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Contents for October 9, 2017

1. Robert Berlind, FF Alumn, at Lennon, Weinberg, Manhattan, thru Nov. 4

Robert Berlind: Reality is Everything," at Lennon, Weinberg until November 4. It's his second posthumous show at the gallery--a very carefully chosen selection of works from 1995 - 2012, spare and elegant, a brilliant job by Mary Shah and Jill Weinberg. 514 W. 25th Street.

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2. Agnes Denes, Carl Andre, Leon Golub, Hans Haacke, Sol LeWitt, Lucy Lippard, Adrian Piper, Lawrence Weiner, FF Alumns, at Leslie Tonkonow Artworks + Projects, Manhattan, thru Dec. 2

AGNES DENES Truth Approximations
Psychograph and Other Works
October 5 – December 2, 2017

Our fifth solo exhibition of works by Agnes Denes is the first to focus primarily on conceptual projects undertaken throughout her long and distinguished career. It traces the evolution of her philosophical explorations from the early 1970s to the present, featuring rarely exhibited works that evince her interests in a wide variety of disciplines ranging from science and mathematics to geography and psychology.

On view for the first time in its entirety is Psychograph (1971–72), a piece that is equally revealing of Denes’s sincere interest in uncovering the complex motivations of the human psyche as it is of her sense of humor.

A penetrating questionnaire was devised by the artist and given to ten artists (Carl Andre, Leon Golub, Hans Haacke, Douglas Huebler, Sol LeWitt, Gordon Matta-Clark, Robert Morris, Adrian Piper, Bernar Venet, Lawrence Weiner) and two critics (Lucy Lippard, John Perreault). Each was asked to complete sentences that began with a list of existential phrases, the results then interpreted by two licensed psychologists. Described by the artist herself as “a multi-faceted, interactive exercise in truth approximations,” the completed work consists of a seventeen-foot-long monoprint that compiles the questions, answers, and analyses, a series of diagrammatic drawings, and Rorschach inkblots made by Denes. She writes:

Psychograph is an investigation into the nature of communication and perceptions, the hide and seek of the psychosocial phenomena of behavior, the conscious and unconscious mental and emotional process of role-playing in the social arena.... Although all participants were given a choice, most preferred to be evaluated and exhibited but not necessarily identified. Their names were deleted from the individual pieces to insure their privacy, including the psychologists who were identified by their professional license numbers only.

Psychograph is one of several works that are part of Denes’s Study of Distortions, which also encompasses the series entitled Philosophical Drawings (1968–79). The Study of Distortions led to her best known series of works on paper, Map Projections (1973–81), in which she re-envisions the globe as a fanciful, mathematical form projected into a pyramid, doughnut, egg, snail, cube, hot dog, and other shapes.

The forthcoming exhibition will feature seminal works on paper including a five-part drawing entitled Study of Distortions – Positions of Meaning (1971) that, according to Denes, investigates “the various misunderstandings and discrepancies that can occur in the interpretation of a work of art.” Four large drawings from the Map Projections series, and Syzygy – “The Moment of ... (1972–73), described by the curator and scholar Peter Selz as Denes’s “most complex and sophisticated visual investigations,” will also be on view.

Another major highlight of the exhibition is Denes’s tour de force, Citadel for the Inner City – The Glass Wall (1975–1976), recently exhibited at documenta 14 in Athens and exhibited here in New York for the first time. With this sixteen-foot-long drawing, exquisitely executed in silver ink, Denes proposes: “A long narrow pyramid-shaped wall constructed from solid glass blocks... It is slightly curved, transparent, and elusive to behold, a total contradiction to what is expected of a wall or fortress. It distorts and fragments reality with constantly changing illusions.”

Among the many other works included in this unique presentation of Denes’s art are the print Matrix of Knowledge (1969–70/2017), originally conceived for the landmark exhibition SOFTWARE Information Technology: It’s New Meaning for Art, held at the Jewish Museum in New York and the Smithsonian Institution in Washington, DC from 1970 to 1971 (also currently on view at documenta 14 in Kassel); and Sheep in the Image of Man (1998), a monumentally-scaled, panoramic photograph that documents the piece Denes created while a Fellow at the American Academy in Rome, when she brought a herd of sheep onto the grounds of the Academy. In her statement about the piece she writes:

My decision to bring sheep into the gardens of the Rome Academy reflects my environmental concerns and calls attention to some of our misplaced priorities. When pitted against the pristine environment of the Academy, the sheep (a symbol for humanity), were intended to create a strong paradox, usually inherent in my art.

An internationally known pioneer of both conceptual and environmental art, Denes has completed public and private commissions in North and South America, Europe, Australia, and the Middle East, and has received numerous honors and awards including numerous fellowships from the National Endowment for the Arts, grants from the New York State Council on the Arts; the DAAD Fellowship, Berlin, Germany; American Academy of Arts and Letters Purchase Award (1985); MIT's highly prestigious Eugene McDermott Achievement Award (1990); The Rome Prize, American Academy in Rome (1998); Watson Trans-disciplinary Art Award, Carnegie Mellon University (1999); Anonymous Was a Woman Award (2007); the Ambassador’s Award for Cultural Diplomacy for Strengthening the Friendship between the US and the Republic of Hungary through Excellence in Contemporary Art (2008); and a fellowship from the John Simon Guggenheim Foundation (2015).

She has participated in more than 500 exhibitions in galleries and museums and is represented in the collections of major institutions worldwide.

Works by Agnes Denes can also be seen at documenta 14, Kassel (through September 17, 2017); The Garden, ARoS Aarhus Kunstmuseum, Denmark (through September 10, 2017); Hybris, Museo de Arte Contemporaneo de Castilla y Léon (MUSAC), Spain, (through November 19, 2017); Ecovention Europe, Museum De Domeinen in Sittard, Netherlands (through January 7, 2018); From Outrage to Action: Proposals for the Climate, Resources, and the Planet, The Gallatin Galleries, New York University; (September 14 – 21, 2017); Delirious: Art at the Limits of Reason, 1950–1980, The Met Breuer, New York (September 12, 2017 – January 14, 2018); Art in the Open: Fifty Years of Public Art in New York, The Museum of the City of New York (Opening November 10, 2017); and Bending Light: Neon Art 1965 to Now, Neuberger Museum of Art, Purchase, NY, (January 28 – June 24, 2018).

LESLIE TONKONOW Artworks + Projects
535 West 22nd Street, 6th Floor
New York, NY 10011
212 255 8450
tonkonow.com

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3. Nao Bustamante, FF Alumn, at The Broad, Los Angeles, CA, Oct. 7-Nov. 12

Teach Me Spanish/Enséñeme Español
I invite you to help me learn Spanish in a live interactive environment. Many second or third generation Latinx immigrants in California have lost their mother tongue. It is so common that there is a slang word for it, “Pocho/a.” The cultural shame of not speaking Spanish, is at the heart of this participatory performance. But other kinds of cultural exchange may be explored through the act of teaching through conversation, giving tests and making flashcards, or learning Spanish along side me. Besides transcending shame, I have real desire to show appreciation for Spanish speakers and those willing to help me.

