Contents for March 7, 2022
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Weekly Spotlight: Irina Danilova, FF Alumn, statement on Ukraine
1. Pablo Helguera, Dan Perjovschi, FF Alumns, now online
2. Ayana Evans, FF Alumn, at Socrates Sculpture Park, Astoria, NY, March 20
3. Blondell Cummings, FF Alumn, now online in Artforum.com
4. Patricia Miranda, FF Alumn, Spring news
5. Yoko Ono, FF Alumn, around the world
6. Nicolás Dumit Estevez Raful Espejo Ovalles, FF Alumn, now online in “Dance Enthusiast”
7. Martha Wilson, FF Alumn, now online in the Brooklyn Rail
8. Joe Lewis, FF Alumn, at James Fuentes Gallery, Manhattan, March 10
9. Jody Pinto, FF Alumn, permanent Rio del Rey Pedestrian Bridge, Phoenix, AZ
10. Marina Abramović, FF Alumn, at Sean Kelly Gallery, thru April 16
11. Colette Colette, FF Alumn, now online at Artforum.com
12. Mel Watkin, FF Alumn, at Sheldon Galleries, St. Louis, MO, thru May 14
13. Nina Sobell, FF Alumn, now online at Narrabase.net
14. RT Livingston, FF Alumn, at The Arts Fund Santa Barbara, CA, March 9-April 23
15. Robbin Ami Silverberg, FF Alumn, at The Gallery at Dobbin Mews, Brooklyn, opening March 12
16. Suzanne Lacy, FF Alumn, at The Queens Museum, Flushing Meadows Park, NY, opening March 13
17. Jacki Apple, FF Alumn, now online in Ecumenica
18. Roberley Bell, FF Alumn, at the Raft, Manhattan, opening March 12, and more
19. Lynn Book, FF Alumn, at Wake Forest Univ., Winston-Salem, NC, and online, March 22
20. Max Gimblett, FF Alumn, now online at NZedge.com
21. Stanley Moss, FF Alumn, publishes new book
22. Lawrence Weiner, FF Alumn, now online at Artforum.com
23. Doug Skinner, FF Alumn, new publication now available
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Weekly Spotlight: Irina Danilova, FF Alumn, statement on Ukraine
The torturing of children and wives in front of their dads and husbands was a common practice in the KGB to break men. Putin, a KGB agent, is torturing Ukraine in an attempt to break us. But we are not his prisoners. We can STOP this torture!
Russian people are being held captive by a dictator: free-spirited are getting chained, the brainwashed rest are formed into new SS units obeyed to psychopathic killer who has no regard for anyone and will stop at nothing to achieve his goals to conquer the world and to kill democracy. More lives will be lost if we cannot STOP him now.
Being born and raised in Ukraine, I am proud of every Ukrainian hero. My fearless compatriots should live and raise their kids, not die. I am proud of the Ukrainian president and his crew for their bravery, honesty and professionalism. Every bomb that explodes in Ukraine, in Kyiv and my hometown Kharkiv, rips my heart. Cities are destroyed. Lives lost. Babies are born in the cold basements to mothers who lost their nursing milk from despair with no other ways to feed. Is it possible that the civilized world cannot STOP this disaster?
I am proud of all the assistance the USA, Canada, Israel and Europe have offered to Ukraine, but apparently that it is not enough. As a part of democratic world I feel disgraced that instead of emergency help to a suffering hard wounded country, NATO obeys bandit’s bluffs.
This is a bloody unruly war. Putin flaunts his cruelty by bombing residential buildings. The thought that we, as a global community, are unable to effectively protect a free democratic European country against the ruthless aggressor chills my bones. If we can protect the democracy, we must do it now, while we still have a chance to do so on Ukrainian soil, not ours.
SAVE UKRAINE! PROTECT UKRAINIAN SKY!
PROVIDE PLANES AND AIR DEFENCE WEAPONS TO UKRAINE TO PROTECT ITSELF!
PROTECT THE NUCLEAR STATIONS FROM THE IRRATIONAL BLOODY HANDS!
