Contents for August 17th, 2026
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Weekly Spotlight: **FIRST FIFTY VOICES**
1. Annie Lanzillotto, FF Alumn, now online
2. Pope.L, FF Alumn, now online at NewYorker.com
3. Ron Littke, FF Alumn, at Tusten Theater, Narrowsburg, NY, Aug. 22
4. Janet Henry, FF Alumn, receives 2026 Joan Mitchell Foundation Fellowship
5. Walter Krochmal, FF Alumn, Bronx World Film Cycle, various venues Bronx-wide, Aug. 26-Sept. 6
6. Morgan O’Hara, FF Alumn, at Mitchell Algus Gallery, Manhattan, thru Sept. 26
7. LAPD, FF Alumns, at Skid Row History Museum & Archive, Los Angeles, CA, Aug. 29
8. Crystal Z Campbell, FF Alumn, at Redcat, Los Angeles, opening Sept. 12
9. Nicolás Dumit Estévez Raful Espejo Ovalles Morel Atrib, FF Alumn, online at https://artviewer.org/screen/ thru Sept. 14
10. Julie Harrison, FF Alumn, August news
11. Theodora Skipitares, FF Alumn, now online at NYTimes.com
12. Barbara Rosenthal, FF Alumn, at Snug Harbor, Staten Island, Aug. 22
13. Rob Gould, FF Alumn, now online at RobertGouldArt.com
14. Danny Georges, FF Alumn, at Tooker Gallery, Newburgh, NY, Aug. 30 and more
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Weekly Spotlight: **FIRST FIFTY VOICES**
Dutch conceptual and performance artist Marja Samsom has been working since the early 1970s in alter egos — Miss Kerr, Miss Behave, the Dumpling Diva — building a body of work that questions identity, persona, and authorship. Her work has been presented by De Appel in Amsterdam, Participant Inc., the Clocktower, and Franklin Furnace, and is held in the Dutch Cultural Heritage Agency’s collection. Here’s what she said at FF’s 50th Birthday Jubilee:
“As a Dutch person, I came to New York in 1977 and met Martha on Franklin Street. A couple of years later, Martha asked if I wanted to design the poster for a Dutch performance place called De Appel. The Dutch artists came, and we all had an amazing opportunity because Martha organized it. Since those days, we’re all moving forward, and I’m so grateful that Martha is still here and that Franklin Furnace has helped so many people.”
FF has built bridges between New York and the international avant-garde for fifty years. Help us keep bringing the world to New York, and New York to the world.
Any gift, any size: https://secure.givelively.org/donate/franklin-furnace-archive-inc/first-fifty-campaign
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1. Annie Lanzillotto, FF Alumn, now online
FF ALUMN Annie Lanzillotto shares curiosity as she gets therapy in the $330 million dollar NY PROTON CENTER over The African Burial Ground on E 126th St. Follow her monologue videos on IG. Annies_Proton_Therapy
https://www.instagram.com/annies_proton_therapy?utm_source=qr
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2. Pope.L, FF Alumn, now online at NewYorker.com
Please visit this link:
https://www.newyorker.com/magazine/2026/08/17/pope-ls-pleasing-refusal-to-be-interpreted
Thank you.
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3. Ron Littke, FF Alumn, at Tusten Theater, Narrowsburg, NY, Aug. 22
FF Alumn Ron Littke performs a new piece in an evening of readings and performances at the DVAA (Delaware Valley Arts Alliance) on August 22 at 7 pm in an evening called “Too Stupid To Stop.”
Tusten Theater
210 Bridge Street
Narrowsburg, NY 12764
Tickets: (845)252-7576
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4. Janet Henry, FF Alumn, receives 2026 Joan Mitchell Foundation Fellowship
Announcing the 2026 Joan Mitchell Fellows
We are pleased to announce the recipients of the 2026 Joan Mitchell Fellowships: 15 US-based artists working in the evolving fields of painting and sculpture. The artists, who live and work in a wide range of communities across 12 states and whose ages span from 29 to 79, will each receive $60,000 in direct, unrestricted funding, distributed over five years alongside learning, peer engagement, and network-building opportunities.
