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Contents for September 02, 2016

Jaime Davidovich, FF Alumn, In Memoriam

The New York Times
Jaime Davidovich, Artist Whose Videos Bypassed the 'Gatekeepers of Culture,' Dies at 79
AUG. 30, 2016

Jaime Davidovich, an Argentine-born conceptual artist who brought the downtown New York art scene to television viewers in the early 1980s on his cable-access program "The Live! Show," died on Saturday at his home in Manhattan. He was 79.

The cause was pancreatic cancer, Henrique Faria, his art dealer, said.

Mr. Davidovich, a fervent avant-gardist who had moved to New York from Buenos Aires in 1963, embraced video technology as an ideal medium for disrupting the gallery system and reaching new audiences.

In 1976, he and several other artists formed Cable SoHo, a nonprofit consortium of artists and arts organizations interested in public-access broadcasting that evolved into the Artists' Television Network. With Mr. Davidovich as president and executive producer, the network began broadcasting "SoHo TV", a weekly arts magazine, on Manhattan Cable Television, which at the time had 80,000 subscribers. "The Live! Show" premiered in 1979.

"We were artists trying to get around the gatekeepers of culture and the art market by putting our work out there for public consumption for free," Mr. Davidovich said in an oral history interview for the Museum of the Moving Image in 2011. "Now a lot of people work that way."

"The Live! Show" was inspired, Mr. Davidovich said, by Cabaret Voltaire, the Dadaist nightclub in Zurich, and the media meta-comedy of Ernie Kovacs. It featured skits, cartoons, music videos, performances and interviews with artists like Laurie Anderson, John Cage and the theater director Richard Foreman.

As Dr. Videovich, "specialist in curing television addiction," Mr. Davidovich, dressed in a white lab coat, fielded calls from viewers, introduced ersatz commercials and, in a segment called "Videokitsch," sold odd pieces of store-bought merchandise and limited-edition objects of his own design, like television sets in the form of savings banks, cookie jars, planters and windup toys. The New York Times television critic John J. O'Connor described Mr. Davidovich's alter ego as "a persona somewhere between Bela Lugosi and Andy Kaufman."

In an interview, Daniel R. Quiles, the curator of "Outreach: Jaime Davidovich, 1974-1984" at the Threewalls Gallery in Chicago in 2015, called him "one of the really key pioneers of public access cable, and its relationship to advanced art in the 1970s."

Jaime Davidovich was born on Sept. 29, 1936, in Buenos Aires. His parents, Lucio Davidovich and the former Clara Jacif, were Jews who had been brought from what is now Ukraine when they were children. He studied art at the National College in Buenos Aires and the University of the Republic in Montevideo, Uruguay, before moving to New York, where he studied painting at the School of Visual Arts.

He explored texture and surface in his canvases, notably in his "Pizarrónes Negros" ("Blackboards") paintings, a series of large canvases covered in black, brushy planes of color.

"What I wanted to do was to capture an instant in painting that does not have a beginning or an end," he later said. "When I began to work with video this translated into the delimiting of a frame for something that keeps moving but never ends."

In 1965 he married the artist Judith Henry, with whom he founded Wooster Enterprises, a stationery design studio affiliated with the Fluxus group. The marriage ended in divorce. He is survived by two sisters, Leda Davidovich and Celia Nesis; two daughters, Nina Litvak and Carla Davidovich; and five grandchildren.

From the outset, he showed a conceptual bent. To integrate his paintings into the conceptual space of the gallery, he removed their frames and applied them directly to the wall with tape. Then, in a series of site-specific works called the Tapes Projects, he began using tape itself as his medium. For the 1973 Whitney Biennial he connected the floors of the museum by running wide swaths of adhesive tape up and down the museum's stairway walls.

By then he had already made his first foray into video. His first work in the medium, "Road" (1972), put the tape aesthetic into motion, following a highway dividing line for 20 minutes. In "Blue, Red, Yellow," a hand reached out to cover television screens in colored tape.

"The Live! Show" ended its run in 1984 when Manhattan Cable raised the price of broadcast time. It was the subject of a retrospective at the American Museum of the Moving Image (now the Museum of the Moving Image) in 1991.

Mr. Davidovich then returned to his own art. He addressed politics in Argentina in "Evita: A Video Scrapbook" (1984) and "Eva Perón, Then and Now" (1990), and constructed temporary video theaters within museums and galleries, notably Exit Art and El Museo del Barrio in Manhattan.

Mr. Davidovich, who was represented by Henrique Faria Fine Art in Manhattan and Buenos Aires, was given a retrospective at Artium, the contemporary art museum in Vitoria-Gasteiz, Spain, in 2010. Last year, the Bronx Museum of the Arts featured his work in "Jaime Davidovich: Adventures of the Avant-Garde."

Correction: August 30, 2016
An earlier version of this obituary misspelled the name of a character Mr. Davidovich played on television. He was Dr. Videovich, not Dr. Videovitch. The error was repeated in an accompanying picture caption.



1. Martha Wilson, Franklin Furnace Archive, Inc. at NY Art Book Fair, MoMA PS1, Long Island City, Queens September 15-18

"From moving frames to turning pages"
a conversation with Martha Wilson, William Stover, and Marit Følstad

New York Art Book Fair,
FRIDAY, SEPTEMBER 16, 1:00 - 2:00 pm

Can ephemeral installations and time-based media art be translated or transcribed into the space of a publication? What challenges, methods and strategies can the artist turn to?

Indexicality is a phenomenon far broader than language. Defying individual interpretation, the index refers back to a phenomenon - such as smoke as a possible index of fire. The panel will discuss the role of indexing or indexicality as a method of the artistic bookmaking process.

In conjunction with the launch of her new book The Marble Index, artist Marit Følstad is joined in conversation with curator William Stover, founding director of Franklin Furnace Archive, and artist Martha Wilson. Presented by Teknisk Industri.

Martha Wilson is a pioneering feminist artist and art space director, who over the past four decades created innovative photographic and video works that explore her female subjectivity. In 1976 she founded Franklin Furnace, an artist-run space that champions the exploration, promotion and preservation of artist books, temporary installation, performance art, as well as online works.

William Stover has been a curator of contemporary art for over 16 years and has held positions in a number of important and diverse institutions including the Carnegie Museum of Art, New Museum of Contemporary Art, Independent Curators International, and the Museum of Fine Arts, Boston. Stover is currently an independent curator and consultant to private collections in New York City.

Marit Følstad is a Norwegian artist. Her practice encompasses video, sound, performance, sculpture and installation. Følstad received her education from the Art Institute of Chicago. She was a recipient of a Fulbright grant. Følstad has participated in exhibitions in venues such as The Hood Museum of Art (New Hampshire), Scottsdale Museum of Contemporary Art (Arizona), Palm Beach ICA (Florida), Sculpture Center, (New York), Malmø Art Museum (Sweden), Norwich Gallery of Art (UK) as well as The National Museum of Art (Norway).

Teknisk Industri is a Norwegian based publisher established by Petter Snare. Since the company's conception as an art publisher in 2008, Teknisk Industri has gained a reputation for publishing high quality art books in both print and design. The company has published some 25 books, mainly presenting Norwegian artists.

MoMA PS1 is located at 22-25 Jackson Avenue on 46th Avenue,
Long Island City, NY


Printed Matter's NY Art Book Fair

Franklin Furnace Archive, Inc. will have a booth at Printed Matter;s eleventh annual NY Art Book Fair, from September 16 to 18, 2016, at MoMA PS1, Long Island City, Queens. A ticketed preview will be held on the evening of Thursday, September 15.

Free and open to the public, the NY Art Book Fair is the world's premier event for artists' books, catalogs, monographs, periodicals, and zines presented by 370 international presses, booksellers, antiquarians, artists, and independent publishers from at least 29 countries. A full list of this year's exhibitors can be found here.

Join us on Thursday, September 15 from 6 to 9 pm, at MoMA PS1 for our opening night preview. The evening will feature special live performances in the PS1 courtyard by Liquid Asset and Beat Detectives.

Entry to the Preview costs $10 (Members $5), proceeds going to support NYABF16. The first 2,000 visitors to pre-pay online or to pay at the door (while supplies last) will receive a Ticket Edition by Ken Kagami (pictured left). Pre-purchase a ticket for the opening night preview here!

