2018 | 2017 | 2016 | 2015 | 2014 | 2013 | 2012 | 2011 | 2010 | 2009 | 2008 | 2007 | 2006 | 2005 | 2004 | 2003 | 2002

ABOUT GOINGS ON: How to subscribe and submit listings

Contents for June 06, 2016

1. Martha Wilson, Daniel Bejar, Peggy Diggs, Alicia Grullon, Sheryl Oring, FF Alumns, at SmackMellon, Brooklyn, June 17-July 31

Of the people
Curated by Erin Donnelly
Exhibition Dates: June 17 - July 31, 2016
Opening Reception: Saturday, June 18, 5 - 8pm
Closing Reception and Events: Sunday, July 31, 3-6pm

Lauren Frances Adams, Daniel Bejar, Guy Ben-Ari, Brooklyn Hi-Art Machine
(Mildred Beltre & Oasa DuVerney), Isabella Cruz-Chong, Peggy Diggs,
Esteban del Valle, Nicholas Fraser, Emily Greenberg, Alicia Grullon*, Jeremy D. Olson, Sheryl Oring, Ben Pinder, Brittany M. Powell, Kate Sopko,
t.Rutt (Mary Mihelic & David Gleeson)*, Martha Wilson*, Leah Wolff

*Public event artist

The exhibition Of the people curated by Erin Donnelly, opens at Smack Mellon on June 17 and will be on view through July 31, reflects of-the-moment political opinions shaping the 2016 presidential race in the United States. With video, drawing, photography, painting and sculpture as well as socially engaged projects and site-specific installation, the exhibition features artists selected through an open call who hail from California, Maryland, New Mexico, New York, North Carolina and Ohio. Artworks included in the group show offer critical perspectives on the current electoral process while challenging notions of American democracy today.

Eliciting public reactions from the finger to the fist pump during its cross-country tour this year, the T.RUMP Bus by t.Rutt (Mary Mihelic & David Gleeson) will make a stop in Brooklyn, while in the gallery, Alicia Grullon's endurance performance of Filibuster #2 strives to withstand the force of income inequality. Both will be presented on the opening weekend. Voter registration for the fall's general election will be conducted on the following days: Opening Reception: Saturday, June 18, 5-8pm and Closing Reception: Sunday, July 31, 3-6pm, which includes Martha Wilson as Donald Trump - Politics and Performance Art Are One and the Same and a panel discussion with select exhibition artists.

Exhibition artists have produced projects that create space for public participation in a broken election system. Mildred Beltre & Oasa DuVerney of Brooklyn Hi-Art Machine have designed radical posters about the 2016 election with their neighbors in Crown Heights, Brooklyn where they have led a community forum including collaborative art making since 2010. As part of her 12-year project I Wish to Say, Sheryl Oring has mailed thousands of letters addressed to sitting presidents and candidates running for office that are dictated and tapped out on a vintage typewriter thus giving voice to people to air their frustrations or freely express their hopes, dreams, and desires.

The back gallery of Smack Mellon has been converted into a Campaign Office by Jeremy D. Olson where would-be candidates can self-nominate for the highest executive position by recording a stump speech, generated from 2016 campaign announcement speeches, and filling out documents to be an official candidate for president. In a similar DIY fashion, Leah Wolff's ongoing sculptural work reimagines curious objects sold through the mail order Whole Earth Catalog popular from 1968-1972 as election-ready accouterments such as political buttons printed with your own catchy slogan.

Other artworks reflect upon hot topics debated on the televised stage and during the long primary season leading up to the Republican and Democratic National Conventions this summer. Issues such as immigration are evident in Isabella Cruz-Chong's sound installation Line of Breath that portrays the human dimension of the border between the United States and Mexico. Daniel Bejar brings forward Isabel Gonzalez who pioneered legislation to make all Puerto Ricans American citizens-his lenticular photographic work declares "Let's Make America Great Again."

You will hear Emily Greenberg's Public Privacy Hotline phone ringing in the gallery, prompting you to pick up the line to reveal a breach of privacy. The crushing debt experienced by many Americans is highlighted in poignant portraits taken by Brittany M. Powell, part of a mission to document 99 debtors across the United States. Also dealing with visibility and invisibility, Kate Sopko's project The Fixers is comprised of a series of community-made videos documenting outlier Cleveland neighborhoods overlooked by the mainstream media coverage of the Republican National Convention.

Looking towards the past to enlighten the future, art historical strategies can be found in Of the people. Neither the partisan elephant or donkey but nevertheless taking cues from the 19th century satirical cartoons of Thomas Nast, the bull in Esteban del Valle's mural symbolically struggles to maintain the incongruous balance of power between the market and political speech. The traditional odalisque informed by the male gaze is inverted in Guy Ben-Ari's painting that pictures the Oval Office, the ultimate prize in the presidential contest, and its interior under feminine control.

New artist's projects included in the show take into account timely subject matter underscored during the election year. Peggy Diggs's project Heirloom considers the fairness of ballot design with a handcrafted "cozy" while Nicholas Fraser's performative drawings question the fundamental bias of voter maps. Looming large over Smack Mellon's space, the likenesses of big money donors made by Lauren Frances Adams are inspired by the portrait head roundels of historic lawmakers in the US House of Representatives chamber. Formed in 2015, Ben Pinder's The Mythic History of America, For America Super PAC is lawfully recognized here in drawings and genuine articles.

Related programs:

Friday, June 17, 11:30am-8pm: Filibuster #2 by Alicia Grullon
For this live re-enactment of Senator Bernie Sanders' Bush Tax Cuts filibuster, the interdisciplinary artist will follow strict filibustering rules: continual speaking, no bathroom break, no sitting or leaning and no eating or drinking until the 8.5-hour performance is complete.

Drop In Activity also on Friday, June 17: Make your own political button while supplies last. This event is part of the Etsy Craft Party taking place in the neighborhood.
Please let us know if you're coming. Registration is not required but encouraged.

Saturday, June 18, 4-6pm; Saturdays and Sundays, 2-6pm: Campaign Office, performance/installation by Jeremy D. Olson
Campaign Office generates new presidential candidates. Visitors are invited to launch their campaign by recording an announcement speech, generated automatically from 2016 campaign speeches, and will receive paperwork necessary to be an official candidate for president.