The 2026 Joan Mitchell Fellows are:
Krista Clark, Atlanta, GA
Cameron Clayborn, Memphis, TN
Sarah Elizabeth Cornejo, Davidson, NC
Beatriz Cortez, Los Angeles and Davis, CA
Azza El Siddique, New Haven, CT
Sam Frésquez, Chicago, IL
Coulter Fussell, Water Valley, MS
vanessa german, Blue Ridge Mountains, NC
Porfirio Gutierrez, Ventura, CA
Roscoe Hall, Birmingham, AL
Janet Olivia Henry, Jamaica, NY
Erica Lord, Santa Fe, NM
Rob Rhee, Seattle, WA
Ruben Ulises Rodriguez Montoya, Sunland Park, NM
Dianna Settles, Lexington, KY
“We are thrilled to welcome the 2026 Joan Mitchell Fellows to the Foundation’s artist community, which ripples out from Joan Mitchell herself, whose legacy has now helped sustain the work of more than 1,300 artists nationwide,” said Christa Blatchford, Executive Director of the Joan Mitchell Foundation. “These 15 artists each demonstrate rigorous inquiry, astonishing creativity, and deep commitment to their work, and we are proud to support their practices. In this time of political and socio-economic uncertainty, as we witness ongoing cuts to the federal funding that supports regional arts communities, the continuity that the Fellowship’s multi-year funding structure provides directly to artists is more essential than ever.”
Artists in the 2026 cohort of Joan Mitchell Fellows reiterated the importance of the five-year financial award, with installation artist Azza El Siddique writing, “Being part of the Joan Mitchell Fellowship is both grounding and transformative—an affirmation of a practice that challenges norms of the art market and a foundation for sustaining it over time.” Sculptor Cameron Clayborn wrote, “This award will allow me to develop aspects of my practice that require longer-term support and materials that have often been out of reach. With the funding—and most importantly, the five years of funding—I can invest in a nearby studio space and take on larger-scale projects.”
“These 15 artists each demonstrate rigorous inquiry, astonishing creativity, and deep commitment to their work, and we are proud to support their practices. In this time of political and socio-economic uncertainty, the continuity that the Fellowship’s multi-year funding structure provides directly to artists is more essential than ever.”
— Christa Blatchford, Executive Director, Joan Mitchell Foundation
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5. Walter Krochmal, FF Alumn, Bronx World Film Cycle, various venues Bronx-wide, Aug. 26-Sept. 6
BRONX WORLD FILM CYCLE, A ROVING CINÉMATHÉQUE, TAKES ART HOUSE FILM TO BRONX NEIGHBORHOODS FOR A NINTH SUMMER
DATES & TIMES: August 26-September 6, 2026
VENUES: Various Bronx-wide
Full programme link: https://www.bronxworldfilm.org/cycleguide
New York, New York. August 5, 2026. – Bronx World Film Cycle, Summer ’26, the Bronx’s first “roving cinémathèque” started in 2017 by pioneer art house presenter Bronx World Film, returns to neighborhoods, parks and venues borough-wide from August 26th through September 6th with a marquee of cutting-edge films from all over the world and something for everyone.
The series, strong on animation, comedy, documentary and experimental forms, will screen thirteen films from twelve countries by sixteen directors, a good number of them US or New York City premieres. There are works fresh off world premieres at the Short Film Corner at Festival de Cannes, at sister organization International Sound and Film Music Festival in Croatia (both this past May), and from the extensive local and international networks Bronx World Film has cultivated. Many are made by young and emerging filmmakers, the organization’s driving inspiration. The films reflect the diversity that is the organization’s hallmark, its attention to film as art, Bronx demographics and a global sensibility.
