Contents for February 10, 2020 (Scroll down for more information):
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1. The Dark Bob, FF Alumn, releases new double cd
2. John Held, Kristine Stiles, FF Alumns, at Museum of Fine Arts, Budapest, Hungary, Feb. 21, and more
3. Hidemi Takagi, FF Alumn, at FiveMyles, Brooklyn, opening Feb. 15
4. Alicia Grullón, FF Alumn, at Old Stone house, Brooklyn, thru April 6, and more
5. Aviva Rahmani, FF Alumn, at Lake Superior, MN, spring 2020
6. Judy Dunaway, FF Alumn, at ChaShaMa, Manhattan, March 7-8
7. Frank Moore, FF Alumn, at Adobe Books, San Francisco, CA, Feb. 14
8. Francheska Alcántara, Nicolás Dumit Estévez Raful Espejo, FF Alumns, at Bronx Council on the Arts, Feb. 13
9. Xaviera Simmons, FF Alumn, at Socrates Sculpture Park, May 2020-March 2021
10. Jim Johnson, FF Alumn, at RULE Gallery, Denver, CO, opening Feb. 14
11. Roberley Bell, FF Alumn, at Readywipe Gallery, Holyoke, MA, opening Feb. 22
12. Barbara Rosenthal, FF Alumn, at Lichtundfire Art and Culture, Manhattan, Feb. 13
13. Peter Baren, FF Alumn, in Chicago, IL, Feb. 12
14. Cave Dogs, FF Alumns, at SUNY New Paltz, NY, Feb. 22
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1. The Dark Bob, FF Alumn, releases new double cd
February 2020 sees the release of “The Dark Album”, the sixth solo album by seminal Los Angeles performance artist The Dark Bob. The Dark Album is an astonishing 23 song mash-up of musical styles that explores themes of remorse, renewal and redemption. An elegy of sorts to the arc of the artist’s life.
Or, as The Dark Bob puts it, “an explosion in a pop song factory”.
The album kicks off with the song “I’m Not Famous No More”, which brutally and comically takes on his early success in the restless art scene of Los Angeles in the 1970’s*, and (22 songs later) closes with “Singin’ A Song”, which celebrates the activity, rather than the result, of The Dark Bob’s iconoclastic and adventurous songwriting.
In a tour de force performance, the artist composed all the songs, handled all arrangements, contributes all vocals and backing harmonies, and plays key parts for guitar, bass, drums, and keyboards.
The album was co-produced with Glenn Nishida (whose studio credits include Billy Preston, Donovan, the Blasters, Mavis Staples and many others).
Stepping in for guests turns are acclaimed guitarist Nels Cline (Wilco and beyond), Grammy nominated jazz pianist Larry Goldings (Ray Charles, Leon Russell, James Taylor and more), seasoned session drummer Danny Frankel (Lou Reed, k.d.lang, Laurie Anderson and many more), and The Dark Bob’s son, bassist Ryan Zin.
*In 1975, The Dark Bob was a founding member of the pioneering Los Angeles performance art team, Bob & Bob; together, the Bobs developed an international audience, and their artworks can be found in numerous public collections including the Smithsonian Archive of American Art, the Getty Research Institute, Los Angeles, LACMA (The Los Angeles County Museum of Art) and MOCA (the Museum of Contemporary Art, Los Angeles) and the Museum of Modern Art (Steven Leiber Audio Collection). New York.
