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Contents for July 05, 2016

Ben Patterson, FF Alumn, In Memoriam

Below is text from an illustrated obituary which is online at
https://www.theguardian.com/artanddesign/2016/jul/02/benjamin-patterson-fluxus-artist-composed-ants

The Guardian, July 2, 2016

Benjamin Patterson: the Fluxus artist who composed with ants
Denied employment as a classical double-bassist because of his race, the multimedia artist, who died last week, went in a more groundbreaking direction
Seth Colter Walls

Benjamin Patterson was there at the very beginning of Fluxus, performing his own composition at the first concert co-organized by George Maciunas in Germany, in 1962. Yet while Fluxus-associated figures such as Yoko Ono, Nam June Paik and La Monte Young have all enjoyed a certain purchase with art-world habitués (even among those who may not be intimately familiar with specific works), the contributions of this bassist, sculptor, painter and collagist have not been placed at the center of conceptual art's history after Dada.

At least not yet. In recent years there have been indications that Patterson's reputation is on the rise thanks to a slate of archival audio releases, a comprehensive 2010 exhibition of old and newer pieces at Contemporary Arts Museum Houston, as well as similar programming at the Studio Museum in Harlem. And while Patterson's death last week, at age 82, puts an end to the story of his creations and improvisations, it also offers an opportunity to assess more accurately the scope and impact of this African American artist's groundbreaking work.

He was classically trained on the double-bass, only to discover that America was not ready to hire black symphony musicians. So he found another way to leave his mark: before Gyorgy Ligeti and Peter Maxwell Davies collaborated with the African American singer William Pearson, the baritone was featured alongside Patterson in a performance of his Duo For Voice And a String Instrument - one of the pieces presented at the first Fluxus concert.

According to the composer, sometime jazz trombonist and Columbia professor of American music George Lewis, "Ben's work was laconic, whimsical, convivial and probing by turns." In an email exchange, Lewis says that Patterson "crossed boundaries between visual art, music, and performance with alacrity", and added that the artist's early prepared-instrument piece, Variations for a Double Bass, "anticipated by a decade the materiality of Helmut Lachenmann, while his even more influential Paper Piece encouraged audiences to enact and exchange personal and communitarian visions in sound and gesture."

Patterson's openness to indeterminacy and his welcoming of audience participation fit neatly within the parameters of Fluxus's charm, which was typically driven by chance and ephemerality. Though even as he helped codify the practices of "action as composition", Patterson pushed himself to create works that offered a substantive feel running in parallel with a puckish-sounding modern art concept.

The gestation of his 1960s piece Ants gives a sense of the artist's playfulness and his deliberate method. It started as a visual idea: Patterson began composing Ants by holding its titular specimens in reserve, then allowing them to escape across a piece of white paper. After photographing this exodus from his custody, Patterson observed the ants' positions on the resulting photographs, and transcribed these positions as notes on musical staffs. (You can find reproductions of each stage in this invaluable exhibition book and CD package.)

Patterson's hypothesis was that this could be a new approach to aleatoric (or "chance based") music. However, "a try-out on my double-bass was quite disappointing," Patterson wrote. "Only much later did I realize that what I had discovered was a 'method' ... and of course a 'method' is not 'music'." In 1964, Patterson reopened his ant files and came up with notated music that he decided should be presented "in conjunction" with any 1962 "composition" by Maciunas - what with simultaneity being another frequent component of Fluxus work.

A recording of Ants by German pianist Steffen Schleiermacher, released on the highly enjoyable 2015 album Fluxus Piano, reveals that Patterson's final score favors some of the jabbing, pointillistic violence of the era's "serial music" modernism. The shattering musical shards are interesting on their own - though it's also fascinating to hear in conjunction with another Maciunas piece. (The composition superimposed over Ants on Schleiermacher's album is Maciunas's instruction-based work Solo for Sick Man.)

As it happened, Patterson once intended to study with one of the era's priests of atonal complexity, Karlheinz Stockhausen. But their meeting went so poorly that Patterson said he "went into isolation for three days to ponder a more socially responsible way of making art". After an unplanned encounter with John Cage and pianist David Tudor resulted in an invitation to play at a concert soon thereafter, Patterson's move toward more chance-friendly music was settled - and Paper Piece followed quickly.

"In general I think Fluxus did sit on the fence," Patterson wrote. "True, many of the Fluxus artists during that time were very willing to 'confess' to harmless friends that they were really anarchists, communists, socialists and/or something or other in that direction. But I must state that I never got a telephone call from 'Fluxus Central' asking me to join next Saturday's March on Washington - for any purpose. ... Yes, I was disgusted, and yes, the lack of support for civil rights and antiwar efforts was an important factor in my subsequent 'retirement' from the art scene."

