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Contents for November 30, 2016

The New York Times
Pauline Oliveros, Composer Who Championed 'Deep Listening,' Dies at 84
NOV. 27, 2016

Pauline Oliveros, a composer whose life's work aspired to enhance sensory perception through what she called "deep listening," died on Thursday at her home in Kingston, N.Y. She was 84.

Her death was confirmed by her spouse, Carole Ione Lewis, a writer and performance artist known as Ione.

Early in her career in the 1960s, Ms. Oliveros avidly adopted cutting-edge technologies, working with magnetic tape and prototype synthesizers at the San Francisco Tape Music Center.

Already active as an improviser, she approached electronic music with a performer's instincts; to make "Bye Bye Butterfly" (1965), which John Rockwell, The New York Times music critic, called "one of the most beautiful pieces of electronic music to emerge from the 60s," she manipulated a recording of Puccini's opera "Madama Butterfly" on a turntable, augmenting its sounds with oscillators and tape delay.

The resulting piece, Ms. Oliveros wrote, "bids farewell not only to the music of the 19th century but also to the system of polite morality of that age and its attendant institutionalized oppression of the female sex."

Gender inequality would be a theme that she addressed repeatedly and tenaciously. An essay she wrote for The Times in 1970 started with a provocative question - "Why have there been no 'great' women composers?" - and then enumerated reasons, including gender bias and societal expectations of domestic compliancy.

Ms. Oliveros said in a 2012 Times profile that in 1971, after a period of intense introspection prompted by the Vietnam War, she changed creative course, eventually producing "Sonic Meditations," a set of 25 text-based instructions meant to provoke thoughtful, creative responses.

"Native," the most commonly cited example, is also the most succinct: "Take a walk at night. Walk so silently that the bottoms of your feet become ears."

Embedded within that poetic instruction and the other meditations was a substantial proposition: a total inclusivity, meant to free music from elite specialists and open it up to everyone, regardless of status, experience, or ability.

"All societies admit the power of music or sound. Attempts to control what is heard in the community are universal," Ms. Oliveros wrote in a preface to the meditations. "Sonic Meditations are an attempt to return the control of sound to the individual alone, and within groups especially for humanitarian purposes; specifically healing."

Ms. Oliveros never quit composing, but from the 1970s favored improvisation, adapted elements of ceremonies and rituals encountered in her studies of Native American lore and Eastern religion, and conducted meditative retreats to share her artistic discipline.
One more turning point came in 1988, when Ms. Oliveros and two colleagues - the trombonist, didgeridoo player and composer Stuart Dempster and the vocalist and composer Panaiotis - descended into an extraordinarily resonant disused cistern in Port Townsend, Wash. Their drone-based improvisations were recorded, and selections issued on CD under the title "Deep Listening" in 1989.

Beyond a self-evident pun referring to music played 14 feet underground, "Deep Listening" signified Ms. Oliveros's emerging aural discipline: a practice that compelled listening not just to the conventional details of a given musical performance - melody, harmony, rhythm, intonation - but also to sounds surrounding that performance, including acoustic space and extra-musical noise.

The process lent its name to a working ensemble, Deep Listening Band, for much of its duration a trio comprising Ms. Oliveros, Mr. Dempster and the keyboardist and composer David Gamper, who died in 2011. Over time, the Deep Listening banner would extend to cover retreats, workshops and lectures in which Ms. Oliveros shared her artistic discipline.

In 2005 Ms. Oliveros rechristened her Pauline Oliveros Foundation the Deep Listening Institute, defining as its mission "creative innovation across boundaries and across abilities, among artists and audience, musicians and nonmusicians, healers and the physically or cognitively challenged, and children of all ages."
Among other projects, the institute supported the design of software that would allow children with severe physical or cognitive disabilities to improvise music. In 2014, the institute merged with the Center for Deep Listening at Rensselaer Polytechnic Institute in Troy, N.Y.

In her final decades Ms. Oliveros formed close bonds with groups like the International Contemporary Ensemble, which brought her work closer to the mainstream canon with performances at Lincoln Center, Miller Theater at Columbia University and elsewhere.
"I'm not dismissive of classical music and the Western canon," Ms. Oliveros said in 2012. "It's simply that I can't be bound by it. I've been jumping out of categories all my life."

Pauline Oliveros was born on May 30, 1932, in Houston to John Oliveros and Edith Gutierrez. Her childhood was accompanied by the sounds of piano lessons taught by her mother and grandmother, bird song and buzzing cicadas, and the curious special effects used on favorite radio serials like "Buck Rogers" and "The Shadow."
Taking up the accordion as her principal instrument, she also learned to play violin, piano, French horn and tuba.

At 20 Ms. Oliveros moved to California in search of a compositional mentor. She found one in Robert Erickson, a prominent composer, who as the music director of KPFA-FM, a Berkeley radio station, introduced Bay Area listeners to the latest trends in European avant-garde composition.

She explored free improvisation with colleagues like the composer Terry Riley and the bassist and koto player Loren Rush in the late 1950s, and joined Ramon Sender and Morton Subotnick at the trailblazing San Francisco Tape Music Center, founded in 1962.
When the center was absorbed by Mills College in 1966, Ms. Oliveros served for a year as its director. In 1967 she joined the faculty at the University of California, San Diego, where she taught until 1981. From 2001 she served as distinguished research professor of music at Rensselaer Polytechnic Institute. Her honors include a John Cage Award from the Foundation of Contemporary Arts.

In addition to her spouse, Ms. Oliveros is survived by three stepchildren, Alessandro Bovoso, Nico Bovoso and Antonio Bovoso; a brother, John Oliveros, and eight grandchildren.



1. Gaetano Carboni, FF Intern Alumn, in il Centro Edizione Pescara, Nov. 21

The complete illustrated article can be found at the link below, followed by text only (in Italian)



Pollinaria, la radio rurale che diffonde la voce e le tecniche dei contadini
LORETO APRUTINO. C'era anche una azienda abruzzese tra le quindici finaliste nazionali - tre per sei categorie - del Concorso oscar Green, promosso da Coldiretti Giovani Impresa per premiare l'innovaz...

