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Contents for July 18, 2016

1. DISBAND (Ilona Granet, Donna Henes, Diane Torr, Martha Wilson), Ann Magnusson, Xaviera Simmons, FF Alumns, at Franklin Street Works, Stamford, CT, opening July 23

"Danger Came Smiling" is an original group exhibition featuring artists who use music as a medium, subject, and reference point for feminist messages.

In "Danger Came Smiling," art historian and published author, Maria Elena Buszek, brings together work by contemporary artists who use popular music as a medium, subject, and reference point for feminist messages. The show takes the title of an album by the unabashedly feminist punk band Ludus, led by artist Linder Sterling, whose career-emerging in the first wave of punk in the 1970s-is a pioneering example of the approaches at play in this exhibition. The show will be on view July 23, 2016 - Jan 1, 2017. Free public reception, July 23 from 6:00 - 8:00 pm with a VIP member preview from 5:00 - 6:00pm.

"By the late 1970s, visual artists like Robert Longo, Barbara Kruger, and Jean-Michel Basquiat joined bands, and musicians like DEVO, Talking Heads, and Ann Magnuson treated their music as performance art, blurring the lines between popular music and visual art in ways that have profoundly affected contemporary art ever since," explains Buszek. Music and feminist activism are often associated with art student Kathleen Hanna's work in starting the "Riot Grrrl" movement by way of her punk band Bikini Kill in the 1990s. This rich intersection of art, music, and activism will be explored more broadly in "Danger Came Smiling" through the work of artists who use punk, hip-hop, electronica, and jazz as part of their studio practice, and a reflection of their politics. The Franklin Street Works café will include an audio portion comprised of a "mixtape" relating to the items on display and eras under consideration in the exhibition.

Exhibiting artists: Damali Abrams, Alice Bag, DISBAND, Wynne Greenwood (A.K.A. Tracy + the Plastics), Eleanor King, Ann Magnuson, Shizu Saldamando, and Xaviera Simmons.

ABOUT MARIA ELENA BUSZEK
Maria Elena Buszek, Ph.D., is a scholar, critic, curator, and Associate Professor of Art History at the University of Colorado Denver, where she teaches courses on modern and contemporary art. Her recent publications include the books Pin-Up Grrrls: Feminism, Sexuality, Popular Culture (Duke University Press Books, 2006) and Extra/Ordinary: Craft and Contemporary Art (Duke, 2011). She has also contributed writing to the numerous, international exhibition catalogues and scholarly journals: most recently, essays in Dorothy Iannone: Censorship and the Irrepressible Drive Toward Divinity, Mark Mothersbaugh: Myopia, and In Wonderland: The Surrealist Adventures of Women Artists in Mexico and the United States. Buszek has also been a regular contributor to the popular feminist magazine BUST since 1999. Her current book project, Art of Noise, explores the ties between contemporary activist art and popular music.

ABOUT FRANKLIN STREET WORKS
Franklin Street Works is a not-for- profit contemporary art space and café whose mission is to manifest contemporary art projects in a professional and welcoming setting. Franklin Street Works aims to broaden community participation in the arts, contribute to a larger arts dialogue, and cultivate emerging artists. To date, the organization has exhibited the work of more than 250 artists, curated 22 original exhibitions, and organized approximately 120 programs, including talks, tours, and performances. Their work has received national and regional support, including a two-year grant from the Andy Warhol Foundation for the Visual Arts and two matching grants from Fairfield County's Community Foundation. Exhibitions have been recognized with positive reviews in major publications such as Artforum online, Art Papers, Modern Painters, Hyperallergic, Bomb blog, the Daily Beast, and artcritical.com.

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2. Rae C Wright, FF Alumn, at Dixon Place, Manhattan August 4

Rae C Wright will be presenting new work-in-progress in the Lounge at Dixon Place on Thursday, August 4 at 7:30pm. (Check the Dixon Place website for any time changes.) Admission is free, and the Dixon Place bar is open for business. "Taxi Take Me!" is inspired by the intense hours I've spent in Taxicabs - both as a driver and more recently, a breathless passenger. Dixon Place is at: 161a Chrystie Street, on the ground floor * new york ny 10002-2885 * 212.219.0736 * www.dixonplace.org
Rae C is an OBIE-Award winning character-actor & writer. In addition to being a FF Alum - she has had a NYFA Fellowship for Computer Arts, a Fulbright Teaching Fellow in both 2011 & 2014, and has authored 5 produced works + "The Breaks" together w/Deb Margolin. She was the Hannah Pitt U/S in the Signature Theatre's "Angels in America" & did the roles in a 2014 production in Hartford, CT. Film roles: Joe's Apartment, A Soldier's Heart, roles in numberless obscure & wonderful shorts and indies as lovers, drinkers, shrinks, shopkeeps, a defender-of-zombies, a Cougar/murderess, Joe Tripician's 'Borders' w/Steve B as her jilted lover, & four of Madeline Olnek's cool films. She teaches in UG Film & TV at NYU. www.RaeCWright.com

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3. Barbara Rosenthal, FF Alumn, now online at museemagazine.com

Barbara Rosenthal (FF Alumn) online:
http://museemagazine.com/culture/2016/7/11/art-out-barabara-rosenthal

Barbara Rosenthal
http://en.wikipedia.org/wiki/Barbara_Rosenthal
http://www.barbararosenthal.org/
463 West Street, #A629
NY, NY, USA 10014-2035
+1-646-368-5623 (voice and voicemail, no texts)
eMediaLoft@gMail.com
Skype: barbararosenthal

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4. Donald Hải Phú Daedalus, FF Alumn, in Bath, IL, Aug. 5-6

Donald Hải Phú Daedalus launches Illinois River Project in Bath, IL, August 5th & 6th. For the last decade, a tournament to remove invasive carp has taken place in Bath, IL. This year, Daedalus will compete with a gear and sonic tools to extract the fish. Afterward, the fish bones will be used in the remediate of lead in soil at sites in the South Bronx and Brooklyn. Learn more here:
https://www.indiegogo.com/projects/fish-bones-for-lead-homes#/

Instagram: @IllinoisRiverProject

See you soon!