Saturday-Sunday, June 18-19: T.RUMP Bus
The t.Rutt artist team purchased Donald Trump's actual campaign bus on Craigslist in the fall of 2015. Since being recast by artists Mary Mihelic & David Gleeson as an anti-Trump rolling art project, it has traveled across the United States during the election season, creating a platform for responding to the presumptive GOP nominee's outrageous statements and behaviors. All the original Trump campaign artwork remains on the bus but it has been artistically altered and transformed into the T.RUMP Bus.

We are offering special members-only tours of the T.RUMP Bus this weekend.
Sign up for a Membership and support Smack Mellon!

Saturday, June 18 and Saturday, July 16, 12-6pm: Mapping projects #7 and #8 by Nicholas Fraser
A series of mapping performances will be conducted that examine the absurdities inherent in the media's visualizations of the presidential election process.

Wednesday, July 27, 7pm: Panel Discussion on Propaganda co-presented by
Smack Mellon and Hyperallergic
What differentiates propaganda from art? This conversation will probe historic propaganda imagery, its connection to today, and the role it plays in raising social consciousness and awareness for issues often overlooked by governments, institutions, and society. Moderated by Hyperallergic's editor-in-chief and co-founder Hrag Vartanian, in conversation with art historian at NYU Miriam M. Basilio; artist Daniel Bejar, who is part of the Of the people exhibition; and more to be announced soon.

Thursday, July 28, 5:30-8pm: Silkscreen Workshop by Brooklyn Hi-Art Machine
Come to Smack Mellon to make your own political poster copy. The evening includes a screening of the Democratic National Convention when the party's candidate will be announced.

Sunday, July 31, 3pm: Martha Wilson as Donald Trump - Politics and Performance Art Are One and the Same
Martha Wilson embodies her trademark "invasions" of other people's personae.

Immediately following performance: Community practices: Art and Intervention Panel Discussion
Select exhibition artists discuss their projects of social and political consequence. Participants include Isabella Cruz-Chong, Brooklyn, New York; Sheryl Oring, Greensboro, North Carolina; and lead artist Kate Sopko, Cleveland, Ohio, who will be joined by a fixer from her project; moderated by Erin Donnelly

Additional events may be scheduled, check www.smackmellon.org for announcements.

Also, Smack Mellon staff will also conduct voter registration for the fall's general election Wednesday-Sunday, 12-6pm.

Erin Donnelly, Programs Manager at Smack Mellon, has organized exhibitions in galleries and museums such as Maccarone, Municipal Art Society, Abrons Art Center, Kunsthalle Exnergasse in Vienna and elsewhere as well as curated public art projects along 14th Street in Manhattan and in the storefront windows of the Lower East Side Tenement Museum. Publications include Art in Odd Places: Sign and Site Matters. She has taught in the Department of Photography and Imaging, Tisch School of the Arts, New York University. She has a BA in Fine Art, MA in Individualized Study and Certificate in Museum Studies, all from NYU. She was a Helena Rubinstein Curatorial Fellow, Independent Study Program, Whitney Museum of American Art and received a David Alfaro Siqueiros Award from Volunteer Lawyers for the Arts.

This exhibition is supported, in part, by public funds from the New York City Department of Cultural Affairs, in partnership with the City Council, New York City Council Member Stephen Levin, and the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature, and with generous support from The Andy Warhol Foundation for the Visual Arts, Gilbert Mackay Foundation, Iorio Charitable Foundation, Select Equity Group Foundation, many individuals and Smack Mellon's Members.
Smack Mellon's programs are also made possible with public funds from the National Endowment for the Arts and with generous support from The Edward and Sally Van Lier Fund of The New York Community Trust, Lambent Foundation, The Roy and Niuta Titus Foundation, Jerome Foundation, Lily Auchincloss Foundation, Inc., The Robert Lehman Foundation, The Greenwich Collection Ltd, Milton and Sally Avery Arts Foundation Inc., and Exploring The Arts.
Space for Smack Mellon's programs is generously provided by the Walentas family and Two Trees Management.

Lauren Frances Adams's project is made possible with support from the Pollock-Krasner Foundation and Maryland Institute College of Art. Kate Sopko's project is brought to you with generous support from SPACES and Art Matters, and with tremendous work from a huge group of collaborators.

Smack Mellon
92 Plymouth Street
Brooklyn, NY 11201
p. 718.834.8761
f. 718.834.5233



2. Barbara Rosenthal, FF Alumn, at New Media Film Festival, Los Angeles, June 7, and more

Barbara Rosenthal's performance-photo-video-text-collage film, "Toil of Three Cities / Liebesmüh," will be featured opening night at the New Media Film Festival, Los Angeles, California. I the press release for the festival, Rosenthal, who has been working in video since 1976, and performance-installation-3Dcollage since 1968, is described as "Old Master of New Media." The full festival runs from June 7-9, and she will be in LA for it. (Please message her on FB if you would like to meet up there -- or want to offer a place to stay: https://www.facebook.com/barbara.rosenthal1) The last time she was in LA was 1973. Tickets and more info: http://newmediafilmfestival.com/schedule.php#ev-01


Barbara Rosenthal, FF Alumn, Solo Show at Galerie Protégé, NYC, June 9-July 2, receptions June 14 and June 30

A solo show of 50 Surreal Photographs from the novel "Wish for Amnesia" by Barbara Rosenthal, and a display of dozens of manuscripts, drafts, binders and proto-editions (1980-2016) that finally culminated in the newly released "definitive first edition" being published by Deadly Chaps Press, after over 36 years of her writing it, is presented by Joseph Quintela, curator of Smith&Jones Gallery at Galerie Protégé, in the Chelsea art district of NYC, June 9-July 2. There will be two receptions, Tues, June 14 (6-8pm), at which Barbara Rosenthal will read the manifesto chapter, "Jack's Speech: Homo Futurus in the Trans-Millenium Century," and will be joined later in the evening by several other writers reading from their own works: Dorothy Friedman, Mitch Corber, Amy Barone, and. Lehman Weichselbaum. At the second reception, Thurs, June 30 (5:30-7:30pm), she will give a talk about the gestation of this novel, and be joined to read from their own works by Patricia Corrtigan, Su Polo, and Ronnie Norpel. More info and FB event (click "going" !!): https://www.facebook.com/events/2016057921952754/
Barbara Rosenthal
463 West Street, #A629
NY, NY, USA 10014-2035
+1-646-368-5623 (voice and voicemail, no texts)
Skype: barbararosenthal