21 novembre 2016
LORETO APRUTINO. C'era anche una azienda abruzzese tra le quindici finaliste nazionali - tre per sei categorie - del Concorso oscar Green, promosso da Coldiretti Giovani Impresa per premiare l'innovazione under 40 in agricoltura. Un concorso che ogni anno registra sempre più successo raccogliendo anche in Abruzzo decine di iscrizioni e facendo conoscere aziende nuove che puntano alla diversificazione aziendale. Per l'edizione 2016 si è distinta in finale l'azienda agricola Pollinaria di Gaetano Carboni, arrivata tre le prime tre della categoria Paese Amico. Situata a Loreto Aprutino, Pollinaria non è una semplice azienda agricola, ma una residenza per artisti internazionali, nell'ambito delle avanguardie, al cui interno è stato eleborato un progetto di "radio rurale".

Una radio contadina che ha sede sopra un albero, nel mezzo di un bosco situato sul territorio di Loreto, dove gli agricoltori sono i protagonisti, e cioè custodi del "medium", operatori e produttori di contenuti, ma anche destinatari di informazioni che riguardano il mondo dell'agricoltura e le tecniche agricole. Lo scopo della Radio è connettere e amplificare le voci degli agricoltori e degli artefici di rigenerazione rurale, realizzando nel tempo un archivio sempre crescente di contenuti e tecniche legate alla ruralità.
"La radio si è concentrata fino ad ora su una rete di agricoltori custodi di cereali antichi attiva nel territorio abruzzese", spiega Carboni, "mettendo in relazione le esperienze di ognuno e facendo conoscere ad un pubblico più vasto e lontano dal territorio di origine l'importanza della loro ricerca e del loro lavoro per un'agricoltura attenta alla tutela della biodiversità e dell'ambiente rurale". Le trasmissioni sono finora andate in onda su Rai3 e in streeming dal Maxxi (museo internazionale delle arti del XXI secolo di Roma) dove Pollinaria è stata inviata ad esporre e presentare il progetto nell'ambito della mostra The independent Food.

"La radio rurale ideata da Gaetano Carboni, nella sua semplicità" dice Coldiretti "è una testimonianza concreta del profondo processo di rinnovamento in atto nelle campagne che ha allargato i confini dell'attività agricola come dimostrano le rivoluzionarie novità che sono approdate alla finale del concorso".

"I vantaggi di questo modello di innovazione", aggiunge Carboni, "sono da riferire sia agli agricoltori coinvolti, i quali possono rafforzare il loro operato attraverso il lavoro sinergico con i propri colleghi e amplificare la propria voce e il proprio messaggio attraverso il medium radiofonico; sia al pubblico e più in generale a chi è lontano dal mondo agricolo nella propria quotidianità, che ha la possibilità di acquisire nuove conoscenze oltre che stabilire un contatto con gli attori di una rigenerazione rurale così importante per tutti e ben oltre i confini del contesto agricolo.

La stessa Pollinaria, progetto nell'ambito del quale la radio rurale è stata sviluppata, costituisce un modello di innovazione nel suo essere organismo che coniuga ambiti diversi come agricoltura, arte, scienza e ecologia per esplorare il futuro della ruralità".




2. Alicia Hall Moran, Adrian Piper, FF Alumns, in The New York Times, Nov. 21

The New York Times
Jason Moran, From the Venice Biennale to the Village Vanguard
NOV. 21, 2016

A decade ago, when Jason Moran released "Artist in Residence," it might have been possible to see that album as an outlier. Made up of selections from several large commissioned works - with a percussive cameo by the performance artist Joan Jonas, and a spoken-word sample of the conceptual artist Adrian Piper - it framed Mr. Moran as not only a pianist and composer but also a fluent traveler in the realm of contemporary art.

He was in his early 30s then, already celebrated as a musician working both in and around jazz conventions. His portfolio since has expanded to include collaborations with the visual artists Stan Douglas, Lorna Simpson and Glenn Ligon; the choreographer Ronald K. Brown; and the filmmaker Ava DuVernay. As artistic director for jazz at the Kennedy Center in Washington, Mr. Moran generates a kaleidoscopic range of programming, testing out at the institutional level an aesthetic ideal that has already proven effective and compelling in his own work.

That ideal felt especially relevant this year, which brought us major museum residencies in New York by one of Mr. Moran's worthiest peers, Vijay Iyer, and one of their mutual heroes, Cecil Taylor. Another prominent pianist, Robert Glasper, dipped a toe into the art world with the abstract painter Mark Bradford. The composer-bandleader Darcy James Argue released an album adapted from a multimedia theatrical production. The 2017 Whitney Biennial, as announced last week, will include a contribution from the saxophonist Kamasi Washington.

At jazz's upper echelons, this sort of thing is now standard practice. That's a shift, and while Mr. Moran can't be solely credited for the surge in interdisciplinary work - he'd be the first to call out important precursors, like Mr. Taylor - his success has left an impression on other musicians and (perhaps just as important) among presenting organizations.

He programmed his own series in New York this year, in the Veterans Room at the Park Avenue Armory. (His "Artist Studio" series there continues into 2017.) He kicked things off with a brilliant solo piano recital later released as "The Armory Concert" - the auspicious first release on Yes Records, which he formed after ending a long affiliation with Blue Note.

"The Armory Concert" is a solitary statement, but it reverberates with echoes of collaboration. One song, "Alicia," is a tribute to Mr. Moran's wife and creative partner, the mezzo-soprano Alicia Hall Moran. Most other tracks are distilled from larger works like "Reanimation," made with Ms. Jonas, and "Looks of a Lot," forged in partnership with the Chicago installation artist Theaster Gates. (Both of those pieces will be restaged at the Kennedy Center in February.)

