Franklin Furnace’s Goings On
October 4, 2004
NOTE: Franklin Furnace has moved its headquarters to Brooklyn. Our website, www.franklinfurnace.org will remainthe same. As of October 1, 2004, our land address is:
Franklin Furnace Archive, Inc.
80 Arts – The James E. Davis Arts Building
80 Hanson Place #301
Brooklyn NY 11217-1506 U.S.A.
Tel: 718-398-7255
Fax: 718-398-7256
CONTENTS:
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1. China Blue, FF Alumn, at Brooklyn Fire Proof, Athenaeum and Interface, October
2. R. Sikoryak, FF Alumn, illustrations in two new books, and more
3. Alice Wu/Feral Childe, FF Alumn, at MAK Center, West Hollywood, thru Dec 5, 2004
4. Peter Baren, FF Alumn, at Trace, Cardiff, Wales, Feb 5, 2005
5. Zhang Ga, FF Alumn, at the New School, Oct 10, 2004
6. Jackie Apple, FF Alumn, at Hudson River Museum, NY, opening reception Oct 14
7. Barbara Kruger, FF Alumn, at the NY Public Library, Oct 6
8. Liliana Porter, FF Alumn, at Anina Nosei Gallery, NY, opening Oct 9, 6-8 pm
9. Steed Taylor, FF Alumn, road tattoos across the U.S. and Colombia, Oct 2004
10. Arturo Lindsay, FF Alumn, retrospective at City Gallery, Georgia, thru Oct 25
11. Deborah Garwood, FF Alumn, reviews a new book online.
12. Denise Green, FF Alumn, at Hanstein Gallery, Saarbrucken, Germany, opens Oct 5
13. Elke Solomon, at Gallery W. 53, NY thru Nov 5, 2004
14. Media Art panel at Int’l Center for Tolerance Education, Brooklyn, Oct 16, 12-2 pm
15. Rimma Gerlovina, Valeriy Gerlovin, FF Alumns, in Scottsdale, AZ, Nov 4-27
16. Christy Gast, FF Alumn, at Exit Art, NY thru Nov 21
17. Donna Henes, Jack Waters, FF Alumns, at Le Petit Versailles, NY, October 2004
18. Jay Critchley, FF Alumn, announces Quaking Bog Project, Provincetown
19. Carey Lovelace, FF Alumn, performs at EST, NY, October 6 & 7, 7 pm
20. Christy Rupp, FF Alumn, at Frederieke Taylor Gallery, NY, opening Oct 14, 6-8 pm
21. Irina Danilova, FF Alumn, in Providence, RI, Oct 7-31
22. Harley Spiller, FF Alumn, at City Reliquary, Brooklyn, thru November, and more
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1. China Blue, FF Alumn, at Brooklyn Fire Proof, Athenaeum and Interface, October
Intimacy
Curated By David Gibson
Sandra Bermudez China Blue Kim Connerton Annette Cyr Jen Denike Carla Gannis Elizabeth Hendler Amy Jenkins Jennifer Karady Alexis Karl Norma Markley Leemour Pelli Gae Savannah Raven Schlossberg Roxanne Wolanczyk
Thru October 24, 2004
This exhibition brings together a group of artists whose work is characterized by a willingness to confront extremely personal issues and the social forces which actively demean them. it can easily be said that every artist places themselves in an intimate situation. Isolated with their art, far from the vicissitudes of social life, the artist finds a new truth. Yet how does that truth express itself in the larger world?
Cumulatively the quality of intimacy as it serves the artist, and as the artist’s themes in turn serve society becomes as important as the need for it. The use of the term itself has many variables, depending on usage, it can infer commonality, vulnerability, and knowledge.
An emotionally charged art is often the product of forces around it which either apply normative concerns, pressuring the artist to repress the intimate concern, or to focus solely upon matters of craft. However, their adverse reaction becomes the fruit of discovery: narratives develop and symbols emerge, which dramatize the need for intimacy.
Intimacy itself is rarely the focus in art criticism, since it is not superficially topical, nor does it have a specific historical reference. But it does have something to do with the dynamics of contemporary emotional life, and the ways in which we have become accustomed to repressing or generalizing our responses to issues that relate directly back to the inner life of emotions our repository for reactions to experience.
There are very few avenues in contemporary life for people to talk about their emotions, since it’s generally assumed that families are dysfunctional and that we address our problems either directly, via therapy; or indirectly, by allowing a vast number of media sources, such as NPR Radio, Oprah Winfrey, and various TV dramas and sit-coms, to aid us in running the gamut of our emotions.
After party at M Shanghai Bistro from 11 PM – 2 AM, 129
Havemeyer Street between Grand Street + S 1st Street, Williamsburg, Brooklyn 11211 t 718 384 9300. Half Price
Appetizers until 11:30 PM and Happy Hour from 12 Midnight until closing; and dj downstairs.
BROOKLYN FIRE PROOF, INC.
101 Richardson Street between Leonard & Meeker, Top Floor,
Williamsburg, Brooklyn 11211
Extended Gallery Hours: Friday, Saturday and Sunday 1 – 6 PM /
call 718 302 4702 for an appointment
email: brooklynfire.proof@verizon.net
website: http://www.brooklynfireproof.com
Directions from Bedford: walk north on Bedford Av. Turn right onto N. 11 that becomes Richardson St. after crossing Union Av. Subway*: L to Lorimer or G to Metropolitan. Walk north towards the raised BQE highway. Turn right onto Meeker and walk beneath the BQE to Leonard. Turn left onto Leonard and walk one block and turn right onto Richardson. 101 is on left in the middle of the block. *check the mta for service advisories. Car: Take Exit 33 McGuinness Blvd. + Humbolt St. off the BQE highway. Turn left at light at end of ramp. Turn left at light under the BQE onto Meeker. Veer right onto Richardson just before the bill board sign at the service station.”Fluid Paths” in Dijon, France
Thru October 30, 2004
The exhibition “Fluid Paths,” by China Blue can be seen at the two institutions: Interface and L’Atheneum. The objective of the artist was to use the interest of these institutions to work together as the intent of the work. By creating this temporary alliance she has established a situation where each institution is required to participate in a micro-community comprised of exhibition spaces, visitors, radio and the internet. Thus she connects what are seen as ‘social nodes’ and looks at their interstacies.
