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Contents for June 15, 2020

Weekly Spotlight: Joshua Fried, FF Alumn, now online at
https://franklinfurnace.contentdm.oclc.org/digital/collection/p17325coll1/id/48/rec/48

Don’t miss this Weekly Spotlight, “Headset Sextet” (1999), a 30-minute expressive sound performance by Joshua Fried (performed by Thomas Buckner, Nicole Halmos, Iris Rose, FF Alumn, Tom Ross, Susan Thompson, and Claude Wampler). Using Fried’s original music, text, and instrumentals, six performers in headsets are tasked with imitating different recorded vocal sounds, some of them highly emotional, that they have never heard before, paying strict attention to accurate phrasing, expression, and pitch. Reproducing these sounds as they happen results in “unusual vocal behaviors” and a complex interaction between the performers, each hearing a different track, and Fried's sizzling electronic score. “Headset Sextet” will keep you moving to the upbeat and rhythmic excitement of this performance while it explores the intricacies of sound and imitation! (text by Mamou Samaké, FF Intern, June 2020)

Fried's current solo performances, as RADIO WONDERLAND, decontextualize live FM radio, turning mass media into recombinant funk. Find out more at http://radiowonderland.org and check out his website here http://joshuafried.com/ to see more work!

Link: https://franklinfurnace.contentdm.oclc.org/digital/collection/p17325coll1/id/48/rec/48

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1. Danny Tisdale, FF Alumn, selected as 2020 ACTIVATE Arts Innovators Fellow

TISDALE STUDIO

Danny Tisdale Selected as a 2020 ACTIVATE Arts Innovators Fellow
WHO: Danny Tisdale is a resident of Los Angeles, CA and Harlem, NY. He is an internationally recognized visual artist; an educator; community activist and publisher. He has an M.F.A. study from Otis/Parsons School of Design in Los Angeles, and his undergraduate degree from California Polytechnic University where he received an Alumnus of the Year Award. As an artist, Tisdale has shown in galleries and museums around the world. His work has earned him awards from the New York Foundation for the Arts (NYFA); Franklin Furnace Performance Art; Creative Time; and prominent fellowships from president Obama’s White House Millennium Arts Council; and the National Endowment for the Arts (NEA) to name a few. As an educator, Tisdale has distinguished himself as a teaching artist at the Getty Museum, the Harlem Children’s Zone to name a few. Tisdale has also extended his activism through art into the community, earning recognition as a respected community advocate. He served as a member of Community Board #10 in Harlem, NY, his community work included extensive consultation as a Board Member with the Los Angeles Poverty Department (LAPD); the National College Art Association (CAA); and the New York Foundation for the Arts (NYFA). Tisdale served as an arts commentator on censorship before a U.S. Senate Sub Committee Hearing for the National Endowment for the Arts (NEA). Using template from the Screen Actors Guild, he is founder of the National Visual Artists Guild (NVAG), a guild for visual art professionals. He participated in the PBS American history television series Colonial House. In 2003, he followed in the footsteps of his Uncle Charles Tisdale, owner of the Jackson Advocate, by founding Harlem World Magazine, a news, lifestyle, history, and renaissance company in Harlem. The magazine has been awarded Alignable’s Company of the Year, and the NAACP Game Changer Award.

WHAT: The 2020 ACTIVATE Arts Innovators program, is an intensive four-month program supporting artists, art and culture professionals, and community advocates in the development of an advocacy projects designed to address an urgent issue facing the Innovator’s community. The program will pair participants with an expert mentor and connect them with the resources necessary to realize their advocacy work. By the end of the program, Arts Innovators will be fully equipped to pitch a compelling, implementable advocacy project to arts and community advocates.

Danny Tisdale stated “the USA has 2 million visual artists who have made masks for first responders during the COVID Crisis and yet we are under fire from cuts to the National Endowment for the Arts. Artists are priced out of the housing market, we can’t afford to retire, and healthcare is not an option.”