Bronx World Film, a non-profit founded in 2011 with programmes in Manhattan and The Bronx, has been called “a place for young filmmakers.” The “Cycle” is its flagship film and multiarts event, presented since its founding at Manhattan host venue La Nacional – Spanish Benevolent Society, and in recent years also at amenable Bronx venues. Bronx World Film holds curated events and programming year-round.
Admission to Bronx World Film Cycle, Summer ’26 events is free and open to the public.
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6. Morgan O’Hara, FF Alumn, at Mitchell Algus Gallery, Manhattan, thru Sept. 26
M i t c h e l l A l g u s G a l l e r y
132 Delancey St, 2nd fl, New York 10002
MORGAN O’HARA
DIFFERENT TIMES THAT POPULATE THE UNIVERSE
August 13 – September 26, 2026
Morgan O’Hara’s notebooks containing the daily documentation of the artist’s use of time, 1971 – Present
On Thursday August 13, from 5:00 to 8:00 PM, Mitchell Algus Gallery opens an exhibition of MORGAN O’HARA : DIFFERENT TIMES THAT POPULATE THE UNIVERSE. The exhibition presents TIME STUDIES, O’Hara’s long practice begun in 1971.
O’Hara was among the first generation of women artists working within conceptual practices to explore time as a subject of artistic inquiry. Her readings of Einstein’s writings on the purpose of research, Messaien’s thoughts about time and her 1961 encounter with John Cage proved formative, reinforcing her interest in duration, process, and attentive observation – ideas that would become central to this series.
“I became interested in philosophies of time—of the different times that inhabit the universe, times layered upon one another, ranging from the longest to the shortest: the immensely long time of stars,
the very long time of mountains, the average time of humans, the short time of insects, the very short time of atoms—times so diverse, yet moving in unison.” – Olivier Messiaen (1908 – 1992)
An accounting of my time at Virginia Center for the Creative Arts in Amherst, Virginia for 4 1/2 weeks. in 2012 The color code is built into the drawing at the left.
O’Hara developed her TIME STUDIES as an attempt to examine her use of time in everyday life as an enquiry into life and meaning. It is a meticulous daily documentation of her use of time after the fact. Life first, then art, gradually fusing the two into a singular practice. In this series, O’Hara records her daily activities, compiles monthly and annual reports for herself, using a system of color coding that identifies each activity. Inspiration for the color system came from her study of Tibetan Buddhism. This TIME STUDIES practice functions for her as a weather chart functions for a farmer, or a chart of the changing tides functions for a mariner. Presented in the United States on this scale for the first time, the exhibition highlights O’Hara’s pioneering contribution to conceptual art and foregrounds one of the field’s most original long-term projects, now in its 55th year.
This exhibition has been organized in collaboration with the Venice-based artist-run space Alice Nello Spazio Latente in Castello, Venezia, Italia. It has been co-curated by Arseny Zhilyaev and Alice Vongola.
The exhibition will open Thursday August 13, 2026 from 5-8 pm, and continue through September 26, 2026.
Mitchell Algus Gallery
132 Delancey St, 2nd floor
New York, NY 10002
(516) 693-3854
office@mitchellalgusgallery.com
Gallery hours: Wednesday-Saturday, 1-6 pm
and by appointment
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7. LAPD, FF Alumns, at Skid Row History Museum & Archive, Los Angeles, CA, Aug. 29
Double Feature: theater and concert: Performance HOTELS IN CRISIS (AGAIN) by Los Angeles Poverty Department and a concert set of new songs “Rise Up” by the band The Eldermen
Where: Skid Row History Museum & Archive, 250 S. Broadway, Los Angeles CA 90012
When: Saturday, August 29, from 2-5pm
Contact: John Malpede, john@lapovertydept.org
Los Angeles Poverty Department Presents
HOTELS IN CRISIS (AGAIN)
performance double feature – theater and music
“Hotels in Crisis (Again)” LAPD’s new performance
and
“Rise Up!” a concert by The Eldermen
2 – 3 PM “Hotels in Crisis (Again)” performance by LA Poverty Department
Los Angeles Poverty Department’s new performance is prompted by our first-hand knowledge that most permanent supportive housing hotels in Skid Row are understaffed, undermaintained, dirty and dangerous. We believe that decent housing (and not just any housing) is a human right. The performers, and writers present their lived experience of living in sub-standard housing. The performance also gives a glimpse into the mindset behind the policies, that result in the insecurity of the tenants. It asks, is this suffering necessary? And the answer is no.
