Goings On: posted week of January 03, 2019 CONTENTS:
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Amy Brook Snider, FF Alumn, In Memoriam
1. Linda Carmella Sibio, Martha Wilson, FF Alumns, at The New Museum, Manhattan, January 15, and more
2. Frank Moore, FF Alumn, now online at http://frankadelic.com and more
3. Paul Lamarre & Melissa Wolfe, FF Alumns at EIDIA House, Brooklyn, thru Jan. 31
4. Coco Gordon AKA SuperSkyWoman, FF Alumn, 2019 news
5. Robert Wilhite, FF Alumn, at As-Is Gallery, Los Angeles, CA, opening Jan. 6
6. Halona Hilbertz, FF Alumn, at XVA Gallery, Dubai, opening Jan. 12
7. Charles Clough, FF Alumn, now online at https://clufff.com/ClufffaloAutumn2018.pdf
8. Lawrence Weiner, FF Alumn, in The New York Times, Dec. 24, 2018
9. Clemente Padin, FF Alumn, new publication
10. Mendi + Keith Obadike, FF Alumns, at Electronic Arts Intermix, Manhattan, Jan. 10
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Amy Brook Snider, FF Alumn, in Memoriam
Amy Brook Snider (7/26/1940 – 12/17/2018) was an artist whose medium was education. A life-long New Yorker, born in Queens, NY, to Silas and Clara Snider (née Fox), Amy Snider was the elder of the couple’s two daughters.
At the High School for Music and Art, Sylvia Milgram was Snider’s “first great art teacher”-someone who demonstrated that the arts and education were two sides of the same creative coin. Inspired by the many visual artists in her life, including her beloved sister, Jenny Snider, and by her training as a painter, Amy Snider approached the field of art and design education from an artist’s viewpoint. She earned a BFA in Painting from Queens College, and an MFA in Painting from the University of Madison, Wisconsin. Dr. Snider was awarded her PhD in Education from NYU in 1995.
Her intense curiosity about the world was evident in her undergraduate studies, when, in addition to her major in painting, she did coursework in Comparative Literature and Anthropology, two subjects that remained among her lifelong interests. This intellectual expansiveness also characterized her innovative work as a teacher of art and design education. Working as an educator for over fifty years, Snider’s emphasis was on a spirit of collaboration and an interdisciplinary approach that included literature, anthropology, science, psychology, and other areas of inquiry, and she always privileged qualitative assessments of education over quantitative.
Dr. Snider understood the importance of providing a stimulating environment for the creation of artwork, and in one of many memorable instances of doing so, invited a sixth-grade public school class she was working with to turn their classroom into a loom where they could create both collective and individual weavings. In another, Snider created a cave-like entrance to a classroom, inside of which children painted bison and made hand prints. The performance artist Theodora Skipitares, entered the “cave” dressed like a shaman, bedecked in bones, while Snider read an excerpt from James Frazer’s The Golden Bough about a prehistoric ritual performed by a shaman. In a gallery, these would have been impressive installation and performance works; in the context of a classroom, as Snider understood too well, where this work was never on the auction block, it failed to attain the status of “fine” art in the eyes of many. Nonetheless, the value of Snider’s work was indisputable and incalculable, creating for her students an indelibly memorable, meaningful encounter with art and artmaking.
In the mid-70s, budget cuts to the arts in NYC’s public schools ended Snider’s work there. She joined the faculty at the Pratt Institute, where she taught from 1979 to 2012 and was the founder of the Art & Design Education Department. She was that Department’s Chair for over 30 years, and remained Professor Emerita until her death.
Her strategies as an art educator at Pratt continued to run parallel to or even to anticipate tendencies in art making: the questioning of intellectual (and curricular) boundaries between previously distinct fields of study; the creation of and appreciation for ephemeral work (for example, her research and documentation of snowmen); an interest in untaught, “outsider” artists; research-based projects; collections and archives (among others, she had a collection of clipped obituaries); the power of personal narrative and the exploration of self as a generator of ideas; and a firm conviction that the development of social consciousness must be an integral part of teaching and making art. Her work, understandably, had a feminist foundation, and Dr. Snider cited the strategies of her women’s consciousness-raising groups of the 70s as influential in the way she structured certain of her projects, such as The Journal Project. She initiated that project at the Pratt Institute to facilitate dialogue between teachers and students about issues of instruction and learning that increased faculty awareness of effective teaching and improved the educational experience for students.
