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Contents for October 26, 2020

Weekly Spotlight: Lenora Champagne, FF Alumn, now online at https://franklinfurnace.contentdm.oclc.org/digital/collection/p17325coll1/id/34

This week’s spotlight is on Lenora Champagne’s online performance, “Anxious Women,” a 38-minute portrait of unique women grappling with their strengths, doubts, and uncertainties. The first vignette, “Cassandra Mixes Up Medea/Medusa,” confronting the perception of women as victims or heroes, is woven together with four more unique profiles, “Dorothy,” “Beth,” “Irma,” and “Through the Looking Lass,” featuring Snow White and the 7 Dwarves. Champagne’s complex 5-part performance exposes the inner desires and strife of complex and vivid women struggling with their worth, ambitions, and realities. This largely solo performance, presented with Pseudo Programs on May 29, 1998, includes new and vintage film presented in collaboration with Benton Bainbridge, Abigail Child, Vicki Fumari, Donald Harris, Jeannie Hutchins, Joel Katz, Michael Korrie, Robert Lyons, Peter Mattei, Ikue Mori, Eileen Myles, Karen Shasha, Christina Spellman, Debra Weinstein, and David, Katie, Marilyn, and Steve. Copyright 1993 Child, Mori, Champagne. Please visit www.lenorachampagne.com (Text by Alison Siegel, FF Intern, Fall 2020).

Watch here:
Thank you.



1. Martha Wilson, FF Alumn, at The 8th Floor, live online, Oct. 29

Political Drag: A Retrospective –
Martha Wilson in Conversation with Sara Reisman
Thursday, October 29, 2020
6 to 7:30pm EST
This event will be held on Zoom

RSVP: https://events.r20.constantcontact.com/register/eventReg?oeidk=a07ehd23hrl9b72d174&oseq=&c=&ch=

As part of our Performance-in-Place series, this video screening and public conversation features performance artist Martha Wilson, who will present a selection of her seminal works addressing political personae from the last forty years. The artist’s embodiment of characters such as Nancy Reagan, Tipper Gore, Barbara Bush, and Donald Trump serve as time capsules for the contentious issues prevalent at the time of their original staging. A throughline in Wilson’s practice is her use of film and documentation as political mediums to record the temporal and often seismic moments occurring in the public realm. This evening will be moderated by Rubin Foundation Executive and Artistic Director Sara Reisman, with audience participation encouraged.

Access Information: This event includes live ASL interpretation and captioning.

Martha Wilson (b. 1947) is a pioneering feminist artist and gallery director, who over the past four decades has created innovative photographic and video works that explore her female subjectivity through role-playing, costume transformations, and “invasions” of other people’s personae. She began making these videos and photo/text works in the early 1970s while in Halifax in Nova Scotia, and further developed her performative and video-based practice after moving in 1974 to New York City. In 1976 she founded Franklin Furnace Archive, Inc, an artist-run space that champions the exploration, promotion and preservation of artists’ books, installation art, video, online and performance art, further challenging institutional norms, the roles artists play within society, and expectations about what constitutes acceptable art mediums.

Martha Wilson joined PPOW Gallery, New York, and mounted a solo exhibition, I have become my own worst fear, in September 2011. In 2013, Wilson received an Honorary Doctor of Fine Arts degree from Nova Scotia College of Art and Design University. In 2015, she received the Audrey Irmas Award for Curatorial Excellence, administered by the Center for Curatorial Studies, Bard College; the College Art Association’s Women’s Caucus for Art Lifetime Achievement Award; and mounted her second solo exhibition at PPOW Gallery.



2. Lorraine O’Grady, FF Alumn, in Hyperallergic

Lorraine O’Grady’s essay, “NOTES on Living a Translated Life,” written for the catalogue of the Isabella Stewart Gardner Museum's exhibition Boston’s Apollo: Thomas McKeller and John Singer Sargent was selected by Hyperallergic Magazine as one of “Seven Outstanding Museum Catalogue Essays of the Year.”

The text of O’Grady’s essay can be found here: https://hyperallergic.com/589872/notes-on-living-a-translated-life/

O’Grady’s façade commission, The Strange Taxi, Stretched, mounted on January 14, 2020 in conjunction with an exhibition examining the connection between Sargent and Thomas McKeller, the young Black man who was the sole model for all the figures, male and female, in his murals for the Museum of Fine Arts (Boston), was the only two-dimensional museum work viewable in the Greater Boston area during lockdown. It will remain up until November 24.

Hyperallergic publisher Hrag Vartanian describes O’Grady’s catalogue essay as follows:

“Lorraine O’Grady uses the occasion of being invited to discuss her collage piece “The Strange Taxi: From Africa to Jamaica to Boston in 200 Years” in relation to the exhibition Boston’s Apollo: Thomas McKeller and John Singer Sargent to give readers insight into what Sargent’s model experienced as a Black migrant to Boston during the early 20th century. Her work doubles as a cogent socio-political history and a window into a story of her own experiences as a child growing up in Boston in the 1930s and ’40s with vivid memories of her own father Edwin O’Grady, also an immigrant — like McKeller a stranger in a strange land. The essay is an effort to uncover who McKeller, who was the primary model in some significant paintings for Sargent, might have been outside of the artist’s studio. It is an attempt to give color, shading, and context to a human life.”



3. Howardena Pindell, FF Alumn, in The New York Times, now online

Please visit this link:


thank you.



4. Adam Pendleton, Richard Tuttle, FF Alumns, in The New York Times, now online

Please visit this link:


thank you



5. Clifford Owens, FF Alumn, at CPM, Baltimore, MD, opening Nov. 7

Dear Friends and Colleagues:
I hope this message finds you well.
If you find yourself in Baltimore (or nearby) on November 7, please join me for a safe, socially distanced opening of my solo "Skully" and the inaugural exhibition of CPM, a new gallery created by Vlad Smolkin. This exhibition features a suite of new drawings, photograms, a color photograph, and a sculpture.

"In this exhibition, Owens uses his own recollections of this game, which he played as a child on the corner of Sanford Place and Division Street in Baltimore, as a source and framework for the performance and execution of a new suite of approximately 30 works on paper. In the "Skully" suite, Owens starts by creating his own game pieces, jamming a mound of graphite putty into milk bottle caps, and using them as mark making devices that slide across the surface of the 30 x 20 inch sheets of paper. When the action drawing is complete, the bottle caps themselves are adhered to the surface of the paper."