The Broad, (the Olive Grove outside)
Saturday and Sunday, October 7-8, 11:00 am - 4:00 pm.
Saturday and Sunday, November 11-12, 11:00 am - 4:00 pm.
Free and open to the public
Family Weekend Workshops
221 S. Grand Avenue, Los Angeles, CA 90012
After The Broad premiere, I look forward to taking this project directly to people where they work, shop and live as part of the PST Live Art LA Festival in January, 2018.

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4. Judith Bernstein, FF Alumn, at The Drawing Center, Manhattan, opening Oct. 12

THE DRAWING CENTER / NYC
OPENING RECEPTION
10.12.17, 6 - 8PM

Please join us Thursday, Oct. 12, 6-8pm for the opening of
Judith Bernstein: Cabinet of Horrors.

Judith Bernstein: Cabinet of Horrors presents a new body of work by the artist, specifically commissioned by The Drawing Center. Focusing on works on paper made since Donald J. Trump was elected president in November 2016, this exhibition includes eighteen new drawings, four large-scale paper panel murals, a series of drawn "dollar bills," and vintage piggy banks in vitrines. A series of free political campaign pins designed by Bernstein are available at the museum entrance. Organized by Brett Littman, Executive Director.

35 Wooster Street, New York/NY 10013 / Exhibition dates: 10.13.17 - 02.04.18

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5. Alicia Grullon, FF Alumn, at Art in Odd Places, Manhattan, Oct. 14

Grullon will be presenting "The Rule is Love #2 (Pilgrim) on Saturday October 14th at 6 pm. Starting on 14th & ave C, Grullon will walk blinded folded across 14th street to Hudson street. Her only rule is to keep moving. Participants/passersby rule is not to lead her, but to see her across safely- with love.

"The Rule is Love" is a series of performances started earlier this year at The 8th Floor for "Enacting Silence" curated by Sara Reisman. This performance series deals with undoing the systems which constitute social conditions forming our various epistemic bases.

The "The Rule is Love #2" is being presented by Art in Odd Places: Sense curated by Nicolas Dumit Estevez Raful with Rocio Aranda-Alvarado and Jodi Waynberg. http://sense.artinoddplaces.org/?artists=grullon-alicia

Alicia Grullon
www.aliciagrullon.com

Artist in Residence 2017/18- Center for Book Arts
"Uptown" Wallach Art Gallery, Columbia University June 1-August 20th
Upcoming Commissioned project: "Empanar" Bronx River Art Center Sundays in June

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6. Clemente Padin, FF Alumn, at SCCA, Ljubljana, Slovenia, opening Oct. 11

Slow motion scream
Early video art from the Southern Cone
An exhibition of video art works from Argentina, Chile and Uruguay between 1981 and 2001

Curator: Angela López Ruiz
Introduction: Francisco Tomsich

Opening: Wednesday, 11 October 2017, at 7pm
Project room SCCA, Metelkova 6, Ljubljana

Exhibition will be open till 13 October, 10am–4pm.

The selection proposes a genealogy of significant video art practices that emerged in times of deep political, social and cultural conflicts. Exhibitinig artists: Fernando Álvarez Cozzi, Sybil Brintrup & Magali Meneses, Gloria Camiruaga, Juan Downey, Rubén Guzmán, Narcisa Hirsch, Los Estómagos, Clemente Padín, Javier Sobrino & Guillermo Faivovich, Carlos Trilnick.

The exhibition will be introduced by Francisco Tomsich, adding a remarkable focus on the comparative analysis of the beginnings of video art in two up until now detached contexts, Slovenian and Uruguayan.

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7. Brendan Fernandes, FF Alumn, fall news

Dear Friends,

This month, I am excited to announce a few new opportunities to share my work.

First, thank you all who were able to join us for a successful showing at Expo Chicago with Monique Meloche Gallery in September!

Also in September, a group exhibition, "New Region of the World" has successfully opened in Cracow, Poland with Bunkier Sztuki Gallery. My work will be on view with "New Region of the World" from September 8th to November 30th, 2017. I will also be in Krakow and participating in an accompanying panel discussion on November 7th at the Ethnographic Museum in Cracow.

Opening October 7th and running to March 2018, I will be participating in a significant group exhibition, "Sanctuary" at the Fort Mason Chapel in San Francisco. Curated by the FOR-SITE Foundation, "Sanctuary" commissioned each participating artist to design a new prayer rug that will be part of a large-scale installation at the Fort Mason Chapel.

Finally, in the news, my work is currently featured in Sleek Magazine, in an article, "Why the Art World is Obsessed with Dance" by Will Paz Furtado. My work is also featured in the new LGBT+ Issue of Esse Magazine, in an article by Adam Bardu, "Poster Virus: Views from the Street" on the 2017 Poster Virus project I participated in 2016.

Wishing you well as we head into Fall,
And as always sending my best,

Brendan

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8. Billy X. Curmano, FF Alumn, at Art in Odd Places, Manhattan, Oct. 13-15

Come join us at AiOP. I’m honored to have been named the keynote speaker for the 13th annual staging of Art in Odd Places (AiOP) October 13th - 15th in New York City. The curated event will feature the work of 61 artists altering the everyday in every way. It has been described as “provocative works of interactive art in unexpected public spaces along 14th Street in Manhattan”. I’ve formed an expeditionary art adventure team to serve as “Ambassadors for Clean Water” searching out water sources along, above, below and - from and between the East and Hudson Rivers. A touch of Dada will accompany the team’s sculptural/acoustic roller-vessel as it sounds out a “Water is Life” mantra in over 100 languages. The mariners, Margarita Baumann, Bella Via, Dr. David Christenson and John Pendergast, will collect data and create spectacle along the way.

