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Contents for December 21, 2015

1. Martha Wilson, FF Alumn, in The New York Times, Dec. 18

The New York Times
Martha Wilson, Dressing Up and Poking Fun, in 'Mona/Marcel/Marge'
DEC. 17, 2015

With life, sometimes you just have to laugh, which Martha Wilson learned long ago. In the early 1970s, she dressed up for the camera and portrayed herself as several things she wasn't - a glamour girl, a housewife, a guy, a goddess - and at least one thing that she was: a feminist, trying on for size every off-the-rack social role she could lay her hands on.

A few years later, she took the rock star route in the all-female, all-words-no-music, all-politics punk group called Disband. (Her stage name, during the Reagan presidency, was Alexander M. Plague Jr.) Finally, she became a downtown arts impresario, as founder and almost budgetless proprietor of Franklin Furnace, an alternative-to-the-alternative space she operated out of her home. Artists under, over and beyond the mainstream radar found a berth there; the list is luminous, long and still growing.
In her current solo show at P.P.O.W., Ms. Wilson is still dressing up for the camera. She impersonates artist-heroes like Ad Reinhardt and van Gogh, and in the triple homage "Mona/Marcel/Marge" poses as a mustached Mona Lisa with a Marge Simpson 'do. She continues to probe politics, literally embodying the color line in the two-toned "Martha Meets Michelle Halfway."

She is in her late 60s, and everywhere draws attention to her age. In one portrait, she draws wrinkles on her wrinkles. In another, she arranges for gravity to give her a face-lift by having herself photographed while hanging upside down. In a third, she appears as an oddly buxom skeleton, wearing a T-shirt with the words "I'm Going to Die." Playing mistress of ceremonies to her own existential vaudeville, she is funny-absurd and something more.

Martha Wilson
535 West 22nd Street, Chelsea
Through Tuesday

The complete illustrated article is now online, here:



2. Diane Torr, FF Alumn, in Manhattan, Jan. 16-17

The Man for a Day Workshop is a unique experience. This is a workshop, which Diane initiated in New York as A "Drag King" workshop and which she has been teaching since 1990 in a variety of venues throughout N. America, Europe and Asia. Since its inception, the workshop gathered much media attention, and brought Diane's work into the public eye. The workshop also pioneered a drag king performance culture in theatres and clubs in several of the cities in which it was taught. People have taken it for many reasons, according to their situation.

The workshop is open to anyone, but it is mainly women who apply. However, there have been trans, cis males and inter-sex participants in the past. All are welcome!!

Diane Torr is an artist, director, writer and lecturer working in performance, film and installation. She has been making performances in New York for over 25 years. In 2003, Diane re-situated her art practice in Glasgow, where she has a studio at WASPS (Workshop and Studio Provision Scotland) Studios and is a Visiting Lecturer at Glasgow School of Art. Her performance work explores notions of gender and the erotic, and focuses on strategies to reinvent the narratives of sex and gender. Her solo drag performances have been seen around New York since 1982. Diane's art performances and installations are presented in galleries, performance venues and festivals throughout N. America, Europe, and Eurasia. She has taught Man for a Day Workshops in over 20 cities, including London, Istanbul, Helsinki, Berlin, Lisbon, Zurich, New York and Chicago. In 2002, she co-directed Go-Drag! with Berlin performance artist, Bridge Markland. This now legendary month-long performance festival which presented women performing femininity, masculinity and androgyny, was fully funded by Berlin's Haupstadtkulturfonds. In Feb/March 2006, Diane brought her unique workshop to India for the first time in a residency at Khoj Arts Workshop in New Delhi. In February 2011, Diane taught her first Man for a Day workshop to Brazil at the Novadanca Festival. Her work has been the subject of profiles on BBC2 Q.E.D., HBO's Reel Sex, in the Washington Post, Village Voice, London Independent, El Pais, German Vogue, etc. She was also one of the main protagonists in Gabriel Baur's feature film, Venus Boyz (2002). Diane's book, Sex, Drag and Male Roles; Investigating Gender as Performance and co-authored by Stephen Bottoms was published by University of Michigan Press in 2010. A feature film on her work, Man for a Day, by Berlin filmmaker, Katarina Peters, premiered at the Berlinale Film Festival on February 10, 2012. and is now on theatrical release. Diane and the filmmaker have toured with the film throughout Mexico financed by the Heinrich Böll Stiftung and South Asia, at the invitation of Goethe Institute New Delhi. The film is shown regularly in venues and film festivals throughout Europe and North America.

This is a one-time opportunity January 16/17, 2016. Looking for a last minute unique gift??? This is it - all genders welcome. $100 reduction for early bird registration of January 5. For more details, email Diane at diane.torr@googlemail.com



3. Linda Mary Montano, FF Alumn, now online at https://youtu.be/sXQSB5cag_g


ARCHIVE LULLABY. Years ago Karen Rodriquez Rice and some years later, Lydia Brawner, came to the Kingston ART/LIFE INSTITUTE and taught me how to separate my things into boxes. Now all of this is at Fales Library. Tobe Carey edited the video.
Linda Mary Montano 2015.



4. Donna Henes, FF Alumn, at Grand Army Plaza, Brooklyn, Dec. 21

Brooklyn, NY--Join Mama Donna Henes, New York's own Urban Shaman, for her 41st Annual Winter Solstice Celebration on Monday, December 21st at Grand Army Plaza in Brooklyn. Celebrants will gather at Bailey Fountain at 11:30pm, but the real excitement begins at 11:48pm, the exact moment when the earth's axis (in the Northern Hemisphere) is tilted the furthest away from the sun.