We're not going to create a "virtual exhibition," but please read the press release here (more images are forthcoming): https://cpmprogram.com/clifford-owens

Next month I move into a new studio in downtown Jersey City, and hope that you can come for a visit to see what I've been working on and to talk with me about what I'm working towards.

Please VOTE!




6. Suki Dewey, FF Alumn, in Bedminster, NJ

Suki Dewey has carved messages in 60’ letters in a field near President Trump’s New Jersey golf course – please visit this link to a 2-minute video of the project


thank you



7. Hector Canonge, FF Alumn, now online at festivals in Denmark, Iran, and Argentina.

October 26 - 29
4th Homar Video and Photo Exhibition, Iran.

Arta Contemporary Art Institute, Arta Art, and Adab Art Educational Center will present Hector Canonge's performance DESOLACIÓN (Bleakness), and a selection of photographs from his North Africa-Mediterranean project TEMPTATIONS.

Facebook: https://www.facebook.com/arta.art.5895

October 30, 3:00 PM (NYC) / 9:00 PM (Denmark)

CYBERBODIES - Online Performance Art Festival, Denmark.

Performance Køkkenet, will present interdisciplinary artist Hector Canonge for the closing event of this year’s Online Performance Art Festival, CYBERBODIES. From his residence in New York City, Canonge will introduce his new work, YOUR CLOSENESS BURNS ME.
The presentation will be via Zoom, interested audiences must register following this link:

After registering, a confirmation email with information for joining the event will be sent.
Facebook event: Cyber Bodies Performance Art Festival (Hector Canonge)

Press Release: https://drive.google.com/file/d/1qoo2MUG58vPNuTtBoVUz2tctAR2wcDw5/view?usp=sharing

November 1, 7:00 PM (NYC) / 8:00 PM (ARG)

Caminatas de Luz, Argentina.

Canonge presents his processional performance, CARAVANA DE LUZ, and will join virtually the international celebration of Day of the Dead, Celebraciones del dia de los santos y los muertos 2020 organized from Buenos Aires, Argentina, by Caminatas de luz. CARAVANA DE LUZ is a continuation of the performative processions that Canonge continues to lead in various cities since 2017. The procession will be streamed through:

Instagram @los_2_de_noviembre

Facebook: https://www.facebook.com/events/3266654126796248/

Hector Canonge - More Information:

Facebook News: https://www.facebook.com/notes/hector-canonge/hector-canonge-news-oct-2020/10158763723774320/
Website: http://www.hectorcanonge.net



8. Gylbert Coker, FF Alumn, at Mitchell Young Anderson Museum, live online Oct. 29

From Being Property to Owning Property
Virtual presentation by Mitchell Young Anderson Museum

This event is a brief history of the Stevens Street District, one of a few remaining intact African American neighborhoods built after the Civil War. This is also the history of the Mitchell Young Anderson museum’s building which was a boarding house for black people from the late 19th century through the mid-20th century, which stands in the heart of the neighborhood on Oak Street.

Presenters, Ebone Amos, Dr. Gylbert Coker, Dr. Jan DeCosmo, Lililita Forbes, and Dr. Juliana Forero
Thursday Oct. 29, 2020
5:00 pm (ET)

Go to https://zoom.us
Zoom Meeting ID: 873 2848 3950
Passcode 489767

Sponsored by Georgia Humanities. Sharing stories that move us and make us,

Contact information
Website: https://www.mitchellyoungandersonmuseum.com/
E-mail: mitchellyoungandersonmuseum@yahoo.com



9. Olivia Beens, FF Alumn, at El Barrio’s Artspace PS 109, Manhattan, Oct. 28-Nov. 9

Harlem Art Walk and El Barrio’s Artspace PS 109 are delighted to present “SPARK” an exhibition celebrating the diverse art of our East/West Harlem community after so many months of uncertainty and isolation. The exhibition featuring 47 artists is rich in style, content and concept displaying abstract, figurative and conceptual painting, photography, ceramic and mixed media works.

The cross-section of artworks not only speaks to the pulse of the art in Harlem but to the stories, narratives and art practice that are core to our group of artists; group member Rene Maynes says, “In these belligerent times in which we are constantly bombarded by dark and bloody news, it is important to reflect on our own need to change from within. We cannot control all of the outside events, but we can find a place to turn our own fears into courage; a place of safety in which we challenge our own rigid ideas and make them gentler. Art can be used as an instrument of protest to bring change to our conformist society, but it is also used to make ourselves better, and to bring ourselves peace from the emptiness of violence and sensationalism.”

Mekia Machine Denby says, “Trying to stay positive amongst pandemic, protest and politics, “What I felt Then Looks and Sounds Like This” series is an attempt to create work that expresses the ephemeral, the series consists of daily journal entries on losing the ability to see, the loneliness of isolation and the strength gained, paintings, drawings and music compositions created during this time.” Tomo Mori’s work “Intertwined” is about the complexity of human connection, knots tie, cross over, tangle, or pass by, then together create an organism. Augusto Fanjul’s painting addresses a social confrontation between two strong individuals who are facing each other in a dialogue that connects them. José Carlos Casado’s photographs of big fish eating smaller ones appear together with 3D images of a post-human character devouring himself, the constant reconfiguration is proposed as an allegory.

Other works, political and social are addressed by the artists, Allicette Torres who explores highly charged themes such as repression, history, and race in her photographs. Julia Justo’s participatory installation celebrates the life of Sylvia Rivera, a gay liberation activist and civil rights pioneer of Puerto Rican and Venezuelan descent. Clemente Flores addresses issues of gentrification in his work “Plugged In.” Arcadia Carballo’s painting, “FTP-Fuck the Police. Fuck White Supremacy. My Body, MY CHOICE! MI ELECCION!”, Eliana Perez’s delicate work “Reborn” and Palén Obesa “Corrupted Ecosystem” allude to our fragile female selves in these uncertain times. These are but a few of the artist who will be featured art El Barrio’s Art Space. The exhibition, “SPARK” is curated by artists Olivia Beens and Arcadia Caraballo, and features the recent paintings, sculpture and photography of a diverse, talented group of uptown artists.