WHERE: Arts for LA: https://www.artsforla.org/arts_innovators

WHY: The 2020 ACTIVATE Arts Innovators Program offers a great opportunity for Tisdale to introduce his sales and organizing skills (learned through AFL-CIO) which in turn, will create an arts advocacy project designed to address the urgent needs facing the arts community, starting Spring 2020. Tisdale’s real estate “Project 247” is a conceptual arts hub inspired by Affordable Arts Space projects like; German artist Joseph Beuys, the concept of art as “social sculpture”, where he created works that erupted out of gallery spaces; Rick Lowes Project Rowe Houses, where artists fixed Rowe houses for low-income families; Gordon Matta-Clark’s Food, a restaurant run by artists in a disused storefront in SoHo; Theater Gates, Black Cinema House, Archive House, and Listening House that were permanent art installations using real estate.

tisdalestudio@yahoo.com . 646.216.8698 . www.tisdalestudio.wordpress.com . #tisdalestudio . @tisdalestudio

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2. Lorraine O’Grady, FF Alumn, at Alexander Gray Associates, Germantown, NY, thru June 30

NOW OPEN: Lorraine O'Grady: Alexander Gray Associates, Germantown

Alexander Gray Associates, Germantown reopens this weekend, Saturday and Sunday, June 13 – 14, 12 – 4 PM with
a presentation of Lorraine O’Grady’s Cutting Out CONYT 26 (1977/2017).

Cutting Out CONYT (1977/2017) returns to Lorraine O’Grady’s 1977 series, Cutting Out The New York Times (CONYT), which consisted of 26 found newspaper poems made between June 5 and November 20, 1977 from successive editions of the Sunday Times. Building on the successful transformation of public language into private in CONYT, in Cutting Out CONYT O’Grady repurposes the work to achieve a failed goal of the earlier series: the creation of what she terms “counter-confessional” poetry.

Cutting Out CONYT culls the original poems and reshapes the remains into 26 new works that adopt a form the artist refers to as “haiku diptychs.” Each of the haiku takes as its source a single poem from CONYT. Produced following a similarly rigorous set of rules as those that dictated CONYT, Cutting Out CONYT isolates and rearranges panels from the 1977 work without altering them in any way. Newly combined, the resulting compositions are eloquent in their brevity, while their printed, collaged forms evoke the materiality of the original series.

Reflecting on this new body of work, O’Grady writes, “I stuck to the idea of memorializing the original 26 weeks spent cutting out The New York Times, but not too literally. I did not take ‘one diptych per poem.’ I took only the best diptychs I could find since I was creating a totally new work, which had to succeed aesthetically on its own terms.” Her need to remake the poems had stemmed from a perception that they had been overwhelmed by process. Disconnecting and juxtaposing panels enabled her to create a more fully realized form of poetry. Concentrating and refining the voice of CONYT through the elegance of its haiku-like presentation, Cutting Out CONYT serves as a bridge between O’Grady’s early and later works. As she explains, “Making it has allowed me to maintain the tensions between my more explicit voice and my less explicit voice in a way that feels fruitful to me.”

These two voices, which O’Grady has alternately identified as “narrative/political,” “expressive/argumentative,” “inner-directed/outer-directed,” and “post-black/black,” inform all of her work. With the quip, “I was ‘post-black’ before I was ‘black,’” she characterizes her artistic trajectory from the 1970s into the 1980s as an evolution from producing deeply personal works imbued with her identity to more overtly politically-motivated ones. As a result, like its CONYT source material, Cutting Out CONYT references what O’Grady describes as “a diaspora mind, a diaspora experience.” And like other of her diasporic “new world” artworks, including Rivers, First Draft (1982/2015) and Landscape (Western Hemisphere) (2010/2011), this series is implicitly political. O’Grady expands, “Produced with 40 more years of life and aesthetic experience, I feel that it [Cutting Out CONYT] embraces the mysterious intertwinings of narrative and politics, post-blackness and blackness in a way that Cutting Out The New York Times could not accomplish or even imagine.”