~DHPD

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5. Jodie Fink, April Ford, FF Alumns, at Drawing Rooms, Jersey City, NJ, thru Aug. 14

Jodie Fink and April Ford, FF Alumns, have work in a show called ReUse, ReDuce, RePurpose: The Art of ReFuse at Drawing Rooms in Jersey City 180 Grand Street from Friday 7/15/16 to Sunday 8/14/16. Opening reception is this Sunday 7/17/16 from 3pm to 6pm.

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6. R. Sikoryak, Kriota Willberg, FF Alumns, at Society of Illustrators, Manhattan, July 21

Carousel meets the Comic and Cartoon Art Annual
Comic readings and presentations by artists in the Society of Illustrators' Comic and Cartoon Art Annual.

Featuring: Sarah Andersen, Chris Cater, Leela Corman, Christopher Darling, Carolyn Figel, Julia Gfrörer, Ligang Luo, Nicholas Offerman, Feifei Ruan, Diana Schoenbrun, Adrian C. Sinnott, Jim Torok, Kriota Willberg, Yao Xiao, Lior Zaltzman
Hosted by R. Sikoryak

Thursday, July 21 at 7 PM - 9 PM
Society of Illustrators, 128 E 63rd St, New York, New York 10065

TICKETS $15 Non-members | $10 Members | $7 seniors/ students (with valid ID)

http://www.societyillustrators.org/Events-and-Programs/Special-
Events/2016/Carousel/Carousel-meets-the-Comic-and-Cartoon-Art-Annual.aspx

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7. Beatrice Glow, Nicolás Dumit Estévez Raful, Harley Spiller, Ricardo Miranda Zúñiga, FF Alumns, now online at artistsallianceinc.org

Please visit this link to Cuchifritos Gallery:

http://artistsallianceinc.org/cuchifritos-gallery-2/past-exhibitions/lettuce-artichokes-red-beets-mangoes-broccoli-honey-and-nutmeg-the-essex-street-market-as-collaborator

Thank you.

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8. Stefanie Trojan, FF Alumn, in Frankfurt, Germany, July 18-22

TRaG
Stadt - Halten
July 18th - 22nd, 2016
Daily from 12:00 PM - 4:00 PM

Stadt-Halten is a 5 day performative intervention in five New Frankfurt public housing projects. The work is about repetition, construction and deconstruction, constant motion, and describes a circle surrounding Frankfurt's city center.

Monday, July 18th: Hellerhofsiedlung - Meeting point 12:00 PM - Idsteiner Strasse/ Corner Schneidheinerstrasse

Tuesday, July 19th: Heimatsiedlung - Meeting point 12:00 PM - Heimatring 1

Wednesday, July 20th: Siedlung Bornheimer Hang - Meeting point 12:00 PM - Ernst May Platz (Tram Station - Line 14)
Meeting point 3:00 PM - Deutscher Werkbund, Inheidener Strasse 2

Thursday, July 21st: Siedlung Römerstadt - Meeting point: 12:00 PM - Ernst May House, Im Burgfeld 136

Friday, July 22nd: Siedlung Westhausen - Meeting point 12:00 PM - Ludwig-Landmann-Straße 206

TRaG are Stefanie Trojan, Barak Reiser and Snežana Golubović
Facebook: TRaG - https://www.facebook.com/TRaG-1612678439022436/
Stadt-Halten is part of the Summer Tour 2016, The Historical Museum of Frankfurt am Main's
Stadtlabor unterwegs (City Lab on the go)

Info and News:
https://www.facebook.com/TRaG-1612678439022436/
and Mo 7/18- Fr 7/22 12am-4pm call +49 171 1757260

Sommertour 2016
Stadtlabor unterwegs
http://www.historisches-museum-frankfurt.de/index.php?article_id=15&clang=0
https://www.mein-frankfurt-modell.de/.k

historisches museum frankfurt
Solmsstr. 18
60486 Frankfurt am Main
tel: +4969 212 47770
mail: katharina.boettger@stadt-frankfurt.de
web: http://www.historisches-museum-frankfurt.de/

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9. Koosil-ja, M. Lamar, Aviva Rahmani, Peggy Shaw, FF Alumns, receive New York Foundation for the Arts Artists' Fellowships 2016

NYFA Announces Recipients and Finalists for 2016 Artists' Fellowship Program

$647,000 Awarded To 98 New York State Artists
The New York Foundation for the Arts (NYFA) has announced the recipients and finalists of its Artists' Fellowship Program. The organization has awarded a total of $647,000 to 98 artists (including five collaborations) throughout New York State in the following disciplines: architecture/environmental structures/design, choreography, music/sound, photography, playwriting/screenwriting. Fifteen finalists (three per discipline), who do not receive a cash award, but benefit from a range of other NYFA services, were also announced. A complete list of the Fellows and finalists follows. The Artists' Fellowship Program is administered by NYFA with leadership support from the New York State Council on the Arts.

The Artists' Fellowship Program makes unrestricted cash grants of $7,000 to artists working in 15 disciplines, awarding five per year on a triennial basis. The program is highly competitive and this year's recipients and finalists were selected by discipline-specific peer panels from an applicant pool of 2,669. Since it was launched in 1985, the program has awarded over $31 million to more than 4,400 artists.

"This year's Fellows range from 26 to 80 years in age, reflecting NYFA's endeavor to support artists during all walks of life and encourage them in their creative careers to concentrate on what they do best: create art and inspire all of us in the process," said NYFA Executive Director Michael L. Royce, "We are grateful for the leadership support of the New York State Council on the Arts and our other funders, which enables us to continuously contribute to the thriving New York State arts scene by supporting its most essential member, the artist."

Marie Poncé was awarded a Fellowship in Choreography and she expressed that it "turns limits into opportunities" and expands her "credibility as a Native American female artist who excels in a male dominated dance form (American Indian Hoop)". Poncé continued to say that, "through my art I am looking forward to empowering Tainos, North Carolina Cherokees and many other Native Americans, who are fighting for cultural expression and self-identification."

Fellow in Playwriting/Screenwriting Carolyn E. Kourofsky from Monroe County shared that "the Fellowship will allow me to, almost literally, buy time." She explained how "much of my writing time is devoted to business-related work for clients, with creative work too often being squeezed out," and enthusiastically added that "because of the Fellowship I can afford to direct my time and energy to finishing the rewrites on my play Misdirection by this fall."

