2021 | 2020 | 2019 | 2018 | 2017 | 2016 | 2015 | 2014 | 2013 | 2012 | 2011 | 2010 | 2009 | 2008 | 2007 | 2006 | 2005 | 2004 | 2003 | 2002

ABOUT GOINGS ON: How to subscribe and submit listings

Contents for September 28, 2020

Weekly Spotlight: Marilena Preda-Sânc, FF alumn, now online at https://franklinfurnace.contentdm.oclc.org/digital/collection/p17325coll1/id/97/rec/1

Come enter Romanian artist Marilena Preda-Sânc’s evanescent and ethereal mindscape in this 3-part 30-minute video poem. The combined narratives underscore the mysterious ebb and flow of existential dualities: liberty and restriction, manipulation and imagination, and the interior and exterior of our selves. During the communist era, Romanians were denied basic freedoms of expression and individuality, and Marilena’s work is a direct response to her experiences at that time. Written in 1986 and performed in 1998, her “Mindscape: Dreaming Mind” is a confrontation between purpose, identity, and power. The 1st segment, “Mindscape,” is a performance that blurs the line between reality and dreams, body, and consciousness. She explores the inner and outer landscapes of the body, grappling with a search for meaning while reconciling her existence as a mind tethered to a flesh and blood vessel. “Inside,” the 2nd part, advances outside physical confinements of geography, identity, and body to embrace existence beyond limitations. The 3rd part, “The Algorithms of Power,” is ominous and stark. Marilena simultaneously illuminates and cautions about systems of power and subjection. The whole piece is an ode to her autonomous creativity, meant to confront, warn, and reflect on the darker sides of being alive. (Text by Alison Siegel, FF intern, September 2020).

Artist website: www.preda-sanc.ro
Gallery representation: Gaep, Bucharest, https://www.gaepgallery.com/

Please visit this link: https://franklinfurnace.contentdm.oclc.org/digital/collection/p17325coll1/id/97/rec/1



1. Wen Yau, FF Alumn, at Barnard College, online, March 26, 2021

Pandemic Panels: Theatre Activists Respond to A Year of Protests and Covid
Last Fridays at Noon, Eastern Standard Time
Join us for an interdisciplinary year long series of intimate conversations with theatre artists on the challenges of creating work under the pandemic, and engaging with social justice movements around the world. Curated by Shayoni Mitra, Department of Theatre, Barnard College
This series is brought to you by the Dasha Epstein Visiting Artists and Scholars Fund.
Pandemic Panel #5, March 26,2021
Hong Kong and the Umbrella Movement
Wen Yau, performance artist
Moderated by Nick Bartlett, Department of Asian and Middle Eastern Cultures
platform to be announced.



2. Tehching Hsieh, FF Alumn, in The New York Times T Magazine, now online

Please visit this link:
thank you.



3. Kimsooja, FF Alumn, Fall news

Kimsooja: Sowing into Painting
May 9, 2020 - November 1, 2020
Wanås Foundation - Wanås Konst, Sweden

Curators: Elisabeth Millqvist & Mattias Givell

The title for the exhibition, Sowing into Painting, is also the title of Kimsooja’s new planting project. With this new work, Kimsooja expands her perspective on the (agri)cultural, conceptual, and material significance of painting and textiles. Taking advantage of something unique to the site that most art museums cannot offer—the possibility of farming the land, she uses the agricultural planting field surrounding the Wanås Foundation to experiment and cultivate a field of flax plants, a gesture referencing her decades-long exploration into painting as a conceptual art form.

Kimsooja plants two different local varieties of flax that are used to generate linseed oil and linen. Growing flax pulls us back within art history to the flax fibers that were used to manufacture textiles including canvas and linseed oil that is the classic binding agent in artists’ oil paints. By planting a field of flax plants, she metaphorically encapsulates the entire cycle of material production and considers the interplay of impermanence and perpetuity, and of life and art. These plants, which are grown and harvested in a period of several months, will transform into paintings that could last for centuries. Sown at the end of April, the flax fields will grow and change over the course of the exhibition from green sprouts to stalks with sky-blue flowers and seeds. As well as being a physical source of painting materials, the field becomes a fluid tableau, covering the ground in a pattern akin to weaving the earth.

Other artworks on view at "Kimsooja: Sowing into Painting": Meta-Painting (2020), A Laundry Field (2020), To Breathe (2020), Thread Routes-Chapter I, II, IV (2010, 2011, 2014). More information here: http://www.kimsooja.com/projects_2020_Wanas.html

Workshops around the exhibition

Follow the flax from field to paint and textile Wanås Konst! During the late summer and fall, the flax field that was sown for Kimsooja's exhibition Sowing Into Painting, will be harvested and processed. Skånelin participates with demonstration and guidance of the flax preparation.

Sept 27, 12–3 pm, Wanås Konst

Oct 10–11, 10 am–4 pm, Skånes Lincentrum, Knutstorp
More info: www.wanaskonst.se

Bottari 1999 - 2019
September 17 - 20, 2020
Basel Art Days - Kunsttage Basel, Switzerland

Curators: Elena Filipovic (Kunsthalle Basel), Ines Goldbach (Kunsthaus Baselland), Daniel Kurjaković (Kunstmuseum Basel) and Samuel Leuenberger (SALTS/Art Basel Parcours)

In Kimsooja's videos, performances, sculptures and installations, everyday moments and objects from the artist's life become tools for investigating the diverse but shared experiences of humanity. Bottari 1999-2019 (2019) is a continuation of Kimsooja's well-known concept of “bottari”, the bundles made from traditional Korean bedclothes in which the most important things are packed when a hometown has to be left behind. The six-meter-long shipping container is filled with personal items from the artist's household in New York, where she has lived for the past twenty years. In the bright colors of the traditional Korean Obangsaek spectrum, representing the cardinal directions, the container not only refers to Kimsooja's life as a nomadic artist, but also to the freedom of mobility and the choice of one's own country. Presented for the first time in Poitiers (France) in front of the Saint-Pierre Cathedral for Traversées\Kimsooja in 2019, http://www.kimsooja.com/projects_2019_Poitiers.html
Bottari 1999-2019 is placed at the historical Münsterplatz in Basel, relating to the Basler Munster Gothic Cathedral, as a sacred sanctuary and a place of refuge for people in need.

