo, FF Alumns, at Casita Maria Center for Arts and Education, The Bronx, Dec. 2

ARTIST TALK

BECOMING PUERTO RICAN: NICOLÁS DUMIT ESTÉVEZ IN CONVERSATION WITH PAPO COLO

Wednesday, December 2, 2015, 6 - 8 PM
Casita Maria Center for Arts and Education
928 Simpson St, Bronx, NY 10459
(718) 589-2230

Estévez and Colo engage in a dialogue on identities in flux, belonging, and becoming, as well as the issues of class, race and power in relationship to a rapidly changing city, New York. Their interaction takes place from two distant locations: Wall Street and the South Bronx.

During this talk, Estévez will be stationed at Casita Maria, while Colo drives through the streets of Lower Manhattan, in his mobile performance space: The Hawk. Audiences can experience this event live, at Casita Maria in the South Bronx, via the app "Periscope," or by reserving one of the 6 spaces available in The Hawk.

South Bronx residents, reserve a space on The Hawk by emailing Papo Colo at mystifarian@pangeartrepublic.com

Watch Colo LIVE via Periscope* on his twitter page @mystifarian
Watch Estévez LIVE via Periscope* via our twitter page @casitamariabx
*A link will appear on the feed once the stream is live!

PAPO COLO is a multi-dimensional artist: performance, theater and installation artist, painter, writer, and graphic designer. In 1982 he cofounded Exit Art, an internationally known cultural center in New York. He has been curator and cultural producer of Exit Art and has organized over 100 shows in which he was also the exhibition and graphic designer. In 1992 he founded the Trickster Theater to expand his experiments as an inter-disciplinary artist.

ABOUT THE HAWK / MOBILE ART SPACE:
Conceived by Papo Colo, The Hawk is a custom motor vehicle, its interior installed as a magic carpet and digital lab, where art ceremonies produce images of and for participants. Interacting with the urban landscape and its residents, The Hawk is a moving space where drawing, painting, photography, poetry and performance intersect in the digital sphere.
http://mystifarian.com

NICOLÁS DUMIT ESTÉVEZ treads an elusive route that manifests itself performatively or through experiences where the quotidian and art overlap. Concurrently, this path has been informed by a strong personal interest in immigration, cultural hybridization and Estévez's understanding of identity as a process always in flux. He hence approaches the concepts of home and belonging to the U.S. American context from the perspective of a Lebanese-Dominican, Dominican York who was recently baptized as a Bronxite: a citizen of the Bronx. While ephemeral by nature, Estévez's work gains permanence through audios, photographs, props, drawings, rumors, embodied memories, costumes, videos and publications. He has exhibited and performed extensively in the U.S. as well as internationally.

Visit www.casitamaria.org for more information.

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5. Power Boothe, FF Alumn, at The Morgan Library, Manhattan, Jan. 9, 2016

NEWS: Power Boothe

Institute for Doctoral Studies in the Visual Arts (IDSVA)
2016 Honorary Degree Recipients
Commencement: January 9, 2016

Morgan Library
New York City

T +1 800 240 7357
info@idsva.org
Celebrating our 10th anniversary, we are pleased to announce the following Honorary Degree Recipients.

Power Boothe
Painter, Professor of Art, former Dean, Hartford Art School, represented in the Metropolitan Museum of Art, Guggenheim, Whitney, and MoMA.

Joyce Kozloff
American artist, feminist, and founding member of the Heresies Collective. Represented in the Brooklyn Museum, Fogg Art Museum, Harvard University, Metropolitan Museum, Jewish Museum, and MIT List Visual Arts Center.

Howard Caygill
European philosopher. Recent books include On resistance: a philosophy of defiance and Levinas and the Political. Professor of Modern European Philosophy, Kingston University, London.

Deborah Willis
Contemporary African-American artist, photographer, curator, photographic historian and author; Chair of Department of Photography and Imaging, Tisch School of the Arts, NYU; MacArthur Fellow.

Ted Coons
Author and pioneer in neuro-aesthetics. Professor of Psychology, Cognition & Perception, Center for Neural Science, NYU.

Ewa Ziarek
Founder of Humanities Institute, Julian Park Professor of Comparative Literature, and Director of Graduate Studies, SUNY Buffalo. Books include Feminist Aesthetics and the Politics of Modernism and An Ethics of Dissensus.

Stephen Greenblatt
American literary critic, theorist, scholar, and Pulitzer Prize-winning author. John Cogan University Professor of the Humanities, Harvard University.