The album's most startling track, a hard rumble of glissandi titled "All Hammers and Chains," comes from "Staged," which Mr. Moran presented at last year's Venice Biennale. More than a performance piece, this was a meditation on two bygone Manhattan jazz venues, the Savoy Ballroom in Harlem and the Three Deuces on 52nd Street.

Working from old photographs, with the help of local fabricators, Mr. Moran made a sculptural reconstruction of each space: a golden-hued Savoy band shell, and a closetlike Three Deuces stage. Then he composed music to play in a loop, mainly on a Steinway Spirio player piano.

After its Venice Biennale run, Mr. Moran brought "Staged" to Luhring Augustine Bushwick, the Brooklyn outpost of the gallery that represents him. The installation was on display from spring into midsummer, with a handful of special performances by Mr. Moran and the Bandwagon, his longtime trio with Tarus Mateen on bass and Nasheet Waits on drums.

During one of these, the musicians wedged themselves into the Three Deuces space and played an exhilarating 40-minute set, mingling new material with old: a Thelonious Monk tune, a Duke Ellington number, the standard "Body and Soul." But the historical implications of the artwork were self-evident; the musicians made no attempt to sound like anything other than themselves.

In the front of the gallery, Mr. Moran had stocked a glass vitrine with artifacts for sale: old sheet music, drink menus, hat stands. Luhring Augustine was also selling the first available copies of "Loop," a limited-edition art zine he had edited, with contributions from musicians like the singer Cassandra Wilson, the saxophonists Steve Coleman and Matana Roberts, and the bassist Jamaaladeen Tacuma. Idiosyncratic and full of character, it felt of a piece with the exhibition, while aligning Mr. Moran with a vibrant, multigenerational artistic cohort.

Last week, at the Jazztopad Festival in Poland, Mr. Moran presented the premiere of his latest commission: "Wind," a chamber suite inspired by freedom movements and cultural resistance. He'd conceived an evocative set design, with the musicians all performing in tents, against a backdrop of drapery.

A live recording was made over the weekend, for possible release. But you can experience a premonition of that new piece on "The Armory Concert," which opens with "Wind" and closes with "Winds," both songs ringing with sober harmonies.

In similar fashion, Mr. Moran and the Bandwagon will be at the Village Vanguard this week, consolidating elements of their recent practice. It would be entirely accurate to describe them as artists in residence - and just as true to call them musicians at work.

Jason Moran and the Bandwagon appear Tuesday through Sunday at the Village Vanguard, 178 Seventh Avenue South, Manhattan; 212-255-4037, villagevanguard.com.

The complete illustrated article is at this link: http://www.nytimes.com/2016/11/21/arts/music/jason-moran-contemporary-art.html



3. Penny Arcade, Pamela Sneed, Olivia Beens, Yoshiko Chuma, Peter Cramer, Michele Handelman, Geoff Hendricks, Nina Kuo, Tom Otterness, Sarah Schulman, Anton Van Dalen, Conrad Ventur, Jack Waters, FF Alumns, at Howl!, Manhattan, Dec. 21

Allied Productions / Le Petit Versailles Double Anniversary Benefit Celebration

Wednesday December 21st, 5-9pm.

@ Howl! Happening: An Arturo Vega Project
6 East First Street (between Bowery & 2nd Avenue)
New York, NY 10003
(917) 475-1294

Benefit Committee & Benefit Supporter tickets are available for purchase here-

This year commemorates the 35th anniversary of Allied Productions,Inc. (Allied)
& 20th anniversary of Le Petit Versailles (LPV) garden.
To mark these banner years, our celebration honors stalwarts of New York City
that represent the incredible artists and resources that sustain and inspire us.
Sarah Schulman, author, playwright, professor and activist.
Harriet Taub, Executive Director of Materials for the Arts.

Benefit event includes a silent art auction of work by more than forty artists and live performances by Penny Arcade,
Pamela Sneed, John Michael Swartz and Gio Black Peter, with Master of Ceremony Arial Speed Wagon,
graciously hosted by Howl Happenings on Wednesday December 21 from 5-9pm.

Allied is a tax exempt non profit arts umbrella founded in 1981 as an entirely artist-run multi-purpose entity that fosters collective community building by presenting, producing, and sponsoring all areas of the arts, including the activities of individuals, groups, and organizations. Allied created LPV in 1995 and transformed an abandoned lot into an extraordinary community garden and multipurpose space that serves as our primary venue for art and activism, supporting communities at risk,including LGBTQ communities and youth of color. There's further information on Allied here - http://alliedproductions.org/

Benefit Committee (List in Formation)
Barbara Braun
Susan C. Brown
Peter Cramer
Noelle King
Barbara Korein
Zoe Leonard
Anelle Miller
Lucia Maria Minervini
Linda Richardson
Frank Susa
Jack Waters
Bonnie and Doug Weill
Friends of Materials for the Arts

Silent Auction Contributing Artists
( List in formation ) *Live Auction*
Leilah Babirye
Bizzy Barefoot
Michael Bailey-Gates
Olivia Beens
Helene Berson
Mary Campbell
Walt Cessna
Peter Cramer
Susan Spencer Crowe
Yoshiko Chuma
Sylvia de Swaan
Mike Diana
Chev D'orange
Olafur Eliasson*
Coleen Fitzgibbon
Robert Flynt
Carl George
Ingo Giezendanner
Michelle Handelman
Geoffrey Hendricks
Kate Huh
Bill Jacobson
Noe Kidder
Daryl King
Elisabeth Kley
Nina Kuo
Stephen Lack
Scooter LaForge
International Chuck/Phoebe Legere
Matthew Leifheit
Jonathan Leiter
Zoe Leonard
Jackie Lima
Alyson Lipkin
Leslie Lowe
*Robert Mangold *
Shelley Marlow
Paul Miller
Lucia Maria Minervini
Ursula Minervini
Rafael Melendez
Alice O'Malley
Tom Otterness
Sanou Oumar
Clayton Patterson
Hermes Payrhuber
Scott Pfaffman
Kembra Pfahler
Neil Polen
Carlo Quispe
Hunter Reynolds
Wade Rosenthal
Lorin Roser
Rafael Sánchez
Justin Sayre
Sarah Schulman
Jacque Servin
Ethan Shoshan
Patricia Silva
Mark Street
John Michael Swartz
Sarah Tell
Gail Thacker
George Towne
Conrad Ventur
Anton Van Dalen
Jack Waters
Kathleen White
Lili White
Tad Wiley
Martha Wilson
Alex Wolkowicz
Doug Wright
Sally Young
Quito Ziegler

