Contents for November 02nd, 2026
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1. Susan Ensley, FF Alumn, at Synesthesia Space, Brooklyn, Nov. 3-4
2. Chloë Bass, Alicia Grullón, Nicolás Dumit Estévez Raful Espejo Ovalles, Gregory Sholette, FF Alumns, in new publication
3. Pat Oleszko, FF Alumn, new publication, and European tour
4. Dynasty Handbag, FF Alumn, Autumn events
5. Gary Corbin, FF Alumn, now online at https://www.buzzsprout.com/2625147
6. Alvin Eng, FF Alumn, at NYPL Hudson Park, Manhattan, Nov. 19
7. Todd Ayoung, Olivia Beens, Yoshiko Chuma, Sol LeWitt, Kazuko Miyamoto, Vernita Nemec, FF lumens, at Gallery 128, Manhattan, opening Nov. 7
8. Nile Harris, FF Alumn, at Roulette, Brooklyn, Nov. 13
9. Chloë Bass, FF Alumn, at Public Records, Brooklyn, Nov. 9
10. Dan Kwong, FF Alumn, now online at Guardian.com
11. Katie Cercone, Jennifer Miller, Pamela Sneed, FF Alumns, at Parkside Lounge, Manhattan, Nov. 2
12. zavé martohardjono, FF Alumn, at BAX, Brooklyn, Nov. 14
13. Cheri Gaulke, FF Alumn, at Doc NYC, Manhattan, Nov. 18-19
14. Barbara Rosenthal, FF Alumn, at White Box Portable, Manhattan, Nov. 3
15. Bill Gordh, FF Alumn, at Ordway Concert Hall, St. Paul, MN, Nov. 13-14
16. Greg Sholette, FF Alumn, at Printed Matter, Manhattan, Nov. 5, and more
17. Isabella Bannerman, FF Alumn, at James Harmon Community Center, Hastings On Hudson, NY, Nov. 7
18. Judith Bernstein, FF Alumn, at Kunsthaus Zurich, Switzerland, opening Feb. 12, 2027
19. Ojan Assadollahi, FF Member, at Teatro LATEA, Manhattan, Nov. 17,18, 21
20. Tod Lippy, FF Alumn, at O+, Kingston, NY, thru Nov. 7
21. Dara Birnbaum, FF Alumn, new Foundation website and newsletter
22. Victoria Keddie, FF Alumn, at University Gallery of the Angewandte, Vienna, Austria, thru Jan. 5, 2027, and more
23. Barbara Ess, Louise Lawler, Sherrie Levine, Robert Longo, Joseph Nechvatal, at Howl Arts, Manhattan, opening Nov. 5
24. Susan Bee, Heide Hatry, Kumi Korf, Marianne R. Petit, Maddy Rosenberg, Marilyn R. Rosenberg, Miriam Schaer, FF Alumns, at Kentler International Drawing Space, Brooklyn, opening Nov. 7
25. Adrianne Wortzel, Maya Ciarrocchi, FF Alumns, at SVA, Manhattan, opening Nov. 5
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1. Susan Ensley, FF Alumn, at Synesthesia Space, Brooklyn, Nov. 3-4
Synesthesia Space Presents
All Tomorrow’s Babies Are Crying Now
by Susan Ensley
All Tomorrow’s Babies Are Crying Now is an outdoor sound event for the Midterm Elections – Celebrating Voting Day (November 3, 2026) & Vote Watch to Calling of Unofficial Election Results (November 4.)
Outdoor Sound Installation
24-hour presentation November 3–4
Election Watch Party Reception
Tues, November 3rd 6 PM
Live music at 7 PM
Susan Ensley has worked somewhat anonymously in self-initiated projects starting at the age of nine in land/water regeneration, and continuing to this day with projected sound installations and performances.
Her work as a formally presenting performance artist began at age 19, within the realm of “prankster art” (Elena Mayorga Marnich, Alrededo de Gordon Matta-Clark), most notably Look Out at The Kitchen in 1976, a large-scale performance with forty actors & tech, and in the same year her piece Laughing Piece, an anonymous sound work with recorded laughter broadcast over twenty blocks in SoHo.