Cutting Out CONYT engages with the counter-confessionalism of O’Grady's 1977 poems and transforms it via its diptych format into something distinctly other, refuting hierarchical binaries through its two-panel presentation—a recurring device in the artist’s work that insists on “both/and” rather than “either/or.” This structure allows O’Grady to question apparent oppositions between her voices while maintaining their productive tensions, siting her work in the interstitial space between the personal and political, inner and outer, post-black and black. Ultimately, O’Grady summarizes, “There was no extrication of the personal from the political, because these qualities were not opposites but obverse and reverse of the same coin.”

Alder & Co., 222 Main Street, Germantown NY 12526
Hours: Saturday – Sunday, 12 – 4 PM

Alexander Gray Associates
Alexander Gray Associates is a New York-based contemporary art gallery. Through exhibitions, research, and artist representation, the Gallery spotlights artistic movements and artists who emerged in the mid- to late-Twentieth Century. Influential in cultural, social, and political spheres, these artists are notable for creating work that crosses geographic borders, generational contexts and artistic disciplines. Alexander Gray Associates is an organization committed to anti-racist and feminist principles.

Alexander Gray Associates is a member of the Art Dealers Association of America

Alexander Gray Associates
510 West 26 Street, New York NY 10001 United States
Telephone: +1 212 399 2636
By appointment: sales@alexandergray.com
www.alexandergray.com
info@alexandergray.com

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3. Bob Goldberg, FF Alumn, now online at https://youtu.be/F491XL0SMfU

Friends, Acquaintances, Accordion Fans:

In April, I reached out to all the Accordionists I could think of, and invited them to join me in a piece that would reflect the moment we are in. 27 of them responded, recording on video and sending to me to be edited.

This is the result.

In Memory Of ____. There are many, so fill in whomever you need to. Just follow the link below.

https://youtu.be/F491XL0SMfU

Stay safe, and don't give up.

Thanks.
Bob

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4. Felix Gonzalez Torres, FF Alumn, now online in the New York Times

Please visit this link:

https://www.nytimes.com/2020/06/12/arts/design/fortune-cookies-sculptures.html

Thank you.

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5. Helène Aylon, Betsy Damon, Agnes Denes, Lynn Hershman Leeson, Barbara Kruger, Ana Mendieta, Aviva Rahmani, Cecilia Vicuña, FF Alumns, at Thomas Erben Gallery, Manhattan, thru July 24

ecofeminism(s)
curated by Monika Fabijanska

Helène Aylon, Andrea Bowers, Betsy Damon, Agnes Denes, Eliza Evans,
Bilge Friedlaender, Lynn Hershman Leeson, Sonya Kelliher-Combs, Barbara Kruger, Carla Maldonado, Mary Mattingly, Ana Mendieta, Aviva Rahmani, Jessica Segall,
Hanae Utamura, and Cecilia Vicuña.

June 19 - July 24, 2020
Gallery Hours: Tue - Sat, 11-6pm
Summer Hours: Mon – Fri, 11-6pm [starting June 29]
Opening reception: no public gathering is planned

Press Day: Thursday, June 18, 2020, 12-6pm

Artists talks and gallery walk through (online - dates to be announced)

Thomas Erben Gallery is thrilled to present ecofeminism(s) curated by Monika Fabijanska. The exhibition will take place in the physical space of the gallery but no public opening is planned due to COVID-19 regulations. It will be open to the public from June 19. We are hosting a press day to view the exhibition on Thursday, June 18, noon to 6pm, when the curator and some artists will be present to answer questions, with social distancing rules observed. The exhibition will be accompanied by a curator’s essay and public programming online, including artist talks and a gallery walk through ecofeminism(s) explores the legacy of some of the pioneers of ecofeminist art: Helène Aylon, Betsy Damon, Agnes Denes, Bilge Friedlaender, Ana Mendieta, Aviva Rahmani, and Cecilia Vicuña, and how their ideas and strategies are continued, developed or opposed by younger generations – Andrea Bowers, Eliza Evans, Sonya Kelliher-Combs, Carla Maldonado, Mary Mattingly, Jessica Segall, and Hanae Utamura. It also features the ecofeminist works of Lynn Hershman Leeson and Barbara Kruger, who escape these categories.