On view at l’Atheneum is a meditation room and at Interface is a selection of video, audio and sculptural pieces that look at how the usage of feng shui and how it can change the perception of a space.
At: L’Atheneum, Centre Cultural de l’Universite de Bourgogne
www.atheneum.fr and Interface, www.interface-art.com
Curated by: Stephanie Jeanjean
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2. R. Sikoryak, FF Alumn, illustrations in two new books, and more
Hi all,
R. Sikoryak, FF Alumn, has illustrations in 2 great new books:
“THE FUTURE DICTIONARY OF AMERICA” from McSweeney’s
“THE DAILY SHOW WITH JON STEWART PRESENTS AMERICA (THE BOOK)”
And he’s presenting 2 slide shows…
October 4:
“INSIDE THE COMICS CREATORS’ STUDIO” moderated by Danny Fingeroth, at MoCCA (NYC)
“THE FUTURE DICTIONARY OF AMERICA:
A Book to benefit Progressive Causes in the 2004 Elections Featuring Over 170 of America’s Best Writers and Artists” from McSweeney’s Books
Contributors include:
Stephen King, Robert Olen Butler, Glen David Gold, Richard Powers, Susan Straight, Sarah Vowell, Billy Collins, C.K. Williams, Colson Whitehead, Donald Antrim, Jonathan Franzen, Edwidge Danticat, Edward Hirsch, Joyce Carol Oates, Katha Pollitt, Padgett Powell, Paul Auster, Anthony Swofford, Julia Alvarez, Susan Choi, Jim Shepard, Aimee Bender, Michael Kupperman, Chris Ware, Art Spiegelman, and more.
The book is an imagining of what a dictionary might look like about thirty years hence, when all of the world’s problems are solved and our current president is a distant memory. The book is by turns funny, outraged, utopian, and dyspeptic.
The hardcover edition also includes a CD compilation, with new songs by David Byrne, R.E.M., Death Cab for Cutie, Moby, and many more. ISBN: 193241620X
“THE DAILY SHOW WITH JON STEWART PRESENTS AMERICA (THE BOOK)
A Citizen’s Guide to Democracy Inaction” by the writers of The Daily Show, Jon Stewart
The Emmy and Peabody Award-winning The Daily Show delivers a hilarious look at America. American-style democracy is the world’s most beloved form of government, which explains why so many other nations are eager for us to impose it on them. AMERICA (THE BOOK) offers insights into our unique system of government, dissects its institutions, explains its history and processes, and explores the reasons why concepts like one man, one vote, government by the people, and every vote counts have become such popular urban myths. Warner Books, ISBN: 0446532681
October 4, at the MOCCA gallery in Soho, NYC
R.S. will be a guest in Danny Fingeroth’s new series, INSIDE THE COMICS CREATORS’ STUDIO
R. will give a new slide show of his own work and discuss his career from Raw and Drawn & Quarterly, to Nickelodeon, The New Yorker, and beyond.
Here’s the complete data:
THIS FALL, NYU PRESENTS:
Course X02.9211
INSIDE THE COMICS CREATORS’ STUDIO:
SEMINARS WITH TOP COMICS WRITERS, ARTISTS AND EDITORS
All sessions held at:
THE MUSEUM OF COMIC AND CARTOON ART
594 BROADWAY, SUITE 401
NEW YORK, NY 10012
Six MONDAY NIGHTS 6:30-8:30 PM
OCTOBER 4: R. SIKORYAK (Drawn and Quarterly)
OCTOBER 18: MIKE MIGNOLA (Hellboy)
NOVEMBER 1: DENNIS O NEIL (Batman) with CHARLES KOCHMAN (DC editor)
NOVEMBER 15: JIMMY PALMIOTTI (21 Down, Monolith)
NOVEMBER 29: JIM SALICRUP and STEFAN PETRUCHA (of the upcoming Papercutz
line)
DECEMBER 13: J.M. DeMATTEIS (Abadazad, Not Necessarily the Justice League)
PLUS: SPECIAL SURPRISE GUESTS WILL BE APPEARING AT MANY OF THE SESSIONS!
Moderator: DANNY FINGEROTH
TO REGISTER FOR THE WRITING COURSES OR THE SEMINAR SERIES, GO TO:
http://www.scps.nyu.edu
OR CALL:
212-998-7200 or 888-998-7204
Whew! Thanks for reading so far!
Best,
Bob
illustration portfolio:
www.theispot.com/artist/rsikoryak
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3. Alice Wu/Feral Childe, FF Alumn, at MAK Center, West Hollywood, thru Dec 5, 2004
Please come by and visit FERAL CHILDE while we are artists-in-residence at the MAK Center / Schindler House, in West Hollywood, Califor-ni-a. We will be there most of the time during normal museum hours! We love company and we love being fed. Please check out http://www.makcenter.org or email us at mail@feralchilde.com. The Schindler House is at 835 North Kings Road.
P.S. If you have any scrap lumber and/or latex enamel house paints to
donate, please contact us immediately! We need materials.
SHOWDOWN! at the Schindler House
through December 5, 2004
The MAK Center and Sundown Salon are organizing a multi-phased performance, exhibition, and benefit that will consider design, architecture and the body. SHOWDOWN! will use the provocative architecture of the Schindler House to produce creative thinking about design and the body today. Participants include architects, artists, fashion designers and musicians; among them are Ravi GuneWardena and Frank Escher (Escher GuneWardena Architects), artist Liz Larner and designers/performers Feral Childe.
In the first phase, September 15 through October 17, three participant teams will use the Schindler House as a location for production. Los Angeles rock band My Barbarian and New York design /performance duo Feral Childe will occupy opposite sides of the house. Architect and designer Elena Manferdini will also use a studio for the production of “engineered dresses.” Visitors to the Schindler House will have the rare opportunity to experience the house not only as museum, but as a working studio, filled with artists whose processes can be observed.