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6. Rose English, FF Alumn, at Camden Arts Centre, UK, opening Dec. 11

Camden Arts Centre
Subject: Rose English A Premonition of the Act | Exhibition Preview: Friday 11 December, 6.30-8.30pm

For complete information please visit
http://www.camdenartscentre.org/whats-on/view/english

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7. Pope.L, FF Alumn, at Art Basel, Miami Beach, FL, Dec. 1-2

POPE.L : THE BEAUTIFUL
NEW PERFORMANCE AT ART BASEL IN MIAMI BEACH

Mitchell-Innes & Nash is pleased to announce The Beautiful, a new choreographed crawl performance by Pope.L to be staged for the first time at the Public sector of Art Basel in Miami Beach 2015.

For The Beautiful, four men, dressed as Superman with skateboards strapped to their backs, roll onward in the dark. The rumbling of their wheels grows louder through speakers as they approach the crowd, and blends with the low churning of electric guitars. The 'Super-Gents' reach a wooden stage and crab-walk their way up, barely fitting onto the small surface. Holding each other, they finally break into a heart-rending, soulful version of the patriotic song America The Beautiful. In this elaborate production, Pope.L has conceived and directs a spectacle that is beautiful, sorrowful and terrible at once.

Tuesday, December 1st, 5:00 - 7:00 PM
VIP Opening of Public Sector on the lawn in front of the Bass Museum
Bass Museum of Art, 2100 Collins Ave, Miami Beach
**This opening is by invitation only (with Art Basel in Miami Beach First Choice VIP card)

Wednesday, December 2nd, 7:00 - 9:00 PM
Location: Opening of Public Sector (Free and open to the general public)
Bass Museum of Art, 2100 Collins Ave, Miami Beach

Pope.L is a multidisciplinary artist whose visual art and performance pieces confront issues of race, sex, power, consumerism, and social class. Among his best-known works are the "crawls," a series of performances staged since 1978 in which he crawls for long distances through city streets. His seminal work, The Great White Way, 22 miles, 9 years, 1 street, was performed on Broadway Avenue in Manhattan from 2001 - 2010. The crawls represent an attempt to bring awareness to the most marginalized members of society.

Mitchell-Innes & Nash 534 West 26th Street New York, NY 10001 (212) 744-7400 www.miandn.com

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8. Nina Sobell, FF Alumn, at Art Basel, Miami Beach, Dec. 2-7

My White Mountain Apache Tribalscape video will be included in Form and Substance: Projection, Lighting and Mapping Art Basel Miami InterContinental Hotel Curated by Leo Kuelbs December 2 - 7

Nina Sobell

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9. Joseph Kosuth, FF Alumn, in The New York Times, Nov. 26

The New York Times
'Agnosia, an Illuminated Ontology', an installation by Joseph Kosuth
by Ken Johnson

The 1950s and '60s were peak years for "the linguistic turn," a philosophical movement that looked to the analysis of language for solutions to traditional puzzles about consciousness and reality. Few artists were more profoundly affected by that trend than Joseph Kosuth, a pioneer of '60s-style Conceptualism. "Agnosia, an Illuminated Ontology," a visually exciting and conceptually bookish installation designed by Mr. Kosuth, gathers together more than 40 works from 1965 to 2015 that feature electrically illuminated words, phrases and sentences. (Agnosia is an inability to make sense of sensory information, a condition usually caused by brain damage.)

One of the earliest pieces, produced by Mr. Kosuth in 1965 at the tender age of 20, "Five Fives (to Donald Judd)," consists of the words for the numbers 1 through 25 spelled in blue neon lights in five rows, five words a row. Some later works present quotations, rendered in mechanical fonts, by luminaries like the Marquis de Sade, Freud and Wittgenstein. In others, neon tubing imitates the scrawl of handwritten notes. Branching diagrams represent etymologies of words like "water" and "light."

A piece quoting Heidegger perhaps best sums up Mr. Kosuth's perspective: "Language is the house of Being. In its home man dwells. Those who think and those who create with words are the guardians of this home." Those who favor nonverbal imagery in art may demur, but you don't have to take sides to enjoy Mr. Kosuth's philosophically provocative erudition and his inventive ways with lights.

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10. Robbin Ami Silverberg, FF Alumn, now online at bookbindingnow.com

Robbin Ami Silverberg, FF Alumn, is featured on the November 25, 2015 posting of the blog, "Bookbinding Now", a New York-based community podcast, with guest host, Elizabeth Whalley:

http://www.bookbindingnow.com

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11. Mimi Smith, FF Alumn, at Joan Mitchell Foundation Education and Research Center, Manhattan, Dec. 9

Mimi Smith, FF Alumn, talk/interview, Wednesday, December 9, 6:30pm-8:00pm
Joan Mitchell Foundation Education & Research Center
137 W 25th St. 2nd floor
New York, NY 10001

Mimi Smith will be speaking about her artwork and the experience of making a database on December 9 along with Denise Schatz from the Joan Mitchell Foundation CALL program and Christie Mitchell, VoCa board Member and Curatorial Assistant, Whitney Museum of American Art. This event is part of the VoCA, Voices in Contemporary Art, talk series this fall which is featuring four artists who have recently completed a comprehensive documentation of their work as part of the Joan MIthcell Foundation's Creating a Living Legacy (CALL) Program.