This uneasy relationship between Patterson's artistic legacy and his racial identity was not resolved by his early retirement, either. In her introduction to the exhibition book that accompanied Houston's 2010 exhibition, senior curator Valerie Cassel Oliver recounted seeing photographs of early Fluxus activities and thinking "Who is the black man in this picture?" The answer she discovered, over her years working with Patterson, was that he was "a radical presence in the midst of a radical avant garde".

And while Lewis notes that Fluxus publications of the period were scrupulous about documenting Patterson's contributions, he says the same has not proved true in the art-history literature. "At least part of that could be due to Ben's own modesty and self-effacement," Lewis said. "He was hardly a tireless self-promoter. ... [But] when you look at how his work is portrayed in scholarly histories, though, you become obliged to call into question the reasons for the discrepancies between those histories and what his fellow artists said and experienced."

After his children grew up and left the home, Patterson returned to art-making - diving back into readymades and collages, but also moving into new forms of sculpture and painting, many of which Oliver presented in Houston. Over email, the curator remembered Patterson as "thoughtful, kind and filled with enormous curiosity and a zeal for life. His many works - whether visual art objects, scores for actions or performances - were so layered and multifaceted that it took a moment to realize that they were built upon rigorous research, cloaked in a witty haiku."

Oliver also forwarded news of a Patterson-inspired final project, too: specifically, an online lottery meant to crowdfund a portrait book covering 25 years of Fluxus activity. The drawing will be held on 2 September, in Germany, in lieu of a funeral, which an associate there said "he did not want".

"He died doing what he loved best, making art," Oliver said. "I feel so immensely privileged to have shared his brilliance with the world." That sentiment was echoed by Schleiermacher, the German pianist, when I reached him over email to ask how he chose which Maciunas piece would go with his performance of Patterson's music. Outside of assuring me that the superimposition of Fluxus pieces was achieved "according to strict Cagean chance operations," he said "Patterson's Ants will continue their wanderings - and who knows where Patterson and his double bass will wander now. In any case, Fluxus will go on."

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1. Linda Mary Montano, FF Alumn, now online in PAJ, issue 113

PAJ: A Journal of Performance and Art, Issue 113 (Vol 38.2) Now Available!

Celebrating its 40th year, PAJ explores innovative work in theatre, performance art, dance, video, writing, technology, sound, and music, bringing together all live arts in thoughtful cultural dialogue. Access video and audio clips, book titles catalogue, and LIVE magazine archive on PAJ's online homepage.

Articles
Francesco Spampinato
Body Surrogates: Mannequins, Life-Size Dolls, and Avatars **Free Access**

Linda Weintraub
Linda Mary Montano is Reborn

Annie-B Parson
David Bowie: Dance, Theatre, Other

Performance Drawings
William Kentridge
The Lulu Drawings

Art & Performance Notes
Ellen C. Covito
The End of Choreography As We Know It

Johanna Linsley
Accumulated Experience

Clark Lunberry
Dance of Light and Loss

Dana Tanner-Kennedy
Opera for the Domestic Apocalypse

More Articles
Adam H. Weinert
The Reaccession of Ted Shawn: A Study in Virtual Permanence

Vaginal Davis, in conversation with Lewis Church
My Womanly Story

Play
Mihaela, the Tiger of Our Town: A Mockumentary Play
by Gianina Cărbunariu, Translated by James Christian Brown

Gianina Cărbunariu, in conversation with Bonnie Marranca
The Reality of Fiction

Books & Company
George Hunka
A Bookshelf of Brecht

Susan Teneriello
Book Reviewed: Poetics of Dance: Body, Image, and Space in the Historical Avant-Gardes by Gabriele Brandstetter.

Paul David Young
Book Reviewed: The Last Days of Mankind, by Karl Kraus

Article submissions can be sent to submissions.paj@gmail.com.

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2. Papo Colo, FF Alumn, at MoMA PS1, Long Island City, Queens, thru Aug. 29

PAPO COLO AT MOMA PS1
Papo Colo
May 22-August 29, 2016
MoMA PS1
Lobby

MoMA PS1 revisits the seminal performance work of Puerto Rican artist Papo Colo, a pioneering figure in New York's art scene since the 1970s. From May 22 through August 29, 2016, documentation from Colo's early works will be on view in the museum's lobby. The presentation at MoMA PS1 will coincide with The Cleaner, a new street performance by Colo in New York's Chelsea neighborhood, and will culminate in a festival in Puerto Rico in January, 2017, with the aim of drawing attention to the island's present economic crisis.

The MoMA PS1 presentation centers around Colo's Superman 51 (1977), in which he drags a collection of fifty-one white pieces of wood behind him, tethered to his body with ropes, as he runs shirtless down an empty stretch of Manhattan's West Side Highway until collapsing from exhaustion. Completed the year after the United States bi-centennial in 1976-also the year of MoMA PS1's founding-it marks a historical juncture which saw the failure of Puerto Rico's bid for statehood in the United States congress. Evoking the Greek myth of Sisyphus, the work conveys an explicitly political content: the fifty-one pieces of wood refer to the number of states in the existing American union plus Puerto Rico, which would have become the fifty-first. For Colo, the number fifty one also represents the decision-making power of a simple majority under democratic political systems.