Kudos and Thanks.
Howl Happenings - Jane Friedman, Ted Riederer, Carter Edwards, Susan Martin
Allied Productions,Inc. Board of Directors, Ethan Shoshan, Carlo Quispe, Sur Rodney Sur, Kelvin Goncalves/ ELKEL. and all the contributing artists and performers.

P.O. Box 20260
Tompkins Square Station
New York, NY 10009
(212) 529-8815



4. Federico Hewson, FF Alumn, now online at hyperallergic.com

Federico Hewson



5. Evelyn Eller, FF Alumn, at The Brooklyn Museum, thru Nov. 5, 2017, and more

I am included in these two museum exhibitions.

Infinite Blue - at the Brooklyn Museum, November 25, 2016 thru November 5, 2017- my work The Blue Book.

Queens Collects, 60 Years at the Godwin- Ternbach Museum, Queens College, CUNY - October 22 thru December 17, 2016
My work Language Collage # 771



6. Barbara T. Smith, at The Box, Miami Beach, FL, Dec. 1-4

The Box

Art Basel Miami Beach
Booth S12
December 1-4, 2016

The Box is pleased to present work by Barbara T. Smith at Art Basel Miami Beach. For over four decades, Smith has produced a body of work in performance, painting and sculptural installation. The Box will showcase Smith's sculptures, objects created at an intersection between the artist's long-standing feminist performance practice and her interest in ritualistic methodologies. Smith's work explores themes of the body, food, female desire, heterosexual relationships, sexuality, religion, spiritual transformation, love, and death.

This project focuses on sculptural resin objects as well as a single film. The works, in spirit and material, all relate to Smith's seminal installation Field Piece (1968/1971). Field Piece, a monumental sculpture that was Smith's vision of a never-ending field of grass symbolizing personal freedom, was composed of 15-foot tall hollow blades made of translucent resin.

From remnants of this installation, Smith created the film Light Watch. Shot on 16mm film, Light Watch is one time-lapse shot, featuring a single resin 'blade' from Field Piece embedded in the shoreline of a large body of water.

Resin sculptures created after Field Piece are also included. From the mid 1970s through the 1990s, Smith encased many objects in this volatile and fragile material, ranging from performance relics to personal mementos and detritus, creating an innovative body of work in the process.



7. Constance DeJong, FF Alumn, at BAM, Brooklyn, Dec. 13

BAM Next Wave Art Reading Room
Readings and Performances by Constance DeJong and David Greenspan
Tuesday, December 13th, 7pm

BAM Fisher, Sharp Lower Lobby
321 Ashland Place
Brooklyn, NY 11217

Wendy's Subway is pleased to partner with BAM this fall for Next Wave Art, offering audiences the chance to read, write, and engage with selections from our extensive collection of historical and contemporary print publications. The Reading Room will include works on theater, dance, performance theory, and contemporary poetics and showcase titles curated by Next Wave artists performing in the BAM Fisher building, rotated monthly.

Constance DeJong is an American artist, writer and performer, producing fiction texts and language/image based work for performance and theater, audio and video installations. She has permanent audio installations in Beacon, NY, London and Seattle. DeJong has twice collaborated with Tony Oursler on live performances; was a collaborator on Super Vision, A Builders Association production (2005); librettist for the opera, Satyagraha, composer Philip Glass. Her current work includes NightWriters a performance and book project with Triple Canopy and Radios, a series of digitally rei-engineered vintage radios that play ten tracks performed by DeJong, Jim Fletcher and others. Her first book, Modern Love, will be re-issued in spring 2017 by Primary Information/Ugly Duckling Presse.

David Greenspan has performed solo renditions of Barry Conners' 1925 comedy The Patsy (Transport Group), Gertrude Stein's lecture Plays (The Foundry
Theatre), a program of Stein lectures and a playlet Composition...Masterpieces...Identity (Target Margin Theater) and his solo plays Jonas (Transport Group), The Myopia (The Foundry Theatre) and The Argument (Target Margin Theater). He has acted in his plays Dead Mother (NYSF/Public Theater), She Stoops to Comedy (Playwrights Horizons), Go Back to Where You Are (Playwrights Horizons) and I'm Looking for Helen Twelvetrees (Abrons Arts Center). Additional acting credits include premieres by David Adjmi, Sarah Ruhl, Adam Rapp, Terrence McNally, Richard Foreman, Mac Wellman - and his association with the work of director David Herskovits at Target Margin Theater. He enjoys close collaborative relationships with directors Leigh Silverman and Jack Cummings III and is the recipient of Guggenheim, Lortel and Fox fellowships, Alpert and Lambda Literary awards and five OBIES.