3:15 – 4:15 PM, “Rise Up!” a concert by The Eldermen
LAPD’s performance will be immediately followed by a concert by the band The Eldermen. The Eldermen are a musical group of wise elder men whose music transcends the boundaries of traditional genres. Using vocals, guitar, bass, percussion, and the occasional sax, they make music that is a conduit for the divine order of things – a way to spread love, peace, and harmony, stage by stage and song by song. In addition to embodying light and consciousness, The Eldermen do so with an added layer of humor and light heartedness. The band’s set, titled, “Rise Up!” urgently speaks to the present moment. Band member Raspin Stuart has often performed at the Los Angeles Poverty Department’s Festival for All Skid Row Artists.
This double feature is free of charge!
ABOUT LOS ANGELES POVERTY DEPARTMENT
Los Angeles Poverty Department is a multi-disciplinary arts organization that produces and presents artworks and events that instantiate the existence of the Skid Row community—affirming its assets, advocating for its rights and supporting its aspirations. LAPD projects interweave exhibitions, publications, theatrical performances, public conversations, and cultural events. Programs are developed, produced, and performed collaboratively with Skid Row community members. Founded in 1985 by John Malpede, was the first performance group in the nation made up principally of homeless people, and the first arts program of any kind for homeless people in Los Angeles.
ABOUT THE ELDERMEN
“The Eldermen are something else. As far as the music… wow! It reminded me of a bit of John Martyn, the British folk singer blended with Tom Waits and Lou Reed. How cool is that?”
– Loni Specter
ABOUT SKID ROW HISTORY MUSEUM AND ARCHIVE
Since 2015, Los Angeles Poverty Department has operated the Skid Row History Museum & Archive in downtown Los Angeles. In addition to being the primary venue for the presentation of LAPD artworks, the Museum partners with Skid Row organizations and individuals to provide free space for their civic and cultural activities. Our community archive houses 20,000+ items documenting the 50+ year history of activism and agency in Skid Row.
Located at 250 S. Broadway, Los Angeles, 90012
the Museum is open to the public Thursdays, Fridays, Saturdays from 2-5 pm and by appointment. info@lapovertydept.org
Visit https://www.lapovertydept.org/ for more information.
All are welcome. Admission is free.
Henriëtte Brouwers
Los Angeles Poverty Department
Skid Row History Museum and Archive
cell: 310-227.6071
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8. Crystal Z Campbell, FF Alumn, at Redcat, Los Angeles, opening Sept. 12
Hey L.A., it’s been a long while but pls join us for this show with artists and thinkers I’ve long admired from afar. More to come in a later post, but excited to be part of this timely conversation on military power and its aftermaths in Asia and the Pacific, curated by GYOPO and Amy Kahng. I’ll be sharing some works from my papermaking residency @dieudonne (made with Tatiana Ginsberg) that have not been shown before
F/GYOPO
We’re thrilled to announce 𝓕𝓵𝓮𝓼𝓱 𝓦𝓲𝓽𝓷𝓮𝓼𝓼, a group exhibition presented by REDCAT (REDCAT (Roy and Edna Disney CalArts Theater)), co-curated by GYOPO (GYOPO) and Amy Kahng (Amy Kahng), opening September 12. Flesh Witness brings together artists from across Asia and the Pacific to examine how military power is inscribed in landscapes, bodies, and archives, revealing how imperial dominance has been established and maintained through intervention and occupation throughout the region. The exhibition reimagines the Pacific region through the intersecting legacies of military imperialism and envisions new shared futures of Oceanic peoples and diasporas.