Seven years later, Papo Colo performed Against the Current (1983) as part of the exhibition Inside Out, which saw the artist paddle a canoe upstream amidst the trash and debris of New York's Bronx River, a small body of water that bisects the borough. An endurance-based performance, the work sought to highlight the river's contamination by industrial pollutants. For Colo, the effort to fight against the natural movement of the water also functioned as a metaphor for the struggle of Puerto Ricans attempting to assert an economic and social identity in the context of Reagan-era politics. Documentary footage of this work and Superman 51 are included in Colo's autobiographical film retrospective La Diferencia (1986), which will be included in the show.

The Cleaner (2016) consists of a new street performance in New York's Chelsea neighborhood, which will take place on the corner of 23rd Street and 10th Avenue each Saturday from May 21 to July 4, 2016, between 4pm and 6pm. Wearing a white suit and Panama hat, Colo will mop and scrub the sidewalk before placing fifty dollar coins on the ground, which he will then proceed to clean one by one. Referring to topical issues surrounding money laundering in Latin American tax havens, as well as to the stereotype of Latinos working as "cleaners" in the American economy, The Cleaner connects questions of domestic and individual labor to broader political and economic structures that reify and make possible imbalanced systems of power. Papo Colo's presentation at MoMA PS1 and his Chelsea performance mark the beginning of a celebration of his work that will culminate in a festival in Puerto Rico the following January. Forty years after both his initial performance in New York City and the rejection of Puerto Rico's statehood, the island of Puerto Rico, which remains a United States territory, is faced with an unprecedented economic crisis. Saddled with overwhelming sovereign debt, Puerto Rico's status as a territory forecloses the possibility of declaring bankruptcy, a right which is only available to states. Organized in collaboration with the Museo de Arte de Ponce, the festival will draw attention to an island in crisis through a series of interrelated events that take place over the weekend of January 6 - 8, 2017, culminating in THE ANCHO-RITE (Mystifarian art making in the rainforest for 13 months - 400 days), a new performance work by Colo that will take place in the tropical rainforest of El Yunque National Park.

ABOUT THE ARTIST
Papo Colo (b. 1946, Puerta de Tierra, Puerto Rico) is a performance artist, painter,
writer, and curator who lives and works in New York City and the El Yunque rainforest
in Puerto Rico. In 1982 he co-founded Exit Art with Jeanette Ingberman, which
became one of New York's most important alternate art spaces. Colo's work has been
exhibited at numerous venues, most recently as part of the exhibition Radical
Presence, organized at the Contemporary Art Museum, Houston, and which traveled
to the Walker Art Center, the Yerba Buena Center for the Arts in San Francisco, and
the Studio Museum in Harlem (2013-2015). His work has also been shown at The
Clocktower (2013), Galeria de la Raza, San Francisco and MoMA PS1, New York (both
2009), El Museo del Barrio (2008), National Gallery of Puerto Rico (2007), Grey Art
Gallery (2006), Art in General (2006), RISD Museum, Providence (2005), and the
Bass Museum of Art, Miami Beach (2001).

The MoMA PS1 presentation is organized by Klaus Biesenbach, Director, MoMA PS1
and Chief Curator-at-Large, The Museum of Modern Art.

Press Contact: Allison Rodman, (718) 786-3139 or allison_rodman@moma.org
press_momaps1@moma.org

For downloadable high-resolution images, register at MoMA.org/press.
MoMAPS1.org • MoMA.org

Hours: MoMA PS1 is open from 12:00 p.m. to 6:00 p.m., Thursday through Monday. It is
closed on Thanksgiving, Christmas, and New Year's Day. artbook@MoMA PS1 is open from

1:00 p.m. to 5:30 p.m., Thursday through Sunday.

Admission: $10 suggested donation; $5 for students and senior citizens; free for New
York City residents*, MoMA members and MoMA admission ticket holders. The MoMA
ticket must be presented at MoMA PS1 within thirty days of date on ticket and is not valid during Warm Up or other MoMA PS1 events or benefits.

*Free admission as a Gift to New Yorkers in honor of New York artists, made possible by
the Anna-Maria and Stephen Kellen Foundation. Through October 15, 2016 all residents of New York's five boroughs receive free entrance to all exhibitions during regular museum hours; excluding concerts, fundraisers, and ticketed events. Upon arrival please present proof of New York City residency such as a driver's license, state-issued identification card or a New York City utility bill.