This event is free and open to the public, but due to limited space we ask that you Please RSVP to margaret@voca.network

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12. LuLu LoLo, Harley Spiller, FF Alumns, at Brooklyn Historical Society, Dec. 2

City Reliquary's Annual Collector's Night!
Wed, Dec 2, 6:30 pm
$10/$5 for BHS and G-W Members

People say that if something exists, somebody somewhere probably collects it! Brooklyn's dusting off its quirkiest collections for City Reliquary's Annual Collector's Night!

https://www.eventbrite.com/e/collectors-night-with-city-reliquary-tickets-19213940413

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13. Laurie Anderson, FF Alumn, in The Nation, now online

The Nation
VIDEO ART Laurie Anderson's Guantánamo Installation Goes Where Obama Fears to Tread. The US government has abdicated its role in prosecuting those responsible for torture following 9/11. It has fallen on civil society to take up the charge.
By John Knefel
OCTOBER 7, 2015

The drill hall at the Park Avenue Armory is lit up like an observatory. A fixed mirror-ball reflects beams from eight different spotlights into a galaxy of stars on the ceiling of the massive hangar. The effect is almost oppressive, like a big sky in summer.

On one end of the room is a plaster statute, a cast of a body in an armchair, inspired by the Lincoln Memorial and almost as big. Projected onto the cast is the full-body image of Mohammed el-Gharani, a former Guantánamo Bay detainee who was captured in Pakistan at age 14, held for seven years, and released in 2009. Though he was never charged with a crime, he can't come to the United States, so his image is being livestreamed from a studio in West Africa, where he now lives. Gharani-in khakis, a green T-shirt, wire-rim glasses, and running shoes with neon-green laces-alternates between looking forward, stone-faced, and smirking to someone off camera we can't see.

The statue is the main element of Habeas Corpus, the latest installation from multimedia artist Laurie Anderson. Her work has long explored themes of prison and removal from society, including a 1998 exhibition in which she projected the image of a prisoner from Milan's San Vittore prison onto a statue in the Fondazione Prada. After she failed to secure permission to do a similar project with prisoners in the United States, a staff attorney at Reprieve, a human-rights group, introduced Anderson to Gharani.

From October 2 to 4, for seven hours a day, Gharani's image was beamed live to the exhibit on New York City's Upper East Side. The work is filled with contradictions. In a piece for The New Yorker, Anderson describes Habeas Corpus as "a work of equally balanced presence and absence"-Gharani is both there and not there at the same time. That's a condition of prisoners broadly, but it's especially true of detainees at Guantánamo Bay.

A droning guitar playing over the loudspeaker goes quiet, and the man we're looking at disappears, leaving only the blank statue in its place. It's time for the real Gharani, half a world away, to take a scheduled break from the performance. From where we stand, though, his image, this time pre-recorded, reappears immediately, reanimating the statue.

"When they built Camp 5 we were living in containers, and then they built a real building with cement," his pre-recorded image says. "They moved about 100 people and I was among them. So the first day, the interrogator came and told me, 'You see, this is a real building and we built this for people who are coming to stay here forever and you are one of them.'"

During each day of the exhibition, recordings of Gharani recounting his time at Guantanmo played during these periodic breaks. Otherwise, he sat motionless from noon to 7 pm. As we watch Gharani's projection, we are watching a human being who is confined (voluntarily, of course) to the position of a statue. Gharani is re-imprisoning himself, briefly, to show us his freedom. The result is an unsettling reminder of how tenuous the division between those two opposites can be.

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14. Alicia Hall Moran, FF ALumn, in The Wall Street Journal, Nov. 30

The Wall Street Journal
U.S.
NEW YORK
NY CULTURE
Alicia Hall Moran Shares Her 'Heavy Blue' Sound
The singer-songwriter's new album is a collaboration with her jazz pianist husband, Jason Moran

By
LARRY BLUMENFELD
Nov. 29, 2015

When Alicia Hall Moran made her debut as artist-in-residence at Brooklyn's National Sawdust venue, she decided to tell the audience about her life with her husband-as she described it, "between the piano and the washing machine."
She had sung in a gloriously trained voice, tinged with blues feeling, played some piano and collaborated in somewhat free-form fashion with two guitarists and a drummer. Then she begin to share.

Seated in the fifth row, her husband, the jazz pianist Jason Moran, chuckled aloud at an inside joke she told about composer Johannes Brahms. He nodded in vigorous assent when she sang along with a recording of "Believe Me," a track from her new album, "Heavy Blue." She will celebrate that release in performance at National Sawdust on Sunday.