41st Annual
(Which makes it the 40th Anniversary!)

With Mama Donna Henes, Urban Shaman

Event begins 11:30 PM EST
Solstice moment: 11:48 PM EST

The Winter solstice is as dark as it gets!
The light will now begin its slow return to the Northern Hemisphere.
Let us drum back the sun and reignite the light in our hearts.
Let us shine our best intentioned spirit on the whole world!

This is a family friendly event. Kids and dogs are welcome.
Please bring a candle in a glass container,
drums, percussion instruments,
and lots and lots of spirit.


Grand Army Plaza
at the Fountain
Park Slope, Exotic Brooklyn, NY

For info: 718-857-1343

About Mama Donna:
* Unofficial Commissioner of Public Spirit of NYC. - The New Yorker
* For 35 years Ms. Henes has been putting city folk in touch with Mother Earth. - New York Times
* Part performance artist, part witch, part social director for planet earth. - The Village Voice
* A-List exorcist!" - NY Post
* The Original crystal-packing mama. - NY Press

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

Read her on the Huffington Post:

Connect with her on Facebook:

Follow her on Twitter:

Watch her videos:

Mama Donna's Tea Garden & Healing Haven
PO Box 380403
Exotic Brooklyn, New York, NY 11238-0403
Phone: 718/857-1343
Email: CityShaman@aol.com




5. Brendan Fernandes, Alicia Grullon, Shaun Leonardo, FF Alumns, in the New York Times, Dec. 17

The New York Times
Dec 17, 2015
BRIC's Spring Season Includes Concert Series and Brooklyn-Centric TV Shows

A concert series, a major contemporary art exhibition and new episodes of Brooklyn-centric television shows are the highlights of the spring season at BRIC House, a multimedia arts space in Brooklyn.

The six-concert series will include performances by My Brightest Diamond, a chamber and pop-electronica band led by the instrumentalist Shara Worden (March 18), and Benjamin Wynn, known as Deru (March 26). A performance by Mirah backed by Kane Mathis and a gallimaufry string quartet (May 5) will debut songs with a score written by the composer Jherek Bischoff.

The exhibition, "Whisper or Shout: Artists in the Social Sphere" (March 16 - May 1), features the work of nine artists, including Brendan Fernandes and the archive and gallery Interference Archive. Performances of Shaun Leonardo's "The Eulogy" (March 23), a critique of police brutality in the United States, and Alicia Grullon's "Filibuster" (April 13), a re-enactment of the Texas State Senator Wendy Davis's filibuster to block an abortion bill in 2013, will accompany the exhibition.

BRIC TV, a cable channel inaugurated last year, will air new episodes of "The Show About the Show," directed by Caveh Zahedi, with Alex Karpovsky, Eleonore Hendricks and Dustin Guy Defa starring, as well as "Brooklyn Is Masquerading as the World," a program focused on the borough's residents and creative culture, among others.
The organization's other offerings include an open call exhibition with the works of over 125 artists (Feb. 4- 28), a performance of the play "Touretteshero: Backstage in Biscuit Land" by Jess Thom and Jess Mabel Jones (May 19 and 20), and the Look & Listen festival, which showcases contemporary classical music (April 29 and 30). Works and performances from BRIC's residency and commissioning program, a film series, family programming and a poetry slam, among others, will round out the season's offerings.
A complete list of events is available at bricartsmedia.org.



6. Bob Goldberg, FF Alumn, at Barbes, Brooklyn, Dec. 29, and more

Ladies, Gentlemen and All Others:

We are pleased to announce a rare reunion of the world's first and foremost post-modern jug band, Washboard Jungle.
We'll be performing our particular brand of ridiculousness at 2 gigs in New York during the holiday break week (between Christmas and New Year's Eve). We'll be playing old favorites, as well as songs from our upcoming new album "Sunnyland".

The first show will be on December 29th, at 7:00 PM, at Barbés 376 9th St. (corner of 6th Ave) in Park Slope, Brooklyn.
Call 347-422-0248 or look at
for more info.

On December 30th at 7:00 pm we'll be playing at Dixon Place, 161A Chrystie Street, (between Rivington and Delancey) in Good Old Manhattan. Call 212-219-0736 or look at
for more info. Looking forward to seeing you there.

Washboard Jungle was founded in NYC in 1989 by multi-instrumentalists Bob Goldberg, Henry Hample, McPaul Smith, and Stuart Cameron Vance. At the time they were frequent performers at such venues as Dixon Place, P.S. 122, New York Theatre Workshop, and the Public Theater. The band broke up in 1994, but forgot to stop playing and recording together. Their third and latest CD, "SUNNYLAND," is scheduled for release in 2016.

For more:




7. Terry Braunstein, FF Alumn, at Long Beach Museum of Art, CA, Jan. 10, 2016

Dear Friends,

For your information, I will be doing an Artist's Talk at the Long Beach Museum of Art on Sunday, January 10th at 3PM. I know many of you have seen the show, and many will see it before then, but if you have any burning questions, or just want to learn more about "Who is She?" I will be happy to take you on a tour of the exhibition at that time.

Happy Holidays to you all, and sending you my best wishes for a superb 2016!


It would be a joy to have you come to my exhibition, opening November 19th (5-7pm) at the Long Beach Museum of Art curated by Claudia Bohn-Spector and Sam Mellon.