More info on: https://kunsttagebasel.ch/

September 5 - November 29, 2020
Te Tuhi, Aotearoa, New Zealand

Curator: Gabriela Salgado

The exhibition DE-celerate attempts to capture the fluctuations in artists' thinking at the time of a worldwide pandemic. The basic human ability to adapt for survival meets the hope that better times may emerge from uncertainty.

In a non-didactic manner, and acknowledging the inter-relationship between humans and nature within mātauranga Māori, the exhibition explores how ways of doing, thinking and being in the world may shift at this time. It proposes that criticality and positive connections may also be nurtured by the demands of resilience.

DE-celerate is articulated through artists’ works and live activations. Drastically limited by the travel restrictions preventing many artists’ visits, the activations take place instead through the invitation for audiences to take home or barter for certain objects. This process of exchange is one response to an increased appetite for human interaction after self-isolation.

The artists were asked to consider how isolation and confinement affected their thinking, and, by extension, their practices. For most of these artists, the fragility of the status quo, social atomisation, and the challenges posed to individuals’ health revealed by the pandemic caused them to slow down, and consider how to live with more empathy and compassion in relation to their environment.

However, one question remains unanswered: are humans ready, or even able, to decelerate? As the pressures imposed by savage capitalism grow daily, is this global economic paradigm forcing us to return to patterns of behaviour that are both inhumane, and dangerous?

Body of Water
July 23 - September 25, 2020
Magasin III - Jaffa, Tel Aviv-Yafo, Israel

Curator: Karmit Galili

Body of Water consists of three video artworks from the collection of Magasin III Museum for Contemporary Art. Anton Henning, Voilá, 2009, Janine Antoni, Touch, 2002, Kimsooja, Bottari Alfa Beach, 2001.

The myths and characteristics attributed to water are used by these three artists to create possible and impossible relations between the body and water. The boundaries implied by physicality are joined to a force of nature, one beyond the visual and intellectual perception.

The physical body is not present in Kimsooja’s video work, Bottari Alfa Beach. The location of the work is Alfa Beach in Nigeria, one of the many ports that were used for the slave trade. In the absence of the body, with the inversion of the image so that the water appears above and the sky below, the artist seeks to personify unspeakable pain, in protest of an irreparable injustice.
More info here: https://www.magasin3.com/en/pressrelease/body-of-water-anton-henning-janine-antoni-and-kimsooja/

February 21 - October 3, 2020 (dates extended)
The Israel Museum - Jerusalem, Israel
Curator: Dr. Adina Kamien-Kazhdan

Bodyscapes studies the concept of embodiment and the corpus as an organizing structure. Examining the relationship between nature and culture through the prism of the body, this exhibition brings together historical sources and artworks ranging from prehistory to contemporary art in a variety of media: works on paper, photographs, sculpture, paintings, video works, and installations.
More information here: https://www.imj.org.il/en/exhibitions/bodyscapes

A Needle Woman: Galaxy was a Memory, Earth is a Souvenir, 2014
Yorkshire Sculpture Park, Wakefield, England

Curator: Claire Lilley

This elegant, conical sculpture has transparent panels coated with nano polymer, a material that transforms light, giving an iridescence similar to that which occurs naturally on the wings of a butterfly or a beetle’s shell. The work alters dramatically with changing conditions, the nature and angle of light that hits it, and the position from which it is viewed.
More info here: https://ysp.org.uk/openair/kimsooja-a-needle-woman-galaxy-was-a-memory-earth-is-a-souvenir

Bottari, 2007-2014
EMST, The National Museum of Contemporary Art, Athens, Greece

The National Museum of Contemporary Art Athens (EMST) opened its doors again in February 2020, presenting its permanent collection that includes 172 artworks created by 78 Greek and foreign artists which are focused on the following topics: Memories – Claims – Political narratives, Limits and passages and Eterotopias – Mythology of the familiar – New perspectives.

Kimsooja's installation Bottari (2007 - 2014) is made with used Korean bedcover and used clothings from the formal director Ana Kafetsi’s and staff members’ donation during Kimsooja's solo show in 2007.

Mandala: Zone of Zero, 2003
Asian Art Museum - Seattle Art Museum, Seattle, US

Kimsooja was first inspired to create this work when she came across a gambling shop on New York City’s bustling Broadway. The circular jukebox, which she saw in the shop’s window, struck her as astonishingly similar to traditional Tibetan Mandalas—intricate designs meant to symbolize the universe and aid deep meditation.
More info here: http://samblog.seattleartmuseum.org/2020/08/mandala-zone-of-zero/



4. Karen Finley, Amy Khoshbin, FF Alumns, at Pratt Institute, Brooklyn, Oct. 1

Vote, Vote Again Oct 1!
Hey Everyone-
So much is going on- 39 days to the Presidential Election, Breonna Taylor's murderers haven't been charged, massive voter suppression...and this is why we need to continue to take our power back through organizing electorally and voting at the local, state, and national levels...and taking to the streets too.

Join me and Karen Finley on Oct 1 at 7pm EST as we co-host a virtual event called Vote, Vote Again at Pratt Institute, where I'm currently a Fellow in Civic Engagement. We'll share creative voter mobilization strategies like an interactive postcard-making session with Karen, speaking with political strategist Maya Contreras and GOTV organizers from Artists 4 Democracy, Plan Your Vote, Walk the Walk, ADVICE, and two of the youngest City Council Candidates in NY. Then join me Oct 3 for a meditation with the Wide Awakes for their Day of Joy w/with the Vote Feminist parade. Details below.

Vote, Vote Again
Thurs Oct 1, 2020
RSVP HERE: https://www.eventbrite.com/e/vote-vote-again-art-in-action-tickets-120040667869?aff=Registration
Pratt Institute

Register at Vote Forward a few days before this event to receive addresses to mail your postcards to! https://votefwd.org/

Co-hosted by Amy Khoshbin, Pratt Fine Arts’ Civic Engagement Fellow, artist Karen Finley, NYU Arts Professor in Art and Public Policy, and with political strategist Maya Contreras, City Council Candidates; Chi Ossé, Kristin Richardson Jordan; and GOTV Organizations; Artists 4 Democracy, Plan Your Vote, Walk the Walk, & ADVICE

Karen Finley and Amy Khoshbin uncover and share creative voter mobilization strategies. Join us for an interactive postcard-making session with Karen; hear from political strategist Maya Contreras and GOTV organizers, and meet two of the youngest City Council Candidates in NY.