FELLOWSHIP RECIPIENTS AND FINALISTS BY DISCIPLINE AND COUNTY OF RESIDENCE:
ARCHITECTURE / ENVIRONMENTAL STRUCTURES / DESIGN
Ian Gerson (Queens)***
Shandor Hassan (Kings)
Ekene Ijeoma (Kings)
Jonathan Mildenberg (New York)
Sarah Oppenheimer (New York)
Aviva Rahmani (New York)
Gary Sczerbaniewicz (Erie)
Jill Sigman (New York)
Traci Talasco (Kings)
Ife Vanable (New York)
Lydia Xynogala (New York)
eteam (Hajoe Moderegger / Franziska Lamprecht) (Queens)*

Finalists
Charles Goldman (Kings)
Coralina Meyer (New York)
Cheryl Wing-Zi Wong (New York)

Architecture / Environmental Structures / Design Panelists
Marsha Ginsberg (New York)
DeWitt Godfrey (Madison)
Wennie Huang (Kings)
Alois Kronschlaeger (Kings)
Chris Oliver (Tompkins)

CHOREOGRAPHY
luciana achugar (New York)
Evvie Allison (New York)
Michelle Boulé (New York)
Abigail Browde / Michael Silverstone (New York)*
Yanira Castro (Kings)
Fritz Donnelly (New York)
Jeanine Durning (Orange)
Daria Rachel Faïn / Robert Kocik (New York)*
Reggie Gray (Kings)
Raja Feather Kelly (New York)
Juliana F. May (New York)
Marie Poncé (New York)
Kota Yamazaki (New York)
André M. Zachery (New York)***

Finalists
Walter Dundervill (New York)
Alexander Escalante (Kings)
Koosil-ja (New York)

Choreography Panelists
Jonathan Gonzalez (Queens)
Iréne Hultman (Kings)
Stefanie Nelson (New York)
Arturo Vidich (Kings)
Gwen Welliver (New York)

MUSIC / SOUND
Gordon Beeferman (New York)
Lisa Bielawa (New York)
Anthony G. Coleman (New York)
Joe Diebes (New York)
Du Yun (New York)
Jeffrey Fairbanks (Queens)
Randy Gibson (Kings)
Stephanie Griffin (New York)
Warp Trio - Joshua Henderson/Mikael Darmanie/Ju Young Lee (New York)*
Sarah Hennies (Tompkins)
Molly Herron (New York)
Eli Keszler (Kings)
M. Lamar (Kings)
Qasim Ali Naqvi (Kings)
Angélica Negrón (New York)
Sam Newsome (New York)
Jeff Talman (Bronx)***
Max Vernon (Kings)

Finalists
Andrew Drury (Kings)
Anthony Gatto (New York)
Scott Wollschleger (Kings)

Music / Sound Panelists
Laura Andel (Kings)
Christina Campanella (New York)
Daniel Davis (Broome)
Satoshi Kanazawa (Queens)

PHOTOGRAPHY
Kwesi Abbensetts (New York)
Supranav Dash (New York)
Sylvia de Swaan (Oneida)
Frances F. Denny (Kings)****
Delphine A. Fawundu (Kings) ***
Phyllis Galembo (New York)
Samuel James (New York)
Krisanne Johnson (New York)
Takahiro Kaneyama (New York)
Dina Kantor (New York)
Holger Keifel (New York)
Ruth Lauer Manenti (Greene)
Matthew Morrocco (New York)
Jacob Naughton (Kings)
Lorie Novak (New York)
Susannah Sayler / Edward Morris (Onondaga)*
Pacifico Silano (Kings)
Marisa Gonzales Silverstein (Westchester)
Tamara Staples (Kings)
Lida Suchy (Onondaga)
Ayumi Tanaka (New York)
John Trotter (Kings)
Sinan Tuncay (New York)
Richard Tuschman (Queens)
Linn Underhill (Broome)
Christopher Verene (New York)
Shen Wei (New York)

Finalists
Brooke DiDonato (New York)
Andrew Lichtenstein (Kings)
Jennifer Williams (Queens)

Photography Panelists
Russell Frederick (Kings)
Hans Gindelsberger (Erie)
Pixy Yijun Liao (Kings)
Adam Nadel (Queens)
Nadia Sablin (Kings)

PLAYWRITING / SCREENWRITING
Bogdan George Apetri (New York)
Kathryn Benson (Kings)
Sheila Curran Bernard (Albany) **
Clarence Coo (New York)
Kate Cortesi (New York)
Jorge Ignacio Cortiñas (New York)
Migdalia Cruz (Westchester)
Kimberly Davies (New York)
Jillian Eddy (New York)
Arlene Hutton (New York)
Sibyl Kempson (New York)
Carolyn E. Kourofsky (Monroe)
Winter Miller (New York)
JT Rogers (Westchester)
Betty Shamieh (New York)
Peggy Shaw (New York)
Lloyd Suh (Kings)
Melisa Tien (New York)
Ken Urban (New York)
Catherine Yu (New York)
Joshua Sanchez (Kings)

Finalists
Keith J. Adkins (New York)
Jennie Allen (Greene)
Lameece Issaq (New York)

Playwriting / Screenwriting Panelists
Moon Molson (New York)
Carl Hancock Rux (New York)
Emily Morse (New York)
Maggie Mancinelli Cahill (Albany)
Jay Scheib (New York)

* Collaborating Fellows
** The Geri Ashur Screenwriting Award was established in 1984 in memory of Geraldine Ashur by her husband, Richard Brick, and her friends. Ms. Ashur, who died at age 37, graduated from Barnard College in 1968 and became a screenwriter, film editor, foreign language dubbing specialists, and documentary film director.
Geri Ashur Screenwriting Award: Sheila Curran Bernard
*** The Gregory Millard Fellowships were established by the New York City Department of Cultural Affairs in 1984 in memory of poet and playwright Gregory Millard. As Assistant Commissioner of Cultural Affairs from 1978 until his death in 1984, Mr. Millard championed the cause of individual artists. Recipients are New York City residents chosen in several categories from those recommended by the various panels.
Gregory Millard Fellows: André M. Zachery (Choreography), Ian Gerson (Architecture/Environmental Structures/Design) Jeff Talman (Music/Sound), Delphine A. Fawundu (Photography), Deutsche Bank Americas Foundation Fellow: Frances F. Denny, (Photography).

