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Contents for January 14, 2019

Jo Andres, FF Alumn, In Memoriam

Jo Andres, Filmmaker and Wife to Steve Buscemi, Dies at 64

Jo Andres, Steve Buscemi's wife of 31 years and a prominent filmmaker and choreographer, has died. She was 64.

Buscemi was photographed participating in her funeral, which included a wicker casket, Wednesday morning in Brooklyn, New York. Buscemi's "Big Lebowski" co-star, John Turturro, and his cousin, "Sopranos" star Aida Turturro, were seen paying visits to the home. Firefighters from Buscemi's ladder company also paid their respects.

The cause of death has not been released.

The couple married in 1987, and Andres drew acclaim in 1996 for her film "Black Kites," which played at Sundance, Berlin, and Toronto and aired on PBS. Andres' website describes the film, which is based on 1992 journals of Bosnian visual artist Alma Hajric, who was forced into a basement shelter to survive the siege of Sarajevo, as "non-linear, dreamlike and spectral."

Andres was known for her "film/dance/light" experimental performance art through the '80s, and was a dance consultant to Wooster Group. She also directed music and art videos.

Buscemi is best known for his role in 1996's "Fargo," as well as numerous other films such as "Reservoir Dogs," "Armageddon," "Big Fish" and "The Death of Stalin." He starred in "Boardwalk Empire" from 2010 to 2014, which earned him two SAG Awards, a Golden Globe, and two Emmy Award nominations.

The pair have one son, Lucian.

January 12, 2019



Alanna Lockward, In Memoriam

January 7, 2019

[Many thanks to Maria Cristina Fumagalli for bringing this news to our attention.] José Rafael Sosa (Acento) reports on the sudden death of Dominican curator, educator, columnist, filmmaker, and cultural activist Dr. Alanna Lockward, which has shocked the academic and art world in the Caribbean and the diaspora. Sosa refers to her death as the second loss to art and culture this year in the Dominican Republic. The first loss he refers to Ángelo Valenzuela. Here are translated excerpts from Sosa's article.
Alanna Lockward, who died of natural causes on Monday, January 7, at six in the morning, was an art curator, university professor, columnist and filmmaker, who was born in Santo Domingo on March 23, 1961. The place and time of her wake are still not set due to legal processes under way.

With her death, we have two young public figures who departed this world in the first week of 2019. The first one was Ángelo Valenzuela.

She was the director of the documentary Historia del Protestantismo en Dominicana [History of Protestantism in the Dominican Republic], in which she recounts the trajectory of the African Episcopal Methodist Church (AME) and other Protestant congregations in the Dominican Republic. Her great uncle was the singer and composer Juan Lockward.

From 1979 to 1983, Lockward studied at the Universidad Autónoma Metropolitana in Xochimilco, Mexico City, and completed her master's degree in art at the Universitat der Künste in Berlin. Her thesis was a review of articles from the renowned German newspaper Der Tagesspiegel. Her focus here was on the linguistic construction of black identities ("Contra-reflexión de un campo de palabras en el espejo diario").

In 1988, she was Director of International Affairs at the Museum of Modern Art in Santo Domingo [Museo de Arte Moderno de Santo Domingo] and she has served on several occasions as a member of several award juries in national and international biennials.
The wake will take place starting at 6:00pm today at Blandindo Funeral Home, Abraham Lincoln Avenue, in Santo Domingo. Peace to her soul. [. . .]
[Excerpts translated by Ivette Romero. For the original article, see https://acento.com.do/2019/cultura/8640129-alanna-lockward-segunda-gran-perdida-del-arte-la-cultura-2019/.]



1. Johanna Drucker, Lynne Tillman, Martha Wilson, FF Alumns, now online at

NY Art Book Fair Audio Archive
We're pleased to announce the online audio archive of The Classroom series, presented by Printed Matter as part of the NY Art Book Fair (September 21-23, 2018). Programs as part of this series included informal lectures, readings, screenings and other activities by artists, writers, designers, and publishers. The Classroom is organized by David Senior, Head of the Library and Archives at SFMOMA.