The historical perspective gained over the last fifty years reveals how revolutionary the work of pioneer feminist artists was, and how relevant it remains, whether for women’s rights or the development of social practice. The most remarkable, however, is their voice regarding humanity's relationship to nature. The foundation of ecofeminism is spiritual feminism, which insists that everything is connected – that nature does not discriminate between soul and matter. Their recognition that Western patriarchal philosophy and religions have served to exploit both women and nature is particularly resonant in the era of the #MeToo Movement and Climate Change. But if the ecofeminist art of the 1970s and 1980s was largely defined by Goddess art, ritual performance, anti-nuclear work, and ecological land art – the curator poses the question – what makes female environmental artists, working today, ecofeminists?

Since the 1970s, ecofeminism evolved from gender essentialism to understanding gender as a social construct - to gender performativity. But today’s feminists still address the degradation of the environment by creating diverse responses to patriarchal power structure, capitalism, and the notion of progress. They invoke indigenous traditions in maintaining connection to nature and intensify the critique of colonialist politics of overextraction, water privatization, and the destruction of native peoples. They continue to employ social practice and activism, but focus on denouncing global corporate strategies and designing futuristic proposals for life on earth.
Ecofeminist art emerged in the late 1960s when the development of conceptual art, spiritual feminism, and the exclusion of women from the art market pushed their inventiveness far beyond the limitations of painting and classical art gallery presentation, and led to creating new mediums, driving art into new territories. In consequence, ecofeminism is one of the richest hidden caches of contemporary art. It is art that delights the eye, provokes the mind, and can inspire change. It also restores art’s function to what it was before the Enlightenment, when both science and art were tools to understand the world and propose solutions.

ecofeminism(s) presents many early gems of ecofeminist art, some of which have not been shown in decades, including Cedar Forest (1989), handmade paper sculptures by minimalist feminist artist Bilge Friedlaender (1934-2000), which comment on the myth of Gilgamesh cutting the sacred cedar forest; The Earth Ambulance (1982) by one of the most original ecofeminist artists, pro-peace and anti-nuclear activist, Helène Aylon (1931-2020), which carried earth “rescued” from military nuclear bases across the country; Physical Education (1973) by Aviva Rahmani (b. 1945) from her earliest, experimental body of work created as part of the early California performance scene; and The Memory of Clean Water (1985), a breakthrough work for Betsy Damon (b. 1940), where she cast a dry riverbed.

The show also presents the latest ecofeminist artworks that are literally being made now. In the project created especially for this exhibition, Eliza Evans offers the mineral rights to 3 acres of her land in Oklahoma for sale to 1,000 people, in order to prevent fossil fuel development in the area. ecofeminism(s) also features diagrams for the newest project of Lynn Hershman Leeson (b. 1941), to premiere at her exhibition at the New Museum in 2021. Twisted Gravity engages with the latest in applied science – a revolutionary off-the-grid water filter able to kill bacteria and degrade plastic. In this new work, the idea of survival through change meets the feminist interest in change as a life cycle.

About the Curator: Monika Fabijanska is an art historian and curator who specializes in women's and feminist art. Her critically acclaimed exhibition, The Un-Heroic Act: Representations of Rape in Women's Contemporary Art in the U.S. at Shiva Gallery, John Jay College of Criminal Justice, CUNY (with catalog) was ranked the fifth best NYC art show in 2018 by Hyperallergic. Fabijanska initiated the idea and provided curatorial consulting for The Museum of Modern Art acquisition and retrospective exhibition of Polish feminist sculptor Alina Szapocznikow (2012).