The second phase will feature runway shows and performance events. On the evenings of Friday, October 22 and Saturday, October 23, the roof of the Schindler House will be transformed into a stage for a spectacular fashion show. New works by participants will be presented on a roof-top runway designed by the Los Angeles office of internationally-acclaimed architects COOP HIMMELB(L)AU. On Saturday, October 30, the symmetry of the Schindler House will come into full play, as My Barbarian becomes the “ringleader” of one side of the structure and Feral Childe commands the other. Each will orchestrate a series of performances that will begin during the day and continue into the evening.
From November 3 to December 5, works created for “SHOWDOWN!” will be on exhibition at the Schindler House. A publication will be produced on the occasion of the roof-top performance and will be available throughout the duration of the exhibition. Selected works created for “SHOWDOWN!” ‹ including T-shirts by each participating artist ‹ will be available in a silent auction, which will also be available on-line. Proceeds will support the MAK Center at the Schindler House.
SHOWDOWN! Performances:
Runway Show
Friday, October 22, 2004 or Saturday, October 23, 2004, 7:30 p.m.
New works by participants will be presented on a runway designed by the Los Angeles office of architectural firm COOP HIMMELB(L)AU. Admission to either runway show evening is $50; $45 members of Friends of the Schindler House. Seating is extremely limited and advance payment is essential. Reservations: 323 651-1510 or office@makcenter.org
Saturday, October 30, 2004, 2 p.m.
Riffing on the history of parties and performances at the house, this event will feature performances scattered across the Schindler House and gardens throughout the day and evening. My Barbarian will be the “ringleader” of one side of the house; Feral Childe will command the other. Each will orchestrate a series of performances that will begin during the day and continue into the evening. Admission is $15, $12 for members of Friends of the Schindler House.
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4. Peter Baren, FF Alumn, at Trace, Cardiff, Wales, Feb 5, 2005
TRACE: INSTALLACTION ARTSPACE CARDIFF
SEASON V: CLOSE ENCOUNTERS
Programme overview:
Uri Katzenstein [Israel]: 18.00 Sat. 2nd Oct. 2004
Julie Bacon [England]: 12.00 – 18.00 Sat. 6th Nov. 2004
Kevin Henderson [Scotland]: 06.00 – 18.00 Sat. 4th Dec. 2004
Sinead & Hugh O’Donnell [Ireland]: 18.00 Sat. 15th Jan. 2005
Peter Baren, FF Alumn, [Holland]: 18.00 Sat. 5th Feb. 2005
High Heel Sisters [Scandanavia]: 18.00 Sat. 5th March 2005
Cyril Lepetit [France]: 18.00 Sat. 2nd April 2005
Boris Nieslony [Germany]: 18.00 Sat. 7th May 2005
ALL WORK SUPPORTED BY THE ARTS COUNCIL OF WALES.
trace: is offered as a significant artspace that represents intersections between artistic disciplines. A place for wider discourse and dissemination of contemporary art practice that seeks to place emphasis on context in the working process. The focus is primarily performative – to explore the previously untried ways of ‘thinking’ and ‘doing’ offered by time based art and work that emerges from this field – performance, video, sonic, interactive, installation.
trace: highlights one artist per month – each artist presents a live investigation with the ‘trace’ elements of this activity exhibited as installation open to the public by appointment on consecutive weekends during the month.
All performances, installations, procedures, live manifestations and actuations are free.
trace:
26 Moira Place, Adamsdown, Cardiff
+44 [0] 29 2040 7338
www.tracegallery.org
tracegallery@aol.com
PETER BAREN, [Netherlands]
ARK (Frozen Footage)
Performance 18.00 Sat. 5th Feb. 2005
Installation exhibition :
6th – 27th Feb. 2005 [view by appointment]
Peter Baren’s work at TRACE is supported by the Mondrian Foundation
Everything you are about to experience has been put under the spell of a floating device (BLOW BLOW)
Peter Baren’s work is mysterious, enigmatic and defy classification. One of a kind. His previous works include: I NEED YOU. (SteetTexting), Biel (CH) 2004- CURRENCY 2004 Festival. NYC (US) 2004- DISCOVER HEAVEN. Illegal performance, 50. Biennale di Venezia (I) International Performance Art Festival, Cleveland (US) Presidential palace, Bratislava (SK) Tate Modern, London (UK) 2003-2002- TransArt Communication 2002. Nove Zamky (SK)- PROGRESS PROGRESS, Mücsarnok, Budapest (HU) 1997- CARESSING THE DIKE. Flevoland, polderdistrict,(NL) 1996- BELLUARD FESTIVAL, Fribourg (CH) 1992- We Wanna Lose Our Heads For Anything- In Time. III. Spotkan Teatru Wizji i Plastyki. Poltel Filmstudios, Katowice (POL) 1991- Franklin Furnace with Seymour Likely , New York (VS) 1990- POLYPHONIX 14 Paris (F) 1989- Chisenhale Gallery and Dance Space and EDGE 88 (The Drop) London 1988- Steirischer Herbst. Graz (A) 1988- CENTURY 87. Amsterdam- National Review Of Live Art, Nottingham (UK) 1986- PERFO 3 and 1, Rotterdam (NL) 1985, 1983- WIRRA 7. Sonsbeek Park, Arnhem, 1983 (NL) The Living Room, Amsterdam (NL) 1981-
Peter Baren has also received the Prix de Rome Art & Theatre award. He lives and works in Amsterdam——–under the spell of a floating device (BLOW BLOW).
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5. Zhang Ga, FF Alumn, at the New School, October 10, 2004
Negotiating Realities — New Media Art and the Post-Object
A symposium in conjunction with the exhibition The Passage of Mirage — Illusory Virtual Objects
Sunday, October 10
Tishman Auditorium, New School University, New School University, 66 West 12th Street, NY, NY
Synthesizing Realities (11 AM – 1 PM)
A panel discussion featuring Barbara London, Brad Paley, and Kelly Dobson
Reception / Break (1-3 PM)
From Image to Digital “Image World” (3-5 PM)
a panel discussion featuring Ron Burnett, Timothy Druckrey, and Ken Perlin
The symposium will focus on new media art as “post-object” and the issues this art raises about the representation of realities. While art projects using digital technologies as a medium may still possess material properties — referencing art forms such as sculpture, painting and film — their underlying mechanism is code and a data structure. The programmability and instruction-based nature of new media art invites indexing and filtering and constitutes a shift to data representation and the image as tool for visualization. The principle of random access as a basis for processing and assembling information connects to notions of controlled randomness and the dematerialization of the art object that has been extensively explored by John Cage, the Fluxus artists, or Chance performances.