The archive features presentations from NYABF exhibitors CASSANDRA Press, Book Works, Colpa Press, Small Editions, Hassla Books, Inventory Press, and Fully Booked, and more. Guest participants include: Hamja Ahsan, Jonas Mekas, Ann Butler, Johanna Drucker, Lia Gangitano, Nontsikelelo Mutiti, Tammy Nguyen, Jeanine Tang, Lynne Tillman, Ruth van Beek, and Martha Wilson, among many others.

Recordings generously provided by Blank Forms.

Listen to the full programs on the NYABF website:

or explore on mixcloud:

Printed Matter, Inc.
Printed Matter, Inc. is an independent 501(c)3 non-profit organization founded in 1976 by artists and art workers with the mission to foster the appreciation, dissemination, and understanding of artists' books and other artists' publications.

Printed Matter is fully wheelchair accessible

Printed Matter, Inc.
231 11th Ave
New York, NY 10001


T: 212 925 0325
F: 212 925 0464

Copyright (c) 2018 Printed Matter, Inc., All rights reserved.
Our mailing address is: news@printedmatter.org
Printed Matter | 231 11th Avenue | New York | NY | 10001



2. Linda Carmella Sibio, FF Alumn, at Andrew Edlin Gallery, performance and opening, January 26, 5-7 pm

Linda Carmella Sibio: The Economics of Suffering
Curated by Martha Wilson
January 26 - March 9, 2019
Andrew Edlin Gallery
Performance by Linda Sibio: January 26, starts at 5 pm sharp
Reception: January 26th, 6 - 7 pm

Andrew Edlin Gallery is pleased to present The Economics of Suffering, a solo exhibition for Linda Carmella Sibio that explores the devastating, intense emotional scarring experienced by the poor and disabled as a result of the financial crisis. The show will include an installation, 60 works on paper, and two multimedia performances by Sibio - one at the opening reception and a second on February 9th. The renowned artist and founding director of Franklin Furnace, Martha Wilson, will serve as curator.
The show explores the psychological ruptures wreaked on those most vulnerable-the mentally disabled, the elderly, those in extreme poverty, and other disenfranchised populations suffering from homelessness, hunger, and violence. The avarice of multinational corporations, cuts in government aid, and a callous judicial system continue to propagate high levels of suffering among marginalized groups.

Linda Carmella Sibio's art has always probed society's fringes. Diagnosed with schizophrenia as a young adult, madness is a dominant theme in her work. Her mother, also schizophrenic, was incarcerated in mental hospitals in West Virginia during Sibio's childhood. Following her father's death, the artist was raised in an orphanage. Sibio is also influenced by seminal essays and philosophical tracts like Foucault's Madness and Civilization, Artaud's The Theatre and its Double, and Deleuze and Guattari's Anti-Oedipus: Capitalism and Schizophrenia. Along with her focus on homelessness, mental illness, and the underbelly of society, the artist is interested in the raw power of human emotional contact. "The fragmented thinking of the schizophrenic is a window into the placement of our culture. We are living in a deconstructed world, no longer thinking linear thoughts," says Sibio. "Our perceptions are continually interrupted by television, the internet, video surveillance, and the media - we no longer have a single thought; we think in multilayered complex patterns. For our culture to go forward, the darkness of the dismembered body needs to come into the light. We need to fragment to become whole again."

The Emotional States of Zero - Two Performances (January 26, 5 PM, February 9)
Sibio's "The Emotional States of Zero," centers on a woman who can't sleep while exploring the relationship between zero and the psychological states of everyday life--induced by financial hardship and extreme emotional pain. Fragmentation, dismemberment, and the mixing of time spring from financial conditions that affect the internal psyche. The performances will incorporate video projections, sound, props, and costumes.

Panel Discussion (January 15th, 7 pm, the New Museum, 235 Bowery, NYC)
Sibio will participate as a panelist at Unusual Brains: Neurodiversity and Artistic Creation, in conjunction with the Outsider Art Fair's OAF Talks series.