The time is now! Join candidates, concerned citizens, artists, and organizations in a virtual event focused on voter registration, campaigns, and change strategies in an unprecedented Presidential Election year shrouded by concerns of voter suppression. How do we make sure everyone who can vote does vote? How do we continue to take our power to the ballot box beyond the Presidential election? You can begin by registering to vote by Oct 9 here!

Together we’ll get creative, take the pledge to VOTE, VOTE AGAIN and learn how to keep up the momentum into November and then forward onto local races, such as the NY City Council primary in June 2021!

Wide Awakes Day of Joy
Oct 3, 2020
Location TBD

I'm holding a Radical Love meditation session as part of the Wide Awake's Day of Joy on October 3. I'm part of Michele Pred's Vote Feminist parade, which will be marching from Times Square to the Public Theater and down to Washington Square Park starting at 2pm in Times Square!

See you in the streets or on the Zoom on Oct 1!



5. Marina Abramović, FF Alumn, in Observer, now online

Q&A: Marina Abramović on Heartbreak and ‘Homecoming,’ a New Documentary About Her Life

'I’m not crying anymore about my past or my childhood,' says Marina Abramović. Exploring childhood memories in the documentary 'Homecoming' helped her cope. By Nadja Sayej

Please visit this link: https://observer.com/2020/09/qa-marina-abramovic-on-heartbreak-and-homecoming-a-new-documentary-about-her-life/ thank you.



6. Judith Bernstein, Kim Jones, FF Alumns, virtual conversation, online Sept. 30


Featuring artists Judith Bernstein and Kim Jones, this virtual conversation by Kraus family curator Gary Carrion-Murayari will build from Peter Saul's use of shock and irreverence to consider how artists address politics and current events.

Identifying parallels and divergences between art in the 1960s-1970s and now, this conversation will consider the limits and possibilities humor can afford political art.

Register here for this conversation: https://www.newmuseum.org/calendar/view/1628/artists-judith-bernstein-and-kim-jones-humor-and-politics-in-art-of-the-1960s
registration closes at 6pm est on september 30.
zoom panel begins at 8pm est.



7. Judith Bernstein, FF Alumn, at The Box, Los Angeles, CA, Oct. 3 thru Dec. 19

Judith Bernstein
October 3 – December 19, 2020
By Appointment Only:
Wednesday – Saturday, 11AM – 6PM
appointment@theboxla.com or (213) 625-1747
On this the fifth exhibition of Judith Bernstein, HOT HANDS, we are showing a grouping of ball busting political works. At this turbulent time, we’ve chosen to present works that empower and embolden and critique. As we reopen on October 3, 2020 by appointment only, we will present fifteen paintings from 2016 to 2020. We felt it of utmost importance to present an exhibition of paintings with strong political value. This Bernstein show portrays these psycho-political stories using large scale representations of the vagina and the penis; presenting themselves as dynamic, interactive characters in the power struggles of our culture.
Throughout her career Bernstein has become known for her large-scale drawings of phallic presences, until in 2010 when she began to bring painting back into her practice in a serious way. In the late 1960s she made a series of political paintings entitled FUCK VIETNAM (that were shown at The Box in 2011). In this series she made a portrait of a penis-headed governor; mocking corrupt politicians. Naturally, this image has carried over into Bernstein’s anti-Donald Trump paintings, where he is portrayed with a bright salmon colored penis head. Trump is portrayed as clown, with a court jester cap-and-bells accentuating his blond skullcap-hairdo. The image of the vagina face is integrated as well, engaging in potency wars with the penis heads. This image of the vagina face originated in earlier drawings from the 1960s with a character called Fuck Face Sally. The image has taken on new life since 2010 in a series entitled Birth of the Universe, where Bernstein makes the connection between human birth and the birth of the universe. A new work in the exhibition, Gaslighting (2019), depicts a battle between vaginas and penises, with glowing shafts of neon yellow radiating under black light to a backdrop of deep pinks and purples. This play in characters and continued explorations of bright fluorescent tones, reveal in part an exploration of Bernstein’s inner processing of the deeply complex psychological and cultural issues she addresses in the work.
This exhibition features some of the largest paintings Bernstein has ever created, one measuring over 12 by 14 feet, creating an ominous, overpowering presence. Her interest in large scale formats can be connected back to her early large scale aforementioned phallic drawings, such as her infamous Horizontal (1973). These historical drawings used their gigantic scale to infantilize the viewer. Bernstein was a founding member of the New York feminist movement. She employed scale, as well as sexual and political references, to embolden her female hand as a fully capable, fully empowered, artist of the time. The works from 2016/2017 focus on Donald Trump and his politically sycophantic goon friends from around the world, like Putin and Kim Jong Un, in the work Money Shot (Blue Balls) (2017). With the works from 2018, one sees Bernstein widening her perspective, exploring forms that are abstracted and make for a calmer visual dynamic. A stellar example of this is the work Blue Balls #1 (2018), with a bright true carnelian yellow background with floating deep blue phalluses and eyes that hug the edge of the nearly 13-foot-tall painting. These works are playful and dark, humorous yet serious, political yet personal. They are the perfect works to experience during this period of COVID-19 isolation.
Judith Bernstein was born in 1942 and currently lives and works in New York. She received her MFA from Yale University in 1967. Recent solo exhibitions include Money Shot at Kasmin Gallery, NY (2018); Dicks of Death at Mary Boone Gallery, NY (2016); Judith Bernstein at Kunsthall Stavanger, Norway (2016); Birth of the Universe at Gavin Brown’s enterprise, NY (2014); Rising at Studio Voltaire, London (2014); Judith Bernstein at Karma International, Zurich (2014); Birth of the Universe: 18 New Paintings at The Box (2013); and Judith Bernstein: HARD at the New Museum, NY (2012). Recent group exhibitions include Seven Stations: Selections from MOCA’s Collection at Museum of Contemporary Art, Los Angeles, CA (2020); Artists Respond: American Art and the Vietnam War at The Smithsonian American Art Museum, Washington D.C. (2019); United by AIDS at Migros Museum, Zurich (2019); Masculinity at Bonner Kunstverein, Bonn, Germany (2019); We need to talk… at Petzel Gallery, NY (2017); Coming to Power: 25 Years of Sexually X-Plicit Art By Women at David Zwirner, NY (2016); From the Collection, Kunsthaus Zurich, Zurich (2016); Human Interest: Portraits from the Whitney’s Collection (2016) and America Is Hard To See (2015) at the Whitney Museum of American Art, NY; Keep Your Timber Limber at ICA, London (2013); and The Historical Box at Hauser and Wirth, London (2011). Bernstein has work in the permanent collections of the Museum of Modern Art, NY; the Whitney Museum of American Art; The Museum of Contemporary Art, Los Angeles; the Brooklyn Museum, NY; Jewish Museum, NY; Kunsthaus Zurich, Switzerland; Migros Museum, Zurich, Switzerland; Carnegie Museum of Art, Pittsburgh; Deste Foundation, Athens, Greece; Sammlung Verbund, Vienna; Yale University Art Gallery, New Haven, CT; Neuberger Museum, New York; and Hall Art Foundation, Reading, Vermont. She was the recipient of a John Simon Guggenheim Memorial Foundation Fine Arts Fellowship in 2016.
The Box is open by appointment only
To schedule an appointment contact: appointment@theboxla.com or (213) 625-1747
Appointments are available Wednesday–Saturday, 11AM–6PM