Snider was deeply committed to and was a fierce fighter for the things she believed in. Throughout her life, in her teaching, conference presentations, consulting work, programs, exhibitions, and publications, she strove to lead others to understand the importance of art and design education, to act on our collective obligation to foster social justice, and to honor feminism’s urgent commissions. Just prior to her death, she was involved in protests against fracking-a progressive leftist to the end.
Her students remember her as unfailingly attentive, with not only an open-door policy, but an open-door practice. Snider effectively adopted her students, and with her power of discernment and ability to listen and observe helped them to succeed both in the classroom and in life.
Amy Snider’s family and her many friends recall her love of good conversation and food, movies, and books; her strong opinions, individual stylishness, and wonderful sense of humor-and everyone who knew her remembers her laugh. That laugh-what a laugh!-and what a life.
Amy Brook Snider is survived by her loving daughter, Ivy Crewdson, an art advisor; her adored grandchildren, Lilianna Frances Crewdson and Walker Elias Crewdson; her sister, artist Jenny Snider, and brother-in-law Joel Mason, a graphic artist; her ex-husband, sculptor Joel Shapiro, and Mr. Shapiro’s wife, painter Ellen Phelan. Amy Snider’s dear friend and partner of many years, Phil Krug, a lawyer for Harlem Legal Services, predeceased her in 2001.
Dr. Snider’s intellectual and creative DNA lives on in her thousands of students, and in their students. Her archives are housed in the Pratt Institute Library.
Contributions in her name may be made to: The ACLU, and/or to EPIC Long Island c/o Mr. Tom Hopkins, 1500 Hempstead Turnpike, East Meadow, NY, 11554
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1. Linda Carmella Sibio, Martha Wilson, FF Alumns, at The New Museum, Manhattan, January 15, and more
Outsider Art Fair, Wide Open Arts and Franklin Furnace Archive, Inc. are pleased to present OAF Talks 2019. Our panel, Unusual Brains: Neurodiversity and Artistic Creation, will take place at the New Museum on January 15, 2019, 6 :30 – 8 pm.
Many of the legendary artists in the fields of art brut and Outsider Art spent much of their lives under psychiatric care. Some were deemed schizophrenic (e.g. Arthur Bispo do Rosario, Adolf Wölfli, Martin Ramirez) while others were treated for a variety of mental conditions. In recent years the autism spectrum has become more widely understood and artists with autism have gained wide recognition for the inventiveness of their work.
What is the connection between the unique brain chemistries of such artists and the artworks they create? Our panelists will examine this question along with other issues related to art by neurodiverse artists, including how this work is dealt with in the professional art world.
Speakers include:
Nobel Prize winner and Columbia professor Dr. Eric R. Kandel. Read about his well-praised book in The New York Times https://www.nytimes.com/…/…/disordered-mind-eric-kandel.html.
Artist Linda Carmella Sibio, diagnosed with schizophrenia as a young adult convenes an artist workshop that explores schizophrenic thinking and artmaking. Her forthcoming solo exhibition “The Economic States of Zero,” will run from January 26-March 9, 2019 at Andrew Edlin Gallery.
Dr. Gerhard Damman, a Swiss psychiatrist, psychologist and psychoanalyst. He and his wife Karin collect art brut and Outsider Art from the context of psychiatry.
The panel will be moderated by Massimiliano Gioni, artistic director of the New Museum of Contemporary Art in New York.
Please RSVP to: info@outsiderartfair.com
and
Linda Carmella Sibio: The Economics of Suffering
Curated by Martha Wilson
January 26 – March 9, 2019
Reception: January 26th, 4 – 6 pm
Andrew Edlin Gallery is pleased to present The Economics of Suffering, a solo exhibition for Linda Carmella Sibio that explores the devastating and intense emotional scarring on the poor and disabled caused by the financial crisis. The show will include an installation, 60 works on paper, and two multimedia performances by the artist – one at the opening reception and a second on February 9th. The renowned artist and founding director of Franklin Furnace, Martha Wilson, will serve as curator.
The show explores the psychological ruptures wreaked on those most vulnerable-the mentally disabled, the elderly, those in extreme poverty, and other disenfranchised populations suffering from homelessness, hunger, and violence. The avarice of multinational corporations, cuts in government aid, and a callous judicial system continue to exacerbate high levels of suffering among the poor and disabled.