3. Joan Jonas, FF Alumn, at Fundación Botín, Santander, Spain, June 25-Oct. 16

Joan Jonas: stream or river, flight or pattern at the Fundación Botín, Santander

Dates: 25th June to 16th October
Curator: Benjamin Weil, Centro Botín Artistic Director

More information and images: www.fundacionbotin.org/joanjonas

The American artist Joan Jonas (New York, 1936), pioneer in performance art, experimental cinema and video installations, will be the featured artist of the exhibition Joan Jonas: stream or river, flight or pattern, hosted at the Fundación Botín exhibition hall from 25th June to 16th October. The show has been curated by Benjamin Weil, the Artistic Director at the Centro Botín.

The American artist will be presenting a new multimedia installation in Santander, created especially for the Fundación Botín exhibition that will be showcased in collaboration with fifteen young artists from the international field, selected by Joan Jonas herself to participate in the Visual Arts Workshop at Iris Villa from 6th to 24th June 2016.

Through this work the artist deepens her investigation into the complex relationship between humans and the natural world, a concern that has been present throughout her career.

The new piece will be presented together with a selection of videos that document five of the most relevant performances staged by the artist over the last five years: Lines in the Sand (2002); The Shape, The Scent, The Feel of Things (2004-2006); Reading Dante (2007-2010); Reanimation (2012); and They Come to Us without a Word (2015). This set of works gives the visitor a unique insight into this key figure of the New York avant-garde of the late sixties and early seventies.

Born in New York in 1936, Joan Jonas graduated in History of Art from Mount Holyoke College in 1958. After studying sculpture at the School of the Museum of Fine Arts, Boston, she furthered her training in drawing and poetry at Columbia University where in 1965 she achieved a Masters in Sculpture. At the end of the sixties and beginning of the seventies, Joan Jonas widened her artistic practice exploring new art media which brought her into contact with the works of Claes Oldenburg, Yvonne Rainer and Simone Forti which set the foundations of performance art as we know it, a practice she continues to spearhead today.

Joan Jonas: stream or river, flight or pattern is the first exhibition from the artist presented in Spain since the retrospective she dedicated to MACBA (Museu d'Art Contemporani de Barcelona) in 2007.

For more information, contact the Press Department at the Fundación Botín via telephone 942 36 04 53 or email mmeoro@fundacionbotin.org

Copyright (c) 2016 PRODUCCIONES DE ARTE Y PENSAMIENTO SL, todos los derechos reservados.



4. Carl Andre, Louise Lawler, Ed Ruscha, Richard Tuttle, Lawrence Weiner, FF Alumns, at Museum Brandhorst, Munich, Germany, June 9, 2016-April 23, 2017

Contemporary Art from the Brandhorst Collection
June 9, 2016-April 23, 2017

Museum Brandhorst
Türkenstraße 19
80799 Munich

T +49 89 238052286
F +49 89 238051304

Facebook / Twitter / Instagram

With about 150 works from the Brandhorst Collection, Schiff Ahoy focuses on the continued relevance that the art of the 1960s and 1970s holds for contemporary art production. During this period, artists such as Carl Andre, Joseph Beuys, James Lee Byars, Andre Cadere, Mario Merz, Ed Ruscha, Niele Toroni, Richard Tuttle, and Lawrence Weiner experimented with materials and production methods previously considered unworthy of art. They called into question the static and work-based character of modern art, vigorously addressed the role of the viewer, and engaged with alternative artistic formats and channels of distribution. These impulses continue to be provocative and fruitful today, revealing numerous points of connection between the collection's holdings dating from 1958 to the present.

The works on display share an interest in activating historical and art-historical interconnections. The artwork which lends the exhibition its title, Schiff Ahoy-Tied to Apron Strings (1989) by Lawrence Weiner is a prime example. The 13-piece collage series is based on pages taken from the book Die Siegesfahrt der Bremen (1940). Written in a heroic and patriotic tone, the book chronicles the daily experiences of a captain. Shortly before the outbreak of World War II, Commodore Ahrens sailed Norddeutscher Lloyd's high-speed steamer "Bremen" from the US to the ship's National Socialist homeland, and thus into a fatal future, which ended with the emergence of a new world order in 1945. Returning to this book in the historically significant year of 1989, Weiner juxtaposes two vital turning points in the history of the 20th century, and dismantles the hegemonic efforts of ideological systems that, he implies, were "tied to apron strings."

The exhibition opens with Sitzgruppe Heimo (1996) by Franz West and Heimo Zobernig, which invites the visitors to take a seat on chairs designed by West. A "white cube"-representing the reduced form of the modern art space-is set up in front of chairs. Does it have anything to say, and if so, what? Is it an autonomous space or an object on a stage? If there's a stage, then who's the actor? These considerations set the tone for the works that visitors encounter at the museum's entrance level. A connecting link between the works is the figure of the viewer. This becomes evident in classic minimalist artworks such as Carl Andre's FeCuND (1986), or an untitled mirrored wall-work by Heimo Zobernig, which sets visitors squarely within the picture.

The rooms on the lower level explore the expanded range of artistic formats and distribution channels of art from the 1960s. Exemplary in this regard are Ed Ruscha's early artist's books, Twentysix Gasoline Stations (1963), and Some Los Angeles Apartments (1965), which are exhibited alongside the photographic series on which they are based. Ruscha took the photographs with the intention of publishing them in books-a decidedly democratic and unspectacular form for art-that could be purchased for a few dollars. Both Paul Chan's printed and digital artist's books from the last years, which hover between image and text, book and exhibition, and Martin Kippenberger's Pop It Out (1994), a portfolio of 31 posters that friends of the artist designed for him, can be described as yet another contribution to the expansion of artistic formats. Seth Price's pictures and objects based on the motif of the standard business envelope provide the conclusion to the rooms' display. In the light of an increasing erosion of privacy via the inflationary circulation of information, the envelope motif takes on an emblematic significance: in an era where even the most intimate information is only a click away, the ultimate secrets are in the protective envelope. Thus, the envelopes become dystopian endpoints for the alternative modes of distribution celebrated by conceptual art-modes derived from a desire for broad accessibility.