These works established her working relationship with Gordon Matta-Clark (1975-76) and contributed to their creation of the photographic work Watch Out, a series of nine photographs shot by Matta-Clark from Look Out. Her first one-woman museum show was at the age of twenty-one at the Virginia Museum, Awarded to her by NY Metropolitan Museum curator for Contemporary Art Thomas Hess, for painting; the opening included a counterpoint performance.
After a summer of hiking and climbing while an employee in Glacier National Park, she moved to New York as a recipient of a fellowship from the Whitney Museum Independent Studio Program. Her work focused on performance after her last painting was shown at the Whitney Museum in 1972, and has produced performances in venues as varying as MoMA (Home Run Run Home, 1977) and the apartment in which she was living at the time (Why Don’t You Come Up & See Me Sometime, 1976).
Outside of her own projects she began to perform in other artist’s work, including Dan Graham (in his films Body Press, Helix/Spiral, who called her the “Ann Magnuson of the 1970s”), Jannis Kounellis (Regazza at Sonnabend Gallery), David Gordon (Grand Union, dance The Matter at the Merce Cunningham Studio), Jim Jarmusch (Zone), and Martha Wilson (Billionaires For Barclays).
Ensley was the subject of photographer Marcus Leatherdale’s portrait shown in the P.S.1 New York New Wave show curated by Diego Cortez, later shown at the Rare Gallery and at MoMa in the Club 57 show, in the collection of Charles C. Cahn (published in Marcus Leatherdale Photographs NYC 1980-1992 collection Out of the Shadows), and also Marcia Resnick (Bad Girls project), Nan Goldin (portrait with David Byrne) and Bobby Miller (A Downtown State of Mind).
All Tomorrow’s Babies Are Crying Now was made possible by the Franklin Furnace FUND for Performance Art, supported by Jerome Foundation, Lambert Foundation Fund of Tides Foundation, the members and friends of Franklin Furnace, the Puffin Foundation, John Krupa, and Extinction Rebellion NY Arts.
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2. Chloë Bass, Alicia Grullón, Nicolás Dumit Estévez Raful Espejo Ovalles, Gregory Sholette, FF Alumns, in new publication
Practicing in Public
Conversations on Socially Engaged Art
Edited by Catherine LaSota
(OR Books, forthcoming February 2027)
To preorder publication and learn more about it: https://socialpracticecuny.org/practicing-in-public-conversations-on-socially-engaged-art/
Practicing in Public gathers a vital new body of conversations emerging from Social Practice CUNY, a network of artists, organizers, and educators working with communities beyond the university to confront the most urgent questions of our time. Contributors span staff, collaborators, and faculty and graduate students across the CUNY system, reflecting a wide range of disciplines, lived experiences, and political commitments.
Across these exchanges, artists and practitioners explore activist organizing, coalition building, environmental and economic justice, art and climate change, the role of archives, pedagogical and publishing methods, and the role of cultural work in an era of overlapping crises. Grounded in real-world projects addressing immigration, affordable housing, information sharing, and climate response, the book asks a central question: What futures become imaginable through interdisciplinary, socially engaged practice?
Edited and introduced by SPCUNY Associate Director Catherine LaSota, the anthology draws inspiration from SPCUNY Fellows’ projects, cross-institutional collaborations, and conversations from the podcast Part of the Practice (https://podcasts.apple.com/us/podcast/part-of-the-practice/id1756739158). Together, these dialogues document the possibilities, frictions, and contradictions of working publicly—within and against institutional constraints—while offering concrete models for collaboration and collective action.
As a project that grew in the soil of the largest urban public education system in the United States, the City University of New York, Practicing in Public is both a record of experiential learning and a provocation: a field guide for artists, students, organizers, and cultural workers seeking new ways to practice, organize, and imagine a shared future as old systems fracture.
Contributors
Kendall Allison
Nora Almeida
Ashanti Omowali Alston
Sofya Aptekar
Arthur Avilés
Chloë Bass
Ashley Dawson
Ángeles Donoso Macaya
Cristina Ferrigno
Tom Finkelpearl
Tao Leigh Goffe
Alicia Grullón
Chris Harding
Emily Jacir
Kerosene Jones
Amirtha Kidambi
brandon king
dequi kioni-sadiki
Nicolás Dumit Estévez Raful Espejo Ovalles
Quinlan Maggio
Ash Marinaccio
Jackelyn Mariano, Esq.