8. Paul McMahon, Linda Mary Montano, FF Alumns, at Emily Harvey Foundation, Manhattan, Nov. 30

Are you or a close personal friend or a close personal nation suffering from ELECTILE DYSFUNCTION?
Have no fear, the Rock'n'Roll Therapist is here! After curing thousands of suffering listeners of all of their problems for over 30 years, the Rock'n'Roll Therapist is stepping up again to handle this and/or any other problem he may be served at the Emily Harvey Foundation on Wednesday November 30 at 7.
Beyond therapy, McMahon will perform songs with his double, the venerable feminist performance artist Linda Mary Montano. He will also be selling a pretty wide swath of arts produce including postcards, bumperstickers, CDs, vinyl, books and cat toys
Emily Harvey Foundation
7 pm Wednesday November 30
537 Broadway, above Prince St. in Soho




9. Cassils, FF Alumn, at Pennsylvania Academy of Fine Arts, thru Mar. 5, 2017 and more


Powerful performance-based sculpture that ignites the canon of art history
November 19, 2016 - March 5, 2017

Live Performance of Becoming An Image: Dec 2, 2016, 7 PM (Note:Sold Out)
Panel dissusion: Gender and Sexuality in 19th and 21st Century Photography
Dr. Jennifer Doyle, Professor, University of California Riverside, and artist Cassils, Moderated by Curator Jodi Throckmorton
December 3, 2016 3-4 PM
Opening Reception (open to the public): December 3, 2016 4pm-6pm

Philadelphia- Cassils' first solo museum exhibition in the United States will feature the artist's groundbreaking work in photography, video, sculpture, and performance. Thinking of the body as raw sculptural material, transformed by strict physical training regimes, Cassils forges a series of powerfully trained bodies for different performative purposes.
In the live performance, Becoming An Image, Cassils unleashes an attack on a 2,000 pound clay block, delivering a series of kicks and blows in total darkness. The spectacle is only illuminated by the flash of a photographer, which burns the image into the viewer's retina. Cassils initially performed Becoming an Image at the ONE National Gay and Lesbian Archives at USC, which houses the largest collection of LGBTQ materials in the world, pointing to the evidence of queer and trans lives that are often missing from historical representation. The result of this performance is a series of bashed bodies marked with the imprint of fists, knees, elbows, sweat and struggle. Cassils will perform Becoming an Image in PAFA's historic Cast Hall on December 2, 2016.

"Becoming an Image smashes the weight of accountability directly on everyone involved" - Exeunt Magazine

Cassils will exhibit a new series of sculptures called The Resilience of the 20%. The concrete and bronze sculptures that comprise The Resilience of the 20% are cast from bashed remnants of performances of Becoming an Image and proposed as a public monument marking sites where acts of violence against trans and gender nonconforming people have occurred. The Resilience of the 20% refers to the sickening statistic that in 2012, murders of trans people increased worldwide by 20%. We are in a moment of high trans visibility, but representation of some does not mean lived equality for all.

"The works are stunning; they're also moral quicksand." -Boston Globe

Cassils' work, rooted in art history, invigorates and resonates with Thomas Eakins' (1844 - 1916) photographs on display in the Richard C. von Hess Foundation Works on Paper Gallery. In the rotunda of

PAFA's Historic Landmark Building, Tiresias, a video of an almost five hour arduous performance in which Cassils melts an ice sculpture of a classic male torso with only body heat, will be on display with a casting of the Belvedere Torso. Time Lapse Grids is a reinterpretation of Eleanor Antin's 1972 performance Carving: A Traditional Sculpture. Unlike the feminine act of weight loss via self-starvation in Antin's performance, Cassils' performance involves a transformation into a traditionally masculine muscular form via intensive bodybuilding. Juxtaposed against the context of the museum with its role in the preservation of traditional modes of artmaking including sculpture and photography, Cassils' work constructs a visual critique around ideologies and histories with sweat, blood and sinew.
For more on the Morris Gallery program, click here.

Syracuse Appoints Cassils as University Alpert Fellow

Syracuse- Sculpture Atelier was a unique opportunity to participate in the production of a major work by Syracuse University Alpert Fellow, Cassils. In this course students will work alongside Cassils to produce The Resilience of the 20%, from Cassils' Monument Project, a bronze cast of a sculpture made from a performance remnant of an attack on a 2000-pound clay block, to be exhibited as part of their solo exhibition at the Philadelphia Academy of the Fine Arts. Casting the clay bash, Cassils end proposal is to place this monument at a public site where these acts of violence have occurred to trans and gender nonconforming people, giving shape to trauma and the resilient human spirit. This project would not have been possible without the generous support of the talented Jessica Posner, Tom Hall, Stephanie James and Sam Van Aken

Additionally, students made works responding to various prompts, readings, or themes that offer a theoretical framework and conceptual context for Cassils' work and practice. Some themes students will engage over the semester include a broad understanding of how sculpture can be opened and interpreted to include a wide variety of art making approaches, both formally and conceptually.They were also honored to host the talented visiting artist Kris Grey, Zackary Drucker, Keijaun Thomas who were able to contuxtualize ideas around transness and forn in a broder socio political context.

Follow their progress as Cassils and the students as the embark upon the intense, fastidious and ancient pratice of pouring an 1000 pound bronze. http://becomingasculpture.tumblr.com

Cassils' film is loaded onto a truck and driven around the swing state of Florida the days prior to the election

As the first artist-run super PAC, For Freedoms uses art to inspire deeper political engagement for citizens who want to have a greater impact on the American political landscape.

In the aftermath of the attack on the Pulse nightclub in Orlando, survivors recounted that they mistook popping sounds to be celebratory noise rather than deadly gunfire. Using this as a narrative element, this stark black and white video captures the physical and emotional responses of friends and lovers as they pop a balloon in the pressure of an embrace. Made with urgency and on location at Pride in Dolores Park, Cassils generated this piece in three days having its world premeire on the tale end of PRIDE.

Watch the video here.
Read the compelling essay,The Sounds of Everyday Nightlife by Julia Steinmetz, released alongside the film, here.