“There is no category of artist which fully describes the Dark Bob. To his roots he is a painter. Yet he is also a media-manipulator artist (that is, an artist whose palette is the public’s electronic consciousness), a model-actor, a producer, a bag-lady, a fledgling saint, a dramaturge, a film-maker and a clown…
But his most dynamic art of the moment is song…used in it’s most ancient condition as a literal talk with God.” – Lewis MacAdams, LA Times
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2. John Held, Kristine Stiles, FF Alumns, at Museum of Fine Arts, Budapest, Hungary, Feb. 21, and more
Artpool 40 – Active Archives and Art Networks
International Conference of the Artpool Art Research Center
February 20-21, 2020
Budapest, Museum of Fine Arts, Schickedanz Hall
Speakers:
Agustina Andreoletti | Zdenka Badovinac | David Crowley | Katalin Cseh-Varga | Mela Dávila-Freire | Lina Džuverović-Russell | Meghan Forbes | Daniel Grúň | Péter György | Sarah Haylett | John Held | Roddy Hunter – Judit Bodor | Jasna Jakšić – Tihana Puc | Klara Kemp-Welch | Kaja Kraner | Emese Kürti | Karolina Majewska-Güde | Lívia Páldi | Henar Rivière | Sven Spieker | Kristine Stiles | Katalin Timár | Tomasz Załuski | Elisabeth Zimmermann
Registration (until 17th of February): artpool40.conference@gmail.com
please indicate: • name / • affiliation / • which days you are attending
The international conference celebrates the 40th anniversary of the foundation of Artpool. It aims to map the cultural-political-historical contexts of Artpool’s activity by bringing together scholars and practitioners interested in transnational research on artist archives, progressive curatorial and museological practices, and the historiography of Cold War art scenes and networks.
Detailed information and program: https://www.artpool.hu/institute/artpool_40-conference.html
Facebook event: https://www.facebook.com/events/2563389790541431/
John Held will be on a panel at the Museum of Fine Arts, Budapest, Hungary, to celebrate the absorption of the Artpool Archive into the National Museum of Fine Arts, on February 21, and lecture at the Manchester School of Art, Manchester Metropolitan University, in support of the exhibition, Curious Things: A Glimpse Into the International Mail Art Archive of Michael Leigh and Hazel Jones, February 25.
Artpool 40 – Active Archives and Art Networks
The conference is organized by Júlia Klaniczay, Dr. Emese Kürti, and Zsuzsa László from Artpool Art Research Center – Museum of Fine Arts in collaboration with Dr. Judit Bodor (Glasgow School of Art) and Dr. Beáta Hock (Universität Leipzig), and is realized in the framework of the COST Action New Exploratory Phase in Research on East European Cultures of Dissent (NEP4DISSENT) generously supported by the Horizon 2020 Framework Programme of the European Union.
The international conference and symposium celebrates the 40th anniversary of the foundation of Artpool and its concurrent relocation to KEMKI, the Central European Research Institute of Art History at the Museum of Fine Arts, Budapest.
It aims to map the cultural-political-historical contexts of Artpool’s activity by bringing together scholars and practitioners interested in transnational research on artist archives, progressive curatorial and museological practices, and the historiography of Cold War art scenes and networks.
The conference takes Artpool’s 1979 concept of an ‘Active Archive’ as a starting point to explore its contemporary interpretations and applications, and its similarities with and differences from other artist archives. As Artpool’s founder György Galántai puts it, an active archive “generates the very material to be archived” through calls for participation, co-operation, exchange, and building of non-hierarchical networks, as well as through combining art historical and artistic methodologies of research. An active archive is future-oriented and employs a dynamic approach to history “as an open artwork and as activist artistic practice”. The main activity of Artpool to this day is conducting non-medium specific research into the role of art in ever changing social and political contexts.
In this spirit, we invited scholars and practitioners to propose new museological, curatorial, academic, or artistic perspectives and methodologies that allow the consideration of archival practice as a creative and active form of researching art and artistic visions of the future.
I will be on the following panel:
Network Theories
John Held: Harboring Hidden Histories: Mail Art’s Reception in United States Institutional Archives
Katalin Timár: Theorizing Mail Art: Frameworks and Approaches
Mela Dávila-Freire: “Constructive Contact between Us”: Other Books and So by Ulises Carrión
Klara Kemp-Welch: Networking the Bloc: Critical Reflections on Art Historical Method
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3. Hidemi Takagi, FF Alumn, at FiveMyles, Brooklyn, opening Feb. 15
Dear Friends,
I am very excited to announce my upcoming solo exhibition “Stories” at FiveMyles gallery in Crown Heights, Brooklyn. I will be showing selected works from three most recent neighborhood series developed over the past five years.
Artist reception: on Saturday, February 15, 3:00 – 6:00 pm
if you’re in town, please come join me, it would be great to see you. Also if you know someone who is living in Crown Heights / Bed-Stuy, or might be interested, please feel free to forward this information to them.