Thomaserben.com

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6. Nicolás Dumit Estévez Raful Espejo, FF Alumn, now online at https://vimeo.com/428576556 and more

Nicolás Dumit Estévez Raful Espejo: New video recording, audio and essay with City As Living Lab CALL/WALK

VIDEO:
Pause and Hum: Dr. Luke and Mr. Nicolás pollinated an experiential conversation on bees and breathing.

A reflective experience with beekeeper Dr. Luke Dixon and artist Nicolás Dumit Estévez Raful Espejo.

Dr. Luke and Mr. Nicolás communicated from London and the Bronx, conceiving of this Zoom gathering as a beehive, inviting participants to gather for an hour of breathing practices, somatic movements, humming and talking about bees and being.

To watch video: https://vimeo.com/428576556

ESSAY AND AUDIO
To read essay by DJ Pangburn:
https://medium.com/@cityaslivinglab/the-tree-and-i-a-chat-with-artist-nicol%C3%A1s-dumit-est%C3%A9vez-raful-espejo-e7a21680e65a

“The Tree and I: A Chat With Artist Nicolás Dumit Estévez Raful Espejo”

Artist Nicolás Dumit Estévez Raful Espejo talks about his contemplative walk through the park with scientist and tree expert John Butler and others.

When artist Nicolás Dumit Estévez Raful Espejo was a child, he spent a lot of time planting, playing with mud, and experimenting with flowers and stones. Later, after moving to the city, Estévez set these youthful passions aside, transforming into an artist who tackled topics like immigration and navigating being in two places. As an immigrant who arrived in New York City in 1994, these topics were close to the heart. Eventually, Estévez’s work moved out of curated gallery and art spaces and into the streets with a number of interventions, which took him from New York City to Mexico and Europe, where people encountered his work by accident, by design.

But, since 2007, Estévez has been working on making his projects more reflective and slower, and imbuing them with a more collaborative spirit. That same year, he moved to Barcelona to become a “local”, which led to a book of photographs — both collected and captured — during the project. And last fall, Estévez moved to Albion, Michigan (with support from Albion College) to meet people for dinner or to go on walks; to listen to what residents had to say about their lives there, which culminated in an exhibition with the city.

Estévez’s ability to make art out of cities and other spaces, and to do so somewhat outside of the art world, is what led him to develop “The Tree and I” for CALL/WALKS. A collaboration with Van Cortlandt Park Alliance ecological project manager John Butler, “The Tree and I” involved Estévez and Butler taking participants on a walking tour in Van Cortlandt Park, where they participated in an immersive, experiential tour of trees and Tibbetts Brook. It was there the two guided participants in creating a more intimate relationship with trees and water. Estévez’s WALK, designed to explore nature as part of CALL’s larger campaign to support the daylighting of Tibbetts Brook (a long buried Bronx stream), was another opportunity to explore the topic with a participatory audience. He and CALL are also making two downloadable versions of “The Tree and I.”

“What was an audience in the past has become collaborators, co-creators, and participants,” Estévez says of his work, including “The Tree and I”. “I knew right away that I was in good hands with John Butler, and that our love for the tree and water realms was mutual. John is someone I feel at ease talking about science as well as surmising about the secret lives of oaks and maples, and acknowledging the personhood of bodies of water, such as Tibbetts Brook.”

“Everybody is, for the most part, a co-creator in the ideas I present, and they help shape them. I see what I do now as being about life because there is no art without life. In that sense, it is the people outside of the art institution, and can often be more receptive to my ideas that can be intangible creative forms.”