The process-oriented nature of new media art and its responsiveness to audience intervention enables a different experience, meditatively as well as haptically. The “post-object” suggests a new reality that obscures the boundaries between the material and the ephemeral, introducing a perceptual twist: the virtual as tangible and the real as “illusory.” How do the language and aesthetics of new media art as a dynamic and fluctuating entity affect what we know as representation and what are the cultural and social changes brought about by this shift?
The symposium will address issues surrounding the post-object in two separate panels.
Synthesizing Realities (Sunday, October 10, 11 AM – 1 PM)
A panel discussion featuring Barbara London, Brad Paley, and Kelly Dobson
Moderated by Christiane Paul and Zhang Ga. FF Alumn
While the virtual and the real are frequently understood as antithetical, they are closely connected states of human perception. Any intersection between the virtual and real (as in the phenomenon of virtual reality) relies on a process of mediation. This mediation is made possible by various kinds of “interfaces” ranging from the human-machine interface to the audio-visual layers that translate one form of data, information, or sensory input into another. The panel will explore the ways in which our realities are interfaced and the effects this mediation has on relationships between the subject and object.
From Image to Digital “Image World” (Sunday, October 10, 3-5 PM)
A panel discussion featuring Ron Burnett, Timothy Druckrey, and Ken Perlin
Moderated by Christiane Paul & Zhang Ga
The digital image has a profound effect on the way in which our culture communicates and perceives itself. Instant documentation, manipulation, and distribution are just a few of the characteristics of digital technologies that have changed how we “visualize” ourselves. Conventional approaches to exploring a work of art are challenged by the tension between “materiality / immateriality” inherent to digital technologies. In the digital world, the image seems to have changed from an object for viewing to a temporal, evolving and interaction-oriented space. The panel will address questions about today’s “image world” and how it is reflected in art, news media, and a science context.
Organized by agent.netart (http://agent.netart-init.org)
(Joint public programs by Intelligent Agent and the Netart Initiative of the Parsons School of Design) Coordinated by: Christiane Paul (Director, Intelligent Agent; Adjunct Curator of New Media Arts, Whitney Museum of American Art), Zhang Ga (Director, Netart Initiative; Faculty Member, MFA Design and Technology Program, Parsons School of Design) This symposium is made possible through funding from the Rockefeller Foundation
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6. Jackie Apple, FF Alumn, at Hudson River Museum, NY, opening reception Oct 14
Dear Friends and Colleagues
My installation AVIARY OF THE LOST which is featured in this exhibition will be at the Hudson River Museum, NY. after several months at the Norton Museum in W. Palm Beach, FL. I hope that those of you who are in New York between Oct and Jan, will take the opportunity to see it. The show opens Sat Oct 9, and the opening reception is Oct 14th. I will be in NYC installing from Oct 1 through 9. You can contact me at 310-621-2771 if you wish to attend the reception. Unfortuately I have to return to LA on Oct 10.
Very best regards,
Jacki Apple
BIRDSPACE
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7. Barbara Kruger, FF Alumn, at the NY Public Library, Oct 6
DOUBLETALK AND DOUBLETHINK: THE ART AND POLITICS OF LANGUAGE
October 6, 2004, 6:30-8 PM
The New York Public Library,
South Court Auditorium,
Fifth Avenue and 42nd Street
Join a pre-election panel of acclaimed artists, critics and linguists analyzing how words and images can be manipulated to shape opinions and sway emotions.
Moderator:
Arthur Danto, Art Critic, The Nation
Panelists:
Boris Groys, Media Theorist and Cultural Critic
Barbara Kruger, Artist
David Levi-Strauss, Art Critic
Nancy Snow, Linguist
Sponsored by the International Association of Art Critics, US Section (AICA/USA) in
conjunction with The New York Public Library Special thanks to the Andy Warhol Foundation for the Visual Arts.
Limited Seating, Admission $10 ($7 for NYPL and AICA members)
Tickets available online at www.nypl.org
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8. Liliana Porter, FF Alumn, at Anina Nosei Gallery, NY, opening Oct 9, 6-8 pm
The following is listing information for our October 2004 exhibition:
Title: INTERMISIONS
Artist: Liliana Porter, FF Alumn
Dates: October 9 – November 6
Rec: Opening reception: Saturday, October 9; 6-8PM
Des: The exhibition consists of a series of archival inkjet prints produced during 2004 and a few installations using small objects on shelves. The subjects of the works are figurines and other objects placed carefully inside an empty space generating a theatrical situation. Consistent with the artist previous work, the content behind these images is the human condition. Intermissions, intertwines references to feelings, emotions, and philosophical reflections, with a gaze affected by current political events. Its humor is a mixture of awareness of the absurd, compassion, and sorrow.
Info: Additional visual materials are available upon request. Please contact:
Paulina Jakubowski
Annina Nosei Gallery
530 West 22nd Street
New York, NY 10011
Tel: 212.741.8695
Fax: 212.741.2379
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9. Steed Taylor, FF Alumn, road tattoos across the U.S. and Colombia, Oct 2004
Hi to All:
I’ve been mighty busy for the last few months. A solo show just closed in Miami, 4 Road Tattoos and group shows in Bogota and Kentucky. In Country Ambrosino Gallery, main gallery and project space, 769 NE 125th Street, North Miami, FL, (305)891-5577. Photographs, drawings, light boxes and multilayered prints on plastic and paper develop a visual requiem for my childhood hometown, Fort Bragg, NC
Newburgh Survivor’s Knot (for Neil) Road Tattoo, black hi-gloss latex, name and prayer. Located on Second Street between Water and Colden Streets in Newburgh, NY about 2 blocks from the Hudson River. This piece is part of the Newburgh Sculpture Project. It commemorates long-term AIDS survivors in the Newburgh area. I faced a lot of concerns about prejudice towards survivors and their families here. In the end, I had permission to use only one name and he died a week before installation.