Funding Support
Major funding is also provided by the New York City Department of Cultural Affairs (DCLA). Additional funding is provided by the Lily Auchincloss Foundation, the Milton & Sally Avery Arts Foundation, Deutsche Bank Americas Foundation, and individual donors.

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10. Beatrice Glow, FF Alumn, named 2016-17 Artist-in-Residence, Asian Pacific American Institute, NYU, Manhattan

I am very excited to share that I will be the 2016-17 Artist-in-Residence at Asian/Pacific/American Institute at NYU! Please SAVE THE DATE for my September 27 launch event at NYU...details TBA!
*
We are elated to announce Beatrice Glow as the A/P/A Artist-in-Residence for 2016-17!
As an interdisciplinary artist whose work uncovers invisible, suppressed stories that lie in the geopolitical shadows of colonialism and migration, Glow's practice comprises of sculptural installations, trilingual publishing, participatory performances and lectures, and experiential technologies. Her installation "The Wayfinding Project", which features both virtual and augmented reality, is currently on view right here at the Institute!
We will be welcoming Glow with an event on Tuesday, September 27. Until then, you can read more about Glow and her residency here: http://bit.ly/BeatriceGlow

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11. Bryan Zanisnik, FF Alumn, at Socrates Sculpture Park, Astoria, Queens, opening Sept. 25

EAF16: Emerging Artist Fellowship Exhibition

SEPTEMBER 25, 2016 - MARCH 13, 2017

OPENING: SEPTEMBER 25, 2016 (3:00 PM - 6:00 PM)

ARTISTS: LIENE BOSQUÊ, TRAVIS BOYER, ANDREW BREHM, LEA CETERA, ONYEDIKA CHUKE, DYLAN GAUTHIER, DMITRI HERTZ, MADELINE HOLLANDER, OLALEKAN JEYIFOUS, LIA LOWENTHAL, DACHAL CHOI & MATHEW SUEN, GALERIA PERDIDA, SABLE SMITH, ELIZABETH TUBERGEN, BRYAN ZANISNIK

Socrates Sculpture Park is pleased to announce the recipients of the 2016 Emerging Artist Fellowship. From June through September, EAF artists work on-site, negotiating the physical and conceptual challenges of production in the park's outdoor studio space, culminating in EAF16: Emerging Artist Fellowship Exhibition that will open to the public on September 25, 2016. The annual EAF Exhibition is a cornerstone of Socrates Sculpture Park's robust visual arts programming, widely acclaimed for the ambition, breadth, and innovation of selected contemporary works. A singular opportunity for rising artists to experiment with ambitious, large-scale public art, EAF provides young artists with an open studio, monetary support, and institutional guidance.

Diverse in subject, materials, and approach, each site-specific work will address social, ecological, or political issues that are pertinent to the past, present, and future of the park as it celebrates its 30th anniversary year.

The 2016 Fellows are: Liene Bosquê, Travis Boyer, Andrew Brehm, Lea Cetera, Dachal Choi and Mathew Suen, Onyedika Chuke, Galería Perdida, Dylan Gauthier, Dmitri Hertz, Madeline Hollander, Olalekan Jeyifous, Lia Lowenthal, Sable Elyse Smith, Elizabeth Tubergen, and Bryan Zanisnik.

The 2016 EAF artists were selected through a highly competitive open call process that attracted hundreds of candidates, reviewed by the park's 2016 curatorial advisors Larissa Harris (Curator, Queens Museum) and Amanda Hunt (Assistant Curator, Studio Museum in Harlem). The EAF exhibition is distinct in its mission to foster individual artist projects rather than present an overarching theme, and the current EAF16 artists will join the ranks of EAF alums such as Hank Willis Thomas (EAF06), Wade Guyton (EAF03), and Sanford Biggers (EAF01).

Among the projects featured in the 2016 exhibition will be Sable Elyse Smith's combination of video and signage confronting our conflicting ideas of "the public." Dachal Choi and Mathew Suen's work, pictured above, envisions a fantastical world wherein Socrates Sculpture Park is pulled out of the Earth and floats into the sky above Queens, leaving behind a gaping hole on New York City's waterfront. Dylan Gauthier's Accidental Flight draws upon Alexander Graham Bell's original proto-flying machines to explore the spiritual, conceptual, and aesthetic implications of aviation. Artist Bryan Zanisnik will scatter life-sized busts of Christopher Walken across the grounds, paying homage to the Astoria-born actor through a farcical narrative that will be portrayed within a kiosk.

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12. Papo Colo, FF Alumn, in The Village Voice, now online

Please visit this link to the illustrated article on Papo Colo's exhibition at MoMA PS1 in Long Island City, Queens:

http://www.villagevoice.com/arts/present-and-accounted-for-papo-colo-s-early-performances-showcased-at-ps1-8850116

thank you.

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13. Frank Gillette, FF Alumn, launches new website www.frankgillette.com

The Official Launch of Frank Gillette's website www.frankgillette.com

Frank Gillette is a pioneer in video and installation arts, as well as the founder of Raindance in 1969, the first artist video collective.

In addition his website contains a selective and extensive range of work from 1961 to the present; including a brief biography, large scale contact prints, collages, digital prints, paintings, drawings, photographs, installations, texts, a blog and video tapes.

The site will be periodically updated. For additional information contact fjgillette@gmail.com

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14. Xaviera Simmons, FF Alumn, in The New York Times, July 15

The New York Times
July 15, 2016

Xaviera Simmons
'Coded'
The Kitchen
512 West 19th Street
Chelsea
Through July 30

Xaviera Simmons started as a photographer, but her work in recent years has gained breadth and momentum, incorporating performance, painting, poetry and sound. All of these are included in her evocative and timely exhibition "Coded," at the Kitchen.
As if orienting herself before moving forward, Ms. Simmons has included one of her early photographs, "Landscape (Two Women)" (2007), which features a surrealistic conjoined figure created by two women leaning toward each other and pulling their clothes over their heads. After establishing the idea of bodies as landscapes, Ms. Simmons shifts to maps. A new series of photographs uses repeated images from the internet - one of an African woman striding through water with an infant and another of a male bodybuilder - and turns them into grids shaped like unfolded maps and held out before an obscured viewer.

Paintings made with white lettering on a black background, reminiscent of Glenn Ligon's paintings, sample text from actual maps and describe "ocean swell patterns" and "turbulent waters." What is left out, of course, are the humans (and their cargo) navigating these waters.