Linda Carmella Sibio’s art probes the fringes of society. Diagnosed with schizophrenia as a young adult, madness is a dominant theme in her work. Her mother, also schizophrenic, was incarcerated in mental hospitals in West Virginia during Sibio’s childhood. Following her father’s death, the artist was raised in an orphanage. In addition to her personal experiences, Sibio’s art is influenced by seminal essays and philospophical tracts like Foucault’s Madness and Civilization, Artaud’s The Theatre and its Double, and Deleuze and Guattari’s Anti-Oedipus: Capitalism and Schizophrenia. Along with her focus on homelessness, mental illness, and the underbelly of society, Sibio is interested in the raw power of human emotional contact. “The fragmented thinking of the schizophrenic is a window into the placement of our culture. We are living in a deconstructed world, no longer thinking linear thoughts,” says Sibio. “Our perceptions are continually interrupted by television, the Internet, video surveillance, and the media – we no longer have a single thought; we think in multilayered complex patterns. For our culture to go forward, the darkness of the dismembered body needs to come into the light. We need to fragment to become whole again.”
Performances (January 26, February 9)
Sibio’s performances center on a woman who can’t sleep while exploring the relationship between zero and the psychological states of everyday life–induced by financial hardship and extreme emotional pain. Fragmentation, dismemberment, and the mixing of time spring from financial conditions that affect the internal psyche; these conditions throw the viewer into an internal state of zero. The performances will incorporate video projections, sound, props, and costumes.
Panel Discussion (January 15th, at the New Museum)
Sibio will participate as a panelist at Unusual Brains: Neurodiversity and Artistic Creation, in conjunction with the Outsider Art Fair’s OAF Talks.
“Insanity Principle” Workshop (February 16th, Andrew Edlin Gallery))
A two-hour “Insanity Principle” artist workshop led by Sibio, focuses on performance, writing, and contemporary art through a series of techniques that include fragmentation, interrupters, psychological opposites, and the psychological model as methods for artmaking.
BIO: Linda Carmella Sibio (b. 1953, West Virginia)
Sibio was diagnosed with schizophrenia while studying painting at Ohio University where she got her BFA in 1977. In the 1980s, she studied acting in Hollywood with Eric Morris, and performance with Rachel Rosenthal. She has received over 20 grants and awards including a Lannan Foundation Grant and a Rockefeller MAP Fund Award. Most recent grants received are the Wynn Newhouse Award and the Tree of Life Award. She has performed at numerous venues including the Walker Art Center (Minneapolis), Franklin Furnace (New York), and Highways Performance Space (Los Angeles). Solo exhibitions of her art have been held at Track 16 Gallery (Los Angeles) and Andrew Edlin Gallery.
Sibio is the founder Bezerk Productions, a nonprofit organization that educates the public on the interdisciplinary art of persons with severe mental disabilities. She teaches both performance and visual art privately and in workshop settings.
BIO: Martha Wilson, Curator
Martha Wilson is an American feminist performance artist and the founding director of Franklin Furnace. Over the past four decades, she has developed and created innovative photographic and video works that explore her female subjectivity through role-playing, costume transformation, and the invasion of other peoples’ personas. She is a recipient of two National Endowment for the Arts fellowships, a New York Foundation for the Arts fellowship, an Obie Award, and a Bessie Award for commitment to artists’ freedom of expression. She is represented by P•P•O•W Gallery in New York City. Wilson has advocated for Sibio’s work since the early 1990s. In addition to inviting Sibio to perform her piece, “West Virginia Schizophrenic Blues,” at The Anchorage in 1991, Wilson served on the board of Sibio’s Bezerk Productions from 2000 to 2005 and has remained an important mentor and friend.
The New Museum 235 Bowery, New York, NY 10002 212-219-1222
Andrew Edlin Gallery 212 Bowery, New York, NY 10012 (212) 206-9723
Franklin Furnace Archive, Inc. c/o Pratt Institute, 200 Willoughby Ave. Brooklyn NY 11205 (718) 687-5800
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2. Frank Moore, FF Alumn, now online at http://frankadelic.com and more
Frank Moore, FF Alumn, featured in a new episode of the web video series about his life and art, LET ME BE FRANK
Let Me Be Frank
Episode 12 – Outrageous Beauty Revue
Episode 12 in the LET ME BE FRANK web documentary series features the
“tacky, wildly colorful loud show of bad taste” that was the Outrageous
Beauty Revue. In the late 1970s, the OBR was one of the major public
performances created by Frank Moore that ran for 3 1/2 years at the punk
venue, the Mabuhay Gardens, in San Francisco. In this episode, Frank
explores the deeper purposes and hidden dimensions of what appeared to
be a wild cabaret show performed by untrained people “just for fun”, and
describes the vision the show came from, and which runs throughout
Moore’s work: “to create trances and realities which will bring change.”