Anne Davis Mulford
Lucas Murgida
iki nakagawa
Esther Neff
Sunisa Nuonsy
Emily Raboteau
ingrid romero
Gregory Sholette
April Wen
Ari Wolff
RAVES & REVIEWS
“After more than 35 years of independently creating and producing visual and performance art in the public sphere, often without permits, permissions, or the umbrella of an institution, I found Practicing in Public both heartening and necessary: a reminder that the public is not an audience to be managed but a messy, unpredictable place where art, life, politics, and other people collide. These conversations take seriously the questions many of us have been living with for decades, and they offer a generous, hopeful map of how artists might continue to practice together in the world as it is today.” –Ed Woodham
“Practicing in Public is a journey of success stories where dialogue, shared meals, and collaboration are the prize. Reading these conversations among more than thirty social practice artists, devoted to sharing as art, justice as art, eating as art, and healing as art, I realize: everybody wins.” –Linda Mary Montano
“If our imaginations are central to enacting the change we want to see in the world, then Practicing in Public is the dream-fodder we’ve been yearning for. Part-manual, part-chronicle, this thoughtful assembly of thinking and words by some of the most critically and socially engaged artists working today maps the profound field that Social Practice CUNY has brought to life over the span of its existence. The knowledges and learnings presented offer readers inspiration and scaffolding for changemaking in their own contexts and on their own terms, centering equity and cultural sovereignty at its most dynamic, refusing to look away from the tough questions.” –Laura Raicovich
“Practicing in Public is a call to gather and a vital resource for socially engaged art practice and pedagogy. Its conversational form foregrounds the presence and active listening that this work requires, creating space for nuance, contradiction, and coalition building. Carrying forward SPCUNY’s emphasis on traversing silos within and around public institutions, the book offers these conversations as seeds for new questions and forms of collective work.” –Alex Strada
“Embracing vulnerability, and the difficulties of relation as experienced across shifting scales of power and positionality, these conversations are nourishing and insistent reminders of the potential that emanates from commitments to social practice. I am moved by their willingness to sit with complex questions and allow them to remain open with the desire to unearth the political strategies that emerge through art making alongside organizing.” –Gervais Marsh
“Practicing in Public is a guide to socially engaged art, a way to find ourselves within a living tradition. Practice is what we have, doing it consciously is what we can offer as artists, engaging with intentionality is how we take part as citizens. This is the guide we’ve been looking for to get back on the road with new companions.” –Tania Bruguera
“Socially engaged art is a field that is continuously reinvented through the encounters, collaborations, and disagreements of those who practice it. Practicing in Public beautifully captures this process of collective inquiry. Rather than attempting to define social practice, this book brings together a remarkable range of voices to explore how art intersects with pedagogy, activism, institutional life, and the everyday work of building communities. What emerges is not simply a collection of conversations, but a compelling demonstration of conversation itself as a creative and transformative act. This is an important and generous contribution to the field, reminding us that the most meaningful artistic practices do not merely represent alternative worlds, but help us rehearse how to inhabit them together.” —Pablo Helguera, artist and author of Education for Socially Engaged Art
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3. Pat Oleszko, FF Alumn, new publication, and European tour
Pat Oleszko: Fool Disclosure
SculptureCenter
Pat Oleszko: Fool Disclosure, 2026, publication cover
Pat Oleszko: Fool Disclosure
SculptureCenter, 2026
248 pages, $66 (Pre-order now for $50!)
Join us Dec 10, 2026, 6:30–8pm for the launch of Pat Oleszko: Fool Disclosure, released on the occasion of the artist’s survey exhibition at SculptureCenter last winter. Oleszko will be on site, leading a conversation and signing copies.
RSVP https://docs.google.com/forms/d/e/1FAIpQLSf28-UrYkjraKTbHLBEN7b61k4iy4lAYguwtw2VuM_uI9h1CA/viewform
Pat Oleszko: Fool Disclosure includes a biographical “Time Lion” by the artist in her own idiosyncratic language and is illustrated with materials from Oleszko’s personal archive. Also included are newly commissioned essays by Columbia University professor and art historian Julia Bryan-Wilson; New York-based cultural worker, writer, and researcher Marie Catalano; Budapest-based curator, writer, and artist Gyula Muskovics; and American chef, food writer, and close friend of Oleszko, Ruth Reichl, along with a text matching her pun-filled style by Oleszko’s friend, the late artist Jim Pomeroy. The publication is designed by Tiffany Malakooti.