STOP THIS SADISTIC WAR!
__
Irina Danilova was born and raised in Kharkiv, Ukraine and now lives in Brooklyn, NY. Her performance with fellow artist Steven Ausbury, MIR is Here! was presented live on January 15, 1999 via Franklin Furnace’s Future of the Present series, broadcast on Pseudo Online Network. The performance MIR is Here! appropriates two common paradigms from outer space– the “space walk” and “space station,” redeploying them in urban situations. Danilova, portraying a Russian cosmonaut, and Ausbury as a U.S. astronaut broadcast press conferences “from space.” The early Internet video transmission quality adds to the character of the 1999 live video broadcasts from the real Mir. This 30-minute video offers a unique performative look at late 20th-century space and space travel, and concludes with live and online post-performance chat and Q&A with the audience and Franklin Furnace Founding Director Emerita Martha Wilson and intern Alexander J. G. Walsh. (Text by Rahna Morgan, FF Intern, Spring 2021)
Please watch here:
https://franklinfurnace.contentdm.oclc.org/digital/collection/p17325coll1/id/36/rec/2
thank you = dyakuyu.
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1. Pablo Helguera, Dan Perjovschi, FF Alumns, now online
Please visit the following website:
Thank you.
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2. Ayana Evans, FF Alumn, at Socrates Sculpture Park, Astoria, NY, March 20
A lot of people have been asking me when I will be performing in NYC again…
Well Here’s The Info:
March 20th, Collaborative Performance at Socrates Park with @aninamajor and her installation piece Haven No 3. Time: 3-3:40pm. This will be a closing performance for the The 2021 Socrates Annual: Sanctuary (Oct 2, 2021- March 20, 2022).
Socrates 32-01 Vernon Boulevard, Astoria, Queens, NY
#Legacy #Operationcatusuit #YaMissMe?
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3. Blondell Cummings, FF Alumn, now online in Artforum.com
Please visit the following website:
https://www.artforum.com/print/reviews/202203/blondell-cummings-87884
Thank you.
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4. Patricia Miranda, FF Alumn, Spring news
Spring is arriving quickly, perhaps we will take off our masks and greet one another face to face. Many projects have been in the works this spring, I hope to see you in person at one or another. Keep me updated on your projects, I would love to connect. Patricia Miranda
Exhibitions:
To Have and To Hold
at The Clemente Soto Vélez Cultural & Educational Center Inc.
March 4th – April 2nd, 2022
Curated by Anna Shukeylo and Yasmeen Abdallah
Artists: Maria de Los Angeles, Julia Justo, Jeff Kasper, Patricia Miranda, Michela Martello, Jean Carla Rodea
The Clemente Soto Vélez Cultural & Educational Center Inc.
107 Suffolk Street, New York, NY 10002
(btw Rivington & Delancey)
and
Terrarium at Ice Cream Social
March 6 – May 7
Ice Cream Social joins MAPSpace in Port Chester as a new art art + community hub, with studios, gallery, and collaborative spaces. Crit Lab artists Susan Luss and Theo Trotter join me in being part of this inaugural exhibit of 26 artists.
Artists:
Amanda L. Andrei, Adina Andrus, Steven Baboun, Sibley Barlow, Kristian Battell, Jenn Cacciola, Nicki Cherry, Lynden Cline, Lindsy Davis, Natalie Jauregui-Ortiz, Ruth Jeyaveeran, Susan Luss, Patricia Miranda, Jumana Mograbi, Taya Naumovich, Dana O’Malley, Allison Panzironi, Anya Rosen, Tavia Sanza, Manju Shandler, Kayo Shido, Matthew Shively, Lilian Shtereva, Theo Trotter, Sarah Valeri, and Robert Zurer.
Ice Cream Social
40 Merritt Street, 2nd FloorPort Chester, NY, 10573
and
Intimacies: A Crit Lab Inaugural
at MAPSpace
March 19 – April 30, 2022
In-person Reception Saturday March 19, 1-5pm.