"...her work is always surprising - thriving on glaring non-sequiturs, pushing us to recognize the illusory nature of everyday assumptions."
-Claudia Bohn-Spector

"Terry Braunstein's photomontages simultaneously provoke and enchant. Deeply rooted in Dada and Surrealism, they examine life's passages and other human experiences, evoking an imagery that is dreamlike, poetic and refreshingly authentic.

She presents the viewer with a new visual syntax that explores issues of identity, alienation, and myth.

Her exploration of the world culminates in a dynamic redefinition of the real that exists somewhere between photographic documentation and psychological expression.

As can be seen in her comprehensive body of work, Braunstein's broad-ranging themes are at once personal and universal, simple and complex, attention to one woman's journey through the modern day world."
-Curatorial Assistance 2015

The exhibition will also feature a catalogue with essays by Bohn-Spector and by writer/poet Tosh Berman. It will also debut a film by Kate Lain.

Long Beach Museum Hours: Thursday 11AM to 8PM
2300 E. Ocean Blvd. Friday -- Sunday 11AM to 5PM
Long Beach, CA




8. Gabriel Martinez, FF Alumn, now online at Artforum.com

Here's some recent press...



Happy Holidaze!

Gabriel Martinez



9. Heather Cassils, FF Alumn, at Sundance Film Festival, Park City, UT, January 21-31, 2016 and more


Inextinguishable Fire Premieres at 2016 Sundance Film Festival
The installation from Canadian, Los Angeles-based artist Cassils uses techniques borrowed from Hollywood stunts to speak to the violence of war.

"Inextinguishable Fire put a match under our certainties and perceptions, making you confront what you might prefer to ignore." - The Guardian

Cassils on lit on fire as part of their performance Inextinguishable Fire, performed on Nov 8, 2015 at the National Theater in London as part of the SPILL Festival of Performance. This piece was produced by the Pacitti Company and supported by the Pacitti Company and supported by the Canada Council for the Arts. Photo credit: Manuel Vason

An installation of the film Inextinguishable Fire created by Cassils, will make its U.S. premiere at the 2016 Sundance Film Festival. The piece will be displayed as part of the New Frontier program in Park City, UT, from January 21-31 in Park City.

Inextinguishable Fire aims to make spectators engage with the media's often constructed images of violence and war. Witnessing it's impact in the form of a slow motion video displaying Cassils being set on fire, this performance for the camera features the artist engaged in a treacherous fire stunt. The final film makes the stunt's theatrics as visible as the ostensible risk. Using techniques borrowed from Hollywood stunts, the 14-second live burn is extended to 14 minutes of slow motion flame, shot at 1000 frames per second. Slowing the burn down requires the viewer to spend time in a world reduced to fleeting headlines on our Twitter and Facebook feeds. At New Frontieres Inextinguishable Fire plays on a continual loop, first forward and then reverse, referencing the cycles of political uprising and apathy, life and death, ignition and extinguishment. The title of the piece references Harun Farocki's eponymous 1969 film, which reflects on the impossibility of effectively representing the horror of napalm on film. Though the stunt is a simulation of violence, it still presents real danger. This possibly volatile situation is captured to create an image where immanent physical danger, empathy for those experiencing violence, and the privilege of distance from such circumstances operate simultaneously in one transparent performance.


Cassils was awarded The International Prize for Live Art in 2014. As part of this prize The Powers That Be (210 Kilometers) was commissioned as a site specific work for the ANTI Contemporary Art Festival in Kuopio, Finland. Cassils is reworking this piece for a U.S. premiere, April 2, 2016 at the Broad Museum.

For the live Los Angeles performance Cassils collaborates with fight choreographer Mark Steger to stage a brutal two person fight. Lit by car headlights and performed in the depths of a parking garage, Cassils is the sole figure, left to spar with an invisible force. Amplified by surrounding car stereos is a score designed by Kadet Kuhne comprised of static noise and samples found on the radio. Broadcasting issues reflective today's sociopolitical climate, both proximate and distant, The Powers That Be, explores the radical unrepresentability of certain forms of trauma and violence. Smashing the weight of accountability directly on everyone involved, this piece is designed to be viewed and recorded with a mobile phone. Cassils addresses mediated images of violence by calling into question the roles of the witness and the aggressor.

Live Performance of the The Powers That Be (210 Kilomiters), presented by the ANTI Contemporary Art Festival, Kupio, Finland. Produced with funds from The International Prize for Live Art, which Cassils won in 2014. September 4th, 2015. Photo credit: Pekka Makinen

A live performance of Inextinguishable Fire sold out London's National Theatre. The performance was commissioned by SPILL Festival of Performance. Following the live event was a public outdoor screenings the film version of Inextinguishable Fire, presented in partnership with Southbank Centre, as part of the Being A Man Festival. These events prompted rave reviews from The Guardian, WIRED and a feature in the New York Times.

Original and theoretically astute, Abstract Bodies is the first book to apply the interdisciplinary field of transgender studies to the discipline of art history. It recasts debates around abstraction and figuration in 1960s art through a discussion of gender's mutability and multiplicity. In that decade, sculpture purged representation and figuration but continued to explore the human as an implicit reference. Even as the statue and the figure were left behind, artists and critics asked how the human, and particularly gender and sexuality, related to abstract sculptural objects that refused the human form.
Cassils is also included in Amelia Jones forthcoming article Material Traces: Performativity, Artistic "Work," and New Concepts of Agency, from The Drama Review, Volume 59, Number 4, Winter 2015 (T228)




10. Paco Cao, Janet Henry, Julie Tolentino, FF Alumns, receive 2015 Art Matters grants

2015 Art Matters grantees

Facebook / Instagram

Art Matters is pleased to announce the recipients of its 2015 grants to individual artists. The foundation awarded 25 grants of 5,000 and 10,000 USD for ongoing work or projects that break ground aesthetically and socially.