"Insanity Principle" Workshop (February 16th, 2-4 pm, Andrew Edlin Gallery, pay what you wish to the artist)
A two-hour "Insanity Principle" artist workshop led by Sibio, focuses on performance, writing, and contemporary art through a series of techniques that include fragmentation, interrupters, psychological opposites, and the psychological model as methods for artmaking.

Linda Carmella Sibio (b. 1953, West Virginia)
Sibio was diagnosed with schizophrenia while studying painting at Ohio University where she got her BFA in 1977. In the 1980s, she studied acting in Hollywood with Eric Morris, and performance with Rachel Rosenthal. She has received over 20 grants and awards including a Lannan Foundation Grant and a Rockefeller MAP Fund Award. More recently, she received the Wynn Newhouse Award and the Tree of Life Award. She has performed at numerous venues including the Walker Art Center (Minneapolis), Franklin Furnace (New York), and Highways Performance Space (Los Angeles). Solo exhibitions of her art have been held at Track 16 Gallery (Los Angeles) and Andrew Edlin Gallery.
Sibio is the founder Bezerk Productions, a nonprofit organization that educates the public on the interdisciplinary art of persons with severe mental disabilities. She teaches both performance and visual art privately and in workshop settings.

Martha Wilson, Curator
Martha Wilson is an American feminist performance artist and the founding director of Franklin Furnace Archive, Inc. Over the past four decades, she has developed and created innovative photographic and video works that explore her female subjectivity through role-playing, costume transformation, and the invasion of other peoples' personas. She is a recipient of two National Endowment for the Arts fellowships, a New York Foundation for the Arts fellowship, an Obie Award, and a Bessie Award for commitment to artists' freedom of expression. She is represented by P•P•O•W Gallery in New York City. Wilson has advocated for Sibio's work since the early 1990s. In addition to having invited Sibio to perform her piece, "West Virginia Schizophrenic Blues," at The Anchorage in 1991, Wilson also served on the board of Sibio's Bezerk Productions from 2000 to 2005 and has remained an important mentor and friend.

The Andrew Edlin Gallery
212 Bowery (between Spring and Prince Streets)
New York, NY 10012
Tuesday-Saturday 10am-6pm
(212) 206-9723



3. Michelle Stuart, FF Alumn, at Galerie Lelong & Co., Manhattan, opening Jan. 31

Flight of Time
January 31 - March 9, 2019

Galerie Lelong & Co.
528 West 26th Street, New York, NY 10001

Opening reception: Thursday, January 31, 6:00-8:00pm

Galerie Lelong & Co. is pleased to present Michelle Stuart: Flight of Time, the artist's first solo exhibition at the gallery since joining in 2018. The exhibition will feature drawings, photographs, and sculptures that span over forty years of her remarkable oeuvre. Stuart has worked on both a monumental and intimate scale to excavate universal human experiences, from collective memory to the natural landscape.

Stuart is widely celebrated as a pioneer of land art with her groundbreaking hybrid uses of earth, drawing, and photography in the 1960s and 70s. In recent years, Stuart's photography has developed into a crucial part of her practice and garnered international recognition. Central to the exhibition is a new work, These Fragments Against Time (2018), which combines photography with found objects and sculptural forms. At the fore is a collection of anthropological curiosities that compare the work's looming images of cosmic observation with the passage of time, life, and death, that animal bones and fossils evoke. As is true of much her work, Stuart personally traveled to a site, collecting materials that became part of the piece. Stuart recalls, "We hired a sailboat, The Jupiter, and its crew and we sailed it thirty miles out to sea offshore of the Carolinas in order to photograph the solar eclipse as it was passing out into the Atlantic."

Similarly, Flight of Time (2016), from which the exhibition takes its name, intersperses found photography with the artist's own images to coalesce a myriad of movements in nature, from entomology to botany. Originally exhibited at the 57th Venice Biennale, VIVA ARTE VIVA in 2017, this will be the first time the work is shown in the United States. Stuart also confronts challenging questions about human behavior in the Anthropocene epoch. In While We Went About Etherized (2012) and Landscape of Evil (2008-11), Stuart interweaves images of war with primal scenes in nature.