8. Mel Watkin, FF Alumn, now online at https://melwatkin.com/news.html

Please visit this link: https://melwatkin.com/news.html thank you



9. Gia Forakis, FF Member, Creative Life Practice workshops/coaching sessions, starting Oct. 5

OCTOBER 5 Workshop or Private Coaching

You do not need to be an artist to benefit from a Creative Life Practice.

OTOA Creative Life Practice (CLP)™ Zoom workshops and private coaching sessions offer the Tools for Creating Your Life as Your Practice, and the Principles for the Practice of Creating Your Life.

All workshops and coaching sessions are led by OTOA CLP Founder & Master Teacher, Gia Forakis

OTOA CLP First Monday Workshop, OCTOBER 5

OTOA Creative Life Practice (CLP)™ Private Coaching

See Below
I invite you to participate in the next 90-minute FIRST MONDAY Zoom Workshop, OCTOBER 5.

Each month I introduce one of the 6 Aspects of Creativity™ in the
OTOA Creative Life Practice (CLP)™ curriculum.

The 6 Aspects of Creativity™ are the tools and principles that artists rely upon (whether they are aware of it or not) to do what they do: create something out of nothing. They are also the tools and principles that anyone --artist and non-artists alike-- can harness in the creation of a project, a goal, a transition, and the practice of creating our lives.

OCT 5 we will be investigating the aspect: TIME / SPACE

During the pandemic, all workshops are being offered as

Directions for Registration are included below.

I look forward to sharing this teaching with you,
and to supporting your creative life practice.

With Strength & Power for Change Through Creativity

Gia Forakis
Founder & Master Teacher
One-Thought-One-Action (OTOA)™
Creative Life Practice (CLP)™
A Path for Creating Personal & Collective Change

EMAIL: OTOA.info@gmail.com


OTOA Creative Life Practice (CLP)™

Held on the 1st Monday of Each Month

The Next Workshop: MONDAY, OCTOBER 5
6:30 - 8:00pm (Eastern U.S. Time)
3:30 - 5:00pm (Western U.S. Time)
Space Limited to 8 Participants
REGISTRATION is required by/before Sunday, Oct. 4

All workshops are led by OTOA Founder and Master Teacher, Gia Forakis, with a seated YOTOA™ warm up by Certified Yoga Instructor and OTOA PTT Master Artist, Stephanie Regina. (YOTOA = Yoga + OTOA)


Please EMAIL: OTOA.info@gmail.com

In your email please include the following:

-Your Full Name

-Your Phone Number & Snail-Mail Address (optional)

-Where You Heard About OTOA (e.g. Franklin Furnace)

-A Few Words About Yourself

-What Interests You About OTOA Creative Life Practice?

-Please include " FIRST MONDAY " in Subject of your email

After we receive your email with the registration information outlined above, a confirmation email will be sent to you within 24-hours with the following information:
How to prepare and what materials you will need for the session
Instructions for how to make a Pay-What-You-Can-Afford- contribution.

For Further Information Visit: http://www.1thought1action.com/


OTOA Creative Life Practice (CLP)™

"You do not need to be an artist to benefit from a Creative Life Practice"

OTOA Creative Life Practice Private Coaching sessions provide the tools for the practice of creating your life as an expression of your true nature-purpose.

OTOA CLP PC untangles obstacles, identifies goals, reinvigorates a vision for purpose, possibility, confidence, and abundance with care and compassion.

OTOA CLP PC offers support, context, and encouragement for a more unified sense of self.

OTOA CLP PC is a confidential, non- judgmental, supportive environment designed to offer growth, change, and self-actualization.

OTOA CLP PC offers the tools for creating your life as your practice, and the principles for the practice of creating your life.

OTOA CLP PC is for everyone: both artists and non-artists alike.

At this time 1-hour coaching sessions are being offered during the pandemic at PAY-WHAT-YOU-CAN-AFFORD
(Normally valued at $60 per hour)

(Please add "COACHING" in subject header)
OR VISIT: http://www.onethoughtoneaction.com/



10. Susan Bee, FF Alumn, now online at https://www.airgallery.org/events-1/tangled-tango

In conjunction with Susan Bee’s exhibition Anywhere Out of the World, A.I.R. Gallery is pleased to present Tangled Tango, featuring A.I.R. New York Artist Susan Bee in conversation with essayist, novelist, and founder of Writers Against Trump Siri Hustvedt. https://www.writersagainsttrump.org/

A video of their September 16th conversation at A.I.R. is now live on our website! https://www.airgallery.org/events-1/tangled-tango

Read a teaser below!