In Schiff Ahoy, a special focus is placed on recent acquisitions of the past two years, most of which are presented to the public for the first time. With works by Kerstin Brätsch, Paul Chan, Jacqueline Humphries, Louise Lawler, Mark Leckey, Seth Price, Josh Smith, R.H. Quaytman, Kelley Walker, and Heimo Zobernig, Schiff Ahoy marks the expansion of the museum's collection to include current artistic production. This emphasis will be continued in the coming year with solo exhibitions by Wade Guyton, Kerstin Brätsch and Seth Price, and occurs within the context of the museum's own collection history, which has grown since the 1970s with the art of its time.

Curator: Patrizia Dander

The exhibition is supported by PIN. Freunde der Pinakothek der Moderne e.V.



5. Mark Berghash, FF Alumn, new publication

Dear Family and Friends,

I am happy to announce that the new book, "Psyche, Soul, and Spirit: Interdisciplinary Essays," which I have written with my co-author Katherine Jillson, has just been published by WIPF and STOCK Publishers. Mark designed the cover.

The hard work finally paid off.

It is available on Amazon at




6. William N. Copley, Richard Artschwager, John Cage, Christo, Dick Higgins, Ray Johnson, Joseph Kosuth, Claes Oldenburg, Yoko Ono, Dieter Roth, Lawrence Weiner, FF Alumns, at Plato's Cave, Brooklyn, opening June 11

William N. Copley's S.M.S "SHIT MUST STOP"
at Plato's Cave at EIDIA House
14 Dunham Place
Brooklyn, NY 11249
646 945 3830

Opening reception Saturday, June 11, 2016 6-8pm Exhibition two week run: June 11 to 25, 2016 Hours 1-6pm, Wednesday - Saturday (or by appointment)

"In 1968 you could own a Duchamp, a Christo, a Lichtenstein, an Oldenburg, a Mel Ramos, an Arman, a Man Ray and works by scores of other artists for $125. S.M.S. was a last breath before art became corporate, and S.M.S. is still one of the most compelling compendiums of art you can buy today." Susan Reinhold who organized an S.M.S. exhibition and catalog at Reinhold-Brown Gallery [Madison Ave. New York] in 1988, corresponding via email with EIDIA.

(soon to be posted to EIDIA website)

For the next Plato's Cave exhibition (#24) EIDIA - Melissa P. Wolf and Paul Lamarre present a special exhibition of S.M.S., William N. Copley's "Shit Must Stop." The S.M.S. Portfolio was published and assembled by Copley aka CPLY and the artist Dimitri Petrov (assisted by numerous volunteers) in a factory loft space on Manhattan's Upper West Side, above Zabar's. Containing the total output of 73 artists' contributions, the six S.M.S. portfolios were mailed to subscribers, in two-month intervals, between February and December 1968.

"As you will see it is a mixture of many things. We are not trying to push any kind of art but rather to suggest how many different ways ideas can go. So we include the old and the new in a context that is meant above all to surprise and make of the box itself a sort of adult joy."

William N. Copley speaking of his S.M.S. "SHIT MUST STOP" Portfolio, Joseph Cornell papers, 1804-1986, bulk 1939-1972. [General Correspondence, Box 2, Folder 3] in the Archives of American Art, Smithsonian Institution.

EIDIA suggests that if you cannot make the trip to Houston Texas to visit the Menil Collection retrospective exhibition "William N. Copley: The World According to CPLY" (including S.M.S.) then Plato's Cave is your next destination of choice to view up close these compelling and marvelous portfolio editions. (With white gloves provided, some limited handling inspection will be permitted.)

EIDIA and Plato's Cave feels a strong affinity to CPLY given his predilection for; the merger of art and life, the use of acronyms and his life long collaboration with other artists. We feel that S.M.S. is actually more appreciated by artists, as these works are objects of wit, poignancy-highly tuned and charged with an agency that for the most part demands a developed acuity to appreciate.

Note that the exhibition run is just for two weeks from June 11 to 25th so mark your calendar. Also by appointment, Wednesday-Sunday, 1-6pm.

"Susan Reinhold...thinks Copley and his collaborators were ahead of their time. "They didn't like...the art market becoming so commercialized," [Reinhold] says. "They didn't like what art galleries were doing. So they were going to do it direct," [Reinhold] says, "Shit Must Stop" was their protest against what they perceived was too much power in the hands of gallery owners and museums and not enough power for the artists."
Object Focus The Book Guidebook, 2010, Sharon Mizota, "Shit Must Stop, The under-known precedent of William Copley's experimental", pp.32.

The agenda of Copley's "SHIT MUST STOP" portfolio still resonates today just as vibrant as it did in 1968. The phrase "SHIT MUST STOP" also rang out across the US during the escalation of the Vietnam War-a war for military and corporate world dominance. Not much has changed.

The following is the original Copley invitation and statement of S.M.S.

The Letter Edged in Black Press Inc. has been established by William Copley, President and Provocateur and Dimitri Petrov, Vice-President and Henchman.

The first production of the press will be the bi-monthly portfolio, S.M.S., containing in each issue seven or eight intensely personal manifestations by the new as well as established artists in all media. The most advanced technical and production methods will be used whenever necessary to make the artists' statements as complete as possible. The face size of the portfolio, when closed is 7" x 11" with sufficient thickness to accommodate a variety of objects. The publishers compete sympathy with the artists' objectives will make available expanded use of new materials in every category (for the composer, choreographer, sculptor, poet, painter, writer, filmmaker, all inventors) and the fresh application of conventional means. We welcome the artist who, until now has had no publisher for three-dimensional works and will expect to make the presentation of his work possible.

The primary concern of the publishers is to realize the poetic statement in review form and to liberate the artist from the restrictions of format.

It is the presence of the artist's personality in the vocabulary and form of his own choosing that is desired, not an exercise in conformity.