In addition, the foundation awarded six discretionary grants intended to catalyze momentum for projects at a critical juncture.

In announcing the grants, Art Matters Director Sacha Yanow said, "We are thrilled to support this extraordinary group of artists from across the US. Their practices are diverse, engaging issues of social justice and experimenting with form. Their voices are important and through our funding we hope to help amplify them."

2015 grantees:

Morgan Bassichis (Brooklyn, NY)
Support for ongoing work

Blights Out (New Orleans)
Open House, a series of architectural charrettes in the Upper Tremé neighborhood in New Orleans that envisions its development

Paco Cao (Bronx, NY)
Support for ongoing work

Cog•nate Collective (Santa Ana, CA)
Expansion of Mobile Agora Project (MAP) to two other border sites: Sobreruedas Otay in Tijuana and the South Bay Swap Meet in San Diego

Karla Diaz (Wilmington, CA)
Support for ongoing work

Demian DinéYazhi' (Portland)
Support for ongoing work

Eating in Public (Kaneohe, HI)
FREE SAMPLES (FS), a "sidewalk-to-table" edible weeds project at the Crop Shop farmers market at the Kuhio Park housing towers, the University of Hawaii campus, and other sites

LaMont Hamilton (Chicago)
Support for ongoing work

Vanessa Hernández Gracia (San Juan, PR)
Support for ongoing work

Daniel Alexander Jones (New York)
Development of DUAT, an evening-length performance piece in three parts, to premiere at Soho Rep under the direction of Will Davis

Joe Mama-Nitzberg (Catskill, NY)
Support for ongoing work

Park McArthur (New York)
Development of two upcoming solo exhibitions that expand the artist's sculptural work and writing

Azikiwe Mohammed (New York)
Support for ongoing work

Alan Nakagawa (Los Angeles)
RESONANCE: HIROSHIMA/WENDOVER, a sound and video project involving the atomic bomb that connects the Hiroshima Atomic Dome to the Wendover Hangar in Utah

Eiko Otake (New York)
A Body in Places, a series of intimate solo performances

Carl Pope (Indianapolis)
Support for ongoing work

Cameron Rowland (New York)
Support for ongoing work

Sable Elyse Smith (New York)
Support for ongoing work

Sharita Towne (Portland)
Support for ongoing work

Allison Warden (Anchorage, AK)
Support for ongoing work

Marie Watt (Portland)
Support for ongoing work

Faith Wilding (Providence, RI)
Travel to Paraguay, where the artist was born, to research and record ecological destruction due to GMO mono-crops

Fletcher Williams (North Charleston, SC)
Support for ongoing work

Rosten Woo (Los Angeles)
Support for ongoing work

Lauren Woods (Dallas)
Support for ongoing work

2015 discretionary grantees:

Chances Dances (Chicago)
Platforms: 10 Years of Chances, a citywide series of exhibitions, performances, panels and interventions

Reina Gossett and Sasha Wortzel (New York)
Happy Birthday, Marsha!-a film about legendary transgender artist and activist, Marsha P. Johnson and her life in the hours before the 1969 Stonewall Riots in NYC

Janet Henry (Queens, NY)
Development of the Hoodie Project

John Kelly (New York)
Recreation of the artist's performance Love of a Poet as part of the Lower Manhattan Cultural Council's River to River Festival

Los Dos (El Paso, TX)
Support for ongoing work

Julie Tolentino (Los Angeles)
Development of the Clit Club Book Project

For more information on Art Matters, please visit www.artmattersfoundation.org.



11. Coco Fusco, FF Alumn, at Alexander Gray Associates, Manhattan, opening Jan. 9, and more

Coco Fusco
Opening Reception: Saturday, January 9, 2016, 6-8 PM
Exhibition Dates: January 9 - February 6, 2016

Coco Fusco, La confesión, 2015, 30 minute digital film (still)
Alexander Gray Associates presents an exhibition of work by interdisciplinary artist and writer Coco Fusco, screening for the first time together a survey of her seminal videos created over the past two decades. Premiering is her latest installation Confidencial, Autores Firmantes (2015), which examines Cuba's systematic censorship of key literary voices during the 1970s. Featuring works from the early 1990s through the present, the exhibition focuses on Fusco's critical examination of the politics of identity, military power, the history of racial thought, and post-revolutionary Cuba.

Presented for the first time in New York, Fusco's most recent videos on Cuba, La Confesión (2015)-created for the 56th Venice Biennale, Italy-and La botella al mar de María Elena (2015)-premiered at the 2015 Göteborg International Biennial for Contemporary Art, Sweden-explore the cases of Cuban poet Heberto Padilla and writer María Elena Cruz Varela, respectively deconstructing official narratives of political oppression. Cuba has been a subject of study for Fusco for three decades, during which she has produced videos; exhibitions; performances; cultural exchanges and numerous texts, included her recently published book, Dangerous Moves: Performance and Politics in Cuba (2015, Tate Publishing).