The book will be available at the launch, or it can be pre-ordered at a discounted rate for a limited time.
European Tour
Pat Oleszko: Fool Disclosure is going on a European tour! The exhibition will travel to Museum Cobra and Centro per l’arte contemporanea Luigi Pecci.
Pat Oleszko: Fool Disclosure
Museum Cobra, Amstelveen, Netherlands
Nov 21, 2026–Apr 4, 2027
Pat Oleszko: Fool Disclosure
Centro per l’arte contemporanea Luigi Pecci, Prato, Italy
May 1–Aug 22, 2027
For those in Amstelveen, the publication will be available for early purchase at the Museum Cobra opening, Nov 21, 2026.
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4. Dynasty Handbag, FF Alumn, Autumn events
Nov 1 – Weirdo Night RETURNS!
Wet Weird American Endless bummer Of Summer lineup::::::
with
Dylan McKeever
Clowns of Color
Nate Denver
..and Taylor the Sax Bottum
7PM DOORS / 7:30 SHOW
TICKETS – always $20 tix at door
Nov 7 – Fear Is The Little Death Workshop
Working With Creative Fears
Tuesdays in Nov 7 – Dec 1
LEARN MORE filling up fast
Dec 6 – Save the date – Weirdo Night, Los Angeles
Dec 10 – Weirdo Night on The Bowery at The New Museum
tickets are already going fast
with
Sophie Becker
Carmelita Tropicana
RJ The Magician
+ more
Jan 29 2027 – JUST ANNOUNCED!
Hell In A Handbag coming to Austin!
Presale Tickets – use this link
password DYNASTY
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5. Gary Corbin, FF Alumn, now online at https://www.buzzsprout.com/2625147
Please visit this link:
https://www.buzzsprout.com/2625147
Thank you.
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6. Alvin Eng, FF Alumn, at NYPL Hudson Park, Manhattan, Nov. 19
Our Village, Our Town:
A MEMOIR IN PROSE AND A MEMOIR IN VERSE
with Alvin Eng and R. Diskin Black
Hudson Park Library, NYPL, 66 Leroy St, NY. NY 10014
Thursday, NOV. 19, from 6 – 7:30pm
Alvin Eng and R. Diskin Black met twenty-five years ago in a playwriting workshop led by Eng in the West Village on the eve of 9/11. Activism reunited them sixteen years later when their paths crossed again at a Rise and Resist meeting in the Church of the Village, located at 13th Street and 7th Avenue. Now they’ve both published memoirs, Eng’s in prose, Black’s in verse — dueling memoirs, one might say, which together tell a compelling story of life in mid-20th to 21st-century America, grounded firmly in New York City.
Theirs is a friendship of literature and activism born in a West Village writing workshop, rekindled and forged at protests and marches and community meetings during a tense and difficult time of national upheaval. Come join them in the West Village for a joint reading and discussion of their memoirs, their writing processes, and their lives.
Alvin will read from his prose memoir, “Our Laundry, Our Town
My Chinese American Life from Flushing to the Downtown Stage and Beyond.”
R. DISKIN BLACK will read from his memoir poetry collection, “The Night of Swaying Grass.”
Event is free. RSVP encouraged.
Alvin Eng
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7. Todd Ayoung, Olivia Beens, Yoshiko Chuma, Sol LeWitt, Kazuko Miyamoto, Vernita Nemec, FF lumens, at Gallery 128, Manhattan, opening Nov. 7
Welcome to the Neighborhood: 40 Years of Gallery 128
opening Nov. 7, 5-8 pm, and continuing thru Nov. 22
128 RIvington St. NYC 10002
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8. Nile Harris, FF Alumn, at Roulette, Brooklyn, Nov. 13
Friday, November 13
8 p.m.
Ralph Lemon, Sol Cabrini, Taja Cheek, Jonathan González, Nile Harris, yuniya edi kwon & T. Lax
Roulette
509 Atlantic Ave, Brooklyn, NY 11217
“Live performance art is some kind of canary in the coal mine,” wrote Pope.L, lamenting the institutionalization of “a form that lives and dies on liveness.” This trajectory—and the tension between performance and property, objects and bodies—is central to On Value (2015), a book edited by Triple Canopy and Ralph Lemon. In anticipation of its expanded edition (forthcoming 2027), we invited artists, writers, and performers to channel the book’s themes into performances and readings.
