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ABOUT GOINGS ON: How to subscribe and submit listings

Contents for November 21, 2016

1. Martha Wilson, FF Alumn, now online at https://www.artforum.com/slant/id=64752

Martha Wilson, FF Alumn, has new work now online at https://www.artforum.com/slant/id=64752



2. Ginny Lloyd, FF Alumn, at San Francisco Library, CA, thru Dec. 31 and more

Ginny Lloyd is the archive consultant for the San Francisco Dada World Fair, http://www.dadaworldfair.net/#cover-page City Lights Bookstore's centennial celebration of Dada. On exhibit is her collection of Inter DADA 84 posters, publicity cards, etc and a selection of mail art at the SF Library's 6th floor Skylight Gallery. The Most Dada Thing is available to view through December 31st. Photos and blog are at http://interdada84.blogspot.com/
Also her book InterDADA84: True DADA Confessions is for sale at City Lights Bookstore and online at http://www.lulu.com/spotlight/ginnylloyd. Videos are at the Interdada 84 blog. Selections from the library's zine collection are on display at the gallery too. For more info https://sfpl.bibliocommons.com/…/…/728533497_most_dada_thing



3. Jess Dobkin, FF Alumn, at Theatre Centre, Toronto, Canada, Jan. 10-21

JANUARY 10-21, 2017

Dear friends,

I'm writing to announce the premiere of The Magic Hour, a solo performance work developed through a three-year Artist Residency at The Theatre Centre, and to ask for your support to make the magic happen. I’ve launched an Indiegogo campaign to raise production funds and I'm offering some perky perks to campaign donors. I’ve been working toward this project for many years, and it is fully of my heart. Please consider making a contribution and please spread the word. No amount is too small! My gratitude is deep and wide!

The Magic Hour Indiegogo Campaign: https://www.indiegogo.com/projects/the-magic-hour-art

The Magic Hour Facebook Event Page: https://www.facebook.com/events/217966628639674

Tickets for the performance are now on sale through The Theatre Centre Box Office. Seating is limited, so book your tickets early!

The Theatre Centre Box Office: https://tickets.theatrecentre.org/TheatreManager/1/login?event=170

The performance on Saturday, January 14 will be ASL interpreted by the magical Felice Shays. For more information:

The Magic Hour VLOG: https://vimeo.com/191647990

We are in such challenging times. Let’s nurture magic and action and free expression and possibility.

Sending love,



The Theatre Centre is a nationally recognized live-arts incubator that serves as a research and development hub for the cultural sector. We are a public space, open and accessible to the people of our community, where citizens can imagine, debate, celebrate, protest, unite and be responsible for inventing the future. The Theatre Centre’s mission is to nurture artists, invest in ideas and champion new work and new ways of working. The company fosters a culture of innovation by embracing risk and questioning traditional notions of failure and success.



4. Paul McMahon, Linda Mary Montano, FF Alumns, at Emily Harvey Gallery, Manhattan, Nov. 30


Emily Harvey Gallery
By Donation

November 30, 2016



5. Roberta Allen, FF Alumn, now online at hyperallergic.com

Dear Friends, Colleagues, Artists + Writers,

I'd like to share John Seed's wonderful review of my thought drawings at the Athenaeum Music & Arts Library in La Jolla, CA. at the link below.


My best,




6. Carolee Schneemann, FF ALumn, in The Village Voice, Nov. 17

Text of the article follows below. This is a link to the complete illustrated article:


Invasion of the Body: Carolee Schneemann Turns Her Gaze to Human Anatomy

Performer, film/video maker, painter, sculptor, and multimedia artist Carolee Schneemann might be described most precisely as one of the great practitioners of the art of self-possession. Beginning in the 1960s, she set about shaking off the impositions — political, social, cultural, and otherwise — foisted on the female body, using her own as the medium for her messages. An early performance titled Meat Joy (1964) was a funny, frenzied meditation on the perils and pleasures of the flesh in which she and the other barely clad participants frolicked together, rubbing their bodies with meats and paint. In 1965, she screened her film Fuses, an explicit erotic-domestic record of life and lovemaking with her then-partner, composer James Tenney (1934–2006), as well as a feminist reclamation of the pornographic. For Interior Scroll (1975), perhaps her most notorious work, she pulled a long roll of paper from inside her vagina and read from it aloud.