Her research on Cuba led to her collaboration with Dr. Lilian Guerra (professor, University of Florida), which resulted in the mixed-media installation Confidencial, Autores Firmantes (2015). Through this work, Fusco further explores the Padilla affair by presenting twenty-one facsimiles of official memorandums and letters from 1971-found by Dr. Guerra in the archives of the Cuban Ministry of Culture. The documents detail orders and methods by which to censor publications by intellectuals deemed "anti-Cuban" due their open disagreement with the government's detainment of the poet Heberto Padilla, and their skepticism regarding the motives of Padilla's ensuing "confession" that he had betrayed the revolution. The documents are presented alongside original Cuban editions of books by authors such as Gabriel García Marquez, Julio Cortázar, and Mario Vargas Llosa who signed two open letters to Fidel Castro that were published in Le Monde in 1971 in protest of the Cuban government's treatment of Padilla. This room-size installation is an archive of a key historical moment that redefined Cuba Revolutionary government's relationship with progressive intellectuals of that era out and inside the island, and cast a long shadow over its relationship with its literary cadre. Autores Firmantes mirrors a moment in time both past and present, in the artist's words, "A state may produce the absence of its own archive while retaining its own contents for a future exercise of force."

With equal doses of research, humor, and irony, Fusco tackles complex subjects including race, ethnicity, identity, xenophobia, violence, and objectification of minority cultures in her video works. In works such as TED Ethnology: Primate Visions of the Human Mind (2015), Operation Atropos (2006), and The Couple in the Cage: A Guatinaui Odyssey (1993), she uses the body as the basis from which to question and destabilize enforced binaries of hegemony and otherness dictated by doctrinarian voices, which she describes as "conditions of uncurbed power that are present in so many warring scenarios" in today's societies. Videos such as The Empty Plaza (2012) and Y entonces el mar te habla (2012), foreground her exploration of memory, history and place: in them she considers the hegemonic control of official histories of Cuba and the ways that unofficially recognized flows of bodies transform the meaning of iconic elements of the Cuba landscape.

Fusco's thirty-year exploration of difficult subjects through performance, video, and research presents a body of work that evinces a nuanced, informed and open-ended approach to sensitive issues. In an interview between Fusco and Dr. Guerra, the latter explains, "One story-regardless of its source-is never representative of the multiple dimensions of any lived reality." Fusco's work brings depth and multifold meaning to complex investigations of the human condition.

Coco Fusco's work was recently exhibited in All the World's Futures at the 56th Venice Biennale, Italy, curated by Okwui Enwezor, and at the Göteborg International Biennial for Contemporary Art, Sweden, curated by Elvira Dyangani Ose (2015). Fusco's performances and videos have been included in the 8th Mercosul Biennial, Porto Alegre, Brazil (2010); two Whitney Biennials, New York (2008 and 1993); VideoBrasil, São Paulo (2005); Performa 05, New York (2005); Shanghai Biennale, China (2004); Johannesburg Biennial, South Africa (1997); London International Theatre Festival, United Kingdom (1995); and Sydney Biennale, Australia (1992); among others. Her work has recently been featured at the Walker Art Center, Minneapolis, MN (2014); Centre Pompidou, Paris (2014); New Museum of Contemporary Art, New York (2013); Contemporary Arts Museum Houston, TX (2012); Museo Nacional Centro de Arte Reina Sofía, Madrid (2012); Tate Liverpool, United Kingdom (2010); among others.

Fusco is the author of English is Broken Here: Notes on Cultural Fusion in the Americas (1995), The Bodies that Were Not Ours and Other Writings (2001), and A Field Guide for Female Interrogators (2008). She is the editor of Corpus Delecti: Performance Art of the Americas (1999) and Only Skin Deep: Changing Visions of the American Self (2003). Her most recent book is Dangerous Moves: Performance and Politics in Cuba, supported by Absolut Art Award for Art Writing and released by Tate Publishing (2015). She has won numerous awards, including: Herb Alpert Award in the Arts (2003); USA Berman Bloch Fellow (2012); Guggenheim Fellowship (2013); Absolut Art Award for Art Writing (2013); a Cintas Foundation Visual Arts Fellowship (2014-2015) and the 2016 Greenfield Prize. Since 1988, she has performed, lectured, exhibited, and curated around the world.

Weekly screening schedule

Tuesdays and Thursdays: 11:00 AM - 5:00 PM

11:00 AM / 2:00 PM The Empty Plaza (La Plaza Vacia), 2012
11:20 AM / 2:20 PM La confesión (The Confession), 2015
12:00 PM / 3:00 PM Y entonces el mar te habla (And the Sea Will Talk to You), 2012
1:00 PM / 4:00 PM La botella al mar de María Elena (The Message in a Bottle from María Elena), 2015

Wednesdays and Fridays: 11:00 AM - 5:00 PM

11:00 AM / 2:00 PM The Couple in the Cage: A Guatinaui Odyssey, 1993
11:35 AM / 2:35 PM Els Segadors (The Reapers), 2001
12:00 PM / 3:00 PM Operation Atropos, 2006
1:00 PM / 4:00 PM TED Ethology: Primate Visions of the Human Mind, 2015

Saturdays: 11:00 AM - 5:00 PM

11:00 AM The Empty Plaza (La Plaza Vacia), 2012
11:20 AM La confesión (The Confession), 2015
12:00 PM Y entonces el mar te habla (And the Sea Will Talk to You), 2012
1:00 PM La botella al mar de María Elena (The Message in a Bottle from María Elena), 2015
2:00 PM The Couple in the Cage: A Guatinaui Odyssey, 1993
2:35 PM Els Segadors (The Reapers), 2001
3:00 PM Operation Atropos, 2006
4:00 PM TED Ethology: Primate Visions of the Human Mind, 2015

Press Inquires

Alexander Gray Associates
Alexander Gray Associates is a contemporary art gallery in New York. Through exhibitions, research, and artist representation, the Gallery spotlights artistic movements and artists who emerged in the mid- to late-Twentieth Century. Influential in cultural, social, and political spheres, these artists are notable for creating work that crosses geographic borders, generational contexts and artistic disciplines. Alexander Gray Associates is a member of the Art Dealers Association of America.