Please join us for the opening reception on Saturday, September 12, from 6 to 8pm. Flesh Witness will be on view from September 12 – December 13, 2026
Special thanks to Olivia and Ryan for making sure these works made it out of BUFF safely and with speed.
Crystal Z Campbell
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9. Nicolás Dumit Estévez Raful Espejo Ovalles Morel Atrib, FF Alumn, online at https://artviewer.org/screen/ thru Sept. 14
Nicolás Dumit Estévez Raful Espejo Ovalles Morel Atrib participates in OUTSIDE LINEAGE / Curated by Raisa Maudit for Screen Art Viewer
August 11-September 14, 2026
OUTSIDE LINEAGE Curated by Raisa Maudit
“A ideia de progresso é a que sustenta a destruição de tudo em nome do futuro.”
Ailton Krenak, Ideias para adiar o fim do mundo
Broken lines that pretend to be straight. To think from the idea of lineage is to confront a promise of continuity, of orderly passage, of an inheritance that flows without resistance. It tells us that we come from a clear, universal place from which we move toward another equally legible one. Beneath its soft appearance, lineage draws a straight path and demands fidelity: to origin, to form, to rhythm. Everything that does not conform to that line—what deviates, fragments, bifurcates, or is interrupted—falls outside the narrative, suspended in a time that does not progress and cannot become genealogy. To name lineage is also to decide which memories may be inherited and which must disappear. For this reason, to speak of what exists outside lineage is not to deny the past, but to listen to what insists when the line breaks. When linear temporality becomes a tool of hegemonic power, resisting definition, classification, and inheritance turns into a device for survival.
In a context of intensified neo-imperialism, where old logics of domination reappear under renewed technological, economic, and cultural languages, Outside Lineage emerges as a space of friction: a series of twelve videos that think and practice resistance from the margins of inheritance and outside the temporality that sustains it.
Imperialism—yesterday and today—does not only occupy territories; it administers time. It decides which temporalities are valid, which are relegated to backwardness, and which are declared obsolete. As Ngũgĩ wa Thiong’o has noted, colonial violence also acts upon the imagination, breaking the relationship between language, memory, and history. Added to this rupture is another: the imposition of a single time that invalidates rhythms, cycles, and durations not aligned with the logic of power. In response, many contemporary practices operate from bastard genealogies that cannot be cleanly inherited, and from presents that refuse to be read as a transition toward a predetermined future.
In dialogue with this condition, the notion of ch’ixi memories developed by Silvia Rivera Cusicanqui allows us to think overlapping temporalities that neither merge nor reconcile—layers of time that coexist without integrating into a single narrative, without obeying the imperial chronology of progress. Outside Lineage situates itself precisely there: in the friction between times, in the refusal to order the present as a promise of the future, and in resistance to the dominant languages that organize thought—toward a rebellion against the end of the idea of the world… of “one world.”
The twelve episodes of the program bring together artists who work from visions historically linked to resistance against hegemonic power— orality, opacity, myth, linguistic disobedience, the body, the night, fragmentation—activated as contemporary strategies that disrupt the linearity of time. Languages that do not move toward synthesis, but insist, reappear, fold back on themselves, and refuse closure.
Outside Lineage does not propose a new canon or an alternative genealogy. Nor does it propose a new chronology. It proposes something else: breaking with the idea of an inheritance without fissures. To think and create outside lineage also means to think and create outside imperial time, where history is not inherited or advanced, but contested, interrupted, and reactivated.
At a moment when neo-imperialism flourishes massively and at speed, this program affirms that resistance cannot be limited to a single language, a single era, or a single tool. It must be activated from all the times power has tried to erase, and from all the forms of knowledge it has never fully managed to domesticate.