Schneemann's body has always been hers alone, whether she's sharing herself with lovers or with audiences. She threw parties after having abortions. ("I just had to celebrate getting that thing out of me," she told writer Maggie Nelson in 2016.) But over a lifetime, bodies change and are changed, and as they do, their function, their presence, their meaning, changes too. Co-presented at P.P.O.W. and Galerie Lelong is a moving and intelligent two-part exhibition of works by Schneemann from the 1980s, '90s, and 2000s that illuminates the vital trajectories of her art and her body.
The rarely seen multimedia installation Plague Column: Known Unknown (1995–96), on view at P.P.O.W., is one of the exhibition's most poignant works, and among its most potent, having been made in the wake of the artist's diagnosis of and treatment for breast cancer. Schneemann did not elect to follow the prescribed Western medical protocol of mastectomy, chemotherapy, and radiation, opting instead for the therapies offered by alternative medicine, including diet changes and vitamin therapies. Although neither option guaranteed her recovery, to cut, irradiate, and poison her body would have had deadening physical effects. Pleasure had always been her right — and part of her rites as an artist — and the choice to preserve her breast was also a stand against the dominant medical views of what determines the quality of a woman's life. In an essay in the exhibition's publication, art historian Soyoung Yoon recounts how Schneemann explained to her doctor: "My breast is an erotic organ — as your penis is — I'm keeping it with me."

Plague Column is an exploded view of her intimate knowledge of cancer — a harrowing, affecting work that requires some time to "read" and unpack. Here, Schneemann blows up images of malignant cells, collaging them with lab reports so that their forms — looking like colorful alien flora — are made more legible. A video loops over four monitors arranged on the floor and encircled by straw; here the artist has also placed silicone breast forms, some lit from below like lanterns. The video is an accounting, of sorts, of her treatment, editing together footage of a syringe being plunged into her breast, of her breasts being examined by a doctor's hands, of her cat licking its bloodstained chops after eating a rabbit it killed, of anatomy books being thrown into a pile. Close-ups of her lover's hands caressing her breasts as well as his cock penetrating her make sure that we understand that Schneemann's body, though under duress, is still to be pleasured and celebrated, not pitied.

The installation also features four columns of texts composed from shards of longer stories — her own as well as those of Tenney, the performer/musician Charlotte Moorman, and the artist Hannah Wilke, all of whom died of cancer. The voice is icy, delivering its bitter medicine in morbid snippets — "They couldn't help but believe people got the cancer they deserved," it begins — while in the next room hang three series of abstract painting-collages that are, for lack of a better word, more medicinal in nature. Schneemann made these works while receiving treatment in Mexico, her hand on the paper at times languid, loose, at others seeming more full of fury, but always appearing as though this daily practice was in some way intended to exorcise her sickness.
The video installations and collage paintings on view at Lelong, however, foreground bodies other than the artist's own. Precarious (2009) is an agitated, multi-channel meditation on the cruelty of captivity that Schneemann edited together from manipulated found footage of a caged bird stomping in place, red-suited prisoners dancing in sync, a performing bear with a shackle around its neck, and the artist herself dancing blindfolded, as well as other clips. The actions — blunted, stunted — repeat over and over, looped to underscore the anxious, unhappy, nervous state of the "performers." By way of mirrors, the projections sweep across the walls of the space, surrounding the viewer, who will likely feel awfully hemmed in by the awful spectacle of it all.