Troy Survivor’s Knot Road Tattoo, black hi-gloss latex, names and prayer. Located on Broadway in front of the Cannon Building in Troy, NY. This piece is part the show Space Invaders at The Art Center of the Capital Region in Troy, thru Nov. 21. It commemorates long-term AIDS survivors in the Troy area. I had lots of names and wonderful support including homemade cookies for the trip home!
Maxwell’s Mark Road Tattoo, black hi-gloss latex, names and prayer. Located off North Broad Street next to Maxwell Fine Arts Gallery in Peekskill, NY. This piece is part of the Peekskill Project and the Peekskill Project show at the gallery which came down last month. It commemorates the artists who show at the gallery.
Artist’s Knot Road Tattoo,, black hi-gloss latex, names and prayer. Located on Grant Avenue between Park and Main Streets next to the Hudson Valley Center for Contemporary Art (HVCCA) in Peekskill, NY. This piece is also part of the Peekskill Project and is commissioned by the HVCCA, beginning 9/18. It commemorates the 100+ artists in the Peekskill Project.
Universal Love National Library of Columbia, Bogota, Columbia. A traveling group exhibit of photographs focusing on acceptance of sexual diversity. 9/15 – 9/15/06 throughout Columbia.
If you want more information or images, I am an e-mail or phone call away. Thanks and enjoy the fall.
Steed Taylor, FF Alumn
118 West 27th Street #2F
New York, NY 10001
T/F (212)627-5402
steedtaylor@aol.com
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10. Arturo Lindsay, FF Alumn, retrospective at City Gallery, Charleston, SC, thru Oct 25
Title – Mapping Ports: Sullivan’s Island, Goree, Portobelo, Havana and Seville, a Retrospective – Arturo Lindsay, FF Alumn, at City Gallery at Waterfront, Charleston, South Carolina, thru October 25
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11. Deborah Garwood, FF Alumn, reviews a new book online
http://www.artcritical.com/garwood/DGProust.htm
Dear Friends,
Please follow the above link to read my review of this delightful book. Comments welcome, hope you enjoy it.
Best Regards,
Deborah Garwood, FF Alumn
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12. Denise Green, FF Alumn, at Hanstein Gallery, Saarbrucken, Germany, opens Oct 5
Denise Green will be exhibiting a selection of 8 paintings and 14 works on paper at the Marlies Hanstein Gallery in Saarbrucken, Germany, opening on 5 October, 2004. This new body of work has been inspired in part by ideas contained in an essay, “Is there an Indian Way of Thinking”, by the Indian linguist, A.K. Ramanujan.
Currently Denise Green’s work is the subject of a touring retrospective exhibition in Germany which was inaugurated at the Saarland Museum in Saarbrucken in September, 2003. Her work has been included in exhibitions at the Whitney and Guggenheim Museums, and last year the Museum of Modern Art acquired ten of her “New Image” works on paper.
The Marlies Hanstein Gallery is located at BismarckstraBe 6 in Saarbrucken (www.galerie-hanstein.de). For information call 49 681 9 38 79 78.
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13. Elke Solomon, at Gallery W. 53, NY thru Nov 5, 2004
Please add Elke Solomon
Exhibition, book and multiple
Gallery W. 53
Thru Nov. 5
212-807-0832
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14. Media Art panel at Int’l Center for Tolerance Education, Brooklyn, Oct 16, 12-2 pm
“Media Art in a Time of War” with panelists Paul Chan, Benj Gerdes,
Jacqueline Goss, Branda Miller, and Andrew Lynn. Moderated by Ardele Lister
(Rutgers University), Saturday Oct. 16, 2004, 12-2pm
Reception to follow.
Hosted by the International Center for Tolerance Education
25 Washington St., 4th Fl. Brooklyn
Since there is limited space available, please RSVP by Fri. Oct. 15 to
rsvp@tmf-tolerance.org
This Videomakers’ Forum is part of the 7th annual d.u.m.b.o. art under the bridge festival
(http://www.dumboartscenter.org/festival/)
International Center for Tolerance Education
25 Washington Street, 4th Floor
Brooklyn, NY 11201
www.seedsoftolerance.org
tel: 718-237-6262
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15. Rimma Gerlovina, Valeriy Gerlovin, FF Alumns, in Scottsdale, AZ, Nov 4-27
Rimma Gerlovina and Valeriy Gerlovin at Lisa Sette Gallery, Scottsdale, AZ
November 4 – 27, 2004
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16. Christy Gast, FF Alumn, at Exit Art, NY thru Nov 21
Christry Gast, FF Alumn, will exhibit “Limited Edition Lady Presidential Candidate Collectible Plates” in Exit Art’s group show “The Presidency”, which opens on October 2 from 7-9, and runs till November 21. Exit Art is located at 475 10th Ave @36th St.
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17. Donna Henes, Jack Waters, FF Alumns, at Le Petit Versailles, NY, October 2004
Le Petit Versailles Season 2004
346 East Houston Street < avenue b + c >
F/V train to Second Ave. J/M -Delancey Street.
All Events Rain or Shine By donation ($5) or whatever you can -Food, Drinks!
www.alliedproductions.org 212.529.8815
OCTOBER EVENTS
Art exhibition October 9 – 31
ReCycles of Life Jennifer Paul & Naz Shahrokh
Exhibition opening October 9 5-8pm
Exhibition hours Sat./Sun. 2 7pm or by appointment 212.529.8815
Jennifer Paul – My artwork explores female identity through my own experience growing up as a girl in rural working class America to living currently as a woman in New York City. Issues of class, women’s history, sexual identity, and the nature of time, natural cycles, and memory are also intertwined within my personal narratives. I create mixed media drawings on paper using a variety of materials such as colored pencil, pen, water color,pencil, acrylic and enamel. Working in this way I build layers of color, patterns and images to create visual depth.