Participating Artists:

Eliana Perez, Sade Boyewa El, Arcadia Caraballo, Daniel Kingery, John Cross, Leenda Bonilla, Olivia Beens, José Carlos Casado, Max Lakner, Susan Grucci, Allicette Torres, Augusto Fanjul, Alice Momm, Yvonne Lamar-Rogers, Dominique de Cock, Julia Justo, Will Porter, Noelle Timmons, Susan Stair, Bill Hoffman, Capucine Bourcart, Luis A. Pagan, Denver Crawford, Noreen Dean Dresser, Robin Rule, Yoon Chung, Viviane Rombaldi Seppey, Christine Nelson, Maura Falfan, Yolanda Shashaty, Giannina Gutierrez, Tiffany Claborn, Tomo Mori, Ingrid Capozzoli Flinn, Susan Tunick, Salem Krieger, George Singley, Nancy Perkins, Carmen Paulino, Daniel Lanzilotta, Miguel Rivera, Tara Sabharwal, Palén Obesa, Clemente Flores, Rene Maynez, Mekia Machine Denby, and Timonde.

The show runs from October 28 through November 9th, 2020
El Barrio’s Artspace PS 109
215 East 99th Street
Viewing hours: 1:00-7:00pm
by appointment only: 917-722-1582



10. Alison O’Daniel, FF Alumn, at NYU, Manhattan and online, thru Nov. 20

Please visit this link:


thank you.



11. Lenora Champagne, FF Alumn, at Evergreen Cemetery, Pine Plains, NY, online beginning Nov 1

Lenora Champagne is directing and co/wrote a live performance at Evergreen Cemetery in Pine Plains, NY. The sold-out performance, a benefit for the Pine Plains Library, takes place October 30th and will be streamed in a version made for video on the Pine Plains Library website beginning November 1.

Lenora Champagne

New World Plays, No Passport Press, 2015


The Singing in Epic Plays II, No Passport Press, 2018

Traps, an intimate conversation in a public space in Stages of Resistance: Theatre and Politics in the Capitalocene, No Passport Press, 2019

“Setting the Table,” Audience (R)evolution: Dispatches from the Field, TCG, 2016



12. Alan Sondheim, FF Alumn, releases new album

Plaguesong - our new ESP CD - Available for preorder!


Plaguesong, our new ESP CD, is ready for preorder purchase or download. We've been working on this album for months; it's the most perfect album Azure Carter and I have done. The pieces are intimate, close-up, intense, all produced under lockdown. There are 23 interrelated tracks, including songs, pulse-taking, solo mprovisations, and a number of unusual instruments.

For over 25 years, I've offered free music online; now I'm asking if you would purchase one or another form of this album. The individual pieces are aesthetically and musically interlocked, forming a single concept, working through isolation and epidemic. The music is unique. From the liner notes:

"Plaguesong was produced under quarantine; there's minor background sound on occasion. Azure Carter and I worked in a single room, recording with a Zoom H4n, editing in Audition. I've kept pursuing speed and its issues, but I'm also playing through isolation, depression, anxiety, and fear. So there are slow hymn movements, breathing slowly, allowing a kind of exhaustion to determine the lengths of speeded elements. I don't know what kind of music this is, but it's a kind that suits me, and suits Azure as well. It's certainly music that goes closer to the edge than anything I've done before. We've looked out on snow and rain, high winds, violent storms, sunny days. We've known deaths of others. The music sinks into the ground, always getting closer to the roots that make it sound. The room has little resonance; I've ordered that. I've also decided not to name the instruments for the most part; it's the music and space that's important. It carries a sense of urgency and ululation. It's part of us."

Bios from ESP: "Alan Sondheim made two albums for ESP-Disk in the 60s; he returned to ESP in 2014, and this is his third album since then, the first on ESP to include longtime partner Azure Carter, and his fifth overall on the label. Sondheim, who has prolifically spread his recent musical evolution across a variety of other labels, is an impulsive musical adventurer who uses his dizzying array of instruments for what their sounds can contribute to his musical style; he is not unaware of the traditional performance techniques of his instruments, but he never lets his musical expression be limited by or to those techniques. His band Ritual All 70 was included on the notorious Nurse with Wound list of outsider/avant-garde influences.

Azure Carter is a singer/songwriter living in Providence, RI. She is a frequent collaborator on music, video, and performance with her partner, Alan Sondheim. Before moving to Providence, Carter lived in NYC and performed at numerous venues in the city and elsewhere, including the 92nd Street Y, Dance New Amsterdam, The Bowery Poetry Club, Eyebeam, Jack, and Highwire Gallery. She has recorded six albums; this is her first album with ESP-Disk."

Please consider listening and purchasing - help support our
ongoing musical project of amazing music! And thank you!
Alan Sondheim



13. Lucio Pozzi, FF Alumn, at Sabine Wachters Fine Arts, Knokke-Zoute, Belgium, thru Dec. 31
Paintings 1966 – 2019
HardEdge Baroque, Flowers, Scatters

Sabine Wachters Fine Arts
Knokke – Zoute

4 July – 31 December 2020
A changing exhibition.

The small gouaches on paper of the HardEdge Baroque group started in Rome in the mid 60’s. Flat color areas are placed next to one another. In the context of my painting story they contain elements that return in other cycles of my art. The Scatter Paintings echo the Hardedge Baroque imagery inasmuch as both groups are not afraid of hinting at three-dimensional illusionism. The Scatter paintings, quick-drying acrylics on canvas, consist of overlapping hard-edged blocks of thick paint applied with large palette knives.

The Flower Group started in the 70’s when I became ever more impatient with branding in art and found a way out by starting to expand my painting language further and further. I needed to break through all taboos, including codes that were considered obsolete. These works are painted with slow-drying oil paint. Bundling biomorphic and geometric forms overlapping and alternating as a bustle that falls into- or explodes from a container, attracted me as yet another pictorial territory I could explore, a territory fresh again.



14. Kal Spelletich, FF Alumn, at CounterPulse, online, Oct. 27 and more

I am working with a dance and movement artist Ronja Ver.
This is a performance we have been working on and struggling to get happen for over 18+ months. And it's time has arrived. I hope you can observe online!