Estévez has always had an interest in rivers and streams. When he first moved to New York City in 1994, he worked for the Bronx River Restoration Project. And in 2011, he underwent a baptism in the Bronx River to become a Bronx citizen. But it wasn’t until a 2012 trip to the United Kingdom, when he worked with artists Elizabeth Stephens and Annie Sprinkle on activities related to plants and water, that Estévez became interested in incorporating nature into his work.
“That was a big turning point for me, and I started to see things differently,” says Estévez. “From there, I went back to this place I was in as a child, where I had a really close relationship with nature.”

When Mary Miss (CALL founder and artistic director) invited Estévez to propose something for a CALL/WALK, his mind went immediately to trees.

“At that time, I was writing about trees from my childhood, so I think that was the genesis of the walk,” Estévez says. “I wanted to explore our relationship to these beings. My intention was to have people closer to trees in ways that are not common for most people. It was also to dispel any misconceptions we have of trees as these sort of static things that don’t move and therefore are kind of frozen instead of being alive and communicating with one another.”

Estévez’s concept of an arboreal language is not literal. Instead, he envisions a type of information system that operates through a tree’s roots, in which it can communicate to other trees and the surrounding environment. With “The Tree and I”, Estévez wanted to guide people in tapping into this communication network.

“I wanted to bring people closer to trees and invite them to befriend trees in ways they maybe hadn’t done before: to see them differently, to see their power, and experience their presence, which is something we don’t normally do,” says Estévez. “We usually just sit there under the tree and admire its shade and fruit. But I wanted people to really learn how to be in the presence of a tree, which is something that we have to work hard to develop.”

“It’s this idea of seeing trees and relating to them,” he adds. “It’s about being with them for what they are, and presenting ourselves to them as we are and hopefully find a point of connection that we might have lost centuries ago.”
Though the walk’s focus was on trees, Estévez had Tibbetts Brook in mind when developing some meditative practices for the walks. These meditations involved slowing down, observing their surroundings, listening intently, and being fully present at their exact location.

“Tibbetts Brook was a central piece because of the daylighting, which I find fascinating,” says Estévez. “I didn’t know what daylighting was before I got involved with CALL. I looked it up on the internet and it’s really bringing back to the surface these bodies of water that had been buried underground because of urbanization. It’s about freeing them again and allowing them flow, although maybe not the same way as before.”

For “The Tree and I”, Estévez spoke about water as an essential part of who humans are as a species. He also led a meditation in which he invited people to think of the water that moves through their bodies, and then listen to the sound of Tibbetts Brook.
“The sound of the brook isn’t really intense but you can still hear it,” says Estévez. “I wanted them to imagine water going from their feet, up through their legs to their belly, neck, and head, and circulating throughout their body. I wanted them to imagine water flowing through their bodies and cleansing them, and that happened right by Tibbetts Brook.”

“I think we tend to think of bodies of water as just a river, a lake, a pond, or whatever it is,” he says. “But, I wanted to expand on that and propose the question of personhood in relation to these things.”

There is a clear symmetry to Estévez’s Bronx experiences, so often filtered through nature. Beyond the CALL/WALK and his earlier baptism in the Bronx River, Estévez also has a personal history with Van Cortlandt Park. Years ago, he taught art to children attending the Bronx River Restoration project, and regularly escorted them from the Fordham Road area to Van Cortlandt Park to swim in the pool and go on walks. In a sense, with “The Tree and I” it was as if Estévez had come full circle.
“I live on another side of the Bronx, closer to Manhattan, so it was interesting for me to be invited to do this at the park,” says Estévez. “It was like returning to a place that I had been before mentally, emotionally, and spiritually something like 26 years ago. All of those things came together in my mind, and here I am now relating to this place in a different way now — a deeper way, I would say.”

Likewise, Estévez believes that experiencing nature in a deeper way is vital. Wherever people might be, in a big city or a suburb, they can connect to plants and earth.