The indexical, serial quality of Stuart's photography recalls her earlier works from the 1970s. Stuart took materials such as earth and rocks from different locations, rubbing and pounding them directly onto paper in the studio until they attained an almost mineralized surface, naming the work after the site. In scrolls such as Mesa Verde (1977) and Zacapa (1978), Stuart confronts the divergence between physical space and embodied memory, the "natural" versus artist-made.

A catalogue featuring an essay by Barry Schwabsky will accompany the exhibition.

Stuart was recently featured in the 57th Venice Biennale, curated by Christine Macel; Virginia Woolf: An Exhibition Inspired by Her Writings, Tate St. Ives, England; and Cosmogonies, au gré des éleménts, Musée d'art moderne et d'art contemporain, Nice, France. In 2016, Stuart presented a solo exhibition at The Bronx Museum of Arts, New York. Her Sayreville Strata Quartet (1976) is currently on permanent view at Dia:Beacon, and her work is also currently featured in By Any Means: Contemporary Drawings from the Morgan, Morgan Library & Museum, New York; A Body Measured Against the Earth, MCA Chicago; After Babel, Megaron, The Athens Concert Hall, Greece; and Territorios que importan: Arte, género y ecologia, Centro de Arte y Naturaleza, Fundación Beulas, Huesca, Spain. Stuart's most notable accomplishments include receiving the Anonymous was a Woman prize (2017); American Academy in Rome Residency (1995); and the Guggenheim Foundation Fellowship Grant (1975). Her work can be found in public collections worldwide including The Art Institute of Chicago; Centre Pompidou, Paris; Glenstone, Potomac, Maryland; The Menil Collection, Houston, Texas; The Metropolitan Museum of Art, New York; MoMA, New York; National Gallery of Australia, Canberra; SFMoMA, California; Tate Modern, London; Walker Art Center, Minneapolis, Minnesota; and Whitney Museum of American Art, New York. Stuart was born in Los Angeles, California, in 1933, and lives and works in New York, New York.

Stuart is also represented by Marc Selwyn Fine Art, Los Angeles, and Alison Jacques Gallery, London.



4. Vernita N'Cognita, Verónica Peña, FF Alumns, at Judson Memorial Church, Manhattan, Jan. 14

Movement Research
@ Judson Memorial Church
55 Washington Sq. South
"Scrolling Junkmail Movements"
A performance by:
Vernita N'Cognita
The Moving Performance Company
Verónica Peña & Lorin Roser
Monday, January 14, 2019, 8PM

Grappling with the endless scroll of junkmail, two women at different life stages carry, roll and unroll it as if it were a burden or perhaps a gift or in its singularity, symbolizing the contemplation of all that we see, do, present and are. A stranger walks by oblivious.
Vernita Nemec AKA N'Cognita (visual/performance artist/ curator) has presented over 70 performances in the U.S, Mexico, Japan, Germany, Hungary, Ireland and France. Nemec's themes involve the insecurities of desire; the inevitability of aging and death; female empowerment and terrible things humans do to the planet and themselves. Nemec participated in Linda Montano's 7 Years of Living Art, is included in "Performance Artists Talking in the Eighties" and "Feminists Who Changed America 1963-1975". She performed at the opening of Brooklyn Museum's Sackler Center for Feminist Art & at the 7th Performance Studies Conference, Mainz, GR. Her complete biography is @ en.wikipedia.org/wiki/Vernita_Nemec.

Verónica Peña (interdisciplinary artist and independent curator) from Spain based in the United States. Her work explores themes of absence, separation, the search for harmony through Performance Art, migration policies, cross-cultural dialogue, and women's empowerment. Recent works include participatory performances that create shared moments amongst strangers. Peña has performed in Europe, Asia, and America. In the United States: Times Square, Armory Show, NYU's Hemispheric Institute, Queens Museum, School of the Art Institute of Chicago, Grace Exhibition Space, Triskelion Arts, Defibrillator Performance Art Gallery, Momenta Art Gallery, Gabarron Foundation, Dumbo Arts Festival, and Consulate General of Spain in New York.