“Outrageous Beauty Revue” features still photos and video footage of
many of the acts from this show. Readings by Vinnie Spit Santino and
Steve Davis.
Episode 12 also features “Black Flag’s Audience”, the 6th segment from
“How To Handle An Anthropologist”, a recurring animated feature in the
Let Me Be Frank series, from the soon-to-be-published book by the same
name.
Music by Michael LaBash, Leila & The Snakes, Frank Moore & Vinnie Spit
Santino, Vinnie Spit Santino, and Zoccola.
Let Me Be Frank is a video series based on the life and art of shaman,
performance artist, writer, poet, painter, rock singer, director, TV
show host, teacher and bon vivant, Frank Moore.
The series is partly a biography, but also a presentation of Frank’s
philosophy on life and on art. Twenty-plus episodes have been planned
based on Frank’s book, Art of a Shaman, which was originally delivered
as a lecture at New York University in 1990 as part of the conference
“New Pathways in Performance”. Each episode will feature readings by
people who played an important part in Frank’s life, either as friends,
lovers, students, artistic collaborators or supporters of his art.
Let Me Be Frank presents Frank’s exploration of performance and art as
being a magical way to effect change in the world … performance as an
art of melting action, of ritualistic shamanistic doings/playings. Using
Frank’s career and life as a “baseline”, it explores this dynamic
playing within the context of reality shaping.
The series is available on Frank’s website at http://frankadelic.com and
on Vimeo at https://vimeo.com/channels/letmebefrank .
and
Frank Moore’s “An Open Letter To Senator Jesse Helms” is the latest addition to the Frank Moore Archives blog at http://eroplay.org/ . This post includes the letter itself, a video reading, plus the original newspaper article from the New York City Tribune that set off Jesse Helms’ investigation of artists and the spaces they performed in.
Published in The Drama Review (TDR) in 1991 and in various magazines and newspapers throughout the U.S.A., “An Open Letter To Senator Jesse Helms” was read at the Anti-Censorship Procession in San Francisco, California and was buried in the ART TIME CAPSULE along with Frank Moore’s “The Combine Plot” at the same event. This letter was also read at Cooper Union Hall, New York, New York, as part of a STOP JESSE HELMS fund raiser in 1990.
See the post at http://eroplay.org/an-open-letter-to-senator-jesse-helms/
See Frank Moore’s website at http://www.eroplay.com
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3. Paul Lamarre & Melissa Wolfe, FF Alumns at EIDIA House, Brooklyn, thru Jan. 31
Plato’s Cave @ EIDIA House
14 Dunham Place, Brooklyn 11249
A very special Holiday Salon
December 12, 2018 to January 31, 2019
Closing Reception to be announced
Hours 11- 6pm, Tuesday – Sunday (or by appointment)
EIDIA House announces the 29th initiative of its ongoing PLATO’S CAVE exhibition, started in 2009. This special holiday salon will feature works from Bob Witz’s wry and witty “Milk Carton” series as well as painting portraits of characters conjured from the artist’s deeply esoteric imagination.
The result of a meditation inspired originally by the lunches Wit’z mother prepared for him as a child in Tomah, Wisconsin, “Milk Cartons” – we dare to propose – is a more subversive twin to Warhol’s Soup Cans.
It is an honor for EIDIA House to curate and install Bob Witz’s work in the Plato’s Cave vault space. While many of the sculptures exist in private and public collections, it will be the first ever exhibit of the near total compilation of Witz’s “Milk Carton” series, dating back to the 1980’s and including a number of works created in 2018.
Bob recounts the origin story in his characteristic wry terms:
“One day, I had this milk carton and an orange juice container and I thought I’d make some art of it.”