Finding the gray in black and white by Cate McQuaid

Never Apart, By Mikela Jay, 2016


Fragile Body - Material Body
III° Venice International Performance Art Week
European Cultural Centre
Palazzo Mora, Venice Italy
December 10-17, 2016

Bemis Center for Contemporary Art
Cassils: Moving Monument
Omaha, Nebraska
February 2-April 29, 2017

Outsider Fest
Cassils: Early Career Retrospective
Austin, Texas
February 15-19, 2017



10. Liliana Porter, FF Alumn, at SoundScape Park, Miami Beach, FL, Dec. 2


SoundScape Park: Friday, December 2, 2016, 10PM

Sicardi Gallery is delighted to announce that the film Actualidades/Breaking News, by Liliana Porter, is included in the 2016 Art Basel Miami Beach Film Program. The film will be screened at 10 pm, Friday, December 2. Curated by David Gryn, the program includes a selection of International artists who engage with music. Gryn has created a 'Double Bill' program that pairs two film works sharing similar themes. Liliana Porter and Alfredo Jaar are paired for Friday evening, December 2, at 10pm. The films will be screened at Soundscape Park, on the 7,000 square foot, outdoor projection wall of the New World Center at 500 17th Street, Miami Beach, FL 33139. For more information, click here.

Actualidades/Breaking News was conceived and Co-directed by Liliana Porter and Ana Tiscornia. The music is by Sylvia Meyer. Videography and editing is by Federico Lo Bianco.
Sicardi Gallery is located at Booth H3, at the Miami Beach Convention Center.
Art Basel Miami Beach Hours:
First Choice (by invitation only)
Wednesday, November 30, 2016, 11am to 3pm
Preview (by invitation only)
Wednesday, November 30, 2016, 3pm to 8pm
Vernissage (by invitation only)
Thursday, December 1, 2016, 11am to 3pm
Public days
Thursday, December 1, 2016, 3pm to 8pm
Friday, December 2, 2016, 12 noon to 8pm
Saturday, December 3, 2016, 12 noon to 8pm
Sunday, December 4, 2016, 12 noon to 6pm

For more information, please visit www.sicardigallery.com, or contact Mónica Hernández Goins at monica@sicardi.com or by calling 713.529.1313.



11. Sarah H. Paulson, FF Member, at The Parisian Hotel, Miami Beach, FL, Dec. 4

Fire in Fire: Prayers for the Ocean
31/2 hour performance by Sarah H. Paulson
Performers: Samantha Gray, Travis Laplante, Sarah H. Paulson

Sunday, December 4th / noon-3:30pm
(Audience may enter & exit at any time throughout the performance.)

Curated by Performance Is Alive

Satellite 2.0 for Miami Art Week 2016
The Parisian Hotel (Next Door to Aqua)
1510 Collins Avenue / Miami Beach, FL

Fire in Fire: Prayers for the Ocean is dedicated to the ocean.
Samantha Gray and Sarah H. Paulson bathe themselves in thousands of rose petals. Through their continuous immersions into piles of reds and pinks, accompanied by Travis Laplante's masterful use of the saxophone to emit cascades of sound, each petal becomes a letter, a prayer, a love note, from the heart of the performer to the ocean.
Each year tons of people flock to Miami for Miami Art Week. It is a time of creativity, opulence, celebration, debauchery, activism, education, criticism, art, addiction, performance, traffic, waste, self-expression, business, music and more. It is a week that is full of both beauty and horror.
Fire in Fire serves to remind viewers, the performers, and the artist alike, about the importance of place. The ocean is ceaseless, calling to us, singing, crashing, reaching, available, regardless of what stands on its shore or is discarded into its waters. Fire in Fire: Prayers for the Ocean is but a breath, from the shore, in response to that constant call.
With the help of audience members, moxa* is burned through the center of silk handkerchiefs, one after another. Rose petals are wrapped in the burnt handkerchiefs and given to individuals from the audience, with the agreement that they will release the petals into the ocean.
Below is a plea from the artist to herself:
Please do not forget the ocean. Please do not forget the Earth. Please do not forget her rivers...or her tears...or her magic. Please do not forget. Please do not forget the love note that each piece of art is, beyond the paint, beyond the canvas, beyond the idea, beyond the artist, beyond the hand, beyond the eye. Please perform with this in your heart. Please perform with all of your heart.
Do not forget the Earth, and do not forget her ocean.

*Moxa, dried mugwort, is burned on acupuncture points. Paulson's teacher, Laura Stelmok, describes moxa as a gift from the Earth.

Sarah H. Paulson was born in New Orleans, LA. Since graduating with a BFA in Special Studies in Art from Syracuse University in 2002, she has lived and worked as a performance artist in Brooklyn, NY. Paulson is also devoted to the study of alchemical Taoist medicine and practices acupuncture in Brooklyn, NY and Putney, VT. She is a lifelong student of the esoteric school, The Unseen Hand: Medicine from Antiquity.

Her art practice remains focused on The Performative. Paulson believes that performance has the capacity to bring the human being closest to what it means to be human. The boundaries and overlaps between past and present, time and timelessness, and public vs. private surface through her drawings and performances. By archiving personal experience through her often durational or endurance-based work, Paulson reaches the place where the universal is touched in the audience as well as in herself and/or the other performers. The artist and the performers are pushed to their limits. Humanness, with its breath and blood, beauty, hopelessness, and potential, is aspired to and celebrated.

Her most recent large-scale work, The Reed Bed, was an 11-hour performance in June 2016 at Grace Exhibition Space (Brooklyn, NY). Her solo work, as well as her collaborations with Holly Faurot (www.faurotpaulson.com), have been exhibited/performed at English Kills Art Gallery, Brooklyn, NY; Ronald Feldman Fine Arts, NY; Grace Exhibition Space, Brooklyn, NY; ACG (Alice Chilton Gallery), Brooklyn, NY; NurtureArt, Brooklyn, NY; The Chocolate Factory Theater, Brooklyn, NY; P.I.T. (Projects In Transit), Brooklyn, NY; the Harold Clurman Center for New Works in Movement and Dance Theatre at the Stella Adler Studio of Acting, NY; NYCAMS (NY Center for Art & Media Studies), NY; Villa Feuerlösche, Prenning, Austria; Open Art Gallery, Beijing, China; among others.