Naz Shahrokh -The artist experience is similar to that of birth, where inspiration transcends from the inner shell to tactile matter, this experience being both subjective and objective. I strive to reference in my work a harmonious meditative visual experience, along with the use of organic and recycled materials, my work establishes a metaphysical dialogue with the nature in celebrating it.
October 8 -11 PILOT TV: EXPERIMENTAL MEDIA FOR FEMINIST TRESPASS
in conjunction with Pilot TV Chicago.
10 / 9 – 10 PM. Webcast & DIY television studio in the garden – get involved
Organized by filmmaker Jack Waters.
October 23 8pm
Harvest of Gratitude Ritual – Drum Circle with Mama Donna Henes.
October 31 7pm Halloween Season Finale
Pagan Electric – Stephen Kent Jusick & DJ ECON
Events are made possible by Allied Productions,Inc.,
Gardeners & Friends of LPV, Citizens for NYC, The Trust for Public Land, GreenThumb/NYC Dept. of Parks, Materials for the Arts; NYC Dept. of Cultural Affairs, NYC Dept. of Sanitation, & NYC Board of Education.
LPV Exhibitions are made possible with public funds from the New York State Council on the Arts, a State agency. www.alliedproductions.org
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18. Jay Critchley, FF Alumn, announces Quaking Bog Project, Provincetown
Contact: Jay Critchley
508 487-1930
thecompact@comcast.net
Frank Vasello
508 487-0488
fvasello@sprynet.com
THE QUAKING BOG PROJECT?
THE PROVINCETOWN COMMUNITY COMPACT ANNOUNCES
TEMPORARY OUTDOOR INSTALLATIONS AT SHANK PAINTER POND
UPLANDS, OCTOBER 10-31, 2004.
The Provincetown Community Compact (The Compact) announces the opening of the QUAKING BOG PROJECT six temporary site-specific sculptures and installations by local artists at the Town of Provincetown-owned Shank Painter Pond Uplands. The exhibition will take place from October 10-31, 2004 during daylight hours, with an opening event scheduled for Sunday, October 10 from noon-3:00 pm, with an artist walk through at 1:00 pm. The project will close on Sunday, October 31 from noon-3:00 pm, with another artist walk through at 1:00 pm. The site is located on Route 6, between Herring Cove Beach and Shank Painter Road. The project’s long sleeve t-shirt, designed by Maryalice Johnston, will be available for purchase.
Artists participating in the project include Maryalice Johnston, Denny Camino, Paula Draper, Phyllis Ewen, David Bastien and Frank Vasello.
The QUAKING BOG PROJECT is organized by artist Jay Critchley, director of The Compact, and Provincetown installation artist Frank Vasello in cooperation with the Provincetown Conservation Commission. Vasello was recently selected to participate in ReVisited, an exhibition of site-specific sculpture/installations currently on view at The Forest Hills Cemetery in Boston, and was a featured artist in The Compact’s acclaimed Meadows Motel Project last fall. Artists were selected by a jury consisting of Vasello, Critchley, Christine McCarthy, Director of the Provincetown Art Association, and Dieter Groll, Chair of the Provincetown Conservation Commission.
Building upon the success of last fall’s Compact-sponsored Meadows Motel Project in Provincetown, where eleven local artists created temporary site-specific installations in the rooms of the 1950s motel, soon to be demolished, the QUAKING BOG PROJECT takes the idea outside into the natural landscape. The unique and fragile acreage, acquired by the Town of Provincetown’s Land Bank in 1999, offers both a challenge for artists who show primarily in a gallery, and an opportunity for others to continue their exploration of natural materials, or nature itself, as a part of their work.
Shank Painter Pond is the world’s largest known quaking bog located on a barrier beach. The Provincetown Open Space Committee has been mandated by the town to make this singular environment, along with other land recently acquired or owned by the town, more accessible to the citizens and the public. The QUAKING BOG PROJECT is expected to begin that process.
The Provincetown Community Compact is a non-profit community organization established in 1993 by Critchley to enhance the arts, environment and well being of Provincetown. It is partially funded by the Massachusetts Cultural Council. The Compact sponsors the annual Provincetown Harbor Swim for Life & Paddler Flotilla, set for September 10, 2005, the C-Scape Dune Shack residencies, and offers administrative support for artist and community projects.
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19. Carey Lovelace, FF Alumn, performs at EST, NY, October 6 & 7, 7 pm
Carey Lovelace, FF Alumn, performs Rupert Murdoch Unchained, a scene from Rupert Murdoch: The Muscial, as part of The Ensemble Studio Theatre’s UNDER THE GUN, An evening of explosive work by CityLab (as part of EST’s October fest.)
Wednesday & Thursday, October 6th & 7th
7:00pm
EST 549 West 52nd St. 2nd floor
b/t 10th & 11th Ave.
$7 Suggested donation
CityLab is: Shannon Chirone, Marco Jo Clate, Heather Collis, Matt Conlon, Allison Easter, Brooke Fulton, Jessie Gallogly, Adam Gordon, Shane Kearns, Carey Lovelace,
Rita Marchelya, Jake Myers, David Stott. With guest director Jorelle Aronovitch.
Ensemble Studio Theatre
Curt Dempster
Founder/Artistic Director
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20. Christy Rupp, FF Alumn, at Frederieke Taylor Gallery, NY, opening Oct. 14, 6-8 pm
Christy Rupp, FF Alumn, presents “GloboLoco” at Frederieke Taylor gallery, October 14th through November 13, 2004
opening Thursday, October 14, 6 – 8 PM.
535 W 22 St, 6 floor
The Frederieke Taylor gallery is pleased to announce an exhibition entitled “GloboLoco” by noted artist and activist Christy Rupp in the gallery’s project room. The GloboLoco installation, subtitled “Made in China/Made in USA”, includes small glass sculptures as well as prints dealing with issues of globalization and war.
While George Bush tries to rearrange the Middle East, Christy Rupp has set about rearranging the shelves of Walmart, and other gargantuan shopportunities. Two bodies of work comprise this collection of artifacts, subtitled “Made in China & Made in USA”.