Lorin Roser is a multimedia artist focused on digital simulations and algorithmic generatrices, collaborated with Charlie Morrow, Stelarc, Raphael Mostel, Fred Wilson, Fred Ho, Bob Holman, Arleen Schloss, etc. all pioneers who had many projects that help shape multicultural arts-Animator, Architect -Studied w/ Ken Frampton, Emilio Ambasz, Yoshio Taniguchi and Craig Hodgetts.




5. Christen Clifford, Julie Tolentino, FF Alumns, at EFA Project Space, Manhattan, opening Jan. 16

spaces of learning
and unlearning

Curated by: Stamatina Gregory & Jeanne Vaccaro

January 16 - March 16, 2019

Opening Reception: Wednesday, January 16, 6:00 PM - 8:00 PM, featuring a performance by Julie Tolentino and Pigpen (aka Stosh Fila); curatorial walkthrough from 5:00 PM - 6:00 PM.

Artists: OlaRonke Akinmowo for Free Black Women's Library, Becca Albee, Amelia Bande, Lukaza Branfman-Verissimo, Christen Clifford, January Hunt, Carolyn Lazard, Candice Lin & Patrick Staff, Julie Tolentino, Quay Quinn Wolf, Sarah Zapata
EFA Project Space presents CURRICULUM: spaces of learning and unlearning, an exhibition that reimagines collective study outside of cultural institutions and creates pathways for resistance by asking the questions: What would a curriculum for collective study and political action look and feel like? Can simply being present together be a form of learning, a way of transforming one another? What is recuperable from decades past? What can we do that we have not yet done?

The second-wave feminist ethos of "the personal is political"-coined to underscore the interconnectedness of individual experience and larger social and political structures-has been, in our contemporary moment, inverted. Popular feminism, as it manifests today-in the news cycle, on social media, in consumer culture-enjoys an almost unprecedented visibility, as it operates through a framework of personal strength and the individual capacity to overcome (and collapses into a capitalist aestheticization of wellness and self-care). The political is now personal. Feminism's narratives are constrained and enclosed by contemporary economies of information and reception: movements toward social justice have had their vision replaced by the politics of visibility, trapped in an economy of shares, clicks, and likes. How can self-care move from a restoration of one's individual capacity to a collective, collaborative project?

CURRICULUM explores the potential for collective study outside of formal classrooms and university spaces-a study which might move past prevailing modes of circulation. Emerging from a space of reading and revision, these works utilize a range of artistic strategies for intuitive, participatory, haptic learning-from sonic enclosures to ceramic vessels and woolen landscapes to photographic portraits. Together, these works position self-care as an ethical and artistic practice of political action, moving towards ways of reconceiving the interaction of bodies and ideas in the present.

Several artists in the exhibition, including Christen Clifford and January Hunt, create visual, sonic, and material enclosures, refiguring bodily relations in regard to community and healing. Clifford's Interiors (2018) immerses the viewer in a visual field made from the footage of diagnostic cameras as they explore the bodily interior of several subjects across genders. Becca Albee's revisitation of a 1992 text on radical feminist therapy and collective organizing explores our personal attachments to formative texts, while proposing that such sustained engagement is necessary for self and community transformation.

Candice Lin and Patrick Staff's Hormonal Fog (2016-18) and Carolyn Lazard's Crip Time (2017) radically reconceptualize bodily differences and their relationship to both structures of power and notions of private and public space. By acknowledging the most basic, material space of our shared existence-the air we breathe-Lin and Staff's infiltration of the gallery space through the vaporized release of botanically-derived anti-androgenic compounds addresses both alternative forms of therapeutic transformation and new forms of environmental solidarity. In Lazard's video, an unidentifiable protagonist performs one of the repetitive tasks of managing chronic illness, moving the private and mundane into the realm of widely shared experience.