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9. Chloë Bass, FF Alumn, at Public Records, Brooklyn, Nov. 9
Monday, November 9
7 p.m.
Chloë Bass, Hal Foster & Jeremy Toussaint-Baptiste
Public Records
233 Butler St, Brooklyn, NY 11217
Chloë Bass and Jeremy Toussaint-Baptiste are artists who often work in public: She has collaborated with civic agencies and he has performed in parks and plazas. Recently, both have seen their work intentionally damaged by the public. After presenting accounts of these episodes, Bass and Toussaint-Baptiste will be joined by art historian and critic Hal Foster for a conversation about how artists understand (or misunderstand) the public, moderated by Alexander Provan, Triple Canopy’s editor.
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10. Dan Kwong, FF Alumn, now online at Guardian.com
Please visit this link:
Thank you.
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11. Katie Cercone, Jennifer Miller, Pamela Sneed, FF Alumns, at Parkside Lounge, Manhattan, Nov. 2
Kay Turn Her and the Pages
present
Hex and Bless
Monday Nov. 2, 7:30 pm
Parkside Lounge
317 E. Houston St.
Manhattan
with Jennifer Miller’s Xylocarp
Hex by Pamela Sneed
Blessing by Katie Cercone
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12. zavé martohardjono, FF Alumn, at BAX, Brooklyn, Nov. 14
zavé martohardjono
Workshop: ReMAp
November 14
1:00 – 2:15 PM
BAX
80 Hanson Place, Ground Floor, Brooklyn
for reservations please visit https://www.bax.org/workshop-weekend/
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13. Cheri Gaulke, FF Alumn, at Doc NYC, Manhattan, Nov. 18-19
Cheri Gaulke, is pleased to announce the screening of her feature documentary, ACTING LIKE WOMEN, at DOC NYC Nov 18 and 19. ACTING LIKE WOMEN is one of 10 nominated films in DOC NYC’s inaugural Archival Storytelling Competition. Two screenings: 11/18, 6:45 pm at Village East by Angelika, and 11/19, 2:20 pm at IFC Center. Both screenings will be followed by a Q&A with writer/director/producer Cheri Gaulke, writer/producer Anne Gauldin, and cinematographer Kristy Tully. Ticket link: https://www.docnyc.net/film/acting-like-women/
About the film: In 1970s Los Angeles, feminist artists excluded from galleries and museums created their own spaces, culminating in the groundbreaking Woman’s Building. With rare archival footage and the voices of Judy Chicago, Senga Nengudi, Suzanne Lacy, and Lily Tomlin, the film revisits a movement that transformed performance into a tool for consciousness-raising, catharsis, and political action. An exhilarating history of feminist artistic resistance, Acting Like Women celebrates the power of collective creation to challenge institutions and imagine new possibilities. – Ruth Somalo, DOC NYC programmer
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14. Barbara Rosenthal, FF Alumn, at White Box Portable, Manhattan, Nov. 3
Barbara Rosenthal, FF Alum, at WhiteBox Portable
“Tightrope: The Midterm Itch”
exhibition through Nov. 3
Election Night Gathering Nov. 3, 6-10pm
Rosenthal’s framed piece is an 11 x 14 archival pigment print of an enlargement of one of the 22 Provocation Cards that she gives out in her Interactions.
“The present is a
time of intense anxiety
in which we suffer to
interpret the past
in order to
create the future.
(This is as true for an hour
as it is for an eon.)
Curators Yohanna Roa and Juan Puntes describe the show: “Art, Satire & the Democratic Imagination: Artworks that use humor, satire, and imagination to encourage civic reflection and illuminate what ideology often obscures.”
Presented at WhiteBox Portable @ MTA, one of New York City’s busiest public art venues, the exhibition transforms the daily commute into an unexpected encounter with contemporary art, where hundreds of thousands of passersby become part of the conversation.