Upcoming Exhibitions
Regina Silveira, FF Alumn,: February 19 - March 26, 2016
Hassan Sharif: April 7 - May 14, 2016
Harmony Hammond: May 19 - June 25, 2016

Art Fairs
ADAA: The Art Show: March 2 - 6, 2016
Featuring a solo presentation of work by Jack Tworkov.

Alexander Gray Associates
510 West 26 Street, New York NY 10001 United States
Telephone: +1 212 399 2636
Tuesday - Saturday, 11:00 AM - 6:00 PM

and Coco Fusco in The Brooklyn Rail, Critics Page, Dec. 2015

1. Lack of access:
Most Americans have no access to art education, period. Funding for art education in public schools has been on the decline for decades. In general, art education starts too late for those who are interested in making art. Starting in high school is late. Many students apply to art school without even having taken art in high school.

2. The economic crisis of higher learning is especially evident in art and design schools:
There has been plenty of press already about the inflated cost of higher education and the obscene scale of student debt. Art and design schools are disproportionately represented among those institutions that force students into high debt. The possibility of repayment for art majors is very low by comparison to those who prepare themselves for more stable careers. This economic precarity infects the entire art-school system by excluding the majority who cannot borrow or otherwise obtain money to pay. Those who take on the financial risk are under pressure to make decisions about their work that respond to market incentives, and at times are forced to turn to a range of edgy and even illegal dealings to come up with money. I have had more students who dealt drugs and did sex work to pay their debts than I want to remember. Those students who make it into the top art schools are pressured to treat them as apprenticeships with famous art world figures who are supposed to open doors for them.
So while there are more and more art programs and art- and design-related degrees, that is not an indication that more people want to be artists-it is a reflection of the strategy adopted by educational institutions to try to increase tuition by multiplying degree programs. The proliferation of degrees does not translate into more jobs for graduates; it is just another way to lure more people into assuming debt.

3. The bogus myth that art and design schools are not
trade schools, that they are like liberal arts colleges,
engaging in "research:"
Most art and design schools are tuition-driven and starved for cash. The goal is survival through increased income, whatever the marketing may be. Today it may be that this or that school is a leader in public engagement, tomorrow it's social practice, the next day it's green design. Whatever responds to dominant cultural trends and funding priorities at foundations-that is what counts, not "research."
Most classes taught in art and design schools are practical and technical. Many teachers in art and design schools think and act as though technical skills are all that can and should be taught, because the rest is up to talent and intuition. The tiny bit of theoretical and historical coursework most art students have to do is "dumbed down" by tired professors or racked up by young theory-heads who think that dumping a ton of Jacques Lacan, Jacques Rancière, or Chantal Mouffe on students without strong academic backgrounds will somehow transform them overnight into conceptual artists who can talk the talk.
Too many art professors who don't make money from sales and don't get commissions and grants have invented the notion that their practice is "research" and should be funded by universities. They are influenced by trends in Europe and Australia that have spurred a growth industry of art PhDs. There is no quality control, just a lot of ego and paperwork. Advanced degrees in art are useless in the United States. And while all art involves research, few-if any-artists engage in the kind of deep inquiry and evidence-based analysis that scientists and humanists must do to have their research validated by their professional communities. How living artists are validated is much too close to market priorities to be able to be judged in the same ways that academic endeavor is. So this is an Emperor's New Clothes situation.
Furthermore, most art and design schools do not have managerial structures or labor practices that engender strong research environments. More than 90 percent of art professors are exploited adjuncts that teach too many courses for too little money. That leaves little time for updating methods and course content, or for "research." Most of those with full-time contracts have little or no job security, and most full-time jobs in art schools involve so much administrative work that research becomes a dream. Since there are so many adjuncts, the majority of the administrative work is put into the hands of professional bureaucrats with little or no involvement in teaching, whose primary purpose is to make sure the schools save money by holding on to students, exploiting teachers, and generating more income. All this makes art school laborers risk-averse and politically docile for fear of getting fired.
Those who have a bit more protection through tenure or unions behave as though they are in a lifeboat that will sink if they let more people in or if they have to change their methods. That culture of fear produces a hostile work environment with lots of struggle between the haves and the have-nots. It also makes changing content and teaching methods into a source of constant internal strife. There are strung-out art teachers who use the same course plans for decades-something that would be a serious problem in academic fields-but the teachers defend themselves as standing by "tradition" or by characterizing calls for change as an attack on their jobs. They misrepresent the calls for change as political in ways that serve them by making them seem like victims or by arguing that change will destroy art. So, even though every year Yale students complain that they need teachers who support their interest in performance and video, the people in power resist and maintain divisions in disciplines that hardly make sense given what the students are doing.
I am not trying to suggest that art schools do not use calls for curricular change to undermine teachers-don't get me wrong-but digging in one's heels and being resistant to change is also about teachers feeling threatened, either with the loss of their salaries, or the prospect of having to work harder to adapt. For the elite at top schools, accepting change would mean that star faculty and visitors might have to start teaching for a change-and they don't want to. They just want to do studio visits and keep things easy. The prevalence of one-on-one encounters inMFA programs makes for lots of smarmy exchanges that are very difficult to control since everything is he-said-she-said-they are breeding grounds for all kinds of psychological weirdness on the part of teachers, visitors, and students. That is the dark side of art school.