Zoom Reception Sunday, March 20, 5-7pm
Curated by Gaby Collins-Fernandez and Patricia Miranda
I am so pleased to curate with Gaby Collins-Fernandez this exhibition celebrating the intimate – small of stature, big of heart. Featuring artists who participated in the Crit Lab between spring 2020- spring 2022.
and
Once again I am honored to be a part of this exhibition of uptown women artists curated by Andrea Arroyo
In celebration of Women’s History Month
The Northern Manhattan Arts Alliance (NoMAA)
Women in the Heights – Up Close and Personal
Curated by Andrea Arroyo
Exhibition Dates: March 17 – April 14, 2022
In–Person Opening: March 22, 5:30-7:30pm
In–Person Artist Talk: April 5, 5:30-7:30pm
NoMAA Gallery: 4140 Broadway (175/176 Streets) New York, NY 10033
Gallery Hours: Tuesdays, Fridays & Saturdays, 1-5pm
or by appointment, email info@nomaanyc.org
Coming up in April…
I am very excited to announce a solo exhibition of ongoing lace projects.
A Repairing Mend
Jane Street Art Center (formerly 11 Jane Street), Saugerties NY
Reception Saturday, April 2
April 2 – May 8
Join me for numerous programs throughout the exhibition- natural dyeing, sewing circles, and a special event with the Elena Kanagy-Loux and the Brooklyn Lace Guild. Lace donations will be accepted throughout the exhibition, in person and by mail. I will be hosting several workshops in my studio in Port Chester later in March. More info coming soon. Contact me at info@patriciamiranda.com to participate.
11 Jane St., Saugerties, NY 12477
(508) 241-0273
info@11janestreet.com
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5. Yoko Ono, FF Alumn, around the world
Please visit the following website:
Thank you.
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6. Nicolás Dumit Estevez Raful Espejo Ovalles, FF Alumn, now online in “Dance Enthusiast”
Impressions: BlakTinX Presents “leave the room,” “Arthur Avilés Live!,” and “Dancing Futures: We’re Getting Closer” at BAAD!
To read this piece, please visit the following website:
Thank you.
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7. Martha Wilson, FF Alumn, now online in the Brooklyn Rail
Please visit the following website:
https://brooklynrail.org/2022/02/art_books/Martha-Wilsons-Journals
Thank you.
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8. Joe Lewis, FF Alumn, at James Fuentes Gallery, Manhattan, March 10
Catalog signing event
“Freightliner on the Underground Railroad” by Joe Lewis
joelewisartist.com
Jame Fuentes Gallery
55 Delancey Street
New York NY 10002
Thursday March 10, 2022 4-6 pm
Please visit the following website:
https://jamesfuentes.online/underground-railroad-2019
Thank you.
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9. Jody Pinto, FF Alumn, permanent Rio del Rey Pedestrian Bridge, Phoenix, AZ
Please visit the following website:
Thank you.
“Rio del Rey Pedestrian Bridge” completed in 2021, Phoenix, AZ., provides passage over a major freeway separating children from their schools. The bridge responds in a collaboration of sunlight, lighting, color and material to distract from the long passage. Span enclosure is total, composed of perforated, staggered-pattern panels, providing safety, shade, complete exterior views and airflow. Tilted, alternating polycarbonate panels above cast shards of color over the patterned interior. In daylight, the bridge provides a constant, riotous performance that is both ocean and hourly marker with its collaborator, the sun. At night, blue filters, bathes the interior in deep, quiet drama – the bridge sleeps.
The “Z” alignment of the steel truss bridge is formed by two ramps connecting the 425’ span, 18’ above the freeway, 12’ W. Interior clearance is 10’.