Directions: MoMA PS1 is located at 22-25 Jackson Avenue at 46th Ave in Long Island
City, Queens, across the Queensboro Bridge from midtown Manhattan and is easily
accessible by bus and subway. Traveling by subway, take either the E or M to Court
Square-23 Street; the 7 to 45 Road-Courthouse Square; or the G to Court Sq or 21 St-Van Alst. By bus, take the Q67 to Jackson and 46th Ave or the B62 to 46th Ave.
MoMA PS1 Background: MoMA PS1 is one of the largest and oldest organizations in the
United States devoted to contemporary art. Established in 1976 by Alanna Heiss, MoMA
PS1 originated from The Institute for Art and Urban Resources, a not-for-profit
organization founded five years prior with the mission of turning abandoned, underutilized buildings in New York City into artist studios and exhibition spaces. P.S.1 Contemporary Art Center, as it then was known, became an affiliate of The Museum of Modern Art in 2000.

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3. Veronica Vera, FF Alumn, in The Guardian, now online

Veronica Vera's new book Miss Vera's Cross Gender Fun for All and Miss Vera's Finishing School for Boys Who Want to Be Girls, featured in The Guardian, June 17, 2016. Bye Bye Binary!

http://www.theguardian.com/lifeandstyle/2016/jun/17/miss-vera-crossdressing-school-for-men

Cherchez la Femme!
Veronica Vera, D.H.S.

Doctor of Human Sexuality
Author & Founder
Miss Vera's Finishing School
For Boys Who Want To Be Girls
www.missvera.com
212-242-6449 (vm info)
212-989-0906 (office)

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4. Carolee Schneemann, FF Alumn, at Second Ward, Hudson, NY, July 16, and more

Breaking the Frame Screening and Book Signing at Second Ward in Hudson, NY

Please join us for a rare showing of the incredible feature film of Schneemann's life and work by Marielle Nitoslawska.

Official selection: Telluride Film Festival; BFI London Film Festival/Experimenta; Festival du Nouveau Cinema (FNC) Montreal; Glasgow International Film Festival; Cleveland International Film Festival; WRO Biennial, Poland; Videoex, Zurich; NYFF/Views from the Avant Garde; EMAF, Osnabrueck.

Schneemann will be signing the recent catalogue from her retrospective exhibit at the Salzburg Museum der Moderne, Kinetic Painting, as well as the monograph book Unforgivable published by Black Dog.

Reception at 7pm
Breaking the Frame Screening at 7:30pm
Book Signing at 9pm

Admission for this event is free.

Presented by the Carolee Schneemann Foundation, Second Ward Foundation, PPOW and Galerie Lelong.

and

Carolee Schneemann Recent and Forthcoming Events 2016
Current and Future Events
July 17 2016 Breaking the Frame Screening and Book Signing at Second Ward in Hudson, NY - 7pm*
July 2016 Artist monograph magazine on CS published by The Artist's Institute
Oct 20 2016 Further Evidence...Exhibit A, Exhibit B Solo exhibitions open at P.P.O.W. and Galerie
Lelong*
Oct 2016 Postwar - Art between the Pacific and Atlantic 1945 - 1965, Haus der Kunst, Curated by
Okqui Enwezor featuring painting constructions by CS
Oct 2016 Terminal Velocity photo grid exhibited in Frieze London by PPOW
Oct 2016 A Feast of Astonishments: Charlotte Moorman and the Avant-Garde, 1960s-1980s travels
to Grey Art Gallery and Museum der Moderne, Salzburg featuring Noise Bodies sound
performance collage, artist panel with CS*
Nov 2017 Kinetic Painting, retrospective travels to MMK Museum für Moderne Kunst, Frankfurt
Fall 2018 One Thing: Vietnam group exhibition at The Hirschorn Museum Curated by Melissa Ho
featuring Snows and Viet-Flakes photos and video
Recent
Mar 2016 The Artist Project at the Metropolitan Museum of Art, CS artist talk released online
Mar 2016 ADAA: The Art Show, PPOW gallery solo booth featuring work from the 1960s and 70s*
Mar 2016 Kinetic Painting Art Book Panel and Signing at the New York Public Library *
Feb 2016 Performing for the Camera, group exhibition at The Tate Modern featuring EyeBody
Nov 2015 Kinetic Painting museum retrospective at Museum der Moderne, Salzburg, Austria*
Oct 2013 Musee Rochechouart, France: Carolee Schneemann retrospective exhibit*
* indicates CS solo appearance/exhibit

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5. Monstah Black, FF Alumn, at Dixon Place, Manhattan, July 8-23

DIXON PLACE PRESENTS A NEW DANCE THEATRE COMMISSION
And the centerpiece of its 25th Annual HOT! Festival
MONSTAH BLACK
in a post-apocalyptic musical noir
HYPERBOLIC! (The Last Spectacle)
Fridays and Saturdays, July 8, 9, 15, 16, 22 and 23 at 7:30
Dixon Place
161A Chrystie Street
NYC
www.dixonplace.org

Choreographer, performer, educator, club superstar and 2015 Tommy Award winner Monstah Black - praised as "amazing, really" by the New York Times - returns to the Dixon Place stage with his newest creation, a musical noir that combines theatre, dance, fashion and music. Set in a dreamy post-apocalyptic semi-reality, HYPERBOLIC! (The Last Spectacle) imagines the very last party on earth. The story follows the adventures of a transgender explorer who in their travels confronts materialism, religion, substance abuse, narcissism, and sexual identity. The evening promises to be filled with glam gore, sensual debauchery, sinister characters and good old laughter.