4. The relationship with the art market:
Few art and design schools have close ties to the market, though many try. Those connections are key for validating the expense of insane tuition based on a better chance of making good on the investment. But the connections are people-based, more than alumni-centered, which would be the case at business and law schools. Art schools secure their connection to the market by bringing art stars onto the faculty and having them as regular visitors. They also forge ties with curators who pass through on studio visits, scoping out the next new talent. Art department websites list those names as if schools were galleries with high-powered rosters. Most schools cannot play that game because of the cost. Those who do are the ones whose graduates are more likely to show commercially early, but that does not guarantee long-term success. Former students of mine have had their work snatched up for a few years and then dumped-the normal vicissitudes of the art market. What the instant success of art school graduates does however, is create hype around certain art schools, which explains why Columbia or Yale would get over 1000 applications while a small, regional program would have trouble filling seats. This is not about the quality of teaching, the size of studios, or the range of course offerings. It's about the market connection. That orientation is far from the mentality that was espoused in prior generations, when the chance of selling one's work as a young artist was minimal.
The downside of all this is that art school stops being a place of learning and becomes a place for networking. Students become more interested in getting shows out of visitors than in thinking. In addition, many star visitors and faculty don't treat art school as school, either. It's quick money for some, a way to find emerging artists for overworked curators, a dating game for the creeps, and a bit of a power trip.
Behind all this are the backdoor operations at the high-profile schools-faculty play favorites with students and reward them with introductions to their own art dealers. Some even speculate with student work.

5. Pedagogy:
Everyone will want to argue about pedagogy. Art school is an ideological war zone in which teachers are frequently on the defensive about the "right way" to teach. For many artists, teaching gives them the only chance they have to hold court and wield power-and vent their own frustrations or propagate their personal myths about what art is about and for. There are formalists who just want to make school about technique and beauty. There are others who want to make art teaching all about reading theory and spewing philosophy. There are those who hate identity politics and shut up students who want to create work about their outsider status. There are those who hate painting and are mean to painting students, those who think performance is a joke, those who believe that video just involves turning on a button and that no one needs to learn how to edit (although years are devoted to teaching students to draw). There are those who tell students that all they have to do is dig into themselves and access their deepest feelings or find a "great life experience" to contemplate-so that the slacker teacher doesn't have to prepare any course material. I have seen it all. Where does one begin with the problems of pedagogy? Too much too late? Not enough quality control? Lack of standards? The radical disparity in skills among students? The poor integration of the humanities into art and design education?
There are people who try to do their best to help students without being overly egotistical about the endeavor of teaching. Sadly, they do not represent the majority, certainly not in big cities with large art communities.
Teaching art is a long, slow process. It is expensive to do well. Classes need to be small. The facilities needed to teach a range of skills are costly to maintain. Students need time to absorb and practice what they learn, and that, too, is costly. They need to look at art and that means having to travel for most students, which is also costly. In a dog-eat-dog art world where most artists are having a hard time getting by and most schools are having a hard time staying open, you won't find a lot of generosity or openness.

COCO FUSCO is an artist and writer based in New York.



12. Denise Green, FF Alumn, at Museum Schloss Fellenberg, Germany, thru Feb. 28, 2016

Denise Green's exhibition, Saarschleife / River Loop, at The Museum Schloss Fellenberg offers the artist the opportunity to present for the first time in Europe her first-ever photographic works. This exhibition includes paintings, drawings and photographs as equal vehicles of expression playing off each other.

Denise Green is known as an abstract painter who was associated with the influential New Image painting movement in the US. This exhibition's combination of photographs and drawings is, however, a major new departure.

Torstr. 45A, 66663 merzig
Tel: 49 +06861 /793 030
Hours: Tuesday-Sunday, 1400-17.00 and by appointment



13. Joseph Kosuth, FF Alumn, in The Wall Street Journal, Dec. 16

The Wall Street Journal
Joseph Kosuth's Art of Bright Ideas
Dec. 16, 2015

For artist Joseph Kosuth, neon isn't a means for glitzy spectacle; for him, it is a serious instrument for conveying deep philosophical ideas. He can't help it, however, if spectacular sights arise from a long career's worth of rigorous thinking.

One such sight is the luminous exhibition at Sean Kelly Gallery in Chelsea, where 40 neon works spanning five decades glow with thoughts about art and the nature of thought itself.

Some spell out quotations from Sigmund Freud and philosopher Ludwig Wittgenstein, while others play brainy games with words and numbers. Still others nod to an unlikely intellectual source: the comic-strip characters Calvin and Hobbes.

All reflect the probing and playful work of Mr. Kosuth, who helped pioneer the movement known as conceptual art beginning in the mid-1960s. Some of his early touchstone works are on view in the big retrospective, which closes after Saturday, while others can be seen in a smaller show uptown at Castelli Gallery, running until Feb. 19. Those works charted a course that led Mr. Kosuth to the conclusion that, in art, ideas are more important than objects.