The “Expeditionary Art Adventure Team” launches October 12th, high noon, near the Hudson River off 14th Street primarily traveling east on even dates and west on odd dates – between 2 and 4 pm. Weather permitting; the “Father of Waters” will join the New York waters via a keynote ritual and ocean harp serenade near the Highline and 14th Street on Saturday at 3:30 pm (Rain date: Sun.) Billy X will also perform at the reception Oct. 13th at 7 pm between 7th & 8th Avenues and at all the artists’ “Critical Masses” - 2 to 4 pm Saturday between 6th & 8th Avenues and Sunday between 1st & 3rd.

http://www.artinoddplaces.org/meet-the-aiop-2017-keynote-speaker/

Art in Odd Places 2017: SENSE is curated by Jodi Waynberg, Nicolás Dumit Estévez Raful, Rocío Aranda. And curatorial manager, Christina Daniels with curatorial assistants: Claire Gohorel, Katelyn Ahladas, Sofía Reeser del Río, Jing Cui, Kara Nandin, Paulina Kowalczyk, Zoé Fornara, Emilia Shaffer-Del Valle, Katrina De Wees, and Susan Joy Rippberger

Art in Odd Places 2017: SENSE : http://bit.ly/2xiFuDC

Billy X.
http://www.billyx.net

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9. Alicia Hall Moran, Fred Wilson, FF Alumns, receive Ford Foundation Fellowships

The Ford Foundation today announced 25 new Art of Change fellowships that will support visionary artists and cultural leaders in creating powerful works of art that help advance freedom, justice, and inclusion, and strengthen our democracy.
Artists and cultural leaders have been at the forefront of social change throughout US history. Today, in the face of growing intolerance and widening inequality, the arts have the power to transform how people see and understand each other, and the world around them.
The artists and cultural leaders selected for Art of Change fellowships all have a demonstrated commitment to social justice, and reflect a powerful diversity of experiences and creative voices. Drawn from a wide range of artistic fields, the fellows span generations, backgrounds, geographies, and life experiences—and together tell a rich and varied American story.
“Art is essential in a free and flourishing society. Artists are the visionaries who can shine light on complexity and possibility, and inspire us to make those societies more just and more beautiful,” said Elizabeth Alexander, the Ford Foundation’s director of Creativity and Free Expression. “This fellowship recognizes an extraordinarily diverse group of brilliant artists and innovators whose works embody social justice, and enables them to come together and collaborate toward a more just and inclusive future.”
The yearlong fellowship comes with unrestricted stipends of $50,000 for individuals, and $75,000 for collaborative teams. Fellows will create work exploring questions of freedom and justice, which they will showcase in late 2018.
“The Ford Foundation is honored to support these powerful working artists and creative innovators,” said Hilary Pennington, vice president of Education, Creativity, and Free Expression at the Ford Foundation. “We know the work they create through this fellowship will touch millions of lives for generations to come.”
Art of Change builds on the Ford Foundation’s decades-long commitment to advancing the arts and creative expression. Today, the foundation’s Creativity and Free Expression program explores how culture affects and shapes our world, and how the arts, journalism, and film can contribute to fairer and more just societies.
The recipients of the 25 fellowships are listed below. Read their full bios.
Luis Alfaro is an associate professor at the University of Southern California School of Dramatic Arts, who grew up just blocks from USC in the Pico-Union district of downtown Los Angeles. He is a Chicano writer and performer known for his work in poetry, theater, short stories, performance, and journalism.
Mikhail Baryshnikov was born in Riga, Latvia, and came to the United States in 1974. He is considered one of the greatest dancers of our time, and is also a dramatic actor on stage, cinema, and television. He is founder and artistic director of Baryshnikov Arts Center, a space in New York City for presenting and supporting multidisciplinary artists.
Camille A. Brown is a prolific choreographer who has received multiple accolades and awards for her daring works. Originally from Queens, New York, she is a graduate of the LaGuardia High School of the Performing Arts and the University of North Carolina School of the Arts.
P. Carl is the director and co-founder of HowlRound, a free and open platform for theater-makers worldwide that amplifies progressive ideas about the art form and facilitates connection between diverse practitioners. He is also the co-artistic director of ArtsEmerson at Emerson College.
Ping Chong is a theater director, choreographer, and video installation artist. Born in Toronto and raised in New York City’s Chinatown, he is a seminal figure in the Asian American arts movement and a pioneer in the use of media in theater.
Sandra Cisneros is a poet, short story writer, novelist, and essayist, whose work explores the lives of the working-class. Her numerous awards include NEA fellowships in both poetry and fiction, the Texas Medal of the Arts, a MacArthur Fellowship, several honorary doctorates and book awards nationally and internationally. Cisneros has fostered the careers of many emerging writers through two non-profit organizations she founded: the Macondo Foundation and the Alfredo Cisneros del Moral Foundation.
Edwidge Danticat is a writer whose moving and insightful works across many genres enrich our understanding of the complexities of Diaspora and the immigrant experience. Her novels, memoirs, essays, short stories, children’s and young adult books evoke the intricate layers of community, family, migration, isolation, and belonging.
Michelle Dorrance is a New York City-based tap dancer, choreographer, director, teacher, performer, and the founder and artistic director of Dorrance Dance. Mentored by Gene Medler, she grew up performing with his North Carolina Youth Tap Ensemble.
Gustavo Dudamel is an internationally renowned symphonic and operatic conductor, motivated by a profound belief in music's power to unite and inspire. He serves as music director of the Simón Bolívar Symphony Orchestra of Venezuela and Music & Artistic Director, Los Angeles Philharmonic.
Ava DuVernay is a writer, producer, director, and distributor of independent film. Winner of four Emmys, the Peabody Award and the BAFTA for Best Documentary, her Academy Award-nominated "13TH" was one of the most critically-acclaimed films of 2016.
Mohammed Fairouz, born in 1985, is one of the most frequently performed, commissioned, and recorded composers of his generation. His large-scale symphonies, operas, and oratorios all engage major geopolitical and philosophical themes with persuasive craft and a marked seriousness of purpose.
Nikky Finney is an acclaimed poet who, as a teacher and citizen, advocates for justice and equity from her home base in Columbia, South Carolina. She holds the John H. Bennett, Jr. chair in Creative Writing and Southern Letters at the University of South Carolina.
Joy Harjo has published eight books of poetry. Her most recent collection, Conflict Resolution for Holy Beings, was short-listed for the Griffin International Prize and named the American Library Association’s Notable Book of the Year. Performing on saxophone and flute, Harjo has toured nationally and internationally.
Samuel Hoi is president of Maryland Institute College of Art (MICA) in Baltimore. He is an innovative higher education leader dedicated to expanding the platform for and impact of art and design education, as well as promoting equitable pathways to education and opportunity.
Robin Coste Lewis is the Poet Laureate for the City of Los Angeles. Born in Compton, California, her family is from New Orleans. She is the author of Voyage of the Sable Venus (2015), the winner of the National Book Award for Poetry. Her work has appeared in various journals and anthologies.
Deborah Luster is a visual artist engaged in an ongoing exploration of violence and its consequences. She is best known for her long-term documentary/archive series. She lives in New Orleans, Louisiana, and Galway, Ireland.
Alicia Hall Moran and Jason Moran are highly acclaimed musicians who have created work for the Venice Biennale, Whitney Biennial, Walker Art Center and other cultural institutions. Alicia is a mezzo-soprano and multidimensional artist, and has been commissioned to create new work by ArtPublic/Miami Art Basel, Museum of Modern Art, and The Kitchen among others. Jason is a pianist, composer and educator who has produced 11 albums and six film soundtracks, and serves as Artistic Director for Jazz at the Kennedy Center for the Performing Arts.
Dominique Morisseau is the author of The Detroit Project, a three-play cycle that includes Skeleton Crew (Atlantic Theater Company/Scott Rudin), Paradise Blue (Williamstown Theatre Festival), and Detroit ’67 (Public Theater, Classical Theatre of Harlem, and The National Black Theatre).
Mira Nair was born and raised in Rourkela, India, and went on to study at Delhi and Harvard Universities. She began as an actress before segueing into documentary filmmaking. Her narrative feature debut, Salaam Bombay!, won the Caméra d’Or and was nominated for an Academy Award for Best Foreign Language Film.
Las Nietas de Nonó are sisters Lydela and Michel. They live in Barrio San Antón, a half-rural, half-industrial working class neighborhood of Carolina, Puerto Rico. Their autobiographical work is framed within the socioeconomic and geographical context of the exclusion and eviction of black communities in Puerto Rico.
Postcommodity is an interdisciplinary arts collective made up of Raven Chacon, Cristóbal Martínez, and Kade L. Twist. Postcommodity’s art functions as a shared Indigenous lens and voice to engage the assaultive manifestations of the global market and its supporting institutions, public perceptions, beliefs, and individual actions.
Lori Pourier grew up on the Pine Ridge Reservation and is a member of the Oglala Lakota tribe. She heads First Peoples Fund, a 17-year-old national Native nonprofit that works with culture bearers and artists in Indigenous communities.
Esperanza Spalding is a bassist, singer, and multilingual songwriter. With seven collaborative and five solo albums thus far in her career, at 31 she is known for her unique blend of jazz, rock, funk, soul, and R&B, along with influences from Brazilian music.
Carlton Turner works nationally as a performing artist, organizer, policy shaper, lecturer, consultant, and facilitator. He is the executive director of Alternate ROOTS, a regional arts service organization based in the South, supporting artists working at the intersection of art and social justice.
Fred Wilson was born in the Bronx, New York, and received a BFA from Purchase College, State University of New York. Since his landmark exhibition at the Maryland Historical Society, Mining the Museum (1992), he has been challenging assumptions about history, culture and race through unconventional approaches to display of art and artifacts found in museum collections—including wall labels, sound, lighting, and nontraditional pairings of objects.