The Classroom
Now in its eighth year, this curated series of informal conversations, workshops, readings and other artist-led programs is also an informal venue for artists, writers and publishers to feature new releases and present their publications. Participants include: Cory Arcangel, Suellen Rocca, Susan Te Kahurangi King, Jonas Mekas, Karel Martens, David Reinfurt, Sur Rodney (Sur), LJ Roberts, Peter Anderson and many others. The Classroom is organized by David Senior, Museum of Modern Art Library. See the full schedule of Classroom programs and other events here.
Contemporary Artists' Books Conference (CABC)
The ninth annual Contemporary Artists' Books Conference presents two full days of lively debate on emerging practices and issues within art-book culture. Session topics include Space, Show & Tell, Performing Writers, Photobooks (Performance & Photography), Criticism, Printed Page in the Digital Age, and a keynote speech by the founding director of Franklin Furnace; Martha Wilson.

Printed Matter thanks its current funders: The Andy Warhol Foundation for the Visual Arts, Buddy Taub Foundation, Cowles Charitable Trust, The Greenwich Collection Ltd., Jerome Foundation, Lily Auchincloss Foundation, Milton & Sally Avery Arts Foundation, National Endowment for the Arts, New York City Department of Cultural Affairs, New York State Council on the Arts, and Shapco. We are also grateful to our Members, our Gallery Circle, and individuals worldwide for their support. For a complete list of our supporters, please visit MailFilterGateway has detected a possible fraud attempt from "printedmatter.us3.list-manage.com" claiming to be printedmatter.org.



2. Steven Dubin, FF Alumn, now online at pbs.org




3. Judy Dunaway, FF Alumn, performance at Spectrum, Manhattan, Sept. 9

Judy Dunaway: Interactive Works For Balloons Friday, Sep 9, 2016 at 7pm Spectrum, 121 Ludlow Street #2, New York, NY 10012

At Spectrum's Dark Circuits Series Judy Dunaway will coax an unimaginable universe of sounds from various oversized amplified latex balloons coupled intimately with interactive electronics and video projections designed especially for use with the balloon instruments. She will present "Hommage à Kenneth Noland," a new piece for amplified giant balloon, interactive synthesis and interactive video projections shown directly on the balloon's surface. Other works will include "Interactive Piece for Tenor Balloon," a duet between her "Tenor Balloon" and an artificial intelligence synthesis improv partner combined with video projections, and a new work for amplified dirigible-shaped balloon instrument.

Judy Dunaway is an avant-garde composer, free improvisor and conceptual sound artist who is primarily known for her sound works for latex balloons. Since 1990 she has created over forty works for balloons as sound conduits and has also made this her main instrument for improvisation. She has presented this work at many major venues throughout North America and Europe, and has CDs on the CRI and Innova labels, among others.




4. Stephanie Brody-Lederman, Yuliya Lanina, Christa Maiwald, FF Alumns, at Sara Nightingale Gallery, Water Mill, NY, thru Sept. 27

Stephanie Brody-Lederman's painting "Earth and Heaven " will be at Sara Nightingale Gallery, 688 Montauk Highway, Water Mill, NY 11976. The name of the show is "Autonomous Vehicles" and it opens tomorrow, Tuesday, August 23 from 6-8 pm. The show runs through September 27th with work by Scott Bluedorn, Perry Burns, Cara Enteles, E. Adam Attia a.k.a. ESSAM, Yuliya Lanina, Stephanie Brody-Lederman,Christian Little, Christa Maiwald, Alexis Martino, Scott Sandell, Jeremy Wagner, and Evan Yee.



5. Franc Palaia, FF Alumn, receives Puffin Foundation grant 2017

Franc Palaia, FF Alumn was awarded a Puffin Foundation grant for a public art project entitled, Community Portraits. This grant will be presented in Poughkeepsie, NY in 2017. It involves the use of large scale portrait photography installed as outdoor public art.



6. Bob Lens, FF Alumn, new catalogue, Verbeke Foundation, Belgium

Bob Lens Plastic Bag/PB Art at the Verbeke Foundation, Belgium.

During the summer Bob Lens has a presentation of his¨The Plastc Bag" expo at the Verbeke Foundation in Kemzeke, Belgium.

Visual artist Lens has explored, besides his other activities, the PB in all its qualities for more than thirty years, for him the product acts as a canvas.

In the 1980´s he was successful with PB exhibitions in Rotterdam at the Lijnbaancentrum, Middelburg Art Center and Franklin Furnace New York.

At the invitation of the Verbeke Foundation Bob Lens is showing a retrospective view augmented with new work: his Censure- and Text Bags.

The PB as a commercial vehicle is censored and stripped of its original obtrusive message by painted interventions. The Text Bags show drawings of seemingly random words and sentences. Deeply influenced by Fluxus they are concentrated scores meant to provoke and challenge the spectator.

Of equal importance is his Boomerang Project, introduced in 1982 during the exhibition at the Lijnbaancentrum, Rotterdam, Lens handed out specially prepared bags to his artist friends with the invitation to work on it.

The stunning results include contributions by artists like John Baldessari, Keith Haring, Jackson MacLow, Takehisa Kosugi, Ben Vautier and many others.
An illustrated catalogue for the recent exhibition is published by the Verbeke Foundation.



7. Elly Clarke, FF Alumn, at Marlborough Theatre & Brighton Digital Festival, UK, September14-17

Remote Intimacy Digital Residency at Fabrica with Marlborough Theatre & Brighton Digital Festival - September 14th-17th

In May this year I was awarded commission by Fabrica Gallery in association with Brighton Digital Festival exploring the subject of 'Remote Intimacy' with my ongoing #PhysicalDigital #OnlineOffline #Sergina drag performance project.

For it I developed two new participatory performances: Waiting for Ice Cream, Waiting for #Sergina: Private Performance / Instantaneous Newsreel and I Got My Phone in My Wallet Ghetto blaster induced Flashmob #Serginacise, and upgraded a third - #Sergina's Stimulatingly Sexy Simultaneous Simulation of Herself - by bringing it to a new city, introducing new performer Katy Pendlebury, and incorporating a new song with music by Simon Clark.

On Wednesday 14th September I'm taking part in a panel discussion about my work with Magda Tyzlik-Carver.

#Sergina in Brighton, Berlin and Belgrade 14th-17th September.

All events listed below. All are free but booking advised. Click on the links for further info.

- 14th September 6pm: Panel Discussion of Elly Clarke with Magda Tyzlik-Carver at Fabrica.
- 14th - Thursday 15th September: Waiting for Ice Cream, Waiting for #Sergina: Private Performance / Instantaneous Newsreel - at Fabrica. Participatory performance which invites people to enter a blue screen booth dressed and made up as #Sergina, and to deliver their own rendition of #WaitingForIceCream which is instantaneously broadcast via #Sergina's YouTube Channel.
- Thursday 15th September: I Got My Phone in My Wallet Ghetto blaster induced Flashmob #Serginacise - where we dance the dance of I Got my Phone in my Wallet to willing or unwilling audiences around Brighton. Starting at Fabrica at 7.30pm.
- Saturday 17th September: #Sergina's Stimulatingly Sexy Simultaneous Simulation of Herself simultaneously at 7:30PM GMT / 8:30 CET in:

#Brighton at Fabrica with Katy Pendlbury at 7:30pm
#Brighton at The Marlborough Theatre with Elly Clarke at 7:30pm
#Berlin at Silver Future with Thomas Doherty at 8:30pm
#Belgrade in a Top Secret Venue to be Revealed with Vladimir Bjeličić at 8:30pm

& LIVE BROADCAST via #Segina's YouTube channel: MailFilterGateway has detected a possible fraud attempt from "ellyclarke.us3.list-manage.com" claiming to be https://www.youtube.com/channel/UCoIcthG1GopxFhGlBCOepQw

+ some INSTANTANEOUS INSTAGRAMMING on #Sergina's Instagram: MailFilterGateway has detected a possible fraud attempt from "ellyclarke.us3.list-manage2.com" claiming to be instagram.com/serg1na

on Facebook, Soundcloud, Instagram, Google+, YouTube and Twitter for updates,
- as well as #Sergina's new fanpage.