Artist Reception: February 15, Saturday, 3:00-6:00 pm
On view: February 13-16, 1:00-6:00 pm
Location: FiveMyles,
558 St Johns Pl, Brooklyn, NY 11238, USA
Curated by: Klaudia Ofwona Draber & Nadine Braquetti
www.kodalab.org @koda.lab
About “Stories”
“Stories” presents my three most recent neighborhood series developed over the past five years. “Hello, it’s me” results from months of conversations and preserves the memories of the residents of the Saint Teresa of Avila Senior Apartments in Crown Heights. “The Barbershops” documents the predominantly male public culture and the distinctive Brooklyn aesthetic, noting also the threat of gentrification. Finally, “The Bed-Stuy Social ‘Photo’ Club” series includes portraits of people living in Bedford-Stuyvesant, historically home to African American and Caribbean cultures. I created a traditionally set up pop-up photography studio in my front yard. I offered free portraits to the residents, inviting them to be in the spotlight.
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4. Alicia Grullón, FF Alumn, at Old Stone house, Brooklyn, thru April 6, and more
The Artwork of Alicia Grullón
An Exhibition at the Old Stone House & Washington Park
Katherine Gressel, Curator
Exhibition Dates: February 6 – April 6, 2020
Opening reception: Thursday, February 6, 2020, 7-9 p.m.
Closing event/film screening: Thursday, March 26, 7-9 p.m.
Location: 336 Third Street (between 4th and 5th avenues), Park Slope, Brooklyn
Hours: Fridays 3-6 p.m.; or by appointment. Call 718-768-3195.
Overview
Brooklyn, NY: From February 6 through April 6, 2020, the Old Stone House & Washington Park (OSH) will host Presence, an exhibition exploring the evolution of artist Alicia Grullón’s socially-engaged work over 15+ years. Grullón describes her performances, both live or for photography or video, as “critiques of the politics of presence – an argument for the inclusion of disenfranchised communities in political and social spheres.” By inserting her own body in spaces “that have historically not been meant for [her] or designed so [she has] little control over how [she is] represented in them,” Grullón aims to disrupt mainstream historical and cultural narratives. This includes collecting and performing the stories of individuals whose voices might otherwise be absent. Her interventions have included public spaces, cultural and academic institutions, the dominant history of the United States, government policy, environmentalism, feminism, the United Nations, and the mass media. Join the artist and OSH contemporary curator Katherine Gressel for the opening reception on Thursday, February 6, from 7-9 p.m.
In the tradition of deconstructionist philosophy, Grullón’s work challenges traditional binaries between past and present, and presence and its typical opposite, “absence.” In her photographs, “what is alluded to within the frame is largely informed by what is not in the frame.” In addition to evoking missing narratives from past, current, and future events, the work selected for this exhibition focuses on Grullón’s use of costumes, props and other methods of obscuring her own identity (leading to the absence of a uniform artist figure throughout the work), sometimes to augment the voices of others. In her essay “The Missing Body: Performance in the Absence of the Artist” Cindy Baker argues that through this type of physical obfuscation, “risk, transgression, and a false illusion of distance are taken on by both artist and audience member, expanding a capacity for intimacy between artist/art and audience that few artworks can.” Through inhabiting a world of her own creation, Grullón also subverts a traditional European, male gaze.
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5. Aviva Rahmani, FF Alumn, at Lake Superior, MN, spring 2020
Logistics of a Minnesota Measure of The Blued Trees Symphony overlaid on a Creative Commons map of the Lake Superior watershed, Aviva Rahmani, 2020.
It is with great enthusiasm that I announce The Blued Trees Symphony will add a new 1/3-mile measure in Minnesota this spring of 2020. The new measure will launch a powerful new partnership with the Lake Superior Living Lab Network (LSLLN)! As with all previous measures, the performance-installation will be realized at the invitation of private landowners. Minnesota landowners are resisting eminent domain takings for the “Enbridge Line 3” pipeline to transport tar sands oil across Lake Superior. The Blue Trees Symphony in collaboration with the LSLLN will join Indigenous groups represented by Honor the Earth, led by Winona LaDuke and Universities on both sides of the border, all responding to the call of the land.