Tuesday, October 27, 2020 at 7 PM PDT – 8 PM PDT
Public · Hosted by CounterPulse
Online Event

Matchbox Lab #4: Hybrid Tenders will be livestreamed from CounterPulse with a limited on-site participatory audience.
Participants are invited to collaborate with the artists to operate robots and create sounds live, on stage, as we explore the intersection of surveillance, machines, and our sentient selves.

We will plant the wood for coffins and trees that remembers the touch of our hands when all human life is gone. You are invited to this fragile equilibrium of life in an era of environmental emergency and mass extinction. With some robots and robot sounds.

Visit counterpulse.org/matchbox-lab-4-hybrid-tenders/

Ronja Ver: Movement and voice
Kal Spelletich: Robots and sound


Some recent things:
It has been a tough year, the whole world changed. The school I teach at closed, the San Francisco Art institute. 8 shows were cancelled. I am trying to find a new place to live, Oakland live/work? Anyone know of cheap places?
Prolly not Tulsa or Kentucky.
And, looking for a new teaching job.
Fall down 7 times get up 8!

One way I got through the past 8 months was I recorded an album. Well, 4 albums.
My manager and recording engineer/producer, Bryan Day culled one album from it and we are releasing it, - "The Blessing of the ZHENGKE ZGA37RG"
http://www.publiceyesore.com/ehcat.php (eh?115)

I have a Philharmonic of Machines all of the sounds come from. No sampling nor recordings.
I spent countless hours coaxing these sounds and even melodies and rhythms from these custom instruments.
When it comes out I will let everyone know far and wide and we will do a record release party!
Insanely excited about this release and looking forward to LIVE online event(s), demonstrations and collaborations.
Meanwhile, her is a live performance with a few of the machines:


A bar I was to build in Cologne, Germany this summer happened without me, with the help of a class I co-taught at the Cologne International School of Design. I was asked back next summer also Berlin, where an exhibit I was to partake in was done in an abbreviated way with Danielle DePicciotto and Alexander Hacke.



Some new work:

And waiting for the asteroid to hit the planet.

All best,



15. Cindy Sherman, Andy Warhol, FF Alumns, in the Wall Street Journal, now online

Please visit this link:


thank you



16. Yura Adams, FF Alumn, at Russell Sage College, Albany, NY opening online, Oct. 27

Hello friends -

I am excited to announce the opening of a 4-person show I have curated for Opalka Gallery, Sage College, Albany, New York, titled “Unraveling” with Joan Grubin, Christina Tenaglia, Ruby Palmer and Yura Adams.

I will be exhibiting a 15 foot high, wall of paintings, along with several installation pieces.
Dates: Oct 27 - December 19, 2020.

The gallery is open for physical visits - address and gallery hours are listed below.
Please join us for a virtual opening next Tuesday, Oct 27 at 6:30.

The opening will include a curator’s tour at 6:30, and at 7PM will be a conversation with the artists, moderated by Nicole Hayes, curator of Art Omi.

Here is the Zoom link:

Or you can join via Facebook:

Opalka Gallery
Russell Sage College
140 New Scotland Avenue
Albany, NY 12208
website: www.opalka.sage.edu

The gallery is adhering to all the safety protocols for safely spaced, masked visits during business hours, which are:
Tuesday, Wednesday, Friday and Saturday from noon to 5pm
Thursdays from noon to 8pm

Closed Sunday and by appointment Monday.


Yura Adams



17. Laura Lappi, FF Member, in Flushing Meadows Corona Park, Queens, NY

The Alliance for Flushing Meadows Park and NYC Parks have unveiled a new public art installation by Queens-based artist Laura Lappi at Flushing Meadows Corona Park. Inspired by issues of social justice, the complex promise of hope, and city life in our time, the artwork is located near Meadow Lake.

Finnish born, Queens-based artist Laura Lappi’s 7 x 7 (Hope) explores issues of space in New York City and the cost of living and housing, and how that impacts many communities. With this sculpture, Lappi draws attention especially to immigrant communities and their living conditions in Queens. While Queens is the New York City’s most culturally diverse borough welcoming immigrants from different backgrounds, its housing affordability is often out of a reach for many people. The article “Underground Lives: The Sunless World of Immigrants in Queens” in the New York Times, addressed this issue in a very touching way. The article focused on illegal basement home conversions which are not only dangerous but often small, windowless dark rooms were people in some cases even have to sleep in shifts for hope for a better future.

The sculpture consists of a black wooden house structure that measures seven feet long, five feet wide and seven feet high, referring to the size of the small, illegal, basement room. Each wall has an embedded letter, creating a word H-O-P-E. Inside the structure a light is making the sculpture glowing during the night.

7x7 (Hope) is Lappi's second site-specific work of the series of house structures exploring notions of home, belonging, loneliness and yearning. The first house 2x3 (Heartbeat) was installed in 2013 on a rocky outcropping in a remote forest in Finland.




18. Candace Hill, Warren Neidich, FF Alumns, at C.A.R.E. LTD, East Hampton, NY, thru October 31

The Abyss of Uncertainty

Elena Bajo, Candace Hill, Alice Hope, Laurie Lambrecht, Sabra Moon, Toni Ross, Bastienne Schmidt, Almond Zigmund


6 Sherrill Fosters Path, Unit 6F, East Hampton, New York, 11937
Opening Saturday, October 18th, 12 noon to 6 pm
Continuing Sunday, October 19th, October23-31,12 noon-6 pm

We are at an extreme moment of uncertainty and precarity. The COVID pandemic has left us all unsure about the future and in a state of post-traumatic stress. Michelle Obama has stated, “Our country is in chaos.” We are standing at the edge of a precipice. Women are and have been, unduly affected by these circumstances. Loss of job security, greater burdens of child care as a result of school closing, the looming cloud of infection and the possibility of illness, supply chain instability, the increasing dangers posed by climate change, and now the almost certain nomination of right to lifer Amy Coney Barret to the supreme court. The female body is once again blatantly at risk. Women artists, who already have been subjected to the systemic patriarchy and sexism at large in the art world, are doubly jeopardized.