12. Einat Emir, FF Alumn, at Tel Aviv Museum, Israel, opening Dec. 1, and more

Dear friends and colleagues
Hope you're enjoying the last part of 2016. Personally, I cannot wait for 2017 to be here. It's going to be an exciting one.
But first, I would like to share with you two updates about the good things that are already here:
a. A new project at the Tel Aviv Museum:
I'm happy to invite you to the exhibition "Art School", that I am participating in, at The Helena Rubinstein Pavilion for Contemporary Art, Tel Aviv Museum. Curated by Avi Lubin. The opening reception will take place on Thursday, December 1st at 7 pm.

I will be showing a new installation, titled "Men #2", accompanied by a live performance that will be performed by 10 of my male ex college professors during the exhibition. The performance is inspired by Rebecca Solnit's formative article "Men Explain Things To Me" (Haymarket Books, 2015).

My project also includes a collaboration with five prominent Israeli female artists. Each one of them designed a beautiful T-shirt inspired by five different gender statistics about the Israeli art world, such as the percentage of Male / Female artists solo shows at museums , Male / Female artists gallery representation, Male / Female professors in the art academies and more.

b. Artist in residence at a social psychology lab:
I am thrilled to announce that I was invited to be the first ever PICR Lab's artist in residence! The Psychology of Intergroup Conflict and Reconciliation lab (PICR) at the IDC is a social psychology lab that specializes in the psychological processes underlying the dynamics of intergroup conflict. The lab, founded in 2013, is headed by Prof. Eran Halperin, Dr. Tamar Saguy, and Dr. Michal Reifen-Tagar. I am currently having the time of my life, spending time at the lab and learning about contemporary experiments and their potential impact. As part of my year long residency I am collaborating with different researchers on several projects the are part psychological experiments, part artworks. Please email me if you're curious to learn more, as it is currently my favorite conversation topic!

Happy new year to you all,
Einat Amir
עינת עמיר عينت عمير



13. Barbara Rosenthal, FF Alumn, at Chumleys, Manhattan, Nov. 30, and more

Hi, Friends,

Come join me TONITE, Wed, Nov 30, for an INFORMAL DRINK at Chumleys, 86 Bedford St, near Grove, Wed, Nov 30, 5:30-7:30pm. Today is the official date of the release of the Final Definitive Edition of WISH FOR AMNESIA, Deadly Chaps Press. Chumley's is an old West Village writers' haunt. Note...the door itself is unmarked.

Don't go to much trouble coming today, though, as it's just a regular bar stop, not a real event, but if you are around, it would be nice.
UPCOMING: I will be doing a 5-minute reading from it on Sat, Dec 10 at Adriaan Van Der Plas Gallery, 156 Orchard St. (212-227-8983)
And in January there will be a big event about it at Printed Matter, with guest readers and more fanfare, so if you can only come to one, wait for that one.

But tonight at Chumley's is just a little relief-alcohol to say I HOPE I AM FINISHED WITH THIS 40 YEARS OF WRITING this BEAST OF A BOOK!!

Reviews articles, etc have begun to come out.

The first was a REVIEW by Mike Folds wonderful in Ragazine:

The second was more of a Barbara-as-Jew-themed ARTICLE, by Lehman Wechselbaum, but it does have a lot of nice stuff in it about the book, too, particularly a quote comparing me to Wallace Stevens, by Stephen Paul Miller! http://jewishvoiceny.com/index.php?option=com_content&view=article&id=16330:a-jewish-sojourn-amnesia-author-hard-to-forget&catid=93&Itemid=788&lang=en

Here is the THIRD. 2P online magazine asked to reprint 2 PARAGRAPHS from the novel and 2 about myself as author.

Here is a preview of the novel on the publisher's website:

You might notice that the cover reprinted in all of the articles is from one of the 12 proto-editons. Well, as I've been saying: TIME PLAYS TRICKS!! I will bring sample of newest cover to Chumley's, too.

Barbara Rosenthal
463 West Street, #A629
NY, NY, USA 10014-2035
+1-646-368-5623 (voice and voicemail, no texts)
Skype: barbararosenthal



14. Ken Butler, FF Alumn, at The Firehouse Space, Brooklyn, Dec. 8

Ken Butler - hybrid string instruments
Adrian Romero - guitar
Satoshi Takeishi - percussion
Thursday Dec. 8th 8pm (we go on at 9)
8:00pm - Flash by Sandra Sprecher
Sandra Sprecher - Piano/electronics
Satoshi Takeishi - Percussion
Briggan Krauss - Guitar
The Firehouse Space
246 Frost St, Brooklyn, NY 11211

The Firehouse Space link to event .....

Ken Butler 427 Manhattan Ave. Brooklyn, NY, 11222

Ken Butler's Hybrid Visions

Copyright (c) 2016 Ken Butler's Hybrid Visions, All rights reserved.
You are receiving this email because you ended up on my contact list for event listings

Our mailing address is:
Ken Butler's Hybrid Visions
427 Manhattan Ave.
Brooklyn, Ny 11222



15. Carrie Moyer, Pope.L, FF Alumns, at The Whitney Museum of American Art, opening March 17

The formation of self and the individual's place in a turbulent society are among the key themes reflected in the work of the artists selected for the 2017 Whitney Biennial. The exhibition includes sixty-three participants, ranging from emerging to well-established individuals and collectives working in painting, sculpture, drawing, installation, film and video, photography, activism, performance, music, and video game design.
The Whitney Biennial is the longest running survey of contemporary art in the United States, with a history of exhibiting the most promising and influential artists and provoking lively debate. The 2017 Biennial is the Museum's seventy-eighth in a continuous series of Annual and Biennial exhibitions initiated by Gertrude Vanderbilt Whitney in 1932. It is the first to be held in the Whitney's downtown home at 99 Gansevoort Street, and the largest ever in terms of gallery space.
The 2017 Whitney Biennial is co-curated by Christopher Y. Lew and Mia Locks.
The film program is organized by Christopher Y. Lew, Mia Locks, and Aily Nash.
Read more about the 2017 Biennial curators and advisors.