Drumming with and for Benny
2020, Video HD, 30:00 min
CHAPTER 250: DRUMMING WITH AND FOR BENNY
For a long time, the archive has been understood as the place where history is preserved, classified, and legitimized. Yet much of collective memory has never belonged to the archive. There are forms of knowledge that do not survive in documents, but in bodies, gestures, rhythms, and shared practices. Their continuity depends not on the preservation of an object, but on the possibility of being activated time and again. In this sense, remembering is not simply a matter of recovering the past, but of producing it anew through action.
Against the notion of the archive as a static repository, contemporary artistic practices have increasingly proposed it as a performative process. Memory is no longer understood as a collection of records, but as a relational practice through which knowledge is transmitted by repetition, encounter, and shared experience. The archive is no longer what is stored, but what continues to take place.
Created by Nicolás Dumit Estévez Raful Espejo Ovalles Morel Atrib as part of his long-term project Performing the Bronx and presented in 2020 as part of the South Bronx Culture Trail Festival, organized by Casita Maria Center for Arts & Education, Drumming With and For Benny fully embraces this expanded understanding of the archive. The work takes as its point of departure the figure of Benny Bonilla, a percussionist, educator, and one of the most significant cultural figures within the Puerto Rican community of the Bronx. Rather than constructing a biographical portrait or a monumental tribute, however, Estévez Raful establishes a performative dialogue with Benny across the neighborhoods of Longwood and Morris Park, shifting the focus from the individual to the network of relationships through which memory is sustained.
The work brings together testimonies from musicians including Richie Bonilla, Eddie Palmieri, Joe Bataan, and Bobbie Sanabria, alongside historians, community members, and young participants from Casita Maria, whose drumming sequences are collectively assembled as part of the piece.
None of these voices seeks to establish a definitive narrative; instead, they form a polyphonic structure in which memory remains open, unfinished, and necessarily collective. The act of drumming ceases to be a mere musical performance and becomes an act of transmission, capable of sustaining a legacy precisely through its repetition.
Drumming occupies a central role as a technology of transmission. More than a musical instrument, it functions as a bodily archive in which histories are inscribed without ever requiring written documentation to endure. Each rhythm invokes previous memories while simultaneously opening the possibility of future continuities. Cultural inheritance is therefore presented not as a fixed legacy, but as a practice that exists only insofar as it continues to be performed.
The work also displaces the notion of individual authorship. Memory is constructed through a multiplicity of voices, bodies, and generations participating in a shared process of transmission. The Bronx ceases to operate as a documentary backdrop and instead emerges as a living archive: a territory where histories survive less in monuments than in the cultural practices that continue to inhabit it. The neighborhood does not simply contain memory; it continuously produces it.
Perhaps the work’s most significant critical gesture lies in its redefinition of legacy itself. Rather than understanding inheritance as material heritage, documentary evidence, or official historical narratives, Drumming With and For Benny proposes legacy as a shared practice. What is transmitted from one generation to the next is not merely the memory of past events, but ways of making, listening, gathering, and sustaining a collective memory. From this perspective, the archive remains alive only as long as there are bodies willing to make it resonate once again.
Nicolás Dumit Estévez Raful Espejo Ovalles Morel Atrib treads an elusive path that manifests itself through creative experiences that he helps unfold within the quotidian. He has exhibited or performed at Madrid Abierto/ARCO, The IX Havana Biennial, PERFORMA 05/07/21, IDENSITAT, Prague Quadrennial, Pontevedra Biennial, Queens Museum, MoMA, Printed Matter, P.S. 122, Sculpture Center, Bronx Academy of Arts and Dance BAAD!, Hemispheric Institute of Performance Art and Politics, City as Living Laboratory, Princeton University, The Bee Friendly Trust, Anthology Film Archives, El Museo del Barrio, Center for Book Arts, Longwood Art Gallery/BCA, The Smithsonian National Museum of the American Indian, Franklin Furnace, and Lower Manhattan Cultural Council, among others. Nicolás has received mentorship in art in everyday life from Linda Mary Montano, a historic figure in the performance art field.