Chance and uncertainty have for some time been important components of the armamentarium of the artist laborer. We find it early in the work of Marcel Duchamp’s Large Glass, 1917, especially its section, Region of the Three Crashes, as well as a dominant theme in the works of women artists of the Fluxus movement like Niki de St. Phalle’s Shooting Painting American Embassy 1961, Yoko Ono’s famous participatory artwork Cut, 1964 and Alison Knowles’ computer poem, The House of Dust, 1967. The eight women artists in this exhibition use unique strategies of artistic practice to deal with the unpredictable political realities of this moment, either by directly confronting the health crisis or our impending environmental collapse as a macro-political actuality or understanding the power of art as a research tool with which to engage the micro-political challenges residing in its quantum potentiality. Using an assortment of media such as photographic chemistry, acrylic and oil paint, weaving, clay, and ceramics, found natural and industrially produced materials, these works will offer a lexicon with which to better understand our instance of radical contingency. Additionally, a special intervention by Almond Zigmund will take place sometime in the second week. After surveying the exposition she will create and install a work that alters its reading and experience.

C.A.R.E. LTD. is a project initiated by the artist Warren Neidich that focuses on issues concerning care, caring, and repair. Can artistic practices generate new forms of collectivity, comradeship, and solidarity in opposition to the forces ripping our social fabric apart?

For more information contact Julie@warrenneidich.com

Elena Bajo is a Spanish-American artist, educator, choreographer, and co-founder of the LA collective D’CLUB dedicated to climate activism. Her multidisciplinary art practice weaves in both personal and political elements into materials and movements that generate new narratives, engaging ideas of nature, and the body as a political and social entity questioning its relationship into ecologies of capital. She uses performative sculpture, dance, painting, video and educational workshops. She received an MFA from Central Saint Martins, London, in 2005, a Master in Genetic Architecture from ESARQ, Barcelona. She studied Laban and Bartenieff Movement at TanzFabrik, Center for Contemporary Dance, Berlin. She has taught and lectured at Saas-Fee Summer Institute of Art, Los Angeles/Berlin; Goldsmith’s College, London; Rhode Island School of Design, RISD, Providence; Sheffield Hallam University, Sheffield among other institutions. She has exhibited and performed internationally: Guild Hall, East Hampton, NY; Movement Research, NY; Priska Pasquer Gallery, DE; Kai 10 Arthena Foundation, Dusseldorf; Kunstlerhaus Bethanien, Berlin; EFA, NY; LAMAG, LA; Parallel Oaxaca, Mexico; Garcia Galeria, Madrid; Kunsthalle Sao Paulo; Stacion, Pristina, Kosovo; Artium Museum of Contemporary Art, Vitoria; 44th Salon Nacional de Artistas, Colombia; Annex14, Zurich; DRAF, London; 3rd Mardin Biennial, Mardin; Kunsthal Charlottenborg, Copenhagen; Performa Biennial, NY; Sculpture Center, NY; She has been awarded a 2021 A/CE Spain grant for an experimental ceramic residency at Sunday Morning @ ekwc, NL; Hopper Prize; NY Foundation for Contemporary Arts; Audemars Piguet award, ArcoMadrid; Botin Foundation grant, Santander; Ratti Fondazione, Como; Skowhegan Fellowship, Maine.

Candace Hill is a poet and multi disciplinary artist working in drawing, painting , photography sculpture .She also makes weaves that explore the many ways in which threads can tell stories and make cultural commentary.

Using a wide variety of fibers—linen, cashmere, cotton, wool, even horsehair—she creates complex layers of allegories and fables that reference her own life as well as our country’s past, and current social , political, and racial upheavals . While creating a visual drawn & painterly dialogue which involves the environment , feminism, poverty, growing food insecurity , Hill integrates abstract subtle inner observations into the weaves. Made on hand held looms, the works are mounted on fabricated hangers, found objects, vintage farm equipment some from the South that reference her father’s heritage. Her partnership with the Sag Harbor Whaling & Historical Museum resonate from regular visits to the museum as a child during summer vacations spent in Sag Harbor at her family’s home. Hill’s work has been presented in exhibitions at major arts institutions, including the Bronx Museum for the Arts, The New Museum, Printed Matter, Artists Space, Franklin Furnace, Fashion Moda, and Creative Time, among others. She was an artist-in-residence at the Studio Museum in Harlem (1979), and a recipient of the John Simon Guggenheim Fellowship (1985) and a fellowship from the National Endowment for the Arts (1981). In 1985, Hill curated a group exhibition including Lorna Simpson with Lucy R. Lippard titled Working Women/Working Artists/Working Together at Gallery 1199. Her work is in the Digital Archive of the New Museum. Her essays have been published in the Women’s Art Journal . A new book of poems ,Muss Sill ,has been published by Distance No Object in August 2020. She received a master’s degree in Art Education from Hunter College. Ms. Hill is returning to Robert Wilson’s, Watermill Center in November to complete her artists’ residency begun in March , which subsequently closed due to COVID-19.

Alice Hope was named New York’s 2018 “Woman to Watch” by the National Museum of Women in the Arts. She holds an M.F.A. from Yale University, and shows at Ricco Maresca Gallery in Manhattan and Tripoli Gallery in East Hampton, NY. Alice has created numerous public and residential commissions, among them a large-scale magnetic installation, “Under the Radar”, in 2012, at Camp Hero State Park in Montauk, NY for the Parrish Art Museum. She often incorporates binary code and repetition in her compositions. In her 2013 Armory Show Project, Alice was commissioned by the Fair to create two public works; one panel innumerably repeated the binary code for the word “love”, and the other repeated the code for “blind”. In 2013, she inaugurated WNYC Greene Space’s new lobby, where she installed a dense site-specific work with thousands of neodymium magnets and pieces of ball chain. She was an artist in residence at the Museum of Art and Design from 2014-15, and then built a six-month site-specific installation outside the Queens Museum with more than a million used can tabs. This work was part of a wider project that reckoned the used can tab’s fluctuating value and meaning, in continually changing contexts. In 2018, she had a one person show at Guild Hall in East Hampton, NY, and the National Museum of Women in the Arts, in Washington DC had three of her installations on view.