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10. Marina Abramović, FF Alumn, at Sean Kelly Gallery, thru April 16
Performative
March 4 – April 16, 2022
Opening reception: Thursday, March 3, 6-8 pm
Sean Kelly Gallery is delighted to announce Performative, Marina Abramović’s ninth solo exhibition at the gallery. Presenting four distinct turning points in Abramović’s five-decade career, the exhibition chronicles both the development of her oeuvre and how it has influenced performance art globally. The earliest work in the exhibition, in the main gallery, will feature images and sound documenting Abramović’s iconic early performance, Rhythm 10, 1973. Also in the main gallery will be Abramovic’s acclaimed 2010 MoMA performance, The Artist is Present, represented by a video installation. The front gallery will include a selection of Abramović’s “transitory objects,” which visitors to the exhibition can use. A screening of Abramović’s film 7 Deaths, will be shown in the lower gallery. Presented together, these different bodies of work demonstrate how Abramović has shaped the trajectory of performance art over the last five decades and changed the public’s perception of and interaction with this art form. The artist will be present at the gallery on Thursday, March 3, 6-8 pm.
For additional information about the exhibition, please visit the following website:
https://www.skny.com/exhibitions/marina-abramovic6
Thank you.
For additional information on Marina Abramović, please visit the following website:
https://www.skny.com/artists/marina-abramovic
Thank you.
For press inquiries, please contact Adair Lentini via email at Adair@skny.com
For all other inquiries, please contact Lauren Kelly via email at Lauren@skny.com
and
In Conversation: Marina Abramović and Marco Anelli
Virtual Conversation: Thursday, March 24, 7:30pm EST
The MoMA Design Store will host a conversation between photographer Marco Anelli and artist Marina Abramović, marking the publication of the second edition of Anelli’s photography book Portraits in the Presence of Marina Abramović. Moderated by MoMA curator Ana Janevski, the discussion will focus on Anelli’s photos documenting Abramović’s performance The Artist Is Present, which was presented at MoMA in 2010.
Subscribe to the MoMA Design Store’s YouTube channel to be notified about the live stream.
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11. Colette Colette, FF Alumn, now online at Artforum.com
Please visit the following website:
Thank you.
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12. Mel Watkin, FF Alumn, at Sheldon Galleries, St. Louis, MO, thru May 14
Sheldon Galleries March 4 – May 14, 2022
3648 Washington Boulevard, St. Louis, MO 63108
Opens March 4, 5-7 pm
Revolving, a 46-foot long drawing of a falling tree cycling through the seasons of the year by Mel Watkin.
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13. Nina Sobell, FF Alumn, now online at Narrabase.net
Please visit the following website:
Thank you.
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14. RT Livingston, FF Alumn, at The Arts Fund Santa Barbara, CA, March 9-April 23
Tipping Point: Too Much/Not Enough
March 9-April 23, 2022, Wednesday-Sunday, 12-5 p,
Arts Fund Santa Barbara
821 State Street Santa Barbara CA 93101
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15. Robbin Ami Silverberg, FF Alumn, at The Gallery at Dobbin Mews, Brooklyn, opening Mar. 12
In Ukraine
an exhibition of photographs, videos, sculpture, paintings, books, music, and news clippings. It is intended to provide, primarily through the work of Ukkrainian artists and documentarians, a larger understanding of Ukraine and its people at this terrible time in their country’s history. Co-curated by Ira Lupu and Fred Ritchin
In Ukraine is also meant as an expression of solidarity with Ukraine and its people. Visitors will be able to donate funds and express their own personal feelings about the Russian invasion of Ukraiune, on a wall set up for that purpose (bring an image to post if you would like)
March 12-May 8, 2022
opening reception, Saturday March 12, 3-7 pm
Open hours, Friday through Sunday 2-6 pm
Other special events to be announced
The Gallerya t Dobbin Mews
50 Dobbin Street, Greenpoint, Brooklyn (Near McCarren Park
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16. Suzanne Lacy, FF Alumn, at The Queens Museum, Flushing Meadows Park, NY, opening March 13
Please visit the following website:
Thank you.
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17. Jacki Apple, FF Alumn, now online in Ecumenica
Ecumenica
Performance and Religion
David Mason, Editor
Book Reviews pgs. 185-189. Feb. 2022
Daniel Bird Tobin, author
Please visit the following website:
Thank you.