Monstah Black is the creative force behind HYPERBOLIC! (The Last Spectacle). He has composed and mixed the show's original score, which combines elements of funk, rock, blues, gospel, ska, soul, and disco. He designed the costumes, which are inspired by fashion from the 1950's, 60's, 70's and 90's club culture. Choreography, representative of Monstah's eclectic style, draws inspiration from postmodern release technique, 1990s voguing, physical theater, and Afro SloMotion.

Monstah Black will also perform in the piece, joined by: Joey Cuellar, Alicia Dellimore, Shiloh Hodges, Johnnie "Cruise" Mercer, and Benedict Nguyen.

Choreographer, dancer, musician and club hero Monstah Black has been presenting his unique blend of dance and performance art since 1999 in nightclubs, art galleries, theater spaces, and warehouses of New York City, around the U.S., and internationally. Known for his cultural grab-bag approach, he enjoys mixing influences from many sources and traditions. In choreography, he infuses modern dance with shades of disco, funk, burlesque, adding a dash of martial arts and the expressive acrobatics of Japanese Butoh. His presentations frequently feature spectacular costumes that are not just fashion, but also political statements (like his use of raw cotton in an ongoing project about the Black heritage or his gender-bending costumes for this production. Monstah has received numerous awards, including the 2015 Tom Murrin Performance Award, and his work has been awarded grants and fellowships from such leading arts institutions as BRIC Media Arts, Lower Manhattan Cultural Council, American Music Center Live Music for Dance Program, and NYSCA. His dance film project Cotton is currently being fiscally sponsored by New York Foundation for the Arts. monstahblack.tumblr.com

This Dixon Place commission is made possible with public funds from NY State Council on the Arts with the support of Governor Andrew Cuomo & the NY State Legislature, NYC Department of Cultural Affairs in partnership with the City Council, & private funds from The Fan Fox and Leslie R. Samuels Foundation, The Peg Santvoord Foundation, The Jerome Foundation & Mertz Gilmore Foundation.

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6. Adam Pendleton, FF Alumn, at City Hall Park, Manhattan, thru Sept. 29

As the leader in its field, Public Art Fund brings dynamic contemporary art
to a broad audience in New York City and beyond by mounting ambitious free exhibitions of international scope and impact that offer the public
powerful experiences with art and the urban environment.
Now Open: The Language of Things
Language is not limited to the form of words. As theorist Walter Benjamin said, we are constantly in communication with "the language of things." This exhibition brings together new and existing objects, a live artwork, sound installation, and poetry which speak to our innate desire to read patterns and coded communications in the world around us-from our engagement with inanimate objects and nature to each other.

Join us in City Hall Park this summer to experience works by Carol Bove, Claudia Comte, Michael Dean, Adam Pendleton, Tino Sehgal, Chris Watson, and Hannah Weiner

Public Art Fund is a nonprofit organization supported by contributions from individuals, foundations, corporations and, in part, with funds from government agencies, including the National Endowment for the Arts and the New York City Department of Cultural Affairs in partnership with the City Council.

This exhibition is generously supported by Marian Goodman Gallery, the AB Foundation, Erin & Matthew D. Bass, Linda Lennon & Stuart Baskin, and Patricia & Howard Silverstein.

Audio equipment provided by Bowers & Wilkins.

Public Art Fund exhibitions are supported in part by the New York City Department of Cultural Affairs in partnership with the City Council.

Special thanks to the Office of the Mayor, Office of the Manhattan Borough President, Department of Cultural Affairs, and NYC Parks.

FOR MORE INFORMATION VISIT MailFilterGateway has detected a possible fraud attempt from "publicartfund.us5.list-manage.com" claiming to be WWW.PUBLICARTFUND.ORG OR EMAIL INFO@PUBLICARTFUND.ORG

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7. LAPD, FF Alumn, receives Rauschenberg Foundation 2016 Artist as Activist Fellowship

Rauschenberg Foundation announces 2016 Artist as Activist Fellows
www.rauschenbergfoundation.org
Instagram / Facebook / #ArtistasActivist / #RRgrants / #RauschenbergFoundation
The Robert Rauschenberg Foundation has selected the recipients of its 2016 Artist as Activist Fellowship-a two-year grant program designed to support US based artists and artist collectives tackling important social challenges through their creative practice. The 2016 Artist as Activist Fellows-Maria Gaspar, The Graduates, Titus Kaphar, Los Angeles Poverty Department, Jeremy Robins/Echoes of Incarceration, Favianna Rodriguez, Paul Rucker, El Sawyer, jackie sumell, and Shontina Vernon-will each develop projects that address the intersections between race, class, and mass incarceration.