Siri Hustvedt: In that relationship, art is only animated by the viewer or the reader or the listener. My last thought is about the idea of Einfühlung, which was what Robert Vischer wrote about in relation to aesthetics. He had the idea that when someone looks at a picture, the person feels her way into it. That concept was elaborated by Theodor Lipps, and later by someone I really like, Vernon Lee (Violet Paget). She was a writer, but she wrote about feeling and empathy in visual art—how we experience movement in static canvases, for example. I am looking at these paintings right now, and I feel that my embodied emotional responses to the work are vital to my understanding. Formalism has mostly died out, and yet, I feel there remains a lot of hostility to what is perhaps the most important part of experiencing visual art—what you feel when you are looking at it.

Susan Bee: I certainly identify with those ideas. Empathy is important in my work and perhaps that distinguishes it from the work of some of my peers. My feelings about the characters in my paintings and my empathy with them is crucial to me as in the relationship between the centaur and the poet or the rooster and the demons. In other words, there's usually more than one person in my paintings, or if it's one person in tandem with a landscape, but there is always a relationship between the elements in the painting.

A full written transcript of the talk is available on request. Susan Bee’s show continues through October 11th, Weds.-Sunday, 12-6PM.



11. Christy Rupp, FF Alumn, now online at whitehotmagazine.com

Please visit this link: https://whitehotmagazine.com/articles/on-our-increasingly-fragile-ecosphere/4721
Thank you.



12. Hector Canonge, FF Alumn, Fall newsletter

After several months of confinement working and presenting online projects and programs from his home-studio in Queens, New York City, artist and cultural producer, Hector Canonge, introduced to live audiences his new durational performance, PROCESSION during Bushwick Wycoff Art Crawl. On Saturday, September, 26th, he premiers FRAGMENTATIONS, a project supposed to be presented in Greece this past Summer. Canonge will participate in exhibitions and programs in Europe, the Middle East, and Asia in the upcoming months.
This past August, after completing the presentation of his world-wide initiative, CHRONICLES of CONFINENT, a series of conferences which featured artists from various countries in the four continents. Latin America: https://www.youtube.com/watch?v=To4TIEbdFY0&feature=youtu.be
Europe: https://www.youtube.com/watch?v=ZGyVi9gnAeQ&feature=youtu.be
Africa: https://www.youtube.com/watch?v=3l6cizy6TRU&feature=youtu.be
Asia: https://www.facebook.com/events/1219962125028506/

Canonge participated as guest speaker in online conferences and programs in South America: Argentina, Bolivia, and Chile, and in Europe: Germany and Spain. The experience motivated him to collaborate with local governments, museum and institutions in the creation of three important platforms: Performance Art Bolivia https://www.facebook.com/performanceartbolivia/
with the production of the online program INTROSPECCIONES; Performance Art Latinoamérica https://www.facebook.com/performance.art.latinoamerica/
with the online project COVIDIANIDAD https://www.youtube.com/watch?v=IfgALvGPMp4&feature=youtu.be
and the October virtual performance art festival, ACCIDENTALMENTE, https://www.facebook.com/performance.art.latinoamerica
and the upcoming Performance Art Argentina https://www.facebook.com/performanceartargentina/

To begin the new calendar season this Fall, Canonge returns to the public arena as guest artist of Arts in Action Organization for the annual Bushwick Wycoff Art Crawl (September 20) with PROCESSION, a durational performative caravan that reflects on our present condition of physical distancing and isolation. An excerpt of his dance performance, FRAGMENTATIONS, a project supposed to be presented in Greece this past Summer, will be featured for a live audience in BAAD's Outdoor Dance Compilation (September 26). In early October, Canonge will switch hats as producer and curator for the platform Performance Art Latinoamerica with the presentation of its First Virtual Performance Art Festival, OCCIDENTALMENTE (October 10 -12) coinciding with the controversial observance of Christopher Columbus Day. Continuing with his art projects, the exhibition of his moving images (photo and video) THE FLESH THAT (UN)MAKES ME will be featured in the 4th International Festival of Homar in Iran (October 26-29), and his experimental new media performance, YOUR CLOSENESS BURNS ME will close the international festival in Denmark, Performance Køkkenet, to be streamed online (October 30).

Detail information:https://www.hectorcanonge.net/

Best Regards,
Hector Canonge
Artist / Curator / Educator / Cultural Producer



13. Edward M. Gómez, FF Alumn, in Hyperallergic, now online

Dear art lovers and media colleagues:
My article about the first-ever exhibition in Japan of homoerotic drawings made by the artist Touko Valio Laaksonen, who was better known as "Tom of Finland" (1920-1991), has just been published in HYPERALLERGIC's "Weekend" edition.

The exhibition, Reality & Fantasy: The World of Tom of Finland, is now on view, through October 5, 2020, at Gallery X at Shibuya Parco, one of Tokyo's hippest, most cutting-edge department stores. It has been curated by Shai Ohayon, the Israeli-British founder and director of The Container, a small contemporary-art gallery in Tokyo that has become well known for its presentations of conceptual art and experimental works produced by Japanese and foreign artists.

Right now, in conjunction with the Tom of Finland exhibition, The Container is presenting An Ode to Tom, a selection of works by Goh Mishima, Gengoroh, and Jiraiya, three Japanese gay artists who were influenced by the work of their Finnish confrère.

As I note in my HYPERALLERGIC review of Shibuya Parco's Tom of Finland show, it's an audacious serving of unabashedly homoerotic imagery in a modern, developed country in which, despite its rich history of avant-garde experimentation in the arts and its pioneering advances in science and technology, “the love that dare not speak its name” is still only quietly tolerated — but rarely discussed. Japan is an artistically innovative but socially still rather conservative place.

There is no shame, guilt, or self-doubt in Tom of Finland's exuberant art.

Therein lies a potent message, one that this exhibition's organizers and sponsors hope will spill over and reach a broad audience at a time when much of the world has had enough of prejudice and discrimination, and efforts by gay and LGBQT people to secure basic forms of legal protection are widely viewed as a struggle for basic human rights.

You can find my magazine article here:


I hope you'll enjoy reading it.