Laurie Lambrecht, a native of Bridgehampton, is a visual artist working in photography and fiber. She has had numerous solo exhibitions in the US and abroad. Her photographs are in the collection of museums including the National Gallery of Art, The Center for Creative Photography and the Parrish Art Museum. In the early 1990’s she worked as administrative assistant to Roy Lichtenstein simultaneously photographing the artist and his process. “Roy Lichtenstein in His Studio” the monograph of her project was published by Monacelli Press in 2011. She has worked with theatre artist Robert Wilson at the Watermill Center intermittently since 1993. From 2012­2014 Lambrecht photographed a documentary project for the Rauschenberg Foundation in Captiva, Florida. Laurie’s own work is an observation of the natural world especially of trees and vegetation. Working as a sweater designer before pursuing her artistic career heightened her awareness to the tactile qualities and nuances of pattern and color found in nature. Her work celebrates trees, their form, subtlety and enduring presence. Last autumn she presented an outdoor installation of weaving and photographs at the Madoo Garden Conservancy as Road Show artist with the Parrish Art Museum

Sabra Moon Elliot received a Bachelor of Science in film from New York University, and studied art history at Umbra Institute in Perugia, Italy. Growing up in New York City she explored different mediums of art such as painting and film. Her work explores the play between dichotomy and balance, which is created through the repetition of loosely painted or sculpted geometric shapes. She currently lives and works in Bridgehampton NY. She is represented by Tripoli Gallery, Wainscott, NY.

With her evolving conceptual practice, Toni Ross responds to cultural and political influences that have inflicted turmoil, fear, and alienation on so many in her community. She uses site responsive installation to engage both the environment and viewer in a discourse on the shock of events that have taken place since March 15 with Today Cannot Be Tomorrow (2020). Born and raised in New York City, Toni Ross attended Wesleyan University where she studied ceramics and fine art, graduating with a BA in Film Studies. Her practice embraces installation, sculpture, fiber, and works on paper. Recent works include When (2020) for Drive By Art, Sanctuary Entwined(2017-18) at Longhouse Reserve in East Hampton; Found Lines (2018) at the Berkshire Botanical Garden in Stockbridge, MA; April 13(2016) at the Parrish Art Museum; and Permanent Transience (2016) for the Parrish Road Show. Toni Ross lives and works in Wainscott, NY. Her honors include fellowships and residencies at Yaddo, Haystack And Robert Wilson’s The Watermill Center.

Bastienne Schmidt is a multidisciplinary artist working in photography, painting and large scale drawings. She was born in Germany, raisedin Greece and Italy and has lived in New York for the past 30 years. Her art work is included in the collection of the Museum of Modern Art, The International Center of Photography, the Brooklyn Museum, the Corcoran Gallery in Washington D.C., the Victorial Albert Museum in London, and the Bibliothetque National Paris among others. Her work has been shown nationally and internationally in over 100 exhibitions including the ICP in NYC, the Brooklyn Museum, the Museum fuer Kunst and Gewerbe in Hamburg, Germany, among others. She is the author of many books and monographs, the most recent being Gods and Threads, 2020 with a forward by Terrie Sultan, former director of the Parrish Museum, Southampton.

Almond Zigmund is originally from Brooklyn New York. She received a BFA from Parsons School of Design, in New York and Paris and an MFA from the University of Nevada, Las Vegas, where she studied art theory and criticism with the MacArthur Award-winning critic, Dave Hickey. Almond makes large-scale site responsive installations, discrete sculptures, works on paper and paintings. Combining crisp geometry, vivid color, and intricate patterns, her sculptures and installations often suggest walls, barricades, enclosures, and other aspects of the built environment. The architectonic works tend to engage the eye and the body at once, offering generous amounts of visual stimulation while also inducing visceral reactions to the virtual and actual spaces. Zigmund's work has been widely exhibited including shows in Zurich, Berlin, New York, Los Angeles, Las Vegas, and Columbus. She has worked with various curators and artists including Dave Hickey, Robert Storr, David Pagel, Andrea Grover, and Leo Villareal. She has completed public and private site-specific installations, including at the Parrish Museum of Art and CMA in New York. She has completed public art commissions for the NYC Department of Transportation, The Whitman Walker Health Center in Washington DC and Guild Hall in East Hampton, NY and the University of Laverne in Los Angeles. She is currently working with the US State Department Art in Embassies Program on a large scale public sculpture to be installed 2021.



19. Julia Scher, FF Alumn, at MIT, online, October 26

Please visit this link:


thank you.



20. Robin Tewes, FF Alumn, at Brooklyn Rail, now online

Brooklyn Rail Program - Celebrating 40 years of Art In General and honoring Holly Block
Introduction by Nick Bennett and Irene Me Zhi Shum

Martin Weinstein & Tereza Liszka
Paul Pfeiffer
Robin Tewes
Chris Larson & Eleanor Heartney
Dean Daderko
Aliza Shvarts
Jacob Proctor

Here is the You Tube link:

The Brooklyn Rail program page:

Robin Tewes
1540 York Avenue #11N
New York, N.Y. 10028



21. Rich Garr, FF Member, at Brooklyn Waterfront Artists Coalition, Nov 7-8 and more

ArtsPSWT "Open Studios Redux"
will be an exciting and different kind of fall exhibition, with over 30 Park Slope and Windsor Terrace artists participating. Due to the need for social distancing during this pandemic, instead of our usual Fall Open Studios, we will be having two different (IN PERSON) Art Exhibits.