To further commemorate this often overlooked artist, EIDIA is also in the process of making a documentary film on Witz, a mainstay of New York’s downtown scene in the 1970’s and 80’s. The film (Bob Witz Untitled) will feature Witz’s paintings and sculptures, and the literary arts publication “APPEARANCES” to capture the artist’s – still at work in his modest one room studio loft – compelling and ever-unfolding story. Including interviews with fellow artists, colleagues, scholars and friends, the film is also a portrait of the artistic circle that spanned the 60 years of Witz’s enduring art practice.
Like us at EIDIA House, they have plenty of good things to say:
“I immediately fell in love and was enamored with his works the “Milk Cartons.” The work is very much of its time using non-traditional art materials and the process. In the Art World Bob is an orbit all by himself…somebody identified Bob as an outsider artist-no way…he was very much an insider but, as an insider he was an outsider.”
– Jean-Noël Herlin, an artist, curator, archivist and bookseller
“I love it [Bob’s work] – so quirky and eccentric. He really gets involved with strange materials.
He has a really good ‘I don’t care attitude.'”
– Betty Tompkins, painter
“I really don’t like categories, but Bob is an outsider / insider because he’s lived in New York all these years.”
– Bill Jensen, painter
“Bob is kind of like the last bohemian.”
– Phong Bui, Co-Founder and Artistic Director of The Brooklyn Rail
“Bob’s a trip!”
– Joe Lewis, visual artist, photographer, musician, art critic, former co-director of FASHION MODA, 1978-1993
Bob Witz was born in Tomah, Wisconsin in 1934. He graduated from the University of Wisconsin in 1959. His correspondence with Artforum magazine in 1973 was published by the editor Robert Pincus-Witten as “Robert Witz: Selections from the Tomah Letters”. He is founder and editor of the literary arts magazine, APPEARANCES 1976 – 2000. Witz had a retrospective at the New York Studio School, curated by Phong Bui in 2012 and numerous one person and group shows over the years. His works are in many private and public collections.
For PLATO’S CAVE, EIDIA House Inc. co-directors Melissa P. Wolf and Paul Lamarre (aka EIDIA) curate invited fellow artists to create an installation with (in some cases) an accompanying limited edition. EIDIA House functions as an art gallery and meeting place, collaborating with artists to create “socially radical” art forms framed within the discipline of aesthetic research.
Plato’s Cave at EIDIA House 14 Dunham Place Brooklyn, NY 11249
Contact Paul Lamarre or Melissa P. Wolf
646 945 3830
eidiahouse@earthlink.net
https://www.eidia.com/
Trains: J, M, & L
Hours 11-6pm, Tuesday – Sunday (or by appointment)
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4. Coco Gordon AKA SuperSkyWoman, FF Alumn, 2019 news
a. I’ll be in Venice for a one month EHF (Emily Harvey Foundation) residency working on my plans for 2, facing red upside down paper on wire piano keyboards, held up by their upside down legs which create a dialog between them. Two sets of books will dangle from them, on opposite walls or spaces to each other, to pull and play. The Cutup Book Set of 26 were all completed within this past year, Lived Loved and Let Go that now flower out of themselves, to infinitely read, page by page in new overlays of patterns, to be performed as an intermedia music (Dick Higgins is smiling from up there).
I’ve finished writing, transcribing & printing up 13 of my 26 Interactiv’ books created for my most impressionable writers (proven by all the scrawling I did all over their words) over a span from 2003 to now. Several were published by small presses and catalogs to my exhibitions. At the EHF residency I will continue to transcribe to be print ready the interactiv books already written.
When I began planning the installation project in 2016 from a dream, I had no notion how the two sets of books related. But as I continue to finish these books I intuited in flash dream totals of 26, (alphabet designated) , for each set. Another dream months later linked compound words made from each set running in a middle space between the two rows of books, As turnable objects.
Enclosed here is the list of keyboard CUT Up books, and Keyboard Interactiv’ installation books I chose to bring together.