"If you begin with the presumption that artists work with meaning, not with forms and colors, you get a whole other approach for seeing art," said Mr. Kosuth, 70 years old. "The idea was to get rid of the aura around the work of art. It's a burden, and we don't need it."

The concept that an artist's ideas are more important than his or her capacity for creating physical objects is largely attributed to artist Marcel Duchamp, who famously "signed" a urinal in 1917 and submitted it for an exhibit, one of many "readymade" offerings that he deemed works of art. Mr. Kosuth, an ardent follower, also has an installation on view at the Philadelphia Museum of Art, which mixes his work with several by Duchamp.

Mr. Kosuth, who splits his time between New York and London, has worked with many physical materials-photographs, repurposed items such as chairs, large panes of glass and simple declarative statements on Xeroxed paper. But neon became the medium for which he is best known.

His initial goal was to subvert neon's luminescent effect. "I wanted something that was experienced as public signage, as advertising," Mr. Kosuth said, "and to transform it with another use." So he used it to convey concepts then new to art, culled from fields such as philosophy and linguistics.

Some works play slyly with language, such as "Neon Electrical Light English Glass Letters Pink Eight," a self-reflexive work on view at Castelli with eight words spelling out the title in pink neon.

Another piece, in the Sean Kelly show, spells out Wittgenstein's dictum "In mathematics process and result are equivalent"-reflecting the kind of endless questioning and answering Mr. Kosuth thinks art should engage in.

One of his most famous non-neon works, "One and Three Chairs" from 1965, asks the question of what constitutes a chair by displaying a chair, a photo of the chair and a printout of the definition of the word "chair" together.

Since the artist considers ideas his ultimate art product-he cares more about the essence of a chair than any specific chair-a typical piece of his is sold as a certificate that, more than the material object, counts as the artwork itself.

"I've been trying to explain this to people for 20 years," said Sean Kelly, whose gallery is selling the ideas in Mr. Kosuth's show for prices ranging between $40,000 and $500,000. "It was very hard to get across to people who felt they were spending a lot of money and not getting something for it. That's not the case."

The owner can make copies for display, normally with the aid of the artist's studio, but the value of the work is in the paper authorizing it.

"The form of presentation is never signed," Mr. Kosuth said. "You can't sign a neon."

Walking through the Chelsea show, the artist paused to consider several works, including one that combined a "Calvin and Hobbes" cartoon with a thought by Martin Heidegger. "It's brilliant-it gets close to philosophy," he said of the comic strip.

Mr. Kosuth also remarked on a surprise byproduct of his art: the symphony of neon tubes buzzing and whirring all around.

"It's a little like going to an aquarium," he said. "It's the sound of thinking."



14. Chun Hua Catherine Dong, FF Alumn, at The New Gallery, Calgary, Canada, opening Jan. 8
Chun Hua Catherine Dong, Solo Exhibition, at The New Gallery, Calgary, Canada, Jan 8 -Feb 6, 2016
Visual Poetics of Embodied Shame - Chun Hua Catherine Dong
Opening Reception: Jan8 - 8:00PM ( Friday)
Performance: Jan8 - 9:00PM
Exhibition: January 8 - February 6, 2016
Visual Poetics of Embodied Shame examines the visual culture of shame in relation to the body, subjects and power in contemporary art. Over the past two years, Chun Hua Catherine Dong has been creating this series of works that integrates performance, photography, video, and installation. Her focus is exploring the visual culture of shame associated with vulnerability in its personal and socio-political dimensions, deconstructing the experience of shame through gestures, moments, and audience participation. In her practice, she considers feminism, globalization, and psychoanalysis, positioning shame as a feminist strategy of resistance - an ethical practice that seeks altered states of consciousness that possibly leads to restore dignity and humanity.
Chun Hua Catherine Dong is a visual artist working with performance art, photography, and video. She received a M.F.A. from Concordia University and a B.F.A from Emily Carr University Art & Design in Canada. She has exhibited her works in New York, Boston, London, Delhi, Dublin, Helsinki, Moscow, Turin, Tornio, Toronto, Venice, Montreal and Vancouver. Her video work has been screened in Mexico, Germany, Italy, Ireland, Colombia, Spain, The Netherlands, Finland, Poland, Greece, Romania, Croatia, Denmark, Sweden, Scotland, USA, and Canada. Among many other awards, she is the recipient of Franklin Furnace Award for avant-garde art in New York in 2014.
For more info



15. Arlene Raven, FF Alumn, at Soho20 Gallery, Brooklyn, Jan. 15

Friday, Jan 15, 2016 from 6-8pm, (RE)PRESENT 2016: A Feminist Dialogue Across Generations at Soho20 Gallery, 56 Bogart Street, Brooklyn, NY 11206

"Feminism, Who Needs It?" In January 1988, Arlene Raven (1944-2006), feminist art historian, art critic and curator - with Bea Kreloff, artist - held a discussion,Feminism, Who Needs It? at The New York Feminist Art Institute (NYFAI, 1979-1990).
In keeping with the spirit of this discussion, and now at the start of 2016, we will discuss a new: What do we want from Feminism and how can we achieve it? How have things changed?
http://www.nyfai.org. An event of The Feminist Art Project. For further information contact: Nancy Azara @ 917-572-7461, nancy@nancyazara.com

Links can be accessed online: Feminism and Art, Four Lectures by Arlene Raven, Sept. 1985; Arlene Raven by Phyllis Rosser, The Brooklyn Rail, July 10, 2006



Goings On is compiled weekly by Harley Spiller