Two Brooklyn locations: BWAC at 481 Van Brunt St. Red Hook, Brooklyn:
Saturday/Sunday November 7 - 8 and November 14-15, 12-6pm
Preview venue: OSSAM GALLERY at J Collabo, 300 7th Street in the heart of Park Slope:
Friday/Saturday/Sunday November 6-8 and November 13-15, 12-6pm
Our preview venue, Ossam Central, at the Ossam Gallery on the ground floor at J Collabo in Park Slope, will exhibit one work from each artist as a preview to the large body of work each artist will be exhibiting on the ground floor at BWAC in Red Hook, Brooklyn.
Visitors will be able to view a wide range of artwork which will include painting, drawing, ceramics, sculpture, photography, collage, and printmaking. Avant Garde, traditional art forms, and everything in between can be viewed. In this unusual year, many artists will be showing pieces created during the Covid isolation and social unrest.
For many reasons this art community has grown in popularity over the years, especially as Brooklyn has developed into a major resource for art and artists. This exhibition provides an excellent opportunity to meet or reconnect with active local artists, acquire unique art for a collection, or find a special gift as the holiday season approaches. Visiting with the artist in person can provide the opportunity to see an exceptional collection of an artist’s work. Enjoy speaking to each artist and hearing firsthand about the artist’s inspiration and process.
Participating artists:
Carol Adams, Stephanie Amend, Stacy Bergener, Jonathan Blum, Justin Campoy, Luis Coig,
Lynn Cole, Paola Corso, Phil Desantis, Raya Dukhan, Steve Ettlinger, Alice Garik, Phyllis Gaughran, Sandra Giunta, Robin Glassman, Lynn Goodman, Susan Greenstein, Bob Hagen, Judith Hooper, Karen Jarmon, Kathleen Jean-Jacques, Tom Keough, Caryn Kreitzer, Alise Loebelsohn, Dan McDonald, Dara Oshin, Joyce Riley, Robin Roi, Cynthia Ruse, Janie Samuels, Howard Skrill, Mary Skrill, Fotini Vurgaropulpu, Heidi Yockey
*All artists and visitors MUST wear a mask at all times and space 6 feet apart.



22. Anton Van Dalen, FF Alumn, in the East Village Grieve, now online

Two days ago, my photos and story about our home, came out on EV Grieve. EV Grieve is a local blog about our East Village neighborhood. The Blog is widely respected for its care about this Manhattan community. And closely followed by many community minded here and around our city. From time to time I have updated them about my interests and goings on. Usually it’s about my art exhibitions and Avenue Cut-Out Theatre. This time it’s about our home,166 Avenue A, and its passage of time. Many times they have featured my work and its commentary. Below is link to the EV Grieve story of my photo & text portrait………...




23. Dennis Adams, Ken Aptekar, Beth B, Terry Berkowitz, Lillian Ball, Anney Bonney, John Boone, Kathy Brew, Josely Carvalho, Maureen Connor, Jordan Crandall, Constance DeJong, Agnes Denes, Frank Gillette, Andrew Ginzel, Beatrice Glow, Guillermo Gomez-Peña, Hans Haacke, Ann Hamilton, Michele Handelman, Julia Heyward, Adriene Jenik, Kristen Jones, Beryl Korot, Joyce Kozloff, Larry Litt, LigoranoReese, Aline Mare, Larry Miller, Linda Montano, Carlos Motta, Muntadas, Warren Neidich, Tom Otterness, Pope.L, Aviva Rahmani, Julia Scher, Carolee Schneemann, Andres Serrano, Nina Sobell, Annie Sprinkle & Beth Stephens, Spencer Tunick, Victoria Vesna, Martha Wilson, Robin Winters, Cecilia Vicuña, FF Alumns, at National Coalition Against Censorship, now online thru Nov. 13

NCAC's 2020 Virtual Art Auction is now open for preview. http://vugalleries.com/ncac-auction-home/

Auction proceeds benefit NCAC’s Arts Advocacy Program, the only national project dedicated to working directly with individual artists and curators involved in censorship disputes. NCAC is a proud advocate for the arts community, and we work to protect artists’ rights and support their ability to freely express views that might be unpopular or controversial.We are grateful to all of the artists, curators, and galleries who have donated and supported our auction.

Live bidding begins on Wednesday, October 28th, and closes on Friday, November 13th at 8 pm EST. Mark your calendars!



24. Katya Grokhovsky, FF Alumn, at Green-Wood Cemetery, Nov. 1, and more

Co-curated by Katya Grokhovsky and Harry Weil
November 1st 2020 12-4pm EST
The Green-Wood Cemetery
500 25th St, Brooklyn, NY 11232
Conscious Oblivion is a new durational performance by Iván Sikic, co curated by Katya Grokhovsky and Harry Weil, presented as part of Green-Wood‘s annual Día de los Muertos celebrations‪ in conjunction with The Immigrant Artist Biennial 2020: Here, Together! For four hours, Sikic will clean and tend to the graves of immigrants from the Global South who are buried in Public Lot 14964 (next to the Prospect Park West entrance) during the nineteenth and early twentieth centuries. Afterward, he will say aloud the names of the deceased as Tariq Allen, a Brooklyn based trumpet player, performs a jazz funeral tune. Sikic’s work pays tribute to life, labor, and the sacrifices of generations of immigrant communities who now rest at Green-Wood.‬
The audience is invited to engage in this socially distant work by staying at least 6ft away from the performers at all time.


The Immigrant Artist Biennial 2020: Here, Together!
Virtual Exhibitions
October 16th - December 18th 2020



Guest from the Future
Katya Grokhovsky
October 27th 2020 - November 27th 2020
Register for Exhibition Preview and to attend an Opening Webinar: https://www.eventbrite.com/e/playform-presents-katya-grokhovsky-guest-from-the-future-tickets-125368216711

As part of Playform's Webinar series, artist and Playform September 2020 Digital Artist in Residence resident Katya Grokhovsky will discuss her experience exploring the new realm of digital multiverse from her latest solo exhibition "Guest from the Future". The official Artsy exhibition will run from October 27th to November 27th. The webinar will take place on Tuesday, October 27th 1pm EST. Register for the webinar and be invited to the special exhibition preview a day before the exhibition's official opening day.
Register: https://www.eventbrite.com/e/playform-presents-katya-grokhovsky-guest-from-the-future-tickets-125368216711



25. Sonya Rapoport, FF Alumn, video series, now online

The Sonya Rapoport Legacy Trust is excited to announce a new video series exploring Rapoport's enigmatic project Objects On My Dresser (1979-1983 & 2015), featuring interviews with her collaborators, artists, curators, and art historians.

Objects On My Dresser is Rapoport's magnum opus. During a time when she was mourning her mother’s death, she collaborated with a psychiatric social worker to analyze and interpret the personal significance of 28 objects accumulated on her bedroom dresser.

Rapoport's complex associations with the souvenirs, trinkets, photos, and other personal items developed into a web of meanings that she externalized into a data-driven self-portrait. Rapoport gathered information about herself as well as participants in interactive, computer-mediated "participation performances," and then incorporated resulting plots and graphs into intricate drawings and collages.