Located in cities across the US-Baltimore, Chicago, Los Angeles, New Orleans, New York, Oakland, Philadelphia, and Seattle-the 2016 Fellows have developed projects that investigate and intervene in several facets of mass incarceration: from juvenile detention and the impact on youth with incarcerated parents, to the struggles around "re-entry" for former prisoners, the connection between mass incarceration and immigration, the psychological effects of solitary confinement, the economics behind the prison industrial complex, and beyond.

The Foundation identified this year's cohort through a competitive, nationwide call for proposals. These ten Fellows were selected from an initial pool of 228, to receive support ranging from 50,000-100,000 USD over two years.

2016 Artist as Activist Fellows

Maria Gaspar's RADIOACTIVE: Stories from Beyond the Wall will connect residents both inside and surrounding Cook County Jail in Chicago-the largest jail in the country-through a series of radio broadcasts and visual projections.

The Graduates will stage theater performances and public art installations that reveal how many of their communities' citizens have been disappeared by incarceration.

Titus Kaphar will expand The Jerome Project, his semi-autobiographical investigation of the criminal justice system through paint, tar, and canvas, into a youth development project and documentary film.

Los Angeles Poverty Department's Public Safety FOR REAL articulates an alternate conception of "public safety" and devises informal community policing vehicles that maintain respect for the well-being of their Skid Row neighbors.

Jeremy Robins/Echoes of Incarceration provides training in documentary filmmaking and activism for youth with incarcerated parents. Echoes will produce its first full-length documentary exploring the impact of mass incarceration on family structures.

Favianna Rodriguez will connect artists, activists, and movement organizers to resources and experiences that explore the intersections between mass incarceration and immigrant detention.

Paul Rucker will build on his body of work combining original cello compositions with data visualization to illustrate the disproportional representation of young people of color in juvenile detention, the economics of the prison-industrial complex, the growth of the US prison system, and the relationships among these trends.

El Sawyer is creating curricula for agencies that serve the inmate and ex-offender population to accompany screenings of his 2013 film Pull of Gravity, highlighting the struggle of re-entry for men returning home from prison.

jackie sumell's project, Solitary Gardens, enlists communities to create public spaces designed by men and women currently held in solitary confinement, while simultaneously offering workshops and curricula for communities to envision a landscape without prisons.

Shontina Vernon's Visionary Justice StoryLab is an arts "collaboratory" in which artists and community organizers use media and performance to surface young peoples' narratives of systemic oppression.

For more information about the program and fellows, visit:
www.rauschenbergfoundation.org/grants/art-grants/artist-as-activist

About the Robert Rauschenberg Foundation
The Robert Rauschenberg Foundation fosters the legacy of the life, artistic practice, and philanthropy of one of the most important artists of the 20th century. Through exhibitions, scholarship, grants, and a residency program, the Foundation furthers Rauschenberg's belief that art can change the world, while ensuring that his singular achievements and contributions continue to have global impact and resonance with contemporary artists.

Media contact: FITZ & CO, Liza Eliano, leliano@fitzandco.com, T +1 646 589 0921

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8. Linda Mary Montano, FF Alumn, in PAJ, now online at http://bit.ly/29c4fXC

PAJ: A Journal of Performance and Art, Issue 113 (Vol 38.2) Now Available! [Link: http://bit.ly/29c4fXC]

Celebrating its 40th year, PAJ explores innovative work in theatre, performance art, dance, video, writing, technology, sound, and music, bringing together all live arts in thoughtful cultural dialogue. Access video and audio clips, book titles catalogue, and LIVE magazine archive on PAJ's online homepage.

Francesco Spampinato
Body Surrogates: Mannequins, Life-Size Dolls, and Avatars **Free Access** [http://bit.ly/292u4o3]

Linda Weintraub
Linda Mary Montano is Reborn

Annie-B Parson
David Bowie: Dance, Theatre, Other

William Kentridge
The Lulu Drawings

Ellen C. Covito
The End of Choreography As We Know It

Johanna Linsley
Accumulated Experience

Clark Lunberry
Dance of Light and Loss

Dana Tanner-Kennedy
Opera for the Domestic Apocalypse

Adam H. Weinert
The Reaccession of Ted Shawn: A Study in Virtual Permanence

Vaginal Davis, in conversation with Lewis Church
My Womanly Story

Mihaela, the Tiger of Our Town: A Mockumentary Play
by Gianina Cărbunariu, Translated by James Christian Brown

Gianina Cărbunariu, in conversation with Bonnie Marranca
The Reality of Fiction

George Hunka
A Bookshelf of Brecht

Susan Teneriello
Book Reviewed: Poetics of Dance: Body, Image, and Space in the Historical Avant-Gardes by Gabriele Brandstetter.