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10. Colette, FF Alumn, in the New Yorker, now online

The New Yorker
Colette
The Tunisian-born artist, a pioneer of boundary-blurring tableaux vivants, was a flamboyant presence in downtown New York during the nineteen-seventies. She now spends most of her time in Berlin, so this nostalgic gathering of old and new work (dating from 1973 to 2017) is a welcome return to the city where she made her name. Documentation from past projects, including a large, cloth-wrapped photograph of the artist posing as a mermaid in an attic, alternates with more recent installations like “Beautiful Dreamer (Décapité),” a life-size photograph mounted on board with a candelabra in lieu of a head. The piece that may best encapsulate Colette’s elevation of life into art is a hand-lettered sign saying “Fuck Art: Let’s Dance,” which she made for the 1980 opening of the night club Danceteria.
Through Oct. 15.
Algus
132 Delancey St.
Downtown
212-844-0074

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11. Lenora Champagne, FF Alumn, at Hudson River Park, Manhattan, Oct. 9, and more

TRAPS: an intimate conversation in a public space
written and performed by Lenora Champagne

Monday, October 9 Hudson River Park, Christopher Street Pier (near river) 4:30 p.m.

Thursday, October 12 Hudson River Park at Chelsea Piers, 4:30 p.m.

Friday, October 13 Abrons Arts Center @ Henry Street Settlement, 466 Grand Street, 5 p.m.

Sunday, October 15 Jefferson Market Library, 425 Sixth Avenue, 3 p.m.

with support from Lower Manhattan Cultural Council

Lenora Champagne
lenorachampagne.com

New World Plays, No Passport Press, 2015

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12. Heng-Gil Han, FF Alumn, at The Church Center of the United Nations, Manhattan, opening Oct. 12

Commodity & Ideology, Part II
The Church Center of the United Nations
777 United Nations Plaza, New York, NY 10017
October 12 through October 21, 2017
Hours of operation: 9–6pm weekdays and 10–4pm weekends

Thursday, October 12 from 6–8 pm: Opening reception with Doug Hostetter’s welcoming remarks

Saturday, October 21 from 1–3 pm: Closing reception with Heng-Gil Han’s presentation

Korea Art Forum (KAF) is pleased to announce Commodity & Ideology, Part II, a group photography exhibition featuring Song-Gwang Hong, Myong-Un Kim, and Ryong Kim, who are from North Korea and are based in Pyongyang; Zaun Lee, who is from South Korea and is based in New York; and Shen Yang who is from China and is based in Beijing.

This past summer, Korea Art Forum invited three North Korean artists to visit New York City as part of our artist-in-residency program. While waiting for their US visa approval, which they were ultimately unable to obtain, they stayed in Beijing from July 27 through August 8, taking thousands of photographs throughout the city. Our exhibition features their work, together with the work of Shen Yang, who visited New York from July 29 through August 20; and the Korean-American artist, Zaun Lee, who is currently making photographs in London and Athens.

The artists have taken photographs of common spaces including museums, marketplaces, streets, and tourist attractions. Commodity & Ideology collects their photographs and presents more than 1,500 images in a form that appropriates the format of a contact sheet in the neutral and universal grid structure of "one next to another" and "one after another."

Provoked by the prolonged conflict, growing military tensions, and the vicious circle of crisis and war threats between North Korea and the US, the exhibition is organized to serve as a metaphor for imagining a peaceful world in which North Korean and international artists freely exchange their ideas and knowledge. The exhibition also aims to dismantle ignorance and biases that permeate through the collective consciousness of both countries. By using the photographic medium, the exhibition seeks to explore identities and differences in the worldviews of North Korean, South Korean-American, and Chinese artists. Without generalizing the contributing artists’ individual worldviews, the goal of the exhibition is to enable us to recognize what is missing in our efforts to achieve peace with North Korea.

The exhibition is directed by the logic that a photograph inherently has a frame of focus that manifests the point of interest of the photographer. By looking at the artists’ images, we can see both their common and different interests. By understanding these interests, we can begin to see a new aspect of the structure of the current crisis among the involved countries. Only when we see through the architecture of the crisis, can we begin to see the conflict through the eyes of the other, and explore new ways to resolve the crisis. The exhibition seeks to provide a blueprint for building understanding between our peoples, and insights for our governments for the peaceful resolution of the current crisis. We hope that this exhibit will draw attention to the contributions that the exchange of the visual arts, which reflect the society in which they are made, can make to transforming the current crisis between North Korea and the US.