Performance / Media / Art / Culture: Selected Essays 1983–2018
Jacki Apple, edited by Marina LaPalma
Chicago: Intellect, University of Chicago Press, 2019. Pp. 272. ISBN 978-1789380859. US$37.00.
What kind of society have we become when the only time we feel truly and fully and vitally alive is in the face of violent death? (24)
This question exemplifies the poetry, insight, and intense curiosity exhibited throughout Jacki Apple’s Performance / Media / Art / Culture: Selected Essays 1983–2018. While Apple is an accomplished multidisciplinary and multimedia artist, in this book she focuses her keen critical eye on others’ artwork in fifty-seven articles that she and editor Marina LaPalma have curated from the hundreds Apple wrote. Most are reviews of both iconic and forgotten pieces of performance art, dance, theatre, radio art, visual art, and film. To call them reviews, however, evokes the “blandly descriptive” reviews that Apple so often criticizes rather than the thought- provoking and expressive essays presented here (287).
Fascinatingly, Apple and LaPalma group the essays into seven sections not by era or artistic medium but rather thematically and aesthetically. This allows Apple’s work to speak to itself as pieces from different times, woven together to illuminate how art, culture, and the world have both shifted and stayed the same. Aside from the section titles, LaPalma’s perceptive “Foreword,” and Apple’s satisfying “Afterword,” the pair chooses to forego additional editorial comment, inviting readers to make connections and find their own questions.
The first section, “The TV Generation: Media Culture and Performance,” begins impressively in the essay “Performance in the Eighties: The TV Generation.” Given where politics and the media stand in 2021, it seems almost impossible that this was written in 1984. Phrases like “the boundaries between fact and fiction have rapidly collapsed” and “in a society consumed by ‘spectacle’” leap off the page, culminating in the seemingly decades-too-early prophecy that “it is indeed possible that if the 1984 season had featured a prime-time weekly series about a man running for President, its star might have had a better chance of beating Ronald Reagan than Walter Mondale does” (3). Leading with this essay is brilliant, shaking the reader awake to Apple’s foresight and understanding of media and culture.
Moving into the section “Spectacle, Film, Collaboration,” I found it exciting to read “Wrestling with an Age That Won’t Give Back,” a 1985 critique of three pieces by performance artist Jeff McMahon. While reading this was a personal treat because Jeff was my MFA thesis advisor, it also demonstrated the immense value of this book and its structure. When Apple highlights McMahon’s thrilling ability to blend text, media, movement, and design into a cohesive performance, the words do double duty. The reader can both understand how McMahon’s pieces were received in their own time and compare them with the pieces from other times discussed in surrounding essays. For me, this has led to a more complete understanding of the field’s ever-changing landscape.
In the section “Crossing Cultures: Sound, Space, Gesture,” Apple brings her insight to more recent performance in the 2017 essay “Faustin Linyekula’s Journey from Darkness to Light.” Her analysis of Linyekula’s and Studio Kabako’s work calls for political theatre “done without recrimination, righteousness, or outrage.”1 Many artists (myself included) could benefit from grappling with the questions it provokes about the purpose, motivation, and morality of political theatre.
“History Restaged” may be the strongest section of all. The reader can relish encounters with multiple levels of history as Apple writes about artistic pieces that reflect on pivotal historical moments. “The Sound of History Dreaming the Future” from 1991 invites wonderful questions about representing a city’s history, but the first half of “Staging Politics: Allegory vs. Satire” from 2017 steals the show. Reading during the heart of the pandemic, I am left astonished by Apple’s three-page analysis of Theatre de la Ville-Paris’ production of State of Siege. Playwright Albert Camus, director Emmanuel Demarcy-Moto, and Apple combine to evoke a world simultaneously quite different and yet startlingly close to our cur- rent moment. She writes: “And thus the stage is set for impending doom. It arrives in the form of a rapidly spreading epidemic disease, which the officials hide from the public since it is only affecting the overpopulated neighborhood of the poor. . . . But it is too late, for the Plague is not only an infection within the body and soul. It is also the absolute brutality imposed on the body politic from without” (164).