Featuring numerous sets of barely visible glass hands clutching products, the “Made in China” series presents toys, clothing, hardware, computer parts, and kitchen accessories, some of the countless things churned out by the Chinese manufacturing enterprise that is redefining the way the rest of the world acquires.
What is there left for the US to manufacture and export? How about revolution imposed from above, or the overnight delivery of Democracy? Recreating the middle east in our image will be expedited by redesigning the stars and stripes to “pass” as icons for our Iraqi production partners. In a series called “Sacred/Scared” Ms Rupp has morphed the American flag into one with lots of room for colonizing by an Islamic muse. US commerce today is that of manufacturers who don’t make anything, and retailers who don’t touch anything they sell- the big box style for moving the goods. But we have no need to outsource a war, no need for allies as we redesign the world in our own image. We are a country so overextended that few of us can afford even a personal shoplifter, much less a conscience.
Christy Rupp is an ecoartist who has studied the impact of economics on the environment for the past 25 years.This is her third exhibition with the gallery. Due to racism, war and greed she has recently declared herself obsolete as a human, and is now to be regarded as Lowgo, a brand. Read more at Christyrupp.com
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21. Irina Danilova, FF Alumn, in Providence, RI, Oct. 7-31
Irina Danilova’s light and sound installation Sign 59 will be part of the Providence FirstWorksProv Urbun Festival. It will be on view next to the Shepherd’s Clock in downtown Providence, RI, October 7-31. She will also be performing AAAmerica and Suggestions for Election Saturday night, October 9th at the Tazza Cafe.
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22. Harley Spiller, FF Alumn, at City Reliquary, Brooklyn, thru November, and more
Harley Spiller, aka Inspector Collector, FF Alumn, presents “Mr. T and Me by Inspector Collector” at the City Reliquary at the corner of Grand and Havemeyer Streets in Brooklyn. The exhibition is open 24 hours a day, 7 days a week from now through November 2004. The City Reliquary, run by artist Dave Herman, will host a Mr. T party on November 6th, beginning at 4 pm and continuing through the evening. For more information please visit www.dhlabsnyc.com
Harley Spiller’s work with Chinese restaurant history was recently featured in an Associated Press story that was picked up by dozens of newspapers, and also appeared in a recent New York Times story on the first page of the weekly “Dining In Dining Out” food pages. The text of the article, which was illustrated with several color photographs images of rare Chinese menus, follows below:
The New York Times
“As All-American as Egg Foo Yong”
September 22, 2004
By MICHAEL LUO
IT is an unusual trove of cultural kitsch: close to 10,000 Chinese restaurant menus going back to the late 1800’s, filling an array of battered boxes and grocery bags. There is Ying’s, a drive-through in Jacksonville, Fla., which describes itself as a purveyor of “Chinee Takee Outee,” Jade Garden in Bismarck, N.D., which features the local specialty, “hot and spicy walleye,” Brillante, a Mexican and Chinese spot in Paterson, N.J., which offers General Tso’s Pollo.
There is a 1960’s menu from the House of Lee in Oakland, Calif., featuring “fried ravioli,” better known as wontons; a dog-eared menu from Mon Lay Won, a turn-of-the-century New York City restaurant that called itself “the Chinese Delmonico’s”; and one from Madame Wu’s Garden in Los Angeles, a favorite of Cary Grant and Mae West.
The bills of fare, gathered over the years by Harley Spiller, who has amassed a number of curious collections in his Upper East Side apartment, may be the ultimate road map to the Chinese restaurant’s extraordinary trek across the American landscape.
Excerpts from Mr. Spiller’s collection are the centerpiece of a new exhibition at the Museum of Chinese in the Americas in Chinatown about a rarely examined phenomenon: the Chinese restaurant in America.
There are now close to 36,000 Chinese restaurants in the United States, according to Chinese Restaurant News, a trade publication, more than the number of McDonald’s, Wendy’s and Burger King franchises combined. What began in this country as exotic has become thoroughly American. A study by the Center for Culinary Development, a food product development company, found that 39 percent of children between the ages of 10 and 13 who were surveyed said Chinese was their favorite type of food, compared to only 9 percent who chose American.
“It has become part of our consciousness,” said Yong Chen, a history professor at the University of California, Irvine, and co-curator of the exhibition, which will run until June. “It is quintessentially American.”
Much of what has been served in Chinese restaurants in America is virtually impossible to find in China. Crab Rangoon, chop suey and sweet-and-sour pork are all essentially American inventions. In the late 1980’s a Hong Kong entrepreneur imported another one: “genuine American fortune cookies.”
Credit the versatility and adaptability of Chinese restaurateurs that has made them able to feed sophisticated gourmands in New York City, less discriminating palates in small Southern towns and immigrant communities across the country.
Cynthia Ai-Fen Lee, the exhibition’s other co-curator, said Chinese restaurateurs have been “good at seeing what people wanted and getting out there and doing it.”
The first Chinese restaurants in the United States were in mining towns of the California gold rush and even then catered to a mixture of Chinese and non-Chinese laborers. Soon they had spread East and into cities. For the most part, however, Americans viewed the cuisine with suspicion, Ms. Lee said.
Some restaurants began to bridge the gap. A menu from the Hong-Far-Low restaurant in Boston in the 1880’s features a picture of a bald man in Chinese dress, with the caption: “This is the first man in Boston who made chop suey in 1879.” Also on the menu: French fried potatoes.
By the early 20th century it had become fashionable for young urbanites to venture into Chinatowns for the exotic food, Ms. Lee said. A yellowing 1925 postcard in the exhibition depicts the crowded banquet hall of the new Shanghai Cafe in San Francisco, featuring “Chinese and American Dishes” and “Music and Dance Every Evening.”
Soon chop suey houses were springing up in cities across America, serving the ubiquitous mix of meat, bean sprouts, bamboo shoots and other vegetables that would become a staple of Chinese restaurants everywhere, alongside cheeseburgers and fried chicken.
Chop suey references crept into popular culture, often in bizarre ways. Museum visitors can listen to Louis Armstrong’s “Cornet Chop Suey” and sing along to a 1925 ditty “Who’ll Chop Your Suey When I’m Gone.”