The work of Lukaza Branfman-Verissimo, Quay Quinn Wolf, and Sarah Zapata propose new forms of intimacy through sculpture and image. Branfman-Verissimo's painting translates the metaphorical act of holding space for individual and collective learning into deeply affective imagery, while Wolf's sculptures invoke the demands of care through both prosaic and perishable materials. Zapata's woolen landscapes propose a new kind of monumentality for our present moment: one that engages multiple senses and is indebted to indigenous histories.

An area of the exhibition will be dedicated to OlaRonke Akinmowo's ongoing project The Free Black Women's Library, a mobile space committed to circulating the work of Black women authors. Conceived as part of the tradition of mobile libraries as spaces for collective learning, community building, and anti-capitalist sites of exchange, the space will host workshops and open hours throughout the exhibition.

In co-creating forms of collective study for our present moment, CURRICULUM seeks to construct an environment for both contemplation and movement.Taken together, these works ask: what can a personal, spatial practice enable? What histories can be contained, reconstructed, and remade? What traumas can be held and learned from?

CURRICULUM builds on the foundation of a corollary exhibition, READING ROOM (June 6-30, 2018 at Root Division, San Francisco), which considered themes of the revision and reconstruction of feminist texts and canonical figures. Following the work of historical recovery and image remediation that occurred in READING ROOM, CURRICULUM explores the present as a site of renewed potential.

The exhibition will be activated through a number of performances and programs. The opening on the evening of Wednesday, January 16 features a durational performance by Julie Tolentino and Pigpen (aka Stosh Fila), followed by an embodied practice led by Tolentino on Saturday, January 19. Scholar and critic Jennifer Doyle will join us on February 15 to read from Letting Go, which describes the experience of being stalked by a student, and offers an extended reflection on the psychic costs of living with harassment. A panel discussion on Saturday, March 2 considers collective strategies for reparative care, featuring writer and organizer Ted Kerr of What Would an HIV Doula Do?, filmmaker and scholar Lana Lin, and OlaRonke Akinmowo, creator of the Free Black Women's Library. Akinmowo will host regular "book sessions" to discuss texts selected from the Free Black Women's Library over the course of the exhibition. A performance by Amelia Bande on Saturday, March 9 will function as a collective rehearsal, inviting a new relation between the audience and artworks.

This exhibition is produced with support from Women & Performance: a journal of feminist theory and the NYU Center for Disability Studies. The exhibition's curatorial fellow is Java Jones.


Stamatina Gregory is a curator and an art historian, whose work focuses primarily on the interrelationship of contemporary art and politics. She has organized exhibitions for institutions including The Cooper Union, FLAG Art Foundation, the Institute of Contemporary Art, Philadelphia, and the Santa Monica Museum of Art, and has taught art history, critical theory, and writing at New York University, The New School, the School of Visual Arts, Purchase College, Sotheby's Institute, and the University of Pennsylvania.

Jeanne Vaccaro is a writer, curator, and teacher whose work explores the intersection of aesthetics and the history and theory of trans and queer life. Her book in process, Handmade: Feelings and Textures of Transgender, considers the felt labor of making identity and was awarded the Arts Writers Grant by Creative Capital | the Andy Warhol Foundation. Jeanne is a Queer|Art curatorial fellow, working with mentor Nelson Santos, and she received her Ph.D. in Performance Studies from New York University.

Gregory and Vaccaro are the co-curators of Bring Your Own Body: transgender between archives and aesthetics, for the Cooper Union (one of ArtNet's most memorable museum shows of 2015); READING ROOM: the feminist art of self-help (Root Division); and Tuesday Smillie: left brain of darkness (Magil Library).