Commodity & Ideology is supported in part by the Andy Warhol Foundation for the Visual Arts, the Cultural Development Fund by the Department of Cultural Affairs of New York City, Mennonite Central Committee, the United Methodist Women, and individual contributors. The exhibition is designed in collaboration between Heng-Gil Han and Rahul Alexander, with assistance from Matt Greco.

For more information, please visit http://kafny.org/commodity-ideology-part-2/ and/or contact KAF’s Director and Exhibition Curator, Heng-Gil Han, at hhan@kafny.org or 347-840-1142.

The Andy Warhol Foundation for the Visual Arts

This program is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.

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13. Lisa Moren, Beatriz da Costa, Brook Singer and Jaime Schulte, FF Alumns, now online

A quick announcement to let you know that Uncovering News issue of Media-N is now live, featuring my essay "Algorithmic Pollution: Artists Working with Dataveillance and Societies of Control", a 4 year project based on, and expanded on, the exhibition "CYBER IN SECURITIES" at the WPA in DC. The amazing cutting edge and talented artists involved in this project and the associated CAA panel are too numerous to name here, but I've included everyone in this email. Please forward and announce!

http://median.newmediacaucus.org/uncovering-news-reporting-and-forms-of-new-media-art/algorithmic-pollution-artists-working-with-dataveillance-and-societies-of-control/

Print editions of Media-N Journal now available from Lulu.com

Lisa.

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14. Jamie Martinez, FF Member, now online at youtube.com and more

Check out my Artist interview with NTN24 (Nuestra Tele Noticias 24) for "Líderes" (Translation: Leaders) which is one of the largest Spanish news networks broadcasting to 21 countries around the world with an audience of 45 MM people.

https://www.youtube.com/watch?v=laJBdXFeKz4

And this video of the group show I was in called "An Inclusive World" curated by Vida Sabbaghi shown at The Queens Museum from July 11 - August 9, 2015

https://www.youtube.com/watch?v=xQ1LqwMbjBU

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15. Patty Chang, Louise Lawler, Richard Serra, Cindy Sherman, FF Alumns, in The New York Times, Oct. 8

The New York Times
ART & DESIGN
At Queens Museum, the Director Is as Political as the Art
By ROBIN POGREBINOCT. 8, 2017
Laura Raicovich, the director of the Queens Museum, has publicly criticized President Trump’s changes to immigration policies. “This isn’t an abstraction; this is real,” she said.CreditGeorge Etheredge for The New York Times

Last month, as reports circulated that President Trump intended to end the policy Deferred Action for Childhood Arrivals, which shields young undocumented immigrants from deportation, Laura Raicovich, the president and executive director of the Queens Museum, took to Twitter.

“Defending DACA is just the right thing to do,” she wrote. “Prevent its dissolution and pass legislation to make it permanent.”

In response, the art critic Tyler Green noted, “First art museum director I’ve seen show leadership on DACA.”

To which Ms. Raicovich replied: “Neutrality is a fiction.”

Museums often show political art. Less common is for museum directors themselves to take political positions.

But Ms. Raicovich, 44, almost three years into her tenure at the Queens Museum, has been notably outspoken on various hot-button topics, particularly immigration and DACA. It’s an issue that hits close to home. Five percent of her staff members are DACA recipients, or Dreamers, as they are known, and the museum is operating in a borough where about 91,000 undocumented immigrants are eligible for DACA, the highest of New York City’s five boroughs.

National politics is sensitive territory that arts organizations all over the country are trying to navigate during this polarized era, and some are asking whether it is appropriate for museum directors to also be public advocates.

“It’s hard to put one’s own politics aside when we represent public institutions that welcome all viewpoints,” said Anne Pasternak, the director of the Brooklyn Museum. “This is a moment when cultural leaders are asking themselves, do I want to be on the right side of history?”

Traditionally, museum directors have remained behind the scenes, allowing the art they show to speak for itself. But increasingly they have been forced to defend and — in two recent cases, at the Guggenheim and the Louvre — remove controversial exhibitions. Many see the withdrawal of artwork as a troubling development for cultural institutions that are supposed to champion free expression.

When the Trump era of fast-moving political developments headed toward cultural institutions this year — specifically the president’s proposed defunding of the National Endowment for the Arts — at least two museum directors in New York felt compelled to jump into the fray.

Some museums have also responded by quickly staging politically relevant exhibitions. To protest Mr. Trump’s executive order on immigration, the Museum of Modern Art in February rehung part of its permanent collection with works by artists from some of the majority-Muslim nations whose citizens were blocked from entering the United States. And the Brooklyn Museum organized its recent show, “The Legacy of Lynching: Confronting Racial Terror in America,” in just five weeks.

But in Queens, where 165 different languages are spoken, Ms. Raicovich seems to be charting her own community-focused path, with an emphasis on making the museum a safe haven for the borough’s large immigrant population.
“I take my leadership very seriously — not just in a physical and managerial sense,” Ms. Raicovich said in a recent interview at her museum office. “Care and equity has to be part of what I bring to my position.
“This isn’t an abstraction; this is real,” she added. “It’s people that I work with every day. This museum is interacting with immigrants.”
On Mr. Trump’s Inauguration Day in January, the Queens Museum closed its galleries in solidarity with an art strike called by hundreds of artists — including Cindy Sherman, Richard Serra and Louise Lawler — to combat, as the organizers put, it “the normalization of Trumpism — a toxic mix of white supremacy, misogyny, xenophobia, militarism, and oligarchic rule.” The museum invited the community to come make protest posters, buttons and banners (materials provided for free).
And, since some immigrant residents have been newly wary of going out in public — Ms. Raicovich said attendance noticeably dropped after the election — the museum has been holding events in people’s homes and on their blocks. “Xenophobia is not a new thing,” Ms. Raicovich said. “Our work has just intensified.”
A politically outspoken museum director could run the risk of alienating trustees, donors and potential future employers, who may disagree with her views or deem such advocacy inappropriate. But so far, the Queens Museum board has supported Ms. Raicovich. “This is an engaged time, and she is an engaged leader who has placed values of difference and multiplicity at the center of her leadership,” Mark J. Coleman, the museum’s chairman, said.
Artists also say they appreciate Ms. Raicovich’s bold stances. “Having a young director brave enough to talk about issues that are directly affecting Americans — especially people born Dreamers — is so worthy,” said the conceptual visual artist Mel Chin, who will have a retrospective at the museum in April. “Someone in a position to speak out on behalf of people who don’t have voices is what it’s all about.”
To help New York’s cultural institutions through this thicket, the city’s Department of Cultural Affairs and the Ford Foundation last spring invited arts leaders to a discussion with legal experts on what is permissible for nonprofits in lobbying and political activity. Nonprofit laws bar institutions from engaging in electoral politics and holding political fund-raisers, a hornet’s nest the Queens Museum ran into this past summer when it appeared to cancel and then reinstate an Israel-sponsored event after accusations of anti-Semitism.