As producer, Mr. Moran helped craft the unusual sonic textures that often frame her voice on that recording; he also plays on two tracks. The release announces the couple's new joint venture, Yes Records, marking Mr. Moran's departure from the estimable Blue Note label and Ms. Moran's first foray into recording her own music.

Separately, each has achieved distinction. She recently starred in the nine-month national tour of "The Gershwins' Porgy and Bess." He has been among jazz's most invigorating forces for more than a decade and was awarded a MacArthur "Genius Grant" in 2010.
The two met at Manhattan School of Music in 1995, where she studied classical voice and he was in the jazz program. They married in 2003. Their careers have been marked by a desire to bridge disciplines-engaging with choreographers, theatrical directors and especially visual artists. Increasingly, these interests have merged their creative paths. For this year's Venice Biennale, they co-designed a musical installation that explored work songs sung in prisons, fields and houses.

In the living room of their Harlem apartment, where they are raising twin 7-year-old sons, the Morans discussed how their life together has shaped their approaches to music.
WSJ: How would you each describe the person you met at a conservatory 20 years ago?
AM: He was this cute guy in dirty khakis.

JM: She was a long-legged, short-haired feminist. And that was not common at Manhattan School of Music.
Were you from separate worlds, aesthetically speaking?

JM: Yes, but one thing we had in common was good hip-hop of the late '90s: A Tribe Called Quest, the early stuff from the Roots, Biggie Smalls.
AM: And we could create together. We'd sit in practice rooms that had two pianos and play together.
JM: And I'd think, "This girl can improvise in ways that are shocking."

Did you open musical doors for each other?
AM: Jason took me to hear Cecil Taylor and Henry Threadgill. Those doors needed opening for me. But on a deeper level, he helped me grasp how important each individual instrument and personality is in music.
JM: Dating a girl who knew Western classical music inside and out-who felt it-was a new kind of education. She taught me that Alban Berg was as soulful as Duke Ellington. She helped me focus on narrative. As a jazz musician, living life with someone who always demands a story makes you check everything you're going to play.
What inspired you to create this new label together?
AM: It's a musical experiment, but it's also an experiment in our relationship, as musicians and as a couple.
JM: In one way it's like a family business, low-key and personal. But it's also a way to address a new context for distributing what we create. Our model is simple: Prepare, record, release. That's it. And somehow, the music will find its way to you.
The song "Open Door," which was straightforward in live performance, takes very different form on the recording. How did that happen?
JM: "Open Door" is Alicia's composition, but that track is also straight-up collaboration. She sang it and played piano for 45 minutes. A great song can retain its core no matter what you do. So I looped parts of it and processed it in ways that reflect where pop-music production has gone in the past decade, and that connects to the music we go to hear and talk about all the time. It's sort of a remix, only it's the original form. Alicia let me do that.
AM: No, I asked you to do that. Because I wanted it to be a fantasy-the kind of fantasy only we can dream up together.
Do you borrow ideas from each other?
AM: He just steals mine, left and right. When he composed the score for the film "Selma," I told him there was also a wife there, and you can play her story. You can make that choice. When the reviewers praised him for doing that, I thought, "I told him to." But I didn't do it. He did it.
Are you always supportive of each other?
AM: No. Jason recorded one song, "Moran Tonk Circa 1936," that I hate. I told him so. But I celebrate not liking it because it's a real, living part of him.
JM: The test is when someone you love tells you, "That sucks," and you decide to do it anyway.

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15. Harley J. Spiller, FF Alumn, in The New York Times, Nov. 28

The New York Times, November 28, 2015
GIFT GUIDE, BOOKS, ART
Keep the Change: A Collector's Tales of Lucky Pennies, Counterfeit C-Notes, and Other Curious Currency
BY HARLEY J. SPILLER
$19.95 PAPRESS.COM

This is one of two slim volumes - Howard Akler's "Men of Action" is the other - that I picked up initially because their slimness made them great candidates for subway reading, and then became riveted. Mr. Spiller, identified on the flap as a "museum professional," is also known as an inveterate collector of the unnoticed - for example, Chinese menus. His latest book, which is beautifully written and designed, chronicles his collection, started at age 5, of damaged money, mostly bills and coins of the United States of America. His interest carries us, as it did him, into the world of coin collecting, a realm with its own terminology, quirky habits and venerated experts and connoisseurs. But he dissents from its codes and in so doing demonstrates collecting as a passion that can be satisfied many ways, more or less free, according to one's own rules.
by ROBERTA SMITH

The complete online gift guide with illustrations can be accessed here:
http://www.nytimes.com/interactive/2015/multimedia/2015-holiday-gift-guide-books.html#keep-the-change-a-collectors-tales-of-lucky-pennies-counterfeit-cnotes-and-other-curious-currency

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Goings On is compiled weekly by Harley Spiller