8. Rick Rinehart, FF Alumn, at Samek Gallery, Lewisberg, PA, thru Dec. 4


TOMORROW NEVER HAPPENS || Aug. 30 - Dec. 4, 2016
This exhibition explores queer futurity and the aesthetics of utopia by asking: How are queer communities imagining and working toward a better world? And how do queer theories, artistic practices, and lived experiences influence broader cultural thinking about the future?
Samek Gallery, 3rd Floor Elaine Langone Center (ELC)

Tomorrow Never Happens: Launch Party
Friday, Sept. 16, 7 p.m., Samek Gallery
Field Trip: Hermitage and Mahantongo Heritage Center
Saturday, Oct. 1, 10 a.m.-3:30p.m., Departs from Elaine Langone Center
Tomorrow Never Happens: Curatorial Talk
Wednesday, Oct. 12, 6 p.m., Gallery Theater, Elaine Langone Center
G.E.T. Fall Gala
Friday, Nov. 4, 5:30-7:00 p.m., Samek Gallery

PAUSE AND EFFECT || June 21-Oct. 9, 2016
This exhibition utilizes the Samek's photography collection to explore how the minutiae of our everyday lives stick with us, how they affect and enhance our memories and, ultimately, how they influence our personal narratives in profound ways. Curated by Museum Fellow, Laura Libert.
Downtown Gallery, 416 Market St. Lewisburg PA
REVERSAL OF FORTUNE || Oct. 25, 2016-Feb. 12, 2017
This exhibition of works by Stephanie Rothenberg is a series of interactive gardens and schematic/network drawings that examine the intersection of social media, finance and philanthropy. Plants in the gardens represent human lives, creating a more physical, sensorial experience with data.
Opening Reception
Thursday, Oct. 27, 6 p.m., Downtown Gallery
Downtown Gallery, 416 Market St. Lewisburg PA
All exhibitions and programs are free and open to the public.
For more information visit museum.blogs.bucknell.edu.

Supported by the Pennsylvania Council on the Arts, a state agency, through the Pennsylvania Partners in the Arts (PPA), its regional arts funding partnership. Programs are also supported by the Association for the Arts of Bucknell University; and the University Lectureship Committee.



9. Buzz Spector, FF Alumn, at Zolla Lieberman Gallery, Chicago, IL, opening Sept. 9


I'll be showing a suite of new collages made using elements of dust jackets at Zolla/Lieberman Gallery, Chicago, opening Friday, September 9. If you'll be in the neighborhood that evening it'll be great to see you.

All best,




10. Alison Knowles, John Cage, Dan Graham, Dick Higgins, Allan Kaprow, Yoko Ono, Nam June Paik, FF Alumns, at CUNY Grad Center, Manhattan, opening Sept. 7

The James Gallery at CUNY Graduate Center
Alison Knowles
The House of Dust
September 8-October 29, 2016

Opening: September 7, 6-8pm

The James Gallery
The Graduate Center, CUNY
365 Fifth Avenue between 34th and 35th Streets
New York, NY 10016
Hours: Tuesday-Thursday noon-7pm,
Friday-Saturday noon-6pm


Alison Knowles's computerized poem of 1967, The House of Dust, her subsequent built structures of the same name and the many works it generated are the focus of this presentation. Documentation of Knowles's poem and built structures, discussions, publications, and performances are presented in dialogue with other artworks from the period-predominantly by Knowles and other Fluxus artists-exploring the nexus of art, poetry, technology and architecture in ways that resonate with The House of Dust.

In addition, her prescient yet under-recognized project has been an inspiration for contemporary artists' and architects' responsive artworks and spatial interpretations included in the exhibition. Reactivating the pedagogical model proposed by The House of Dust, this project is the outcome of collaboration between artists and scholars.

Curators: Katherine Carl, Maud Jacquin and Sébastien Pluot.

Artists: Alison Knowles and Chloë Bass, Keren Benbenisty, Jérémie Bennequin, Hugo Brégeau, George Brecht, John Cage, Alejandro Cesarco, Jagna Ciuchta, Jean-Pascal Flavien, Mark Geffriaud, Beatrice Gibson, Eugen Gomringer, Dan Graham, Dick Higgins, Toshi Ichiyanagi, Allan Kaprow, Katarzyna Krakowiak, Nicholas Knight, Mikko Kuorinki, Alan Michelson, Yoko Ono, Nam June Paik, Jenny Perlin, Nina Safainia, Mieko Shiomi, Srdjan Jovanovic Weiss, Emmett Williams and more.

Co-sponsored by the French Ministry of Culture and the French Institute; the PhD Programs in Art History, English, and Theatre; and the Center for the Humanities, the Graduate Center, CUNY.



11. Guerrilla Girls, FF Alumn, at mfc-michèle didier gallery, Paris, France, opening September 9


September 9 - November 12, 2016

Thursday September 8, from 6pm to 9pm
In the presence of The Guerrilla Girls and La Barbe.

Friday September 9, from 2pm to 6pm, Maison des Auteurs at 7 rue Ballu, 75009 Paris.

We are delighted to invite you to the opening of the exhibition of The Guerrilla Girls and La Barbe, on Thursday September 8, from 6pm to 9pm at mfc-michèle didier gallery.

Since 1985, The Guerrilla Girls unceasingly create poster campaigns, handouts, leaflets and other ephemera in the aim of "opening the public eye to the discrimination which reigns within our very phallo and ethnocentric artistic institutions"*.

La Barbe is a group of feminists whose goal is to "render visible masculine domination in the highest spheres of power, in all the domains of professional, political and cultural life by ridiculing their codes, their values and their group spirit"**.

The exhibition will be the occasion to show graphic devices conceived by The Guerrilla Girls (posters, banners...). These documents allow to trace their history and to apprehend the specific aesthetic of the artists' group. Moreover, their book The Hysterical Herstory of Hysteria and How It Was Cured, produced and published by mfc-michèle didier will be presented in preview.

Panels, tracts and beards used during interventions by La Barbe will be also displayed. A beard-making workshop and a life-size photo-panel - into which visitors are invited to insert their head for a photo opportunity, confirming their support for the group - will be provided to visitors.

Click for the press release: press release.

We stay at your disposal to answer your questions by mail at info@micheledidier.com or by telephone at +33 (0)1 71 27 34 41.

We are looking forward to welcoming you at the gallery at the opening.

On Friday September 9 from 2pm to 6pm the gallery is pleased to organize a conversation with The Guerrilla Girls, La Barbe, Deborah De Robertis and Femen. This conversation will be held at the Maison des Auteurs: 7 rue Ballu, 75009 Paris.

Marc Donnadieu, Fabienne Dumont and Camille Morinneau will intervene during the meeting.

A translator will allow to anglophone speakers to talk in their language. A sign language translator will be present too.

The entrance is free. Considering security measures to be taken, we ask you to arrive earlier.

We remain at your disposal to answer your questions by mail at info@micheledidier.com or by telephone at +33 (0)1 71 27 34 41.

We are looking forward to meeting you on this occasion.

*Sonia Recasens, Guerrilla Girls/La preuve que les féministes ont le sens de l'humour, published on 12/04/2010 in Elles@centrepompidou blog. http://elles.centrepompidou.fr/blog/?p=748

**Extract from La Barbe website, section Qui sommes-nous?, http://labarbelabarbe.org

mfc-michèle didier
66, rue Notre-Dame de Nazareth, F-75003 Paris
Open from Tuesday to Saturday, from 12 am to 7 pm
T: +33 (0)1 71 27 34 41 - M: +33 (0)6 09 94 13 46
info@micheledidier.com - www.micheledidier.com
Subway: République, Strasbourg Saint-Denis, Arts et Métiers



12. Sherrie Levine, FF Alumn, at Victoria University of Wellington, NZ, thru Sept. 18

Adam Art Gallery at Victoria University of Wellington
Walker Evans, Sherrie Levine, Patrick Pound, and Sonya Lacey
July 30-September 18, 2016

Adam Art Gallery
Victoria University of Wellington
Gate 3, Kelburn Parade PO Box 600
New Zealand 6140
Hours: Tuesday-Sunday 11am-5pm



Walker Evans: The Magazine Work, curated by David Campany
Sherrie Levine: African Masks After Walker Evans
Patrick Pound: Documentary Intersect
Sonya Lacey: Newspaper for Vignelli

The Adam Art Gallery is pleased to present a series of exhibitions that examine the circulation of images through the formats of the magazine, the newspaper, the book, and the postcard, to test and expand models of authorship and reflect upon the place and status of photography and printed matter within the history of art.

Central to the series is Walker Evans: The Magazine Work, a touring exhibition curated by David Campany, which has been re-conceived for this occasion. The show brings together vintage copies of the magazines to which Walker Evans contributed and presents these alongside largescale digital prints of his photo-essays. It aims to expand knowledge of the great modernist photographer by addressing this lesser-known aspect of his career, exploring how Evans worked for various American magazines conceiving, shooting, editing, writing, and designing stories in what Campany has called a "resistant counter-commentary on American society and its values."