Two city officials in August called for Ms. Raicovich’s removal, and one of them, Councilman Rory I. Lancman, said in an interview this month that he is still awaiting the results of the museum’s investigation into the matter.
“The museum discriminated against a Jewish organization in a way that I think makes it impossible for her to serve as the head of the museum,” he said. “I have given the board of the museum the opportunity to conduct a thorough investigation and present me with facts showing me she’s not at fault, and she should not be removed, but they haven’t done so yet.”
Mr. Coleman said the museum’s board could not elaborate on its ongoing investigation, but he expected it to be concluded by the end of November.
Ms. Raicovich said the decision regarding the Israel event, which was made by the board, simply had to do with an application of the museum’s space rental practice, which has not permitted art fund-raisers, auctions or political events. The board then decided to overrule its initial decision and allow the event upon realizing that a museum official had led the Israeli Ambassador to believe the rental would proceed.
“The decision was not anti-Semitic,” Ms. Raicovich said. “The accusation is very painful. This is not who I am. My grandmother helped young Jewish men escape across the border out of fascist Italy during the war. My husband is the grandson of Holocaust survivors. I have dedicated my career to freedom of expression, inclusiveness and civic discourse.”
For Ms. Raicovich, immigration issues are also personal. Her father is Italian; her mother, Italian-American. Raised mostly in Roslyn, N.Y., she also spent years in Milan and Bucharest as a child when her father worked as a banker there.
The Queens Museum — built as a pavilion for the 1939 World’s Fair and then home to the United Nations General Assembly before becoming a museum in 1972 — was physically in her life at an early age; she learned to drive a stick shift nearby, often stalling in front of its entrance.
After a brief stint at the Guggenheim, she spent 10 years at Dia Art Foundation, before joining the nonprofit Creative Time in 2012 to expand the organization’s international presence.
Because the Queens Museum has a collaborative quality and loyal staff similar to that of Dia and Creative Time, Ms. Raicovich said she felt “at home” in becoming director. Nevertheless, she said there has been a learning curve in “understanding what it means to be in Queens.”
“What is hyper local here is intrinsically linked to what is international,” she said.
In addition to mounting exhibitions like the artist Patty Chang’s multimedia“Wandering Lake” or “Never Built New York,” about unrealized architectural plans, the museum offers Immigrant Movement International, a community storefront space on Roosevelt Avenue that provides free educational, health and legal services. And the museum will in the next few years house a branch of the Queens Public Library.
“The highest-level curatorial program also has to be rooted in the realm of the real,” Ms. Raicovich said.
“To be a responsible citizen in a democracy, one has to be involved in a kind of civic engagement,” she added. “Culture has a huge role to play in that. And museums have a huge role to play in that.”

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16. Verónica Peña, FF Alumn, at Purdue University, IN, Oct. 18

PERFORMANCE ART: PRESENCE and PROCESS
Graduate Workshop by Verónica Peña
(Host: Prof. Min Kim Park)

Patti & Rusty Rueff School of Visual and Performing Arts
Purdue University
West Lafayette, IN
October 18

Thanks!
Verónica Peña
Interdisciplinary Artist
www.veronicapena.com

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17. Peter Downsbrough, FF Alumn, at Ete 78 and Relais 42, Ixelles, Belgium, thru November 5

Please visit this link

https://www.subrosa.net/en/catalogue/soundworks/peter-downsbrough.html

and

http://www.ete78.com/portfolio-item/peter-downsbrough/

Saturday 07/10 from 16:00 to 20:00: opening Peter Downsbrough
One exhibition, two locations within walking distance from one another, to discover one after the other…
A collaboration with Eté 78 (http://www.ete78.com/) and Relais 42, a home but also exhibition space and artist’s residence (http://www.residencehuetrepolt.org/).
Peter Downsbrough has been invited to develop a specific and simultaneous project in both locations situated less than one kilometer apart but within the same spirit: both are private and belong to art patrons dedicated to supporting artists.
The artist will present works that connect and mentally unite these two spaces while at the same time revealing their very own characteristics.
Practical information (for both venues):
- exhibition from 08/10 to 05/11
- opening on Saturday 07/10 from 16:00 to 20:00
- open to the public on Saturday afternoon from 14:00 to 18:00 (14, 21, 28/10 and 04/11)
- open by appointment mailto:info@ete78.com and Relais42@hotmail.com

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18. China Blue, FF Alumn, recent news

China Blue's talk about her work entitled "The 7th Kingdom" will be presented in:
La vie a l'oeuvre: Nouvelles Ecologies, Bioart, Biodesign
Organized by Paris Sciences and Letters University, Labex Transfers and Muse de la Chasse et de la Nature, October 16 & 17
At the Muse de la Chasse et de la Nature, Paris

China Blue's works MindDraw and Imagining Blue are currently featured in E-Squared Magazine Art + Science's Issue #3 Vernus http://www.esquaredmagazine.com/issues/

Hold the Date! Opening: November 13, 5-7:00
"Brain's Eyes"
An exhibition of works created during China Blue's two-year Norman Prince Neurosciences Institute residence at Rhode Island Hospital
Warren Albert Medical School, 222 Richmond St, Providence, RI 02903
November 6, 2017 - March 1, 2018

China Blue is a recipient of her third NASA RI Space Grant for the project recording the sounds of Saturn.

China Blue is an elected member of the Rhode Island State's Art and Health Committee.

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19. Clarinda Mac Low, FF Alumn, in NYC, Oct. 14-21

Clarinda Mac Low, Executive Director of Culture Push, invites you to a collaboration between Culture Push and Helsinki/Berlin-based YKON — 7 Exercises in Practical Utopia,” OCTOBER 14-21, 2017, a week-long series of events that create and discover practical utopias in New York City.

7 Exercises in Practical Utopia is an invitation to practice utopian thinking and acting in everyday life.
Practical Utopia--the first practical steps towards large-scale changes to society, right here and now, with YKON and the Culture Push Fellowship for Utopian Practice.
Each day Fellows from Culture Push’s Fellowship for Utopian Practice will provide participants with a set of questions that will challenge their preconceived notions of reality and allow them to bump up against new forms of thinking and doing. Each evening participants are invited to join YKON and Culture Push organizers to discuss the day’s happenings and debrief at a “Random Bar.”

October 14: Practical Utopia Intro in 3 Easy Steps with YKON -a brief tutorial on how to become a practical utopian
October 15: Tea and Tools with Yvonne Shortt — have a tea, learn to use a tool in Rego Park, Queens
October 16: Walking the Red Line with Walis Johnson — a tour an contemplation of the visible marks of racist Federal housing practices (redlining) in Crown Heights, Brooklyn
October 17: Metamorphic! with aricoco — Living the life of an insect altruist through remote interactions with the artist
October 18: Tactical Cinema with PATTERN DETECTOR — Radical Pedagogy through media analysis
October 19: Everyday Spy Training with (mystery Fellow) — Investigate your everyday life through surprise prompts via text message throughout the day.
October 20: PISO pari en el Bronx Party with Noemí Segarra Ramirez — The artists, just arrived post-Maria from Puerto Rico, throws an intimate party where moving together breaks us out of normal modes of discourse.
October 21: POPS Tour with Culture Push staff — a tour of the strangest Privately Owned Public Spaces in Lower Manhattan.