Far more assaultive is Devour (2003–04), a dual-channel found-footage video composed across six screens that puncture the pitch black of the room. It's an ominous, visceral work in which images of violence, trauma, and death swarm alongside calmer, kinder visions, though those somehow curdle in their turn, too. A demolition derby. Schneemann kissing her cat. A man dragging himself across a road. A bird in flight. A woman lying on the ground, the top of her head blown to smithereens and smeared across a sidewalk. A mouth chewing noodles in slow motion. A straight razor shaving a neck, until it stops uncomfortably close to the jugular. Are the images themselves sick, or do they just capture what ails us? Sitting there in the dark, taking it all in, one feels the answer just might be: Get these things out of me.

Carolee Schneemann: ‘Further Evidence — Exhibit A’
535 West 22nd Street, 3rd floor
212-647-1044, ppowgallery.com
‘Further Evidence — Exhibit B’
Galerie Lelong
528 West 26th Street
212-315-0470, galerielelong.com
Both exhibitions on view through December 3



7. Monty Cantsin, Nina Sobell, FF Alumns, book launch, Howl! Happening, Dec. 8-11

RIVINGTON SCHOOL: 80s New York Underground

book launch @ Howl! Happening dec 8-11/2016

dec 8, 6 o'clock:


Reception/ presentation of the book as part of

Toyo Tsuchiya's solo exhibition at Howl! Happening

Ritual burning of first copy in front of Howl!

by Monty Cantsin accompanied by Angel Eyedealism

and Rivington School contributors

Black Dog publisher Duncan McCorquodale from London, UK

will be present

dec 9, 7pm - 9pm:


performances by Angel Eyedealism, Phoebe Legere, Michael Carter, Robert Parker / videos by James Cornwell Jim "C", Gloria McLean, Phil Rostek


dec 10, 7pm - 9pm:


performances by Kembra Pfahler, Monty Cantsin, Sylvia Bullett, Julius Klein

videos by Linus Coraggio, Shalom Neuman, Krzysztof Zarebski


dec 11, 6pm - 9pm:


Panel discussion moderated by Michael Carter,

guest speakers: Nina Sobell, Angel Eyedealism, Ori Carino,

Clayton Patterson, Sarah Ferguson, Nancy Grimes, Carlo McCormick

Open to the floor Q/A

Event curator: Istvan Kantor amen@interlog.com

Howl! Happening, 6 East 1st street, NYC, NY 10003 www.howlarts.org



8. TWINART (Ellen Kahn & Lynda Kahn), John Baldessari, Robert Mapplethorpe, Cindy Sherman, William Wegman, FF Alumns, at Nassau County Museum of Art, Roslyn, NY, thru March 5, 2017

TWINART - (Ellen Kahn + Lynda Kahn) INSTANT REPLAY - POLAROID 20"X24"
Nassau County Museum of Art
One Museum Drive, Roslyn, New York
November 19, 2016 - March 5, 2017

New Photos: Long Island Collects focuses on significant photographic works created from the 1960s through the present day. Historically, photography has been used as a documentary medium to tell a story, Using the malleable medium of the photograph, artists have often enhanced or staged their works to convey a story, create emotion, or otherwise touch the viewer in a significant manner. This exhibition presents a survey of photographic works from private collectors. Among the artists included in New Photos: Long Island Collects are John Baldessari, Matthew Barney, Robert Mapplethorpe, Vic Muniz, Cindy Sherman, TwinArt, and William Wegman, among many others.


Nassau County Museum of Art
One Museum Drive
Roslyn, New York

November 19, 2016 - March 5, 2017

Executive Creative Director
EMMY Executive Committee M&TDPG



9. Penny Arcade, FF Alumn, at St. Ann’s Warehouse, Brooklyn, Dec. 1-11

Dear Franklin Furnace Colleagues and Friends

on Dec 1st -11th St Ann's Warehouse presents the American Premier of my latest internationally acclaimed show Longing Lasts Longer which has toured virtually non stop for the past 15 months from Dublin to Tasmania to Slovenia , Sydney to Poland to Edinburgh by the time we premier in DUMBO we will have done over 130 performances.