Walker Evans's work is juxtaposed with a new series of photographs by leading American artist Sherrie Levine, whose photographs "after Walker Evans" produced in the early 1980s were definitive for the appropriative strategies of the highly influential "Pictures Generation." African Masks After Walker Evans, 2014, re-presents a set of 24 images drawn from the more than 600 Evans took of objects in MoMA's 1935 exhibition African Negro Art. These were shot on commission to supplement Evans's meagre income and have only recently been reassessed as important components of his photographic oeuvre. Levine's project not only allows viewers to assess Evans's contribution to the re-evaluation of African art that was a hallmark of the modernist era, but it also invites reconsideration of her own position vis-à-vis his canonical status as a modernist exemplar.

Melbourne-based Patrick Pound's exhibition Documentary Intersect also liberally appropriates readymade images. Pound's collecting habits are voracious, and here we see his ongoing interest in creating typologies through arranging items according to shared content; "tears," "floral clocks," "crime scenes," "sleepers," and so on. Laying these out in linear sequences, Pound discovers points of intersection to create complex grids of structured yet chaotic imagery. One such sequence-a series of postcards of San Francisco's famous "Cliff House"-strategically connects his work to Walker Evans, who likewise was a keen collector of picture postcards, and who features a postcard of this same structure in his photo-essay "Come on Down" in Architectural Forum, July 1962.

Finally, Wellington-artist Sonya Lacey's 16mm film Newspaper for Vignelli is a series of tracking shots which tail the pages of a newspaper as they continually tumble just-out-of-reach within a gusty outdoor setting. The newspaper is Lacey's carefully constructed facsimile of the European Journal (1978), a proposed-but-never-published newspaper designed by the well-known modernist graphic designers Massimo and Lella Vignelli. While only Vignelli's mockup of his cover survives, Lacey has imagined the journal's complete contents, recreating their signature gridded blocks, uniformly scaled titles and bold sans-serif headers. Casting this design into a turbulent environment, she considers the fate of "good" design in a world of commercial imperatives.

For more information and to purchase copies of accompanying publications visit: www.adamartgallery.org.nz

About Adam Art Gallery
The Adam Art Gallery is the art gallery of Victoria University of Wellington, Wellington, New Zealand. It is a forum for critical thinking about art and its histories as well as the professional structure within which the Victoria University Art Collection is managed. The gallery's programmes aim to test and expand art form and disciplinary boundaries and create new opportunities to bring artists together and generate fresh conversations. The gallery is a remarkable architectural statement designed by the late Sir Ian Athfield, one of New Zealand's foremost architects.



13. Rae C Wright FF Alumn, at The Portland Stage Company, ME, Sept. 27-Oct. 23

Previews start September 27th, Show opening September 30 - running through October 23.
Rae C Wright will play the part of Ruth in this comic drama. Cecil MacKinnon is slated to direct. Also with John Hadden, Kate Udall, and Ron Botting.
The Portland Stage Company is a singular regional theatre under the fine artistic direction of Anita Stewart.
For more information and tickets go to: http://www.portlandstage.org/show/later-life/
or contact Rae directly at raecwright@gmail.com."



14. Nicolás Dumit Estévez Raful, FF Alumn, at The Laundromat Project, The Bronx, Sept. 10


Saturday, September 10th, 5:00-7:00 pm
The Laundromat Project
920 Kelly Street, Bronx, NY

Join instructor Nicolás Dumit Estévez Raful for this multi-sensory workshop that combines healing with art-making, inviting participants to use their own hearts as a point of departure for a conversation with their neighborhood. Those attending will be gently guided through the process of listening carefully to their bodies with the intention of initiating a meaningful heart-to-heart dialogue with the place they call home. Art will serve as the tool to translate personal and collective experiences that emerge in this workshop.

Kindly note that this class is geared to adults. No previous art background required. Wear comfortable clothing and sandals or similar footwear that you can take off if you wish. Rose petal tea and snacks will be served.



15. Stephen Miller, FF Alumn, now online at Salon.com

SALON just published my essay:




16. Robin Tewes, Judith Simonian, FF Alumns, at Gerald Peters Gallery, Manhattan, opening Sept. 9

a group show curated by Lisa Corinne Davis at the Gerald Peters Gallery

Facebook invite: https://www.facebook.com/events/1718796791715416/

This is a public "event" for the reception. Please join, and feel free to invite others!

GP Presents - www.gppresents.com
The exhibition is on view at Gerald Peters Gallery, 24 E 78th St, New York, NY 10075
This show is under the umbrella of GP Presents so please link to the GP Presents URL

Gallery Hours - M-F 10-5, Sat 12-5 (I am usually here until at least 6P.M.)

Gerald Peters Gallery
24 East 78th Street
New York, NY 10075
212-628-9760 Gallery
917-653-9206 Mobile

Representing Rainbows, curated by Lisa Corinne Davis
Reception: Friday September 9th
August 22 - October 8, 2016



17. Nicolás Dumit Estévez Raful, Paco Cao, Papo Colo, Billy X. Curmano, Irina Danilova, Coco Fusco, Beatrice Glow, Alicia Grullón, Guerilla Girls, Pablo Helguera, Nancy Hwang, Alison Knowles, LuLu LoLo, Linda Mary Montano, Pat Oleszko, Elizabeth M. Stephens and Annie Sprinkle, Cecilia Vicuña, Martha Wilson, FF Alumns, at Center for Book Arts, Manhattan, opening Oct. 7

Enacting the Text: Performing with Words
Organized by Nicolás Dumit Estévez Raful, artist and Independent Curator

While performative art practice, with all of its nuances, remains largely fleeting, a significant number of artists, working mainly in interventions, performances, situations, and experiences, have generated a substantial material culture. Whether drafting steps for an action, making lists of performance materials, or giving directions for participants, the use of written language becomes a recurrent element in the enactment of the practice. This exhibition gives center stage to artist books, letters, notes, scripts, and texts produced side-by-side to ,or in complicity with, these short-lived gestures.

Artists included: María Alós, Josefina Báez, Paco Cao, Papo Colo, Billy X. Curmano, Irina Danilova, Jean-Ulrick Désert, Lesley Dill, Coco Fusco, Beatrice Glow, Alicia Grullón, Guerilla Girls, Pablo Helguera, Nancy Hwang, Alison Knowles, LuLu LoLo, Linda Mary Montano, Pat Oleszko, Pedro Pietri, Praxis (Brainard and Delia Carey), Quintín Rivera-Toro, Jack Smith, Elizabeth M.Stephens and Annie Sprinkle, Cecilia Vicuña, and Martha Wilson.

Artist Actions (during Opening):Friday,October7,6-8pm
Actions by Billy X. Curmano, Irina Danilova, Linda Mary Montano, and QuintínRivera-Toro

Artist Performances and Talks: Friday, November18, 6:30pm
With artists Paco Cao, Beatrice Glow,and Martha Wilson

Center for Book Arts 28 W. 27th St., 3rd Floor NYC 10001 centerforbookarts.org



18. Doreen Garner, FF Alumn, at Essex Flowers, Manhattan, opening Sept. 9

Essex Flowers
Removing the Veil: Vanity as Material for Incision
Doreen Garner
September 9th - October 9th, 2016.
Opening Reception: September 9th, 6-8pm
Curated by Kendra Jayne Patrick

For her solo exhibition with Essex Flowers, Doreen Garner synthesizes abstract and figurative form in sculptural works which examine the paradox of vanity. Garner has named incision as her guiding sculptural gesture, and thus she's cleaved, refashioned, and re-fastened female body parts, exploiting them to the limits of their material aesthetic potential. Such literal objectification threads beauty, value, and utility, and each work presents a different angle of the purgatory they combine to create.

Essex Flowers is pleased to present the first solo exhibition of Doreen Garner's work in New York City. Garner received her Master of Fine Arts in Glass from Rhode Island School of Design in 2014, the same year she completed a residency at Skowhegan School of Painting and Sculpture. She is a resident at Pioneerworks through 2017, following consecutive residencies at the Abrons Arts Space (2015-2016), and S12 Glass studio in Bergen, Norway (2015).