All events are free and open to the public, but some require advance sign-up. Please visit http://practicalutopia.org for more times, locations, and ways to RSVP.

YKON is a non-profit art organization that was founded as an artistic initiative and platform for exploring utopian fantasies and the political imaginary in relation to concrete sociopolitical structures and concerns. Emerging from and working in the field of contemporary art, YKON merges the language and approaches of a number of disciplines, such as game design, scenario development, experimental education, dynamic facilitation, social architecture, and alternative economies. Apart from participating in exhibitions in biennials and exhibition spaces internationally, YKON regularly give lectures and talks on the topics of 'micronations' and utopian communities.

Culture Push is an arts organization that works with hands-on learning, group problem solving, serious play, and creating connections. The mission of Culture Push is to create a lively exchange of ideas between many different communities; artists and non-artists, professional practitioners and laypeople, across generations, neighborhoods, and cultures. Culture Push supports the process of creating new modes of thinking and doing and serves a diverse community of creative people. The programs of Culture Push focus on collaboration and group learning through active, participatory experiences. Culture Push programs appear in many different locations, taking many different forms, and public presentations are low-cost or free, to give access to the widest audience.

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20. Nina Sobell, FF Alumn, at LevyArts, Manhattan, Nov. 12

Nina Sobell will speak about her performative Synchronous BrainWave Installations 1973- present
NY LASER a Leonardo Education and Art Forum (LEAF) Rendezvous Event
What: Wine + Discussion
Where: LevyArts: 40 E 19th St #3-R, NYC
When: November 12 from 4:00 – 7:00 pm

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21. EIDIA House, FF Alumns, recent news

Hello Colleagues & Friends of EIDIA House & Plato’s Cave

We have been so busy had to put Plato’s Cave on hiatus—even not had a chance to update you.

The Paris Review and Artsy attached assess the exhibition curated by Arthur Fournier of Arthur Fournier Fine and Rare. We’ve been working for months organizing the FOOD SEX ART the Starving Artists’ Cookbooks & Video archive for that show at the MoMA PS1 Printed Matter Art Book Fair 2017.

We have a few FOOD SEX ART the Starving Artists’ Cookbooks remaining, current going price $385. signed, numbered 500. Contact: eidiahouse@earthlink.net Our modest cookbook is now a collector’s item!

And our Deconsumption Sales resume, hours 1-7 Mon. to Sun.

EIDIA House
14 Dunham Place
Brklyn, NY 11249

at the base of the Williamsburg Bridge
with regular buses
trains: L, J & M
…a walk across the W. Bridge can be refreshing.

Best, Paul and Melissa
EIDIA

https://www.theparisreview.org/blog/2017/09/28/starving-artists-cookbook/

https://www.artsy.net/article/artsy-editorial-learn-cook-john-cage-marilyn-minter-louise-bourgeois

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22. Joseph Keckler, FF Alumn, at Joe’s Pub, Manhattan, Oct. 17 and more

Hello! I know it has been a long time since you've heard from me. Did you miss me? Probably not, but I don't take it personally. I know there are, uhm, well, a lot of other things that may be consuming your thoughts these days.

Since early January... perhaps around the time of a certain inauguration... I've been dividing my time between Montreal and Brooklyn. Emphasis on the former. (A Canadian filter on current events has been welcome, and I suppose it has been my way of coping.) Remember that Weimar New York show I conceived during the second term of George W. Bush? (Those halcyon days!) Well, sadly, the themes of that show are suddenly more relevant than ever, and I was invited to put together a new edition for Festival Phenomena in Montreal. The show hosted by razor sharp comic (and expat Canadian) Kate Rigg who you may know as one-half of NuyorAsian trip hop duo Slanty-Eyed Mama, and the cast features a mix artists from the US and Canada. If you know me at all, you know I love a road trip, so following the Phenomena gig, we're piling into a minivan for a Weimar New York Whistle Stop Tour!

The cast includes legendary downtown singer/composer and visual artist Phoebe Legere; interdisciplinary artist Geo Wyeth (fka Novice Theory); "negro gothic" performance artist M Lamar; banjo-wielding vaudevillian Curtis Eller; opera singer, storyteller, actor and 2016 Creative Capital grantee Joseph Keckler; multimedia artist and drag king Alexis O'Hara; and social practice artist and AIDS activist Jordan Arseneault. I look forward to joining with you in real time to laugh, scream and connect with like-minded New Yorkers who are experiencing collective PTSD and still wondering WTF!?!

Joes Pub Oct. 17 https://www.publictheater.org/Tickets/Calendar/PlayDetailsCollection/Joes-Pub/2017/W/Weimar-New-York/?SiteTheme=JoesPub

Helsinki Hudson, Hudson, NY, Oct. 15http://www.ticketfly.com/purchase/event/1570977?utm_source=fbTfly&utm_medium=ampOfficialEvent

Best,
Earl Dax

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23. Martha Burgess, Pablo Helguera, jc lenochan, Steed Taylor, Saya Woolfalk, FF Alumns, at EFA Center, Oct. 19-21

EFA OPEN STUDIOS 2017
Meet the artists. Witness the process. See where art is created.

Thursday, October 19, 6:00 - 10:00 pm (opening night)
Friday, October 20, 6:00 - 9:00 pm
Saturday, October 21, 1:00 - 6:00 pm

EFA CENTER
323 West 39th Street
New York, NY 10018

OPEN STUDIOS 2017 is an annual event of the EFA Studio Program, which invites the public to explore and interact with over 70 member artists in their studios. It is an opportunity to see artwork in development and gain meaningful insight the individual creative practices of our artists. The EFA Studio Program is a vibrant and diverse community of artists working in a wide range of media and artistic sensibilities. All members are professional artists with an established studio practice and recognized career. Rarely can curators, collectors, dealers, and art lovers see so many internationally recognized artists working under one roof in Midtown Manhattan. Visit http://www.studios-efanyc.org/open-studios/ for more information.