Residencies attended include P.S. 1/MoMA, CEC ArtsLink, The Performance Project, Soaring Gardens, Jentel, Henry Street Settlement/Abrons Arts Center, Center for Book Arts, Lower East Side Printshop, Artists Alliance Inc., Yaddo, and MacDowell. Nicolás has curated exhibitions or programs for El Museo del Barrio; Leslie Lohman Museum of Art; Bronx River Art Center (BRAC); Franklin Furnace; Elizabeth Foundation Project Space; Artists Alliance Inc; Art in Odd Places; Korea Art Forum; Social Practice CUNY; BAAD! The Bronx Academy of Arts and Dance; and The Institute for Art, Religion and Social Justice at Union Theological Seminary in the City of New York; as well as for the Filmoteca de Andalucía in Córdoba, Spain.
Publications include Pleased to Meet You, Life as Material for Art and Vice Versa (editor), One Person at a Time (editor), Induced Labor, and For Art’s Sake, among others. Nicolás holds an M.F.A. from Tyler School of Art, Temple University, Philadelphia, where he studied with Coco Fusco, and an M.A. from Union Theological Seminary in the City of New York. He was a Senior Lecturer and Social Practice Artist in Residence in the Art and Art History Department at The University of Texas at Austin; and a Smithsonian Artist Research Fellow. Nicolás was recently a Teaching Scholar in Residence at Social Practice CUNY (SPCUNY). Born in Santiago, Dominican Republic, he was baptized as a Bronxite in 2011. He is the Founding Director of The Interior Beauty Salon www.interiorbeautysalon.com
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10. Julie Harrison, FF Alumn, August news
Dear Friends,
I’m delighted to share a recent interview with me by fellow artist extraordinaire, Colette Copeland, published in Arteidolia Online Arts Journal. We talk about meeting each other in Peru, my work, and the nature of collaboration. Let me know what you think!
and
Rising Tide: Drawings by Julie Harrison, my solo exhibition is at the Garrison Art Center, curated by Kate Cahill and Charles Burleigh. I would love to see you there! Note: Metro North goes from Grand Central Terminal to Garrison, it takes an hour and 14 minutes.
Rising Tide includes twelve works on paper made over the past four years, including drawings from the Brain Series, Landform Series, Coastal Series, and my limited-edition book, Ghost Coast: A Hurricane Sandy Periplus of Lower Manhattan, made in collaboration with poet E.J. McAdams and Granary Books.
“Rising Tide: Drawings by Julie Harrison”
August 15 – Sept 8, 2026
Garrison Art Center, 23 Garrison’s Landing, Garrison, NY
ICYMI
“2026 MCBA Prize”
The MCBA [Minnesota Center for Book Arts] Prize is a biennial award honoring excellence in new work from across the dynamic spectrum of book art. This year it was curated by Inge Bruggeman. The international competition culminates in an exhibition in MCBA’s Main Gallery of 20–30 selected semi-finalists.
I’m delighted that Ghost Coast: A Hurricane Sandy Periplus of Lower Manhattan, has been selected as a semi-finalist and will be exhibited.
Aug 29 – Nov 29, 2026
Opening Reception: Fri. Sep 18, 2026, 6–8pm CT
“2026 MCBA Prize”
Minnesota Center for Book Arts, 1011 S Washington Ave, Ste 100, Minneapolis
and
Arroscia Residency ThinkArt
I am thrilled to be an invited artist-in-residence at Arroscia, located in a small medieval town in Liguria, Italy, for 8 weeks. Realized by John Clements and Nicola Parente, this is their second year hosting artists. I am especially honored to be their first “mentor” artist-in-resident. Ciao, bellissima Italia!