Essex Flowers
19 Monroe Street, New York New York 10002



19. John Ahearn, Jon CRASH Matos, Chris DAZE Ellis, FF Alumns, at Coney Island, Brooklyn, now online

I am excited to share with you a link to the website for the 2016 version of Coney Art Walls, our annual mural project on Coney Island.

This year we expanded the scope of the project to include outstanding artists like Nina Chanel Abney, Jessica Diamond and Sam Vernon who are known for their public projects but are not usually included in exhibitions of street art.

There are twenty-one new murals this year with eleven murals retained from last year. In addition there are three new community walls created by the artists Daze and Marie Roberts with children from the neighborhood.

The participating artists come from all over the world: Singapore, Japan, Iran, Dubai, Australia, Austria, England, France, Spain, Germany, Los Angeles, Chicago, Brooklyn, Queens, and The Bronx




20. Eric Bogosian, CRASH, DAZE, Lady Pink, FF Alumns, now online at Netflix.com

The Netflix series The Get Down, about the origins of graffiti, features Dizzy, a character based loosely on DAZE and a music producer played by Eric Bogosian. Crash, Daze, and Lady Pink serve as advisors to the series.



21. Circus Amok, FF Alumn, various locations, NYC, Sept. 9-18

Circus Amok Returns !!

Unplugged and In Your Park!

Circus Amok returns to the streets of New York!
Join us, September 9-18, for our 22nd madcap spectacle. This year, we come to you unplugged, pared down, raw and raucous. Who needs a sound system when you have opera star Heather Green???

In an attempt to thwart what ails us, Circus Amok uses high theory and low comedy to create a temporary euphoria, fueled by anger and seasoned with sass. Scintillating stars, awesome animal achievements, fine feats of balance, jaunty jugglers, elaborate escapology, and heart stopping heroism....it's all here, all real, all


Please join us in a park near you.

Fri, Sept 9 Sunset Park, Brooklyn 5pm
Sat, Sep 10 St. Mary's Park, Bronx 2pm & 4pm
Sun, Sept 11 Abrons Arts Center 3pm
Fri, Sept 16 Tompkins Square Park 2pm & 5pm
Sat, Sept 17 Prospect Park, Brooklyn 2pm & 4pm
Sun, Sept 18 Coney Island, Brooklyn 2pm & 4pm

Watch our website, or check our Facebook page, for specific park locations as well as any last-minute changes or weather updates.



22. Patricia Miranda, FF Alumn, at MAPSpace, Port Chester, NY, Sept. 10, and more

Artists-in-Dialogue: a Curatorial Collaboration
Reception with the Artists: Sunday, September 11, 2-5pm

Artists in Dialogue grew out of conversations in intensive critique sessions at MAPSpace, and reflect the critical role that artists play in each other's work, creating a sense of community through dialogue, feedback, and exchange of ideas. 10 artists work in collaborative curatorial pairs, choosing work through studio visits and dialogue.

Artists: Christine Aaron and Claudia Renfro; Lori Glavin and Susan Newbold; Karen Kalkstein and Mitchel Visoky; Jill Parry and Teresa Waterman; Karen Vogel and Barbara Weiss

Join us for an artists' walk-through and closing Sunday November 6, 2-5pm
Join us for this experiment in curatorial collaboration.

September 10th at 4pm- MAPSpace director Patricia Miranda will moderate an Artist Panel for the WORD exhibition at the Hudson Valley Center for Contemporary Art

Day of the Word: Saturday, September 10, 2-9pm
2pm: Curator Panel, moderated by Susan Hodara, New York Times
4pm: Artist Panel, moderated by Patricia Miranda, MAPSpace

5:30 - 9pm: Cocktails, music, dance, slam poetry performances by WORD artists Victoria Arakcheyeva & Lucas Rollins-Page, and DJ Noodle Noo (Andre Rainey)
View the catalog of the exhibition, and the online auction.
Hudson Valley Center for Contemporary Art is located at 1701 Main Street, Peekskill, NY 10566

MAPSpace is located at 6 North Pearl Street, Port Chester, NY, 1 block from the Metro-North train station, Port Chester stop on the Stamford Local train, New Haven Line. 24 driving miles from NYC.

Metered street parking available. Elevator access available, please contact us for access assistance.



23. Michael Mandiberg, at 40 Rector St., Manhattan, opening Sept. 15

I want invite you to FDIC Insured, an exhibition that opens in NYC on Sept 15th, from 6-8PM.

As some of you know, since 2008, I have collected the logos of all the failed US banks. These logos are supposed to represent the power and stability of our financial institutions, and yet they are quickly erased from our collective memory.

I have been saving them. And burning them into cast off financial books with a laser cutter. Failed banks for failed books. After 8 years, I am showing all 527 of them in a recently vacated office suite off Wall St. A memorial of sorts. I've been working on this install from afar while at MacDowell.

Join me at 40 Rector St #1500 from 6-8PM on September 15th, the anniversary of the Lehman Brothers bankruptcy. The show will stay up through Christmas bonus season. Art in America has more info: http://www.artinamericamagazine.com/news-features/interviews/market-research-an-interview-with-michael-mandiberg/

If you are not available the 15th, or visiting NYC later in the fall, it will be open 1-5PM Friday & Saturday. Or email me at Michael@Mandiberg.com and we can find a time I can show it to you.

If you are in NYC, I hope you can make it,

Michael Mandiberg

FDIC Insured opens September 15th, in an empty office suite just off Wall Street: http://teiartinbuildings.com/exhibitions/michael_mandiberg/73 and if you do FB: https://www.facebook.com/events/937512086394770

Michael Mandiberg



24. Judith Bernstein, FF Alumn, at New Museum, Manhattan, Sept. 22


Book Launch and Discussion:
September 22, 2016 at 6:30pm
New Museum Sky Room
235 Bowery / New York, NY

Join Kunsthall Stavanger and the New Museum on September 22 for the New York launch of Judith Bernstein Rising!

Judith Bernstein and Johanna Fateman will hold a discussion during the event and will be available for book signing after the talk. Copies of the publication will be for sale during the event.

In conjunction with the first institutional retrospective of the work of American, feminist artist Judith Bernstein, Kunsthall Stavanger, Norway and Mousse Publishing have released the first catalogue tracing the artist's fifty-year career from the 1960s through the present day. Titled Judith Bernstein Rising, the catalogue contextualizes Bernstein's vast oeuvre within the history of art, feminism, and the American socio-political climate of the late-20th century. The catalogue presents a variety of archival images, as well as installation images from the exhibition at Kunsthall Stavanger, and commissioned texts from writer Thomas Micchelli, writer and Le Tigre member Johanna Fateman, and artist Maurizio Cattelan.

The publication is designed by the cutting-edge design team Alexandra Falagara & Brita Lindvall at Bastion Agency Studio Lab, Stockholm.

RSVP to info@kunsthallstavanger.no with BERNSTEIN in the subject line.

Bernstein (born 1942, Newark, New Jersey) has lived and worked in New York City since 1967. She received an MFA from Yale University School of Art in 1967. Bernstein was a founding member of A.I.R. Gallery as well as an early member of many art and activist organizations including Guerrilla Girls, Art Workers' Coalition, and Fight Censorship.

Solo exhibitions include the New Museum, New York; Mitchell Algus Gallery, New York; The Box, Los Angeles; Mary Boone Gallery, New York; Studio Voltaire, London; and Kunsthall Stavanger, Norway. Her work has been included in group exhibitions such as The Comfort of Strangers at MoMA PS1, New York; The Last Newspaper at the New Museum, New York; and The Historical Box, at Hauser & Wirth, Zurich and London. Her works are in the collections of the Museum of Modern Art, the Whitney Museum of American Art, the Brooklyn Museum, the Jewish Museum, and Yale University Art Gallery.

For additional information or visual materials, contact: Heather Jones: heather@kunsthallstavanger.no.

This event is generously sponsored by the Royal Norwegian Consulate General, New York.



25. Roberley Bell, FF Alumn, at BT&C Gallery, Buffalo, NY, opening Sept. 9

Early One Morning: Roberley Bell
September 9 - October 22, 2016
BT&C Gallery announces Early One Morning, a solo exhibition of work by Roberley Bell, opening Friday, September 9th with a reception 6-9pm. The exhibition will remain on view through October 22nd. NEW gallery hours are Fridays 12-7 pm & select Saturdays 12-4 pm during exhibitions. BT&C Gallery is also open anytime by appointment (716- 604-6183).