Other references to the history and struggles of the African diaspora include a sound piece with a man repeating his love for a woman in Africa in three languages and video snippets of dancehall music. Rather than tie these with blunt didacticism to current conflicts (or ones in the past, since Ms. Simmons once spent time with Buddhist monks retracing slave trade routes), Ms. Simmons has created a show that surges with energy, but also has cryptic ambiguity. Saying black bodies are contested terrain would be obvious. Perhaps this is why Ms. Simmons titled the exhibition "Coded."

by MARTHA SCHWENDENER

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15. Lawrence Weiner, FF Alumn, in The New York Times, July 15

The New York Times
Inside Art
By ROBIN POGREBIN JULY 14, 2016

Artwork Returns to Dia
Lawrence Weiner's "Cadmium & Mud & Titanium & Lead & Ferrous Oxide & So On ..." was first displayed as part of his solo exhibition "Displacement," at Dia Center for the Arts in New York City in 1991. The work was a bold rethinking of what a sculpture could be, in which words - like "metals" and "mud" - were written across the floor, substituting language for actual materials.

Now, 25 years later, that piece is returning to the Dia Art Foundation for good. It will be permanently installed at Dia:Beacon in the Hudson Valley, on the museum's back facade, an area previously off limits to visitors.

"It's a piece that I'm very attached to and it was in my first show at Dia," Mr. Weiner said in a telephone interview. "It was a way of building a structure that didn't have a hierarchy of what was dangerous and what was necessary."
Starting next Friday, the work will be visible from the back lawn and from the Metro-North trains that pass the museum.

"Everything that's in the piece really summarizes the work that's in the building," said Jessica Morgan, Dia's director, "materials that can be used in the process of making."

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16. Hector Canonge, FF Alumn, July-August events, 2016

HECTOR CANONGE, FF Alumn, July - August 2016

Hector Canonge recently completed the production of new body of work as visiting guest artist of Universidad Nacional Autónoma de Mexico, UNAM, (National Autonomous University of Mexico) exhibiting, presenting performances, conducting workshops and talks at various galleries, institutions, and cultural spaces among them Galerías de la Antigua Academia de San Carlos, ArtSpace Mexico, Espacio 553, and Live Art Mexico. While in residency at Casa Viva, the artist also participated in public interventions for the program Flexus at Iglesia de la Santísima, and a commissioned performance at Exconvento del Bosque de los Leones organized by Biosfera Experimental.

Continuing his work in Latin America, Canonge will present work in Chile: Santiago and Valparaiso; Argentina: Mendoza, Cordoba and Buenos Aires; and Bolivia: Santa Cruz de la Sierra and Cochabamba. In Santiago, he will introduce his independent transcontinental initiative ARTerial PERFORMANCE LAB, APLAB, in a program for the X Encuentro of the Hemispheric Institute of Performance and Politics (July 17 - 23). In Valparaiso, Canonge will be joined by a group of artists from the collective El CUBO to initiate a series of presentations, workshops, and talks under the program "IMPULSOS PERFORMAGRAPHIKOS" (July 24 - 27). The project will later travel to Argentina (July 28 - August 10) to the cities of Mendoza and Cordoba where he will work with local artists who will accompany him in the trajectory ending in Buenos Aires with presentations in the capital city at Puesto 68 Mercado de San Juan y en San Fernando at Zona Imaginaria. In Bolivia, Canonge will open his photographic exhibition "TROLOPOGIAS" at Arte 21 SCZ (August 11 - 23) and will present a new performance project "ALTERIDADES" at Centro de la Cultural Plurinacional in the city of Santa Cruz de la Sierra (August 12). In Cochabamba, the artist continues with the presentation of his ongoing series "TRAUM(A)" at the cultural center Proyecto Martadero (August 16 - 20). The artist will return to the United States to continue work at his MODULO 715 in late August.

Dates, Times and Locations:
July 17 - 23, 2016
ARTerial PERFORMANCE LAB, APLAB
X Encuentro of the Hemispheric Institute of Performance and Politics
Santiago, Chile
July 24 - August 9, 2016
IMPULSOS PERFORMAGRAPHIKOS, Relational Performance Art Project.
Various locations
Valparaiso, Chile, and Mendoza, Cordoba and Buenos Aires, Argentina

August 11 - 23, 2016
TROPOLOGIAS, Exhibition of Photography and Visual Poetry.
Arte21 SCZ Gallery
Santa Cruz de la Sierra, Bolivia

August 12 2016
ALTERIDADES, Performance Project.
Centro de la Cultura Plurinacional, CCP SCZ
Santa Cruz de la Sierra, Bolivia

Brief Biography:
Hector Canonge is an interdisciplinary artist, curator and cultural entrepreneur based in New York City. His work incorporates the use of new media technologies, cinematic narratives, performance, and socially engaged art to explore and treat issues related to constructions of identity, gender roles, psychogeography, and the politics of migration. Challenging the white box settings of a gallery or a museum, or intervening directly in public spaces, his performances mediate movement, endurance, and ritualistic processes. Some of his actions and carefully choreographed performances involve collaborating with other artists and interacting with audiences. His installations, interactive platforms, and performance art work have been exhibited and presented in the United States, Latin America, Europe and Asia.

As cultural entrepreneur, Canonge created, and organizes independently the annual Contemporary Performance Art Festival NYC, ITINERANT. He started projects such as

ARTerial
PERFORMANCE LAB (APLAB), a transcontinental initiative to foster collaboration among performance artists from the Americas, PERFORMEANDO, a program that focuses on featuring Hispanic performance artists living in the USA and Europe, NEXUSURNEXUS a virtual platform for Live Action Art, and PERFORMAXIS, an international residency program in collaboration with galleries and art spaces in Latin America. Canonge co-founded QMAD, Queens Media Arts Development, a non-profit arts organization in Queens, NYC, and as curator, he has organized exhibitions at Centro Cultural Santa Cruz, Queens Museum, Space 37 Gallery, and Visual AIDS. He created programs such as the monthly artist dialog series A-LAB Forum at Crossing Art Gallery, and the monthly independent LGBT film series CINEMAROSA. Canonge's work has been reviewed by The New York Times, ART FORUM, Art in America, New York Daily News, Manhattan Times, Hispanic Magazine; by major networks ABC, NBC, CNN, CBS, UNIVISION, etc., and online by Art Experience NYC, Hyperallergic, Turbulence, Art Card Review, and New York Foundation for the Arts' bulletin NYFA News.