August 29 – October 26, 2026
Arroscia Residency ThinkArt
Pieve di Teco, Italy
and
Upcoming
January (TBA) – March (TBA), 2027 (catalog)
Mapping the Story: Narrative Explorations in Artists’ Books
Group exhibition curated by Casey Gardner and Ellen Sheffield
San Francisco Center for the Book
January (TBA) – February (TBA), 2027
Two-person exhibition with Dale Emmart curated by Suzanne Baron
Mueller Gallery, Caldwell University, Caldwell NJ
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11. Theodora Skipitares, FF Alumn, now online at NYTimes.com
Please visit this link:
Thank you.
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12. Barbara Rosenthal, FF Alumn, at Snug Harbor, Staten Island, Aug. 22
Barbara Rosenthal Live Performance at Snug Harbor Art Center, SI, Sat, Aug 22, 4pm
Please join with Barbara Rosenthal in Daniel Rothbart’s brass bowl collaboration, “Meditation | Mediation” Saturday, August 22 at 4PM at the Newhouse Center for Contemporary Art, Snug Harbor, Staten Island.
Barbara, wearing her hat of text art cards and overshirt of Existential Button Pins, will perform another a new iteration of “Provocation Cards Interact,” https://barbararosenthal.org/ProjectsProvocationCardsiframe.htm a variational project that is seeing three venues thus far this summer (Snug Harbor, White Box Portable, and Nyou Museum, which was reviewed in the July issue of the Village Star-Revue).
Using a Rothbart brass vessel to hold her 22 Provocation Cards, this time Rosenthal will have added blanks (and colorful little pens), with the participating audience writing, reading, exchanging, signing and keeping the cards forever (or not).
The folio of 22 cards bear some of her thoughts, such as “The flaw of the Ideal is that it does not encounter Time or Touch.” This variant of the performance is called “Provocation Cards Interaction With Brass Bowl, For Daniel Rothbart.”
His ongoing curatorial is called “Meditation | Meditation,” and has featured artists such as Martha Wilson https://vimeo.com/1044087418; John Perreault https://vimeo.com/1044084384; Yoko Ono https://vimeo.com/1049349995; and Heide Hatry.
Much of Daniel Rothbart’s work focuses on collaborations with international artists, dancers, musicians and poets who conceive and realize performance work with his sculptural objects. As part of his Meditation | Mediation project, Rothbart invites his collaborators to create short performances that engage with his vessel sculptures. These works probe boundaries of communication, question cultural stereotypes, and explore reflexive and meditative approaches to artmaking. Performances by invited artists will take place out of doors against the backdrop of the Serpentine Sibyls installation. The performances are typically under five minutes in duration and take many different forms. Come join us — pick a card! Write one of your own! Let your thoughts ring out!
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13. Rob Gould, FF Alumn, now online at RobertGouldArt.com
I have created a website for my artistic practice.
https://www.robertgouldart.com
It is an ongoing project and I will be adding more material gradually. I welcome your thoughts and comments as to how to improve the content.
Thank you. Robert Gould
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14. Danny Georges, FF Alumn, at Tooker Gallery, Newburgh, NY, Aug. 30 and more
Hello friends and cohorts,
I have an exhibition of my photography at Tooker Gallery in Newburgh NY, August 30 – October 11, 2026.
OPENING RECEPTION
Sunday August 30, 5-7 pm
BBQ PARTY AFTER NEWBURGH OPEN STUDIOS outside by the river,
Sunday September 27 5-8pm
If you can’t make either event and wish to see the show at another time, please call or email me or the gallery to arrange a time.
BE SURE TO HAVE AN APPOINTMENT IN ADVANCE EXCEPT ON EVENT DATES
as there is a gate to get into the Regal Bag studio complex where the gallery is located.
All the best,
Daniel Georges
718 614-1935
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Goings On is compiled weekly by Rohan Subramaniam, Archivist
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