Paul David Young
Book Reviewed: The Last Days of Mankind, by Karl Kraus

To sign up for PAJ's email listserv, follow this link: http://bit.ly/1SEFjY2. Article submissions can be sent to submissions.paj@gmail.com

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9. Jide Ojo, Marilyn Rosenberg, FF Alumns, at Ceres Gallery, Manhattan, opens July 24

Friends of Ceres
A Group Exhibition

23 artists have work in the group exhibition, Friends of Ceres, at Ceres Gallery in New York City, including Jide Ojo and Marilyn Rosenberg, FF Alumns

Ceres Gallery
547 West 27th Street
New York, NY 10001
July 22 - August 16, 2014
Reception: Thursday, July 24
6:00 pm to 8:00 pm

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10. Donna Henes, FF Alumn, at New York Open Center, July 17

Event: Full Buck Moon Drumming Circle with Mama Donna Henes, at New York Open Center

Description: Drum! Chant! Kick Up Your Heels!

Join us as we celebrate the approaching Full Buck Moon in this season of long days and short nights. The sunny cheer of summer boosts our energy level, our immune systems and our moods. We surrender ourselves to a certain lightness of being, feeling ourselves as joyful as children let out of school. This full moon we come together to drum up the loose and lively ecstasy of summer and dance, like prancing deer in the moonlight spreading our good spirits out into the world.

Note: Feel free to bring a percussion instrument.

When: Sunday, July 17th, 7:30 - 9:00 pm

Where: New York Open Center, 22 East 30th Street, NY, NY 10016

Cost: NYOC Members: FREE / Members' Guests: $10; Nonmembers: $15

Contact: For information and registration
Call (212) 219-2527 xx 2; Email: registration@opencenter.org
Register online: https://www.opencenter.org/events/a-full-buck-moon-circle-with-drumming/

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11. Joseph Nechvatal, FF ALumn, at Battambang International Digital Arts Festival, Cambodia, July 19-24

Joseph Nechvatal will be part of the Battambang International Digital Arts Festival (July 19th - 24th) http://bidaf2016.jimdo.com at the Zan-A-Key Art Space, Battambang, Cambodia where he will be continuously showing a loop of Les 1% possèdent 50% du mode (1% Owns 50% of the World) from 2015 https://youtu.be/pPIXL9I-T9w

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12. Barbara Hammer, FF Alumn, at Artphilein, Lugano, Switzerland, thru July 29

Artphilein Collection on Display: Barbara Hammer, Tourist

periodo mostra: 1 - 29 luglio 2016
presso: Choisi - one at a time, via Pelli 13, Lugano

"I am a visual poet, a poet of vision, a visionary."
Barbara Hammer

Choisi - one at a time, on the occasion of the monthly display of the Artphilein Foundation collection, presents the video Tourist (1984) by Barbara Hammer.
In her art practice, Barbara Hammer uses the videocamera, the photography, the performance and the installation. The artist is considered a pioneer of the experimentation on moving images and optical perception.

The corpus of his films includes more than 80 titles, since the 60's characterized by a complex technical syntax, such as the layering of overlapping images, collage, coloring, alteration, decomposition and transformation of perspective (deframing), solarisation, sound effects and the manipulation of the film during the post-production phase.
In Tourist, Barbara Hammer depicts a trip to Europe: the flow of images is manipulated with a syncopated rhythm, to alter the perception of places that appear well-known and to instill a feeling of anxiety and alienation. In the video, the journey is not an experience of relaxing break, but a stressful activity led by the fear of losing something.
This work entered the collection of the Artphilein Foundation because of the experimentation and innovation on the moving image and the artist's ability to transform, with an ironic and caustic touch, an apparently predictable trip into a incisive reflection.

Barbara Hammer lives and works in New York. Her major retrospectives took place at the Museum of Modern Art in New York City (September 11- October 13, 2010); at the Tate Modern in London (February 2012); at Jeu de Paume in Paris (June 2012) and at the Toronto International Film Festival (October 2013).

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13. Sabrina Jones, FF Alumn, at Bluestockings Bookstore, Manhattan, July 12

Dear friends,
Please join me for the launch of...

OUR LADY OF BIRTH CONTROL
A Cartoonist's Encounter with Margaret Sanger

By Sabrina Jones, Published by Soft Skull Press

TUESDAY JULY 12th, 7PM

at BLUESTOCKINGS BOOKSTORE
172 Allen St, New York NY 10002
More info on the Bluestockings website

Sabrina Jones will present a brief slide show and discussion of the book.