MTA 42nd St 8th Ave Subway Walkway Transverse above the A/E/C Uptown platform
Join us to share our anxiety at the Election Night Gathering Nov. 3, 6-10pm
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15. Bill Gordh, FF Alumn, at Ordway Concert Hall, St. Paul, MN, Nov. 13-14
Bill Gordh collaborated on the script and will narrate Composer Jon Deak’s new Bass Concerto “Under a Spell” with the St Paul Chamber Orchestra in St Paul, MN on Nov 13 and 14 at the Ordway Concert Hall.
Zachary Cohen Premieres Deak’s Bass Concerto: Concert November 13-14, 2026 | The Saint Paul Chamber Orchestra https://content.thespco.org/events/zachary-cohen-premieres-deaks-bass-concerto/
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16. Greg Sholette, FF Alumn, at Printed Matter, Manhattan, Nov. 5, and more
My book launch (first in nyc) is Nov 5 at Printed Matter – followed by another event at Woodbine with Marco Baravalle on Nov 15
https://www.printedmatter.org/programs/events/2291
Just fyi
greg sholette
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17. Isabella Bannerman, FF Alumn, at James Harmon Community Center, Hastings On Hudson, NY, Nov. 7
Isabella Bannerman will be part of a group show at the James Harmon Community Center at 44 Main St. Hastings on Hudson, NY 10706
on Saturday November 7th from 11 – 5, as part of the RiverArts Studio Tour, featuring over 50 artists in the Rivertowns
opening their studios to the public.
Isabella Bannerman’s exhibit (Saturday only) will include children’s art activities.
The tour itself runs Saturday and Sunday.
Artists – 2026 RiverArts Studio Tour
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18. Judith Bernstein, FF Alumn, at Kunsthaus Zurich, Switzerland, opening Feb. 12, 2027
Mines Bigger than Yours
JUDITH BERNSTEIN
MAJOR SOLO RETROSPECTIVE AT THE KUNSTHAUS ZURICH MUSEUM
Feb 12 –Jun 20, 2027
The largest museum retrospective to date of pioneering feminist artist Judith Bernstein (1942) will open February 12, 2027 at the Kunsthaus Zurich. Encompassing over 100 works that span the artist’s remarkable 60 year career, this major monographic exhibition reveals Bernstein’s uncompromising verve toward radical expression, humor, and political wit. Since first coming to public attention with her monumental charcoal phallus drawings – a form of protest against sexism and testosterone-driven militarism – she has been investigating patriarchal oppression and power for six decades. The exhibition brings together works from the beginning of her artistic career to the present day, from early pieces created in response to the Vietnam War, through the iconic, large-format ‘Screws’ drawings of the 1970s, to the ‘Birth of the Universe’ series created just a few years ago.
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19. Ojan Assadollahi, FF Member, at Teatro LATEA, Manhattan, Nov. 17,18, 21
DEAD SIS – a play
“Grief is a bitch. Companionship is a good thing. Laughter is carbonated holiness. Does power look like something or does it feel like something?”
November 17 @ 9pm – November 18 @ 630pm – November 21 @ 430pm.
Teatro LATEA (107 Suffolk st, New York, NY 1002)
https://newyorktheaterfestival.com/dead-sis/
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20. Tod Lippy, FF Alumn, at O+, Kingston, NY, thru Nov. 7
Please visit this link:
https://opositivefestival.org/50456/my-fellow-americans
Thank you.
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21. Dara Birnbaum, FF Alumn, new Foundation website and newsletter
Dara Birnbaum, FF Alumn, New Foundation website here:
https://www.darabirnbaumfoundation.org
and newsletter here:
https://www.darabirnbaumfoundation.org/newsletter-
Thank you.
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22. Victoria Keddie, FF Alumn, at University Gallery of the Angewandte, Vienna, Austria, thru Jan. 5, 2027, and more
Hello to everyone,
I haven’t sent an email out in a while, and it’s been a busy fall. Here’s what’s coming up, what’s on view, and what just happened a short while ago…
UPCOMING
Inter Acting Buggy Worlds
4 November 2026 – 5 January 2027
University Gallery of the Angewandte, Vienna
https://universitaetsgalerie.dieangewandte.at/en/events/inter-acting-buggy-worlds/#
Group exhibition by Mel Logan
With: Jana Saleh, Sonja Bäumel, Julie Jebeile, Lisa Walker, Charlotte Jarvis, Monica C. LoCascio, Barbis Ruder, Bela Borsodi, Tracy Thompson, Sei Jeung, Martina R. Fröschl, Victoria Keddie, Sofia Gutierrez Escobar, Flynn by Malpractice (Chiara Kristler & Marcin Ratajcyk), Aeon Gawa (Hartwin Haselbauer) with Otto Rotermundt, MAX HYPER, Margherita Pruneti, Brii Power and tin.hoc, Noor Stenfert Kroese and Amir Bastan, Tracey Emin
The landscapes and smoky worlds of the exhibition have emerged from a very intensive exploration of bodily fluids and acoustic activation—phenomena that remain hidden from view in our everyday lives. While intestinal bacteria become fantastical birds, Demodex, the microscopic parasites, take on a human-like form and wear jewelry. Why not? After all, it is common knowledge that bacteria are polite and social beings.