PARTICIPATING ARTISTS: Samira Abbassy, Rashwan Abdelbaki, Clytie Alexander, Richard Barnes, Keren Benbenisty, Wafaa Bilal, Rhona Bitner, Martha Burgess, Mattia Casalegno, Jordan Casteel, Patty Cateura, Noa Charuvi, Cecile Chong, Elizabeth Colomba, Vicky Colombet, Sarah Dineen, Michael Eade, Sally Egbert, Jonathan Ehrenberg, Sean Fader, Cui Fei, Del Geist, Alex Gingrow, Lauren Gohara, Mahmoud Hamadani, Richard Hart, Valerie Hegarty, Pablo Helguera, Amy Hill, Catherine Howe, Akira Ikezoe, Edgar Jerins, Richard Jochum, Tamiko Kawata, Yongjae Kim, Noah Klersfeld, Ming-Jer Kuo, Greg Kwiatek, Sarah Leahy, Eun Young (Lydia) Lee, Patricia Leighton, JC Lenochan, Dana Levy, Patte Loper, Katinka Mann, Jeanette May, Toyin Ojih Odutola, Morgan O’Hara, Sener Özmen, Thomas Pihl, Shahpour Pouyan, Simonette Quamina, Armita Raafat, Maria Rapicavoli, Javier Romero, Alex Schweder, Karina Skvirsky, Howard Smith, Suzanne Song, Xin Song, Steed Taylor, Dannielle Tegeder, Scott Teplin, Yuken Teruya, Johanna Tiedtke, Denise Treizman, Liselot van der Heijden, Carlos Vega, Marjorie Welish, Bryan Whitney, Saya Woolfalk

ABOUT THE EFA STUDIO PROGRAM: Founded in 1998 as a program of The Elizabeth Foundation for the Arts, the EFA Studio Program was created to provide affordable studio space within a community of artists, facilitate career development, and promote public and critical exposure for our members. EFA Studios is housed on eight floors of the EFA Center located in Midtown Manhattan’s Garment District, in close proximity to the city’s primary gallery districts. Members are selected by a jury of respected arts professionals, through a competitive application process. EFA Studios facilitates interaction with curators, art critics, and art dealers to provide continued career development for our member artists. Unique among studio programs in New York City, EFA Studios is one of the few remaining arts organizations still providing long-term workspace in Manhattan.

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24. Hector Canonge, FF Alumn, recent news

Monday, October 9, 8:00 PM
TINKUTOH
Movement Research at the Judson Church, NYC
55 Washington Square S, NYC 10012
TINKUTOH is a performance inspired by Butoh dance and traditional movement-based Pre-Hispanic rituals from the Andean region of Potosí, in Bolivia, Latin America. The solo work explores notions of the colonized body, the syncretization of corporeal embodiment, and the transformation of form and figure. TINKUTOH constitutes Canonge's exploration of ancestral rituals, traditional dance practices, and the integration of various forms of corporeal identity.

Wednesday, October 25, 7:30 PM
APOLOGIA
Black Box, IMA- MFA Program, Hunter College, CUNY,
Hunter North 543, 695 Park Ave, NYC 10065
APOLOGIA evokes the artist’s relations with his Hispano American roots, and revisits traumatic events of his self-imposed exile while living in the United States. In APOLOGIA, Canonge continues his exploration of corporeal expression, body politics, and the poetics of identity. The three part-no intermissions performance integrates visuals elements, text, dance movement, and endurance in the “generative” style that characterizes Canonge’s Performance Art oeuvre.

Sunday, October 15, 2:00 PM
TALKaCTIVE: Performance Art Conversation Series
Hosted at Queens Museum, NYC
NYC Building, Flushing Meadows Corona Park
TALKaCTIVE: Perfomance Art Conversation Series is a program that fosters dialogue and exchange among Live Action Art practitioners, encourages commentary about Performance Art, and prompts reflection about performative processes, methodologies, and styles. Every session is organized around a relevant topic in Performance Art, and the presentation of works by a group of selected artists who share their work, discuss their approach to Live Art, and engage in open conversation with critics, curators, and attending audience.

Coming Soon:
PERFORMANCE ART RESEARCH CENTER, PARC
A new initiative created by Hector Canonge to further critical thinking, research, academic development, and practical exploration of Performance Art in the 21st Century. PARC is dynamic, multidimensional, and interdisciplinary proposition to explore diverse manifestations of the performative in Contemporary Art. PARC’s mission is to further support the advancement of Performance Art working with artists, curators, critics, writers, researchers, and supporting audiences from around the globe.
For more information and to join the network: performanceart.researchcenter@gmail.com

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

As cultural entrepreneur, Canonge created, and organizes independently the annual Contemporary Performance Art Festival NYC, ITINERANT. He started projects such as ARTerial PERFORMANCE LAB (APLAB), a transcontinental initiative to foster collaboration among performance artists from the Americas, PERFORMEANDO, a program that focuses on featuring Hispanic performance artists living in the USA and Europe, NEXUSURNEXUS a virtual platform for Live Action Art, and PERFORMAXIS, an international residency program in collaboration with galleries and art spaces in Latin America. Canonge teaches Media Arts Communication, and directs projects, programs and initiatives from MODULO 715 his studio in Jackson Heights, Queens. In late 2015, launched TALKaCTIVE: Performance Art Conversation Series, and the new Performance Art initiative LiVEART.US hosted at the Queens Museum and at other local public institutions.
www.hectorcanong.net

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25. Harley Spiller, FF Alumn, now online at CNBC.com

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

https://www.cnbc.com/2017/10/05/move-over-bitcoin-cash-is-still-king.html

Move over bitcoin, cash is still king
by
Catherine Campo

You may want to think twice before paying your bills with plastic or cryptocurrencies.
A lot of people still prefer cash, in fact 27 percent of them do, according to a recent study by Cardtronics and Edelman Intelligence, which surveyed 1,000 people in May and June.

And it's not only Americans who favor paper money — a separate study by PayPal found that cash is still king in most of Asia's major markets.
Cardtronics said people might also favor paper for security reasons — and they may be right.

The company said 84 percent of respondents are worried about data security, and two-thirds said they make payment decisions based on which form is considered the most secure, up 6 percent since 2016.

Just this week, fast-food chain Sonic confirmed that credit and debit card numbers were compromised in a malwareattack at some locations. Last week, Whole Foods reported a data breach of credit card information used in taprooms and full table-service restaurants in some of the grocery chain's stores.

Cybercurrencies don't seem to be much safer than plastic. Hackers have recently stolen millions of dollars worth of digital currencies.

With more and more security concerns, people may be right to seek comfort in paper money.

Harley J. Spiller, author of "Keep the Change: A Collector's Tales of Lucky Pennies, Counterfeit C-Notes, and Other Curious Currency," likes paper money for another reason: It's simple.

"My phone crashes, my computer dies, but my penny collection from when I was five is still here," he said. "When it's on the screen, it all feels like a piece of glass. Coins have ridged edges — there's something to touch and fidget with. The rest is in the cloud, and I don't get it. I don't have a direct connection."

Whatever the reason people seem to favor cash, it doesn't seem like it's going anywhere anytime soon. Three-quarters of millennials in the survey said they can't imagine a world without cash and that they still use it regularly.

Catherine Campo Special to CNBC.com

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Goings On is compiled weekly by Harley Spiller