Related Events
• Wednesday, January 16, 5:00 PM - 6:00 PM, Curatorial Walkthrough with Stamatina Gregory & Jeanne Vaccaro
• Wednesday, January 16, 6:00 PM - 8:00 PM, Opening Reception, with performance by Julie Tolentino and Pigpen (aka Stosh Fila)
• Saturday, January 19, 2:00 PM, Embodied practice with Julie Tolentino
• Sunday, January 27, 2:00 PM, The Free Black Women's Library Book Sessions: a discussion of Heads of the Colored People by Nafissa Thompson-Spires
• Friday, February 15, 6:00 PM, Letting Go: a reading by Jennifer Doyle
• Sunday, February 24, 2:00 PM, The Free Black Women's Library Book Sessions: a discussion of Eloquent Rage by Brittney Cooper
• Saturday, March 2, 3:00 PM, Collective Strategies for Reparative Care: A panel discussion with Ted Kerr (writer and organizer, What Would an HIV Doula Do?), Lana Lin (filmmaker, scholar, author of Freud's Jaw and Other Lost Objects: Fractured Subjectivity in the Face of Cancer, 2017), and OlaRonke Akinmowo (creator, The Free Black Women's Library). A reception will follow the event. Presented in partnership with NYU Center for Disability Studies.
• Saturday March 9, Collective rehearsal performance with Amelia Bande. Presented in partnership with Women & Performance: a journal of feminist theory.

Dylan Gauthier, Program Director
EFA Project Space Program
212-563-5855 x 229 | dylan@efanyc.org

323 W. 39 Street, 2nd Floor, NYC, between 8th & 9th Avenues
Hours: Wed - Sat, 12 - 6 pm
www.projectspace-efanyc.org | projectspace@efanyc.org
Accessibility Note: EFA Project Space is located at 323 W. 39th Street, 2nd Floor, between 8th and 9th Avenues, in Manhattan. The building is wheelchair accessible, with two accessible elevators in the lobby. Guests are asked to sign in in the lobby, but no ID is required for entry. Nearest accessible subway station is 42nd Street/Port Authority, 1 block north on 8th Avenue.
EFA Project Space, launched in September 2008 as a program of The Elizabeth Foundation for the Arts, is a collaborative, cross-disciplinary arts venue founded on the belief that art is directly connected to the individuals who produce it, the communities that arise because of it, and to everyday life; and that by providing an arena for exploring these connections, we empower artists to forge new partnerships and encourage the expansion of ideas.

The Elizabeth Foundation for the Arts (EFA) is a 501 (c) (3) public charity. Through its three core programs, EFA Studios, EFA Project Space, and the Robert Blackburn Printmaking Workshop, EFA is dedicated to providing artists across all disciplines with space, tools and a cooperative forum for the development of individual practice. EFA Project Space is supported by public funding from the New York City Department of Cultural Affairs in Partnership with the City Council, and by The Andy Warhol Foundation for the Visual Arts.



6. Dread Scott, FF Alumn, at The 8th Floor, Manhattan, opening Jan. 17

Please Join Us for the Opening of
Revolution from Without...
Thursday, January 17
from 6 to 8pm
The 8th Floor, 17 W. 17th St.
(between 5th and 6th Aves.)

Revolution from Without..., the first exhibition in a two-year series titled Revolutionary Cycles, will be on view at the Foundation's exhibition space, The 8th Floor, in New York City from January 17 through May 4, 2019. Revolution from Without... will feature five artists and two collectives - Tania Bruguera, Tony Cokes, Chto Delat, Raqs Media Collective, Kameelah Janan Rasheed, Dread Scott, and Mark Wallinger - whose practices engage structures of power that determine who is entitled to, and excluded from, access to human rights and positions of privilege.

Join the conversation with hashtags
#RubinFoundation, #The8thFloor,
#RevolutionfromWithout, and #ArtandSocialJustice

The 8th Floor, 17 West 17th Street, 8th Floor, New York, NY 10011



7. Jane Dickson, FF Alumn, at James Fuentes Gallery, Manhattan, opening Jan. 16

James Fuentes Gallery Presents
All That Is Solid Melts Into Air

January 16-February 17, 2019
Opening reception:
Wednesday, January 16, 6-8pm
55 Delancey St, New York, NY 10002

Join us!
This exhibition includes works spanning from the early 1980s to the present, each offering an important document of New York City.

Copyright (c) 2019 Jane Dickson, Artist, All rights reserved.
Jane Dickson, Artist
17 Hubert Street
New York, NY 10013



8. Pamela Enz, FF Alumn, at Dixon Place, Manhattan, Jan. 25

Please visit this link:


thank you.