Tar sands represent a significant environmental danger to Minnesota, the “Land of 10,000 Lakes,” America’s 5th most important source of agricultural products. The proposed Line Three Pipeline Replacement Project would impact 700 miles of lake shoreline and endanger watersheds in Canada as well as the Midwestern United States. Mapping from the LSLLN illustrates how the location of proposed pipelines could threaten critical water reserves needed for clean drinking water, local farming, fish and wildlife.
Detail of LSLLN habitat mapping.
Each measure of The Blued Trees Symphony designates a series of GPS located “tree-notes” in an aerial pattern that represents a melodic refrain. Tree-notes are selected by on-the-ground teams of painters from the local community. Each tree-note selected is marked with a vertical sine wave of non-toxic ultramarine blue casein which can grow moss. The spatial relationships between tree-notes and local geographic features modulates the composition of each unique measure. The sigil is applied according to my precise instruction from canopy to roots and wraps around the trunk, binding soil, habitat and copyrighted art. A final mapping of all the GPS identified tree-notes generates the performable score.
This new planned measure will continue to build a case for including habitat dependent ecological art at the intersection of eminent domain and copyright law as a new category of art to be protection under VARA (the Visual Artists Rights Act). In 2018, working with copyright lawyer Gale Elston A Blade of Grass (ABOG) produced a mock trial which was held at the Cardozo School of Law in New York City to test the legal theory behind The Blued Trees Symphony. The Blued Trees Symphony in Minnesota will be the next step in modeling new systems that value environmental justice, beauty and human survival in the Anthropocene.
Contacts for further information:
Legal adviser: Gale P. Elston PC, Manhattan Offices: 111 Broadway, 14th Floor, Yellin Suite 1403, New York, New York, 10006 W: (646) 584-3987 gpe@galepelstonpc.com
Minnesota adviser and LSLLN contact: Kathryn Milun, Associate Professor, Sociology/Anthropology Department, University of Minnesota, Duluth, 1123 University Drive, Duluth, MN 55812 W (218) 726-7071 kmilun@d.umn.edu
Please consider making a tax deductible donation to the project through NYFA (the New York Foundation for the Arts) to see this work continue!
The Blued Trees Symphony is part of Gulf to Gulf, a project fiscally sponsored by NYFA, a 501(c)3, tax exempt organization founded in 1971 to work with the arts community throughout New York State to develop and facilitate programs in all disciplines. NYFA will receive grants on behalf of the project and ensure the use of grant funds in accordance with the grant agreements as well as provide program or financial reports as required. Any donations made to the project through NYFA are tax deductible!
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6. Judy Dunaway, FF Alumn, at ChaShaMa, Manhattan, March 7-8
MANUAL EARDRUMS
an interactive sound installation by Judy Dunaway
sponsored by: ENSEMBLE IPSE Siteworks Series
Saturday, March 7, 2020, noon-6pm
Sunday, March 8, 2020, noon-6pm
ChaShaMa
21 Greenwich Avenue
New York, NY
MANUAL EARDRUMS is about seeing sound with your hands via holding an inflated latex balloon. In this interactive sound installation, listening with the ears is not the intention, but rather surfing the sound waves by feeling them as they mutate, shift and change through the space. The gallery is stripped bare of visual material, save for the bodies of the installation visitors moving freely through the space as they explore the ever changing acoustic patterns. Each visitor will be provided an inflated latex balloon and instructions for how to participate.
Since the 1990s, Judy Dunaway’s art practice has centered primarily around the latex balloon as a sound conduit combined with an inherent visual and sculptural aspect. A daughter of feminist art of the 60s and 70s, her ephemeral medium connects to the body by direct contact. Balloons are malleable, touchable, they hold the breath and the substance itself is like a skin. Twenty years ago, after completing two years of experimental composition studies with Alvin Lucier, Dunaway created the sound installation Manual Eardrums in response to Lucier’s minimalist obliteration of personal experience in his iconic work “I am sitting in a room.” Manual Eardrums extends his ideas back into the realm of a physical and intimate reality.
This project made possible by funding the New York State Council on the Arts, and the generous support of ChaShaMa for use of the space.