Canonge teaches Media Arts and Technology at City University of New York, and directs projects, programs and initiatives from MODULO 715 his new studio in Jackson Heights, Queens. He hosts CONVIVIR, the international residency program for co-habitation and collaboration. After living abroad for almost 3 years, the artist came back to NYC in late 2015, launched TALKaCTIVE: Performance Art Conversation Series, and the new Performance Art initiative LiVEART.US hosted at the Queens Museum and at other local public institutions.

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17. Edward Madrid Gómez, FF Alumn, now online at hyperallergic.com

Greetings friends and art lovers:

My article about the historic, 40th-anniversary exhibition at the Collection de l'Art Brut in Lausanne, Switzerland, has been published in HYPERALLERGIC.

You can find it here:

http://hyperallergic.com/310586/in-switzerland-art-brut-goes-back-to-its-roots/

Dedicated to the work of the most innovative, visionary self-taught artists, this unique museum, the first of its kind in the world, was founded forty years ago by the French modern artist Jean Dubuffet, a pioneer researcher and collector in the art brut field. The current exhibition features many works from Dubuffet's own personal collection, which he donated to the museum when it was established in the early 1970s.

I send you all best wishes!

EDWARD

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18. Barbara Rosenthal, FF Alumn, at Museum of Club Culture, Hull, UK, July 23

Barbara Rosenthal (FF Alum) video in the Amy Johnson Festival 75-sec film challenge, Hull, UK, Sat. July 23.

Barbara Rosenthal won't be in England this week, but some of her videos will be:

"Fly Bus to Finland," Nancy and Sluggo,"" The Secret of Life," "Time & Space," "Daily
News."
Videos in The "75-sec Amy Johnson Film Festival" curated by Kerry Baldry.
@
The Museum of Club Culture. Suite 5, Bond 31, 42 High Street, Hull, UK, HU1 1PS
http://amyjohnsonfestival.co.uk/wp-content/uploads/2016/06/AJF-Whats-On.pdf

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19. Andrea Fraser, FF Alumn, in The New York Times, July 17

The complete illustrated article is at the following link. Text only follows below

http://www.nytimes.com/2016/07/18/arts/design/review-in-goyas-shadow-andrea-frasers-videos-skewer-social-institutions.html?_r=0

The New York Times
ART & DESIGN
Review: In Goya's Shadow, Andrea Fraser's Videos Skewer Social Institutions
By MARTHA SCHWENDENER
JULY 17, 2016

Spain might be the cradle of institutional critique, the brand of contemporary art that looks at how power and money shape art and how artists - often seen as independent operators - participate in this process.

The Spanish artist Francisco Goya (1746-1828) made it clear in his paintings and prints that he was not amused by the monarchy or the Catholic Church, which controlled society in this corner of the world for centuries. And now, the Museu d'Art Contemporani de Barcelona (MACBA) has mounted a 30-year retrospective of the American conceptual artist Andrea Fraser, whose work illustrates the cozy relationship between contemporary art, governments, corporations and wealthy individuals - and might be too incendiary for some American museums.

Ms. Fraser's work has hardly been ignored by museums. This winter, the Whitney Museum of American Art in New York mounted "Down the River"(2016), in which Ms. Fraser piped ambient audio recorded at Sing Sing prison into an empty gallery to give viewers a sense of inmates' oppression and social isolation, and a retrospective of her work appeared at theMuseum Ludwig in Cologne, Germany, in 2013.

But "Andrea Fraser: L'1%, c'est moi" here does more than juxtapose the prison-industrial complex with the art complex. It includes work, mostly in the form of performance videos, that shows how art, which supposedly functions as a quasi-independent form of aesthetic thought, has become bedfellows with business and politics. Among over two dozen works there is the infamous "Untitled" video (2003), in which Ms. Fraser has sex in a hotel room with a collector who paid thousands of dollars to participate in her work - the contractual terms elucidated by Ms. Fraser's art gallery. The video suggests a seductive (if oversimplified) system in which the artist is like a prostitute, pimped by an art dealer and sold to a collector-john.

In general, however, Ms. Fraser's work is funny, bold and extremely smart. She comes from a generation for which critical theory matters greatly (the French sociologist Pierre Bourdieu's writings on art and social stratification are a touchstone in her work), though she is among the few artists who can spin such complex information into art that is accessible, engaging and persuasive. Early political works like "White People in West Africa"(1989/1991/1993) - a series of photographs that show light-skinned people "helping" (as educators or missionaries) the local Africans - are critical in a fairly obvious manner, recreating the positions set up by colonialism.

But Ms. Fraser hit her stride in the early '90s by working closer to home, in pieces about the art world. "May I Help You?" (1991) is a classic performance video with Ms. Fraser playing a docent leading visitors at the Philadelphia Museum of Art. The script, written by the artist and later published in the journal October, careens from snobbish talk about taste and culture to a scathing critique of how 19th-century robber baron gave their money to art institutions instead of the poor. "Orchard Document: May I Help You?" (2005-2006), made with Jeff Preiss, takes the critique to the gallery realm - though the site is actually the New York alternative space Orchard and audience members include prominent art historians and curators.

Biennials proliferated during this period, which some viewed as cities and countries using culture to raise their political and economic status. (Ms. Fraser herself has contributed to the Whitney Biennial, acknowledging her conflicted stance.) In "Reporting from São Paulo, I'm from the United States" (1998), Ms. Fraser plays a television presenter at the São Paulo Biennial in Brazil, questioning officials and sponsors about the nature of corporate involvement in the event. The self-aggrandizing speeches given at art openings and galas - often cringe-worthy performances in themselves - have become another of Ms. Fraser's specialties. "Art Must Hang" (2001) is a brilliant recreation of a drunken speech the artist Martin Kippenberger gave at a post-opening dinner in Austria in 1995, and which demonstrates the excesses allowed - encouraged, really - by Great (Male) Artists. "Inaugural Speech" (1997) finds Ms. Fraser adopting multiple roles with cheerful schizophrenic aplomb: curator, trustee, public official and corporate sponsor.