Early One Morning will include both sculpture and photographic work by Roberley Bell.
Bell is best known for sculptural and installation work that creates a dialogue between
our interior and exterior worlds, as well as nature and its synthetic likeness. In this
installation, the second solo exhibition of Bell's work at BT&C to date, the focus will be
Bell's more intimate sculpture, paired with photographic work from a project titled
Universal Color.

The exhibition title, "Early One Morning", offers a poetic frame for the show, references
the history of sculpture and relates to issues that are at the heart of Bell's thinking
process. The title is borrowed from a 1962 sculpture by Sir Anthony Caro (1924-2013)-
a large-scale, brightly painted, geometric steel sculpture that sits directly on the floor.
The bold vermillion of Caro's piece serves to unify the elements as well as boldly
announce itself- strategies admired and used by Bell. The title also serves to reference
a moment in time- it grounds the sculpture and the show in a temporal zone of

Included in Early One Morning, and continuing the artist's exploration of color, is a
series of images of towels in Istanbul that Bell began creating in 2010. Bell explains the
project as "a quest for looking for the overlooked." She continues:
I roamed the city in search of a mundane aspect in order to expose the other
color, which is not readily seen. The towels hung to dry in front of every
barbershop in every neighborhood became my colors of Istanbul. Each image
reveals not only the colorful towels, but the surrounding environment that seeps
in around the edges, exposing the everydayness of the street life of the city.
These photographs serve as still lifes capturing a moment in time in transition.
The result is a common scene, at least to the average Turkish person- a sort of street
still life full of found color. The prints are done on a lush watercolor paper, a 6.5 x 9 inch
image floating in a sea of white. Bell was thinking about Pantone's color system when
capturing these images and during her process has matched the colors of the towels to
Pantone numbers. Using the idea of universal color, this project for Bell became a way
of cataloguing our visual world. Further, the use of the universal Pantone color system
provides a link between the specificity of locale and the collective universal.
Also included is Bell's continuation in a series of small sculpture, titled some things,
which began in 2014 and was the focus of a Spring 2015 solo exhibition at BT&C of the
same name. These small works are meditations for Bell- initially thought of as mental
preparation for large-scale work, the series has evolved into a practice in and of itself
opening new avenues for investigation of the boundary between color and form. The
some things are an extension of the themes explored in Bell's larger body of work yet,
because of their scale combined with the artistic process, there is a palpable spontaneity
inherent in these works- a quirky liveliness. At a 2015 residency at Chesterwood, the
summer home/studio and gardens of the American sculptor Daniel Chester French in
Stockbridge, MA, Bell completed a projected titled Object a Day where she created a
sculptural response to her surroundings (sometimes physically incorporating sticks and
rocks collected on site) for thirty consecutive days. Just like the Universal Color project,
in Object a Day, artistic creation became a way to journal sights and experiences- a
way to visually mark time and place. These sculptural responses, a sort of visual diary,
left Chesterwood for Bell's upstate New York studio where the artist continued to work
on them. The Object a Day exercise was the beginning of more in Bell's some things
series, as she has continued to work on them over time. Many of these finished
sculptures are to be included in Early One Morning.

Also included are a handful of Bell's latest floor pieces- a series that the artist
considers as still lifes. These works directly relate to the some things through use of
color, physicality and relatively intimate scale. They are delicate amalgams of many
media, thoughtfully constructed and balanced. In many ways they are more quietly
subtle than Bell's past large-scale work of boldly colored organic abstraction, but equally
as forceful in the ideas and feelings they communicate to the viewer.
Concurrent with Early One Morning is an exterior installation of Bell's work at Tift
Nature Preserve, Buffalo as part of the Albright-Knox Art Gallery's Public Art Initiative in collaboration with Tift and the Buffalo Museum of Science. Visit the Albright-Knox's
website for more information: http://www.albrightknox.org/collection/publicart/
Roberley Bell spent her childhood in Latin America and Southeast Asia. She attended
the University of Massachusetts and State University of New York at Alfred from where
she holds an MFA. Bell is the recipient of many grants and fellowships including the New York Foundation for the Arts, Pollock Krasner Fellowship, a summer Fulbright to the Netherlands and a 2010 Senior Scholar Fulbright to Turkey. In 2015 she received a
Fellowship for the Turkish Cultural Foundation. Bell has received several residency
awards both nationally and internationally, including a residency to the Stadt
Kunstlerhaus in Salzburg Austria and a studio fellowship from the International Studio
Program in NY. In 2016 she had residencies at both Visual Studies Workshop in
Rochester, NY and the Institute for Electronic Art at Alfred University. Bell's work has
been exhibited nationally and internationally including at the State Tretyakov Gallery,
Moscow; Alan Space, Istanbul; Virginia Museum of Fine Arts, Richmond; Denise Bibro
Gallery, NY. Recent solo exhibitions include The Hermitage Museum and Gardens in
Norfolk, VA and the deCordova Museum and Sculpture Park, Lincoln, MA. Bell has
completed public projects in Cambridge, Pittsburgh, Chicago, Baltimore, New York,
Kaliningrad, Russia, Istanbul, Turkey and most recently at the Albany International
Airport. Bell lives in Bethany, New York and teaches in The School of Photographic Arts
and Sciences at Rochester Institute of Technology.

Established in 2013, BT&C Gallery is a commercial art gallery that builds the career of
artists based in Buffalo and beyond, and fosters a base of emerging and seasoned
collectors. BT&C opened at 1250 Niagara St, Buffalo in June 2014.
For more information, please contact Anna Kaplan, Gallery Director at (716) 604-6183 or
anna@btandcgallery.com. Visit www.btandcgallery.com and follow BT&C on Instagram
(@btandcgallery) and Facebook.



26. Suzanne Lacy FF Alumn, Fall 2016 events


As part of Suzanne's move to USC please note her new email address:

A project with Nicola Goode and Liz Gillis

August 12 - 28, 2016
Irish Museum of Modern Art, Dublin

The School for Revolutionary Girls is a ten day project with twenty teenage girls who will explore their relationship to the 1916 Rising of the Irish revolution and to contemporary issues facing young women in Ireland and around the world. This artistic "consciousness-raising" process combines group discussion, performance, social media and a reading of manifestos in the courtyard of the museum. Working with historians, international students, Irish and US artists, and CREATE, they will imagine the world as it is, and will be, developing creative expressions of their own unique "public voice." This is a project of The Irish Museum of Modern Art (IMMA) and Grizedale Arts in the context of A Fair Land, a project that aims to develop a system for living using basic and simple resources used in a creative way.

Artist Talk: Suzanne Lacy
Friday 19 August 2016, 7:00pm - 9:00pm, Gardens, IMMA

A Performance with Ron Penn, Mao Mollona, Paul Hartley and Rauf Bashir

October 1, 2016
The former Smith and Nephew Textile Mill, Brierfield, Lancashire, United Kingdom

The Circle and the Square is a year-long project exploring social cohesion between white and Asian heritage British people in a small town in the economically challenged area of Pendle in Northwest England. The commission by Super Slow Way will culminate in a performance involving 500 people, held in the magnificent and large-scale former mill. The performance engages the entire community in a video production featuring traditional chanting and music from two disparate geographic regions. This event signals a critical juncture in the region's history, symbolized by the planned regeneration of the Mill and an uncertain future, a post-Brexit era between a past of manufacturing jobs and a future where residents must work to rebuild the local economy and deepen community connections.

An exhibition at the Luigi Pecci Center for Contemporary Art in Prato, Italy

Opening October 16, 2016

The Pecci Center will reopen on October 16, 2016 with an exhibition entitled The End of the World, curated by director Fabio Cavallucci who explains the title: "Apart from the title, the exhibition is not a catastrophic one, but focused on the concept that the present world has reached its end. What has so far seemed new and attractive, now appears geological ages away from our possible future."

In this group exhibition, Lacy will present a video installation from her most recent large-scale performance, de tu puño y letra (By Our Own Hand). Performed in Quito, Ecuador on November 25, 2015 - the International Day for the Elimination of Violence Against Women¬ - the performance in Plaza Belmonte, one of the oldest bullrings in Quito, brought together 350 men who participated by reading letters on violence, written by actual women throughout Ecuador.