CUT UP BOOKS:
Robert Sherlaw Johnson, Messaien
Bern Porter, The Temporary Society
Jorge Luis Borges, Labyrinth
John Cage, Silence
Jim Nolan, Dolphin Dream Time
Derrick Jensen, A Language Older Than Words
Gary Snyder, Practice of the Wild
William Mc Dunnough, Cradle to Cradle
Layne Redmond, When Drummers Were Women
Melissak Nelson, Original Instructions
Henry Geldzahler NY Painting
Starhawk, The Spiral Dance
Judith Plant, Healing the Wounds
Dorothea Tanning, Birthday
Ultra Violet, Famous for Fifteen Minutes
Carolyn Niethammer, Daughters of the Earth
Anneke Huyser, Singing Bowls Exercises for Personal Harmony
Gerald Hausman, (Intro by Thomas Berry), Meditations with Animals
Anthony Haden Guest, True Colors
Milan Kundera, L’insoutenable Legerte’ D’Etre
Stephen Larsen, The Shaman’s Door
Tom Wolf, The Painted Word
Dr Sung Heun Lee, Healing Society
Pauline Oliveros, Software for People
Alvin Curran, The Alvin Curran Fakebook
Karlheinz Stockhausen, TextZu Musik 1970-77
INTERACTIV’S: My titles written for chosen titles
USE IS A SHORT SELF-LIT FUSE for Thomas Berry’ THE GREAT WORK, W Space press, 2003
A BIOMASS CONTINUITY for John Grande’s BALANCE: ART AND NATURE, Go If Press, Montreal 2004
THE LONG APPRENTICESHIP TO FREEDOM for Shunryu Suzuki’s NOT ALAWAYS SO, W Space Press 2004
POSERS WRESTING AUTHORITY, for Chellis Glendinning’s OFF THE MAP, W Space Press 2004
IT ROARS TO ITSELF ALONE for Simone Forti’s OH, TONGUE, W Space Press 2004
MARKET TEACHER for Stephanie Mills’ IN SERVICE OF THE WILD, TIKYSK Press 2005
DE-SIGNED INTELLIGENCE, for David Abrams’ THE SPELL OF THE SENSUOUS,
TIKYSK PRESS, 2008
GOLDEN MEAN IN YOUR EYE, For Owen Waters’ THE SHIFT, TIKYSK Press 2008
VALUE ADDED LIFE, for Paul Hawkens’ THE ECOLOGY OF COMMERCE, TIKYSK Press 2008
TAKING TURNS PETALS OPEN, for David C Korten’s WHEN CORPORATIONA RULE THE WORLD, TIKYSK Press, 2009
SUBSISTENCE NOSEDIVE, For David C Korten’s THE POST CORPORATE WORLD, TIKYSK PRESS 2009
FROM SHOCKLAG TO HARBINGER DAYS, for David C Korten’s THE GREAT TURNING, TIKYSK PRESS 2014
SUBLIMINAL NEEDS SILENT INTELLIGENCS, for Harvey Jackins’ The Rational Needs of Human Beings, TIKYSK Press, 2014 *
CREATING CHAMPIONS, for Kenny Ausubel’s DREAMING THE FUTURE, TIKYSK Press, 20014
INTELLIGENCES, for Paul Hawken’s BLESSED UNREST, TIKYSK Press, 2015
SOILS OF SPOILS WOMEN OF SPOILS for Ecological and Social Healing ANTHOLOGY, Jeanine Canty Ed., Routledge Press, TIKYSK Press 2018 *
BY INTEGRAL DYNAMICS: ERASING THE ERASERS, for Naomi Klein’s No is Not Enough, TIKYSK Press, 2018 *
FORGET BEGINNING, for Donald Judd’s COMPLETE WRITINGS, 1975-1986, TIKYSK PRESS, 2019 *
FORGET BUT NEVER FORGET, for Philip Corner’s I CAN WALK THROUGH THE WORLD AS MUSIC *
TIKYSK PRESS 2019 *
A NEURAL PLUTOCRACY, for John Brockman’s THIS EXPLAINS EVERYTHING, TIKYSK Press, 2019 *
BIG MANIFESTING YES, for Priscilla Stukey’s KISSED BY A FOX, TIKYSK Press 2019 *
b. Have been in a few Mail Art Italia traveling shows, with many pieces made, sent and exhibited from my experiences with Cavellini, Ray Johnson Leoncavallo Spazio Pubblico Autogestito Milano ITALY, and avocado food characters done for memories of Carol Berge at Chelsea Hotel for the Chelsea Hotel traveling show through italy.
c. Have begun archiving my own art works, starting with: the 40’s up to the 90’s so far. Am entering data & stories that link my life art progress on a google doc database designed for me by my grandson who works for Google.
d. I’m starting to also enter which archives am collected in… & am just beginning to add my own collected works.
you can find in Harvard collections my Artist books sent by Dick Higgins:
Blip Blipped;
Hip Hop Sonnengeflecht, Styria a poem sequence for Steirischer Herbst Festival BeerHops project in 4 Austrian towns;
IT, a poem play installation;
NON notes nettles for the sting, a three day book;
Radical Food: Carrot Love Carrot Sex
So Tired;
The___Reader a catalog to be read with eyes, ears, mind, body, use
which was a 160 Book 15 room installation at the Armory Caserma Zucchi.