2017 marks my 49th anniversary as an improvisational performer . I am excited to be able to extend a $20 discount code for previews including first night and opening night to the extended Franklin Furnace Family

Since all my finished work since 2003 has been presented outside of the USA few younger artists have been able to see my full length work and artists of any age myself included appreciate discounts to see each others’ work.

The code is Nasty Woman on St Ann's Website


This is the best written press release on my work.


my appreciation

penny arcade



10. Claire Jeanine Satin, FF Alumn, at Books & Books & Bikes & Lebo, Miami, FL, December 3

SATURDAY, DECEMBER 3, 2016 - 5:00 P.M.
A documentary that traces the mission and devotion of Ruth and
Marvin Sackner’s exceptional archive of visual and concrete poetry
created by Sara Sackner. The collection is a remarkable trove of
70,000-plus works focusing on text-based and image content in
book art and related works. The largest and most renowned
collection of its kind in the world…and it currently resides in Miami!
As part of the evening’s celebration, a few select bookworks
created by Claire Jeanine Satin will be on display.

A Note About the Presenter…
Claire Jeanine Satin has been
creating Bookworks for over 40
years, seven of which are in the
Library of Congress Rare Books
Collection, and many others.
Her last exhibition was held in
Genova, Italy, as part of the
Centennial Celebration for
lAmerican-born British author
Henry James. Most of Claire’s
works are based on the concept
of indeterminacy as a result of
her association with John Cage.
She is grateful for her long
friendship with the Sackners,
and for including her work in
their collection. It is her
pleasure to share this film as an
homage to Ruth Sackner.



11. Beverly Naidus, FF Alumn, launches new website at www.beverlynaidus.net

Harley - Could you please announce that I am now online at www.beverlynaidus.net - THANKS!



12. Barbara Rosenthal, FF Alumn, now online at http://ragazine.cc/2016/11/more-book-reviews-v12-n4/

Barbara Rosenthal's novel WISH FOR AMNESIA reviewed online.

The Definitive First Edition of WISH FOR AMNESIA, literary novel by BARBARA ROSENTHAL will be released Nov 30. It pivots around the some Holocaust resistance workers who develops a Messianic Complex, and, after 38 years of writing, has now been published by Deadly Chaps Press, NYC. The first review just appeared in Ragazine: http://ragazine.cc/2016/11/more-book-reviews-v12-n4/



13. Jeff McMahon, FF Alumn, now online at https://www.youtube.com/watch?v=45Ly0BIKHAY

Jeff McMahon performed a short solo in the Ignite Phoenix Music at Scottsdale Center for the Performing Arts. He’ll be presenting a longer version at Dixon Place Lounge in July https://www.youtube.com/watch?v=45Ly0BIKHAY



14. Nancy Holt, FF Alumn, in The New York Times, Nov. 17

The New York Times
Diana Balmori, Landscape Architect With a Blending Philosophy, Dies at 84
NOV. 17, 2016

Diana Balmori, a landscape architect whose ecologically sensitive designs integrated buildings and the natural environment in projects ranging in scope from urban rooftop gardens to South Korea’s new administrative capital, Sejong City, died on Monday in Manhattan. She was 84.

The cause was lung cancer, her son Denis Pelli said.

Ms. Balmori championed a new understanding of landscape architecture and the built environment. She rejected the division between architecture and landscape, and the idea of landscaping as “shrubbing up,” as she sometimes put it: providing a beautiful backdrop for buildings. Instead, she saw the urban fabric as an interweaving of human activity, natural forces and designed settings and buildings.

“It’s bringing all the pieces together,” she told Guernica magazine in 2013, describing her concept of landscape architecture. “It’s not just buildings, it’s not just road; it’s also social factors, geological factors, climate factors — a much more complex mix.” The goal, she said, was a blending of “very clear human engineering with ecology and with landscape.”