In many ways, Ms. Fraser works like comedians such as Sacha Baron-Cohen or Sarah Silverman: using comedy as a Trojan horse to discuss politics and social issues. But the art sphere is a special entity. The title of the show, "L'1%, c'est moi," refers, naturally, to King Louis XIV's self-absorbed declaration "L'etat, c'est moi," as well as the assertion by Gustave Flaubert, who identified himself with his own literary subject: "Madame Bovary, c'est moi." A work Ms. Fraser made during the Occupy movement and included in this exhibition also points out how the art world is a privileged and tiered system in which Ms. Fraser, despite being a critic of the whole thing, resides at the top stratum.
This resonates in Barcelona, where nearly all the major monuments are devoted to singular male figures: museums for Picasso and Miró; architectural marvels by Gaudí and Mies van der Rohe. But it also fits well within Barcelona's contemporary art museum, which is considered one of the most progressive art museums in the world, devoted to challenging myths and narratives around artists, and art as a form of spectacle. In keeping with this, the museum currently has a major exhibition, "Punk: Its Traces in Contemporary Art," that examines the aesthetic and political nihilism often at the heart of punk rock, but its permanent collection also emphasizes contributions by women - particularly the performance and video artists of the '60s and '70s - and Spanish artists.

This theme continues across town at Axiura Fotografic Barcelona in a fascinating exhibition of photographs that document protest graffiti from the 1970s and remind you of Spain's regional and fascist past; and practically next door, at the Centre de Cultura Contemporània de Barcelona, is "Making Africa: A Continent of Contemporary Design," a sprawling assembly of art, design and products that looks to the Southern Hemisphere for cultural innovation, rather than to the customary north and west.

In this context, Ms. Fraser's exhibition makes perfect sense. What she and her show demonstrate is that art institutions can still function as free spaces - "laboratories" is the popular term these days - where artists and the rest of us can rethink problems that seem insurmountable. Or at least step back, take a break and - as Goya prompted us to do - laugh at the absurd state of the world and the functionaries who rule and govern us.

"Andrea Fraser: L'1%, c'est moi" runs through Sept. 4 at the Museu d'Art Contemporani de Barcelona in Spain; macba.cat. Next it travels to the Museo Universitario Arte Contemporáneo in Mexico City.

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20. Pablo Helguera, Nora Ligorano & Marshall Reese, Dread Scott, FF Alumns, in The New York Times, July 18

The complete illustrated article is at the following link. Text only follows below

http://www.nytimes.com/2016/07/18/arts/design/political-art-in-a-fractious-election-year.html

The New York Times
Political Art in a Fractious Election Year
By RANDY KENNEDY
JULY 17, 2016

In 2008, when the artist Shepard Fairey created the graphically striking "Hope" portrait to support Barack Obama's presidential campaign, it seemed as if a rich tradition of American political imagery reaching back at least to the middle of the 20th century - on posters, buttons, bumper stickers - was still very much alive. The art critic Peter Schjeldahl called the "Hope" poster "epic poetry in an everyday tongue."
But as the 2016 campaign season enters the nominating stage - the Republican National Convention opens on Monday in Cleveland; the Democratic National Convention follows the next week in Philadelphia - no image even approaching the power or reach of Mr. Fairey's poster has emerged. (The wordless silhouette of Bernie Sanders's sensible glasses hovering beneath his rebellious white hair might have been the punchiest attempt.)

In just eight years, the very idea of an everyday visual language has fractured in the ephemeral, fast-moving worlds of Instagram, Twitter and Facebook. And the idea that epic poetry remains possible in American political discourse has fared even worse, made almost farcical by entrenched congressional deadlock and two presidential candidates seen as dishonest and untrustworthy by large majorities of voters.
"The power of the iconic image is that it stood for one thing," said Eric Gottesman, a photographer and political activist based in Massachusetts. "And as images circulate in more complex and widely distributed ways, the use of icons in political campaigns is going away, I think. "People distrust them more than they used to do," he added, maybe because of cynicism "or maybe in a positive way."

But the shift has not kept artists and visually minded activists from trying to say something meaningful during a fractious campaign season. In Cleveland and Philadelphia, art installations and performances - taking the form of neutral civic forums, partisan provocations and everything in between - will be cropping up all around the convention centers.

The "Truth Booth," a roving, inflatable creation by a group of artists calling itself the Cause Collective, will appear at the Transformer Station, an alternative art space, and other places in that city after traveling to Afghanistan and across the United States. The booth, in the shape of a cartoon word bubble with "TRUTH" in bold letters on its side, serves as a video confessional. Visitors are asked to sit inside and finish the politically and metaphysically loaded sentence that begins, "The truth is ..." (The collective has compiled more than 6,000 recorded responses and hopes to gather hundreds more at the conventions.)

"One of the major things limiting our democracy is the narrow way we now frame our values," said Hank Willis Thomas, a New York artist who conceived of the booth with the artists Ryan Alexiev and Jim Ricks. Mr. Thomas, an African-American artist whose work often delves into advertising and race, added: "There are a lot of false dichotomies out there. This piece is about trying to get to common denominators."

Another piece bound for the conventions will also use words not quite taken at face value: giant ice sculptures spelling the phrase "The American Dream." The work of the artists Nora Ligorano and Marshall Reese, the sculptures will be left outside to melt, and the dissolution will be live-streamed (starting in Cleveland on Tuesday) while poets and writers compose short pieces near the sculptures.

The artists, who call the installations "temporary monuments," have previously melted down "Middle Class," "Economy," "Future" and "Democracy," a version of which made it about six hours on a steamy day during the 2008 Republican convention in St. Paul.

"Part of this is to examine an overused term in political discourse," Mr. Reese said, adding that discussion around their pieces tends to be about stagnant incomes, concentration of wealth and dwindling opportunity for working-class people. "We've found that these types of events and installation suspend disbelief. They break a hole in things, and people talk and think while they watch the words go away."
He added: "Even though they're very ephemeral, they do have meaning for the people who see them. I don't think we'd be spending so much energy to organize this project if we didn't feel that way."

But the works' fragile nature seems to nod to an underlying wariness about political language and symbolism that has grown more prevalent. Sheila Pree Bright, an Atlanta photographer documenting the Black Lives Matter protests with support from the public art organization Creative Time, said one reason the movement has produced few memorable visuals is a general distrust of the idea of logos or graphic identities.
"The movement wants to be faceless, not to have a group of leaders or to have something you see that boils it all down to one idea," she said.
Mr. Thomas and Mr. Gottesman explore a similar conviction in a joint project that will be hinted at during the Republican convention but gain more visibility in the fall leading up to the election. Called "For Freedoms,"a riff on Norman Rockwell's all-American series "Four Freedoms," the conceptual art project is a nonpartisan "super PAC" that has raised about $100,000. It plans to place works by contemporary artists in spaces typically reserved for advertisements - billboards, transit stations, bus stops - in cities around the country.