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7. Frank Moore, FF Alumn, at Adobe Books, San Francisco, CA, Feb. 14
Inter-Relations Presents
Let Me Be Frank Video Screening
On Valentine’s Day, the first ever live screening of episodes from the web video documentary series, Let Me Be Frank, 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.
Come EARLY and bring your musical instruments for a music jam before the screening!
Friday, Feb. 14, 2020
6-7:30pm – MUSIC JAM/Gathering
7:30-9pm – LET ME BE FRANK screening and Q&A
FREE!
Adobe Books
3130 24th Street
San Francisco, CA 94110
https://eroplay.com/events.html
fmoore@eroplay.com
https://www.eroplay.com
https://frankadelic.com/
https://www.lavapen.com/
http://www.adobebooks.com/
For more information, contact (510) 558-0461
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8. Francheska Alcántara, Nicolás Dumit Estévez Raful Espejo, FF Alumns, at Bronx Council on the Arts, Feb. 13
BCA Open House + Artists Talk
February 13 @ 5:00 PM – 8:00 PM
Bronx Council on the Arts
2700 East Tremont Avenue
Bronx,NY10461United States
www.bronxarts.org
BCA welcomes friends to our space here at Westchester Square. Save the date for our Open House and Artists Talk on February 13th from 5pm-8pm. Enjoy an evening of connecting with peers, us, our partners and enjoy another “Artists Engage” on “Embodying Activism: Socially Involved Performance Art & Dance Practices” from 6pm-7:30pm.
Featured panelists Francheska Alcántara and Nicolás Dumit Estévez Raful Espejo
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9. Xaviera Simmons, FF Alumn, at Socrates Sculpture Park, May 2020-March 2021
Socrates Sculpture Park commissions
new monuments from Jeffrey Gibson,
Paul Ramírez Jonas, & Xaviera Simmons.
Exhibition on view May 2020 – March 2021.
Major support comes from the Ford Foundation, VIA Art Fund, and the Andy Warhol Foundation.
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10. Jim Johnson, FF Alumn, at RULE Gallery, Denver, CO, opening Feb. 14
I’m happy to be showing a new drawing in the Red @ Rule show at RULE Gallery. https://rulegallery.com/exhibition/red-rule/
The show opens on Friday, February 14. I hope to see some of you there.
Happy Valentine’s Day!
Jim
Jim Johnson
jim@discopie.com
www.discopie.com
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11. Roberley Bell, FF Alumn, at Readywipe Gallery, Holyoke, MA, opening Feb. 22
ROBERLEY BELL
Solo exhibition
Light in the Middle of the Day
February 22-March 21, 2020
Opening reception: Saturday, February 22, 2020 6-8 pm
In conversation with Loretta Yarlow, Museum Director, University Museum of Contemporary Art, UMass, Amherst: Saturday March 14, 2020 2-4pm
Readywipe Gallery
Readywipegallery.com – @readywipegallery
532 Main St. Holyoke MA 01040
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12. Barbara Rosenthal, FF Alumn, at Lichtundfire Art and Culture, Manhattan, Feb. 13
Barbara Rosenthal, FF Alumn, Publications Launch Thurs, Feb. 13
Xanadu Press and Washington Street Press, the imprints of Barbara Rosenthal’s studio, eMediaLoft.org will launch three new books at Lichtundfire in NYC, on Thursday, Feb. 13, 6:30pm reception, 7pm readings:
A. D. COLEMAN, “poetic license / poetic justice: a footnote to ‘the london march’ by david antin” with a commentary by charles bernstein.
JEFFREY CYPHERS WRIGHT, “Party Everywhere,” second edition.
BARRY WALLENSTEIN, “Time on the Move,” with 34 Surreal Photos by BARBARA ROSENTHAL.
Rosenthal will also preview her forthcoming book “Dual to the Finish: Erotic Poetry of Love, Chagrin and Irony.”