Building on everything she has already foretold, Apple then moves into her “Prophesies Past Tense.” A clear highlight of this section is the manifesto “Performance Art is Dead: Long Live Performance Art!” While many essays in this book focus on a specific piece or performance, here Apple offers a broader perspective. Writing in 1994, she discusses how performance art has lost its way and suggests potential paths for- ward. As with much of her older work, this essay left me hungry to hear Apple’s recent thoughts on the direction of the field in the past quarter-century.
One of Apple’s strengths throughout the book is her ability to rouse the reader through thought-provoking questions. A memorable one comes in “Beauty and the (Art) Beast” within the section “Politics as Culture” where, at the end of a magnificent exhortation to value beauty, Apple asks the reader, “How can we reclaim a spiritual role for art and artists that is again central to the best aspirations of our culture in all its endeavors, before art itself drowns in a sea of consumer culture kitsch, chokes on what Robert Hughes has dubbed the ‘culture of complaint,’ or beats itself to death with its own nihilism?” (262).
The final section, “Concerning Nature,” feels the least developed to me. It contains fewer essays, and some lack the clarity of analysis seen in the thrilling writing of other sections. Nevertheless, reading Apple’s thoughts on greats like Rachel Rosenthal and Laurie Anderson is a plea- sure. Her description of how Rosenthal’s “primary concern has been the survival of the planet in the face of human violation” (269) is heartbreakingly poignant, while her portrayal of Anderson as “a visiting anthropologist from another world” wonderfully captures the “quirky humor and unsentimental pathos” of Anderson’s work (274).
Overall, this book is a stunning piece of scholarship, authorship, curation, and artistry. A potent historical record of performance art, it would serve well as a primer for any scholar, artist, or upper level/graduate course interested in learning this history from a primary source. At the same time, the essays combine to become an inspiring call-to-action for experimental artmaking. I frequently found myself wanting to know Apple and LaPalma’s current thoughts on the questions they raise, but the book’s true gift is the space they allow for the essays to question each other. Through their tremendous restraint in not adding additional comment, they invite readers to explore their own curiosity about performance, performance art, or whatever term comes next.
Daniel Bird Tobin is a director, performer, and theatre archaeologist. He has performed solo shows across the United States and in England (An Iliad and Conqueror of the Western Marches are two favorites among many). He has worked with fabulous artists like Liz Lerman, Danai Gurira, and Aaron Landsman and assisted the amazing directors Emily Mann, John Doyle, and Sam Buntrock. A graduate of the MFA in Performance program at Arizona State University, he has trained and worked with Dance Exchange, the SITI Company, Tectonic Theatre Project, and the Globe Theatre in London. Currently he is Theatre Specialist in the English Department at Saint Anselm College and Senior Faculty Fellow in the Center for Communicating Science at Virginia Tech. www.danielbirdtobin.com
Note 1. See Jacki Apple, “Faustin Linyekula’s Journey from Darkness to Light,” Fabrik, October 31, 2017, https://fabrikmagazine.com/faustin-linyekulas-journey-fromdarkness-to-light/.
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18. Roberley Bell, FF Alumn, at the Raft, Manhattan, opening March 12, and more
Please join us March 12th for the opening of a new exhibition, Positions and Props: A Loosening Line, which brings together the sculpture of Roberley Bell with paintings by Sandy Litchfield.
Please visit the following website:
www.raftofsanity.com
Thank you.
We are also thrilled to announce we will be exhibiting the work of Roberley Bell and Sandy Litchfield at Future Fair
May 5-7
Chelsea Industrial W28th, NYC
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19. Lynn Book, FF Alumn, at Wake Forest University, Winston-Salem, NC, and online, March 22
Join us for the Public Launch of the Lynn Book Projects Archive [LBPA]: an online portal to some 2000 digitized artifacts and documents from the artist’s 45-year corpus of experimental projects and research at the intersection of arts, culture, change
March 22, 2022
Scales Fine Arts Center (SFAC)
Wake Forest University
Free and open to everyone
Contact Lynn for more info: bookl@wfu.edu
5 – 6pm ~ Interaction ~ SFAC Lower Lobby
Enjoy guided dives and experience inventive student responses to works and remnants discovered in the LBPA from Lynn Book’s Performance Art class and Amy Catanzano’s Poetry Workshop classes. Other pop up actions likely!