The works, by artists like Alec Soth, Carrie Mae Weems, Fred Tomaselli and Pablo Helguera, are for the most part not politically pointed but suggestive and open-ended.

"What we're hoping to do is reintroduce the idea of nuance into some very polarized conversations," Mr. Gottesman said. "We started a super PAC because we didn't just want to be cynical about the process but to be involved, to have skin in the game."
Ad space in Cleveland and Philadelphia is beyond the PAC's budget, but one of the project's most provocative pieces, the artist Dread Scott's update of a 1930s N.A.A.C.P. flag - from "A Man Was Lynched Yesterday" to "A Man Was Lynched by Police Yesterday" - is scheduled to fly in Cleveland outside Spaces, a civically engaged art gallery that is planning a spate of convention programming.

Mr. Gottesman added, "Marketing and advertising govern politics now, so our conception is that advertising is really the most potent way to reach people."

If there is any common ground left in America, it might be that belief, shared even by those who do not share the artists' hopeful conviction that the system is salvageable. Recently, bumper stickers and T-shirts began showing up around the country with a logo not for Hillary Clinton or Donald J. Trump but for a long-shot campaign: "Giant Meteor 2016: Just End It Already."

The graphic, by Preston Whited, a production planner at a kayak-paddle company north of Seattle, was a lark that grew out of a Facebook chat among Mr. Whited and his friends. "We have a pretty dark sense of humor," he said in a phone interview. "We came up with it, and I just took a Bernie ad and redid it on Excel and put it out there." He added that, besides having no real graphic art experience, "I really don't have any political faith in anything."

A few weeks after he put the logo on Facebook, enterprising souls elsewhere on the web picked it up and began selling it on bumper stickers, shirts and hats. "Which is cool with me," Mr. Whited, 30, said. "If I'd tried to copyright it and claim it, it never would have had the exposure it's had. Now I see it all over. And I can go buy it and put it on my car."

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21. Coco Fusco, FF Alumn, in The Atlanta Biennial, Atlanta Contemporary Art Center, GA, opening Aug. 27

Atlanta Biennial Artists Announced

by BURNAWAY Staff / July 18, 2016

unnamedAtlanta Contemporary Art Center has announced the 33 artists selected for the revived Atlanta Biennial (ATLBNL). Announced on June 21, the biennial will open on August 27 and run through December 18. The lineup includes artists from eight Southern states and working in the visual arts, book arts, film and video, fiber arts, literature, performance, and music and sound. In addition to geography, they also share the status of having never shown in a biennial.

The artists were selected by Contemporary curator Daniel Fuller, Art Papers editor Victoria Camblin, Aaron Levi Garvey, independent curator and cofounder of Jacksonville's Long Road Projects, and Gia Hamilton, director of the Joan Mitchell Center in New Orleans.

According to the Contemporary's executive director: "[The curators] found common ground in their combined interest to exhibit individuals and collectives who have never before participated in a Biennial. While the participants represent 8 states from across the Southeast, they do not relegate themselves to any specific sense of geography or space rather, together, their work examines the current state of contemporary art and contemporary issues."

The ATLBNL participants are:

Aint-Bad Zine
Established 2011
Savannah, GA

Katrina Andry
Born New Orleans, LA
Lives New Orleans, LA

Jason Benson
Born Baltimore, MD
Lives Atlanta, GA

Guy Church
Born Madison, WI
Lives Memphis, TN

Tommy Coleman
Born in Long Island, New York
Lives in Jupiter, FL

Stephen Collier
Born Biloxi, MS
Lives New Orleans, LA

continent.
Established Atlanta, GA

Darius Hill
Born Birmingham, AL
Lives Birmingham, AL

Dust 2 Digital
Established Summerville, GA

Skylar Fein
Born New York, NY
Lives New Orleans, LA

Ke Francis
Born Memphis, TN
Lives Tupelo, MS

Coulter Fussell
Born Columbus, GA
Lives Water Valley, MS

Coco Fusco
Born New York, NY
Lives Gainesville, FL

Adler Guerrier
Born Port-au-Prince, Haiti
Lives Miami, FL

Virginia Griswold
Born Petersburg, VA
Lives Nashville, TN

Ridley Howard
Born Atlanta, GA
Lives Athens, GA

Horton Humble
Born New Orleans, LA
Lives New Orleans, LA

Harmony Korine
Born Nashville, TN
Lives Nashville, TN

Phillip Andrew Lewis
Born Memphis, TN
Lives Chattanooga, TN

Kalup Linzy
Born Clermont, FL
Lives Tampa, FL

Abigail Lucien
Born Cap-Haitien, Haiti
Lives Knoxville, TN

Jillian Mayer
Born Miami, FL
Lives Miami, FL

Erin Jane Nelson
Born Atlanta, GA
Lives Atlanta, GA

Daniel Newman
Born Jacksonville, FL
Lives Jacksonville, FL

Sharon Norwood
Born Kingston, Jamaica
Lives St. Petersburg, FL

Gina Phillips
Born Richmond, KY
Lives New Orleans, LA

Mary Proctor
Born Monticello, FL
Lives Gainesville, FL

Zack Rafuls
Born Miami, FL
Lives Nashville, TN

Andrew Scott Ross
Born Manhasset, NY
Lives Johnson City, TN

Southern Food Ways Alliance
Founded Oxford, MS

Stacy Lynn Waddell
Born Washington, DC
Lives Chapel Hill, NC

Christina West
Born Perry, MI
Lives Atlanta, GA

Cosmo Whyte
Born St. Andrew, Jamaica
Lives Atlanta, GA

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22. Harley Spiller, FF Alumn, now online at api.newschinamag.com

Please visit the link below to watch China News' 5-minute interview with Harley J. Spiller, FF Alumn

http://api.newschinamag.com/article/index.do?article_id=493&share=1%C2%AEion%3DUS

Thank you.

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Goings On is compiled weekly by Harley Spiller