She applied this philosophy to myriad prizewinning projects designed by her firm, Balmori Associates, which she founded in 1990. She developed the master plan to transform the old industrial port of Bilbao, Spain, into a park system connecting residents to the river, and to the art museum designed by Frank Gehry.

In New Haven she worked with community organizations to develop a plan for converting 14 miles of abandoned rail line into a linear park extending through Yale University’s campus. She followed up with the Gwynns Falls Trail in Baltimore and a trail system in Cedar Lake Park in Minneapolis.

In New York, which she envisioned as a vast laboratory for green thinking, Ms. Balmori designed a rooftop garden for the Silvercup Studios in Long Island City, Queens, and created the first garden atop a residential tower at the Solaire condominium complex in Battery Park City in Lower Manhattan.

Most dramatically, Ms. Balmori provided the landscape plans for South Korea’s version of Brasília, dominated by a series of linked buildings to house relocated government ministries in Sejong City, 75 miles south of Seoul. The low, serpentine structures, which, in a reversal of traditional practice, evolved from the landscape design, mimicked the natural forms of the Geumgang River and Charyeong Range nearby, with rooftop pedestrian walkways and gathering areas reminiscent of the High Line in New York.

“Landscape design had been thought of as beautifying a site rather than something fundamental,” Barry Bergdoll, a professor of art history and archaeology at Columbia University, said in an interview. “Early on, Diana insisted that it should be a collaborative process with the building designer, and that landscape designers should think about how we use a site and how we live on the surface of the earth. With the ecological crisis we face now, this seems self-evident, but it wasn’t a half generation ago.”

Diana Balmori (pronounced dee-AAH-na ball-MOOR-ee) was born on June 4, 1932, in Gijón, on the Bay of Biscay in northern Spain. Her mother, the former Dorothy Ling, was an English pianist and composer who, after earning a music degree from Cambridge, studied in Berlin, where she met her future husband, Clemente Hernando Balmori, a Spanish linguist also doing postgraduate work.

Mr. Balmori, a Loyalist, fled with his family to England in 1936 to escape political persecution during the Spanish Civil War.

Shortly after the outbreak of World War II, he obtained a teaching position at the National University of Tucumán in Argentina, and the family moved once again. Diana often rode with him on horseback as he headed into remote areas to study the languages of indigenous tribes.

Ms. Balmori studied architecture at the university but failed to receive a degree when the government, angered at a student protest, expelled her entire class. She emigrated to the United States in 1952 with her husband, the noted architect César Pelli, whom she had met at the university.

In addition to her son Denis, a neuroscientist at New York University, she is survived by her husband; another son, Rafael Pelli, who is also an architect; and two granddaughters.

Ms. Balmori moved to Los Angeles in 1964 and earned a doctorate in urban history at U.C.L.A. in 1973. A year later she began teaching at the State University of New York in Oswego, where she became interested in the landscape gardener Beatrix Farrand, the subject of her book “Beatrix Farrand’s American Landscapes” (1985), written with Diane Kostial McGuire and Eleanor McPeck.

Landscape became Ms. Balmori’s consuming interest. In 1980 she joined her husband’s firm in New Haven, César Pelli & Associates, where she created a department of landscape architecture and worked with him on several projects, including the Winter Garden Atrium in the World Financial Center in Manhattan, where she planted a “grove” of 16 palm trees.

After founding Balmori Associates, she put her evolving ideas about urban environments and landscape into practice in a wide range of projects, some for immediate use and others experimental.

“Suddenly the set of ideas that landscape is working with is much more interesting than the set of ideas in architecture today; they just fit the time,” she told The Financial Times in 2013..

In 2005 she realized a long-deferred plan proposed by the earthworks artist Robert Smithson, who in 1970, three years before his death in a plane crash, sketched out an idea for a garden that could travel by water around Manhattan. Working with Mr. Smithson’s widow, the artist Nancy Holt, Ms. Balmori designed “Floating Island,” a landscape of large rocks, soil, native trees and shrubs created on a flat barge that was towed around the city.