With best wishes...



14. Andy Warhol, FF Alumn, at mumok, Vienna, Austria, thru Jan. 21

ANDY WARHOL EXHIBITS a glittering alternative
Exhibition trilogy
September 25, 2020–January 31, 2021

mumok – Museum moderner Kunst Stiftung Ludwig Wien
Museumsplatz 1
1070 Vienna

Instagram: https://www.instagram.com/mumok_vienna/
Facebook: https://www.facebook.com/mumok
Twitter: https://twitter.com/mumokwien
YouTube: https://www.youtube.com/user/mumokvienna

From September 25, 2020, mumok will devote three exhibitions to the phenomenon that is Andy Warhol. Along with well-known classics, mumok will present rarely shown works and look behind the facade of the world-famous Pop Art icon to rediscover Warhol’s capabilities as a groundbreaking exhibition curator and installation artist.

With two shows—ANDY WARHOL EXHIBITS a glittering alternative and DEFROSTING THE ICEBOX. Guesting at mumok: The Hidden Treasures of the Collection of Greek and Roman Antiquities of the Kunsthistorisches Museum and Weltmuseum Wien—mumok presents the very first exemplary overview of the polymath artist’s exhibition practices without letting his early and late works fall by the wayside. This broad cross section opens new perspectives on the myriad media Warhol used and shows that his modes of presentation should be understood as an essential part of his oeuvre.

The related collection exhibition, MISFITTING TOGETHER. Serial Formations of Pop Art, Minimal Art, and Conceptual Art faces the challenge not only of situating Warhol in the field of Pop Art but of painting a more nuanced picture of the times by including works of Minimal and Conceptual Art. Juxtaposing these movements will show how strongly they have influenced each other and how hard it is to pigeonhole them art-historically.

ANDY WARHOL EXHIBITS a glittering alternative peeks behind the artist’s aforementioned public image, placing aspects of Warhol’s cosmos at center stage that have thus far gone virtually unexamined. Two sides of his “dual persona”—the much-quoted, staged persona on the one hand and the hidden one, barely noticed by the public, on the other—will be contrasted: The exhibition deals with Warhol’s curatorial intentions and prevailing motifs and abstractions of the 1950s.

The selected works illustrate Warhol’s early immersion in iconographically clearly defined series—especially his interest in gender performance variations as well as the development of a specific visual vocabulary that keeps cropping up in various contexts. Given the disclosure of this system, Andy Warhol’s early works can no longer be pigeonholed as “commercial.” The spotlight will also be turned on Warhol’s exhibition practices from the 1960s, ’70s, and ’80s, concentrating on presenting individual work series in different media. This addresses the densely interwoven nature of the artist’s work and mode of presentation.

A comprehensive academic compendium will be published in conjunction with the exhibition, including texts by Marianne Dobner, Naoko Kaltschmidt, Natalie Musteata, Neil Printz, Nina Schleif, and Jennifer Sichel, who approach Warhol’s rich exhibition history in a variety of ways.

DEFROSTING THE ICEBOX. Guesting at mumok: The Hidden Treasures of the Collection of Greek and Roman Antiquities of the Kunsthistorisches Museum and Weltmuseum Wien
The exhibition RAID THE ICEBOX 1 with Andy Warhol is seen as one of the earliest examples of a collection exhibition curated by an artist. Warhol worked with the holdings of the Museum of Art at the Rhode Island School of Design and conceived a traveling exhibition, which opened in 1969 at the Institute for the Arts at Rice University in Houston, continued at the Isaac Delgado Museum in New Orleans in 1970, and finally returned to its point of origin, the Museum of Art at the Rhode Island School of Design.

Though the Warhol-curated exhibition did not feature any works by the artist himself, it contained several presentation strategies that broke with traditional museum standards: Instead of prioritizing the visual arts, Warhol exhibited the applied arts. Instead of applying a classification system of chronology, medium, or style, he presented the objects in an ahistorical, nonhierarchical form. The museum storage became an exhibition; what had almost been forgotten was placed in the limelight. Following Warhol’s curatorial principles, mumok takes this exhibition as an occasion to implement those unusual presentation strategies in so important a historic collection as that of Vienna’s Kunsthistorisches Museum.

In keeping with Warhol’s motto of “raiding the icebox,” mumok will devote an entire level to the Antiques Collection’s and Weltmuseum Wien’s storages.

MISFITTING TOGETHER. Serial Formations of Pop Art, Minimal Art, and Conceptual Art
“I was reflecting that most people thought the Factory was a place where everybody had the same attitudes about everything; the truth was, we were all odds-and-ends misfits, somehow misfitting together.” (Andy Warhol)

Andy Warhol’s titular words serve as the starting point for the third exhibition. Referencing Mel Bochner’s Artforum article “The Serial Attitude” (1967), the collection show explores the serial order as a link of all three art movements. As Bochner already stated in 1967, serial arrangement is a method, not a style. Seriality should be understood not as formalized playfulness but as artistic strategy with clearly defined underlying processes, often from the fields of mathematics and language.

It is hardly a secret that aside from being a phenomenon of Warhol’s times, the concept of seriality also played a crucial role in his work. Instead of one final result, it was the steadily changing process that was at the heart of Warhol’s serial concept. A similar method can be seen in works of contemporaries.

Artists: Lutz Bacher, Alighiero Boetti, Daniel Buren, Hanne Darboven, Jan Dibbets, Heinz Gappmayr, Robert Indiana, Jasper Johns, Donald Judd, On Kawara, Joseph Kosuth, Sol LeWitt, Roy Lichtenstein, Dóra Maurer, Claes Oldenburg, Friederike Pezold, Larry Poons, Charlotte Posenenske, Peter Roehr, Robert Smithson, Daniel Spoerri, Andy Warhol

Curated by Marianne Dobner, co-curated by Naoko Kaltschmidt (MISFITTING TOGETHER)

The exhibitions were supported by the Peter and Irene Ludwig Foundation.