A Performance of Pedagogy and Endurance

October 30 - November 8, 2016
The Main Museum
Los Angeles, CA

In 2012, Andrea Bowers taught Suzanne Lacy how to draw over the course of 8 days in The Drawing Center in New York. Now, in Los Angeles and in the center of a historic site in the development of California performance art, Lacy will teach Bowers how to do a performance. For ten days, the artists will live in the space, enlivened by formal lessons, open conversations, and performances that explore the work, experiences, and ideas of California based performance art from 1968-1980 with an emphasis on feminist practices and the body.


Suzanne Lacy, Edgar Arceneaux, Keith Mayerson, Kori Newkirk and Patty Chang, FF Alumn, will join the ranks of senior faculty at The USC Roski School of Art and Design. Although very sad to leave her wonderful colleagues and students at Otis College of Art and Design where she has been an academic leader since 2001, Lacy looks forward to contributing to Roski's directions in the public sector.


Please note that Suzanne Lacy's new email address is:


Copyright (c) 2016 Suzanne Lacy Artworks, All rights reserved.



26. John Cage, Christo, Simone Forti, Geoff Hendricks, Dick Higgins, Hannah B. Higgins, Ray Johnson, Allan Kaprow, Alison Knowles, Yoko Ono, Nam June Paik, Yvonne Rainer, Carolee Schneemann, Kristine Stiles, FF Alumns, at Grey Art Gallery, NYU, Manhattan, Sept. 8-Dec. 20

A Feast of Astonishments: Charlotte Moorman and the Avant-Garde, 1960s-1980s
First major exhibition devoted to critical but under-recognized figure in postwar avant-garde, dubbed the "topless cellist."
September 8-December 10, 2016
A Feast of Astonishments: Charlotte Moorman and the Avant-Garde, 1960s-1980s is the first exhibition to explore the vital contributions of one of the most overlooked figures of her generation. On view at New York University's Grey Art Gallery from September 8 to December 10, 2016, the show illuminates how Charlotte Moorman (1933-1991) metamorphosed from a classically trained cellist into a barrier-breaking figure in performance art and an impresario of the postwar avant-garde. Included among the more than 300 items on view-artworks, film clips, music scores, audio recordings, documentary photographs, snapshots, performance props and costumes, ephemera, and correspondence-are 5 cello-based sculptural works that Moorman herself created.
For three decades beginning in 1960, Moorman's dedication to a radically new approach to music and art took many forms, some extreme, from playing the cello while suspended by helium balloons over the Sydney Opera House to performing in the nude on an "ice cello." Reflecting Moorman's commitment to finding ways to bring new art to the broadest possible public, including producing events literally in the streets of New York, A Feast of Astonishments features dozens of photographs of Moorman's performances from the 1960s through 1980s, ephemera related to her organization of the New York Avant Garde Festivals between 1963 and 1980, and sculptures and musical scores by Nam June Paik, her frequent collaborator. The vast majority of the objects in the exhibition have never before been exhibited. Together, they offer fresh insights into Moorman's improbable career in the heady, event-filled decades of the 1960s, 1970s, and 1980s.

A Feast of Astonishments was organized by the Mary and Leigh Block Museum of Art, Northwestern University, in partnership with Northwestern's Charles Deering McCormick Library of Special Collections, home to the Charlotte Moorman Archive.
"Some artists manage to uncannily embody in their work the key concerns of their times. Charlotte Moorman numbers among them," notes Lynn Gumpert, the Grey's director. "It's very fitting that this show is presented at NYU's Grey Art Gallery, as much of Moorman's groundbreaking work took place here in New York City." Lisa Corrin adds, "Charlotte Moorman is mainly remembered as a muse to Nam June Paik, but she was much more. In light of her influence on contemporary performance and her role as an unequaled popularizer of the avant-garde, appreciation of her role as a seminal figure in her own right is long overdue."

A Feast of Astonishments is presented in four loosely chronological sections. The Early Years explores the beginnings of Moorman's career in the early to mid-1960s. After moving to New York to study at the Julliard School in 1957, Moorman, who was born in Little Rock, Arkansas, became increasingly drawn to the experimental art and music of the avant-garde scene then evolving in SoHo. This section highlights her transformation from Julliard-trained cellist to radical artist. It includes photographs and publicity shots of her cello performances, as well as programs for recitals by cutting-edge artists working in downtown New York City. A flyer for Yoko Ono's first major solo concert of experimental music lists Moorman, who helped produce the show and also performed in it, as "personal manager for Miss Ono."

The second section, Repertoire, details the works Moorman performed repeatedly throughout her career. Providing context for John Cage's 26'1.1499" for a String Player-a seminal work that she played in venues ranging from orchestra halls to The Tonight Show-is Moorman's heavily annotated score, which she used in performances for over 30 years. This personal copy has inscriptions prompting her to fry an egg, throw a cymbal on the floor, and "bomb," or play a few bars on the practice bomb she transformed into a cello-actions that can be seen in a never-before-exhibited black-and-white television clip of Moorman performing the Cage piece in an appearance on The Mike Douglas Show(1967). This is paired with an affecting black-and-white photograph by Peter Moore (1965) showing her performing the "Human Cello" section of the piece, leaning over the artist Nam June Paik's bare back, intensely strumming him with a bow. Another historic moment represented in the exhibition is the 1967 performance of Paik's Opera Sextronique, which led to Moorman's arrest on indecency charges.

Cellos representative of Moorman's career made from various materials are also featured, including two Bomb Cellos (1965/1990). These painted metal bombs, to which Moorman added strings and played as part of John Cage's 26'1.1499" beginning in the early 1960s, are striking examples of how Moorman's interpretations of that piece changed with the times, accreting new props and ideas with unceasing imagination. This section also displays key mixed-media works by Paik, including TV Bra for Living Sculpture (1969), TV Cello(1971/1990), and Charlotte Moorman II, an homage to Moorman created in 1995, after her death.

Moorman Abroad, the show's third section, examines her role as an instigator and key participant in the transatlantic avant-garde. Moorman embarked for West Germany with Paik in 1965, participating in the 24 Hours festival in Wuppertal, where in multiple venues she interpreted Cage's 26'1 as "a kind of pop music," with a gong, phone chimes, and radio sounds. Later performances in West Germany are also amply documented in A Feast of Astonishments by, among other items, photographs of Moorman laying upon a bed of large TV monitors on a sidewalk, bowing her cello as she is observed by a crowd of onlookers (Nam June Paik's TV Bed, 1972); a hand-drawn poster created by Jörg Immendorff for a concert in Düsseldorf (1966); and a felt cello cover emblazoned with a red cross, used by Moorman in performances of Infiltration Homogen for Cello, the only work Joseph Beuys ever created for another artist.

This section also features a score and video of Moorman performing Giuseppe Chiari's Per Arco. In Moorman's interpretation, this composition consisted of five minutes of the recorded sounds of bombs falling during World War II, one minute and forty seconds of silence, and six minutes of her reaction to the sounds of war with her cello and bow.
The final section, Avant Garde Festivals, is devoted to the fifteen Annual Avant Garde Festivals Moorman organized in New York between 1963 and 1980. In providing a detailed look at these almost-forgotten extravaganzas, A Feast of Astonishments supplies an important missing chapter in the history of contemporary art. Drawing on the talents of New York's vanguard community, these festivals were held first at Judson Hall on West 57th Street and later in such public spaces as Central Park (1966), the Staten Island Ferry (1967), Grand Central Terminal (1973), and Shea Stadium (1974).

From a letter in which Ray Johnson describes his performance action Hot Dog Drop to a telegram from Mayor John Lindsay politely declining Moorman's invitation to ride in a hot air balloon, an array of correspondence-typed, hand-written, or drawn and scribbled on scrap paper-is assembled to reveal Moorman's utterly personal approach to festival organization. Objects on view include the recently rediscovered hoop and costumes used inNoise Bodies; Carolee Schneemann's wonderful but little-known collaborative performance piece with composer James Tenney; a photograph of Takehisa Kosugi's Piano '66, in which the instrument floats on the model boat pond in Central Park; a grainy 16mm film clip documenting performances on the Staten Island Ferry; and Styrofoam blocks used by Moorman in planning an artist parade for the 1968 festival held on Central Park West.

Photographs capture striking moments in that festival: Allan Kaprow's "metallic ballet," which sent oil drums rolling down Central Park West; Les Levine's float-a glowing grid of neon tubes; Joseph Beuys's mute piano, wrapped in gray felt; and, pulling up the rear, the Bell Labs and Experiments in Art and Technology (EAT) float generating a computer printout of a "five mile poem."