Lichtundfire Art and Culture
175 Rivington St.
New York, NY 10002
917-675-7835
lichtundfire.com
info@lichtudfire.com
Thursday, Feb. 13, 6:30pm reception, 7pm readings
Barbara Rosenthal
http://en.wikipedia.org/wiki/Barbara_Rosenthal
http://www.barbararosenthal.org/
463 West Street, #A629
NY, NY, USA 10014-2035
+1-646-368-5623 (voice and voicemail, no texts)
eMediaLoft@gMail.com
Skype: barbararosenthal
Twitter: @BRartistNYC
Facebook: barbara.rosenthal1
Instagram: BarbaraRosenthal_eMediaLoft
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13. Peter Baren, FF Alumn, in Chicago, IL, Feb. 12
Defibrillator Gallery proudly presents What Remains: On the Sacred, the Lost, and the Forgotten Relics of Live Art What Remains will take place from February 7th to the 28th, 2020
CHAPTER 2: MERGE
Massive in scale and retrospective by nature, What Remains: On the Sacred, the Lost, and the Forgotten Relics of Live Art is the first exhibition of Defibrillator Gallery’s 10th anniversary year. Curated by Netherlands-based ieke Trinks, this visual art exhibition and performance art series features a cohort of artists from around the world who responded to an open call to reanimate Defibrillator’s collection of objects from performances that took place over the past nine years.
“Merge” literally means the bringing together of different relics into a new object, as we will witness in Doro Seror’s piece as two relics are woven into one. But merge also stands for the meeting of the past with the present, by bringing new ideas to a relic that already has a history as we will experience with Peter Baren’s performative installation. Merge also is a form of transition and mutation into something other, as Esther Neff & Kaia Gilje are going to explore the place between animating relics and embodying them. For the larger part this chapter’s focus will be on the body of the performer in relation to the object.
What Remains is divided into FOUR CHAPTERS, each with a specific theme that features a suite of performance art events. CHAPTER 2: MERGE features a Guerrilla street action on February 12, a live installation on February 13, and two performance programs on February 15 beginning at ARC Gallery and ending in Bridgeport. Refreshments will be served.
CHAPTER 2: MERGE | SCHEDULE – WED 12 FEB | 12:12PM | Off-site Guerrilla Street Action | Location TBA
A_Marcel [Boston b. Latvia] + 1PM Installation @ARC Gallery
>>> CALL FOR PERFORMERS to participate in On the Clock by A_Marcel. If interested, please fill out this form!
THU 13 FEB | 12-6PM | Witness work being installed live by proxy* CR Cooper
Peter Baren [Netherlands]
SAT 15 FEB | 6-9PM | Performance Art Program
Doro Seror [Germany] Esther Neff + Kaia Gilje [St. Louis] Jolanda Jansen [Netherlands] Marval A Rex [Los Angeles] assisted by Vicente Ugartechea [Chicago] Nora + Mána [Chicago] Renan Marcondes [Germany b. Brazil] | proxy* CR Cooper
SAT 15 FEB | 10-12PM | Off-site Late Night Program | Bridgeport Location TBA
Eunjin Choi [Los Angeles b. South Korea] John Thomure [Chicago] Kristin McWharter [Chicago]
proxy* | when the artist isn’t able to be present, a local artist will produce the work.
What Remains will take place from February 7th to the 28th, 2020 at Defibrillator’s former home in Noble Square – framing the site itself as a relic or record of ephemeral practices. Now ARC Gallery, the storefront is located at 1463 W Chicago Avenue, Chicago IL 60642. Gallery hours for the visual art exhibition are Wednesdays through Saturdays from 12 to 6pm and Sundays 12 to 4pm. Events at ARC Gallery are free and open to the public. Satellite events may request a small donation at the door.
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14. Cave Dogs, FF Alumns, at SUNY New Paltz, NY, Feb. 22
The US Premiere of Cave Dogs’ shadow performance Liquid States, will be shown at McKenna Theatre, at the State University of New York (SUNY) at New Paltz, on Saturday, Feb. 22, at 7pm. Tickets are available at the door or online at www.unisonarts.org. This immersive performance addresses humankind’s complicated relationship with this water as substance through metaphor. Cave Dogs presents a startling original way of telling a story. Fluid shadows and images dance in wild imagination across the screen. This performance features an opening shadow performance by Kingston High School students who participated in a workshop series through the Arts Mid-Hudson grant and in collaboration with Unison Arts Center. This performance is also made possible by a Jim Henson Foundation grant.
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Goings On is compiled weekly by Harley Spiller