“Sometimes it’s harder, and it might entail planting something in a cup, planting something in a little pot in your house, and then communicating and communing with plants and earth this way, especially now that we’re living with this coronavirus,” Estévez says. “For people who are homebound and don’t have a lot of mobility, just looking out the window and connecting from afar is possible.”

“Find a way to bring earth to where you are. Plant something that connects you to the outer world and puts you in touch with the cosmos, even if you seem so small.”

Estévez is currently developing a larger workshop and curriculum, “Growing a Green Heart”, which CALL plans to produce in Spring 2021. On June 10th at 12:30pm EST.

Click here to download audio: https://anchor.fm/cityaslivinglab/episodes/CALLWALK---The-Tree--I---Nicols-Dumit-Estvez-and-John-Butler-ed4frs to use as a self-guided walk.

A full version includes the walk with John Buttler, to be used in Van Cortlandt Park: https://anchor.fm/cityaslivinglab/episodes/The-Tree--I-wherever-you-are---Nicols-Dumit-Estvez-Raful-Espejo-eejfgi

City as Living Laboratory (CALL) works with artists, scientists, and residents of urban communities to create sustainable solutions for urgent environmental issues including climate, equity and health. We help people connect environmental challenges to personal experience and take action. Visitwww.cityaslivinglab.org to learn more.

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7. Terry Braunstein, FF Alumn, now online at american.edu

Dear Friends,

As many of you know, I was scheduled for a solo exhibition at the Katzen Museum in Washington, DC., opening on June 13th. This was to be the Who is She? exhibition, curated by Claudia Bohn-Spector and Sam Mellon, that was at the Long Beach Museum of Art several years ago along with some newer works. Last month, the Katzen announced that it was cancelling all shows due to the coronavirus.

In lieu of a physical show of my work, in an attempt to show the work of the artists scheduled during this time, they have created a webpage of my work at their site, which I invite you to visit.

https://www.american.edu/cas/museum/2020/who-is-she-terry-braunstein.cfm

In two weeks, the museum will be hosting a discussion between the director, Jack Rasmussen, and myself about the work in this exhibition and my career as an artist. I will send another email to you when this discussion goes live.

As always, I am grateful for your interest. With my best regards,

Terry

www.terrybraunstein.com

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8. Marilyn Arsem, Guillermo Gómez-Peña, Annie Sprinkle & Beth Stephens, FF Alumns, live online June 19

How To Survive The Apocalypse
La Pocha Nostra/Grace Exhibition Space Live Event
GRACE EXHIBITION SPACE
182 Avenue C, Storefront - Manhattan - NYC NY 10009
(646) 578-3402
info@grace-exhibition-space.com
www.grace-exhibition-space.com

Fri, June 19, 2020
9:00 New York EST / 6:00 California PST

“How To Survive The Apocalypse”
An evening of body-based performances
& strategies to cross virtual space
June 19, 2020 starting at 6 pm
This performance event will preceded with a ritual blessing in honor of Juneteenth
Grace Space (NY), La Pocha Nostra (US/Mexico) & The Norwegian Theater Academy (Norway) join forces to present an evening of experimental performance involving artists from multiple countries performing in simultaneity with one live composer.
Curated by Gómez-Peña & La Pocha Nostra
Artists
La Pocha Nostra ~ LROD & La Saula (USA/Mexico)
Annie Sprinkle & Beth Stephens (US)
Willem Wilhemus (Finland)
VestAndPage (Germany/Italy)
Kira O’Reilly (Finland/Ireland)
Martin Renteria (Mexico City)
Marilyn Arsem (USA)
Eleonora Fabião (Brazil)
Cesar Martinez (Mexico)
Music by Ulf Knudsen (Norway)
& Voice Art by Micha Espinosa
The event will be free for audiences to attend. However, we will strongly encourage donations to the artists’ individual venmo/paypal accounts and to Black Lives Matter
blacklivesmatter.com

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Goings On is compiled weekly by Harley Spiller