In Sabrina Jones's graphic novel OUR LADY OF BIRTH CONTROL, the author illustrates the incredible life of Margaret Sanger (1879-1966), framing the biography with her personal experiences of coming of age at the height of the sexual revolution.
More info at the Soft Skull website

SABRINA JONES is a comic book artist, writer, and editor who began her career with activist art collective Carnival Knowledge and alternative comics World War 3 Illustrated and Girltalk. Her books Race to Incarcerate: A Graphic Retelling and Isadora Duncan: A Graphic Biography were named "Great Graphic Novels" by the Young Adult Library Services Association.
More on Sabrina at www.sabrinaland.com

Visit www.sabrinaland.com to learn about Our Lady of Birth Control and more.

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14. Jayoung Yoon, at Flatiron Project Space, Manhattan, opening July 7

I have an upcoming Two person show in NYC.

Threaded (Two person show)
July 5 - 29, 2016
Opening reception: Thursday July 7, 6-8pm
Curated by Keren Moscovitch

Flatiron Project Space
141 West 21 Street, New York, NY
http://www.sva.edu/events/events-exhibitions/threaded

Hours: Monday - Friday, 9AM - 7PM
Saturday 10 AM - 6 PM, Closed on Sunday

Thank you so much!
Jayoung Yoon
interdisciplinary artist
www.jayoungart.com
instagram.com/jayoungart/
jayoungart.tumblr.com/
facebook.com/JayoungYoonArt

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15. Kunio Suzuki, FF Member, at J-Collabo, Brooklyn, July 31

In summer of this year, there is also the art event at Brooklyn.
July 31 Sunday 11:00-20:00
J- COLLABO BROOKLYN
300-302 7TH STREET
Brooklyn NY 11215
(Entrance: J+B DESIGN)
http://j-collabo.org/

It's large-scale from last year, is and is the contents which can be enjoyed.

Promotional video is seen in You tube.
https://youtu.be/Z4CRTuVJV9g
Please enjoy yourself.

Best regards

Kunio Suzuki

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16. Susan Bee, FF Alumn, at King Gallery, Manhattan, opening July 8

My mother Miriam Laufer and I have paintings in this wonderful group show at Lyles & King Gallery on the LES, opening July 8 and running till August 12. From August 12-October 16, Miriam Laufer's retrospective curated by Johanna Drucker opens at the Provincetown Art Association and Museum. A catalog with essay by Maika Pollack is available.

All the best,

Susan

JULY 8 - AUGUST 12, 2016
OPENING RECEPTION: FRIDAY, JULY 8, 6-8PM

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17. Danielle Abrams, FF Alumn, at CSUF Grand Central Art Center, Santa Ana, CA, thru July 2, and more

Quadroon
Performance Video by Danielle Abrams
July 2-September 11, 2016
Opening Reception: Saturday, July 2 from 7-10pm
CSUF Grand Central Art Center
125 N. Broadway, Santa Ana, California 92701
Danielle Abrams is a performance and video-based artist who grew up in Queens, New York, with her Jewish mother and African-American father. Abrams' parents raised her with their "double vision" belief, one that allowed her to view the world through the lenses of her two cultural backgrounds. Abrams' Quadroon derives from blind spots she discovered in her parents' "double vision" notion. This work deals with her consciousness of the disparities between the black community and the "white world."

Quadroon, a Louisiana Creole term for a person who is one-quarter black, is a performance/video work based on Abrams' four female voices. These voices explore the shadowy areas that lie among labeled identities. One of her personae is Dee, a precocious 15-year-old "hair girl" from Queens who, because of her skin tone, can "pass" for Greek, but can never achieve true acceptance in the Greek community. Another voice is Dew Drop Lady, a New York Jewish grandmother eager to share advice and faith in the belief that one can achieve anything, despite stereotypes that may exist. Janie Bell, Abrams' black grandmother from Ashland, Virginia, is a third character, which keeps the connection between family and heritage alive. Last, Abrams dons the guise of Butch in the Kitchen, a 30-year-old San Francisco butch dyke who, through her own special version of "Meals on Wheels," addresses issues of nurturance. Together the four voices provide the viewer an insider's portrait of the artist.

And

Review: Hyperallergic
ArtRx LA
by Matt Stromberg on June 28, 2016
Quadroon: Danielle Abrams
When: Opens Saturday, July 2, 7-10pm
Where: Grand Central Art Center (125 N. Broadway, Santa Ana, California)
With candor and humor, Danielle Abrams explores her layered identity in the performance/video work "Quadroon." A quadroon is Creole term for someone who is a quarter black, and in the work, Dean plays four different roles, creating a complex self-portrait. These range from a teen who tries to pass as Greek, a San Francisco butch lesbian, and characters based on both her African-American and Jewish grandmothers.

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Goings On is compiled weekly by Harley Spiller