Please check our website for regular updates on our program.
For further information please contact: Katharina Murschetz
T +43 (0) 1 52500 1400 / press@mumok.at



15. Jim Costanzo, FF Alumn, new photo book published

wall street in black & white: fotos & text of an occupier — a foto book by Jim Costanzo publisher Autonomedia



16. Billy X. Curmano, FF Alumn, at Witoka Contemporary, Winona MN, Oct. 2

Witoka Contemporary
at Art Works USA
27979 County Road 17
Winona, MN 55987

“The Billy X Kids Mural” - Walk, Ride, Fly or Drive-by Installation Celebration

October 2, 2020 - 4 to 6 pm

Contemporary American artist, Billy X Curmano, led a performative mural painting workshop in the College for Kids program at Winona State University, Winona, MN (circ. 1990). The kids are grown and records are lost. The two 4’ x 8’ mural sections have spent their lives in storage up until now. Finally, “The Billy X Kids Mural” has found a home. It has been installed on the exterior north face of the Witoka Contemporary garage at Art Works USA. The mural can be seen anytime during daylight hours. For the best view, travel south from Winona on County Highway 17 almost to the top of the Witoka Bluff. The mural will be on the west side of the road - to your right.

To celebrate the long awaited installation, a formal “Billy X Kids Mural” - Walk, Ride, Fly or Drive-by reception and dedication is scheduled for October 2, 2020 between 4 and 6 p.m. Due to Covid-19 concerns and restrictions, there will be no stopping. The artist and workshop leader will simply wave as participants pass by. Please don’t stop. Keepsake photographs of the artist waving will be available for purchase from www.billyx.net at a later date. We are also interested in locating any of the College for Kids kids that helped create the mural. If you are still out there, please send your contact information along with “I helped create the Mural” in the subject box to: billyx.net@gmail.com For more information please contact billyx.net@gmail.com or call: 507.400.5689



17. Peter d’Agostino, FF Alumn, now online


Peter d’Agostino: A-bombs / Climate walks at Transmission Gallery, Oakland CA Oct 1-Nov 21, 2020

Now in 2020, during the 75th anniversary of the birth of the Atomic Age, a startling confluence of events: the COVID-19 pandemic, Black Lives Matter protests for racial justice, and raging wildfires, resulting from global warming, are all justifiably at the forefront of our consciousness. However,even before the world was engulfed by these tragic events, the Board of the Bulletin of AtomicScientists moved its Doomsday Clock forward to 100 seconds before midnight, signifying thatwe are living in history’s most dangerous era, as “Humanity continues to face two simultaneousexistential dangers - nuclear war and climate change .” These interrelated themes connect the video installations in this exhibition.

TRACES (1995/2020) A complex multimedia project moving back and forth in time from the
dawn of the Atomic Age to the Hiroshima Peace Memorial Ceremonies, an annual remembrance.
The events in 1945 coincided with artist’s birth, occurring between the A-bomb test in New Mexico
on July 16 and bombings of Hiroshima & Nagasaki, August 6 and 9.

World-Wide-Walks / Atomic - Hydrogen (2020) Looking for J. Robert Oppenheimer and Edward
Teller, ‘fathers’ of A-bomb and H-bomb on the streets where they lived. While Oppenheimer
expressed his regret about the threat to civilization brought about by the bomb, Teller’s pursuit
of the H-bomb led some to consider that he had become a “reckless advocate of nuclear war.”

World-Wide-Walks / between earth & water / ICE (2014/2020) Walks along the edge of glaciers,
at the top and bottom of the globe in Iceland, Alaska and Argentina to witness signs of global warming. Juxtaposed with the walks and a sound score of evolving glacial dynamics are cautionary texts that serve as a counterpoint to the sheer beauty of these places- reminders of the fragility of massive glaciers during our current era of accelerating climatic changes.

VR / RV: a Recreational Vehicle in Virtual Reality (1994/2020) VR/RV explores the displacement
and disembodiment of a technologically determined culture which co-mingles video games and
computerized war. Reconstructed scenes from the atomic bombing of Hiroshima in 1945 are
juxtaposed with ‘smart bombs’ dropped during the Gulf War, 1990-91.

The book Peter d’Agostino / World-Wide-Walks: Crossing Natural-Cultural-Virtual Frontiers
is available at: https://press.uchicago.edu/ucp/books/book/distributed/W/bo31274544.html



18. Stephen Lichty, FF Alumn, at Corner Lab, Florence, Italy, opening Oct. 2

Stephen Lichty
Opening October 2
12:00 am to 8 pm

VEDA is pleased to present a solo show by Stephen Lichty on view from October 2 to November 7, 2020. This exhibition is located at CORNER LAB (Via dei Pecori 11), a trans-disciplinary project hosting VEDA. Join us for the opening on Friday, October 2, 2020, from 12 a.m. to 8.00 pm.

Consisting of a single sculpture, the exhibition is occupied by a 1:1 scale human figure in black walnut, carved by the artist, leaning into a stainless steel pole.
The sculpture follows from the exquisite sacred tradition and portrays a complex dynamic between inner experience and infrastructure. Lichty describes the making of this sculpture, for which he used himself as a reference, as a rite of passage. The work is titled Leaning Figure.
An extended interview between the artist and art historian Michele D’Aurizio is available here: https://drive.google.com/file/d/1aTbZkeRCRB88mVi24NNksYUlGK87p3GT/view


VEDA ha il piacere di presentare la personale di Stephen Lichty, visibile dal 2 ottobre al 7 novembre, 2020. La mostra si svolgerà a CORNER LAB (via dei Pecori 11), nell'ambito di un progetto trans-disciplinare che ospiterà VEDA. La mostra inaugurerà venerdì 2 ottobre, 2020 dalle 12.00 alle 20.00.

Consistente in un’unica scultura, la mostra è occupata da una figura umana in scala 1: 1 in noce canaletto, scolpita dall’artista, appoggiata a un palo di acciaio inossidabile.
La scultura segue la tradizione dell’arte sacra e ritrae le dinamiche complesse che intercorrono tra l’esperienza interiore e l' infrastruttura. Lichty descrive la realizzazione di questa scultura, per la quale ha usato se stesso come riferimento, come un rito di passaggio. L’opera si intitola Leaning Figure (figura appoggiata).
A questo link l'intervista realizzata da Michele D'Aurizio.