9. Liz Phillips, FF Alumn, at Queens Museum, thru August 2019

Relative Fields in a Garden, 2019
Liz Phillips and Heidi Howard
Video film and edit by Ben Hagari
Queens Museum
October 2018-August 2019
Acrylic paint, ceramic, bamboo, birch veneer, mirror film, metal chairs, Serge analog synthesizer, sound transducers, light sensors and multichannel looping audio players.

In their first artistic collaboration, mother Liz Phillips and daughter Heidi Howard present a multimedia mural and sound work. Howard, a painter, depicts Phillips, a sound artist, in her Sunnyside, Queens garden with fantastical flora that bridge representation and abstraction and transition through the seasons: spring on the left to winter on the right. In spring is Howard's self-portrait, gazing into an ornate mirror. In fall, Howard painted a yellow floral scarf owned by her late grandmother Geraldine Phillips.

As part of her long-time work in interactive sound installation, Phillips has created sound fields using wave transmissions. Here, sculptural elements including ceramics made by Howard, bamboo, and birch veneer have become speakers through contact with a transducer, which converts electrical signals into tactile sound. They play Phillips' continuously modulating composition--some of which was recorded in her garden--of seasonal wildlife, water, leaves, and city noises. With the use of sensors, these sounds respond to the passage of sunlight across the wall. Both the mural and the audio become increasingly abstracted in the winter section, where shard-like strips of mirror film are paired with distorted sounds of ice melting and people sorting cans and bottles. Visitors are invited to sit in three garden chairs previously owned by Geraldine. Also functioning as speakers, they vibrate with river sounds, in homage to her lifelong affinity for water.
The original installation includes a painted wall 100 feet long by 40 feet high and (20 +) sound objects; vibrating chairs in area under the stairs, porcelain , wood and bamboo.
Queens Museum
New York City Building
Flushing Meadows Corona Park
Queens, NY 11368
T 718 592 9700
F 718 592 5778
E info@queensmuseum.org



10. Edward M. Gómez, FF Alumn, in Hyperallergic.com now online

Dear art lovers and media colleagues:

My preview of the 2019 Outsider Art Fair, which will take place in New York next week, from Thursday, January 17, through Sunday, January 20, has just been published in HYPERALLERGIC, the online arts-and-culture magazine.

You can find this new article here:

This year's fair will feature the latest discoveries of galleries from the U.S.A., Europe and East Asia, some of which I describe in this preview article.

I send you all best wishes...




11. PS122 Gallery, inaugural exhibition, opening Jan. 19

PS122 Gallery is a 30 year old not-for-profit exhibition space which provides exhibition
opportunities and support services for emerging and under-recognized artists.
It is part of the organization of Painting Space 122, Inc.

Update 2019: Painting Space 122 is pleased to announce the Inaugural Show in our newly renovated gallery,
Plus 2 / pix from 122 - selections from the 40 year history of Painting Space 122.
January 19 through March 3, 2019. Reception: January 19, 6-8pm.

PS122 Gallery 150 First Avenue New York, NY 10009



12. Katya Grokhovsky, Chin Chih Yang, Harley Spiller, FF Alumns, at College Art Association Annual Meeting, Manhattan, February 14

Transitional Performances and Ephemeral Works

Artists, cultural producers and institutions discuss the 'hows' of transitional performances and ephemeral works in public spaces.

February 14, 2019, 10:30am-12:00noon at the New York Hilton Midtown, 2nd Floor, Gibson Suite, 1335 6th Ave, New York, NY 10019
Thursday, February 14, 2019
10:30 AM - 12:00 PM
FREE and open to all

Carissa Carman, Indiana University Bloomington
Niku Kashef, California State University, Northridge, and Woodbury University
Melissa Hilliard Potter, Columbia College Chicago

Harley Spiller
Franklin Furnace

Chin Chih Yang
Independent Artist

Katya Grokhovsky
Independent Artist and curator of Art in Odd Places 2017

Ed Woodham
Art in Odd Places

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Goings On is compiled weekly by Harley Spiller