But Chinese cuisine remained unfamiliar to many, said Ms. Lee, so many restaurateurs wrote long narratives into their menus, explaining Chinese food and history or spinning fanciful legends of their restaurants’ exotic origins. They also offered tips for how to order family style.
At the King Joy Lo Mandarin Restaurant in Chicago, the menu advised: “If you experience difficulty in making selections, the floor walker will cheerfully aid you.”
In reflection of the lowly status of Chinese immigrants in America at the time, many restaurants deliberately used a bizarre pidgin English in their menus. A menu in the exhibition from one restaurant in Honolulu, Lau Yee Chai, reads in part: “Sometams fliends make appointmans. When come, place full no room. Vely sorry. You please wait little while.”
Another restaurant even adopted the pidgin language into its name, calling itself Led Looster Lestaulant.
By the 1950’s and 60’s “going for Chinese” had become part of the suburban vernacular. In places like New York City, eating Chinese food became intertwined with the traditions of other ethnic groups, especially that of Jewish immigrants. Many Jewish families faithfully visited their favorite Chinese restaurant every Sunday night. Among the menus in the exhibition are selections from Glatt Wok: Kosher Chinese Restaurant and Takeout in Monsey, N.Y., and Wk Tov in Cedarhurst, N.Y.
Until 1965 Cantonese-speaking immigrants, mainly from the county of Toisan, dominated the industry and menus reflected a standard repertory of tasty but bland Americanizations of Cantonese dishes. But loosening immigration restrictions that year brought a flood of people from many different regions of China, starting “authenticity revolution,” said Ed Schoenfeld, a restaurateur and Chinese food consultant.
Top chefs who were trained in spicy and more unusual regional specialties, like Hunan and Sichuan cooking, came to New York then, Mr. Schoenfeld said.
While some midtown Chinese restaurants had been popular places for a nice night on the town, by the early 1970’s, restaurants like Shun Lee Dynasty, a daring experiment in Chinese food in a luxurious setting, run by the chef Tsung Ting Wang and Michael Tong, were getting raves for their food.
Mr. Tong’s is among more than a dozen recollections from restaurateurs in the exhibition. He recalled the day Shun Lee Dynasty became the city’s first Chinese restaurant to get a four-star review in The New York Times. Soon it was averaging 500 people a night.
President Richard M. Nixon’s trip to China in 1972 awakened interest in the country and accounts of his meals helped whet diners’ appetites for new dishes. An illustration of a scowling Nixon with a pair of chopsticks glares down from the wall at the exhibition.
Hunan and Sichuan restaurants in New York influenced the taste of the whole country, Mr. Schoenfeld said. Dishes like General Tso’s chicken and crispy orange beef caught on everywhere.
But as with the Cantonese food before it, Mr. Schoenfeld said, the cooking degraded over time, as it became mass produced. Today’s batter-fried, syrup-laden version of Chinese food, he said, bears little resemblance to authentic cuisine.
General Tso’s chicken, for example, originally made with garlic and vinegar, has evolved, he said, into “sweet chunks of chicken with batter in glumpy sauce.”
The real explosion of Chinese restaurants that made them ubiquitous came in the 1980’s, said Betty Xie, editor of Chinese Restaurant News. “Now you see there are almost one or two Chinese restaurants in every town in the United States,” she said.
There are signs that some have tired of Chinese food. A 2004 Zagat survey showed that its popularity has ebbed somewhat in New York City.
But the journey of the Chinese restaurant remains the story of the American dream, as experienced by a constant but evolving stream of Chinese immigrants who realized the potential of 12-hour days, borrowed capital and a willingness to cook whatever Americans wanted. Sales margins are tight, and wages are low.
Restaurants are passed from one family member to the next, or sold by one Chinese family to another. Often a contingency written into sales contracts is that the previous owners train the new owners.
Nowadays it is overwhelmingly Fujianese immigrants, many of them smuggled into this country illegally, who are flocking to the restaurant business because they have few other options.
Many restaurants operate with a startling sameness, Ms. Lee said, believing that that is what customers want. She said the menu “has to be exotic enough that it’s different, but they have to keep it familiar.”
So, there are the crunchy noodles that Americans like to dip in duck sauce; place mats with the symbols of the Chinese years; and the stalwarts: General Tso’s chicken, beef and broccoli, sweet-and-sour pork. Although old-style dishes like chop suey, chow mein and egg foo yong are almost nonexistent today in New York City and the West Coast, they are surprisingly common in the middle of the country.
Indigo Som, 38, an artist in Berkeley, Calif., has been traveling through the heartland photographing Chinese restaurants. Some of her photographs are featured in the exhibition; others can be found on her online travelogue. Among the highlights: China Town Gourmet Chinese Restaurant in Powell, Wyo., and Hong Kong Buffet in Onalaska, Wis.
“The competition in Chinese communities is cutthroat,” Mr. Chen, the co-curator, said. “What people realize is you can make much, much better profit in places like Montana.”
A typical story is that of Joseph C. Chan, another restaurant owner whose memories are part of the show. He came to the United States in 1982 from Hong Kong, settled in Huntsville, Ala., and worked at a cousin’s restaurant, learning just how much coloring to add to the sweet-and-sour sauce.
After four years he struck out on his own. Seeing few Chinese restaurants near his friend’s home in upstate New York, he borrowed $100,000 from family and friends and bought an old diner in Scotia.
Now he faces competition from Fujianese immigrants and new takeout joints, and he only hopes to be able to make it through a few more years to retirement.
It has been a life full of sacrifice, he said. When his daughter, Joyce, first asked him for stories for the exhibition, he was puzzled.
“It’s just making a living,” he said, “that’s all, nothing special.”
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Franklin Furnace Archive, Inc.
80 Arts – The James E. Davis Arts Building
80 Hanson Place #301
Brooklyn NY 11217-1506 U.S.A.
Tel: 718-398-7255
Fax: 718-398-7256
http://www.franklinfurnace.org
mail@franklinfurnace.org
Martha Wilson, Founding Director
Michael Katchen, Senior Archivist
Harley Spiller, Administrator
Dolores Zorreguieta, Program Coordinator