As part of this exhibit:
The Microbial Phonology of TE
A four-channel sound arrangement
Four channels of sinusoidal waves, microscopically dissected with the vocal analysis software SPEAR. The focus is the sounding of a word from the T to the E only. Not a complete word, but a partnership of characters in an articulation sequence.
TE is also a transposable element: a DNA sequence that jumps. It cuts or copies itself out of one place in a genome and inserts itself into another. In microbes, these jumps drive mutation and spread traits like antibiotic resistance from one organism to the next. Nearly half of the human genome is made of them. A partnership of characters, shared across bodies.
Archive Fever & AI
7 November 2026
Parkway Theatre, Baltimore
I’ll join seven researchers and artists to discuss what generative AI means for archives, and for knowledge, facts, and human choices. Organized by Liz Flyntz and Kyle Stine, Film and Media Studies, Johns Hopkins University.
Session 2: Found Text as Method treats AI output as material to curate, perform or question, not as a voice to trust. Its projects include a Baltimore almanac built from trail-camera images and neighborhood posts, neural instruments that keep the hesitations speech systems filter out, a reading of language models through the words they don’t choose, and a hedgerow that talks back. The panelists ask whether AI can bring archival and found voices to the surface instead of replacing them, and who speaks when an archive does.
Lillian-Yvonne Bertram, University of Maryland. Two Feeds: A Baltimore City Almanac
Victoria Keddie, University of Pennsylvania / Spatial Sound Union. Around the Word: Gestural Space and the Machines That Carry It
Eryk Salvaggio, University of Cambridge. Tracing the Edge of Language
Mark Shepard, Director, Center for Architecture and Situated Technologies (CAST), University at Buffalo, SUNY. Who Speaks When the Archive Speaks
I3DA 2026: International Conference on Immersive and 3D Audio
19-22 November 2026
Palazzo Giustinian Lolin, Venice
Friday, November 20
Creative Practice & Immersive Media session
Chair: Jonathan Berger.
I’ll be presenting two papers, each co-authored with colleagues from the Spatial Sound Union:
Performing Space: Distributed Live Practice and Micro-Residency Exchange across the Spatial Sound Consortium
With Dr. Zeynep Bulut (SARC, Queen’s University Belfast) and Annie Mahtani (BEAST, University of Birmingham).
What might be the possibilities, challenges, and implications of working across different technical and creative affordances of multiple studios? How might this practice inform and expand on the fields of spatial sound, architectural acoustics, and immersive media?
A Web-Based Framework for Virtual Acoustic Space Rendering and Collaborative Studio Evaluation
With Gerriet Sharma (spæs, Berlin), Fränk Zimmer (Sounding Future, Graz), and Cobi van Tonder (Sorbonne, Paris).
How can artists, researchers, and technicians develop a meaningful sense of a remote space’s acoustic character and spatial logic before physically visiting it?
ON VIEW
Universal Language: Concrete Composure
25 September 2026 – 3 January 2027
Stroom Den Haag, The Hague
A group exhibition curated by Rachael Rakes, with Oladélé Ajiboyé Bamgboyé, Aslı Nur Mahmutoğlu, and Rodrigo Ochigame. The show explores how language is made, learned, and transformed as humans and machines learn from each other. My work traces how voices subtly influence and adapt to one another.
ti:m works within the structure of phonetic sounding and the material structure of frequency vibration and amplification. The voices come from about 20 friends, each of whom recorded the word “team ( /tiːm/)” twice: once at a natural pace and once slowly. I analyzed each recording in SPEAR, software that dissects the sinusoidal waves in speech, and arranged a composition around the diphthong, /tiːm/, focusing on the movement of the vowel through the mouth and throat.