Artists will be paid for each contribution used and a copyrighting method has been developed to favor and project the artist and his work. Inclusion will be generally by invitation but unsolicited material is welcome and will be returned quickly if not found useful.

Bi-monthly issues will appear in an edition of 2500 copies. The major portion of each edition will be sold as individual copies or by annual subscription, the remaining reserved copies to be made available as deluxe sets of the year's production, signed by the participating artists and suitably boxed. An additional plan is being developed in order that special copies with be easily available to artists.


The six S.M.S. Portfolios of S.M.S. contain the following 73 artists' editioned artworks:

Portfolio 1: Irving Petlin, Su Braden, James Lee Byars, Christo, Walter de Maria, Richard Hamilton, Kaspar Koening, Julien Levy, Sol Mednick, Nancy Reitkopf, La Monte Young & Mariann Zazeela

Portfolio 2: Marcel Duchamp, Nicolas Calas, Bruce Conner, Marcia Herscovitz, Alain Jacquet, Ray Johnson, Lee Lozano, Meret Oppenheim, Bernard Pfreim, George Reavey, Clovis Trouille

Portfolio 3: John Battan, Aftograf, Enrico Baj, William Bryant, Dick Higgins, Joseph Kosuth, Ronnie Landfield, Roland Penrose, Man Ray, H.C. Westermann, Hannah Weiner, Terry Riley

Portfolio 4: Robert Stanley, Arman, Paul Bergtold, John Cage, Hollis Frampton, On Kawara, Roy Lichtenstein, Lil Picard, Domenico Rotella, Robert Watts, Princess Winifred, La Monte Young, Marian Zazeela

Portfolio 5: Congo, William Anthony, Wall Batterton, William Copley, Edward Fitzgerald, Neil Jenney, Angus MacLise, Bruce Nauman, Yoko Ono, Mel Ramos, Robert Rohm, William Schwedler, Diane Wakoski, Lawrence Weiner

Portfolio 6: Richard Artschwager, Ed Bereal, Deiter Roth, Betty Dodson, Ronoldo Ferri, John Giorno, Toby Mussman, Adrian Nutbeem, Claes Oldenburg, Mischa Petrov, Jean Reavey, Bernar Venet

For PLATO'S CAVE, EIDIA House Inc. Co-Directors Melissa P. Wolf and Paul Lamarre (aka EIDIA) curate invited fellow artists to create an installation with an accompanying edition for the underground space PLATO'S CAVE. Wolf and Lamarre also curate special exhibits such as S.M.S. EIDIA House functions as an art gallery and meeting place, collaborating with artists to create "socially radical" art forms-framed within the discipline of aesthetic research.

Plato's Cave Wed-Sat 1-6pm or by appointment. Contact Paul Lamarre or Melissa Wolf, 646 945 3830, email to: eidiahouse@earthlink.net



7. Warren Neidich, Pablo Helguera, FF Alumns, at LAXART, Los Angeles, CA, opening June 4, 2016

The Artist's Library
by Warren Neidich In collaboration with Sarah Beadle, Walead Beshty, Carolina Caycedo, Valentina Desideri, Victoria Fu, Charles Gaines, Pablo Helguera, Chris Kraus, Dan Levenson, Candice Lin, Shana Lutker, & Dave Muller.

June 4, 2016-June 4, 2017
Opening: June 4, 2016, 6pm-9pm

LAXART is pleased to announce The Artist's Library, a one-year interactive installation in the organization's library designed and curated by artist Warren Neidich. The Artists' Library examines the centrality of books within an artist's life and practice. Neidich invited twelve artists to fill twelve shelves with books that play an important role in those artists' work. The result is a portrait of the general intelligence of an artistic community, including both the inspiration of individual artists as well as an impression of shared discourse and cognitive approaches to art making. These unexpected, obscure, and compelling book titles reveal the diversity of backgrounds, interests, tastes, and source material of each artist, and provide the viewer with a window into artistic thought and practice.

The books cannot leave the premises. However, the public is encouraged to examine them and make copies on a nearby copy machine. The library will be installed for the next year and will be accompanied by a series of special events, installations, and talks, the first of which will be a salon-style hang of artworks by the participating artists; this display will launch on June 25th and will be accompanied by a lecture-style presentation by three of the artists participants. Please check MailFilterGateway has detected a possible fraud attempt from "r20.rs6.net" claiming to be laxart.org for more info on this and future events.

Warren Neidich is an internationally recognized artist whose work has been exhibited in over one hundred and fifty museums and galleries world wide including the Whitney Museum of American Art,
PS1 MOMA, The Kunsthaus Zurich, Institute of Contemporary Art, London, The Ludwig Museum, Los Angeles County Museum of Art and the California Museum of Photography. He studied photography, video, cognitive neuroscience, medicine and architecture. International awards include the AHRB/ACE Arts and Research Fellowship, UK, 2004, the Vilem Flusser Theory Award, Transmediale, Berlin, 2010 and The Fulbright Scholarship, 2011 and 2013. He is founding director of the Saas-Fee Summer Institute of Art and the Journal of Neuroaesthetics. Forthcoming exhibitions include, Centre de la Photographie Genève, The Artist's Library, LAXART, Los Angeles, The Palinopsic Field, LACE, Los Angeles, AUN 44th Salon Nacional de Artistas, Pereira, Colombia, Manifesta 11, Cabaret Voltaire, Zurich, Barbara Seiler Gallery, Zurich and the Kunstverein Rosa-Luxemburg-Platz, Berlin. His books The Psychopathologies of Cognitive Capitalism Part 3 (Archive Press) and Resistance is Fertile (Merve Verlag) are forthcoming in 2016.

Founded in 2005, LAXART is Los Angeles' leading independent contemporary art space supporting artistic and curatorial freedom. The organization is committed to producing newly commissioned works of art, to present experimental exhibitions, public art initiatives, and publications with emerging, mid-career and established local, national and international artists.

LAXART's programs are produced with generous support from The Andy Warhol Foundation for the Visual Arts; The Getty Foundation; The National Endowment for the Arts; The Pasadena Art Alliance; and The Stratton-Petit Foundation

7000 Santa Monica Blvd.
Los Angeles, CA

Press contact: johanna@laxart.org



8. Lawrence Graham-Brown, FF Alumn, at the Arnolfini, Bristol, UK, June 26, and more

I am happy to announce that I have been commissioned by the Royal West Academy of England to present new live art work entitled ?!. For The Love of Man, on June 26, 2016 at the Arnolfini in Bristol UK and a group of my art work will be presented for the entire Summer at the Royal West Academy of England. in a group exhibition entitled Jamaican Pulse...