Download Booklet - Stephen Lichty: https://drive.google.com/file/d/1NMITMA0xbh0cbknT9_eBRo-ee9xZ9Yta/view



19. Mark Berghash, Rachel Berghash, FF Alumns, at Hudson Valley MOCA, Peekskill, NY, now online



Our on-line work is being presented by Hudson Valley MOCA, a museum in Peekskill, NY. It is a part of a project directed by Mara Mills mara.mills@studiotheaterinexile.com, entitled

Climbing the Walls.

see link below:




20. R. Sikoryak, FF Alumn, Brooklyn Book Festival, online Sept. 28

Carousel: Comics Performances
An online event of the 2020 Brooklyn Book Festival

Readings of graphic novels and comics, with images, presented by:

Glynnis Fawkes (Charlotte Bronte Before Jane Eyre)
Shary Flenniken (Trots and Bonnie)
Mikki Kendall (Amazons, Abolitionists, and Activists)
Sophie Yanow (The Contradictions)
Hosted by R. Sikoryak (Constitution Illustrated)

Watch online:
Monday, September 28, 2020 at 8:00pm EDT
Info: https://brooklynbookfestival.org/event/carousel-comics-performances/

Glynnis Fawkes is the author of Charlotte Bronte Before Jane Eyre and Persephone's Garden, both out in 2019. She teaches at the Center for Cartoon Studies and her work has appeared in The New Yorker. Twitter and Instagram: @glynnisfawkes
Shary Flenniken is a Seattle-based cartoonist, editor, and screenwriter currently living in Seattle, Washington - best known for incorporating elements of feminism and gender politics in her Trots and Bonnie comic in National Lampoon Magazine.Mikki Kendall is the author of AMAZONS, ABOLITIONISTS, AND ACTIVISTS (illustrated by A. D’Amico), and of HOOD FEMINISM. Her essays can be found at TIME, the New York Times, The Guardian, the Washington Post; recent media appearances include BBC, NPR, the Daily Show, PBS, Good Morning America, MSNBC, and Showtime. Website: mikkikendall.com
Sophie Yanow is the Eisner Award-winning cartoonist of The Contradictions, What is a Glacier?, and War of Streets and Houses. Her comics have appeared in The New Yorker, The Guardian, Los Angeles Review of Books, and The Nib.
R. Sikoryak’s new book is Constitution Illustrated, published by Drawn & Quarterly. His other books include The Unquotable Trump, Terms and Conditions, and Masterpiece Comics. Rsikoryak.com

More info on Carousel: carouselslideshow.com



21. Paul Zelevansky, FF Alumn, now online http://greatblankness.com/

Please visit these links: http://greatblankness.com/portfolio-gallery/make-a-right-turn-at-the-old-man/ and
http://greatblankness.com/portfolio-items/8-make-a-right-turn/ Thank you.



22. Bradley Eros, FF Alumn, at Le Petit Versailles, Manhattan

Le Petit Versailles (LPV) triumphantly faces the challenge of Co-VID 19 in responses that address sheltering in place, quarantine, and social distancing. While furthering the uncertain future of social gathering we create a hybrid where audiences in the virtual domain commingle with on-site presence in the actual world. Street screenings, public discussion, an installation that spanned the garden gates with curbside viewing and now hybrids of performance/media/forum in an experimental approach that has long been our hallmark. The experiment continues as we move forward into the immediacy of a political future whose outcome can only be determined by YOUR actively engaged, immersed participation.

OCTOBER at Le Petit Versailles
All events will be streamed via Zoom for those that cannot attend (link information follows each announcement). EVENTS are free and open to the public

Le Petit Versailles 346 East Houston St. (Between Ave. B & C)
All events happen rain or shine.

Friday - Sunday, October 2-4 at 6pm. The Contemplative Garden by {amdpc}
Friday, October 9th at 8pm. INSECTS & FLOWERSEX (aka The Birds & The Bees)- film and music program by Bradley Eros

October 2-4 Friday Saturday Sunday 6-8pm
The Contemplative Garden: Nature is Healing
(10 Rajas, 11 Feathers, and a Dozen White Kelly's)
by {amdpc}
a multidimensional performance company

The world premiere of {a multi-dimensional performance company}, a collective of artivists founded on holistic wellness, mutual aid, and postmodern dance. An improvisational, spontaneous, and hybrid presentation. The Contemplative Garden: Nature is Healing will debut at Le Petit Versailles as {amdpc}'s formal introduction to the public. This work pays homage to NYC's very own Sun King of Downtown Dance, Raja Feather Kelly and is aptly subtitled: 10 Rajas, 11 Feathers, and a Dozen White Kelly’s. This is a teach-in, call-in, and protest; a call to action for New York Live Arts to halt its presentation of WEDNESDAY, a "queer fantasia", slated to premiere in 2021, presented by Raja and the feath3r theory.

Meeting ID: 923 9214 7340
Passcode: 789405

October 9th FRIDAY 8-10pm
INSECTS & FLOWERSEX (aka The Birds & The Bees) [films mostly from 1930s to 1970s]

Films on film, programmed by Bradley Eros, from the Mushroom Archive: [69 minutes running time]

Repeat event due to rain interruption on previous date

A lively, living mixed-media series of shorts featuring films from 1930s to 1970s curated by Mushroom Archives’ Bradley Eros.

In keeping with Le Petit Versailles’ vanguard legacy of creative disruption, the evening will include avant garde movies—such as Killers of the Insect World and Woody Woodpecker & The Termites from Mars—live sound by LeLe aka Lullady, a radio collage soundtrack by Jeanne Liotta and a live soundtrack performance by Pinc Louds. Several films will be presented in silence with perfume scents & tasty treats.

Meeting ID: 984 4977 8876
Passcode: 040068

LPV Practices Social Distancing!
We will maintain that fewer than 25 people will be in the garden at any time. While in the garden please observe physical distancing by staying at least 6 feet apart between all people at all times. It is critical to identify and protect those at high risk, including people over 60, people with compromised immune systems, and people with underlying, ongoing, health conditions.

All visitors to the garden must Wear A Mask! Contact: lepetitversailles@alliedproductions.org
tel. (212) 529-8815



Goings On is compiled weekly by Harley Spiller