This video series is created and hosted by Art Historians Terri Cohn and Alla Efimova.

First episode: https://www.youtube.com/watch?v=eqDL_EkVGrE&feature=youtu.be
The first episode focuses on Phase 12: The Transitive Property of Equality (2015), created during Rapoport's residency at Krowswork, Oakland.

Cohn and Efimova interview poet and art writer Anne Lesley Selcer, whose poem "the natural world frozen" structures the piece, and Farley Gwazda, director of the Sonya Rapoport Legacy Trust.

Second episode: https://www.youtube.com/watch?v=mSliTDnImF0&feature=youtu.be
The second episode focuses on Phase 10: The Periodic Table of the Elements (1983), and features artist and writer Meredith Tromble, artist-in-residence at the Complexity Sciences Center at the University of California, Davis, and Professor of Interdisciplinary Studies at San Francisco Art Institute. Tromble served with Rapoport on the board of Leonardo journal (MIT Press).




26. Pat Oleszko, FF Alumn, at JTT, Manhattan, Oct. 28-Nov. 28


Living Things
Anna-Sophie Berger (b. 1989, Vienna)
Anthea Hamilton (b. 1978, London)
Maren Hassinger (b. 1947, Los Angeles)
Charles LeDray (b. 1960, Seattle)
Pat Oleszko (b. 1947, Detroit)
William Teason (b. 1922, Kansas City, d. 2003, Cape Cod)
curated by Marie Catalano

October 28 - November 28, 2020

This exhibition brings together artists working across disciplines and generations—Anna-Sophie Berger, Anthea Hamilton, Maren Hassinger, Charles LeDray, Pat Oleszko and William Teason—whose work draws on the everyday things that make up our surroundings. As conveyors of meaning and action, objects tend to play an outsized role in our lives. Whether by repurposing common things, removing them from their functional orbits, exploring their absurdity and gravity, or pushing them to their cognitive limits, these artists reveal a myriad of ways that objects can serve to embody their beholders. As sociologist Bruno Latour has suggested, “things do not exist without being full of people.”

Several works on view demonstrate this through literal embodiment. Pat Oleszko’s costumes transform their wearer into absurd entities; in this case, an anthropomorphized household tool and cluster of inflated breasts. Throughout her career, Oleszko has used satire and theatre to revolt against a male-dominated society and respond to urgent issues. These costumes correspond to Mike Hammer and Udder Delight, two characters imagined by Oleszko in the 1980s as part of her experimental performances and videos, which she has been writing, directing, performing, and creating elaborate sets and costumes for for over four decades. Three videos on view from this period reveal her dynamic productions in action. Often taking on the role of the jester, Oleszko considers the artist’s position as someone who, in her words, can “speak the truth—and get away with it.”

The jester makes a physical appearance here as an outlined figure in the work of Anna-Sophie Berger. In lunch, a transparent green and white sheath in the shape of a body with the jester’s familiar three-pointed hat houses cans of peas and beans. In this case, the figure has exhausted itself, its only support packaged foodstuffs stacked and toppled. In other works on view, Berger exploits our inclination to perceive faces in everyday things by placing two preexisting works in dialogue: her glyphic McCarren Diptych is shown together with Hirn (Brain), red light bulbs indicative of illicit activity. Throughout her practice, Berger is particularly attentive to our physical relationships to utilitarian objects in order to reveal what their use and exchange says about human relationships.

Through scale shifts and assemblage, Anthea Hamilton’s two sculptures fuse organic and human-made objects to draw a parallel between cultural and natural phenomena. In Papilio Whip Butterfly, the creature’s enormous size and material components like luxury fabrics and leather whips establish a curious magnetism. In Natural Livin’ Boot, a readily identifiable object associated with fashion meets the unexpected forms and spectacles of the natural world. In the way that objects undergo a transformation when they move between cultures, eras, and geographical space, Hamilton’s works suggest a physical transformation of their own.

Our personal relationships to objects is central to the work of Charles LeDray, whose sculptures of common household items are meticulously replicated on a miniature scale. In Free Public Library discarded books spill from boxes and tote bags, littering a city sidewalk for the perusal of passers-by. Collectively, the titles begin to reveal a story of their own. The scale shift invokes a dizzying awareness of our presence before these objects: they are in our physical proximity, and yet, inaccessible. This effect is further intensified by LeDray’s convincing fabrication of weathering and wear.

Discarded and disposable objects feature prominently in the works on view by Maren Hassinger. In her installation from 1982 titled Pink Trash (restaged in Prospect Park in 2017), Hassinger ventured to three New York City parks and swapped the garbage on site with pink trash she had painted and collected. Contrasting with the green grass and taking on the appearance of fallen leaves, the scattered objects called attention to the use of natural public space through artifacts of human activity, drawing a parallel between natural and human-made detritus. A similar repurposing of found objects is evident in Hassinger’s Sit Upons, seat cushions woven from issues of the New York Times. Hassinger recalls weaving sit upons with peers during her time spent as a Camp Fire Girl, the first non-religious, multicultural organization for girls. To recreate them, Hassinger engaged the same collaborative process, drawing on women’s work, and collective, craft-based practices.

Detailed renderings of still lives assemble strange panoplies of objects in the works of William Teason. Teason was a lifelong illustrator and painter, best known for his covers for paperback editions of popular mystery books by authors such as Agatha Christie and Shirley Jackson, as well as editions of the Sherlock Holmes series and many others. To prepare his cover illustrations, Teason would read each novel in its entirety, noting particular objects that played a significant role in the plot's direction. He would then paint small scale “comps,” or compositions in order to experiment with different arrangements of these objects in a process of communication with his editors. The resulting gouaches have an enigmatic symbolism all their own. By composing only objects that feature prominently in the novel’s plot into iconographic compositions, Teason manages to imbue his paintings with a standalone aura of both suspicion and dread.

Guidelines for visiting JTT:
Masks are required for all visitors. Please note that we are only admitting four people into the gallery at a time, and we regret no large groups or tours are allowed at the moment. All guests must sign in upon arrival. To be sure you don't have to wait to enter you can make an appointment with us through See Saw or by replying to this email. Thanks and we look forward to your visit.




Goings On is compiled weekly by Harley Spiller