The RWA presents ?!. (For The Love of Man) - a passionate performance art/experimental theatrical production by New York based Jamaican artist, director and performer Lawrence Graham Brown, as part of the major exhibition Jamaican Pulse: Art and Politics from Jamaica and the Diaspora.

Graham Brown is a cross-disciplinary artist who works in sculpture, painting and performance, among other media. He 'uses his work as a palliative gesture to dispel the trauma and shame to which Black, Lesbian, Gay, Polysexual, Polyamorous, Transgender, Questioning, intersex people are routinely subjected' using the Black body to explore constructs of: race, society, sexuality, politics, religion and liberation through the realms of Jamaican and/or African sensibilities'. Graham Brown was born and raised in Jamaica.

All the very best,
Lawrence with love~



9. Graciela Cassel, FF Member, at Rooster Gallery, Manhattan, opening June 9

Dear Friends:
If you are around next Thursday, June 9th
I would love to invite you to our show
in Rooster Gallery.
190 Orchard Street . Lower East Side . Opening @ 6 PM



10. Ben Carson, FF Member, at Music Center Recital Hall, Santa Clara, CA, June 26

Hello dear friends and colleagues,

I'm excited invite you to the first performance of Menagerie - the Trial of Spock.

I hope you'll join me at the Music Center Recital Hall at 7:30 PM, on Sunday, June 26th, one night only - and if you can, please arrive early! The show is just 40-45 minutes long.

You'll hear UCSC faculty Sheila Willey and Emily Sinclair in the powerful soprano roles of this gender-reversed 'Orpheus' story, featuring a talented undergraduate orchestra, led by alumnus conductor William Long. Alumnus Aleksey Bogdanov is in the role of Captain Kirk.

Please invite all the sci-fi fans, and Star Trek fans, you can! In the last year, I've been honored to add actor and director John de Lancie to our writing/directing team. You know John as "Q" from Star Trek, Next Generation. But he's since become an acclaimed theater and opera director (Atlanta Opera, San Antonio Opera). He'll be here this month as our theatrical director, and will be available after the show for a Q & A.

Thanks, all, for putting this on your calendar, and for helping me spread the word!




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

Frank Moore, FF Alumn, now featured on Jukepop.com with the serialization of his book, Cherotic Magic Revised

Frank Moore's book, Cherotic Magic Revised, is now being serialized on

Cherotic Magic is a major attempt to introduce a powerful system of magic into our modern western everyday life, thereby explosively expanding such concepts as sex and human relationships. The clear, down-to-earth text is amplified by the non-linear trance illustrations by LaBash.

From Cherotic Magic Revised by Frank Moore:

PREFACE - Beginning/Closing

You can buy the printed book or e-book here!


"Moore, paradoxically a severely disabled cerebral palsied human being, who
cannot clearly utter a single word is simultaneously a clear and eloquent
writer about a reality-shifting form of art he calls Cherotic Magic and a
spectacularly courageous, ecstatic journeyer and practitioner of shamanic
transformational art.

Reversing the ideas of normal causality, his book guides one towards
powerful experiences of re-integration into a unified field of consciousness
brought about by the apprenticeship. The radical purposes of the book
initiate a teacher/student relationship more appropriately similar to a guru
situation than the normal art student context which we all know can be one
which borders on charismatic adulation. Rather, the relationship is intended
to awaken and restructure the whole being with access to an interrelated
"web of all possibilities," a potentiated ground of existence, from which
the student may return empowered with energy, vision and unflinching faith
to change the so-called reality structure of this fragmented and specialized
culture. The process is a form of magic, which inspires a sense of body
wholeness and aliveness where the personal power is to be found. A manual of
faith and a description of the nature of apprenticeship, the book is a
clarification of the sort of contractual agreement one enters with a
teacher, rarely stipulated but here clearly spelled out. This agreement is
one of mutual responsibility where the risk is clearly seen to be taken by
both parties.

Moore himself raises the question of Shamanism /as art - /as performance -
/as therapy. He cites performance as the bed of mystical initiation, rites
of passage, mystical ceremonies where art/science, philosophy, and
psychology and theology merge and become whole once again. Here, we may
experience these things as at once ancient and strange. The breaking of
restricting taboos and inner barriers moves towards a place not of isolated
individualism, but one of connectedness both in the interior landscapes and
with each other."

- Barbara Smith, performance artist

"Frank Moore's Cherotic Magic presents an innovative and extremely
individual view of magic wherein one will find little about candles,
incense, and the like, but much about the structure of the universe and our
ability to live within it as creatures of ecstasy. Moore is a well-known
performance artist whose life has been a testament to the power of the
magical path. Born quadriplegic, he has risen to a position of note in
artistic circles and to a level of great sophistication as a teacher of the
magical path. Now, in Cherotic Magic, the esoteric bases of both his art and
his magic have been made available in written form."

- Timothy O'Neill, Gnosis Magazine



12. Jayoung Yoon, FF Alumn, at Theo Ganz Studio, Beacon, NY, opening June 11

I am excited to announce that I have a solo exhibition at Theo Ganz Studio, Beacon, NY.

June 11 - July 10, 2016

Opening Reception: Saturday, June 11, 6-8PM
Artist Talk: Thursday, June 23, 7-8PM

Hours: Fri-Sun 12-5PM
By Appointment 917.318.2239

149 Main Street, Beacon, NY 12508

Press Release

Thank you so much!!