A Feast of Astonishments presents the largest number of images by photographer Peter Moore seen in an exhibition to date. Similarly, it acknowledges the achievements of Jim McWilliams, creator of some of Moorman's most audacious performances, with examples of the posters he designed for the Avant Garde Festivals. Finally, the exhibition includes images and accounts-some unexpected-from a wide range of influential figures of the time, such as Ay-O, John Cage, Johnny Carson, Christo, Ornette Coleman, Philip Corner, Simone Forti, Merv Griffin, Geoff Hendricks, Dick Higgins, Jörg Immendorff, Ray Johnson, Allan Kaprow, Billy Klüver, Alison Knowles, John Lennon, Les Levin, Mayor John Lindsay, Alvin Lucier, George Maciunas, Meredith Monk, Max Neuhaus, Yoko Ono, Nam June Paik, Otto Piene, Yvonne Rainer, Carolee Schneemann, David Tudor, Robert Watts, and La Monte Young.

After its presentation at the Grey, A Feast of Astonishments will travel to the Museum der Moderne Salzburg, Austria, where it will be on view from March 4 to June 18, 2017.
Exhibition Curators

A Feast of Astonishments was curated by a collaborative team from the Block Museum: Lisa G. Corrin, the Block Museum's Ellen Philips Katz Director and curator of modern and contemporary art; Corinne Granof, curator of academic programs; and Michelle Puetz, Pick-Laudati curator of media arts; along with Scott Krafft, curator of the Charles Deering McCormick Library of Special Collections, Northwestern University Libraries; Joan Rothfuss, consulting curator and author of Topless Cellist: The Improbable Life of Charlotte Moorman; and Laura Wertheim Joseph, consulting curatorial associate.
Companion Presentation

Don't Throw Anything Out, a companion exhibition drawn from the Charlotte Moorman Archive at Northwestern University's Charles Deering McCormick Library, will be on view atNYU's Fales Library concurrently with A Feast of Astonishments.

Don't Throw Anything Out will frame the scope of the Charlotte Moorman Archive with a selection of objects and media ranging from her double-barreled, heavily notated Rolodex to audio recordings of greetings and voice messages saved from her telephone message machine, both by personal relations, including her mother, and by such legends of the era as John Lennon. While A Feast of Astonishments traces Moorman's achievements and influence within the broad context of the art and culture of her time, Don't Throw Anything Out provides a look at the private Moorman, the Southern belle who rather implausibly became an instigator and ambassador for vanguard art.
Exhibition Catalogue

A Feast of Astonishments: Charlotte Moorman and the Avant-Garde, 1960s-1980s, the exhibition catalogue, is published by Northwestern University Press and features new scholarship from art historians, musicologists, and experts on the 1960s and 1970s, including Hannah B. Higgins, professor in the School of Art and Art History at the University of Chicago; Kristine Stiles, France Family Professor of Art, Art History, and Visual Studies at Duke University; and Kathy O'Dell, associate professor of art history and museum studies, University of Maryland, Baltimore County. It also features essays by emerging scholars in the field. The volume extends and complements Rothfuss's biography and existing scholarship on the period by illuminating the artistic activities of Moorman and her circle within a broad social and aesthetic context.

A Feast of Astonishments is organized by the Mary and Leigh Block Museum of Art at Northwestern University, in partnership with Northwestern University Libraries. The exhibition is supported by major grants from the Terra Foundation for American Art, the Andy Warhol Foundation for the Visual Arts, and the National Endowment for the Arts. Additional generous support is provided by the Elizabeth F. Cheney Foundation; the Alumnae of Northwestern University; the Colonel Eugene E. Myers Foundations; the Illinois Arts Council Agency; Dean of Libraries Discretionary Fund; the Charles Deering McCormick Fund for Special Collections; the Florence Walton Taylor Fund; and the Block Museum Science and Technology Endowment.

The presentation at the Grey Art Gallery is made possible in part by a grant from the New York University Arts Council. Additional support provided by the Abby Weed Grey Trust; and the Grey's Director's Circle, Inter/National Council, and Friends.
About the Grey Art Gallery

The Grey Art Gallery is New York University's fine arts museum, located on historic Washington Square Park in New York City's Greenwich Village. It offers the NYU community and the general public a dynamic roster of engaging and thought-provoking exhibitions, all of them enriched by public programs. With its emphasis on experimentation and interpretation, and its focus on studying art in its historical, cultural, and social contexts, the Grey serves as a museum-laboratory for the exploration of art's environments.

Exhibitions organized by the Grey have encompassed all the visual arts: painting, sculpture, drawing and printmaking, photography, architecture and decorative arts, video, film, and performance. In addition to producing its own exhibitions, which often travel to other venues in the United States and abroad, the Gallery hosts traveling shows that might otherwise not be seen in New York and produces scholarly publications that are distributed worldwide.

General Information
Grey Art Gallery, New York University
100 Washington Square East, New York, NY 10003
Tel: 212/998-6780, Fax: 212/995-4024
E-mail: greyartgallery@nyu.edu
Website: greyartgallery.nyu.edu
Tuesday, Thursday, Friday: 11 am-6 pm
OPEN LATE Wednesday: 11 am-8 pm
Saturday: 11 am-5 pm
Sunday, Monday, and major holidays: Closed
Admission: Suggested donation: $3; NYU students, faculty, and staff: free of charge



28. Beatrice Glow, FF Alumn, at NYU, Manhattan, Sept. 27

A Tale of Two Islands: Welcome Event for Artist-in-Residence Beatrice Glow
Tuesday, September 27, 6:00 PM - 9:00 PM
| Free
• " Study Hall with A | P | A
• #APATwenty: An Artist-in-Residence Anniversary Reunion, Part 1 "

6PM Planting at location the NYU Native Woodlands Garden, Schwartz Plaza (corner of Washington Square South and Washington Square East)
6:30PM Lecture-Performance at NYU Steinhardt Pless Hall, 82 Washington Square East, First Floor Lounge
A/P/A Institute at NYU Artist-in-Residence Beatrice Glow begins her residency with the act of planting a native tree, and the presentation of a new lecture-performance. Glow's work uncovers invisible, suppressed stories that lie in the geopolitical shadows of colonialism and migration. During her residency, the interdisciplinary artist will research the social history of plants via spice routes and botanical expeditions focusing on the historical and contemporary relationship between the islands of Rhun (in present-day Indonesia) and Manaháhtaan to create Rhunhattan, a multiplatform project which will include psychogeographic and immersive tech experiences. Leeza Ahmady (Asia Contemporary Art Week), Thomas Looser (NYU Department of East Asian Studies), Jennifer McGregor (Wave Hill), Jack Tchen (A/P/A Institute at NYU), and Associate Dean Lindsay Wright (NYU Steinhardt) will offer comments, and composer, performer, and improvisor Pauchi Sasaki will present a musical composition.
RSVP using the form below.

Beatrice Glow is an interdisciplinary artist whose work uncovers invisible, suppressed stories that lie in the geopolitical shadows of colonialism and migration. Her practice comprises of sculptural installations, trilingual publishing, participatory performances and lectures, and experiential technologies.

Glow is the recipient of the 2015 Van Lier Visual Art Fellowship at Wave Hill and was named a 2015 Joan Mitchell Foundation Emerging Artist Finalist. In 2014, she was awarded a Franklin Furnace Fund grant to create the Floating Library-a pop-up, mobile device-free public space aboard the historic Lilac Museum Steamship on the Hudson River. As a 2008-9 Fulbright Scholar, she traveled to Peru to pursue a research-creation project retracing "coolie" geographies.

Glow is a Hemispheric Institute of Performance and Politics' Council Member, and previously was Artist-in-Residence at the LES Studio Program at Artists Alliance Inc. Her most recent activities include Aromérica Parfumeur, a solo exhibition at the Museo Nacional de Bellas Artes de Chile (2016); The Wayfinding Project at the A/P/A Institute at NYU (2016); Rhunhattan at Wave Hill (2015); and a lecture performance as part of Asia Contemporary Art Week's Field Meeting Take 2 at the Venice Biennale (2015). She holds a BFA in Studio Art from NYU.

A/P/A Institute at NYU is pleased to participate in the 11th edition of Asia Contemporary Art Week (ACAW) New York, a season-long platform (September 8 to November 18) connecting over forty New York and Asia-based art institutions to present cutting-edge exhibitions, innovative projects, provocative dialogues, and festivities citywide. For a complete ACAW agenda visit acaw.info.




Goings On is compiled weekly by Harley Spiller