6 – 7pm ~ Presentation ~ SFAC Art 102 Auditorium
Introduction, Amy Catanzano, WFU Poet-in-Residence, Associate Professor, Department of English
With comments by:
Lynn Book, Artist, Teaching Professor, Department of Theatre and Dance, WFU (outgoing 2022)
Kaya Borlase, (’20), graduate student, Computational Sciences, University of Chicago, Digital Director for the LBPA
Lou Mallozzi, Associate Professor, School of the Art Institute of Chicago, Founder & Director Emeritus, Experimental Sound Studio
Tom Frank, Professor Emeritus, WFU, Co-editor, Journal of Black Mountain College Studies
Jay Buchanan (’17), doctoral candidate, Art History, Washington University
Wanda Balzano, Associate Professor, Women’s, Gender and Sexuality Studies, WFU
7 – 8pm ~ Celebration ~ SFAC Breezeway outside Lower Lobby
Continue exploring the LBPA with student guides, engage in conversation about art, performance, and the now-then-next. More pop up actions likely!
To register for in-person event, please visit the following website:
Thank you.
To register to Zoom the 5 – 6pm for interactive event at SFAC Lobby, please visit the following website:
https://wakeforest-university.zoom.us/meeting/register/tJYsduGvrTwpGtfijRUmae4EoxkdNgcFtI5v
Thank you.
Register to Zoom the 6- 7pm for presentation at Art 102 Auditorium,please visit the following website:
https://wakeforest-university.zoom.us/meeting/register/tJMpde-spzMrHtW_tlwEhCM_P_c86sNUNex6
Thank you.
The LBPA wishes to acknowledge funding and support from Wake Forest University including:
The Humanities Institute
DISC, Digital Initiatives and Scholarly Communications, ZSR Library
Special Collections and Multimedia/Digital Productions, ZSR Library
URECA-X, Undergraduate Research and Creative Activities, Office of the Dean
IPLACe and the IAC, Interdisciplinary Arts Center, for contributing to research and to public events like this one
The LBPA came alive because of the remarkable contributions from Wake Forest alumnae:
Jay Buchanan (’17), Julia Ough (’18), Chloe Williams (’21) and Kaya Borlase (’20)
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20. Max Gimblett, FF Alumn, now online at NZedge.com
Please visit the following website:
https://www.nzedge.com/news/j-paul-getty-museum-acquires-max-gimblett-artists-book-collection/
Thank you.
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21. Stanley Moss, FF Alumn, publishes new book
Please visit the following website:
Thank you.
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22. Lawrence Weiner, FF Alumn, now online at Artforum.com
Please visit the following website:
https://www.artforum.com/print/202203/benjamin-h-d-buchloh-on-lawrence-weiner-87911
Thank you.
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23. Doug Skinner, FF Alumn, new publication now available
My new annotated translation of “Loves, Delights, and Organs,” by
Alphonse Allais, is now available from Black Scat Books
(blackscatbooks[dot]com.) Allais was a peerless humorist whose wild
imagination, and fascination with technology and language, made him a
favorite of Alfred Jarry, André Breton, Marcel Duchamp, Umberto Eco, and
generations of writers. The Pataphysical College named him their
“Patacessor,” and Oulipo recognized him as “an Anticipatory Plagiarist.”
As critic Jean-Marc Defays put it: “Allais comes across as a very modern
writer, and his work as an experimental enterprise which is exemplary in
many ways… it is also quite possible to invoke such writers as Raymond
Queneau, Italo Calvino, and Jorge Luis Borges.”
My translation faithfully hammers into English the 47 stories in the
1898 original, and adds six more from the same period. Hooray! Doug
Skinner
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Goings On is compiled weekly by Danelly Reyes, Franklin Furnace University Intern, Winter 2022