All the best,
Jayoung Yoon
interdisciplinary artist



13. Martha Rosler, FF Alumn, in the New York Times, June 3

The complete illustrated article can be found at this link. Text only follows below:


The New York Times
Ed Koch's Words 'If You Can't Afford to Live Here' Haunt Us
JUNE 3, 2016

Martha Rosler, the Brooklyn artist who four years ago turned the Museum of Modern Art's atrium into a mammoth garage sale, has also focused on social issues within cities. "If You Lived Here ...," her 1989 three-show cycle at the Dia Art Foundation, explored gentrification, homelessness and urbanism through artworks, films, videos, fliers and other documents. Now Mitchell-Innes & Nash will revisit that exhibition, turning its gallery over to a new group calling itself the Temporary Office of Urban Disturbances.
The show, "If you can't afford to live here, mo-o-ove!," which opens Tuesday, June 7, will include original material from Ms. Rosler's cycle as well as public panels and discussions. (Through July 9; 212-744-7400, miandn.com.)



14. Vito Acconci, Laurie Anderson, Dan Graham, Adrian Piper, FF Alumns, in The New York Times, June 2

The complete illustrated article can be found at this link. Text only follows below:

The New York Times
Vito Acconci, an Artist as Influential as He Is Eccentric
JUNE 2, 2016

In the late 1960s, the artist Vito Acconci wandered into a movie theater near Times Square hoping to catch an art film and was confused to see a group of ragged-looking musicians take the stage. That group turned out to be the Velvet Underground, whose first album sold poorly but whose influence was so profound, as Brian Eno later said, that everyone who bought the record started a band.

The same sentiment might be expressed about Mr. Acconci's influence in the contemporary art world. The genetic impact of his performances, photographs and video works from just an eight-year period - 1968 to 1976 - is so pervasive that it is difficult to trace. But Mr. Acconci, who turned 76 this year, has not had a retrospective in the United States in more than three decades, and his most important work can now sometimes seem more like legend than fact.

That is set to change on June 19, when MoMA PS1 in Queens opens "Vito Acconci: Where We Are Now (Who Are We Anyway?), 1976," which traces his career from his early days as a poet through his art-world heyday and around the corner of a radical turn in the mid-1970s, when he abandoned the gallery world and remade himself as a highly unorthodox architect and designer, to the confusion of many.

In a series of interviews over the last three months as the PS1 show was being planned, Mr. Acconci spoke about his perpetual unease in the art world, and before that the poetry world, where he said he always felt like an outsider, someone with a relentless creative drive for which a genre had not - and still has not - been invented. Almost because of this, he has opened bold new avenues over the years for artists as important and widely varied as Laurie Anderson, Martin Kippenberger, Mike Kelley and Tania Bruguera.

"I hated the word artist," he said. "To me, even in the years when I was showing things in galleries, it seemed to me that I didn't really have anything to do with art. The word itself sounded, and still sounds to me, like 'high art,' and that was never what I saw myself doing."

As far as the art world was concerned, his leap into architecture - designs for things like public parks, airport rest areas and a man-made island - was almost as if Mr. Acconci decided to enter the witness protection program. But he disappeared right in the art world's midst, continuing to teach generations of art students (at Brooklyn College and at Pratt Institute); working in a cluttered, book-saturated studio in Dumbo, Brooklyn; and lecturing so often over the years that his shambling-eccentric presence - his long unruly hair, his all-black wardrobe, his gravel-bed voice with its distinctive loping stutter and, before he quit, the endless cigarettes he would light and stub out and light again - became a kind of ongoing work in itself.

Born in the Bronx into a Catholic Italian family, the overprotected only son of a bathrobe manufacturer and a mother who later worked in a public-school cafeteria, Mr. Acconci came of age in the politically agitated years when artists began trying to find ways around the making and selling of objects. They turned to their bodies, their ideas and their actions as the currency of a new realm. Along with peers like Chris Burden, Adrian Piper, Dan Graham and Valie Export, Mr. Acconci began conceiving and documenting performances - at a rate of sometimes one a day in what he called "a kind of fever" in 1969 - that were conducted on the streets or for audiences so small that they seemed almost not to have happened.

In Mr. Acconci's case, the work grew out of an experience as an aspiring poet and fiction writer whose fascination with the physical space of the page eventually led out into the world. In 1962, in thrall to postmodern writers like Alain Robbe-Grillet and John Hawkes, he enrolled in the graduate writing program at the University of Iowa, taking along with him a short story he had written, titled "Run-Around," that when read anonymously in the class provoked a minor riot. Its subject, a horrifying surrealist-sculptural vision, was a recently limbless man. It began: "They cut him up and since the chairs had just been varnished for the celebration, he was set down on a giant floor urn. The chalice-shaped jar was waist-high for most people, but not for Rockram, because he had no legs."

"When the professor asked for reactions," Mr. Acconci recalled, "one guy said that whoever wrote it should be chucked out the window into the Iowa River."

Back in New York City after getting his degree, in the wastelands of the Lower East Side, the East Village and SoHo, Mr. Acconci began experimenting with using the city as another means of making literature.

In one of his most-cited early works, "Following Piece," from 1969, he spent each day for almost a month following a person picked at random on the street, sometimes with a friend following Mr. Acconci to record the action. The rules were only that he had to keep following the person until he or she entered a private place where Mr. Acconci couldn't go in. During years when crime and urban paranoia were spiking, the work might be seen as a creepy metaphor for vulnerability, but Mr. Acconci saw it essentially as an open-ended and in many ways optimistic narrative.

"It was sort of a way to get myself off the writer's desk and into the city - it was like I was praying for people to take me somewhere I didn't know how to go myself," he once told the musician Thurston Moore. (The band Sonic Youth was formed not long after Mr. Moore first met Mr. Acconci and began playing in various arrangements with Kim Gordon and Mr. Acconci's girlfriend at the time, Anne DeMarinis.)

The dozens of performance pieces that followed through the early 1970s, many of them now little-known, contained varying elements of existential unease, bodily discomfort, exhibitionism and gender play - elements he shared with some other artists of the time, particularly with female artists - but also a kind of wit and a Svengali aura that were Mr. Acconci's own.

In "Trademarks," (1970) Mr. Acconci sat naked on a floor and bit himself wherever he could reach, then applied printer's ink to the marks and stamped them on paper and other surfaces.

In "Pryings" (1971), Mr. Acconci and Kathy Dillon engaged in a disturbing pas-de-deux, in which she clenched her eyes shut as he grabbed her face and tried to force them open. (Ms. Dillon, with whom Mr. Acconci lived for a time, is a powerful presence in his early performances; after they separated they fell out of touch. "Or a better way to say it would be that she thought she had to get away from me because I was taking too much of her life, which I guess I was," he said.)