16. Anahi Caceres, FF Alumn, at Centro Cultural Recoleta, Buenos Aires, Argentina, thru Dec. 18, and more

La Catedra
Anahi Caceres
de la UNA / Visuales,Universidad Nacional del Arte,
expone en Fase 8.0, Arte Ciencia y Tecnologia.
Centro Cultural Recoleta. Buenos Aires
29/ 11 al 18 / 12

Muestra de Anahi Caceres.
La Isla, Encanto y simbolo.
Casa de Las Culturas Del Carmen/ Ciudad de Tigre. Pvcia de Buenos Aires
26 / 11 al 29 / 12 2016



17. Lawrence Weiner, FF Alumn, at Kunsthaus Bregenz, Austria, thru Jan. 15, 2017

Lawrence Weiner
November 12, 2016-January 15, 2017

Kunsthaus Bregenz
6900 Bregenz


"There are so many varieties of germanic culture here in Bregenz that are not mixable, and I see that as a kind of geyser, like anything that builds up enough pressure, you have to lance it or pop it, that's a geyser, that's a pimple, a pimple popper. You know, that's what it is. That's what philosophy is. Philosophy is a popped pimple. All of these simultaneous cultures are teutonic (of a sort) and if you read them as tectonic plates one can understand the allusion to the geyser."
-Lawrence Weiner. Bregenz, September 2016

On the walls of Kunsthaus Bregenz Weiner's work becomes a commentary on the architecture, the space, and sensory experience. His works are only apparently site-specific. They relate to themselves, pursue elliptical odysseys through meaning and create deft plays on society, politics, and the place of art.

Lawrence Weiner is particularly important to Kunsthaus Bregenz. Because of his spatial thinking, the model for his text works across the building's four floors is, according to Weiner, a kind of geyser. Geysers provide valves for excessive pressure, and art is a spontaneous escape from apparently hermetic tectonic crusts. He admits to that as being "idealistic," but this nevertheless remains one of art's tasks.

KUB publication
On the occasion of the Lawrence Weiner exhibition at Kunsthaus Bregenz, an artist's book is being published. Edited by Kunsthaus Bregenz, it will include essays by Nazli Gürlek and Rainer Metzger.
German | English approx. 160 pages, 22 x 30 cm, hardcover
Date of publication: January 2017



18. Dynasty Handbag, FF Alumn, at Joes Pub, Manhattan, Jan 2, 2017, and more

new stupid makeup tutorial video look your best for the new regime! (old regime)


Very pleased to announce that I, An Moron is coming to Joe's Pub in January! I have to rewrite the whole show tho first cuz of fascism etc so we will see how that goes.

I, An Moron is Dynasty Handbag new falling-apart stand-up show is a current events review of her privates and her publics, covering topics such as white women having babies and how this makes her feel enraged/grossedout/furious/inadequate, a cover of Rihanna's well-known blue-collar anthem celebrating the proletariat and an analysis of coyote discrimination in relationship to the Hollywood desert nightmare. Oh yes, and a full vomit session in reaction to today's political climate (change)...it's real. "One of the nuttiest and most brilliant artists working today" - Artillery Magazine

January 2nd
Joes Pub, New York
9:30 PM

and until then...
Sunday, November 27th
Neil Hamburger Show
Satellite LA
c u there w a gut full of symbolism!
8:30 21+

Sunday, December 11th
Weirdo Night
El Cid LA
8:00 $7 21+
with Kristina Wong, Jerry Jergens (Heather Jewett's man drag shock comic, he's terrible) and more...

and then

Thursday January 12th - Saturday January 14th
The Lab presents Constance Hockaday - Attention! We've Moved! (on a boat)
Dynasty Handbag hosts party show on a boat floating around the SF bay dont ask me but im excited
San Francisco, CA

Friday, January 20th
PUSH International Performance Festival
Vancouver, BC
maybe i will just stay there. i wont be at the march but i will just march around the stage for an hour is that worth ticket price i think so
does anyone know people here that will show me where to get GF waffle? thnx.

limited edition holiday cards! these are a HOT controversial item that the printers had to have and EXECUTIVE MEETING to decide if they would print such trash! THEY SAID YES! 50% of profits will go to the ACLU so that pervs like me can continue making shit like this.

Copyright (c) 2016 Dynasty Handbag, All rights reserved.

Our mailing address is:
Dynasty Handbag
1425 1/2 Kellam Ave
Los Angeles, California 90026



19. Joyce Yu-Jean Lee, FF Alumn, at REDpoint, St. Pölten, Austria, opening Dec. 3

"Group exhibition featuring FIREWALL pop-up Internet Cafe by Joyce Yu-Jean Lee & Dan Phiffer

Search for... Serendipity
curated by Julia Hartmann and Magdalena Stöger

Exhibition on view: 12/4/16 - 12/31/16
Opening: December 3 @ 10am
at REDpoint, WienerStr. 13, 3100 St., Pölten, Austria

Artists featured:
Joyce Yu - Jean Lee
Dan Phiffer
Sarah Abu Abdallah
Paolo Cirio
Constant Dullart
Brendan Howell
Julian Palacz
Suzanne Treister

FIREWALL is a socially engaged research and interactive art project designed to foster public dialogue about Internet freedoms and restrictions, and examines how "truth" is transformed by technology. The goal of FIREWALL is to investigate censorship and manipulation of information by highlighting the disparities between simultaneous images searches on Google in Austria and Baidu in China. Participants can compare search results from within Austria with what the Chinese population finds within the restrictions of the "Great Firewall of China" (government's domestic internet firewall.) The work demonstrates that the information we find online represents a national perspective and that our understanding of the world is shaped by technologies and its gatekeepers."



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Goings On is compiled weekly by Harley Spiller




Goings On is compiled weekly by Harley Spiller