Things in Loops and Knots I Pick from the Ground Become a Small Italian Opera
e. Pari Dispari Archivio, Reggio Emilia Italy, am visiting their archives this month to be shown & summarize my works in the their archive.
Thanks for now,
Coco Gordon AKA SuperSkyWoman
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5. Robert Wilhite, FF Alumn, at As-Is Gallery, Los Angeles, CA, opening Jan. 6
Dear Friends,
I am writing to invite you to my exhibition at Tom Jimmerson’s, As-Is Gallery. https://www.as-is.la/ The opening will be Sunday, Jan 6th from 2 to 5 PM.
The exhibition will run until Feb 16. My drawings, paintings, furniture, flatware, coffee pot, props, musical sculptures, as well as the mechanical drawings for a number of the works, will be on view.
I would love to see you there.
Very best to you,
Robert Wilhite
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6. Halona Hilbertz, FF Alumn, at XVA Gallery, Dubai, opening Jan. 12
I am very happy to announce my third showing with XVA Gallery in Dubai: “Empathetic Dream Construction: Al Braithwaite, Halona Hilbertz & Jakob Roepke”. I’m showing 24 brand-new works, and a few one-year-old pieces. If you happen to be in that part of the world, please stop by XVA; the show opens on January 12 and goes until March 5.
See my full artist statement on my blog: https://halonahilbertz.blogspot.com/2018/12/halona-hilbertz-humans-insects-fungi.html
xhalona
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7. Charles Clough, FF Alumn, now online at https://clufff.com/ClufffaloAutumn2018.pdf
Please visit
https://clufff.com/ClufffaloAutumn2018.pdf
thank you.
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8. Lawrence Weiner, FF Alumn, in The New York Times, Dec. 24, 2018
Please visit this link:
thank you.
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9. Clemente Padin, FF Alumn, new publication
C’est Mon Dada Nr. 126
Clemente Padin
“FOR THE LASCANO WETLANDS …”
Visual poetry.
A6 format – 40 pages – laser printing.
Thread and quarter cloth binding
January 2019
price: 15 euro / 20 US $ / 13 UK Sterling
FRANCIS VAN MAELE & ANTIC-HAM
REDFOXPRESS
Dugort, Achill Island
County Mayo
0000 Ireland
WEBSITE – http://www.redfoxpress.com
FACEBOOK – Francis Van Maele
POLAROID WWW – http://www.polamad.com
info@redfoxpress.com
Recent publications: http://www.redfoxpress.com/new.html
Visual Poetry collection: http://www.redfoxpress.com/dada.html
Screen prints: http://www.redfoxpress.com/prints.html
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10. Mendi + Keith Obadike, FF Alumns, at Electronic Arts Intermix, Manhattan, Jan. 10
EAI Invites: Mendi + Keith Obadike
Electronic Arts Intermix (EAI)
535 West 22nd Street, 5th Floor New York, NY 10011
January 10th, 2019 7:00 PM
Electronic Arts Intermix (EAI) is pleased to launch a new public program series, inviting guests to present works of their choosing from the EAI collection. This series is intended to open the archive to new insights, engaging the catalogue from a fresh perspective. EAI Invites will provide a catalyst to consider familiar work from an unexpected angle, or to call attention to artists or works that have a particular significance to the guest. For our first event, Mendi + Keith Obadike will present a selection of “artist-made ‘music videos,'” including works by Kit Fitzgerald and John Sanborn, Philip Mallory Jones (Wassa), Bill Viola (Playing Soul Music to My Freckles) and Tony Cokes (2@), among others, followed by an informal conversation with the audience.
Tickets: $7 general, $5 student, free for EAI members
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Goings On is compiled weekly by Harley Spiller
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Martha Wilson, Founding Director
Michael Katchen, Senior Archivist
Harley Spiller, Administrator
Dolores Zorreguieta, Program Coordinator