In "Seedbed," (1972) - undoubtedly Mr. Acconci's best-known piece, which has in a sense unfairly overshadowed much of his other work - he constructed an angled false floor at the Sonnebend Gallery in SoHo and hid himself beneath it with a microphone, speaking luridly to the people who walked above him, masturbating as he spoke. The piece became a touchstone of performance art in part because of its sheer, outlandish audacity. But it also drew a remarkable line through the preoccupations that began Mr. Acconci's career and carry it up to the present day. The idea for the act under the floor arose linguistically, after he turned to a thesaurus to find synonyms for the word "foundation" and was struck by the poetry of "seedbed." And in constructing the floor, he was already beginning to explore his interests in architecture and public space, in this case a space in which he could merge with the building, ceasing to be a discrete human presence and becoming instead a kind of quantum field.

"I wanted people to go through space somehow, not to have people in front of space, looking at something, bowing down to something," Mr. Acconci said of the performance. "I wanted space people could be involved in."

Holly Block, the executive director of the Bronx Museum, which commissioned an architectural environment from him in 2009, said: "A lot of people don't understand Vito's turn to architecture, but I think he wanted to be more ambitious and make pieces that lived in the world - and in people's lives - in a different way than artworks usually do, and it was a risky and courageous thing to do."

Klaus Biesenbach, the director of PS1 and the organizer of the show, which was conceived as part of the institution's 40th birthday, said: "He's one of the most influential artists of his time because of the way he connects the private with the public sphere, the body with the street, the media space with the personal space. He's challenging our limits about what we want to be private and what we want to be public, and those questions have only become more important."

The show, which is being designed by Acconci Studios, the firm that Mr. Acconci runs in close collaboration with his wife, Maria, has been a kind of fragile work-in-progress over the past months, threatening at times to collapse under his unpredictably evolving ideas and inspirations. "You have to think about him deciding 'Maybe I should go to China tomorrow,'" said Mr. Biesenbach. "That's just how Vito is. With great artists - and Vito is one - sometimes you have to have unprecedented flexibility."

But the tension also comes from Mr. Acconci's longstanding desire not to have his career bifurcated into pre- and post-architecture. "There are people who like to keep Vito in what I call a prison of a few years, and it's not right," said Maria Acconci, 36, a writer who met Mr. Acconci after seeing his work at a retrospective in Barcelona in 2004 and is a fierce defender of his prerogatives.

Mr. Biesenbach said he believed the show would strike a delicate balance to reveal the connections between the early work and Acconci Studio - the "two Vitos," as he calls it - though even as recently as late May he remained uncertain whether the exhibition would open as planned.

Mr. Acconci, around the same time, seemed to be leaning toward it actually happening - legend becoming fact. "I never liked museums," he said. "They always seemed artificially separated from real life. But you have to be seen, and I guess I've never cared enough about that. Maybe I should have."



15. Mark Bloch, FF Alumn, now online at Mobius.org

Please visit:


thank you.



16. Harley Spiller, LuLu LoLo, FF Alumns, at NYC Fire Museum, Manhattan, June 10

The City Reliquary Collectors Night 2016
Hosted at the New York City Fire Museum
Friday, June 10, @6:30 PM
Join us for our annual celebration of ephemera and those who curate it! Collecting is a tool for preservation and education that is the core practice of all museums. In our dual role as Museum and Civic Organization, we invite everyday New Yorkers to join the discussion. We can't wait to learn what, how, and why YOU collect!
Collectors Galore!
All collectors will display their collections throughout the evening and briefly present a key object from their displays during our Lightning Round Show 'N Tell! We'll also enjoy talks from three guest speakers.
Unusual archives on display will include:
•16mm archival cartoons by Tommy Stathes of Cartoons on Film
•Taxidermy/entomology by long-time Morbid Anatomy Museum artist-in-residence and taxidermy teacher Amber Maykut of Hoardaculture
•Vintage Manhattan maps and photos from Dan Lenchner
•Artifacts from THNK 1994 (Tonya Harding-Nancy Kerrigan Museum)
•Relics from the demolished Conmar Zipper company from Phil Buehler
•Pocket protectors and garlic labels from Inspector Collector aka Harley Spiller, FF Alumn, who'll also be selling his book on artist-mutilated currency and offering free pocket protectors and samples of Korean black garlic pasta
•1940s Coney Island Boardwalk chalkware figurines, from Marion Duckworth Smith of the historic Lent-Riker-Smith Homestead
•Social movements ephemera from Interference Archive
•Vintage greeting cards from LuLu LoLo, FF Alumn
•Rare artifacts from other cultural institutions including Museum at Eldridge Street, Museum of Interesting Things, MoRUS, Reanimation Library
...and many more!

Guest Speakers:

Stanley B. Burns, MD of The Burns Archive, an extensive photographic collection of the forgotten, unseen, and disquieting moments in history. Dr. Burns will discuss the process of compiling and curating his collection. Dr. Burns served as the Medical, Historical & Technical Advisor to the HBO/Cinemax series The Knick, and PBS'Mercy Street. He has also consulted on hundreds of documentaries, films and television series. Dr. Burns has written 45 books on the history of photography and medicine. His photographs have been exhibited at the Metropolitan Museum of Art, MOMA, the Brooklyn Museum, ICP, the Bronx Museum of the Arts, the Museum of the City of New York, and the Morbid Anatomy Museum, among other places.

Austin Wright of the Museum of Democracy, the world's largest collection of historical and political campaign memorabilia. He will present the Wright family collection of presidential campaign artifacts, and discuss the future of the museum.

Howard Warren, a retired science teacher from Trinity School in Manhattan. He will discuss the dismantling of Jim Crow through the integration of professional baseball. The stories of the trials and struggles of Jackie Robinson are well known through the works of Ken Burns, yet the many men who were "The Firsts" in their respective Major League cities are largely unknown.

RSVP through the Facebook event!

Admission: $10 general/$5 for members of The City Reliquary or New York City Fire Museum. Tix available through our Artful.ly page!

Thanks to our sponsors at Brooklyn Brewery and Two Boots Pizza!



Goings On is compiled weekly by Harley Spiller