Last year, she placed a prototype floating landscape in the Gowanus Canal in Brooklyn. Called GrowOnUs, it was planted with water-filtering flowers and grasses, and buoyed by recycled plastic bottles that offered habitat to mussels.

“Eventually, we would like to create a productive island to grow food and herbs and fruits for city residents,” she told The Architects Newspaper.

Ms. Balmori, who taught at the Yale School of Architecture and the Yale School of Forestry and Environmental Studies, also expressed her ideas about urbanism, sustainable design and the natural environment in books like “Redesigning the American Lawn: A Search for Environmental Harmony” (1993), written with F. Herbert Bormann and Gordon T. Geballe; “Groundwork: Between Landscape and Architecture” (2011), with Joel Sanders; and, most emphatically, in “A Landscape Manifesto” (2010), a set of 25 principles that guided her practice.

“It is now space that interests us,” she told The Dirt, a blog of the American Society of Landscape Architects, in 2012. “And landscape is the discipline in which artistic ideas are being debated.”



15. Doug Skinner, FF Alumn, publishes new book

Black Scat Books is proud to serve up Alphonse Allais’s inaugural collection, "Double Over," containing his hand-picked favorites from the pages of Le Chat Noir, the bohemian journal that amused and scandalized Paris. Here you’ll find Allais in the first flush of his comic genius, spinning out elegant and hilarious gems of black humor on suicide, murder, obsession, and adultery. You will meet the philosophical cuckold, the young lady in love with a pig, the inventor of the Tumultoscope, and Ferdinand, the most resourceful duck in literature. Among the highlights is Allais’s most famous story, “A Thoroughly Parisian Drama,” a favorite of André Breton and Umberto Eco. This is the book’s first publication in English, and features seven additional stories from Le Chat Noir. It is translated by Doug Skinner, FF Alumn, who also provided an introduction, notes on the text, and a few drawings.

276 delicious pages!

Pick up a copy on Amazon! Visit blackscatbooks(dot)com!



16. LAPD, FF Alumn, receives Robert Rauschenberg Foundation Artist-as-Activist Fellowship 2016

2016 Artist as Activist Fellow: Racial Justice + Mass Incarceration

Los Angeles Poverty Department’s Public Safety FOR REAL articulates an alternate conception of public safety that critiques the “injustice system” while changing the narrative about the homeless community in Skid Row. Playing on the term and function of a Business Improvement District (BID), the other LAPD will devise informal community policing vehicles that maintain respect for the wellbeing of their Skid Row neighbors.
Bio: Los Angeles Poverty Department (LAPD) creates performances and multidisciplinary artworks that connect the experience of people living in poverty to the social forces that shape their lives, while challenging the narrative about people living in poverty. Widely acknowledged as "some of the most uncompromising political theatre” (ARTFORUM), throughout its 30-year history, LAPD has confused the categories and confounded expectations. LAPD has sought to obliterate the boundaries of “community based” and “real art,” and its projects have traveled throughout the U.S., South America and Europe. In the late 80’s and early 90’s, LAPD Inspects America took the lived expertise of Skid Row to twenty cities, to investigate emerging conditions of homelessness, bringing together arts organizations, social services, activists and homeless people to speak out in concert toward change. Recent projects on the depredations of the war on drugs and mass incarceration emerged from L.A.’s Skid Row to address these issues nationally and internationally. In April 2015, LAPD opened the Skid Row History Museum and Archive, which curates exhibitions and hosts numerous public events.

The complete illustrated story can be accessed here:




17. Lynn Hershmann Leeson, Shirin Neshat, Peggy Shaw, FF Alumns, receive United States Artists Fellowship 2016

2016 Artist as Activist Fellow: Racial Justice + Mass Incarceration

For complete information please visit:


thank you.



Goings On is compiled weekly by Harley Spiller