The sculpture’s machine body takes form from the diagrammatic data of that diphthong. Its seemingly utilitarian materials, a rubber belt and steel rollers, come directly from the conveyor belt, with the assembly line as metaphor. Motors, transducers, or both activate each form. The motors run in an automated arrangement focused on frequency, material response, and room tone. The transducers sound the sinusoidal vocals through the steel roller cavities, which act as resonating pipes, within the controlled dampening of the rubber surround. Their sound shifts with the material and with the motors moving in the resonant room.
The room’s ceiling, walls, and windows shape voice and material vibration. Every variable is in conversation with the others, parts of a whole realized only within this particular architecture. The installation is also a space for performance and conversation, where sound, bodies, and machine meet. In performance, I work with the material elements to shape waveforms in and around the sculpture, while the voice guides electronic signals through a synthesizer, creating a feedback loop within the space.
Electronics and software produced with the ever-amazing David Wimmer (3D Solutions), with support from Michael Akstaller (so many thank yous).
A recording will become available….
https://www.victoriakeddie.com/tim
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23. Barbara Ess, Louise Lawler, Sherrie Levine, Robert Longo, Joseph Nechvatal, at Howl Arts, Manhattan, opening Nov. 5
High on Media
Fair Warnings from the 80s E.V. Neo-Conceptualists
Nov. 5-
Howl Arts
opening Nov. 5-Dec. 20
250 Bowery
opening Nov. 5 6-9
ARTISTS
Alice Albert . Jane Bauman
Lisa Beck . Alan Belcher
Ashley Bickerton . Mike Bidlo
Jennifer Bolande . Barry Bridgwood
David Diao . Anne Doran
Carroll Dunham . Barbara Ess
Amelia Faulkner . Clegg & Guttmann
Howard Halle . Jeff Koons
Kevin Larmon . Louise Lawler
Sherrie Levine . Robert Longo
Allan McCollum . McDermott & McGough
Richard Milani . Peter Nagy
Joseph Nechvatal . Joel Otterson
Steven Parrino . David Robbins
Laurie Simmons & Allan McCollum
Keith Sonnier . Meyer Vaisman
Julia Wachtel . Joan Wallace
Oliver Wasow . Robin Weglinski
We’d like to thank all the people who’ve advised, and loaned works for a community-sourced exhibition. Small pieces are often exchanged amongst friends, and this show includes cherished works from people’s homes.
The title of the show comes from a song by Sandra Seymour, Same Way, from the 80s all-girl band Bite Like A Kitty. Like the works of these artists, it modeled the scenarios of our current media engulfment.
“…long on pain, short on ego, high on media
ill-prepared for the ways of the world
I’m the same way you are…”
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24. Susan Bee, Heide Hatry, Kumi Korf, Marianne R. Petit, Maddy Rosenberg, Marilyn R. Rosenberg, Miriam Schaer, FF Alumns, at Kentler International Drawing Space, Brooklyn, opening Nov. 7
THE NATURE OF BUILDING: Artists’ Books
Curated by Maddy Rosenberg
November 7 – December 13, 2026
Opening Reception: Saturday, November 7, 4 – 6pm
Curator’s Talk: Saturday, November 21, 4 pm
ARTISTS: Monique Allain/MALA, Desiree Alvarez, Islam Aly, Rosaire Appel, Cynthia Back, C Bangs, Susan Bee, Sabra Booth, Brandstifter, Hugh Bryden, Don Burmeister, Margaret Craig, Donna Maria de Creeft, Gerhild Ebel, Anne Gilman, Susan Happersett, Heide Hatry, Art Hazelwood, Eunkang Koh, Kumi Korf, Max Marek, Despo Magoni, Agnes Murray, Florence Neal, Sumi Perera, Marianne R. Petit, Maddy Rosenberg, Marilyn R. Rosenberg, Alan Rosner, Miriam Schaer, Ilse Schreiber-Noll, Sarah Stengle, Lynn Sures, Mary Ting, April Vollmer, Ellen Wiener
Selections from the Kentler Flatfiles by David Ambrose, Jessie Nebraska Gifford, Shoichi Ido & Robert Kushner, Kostas Kiritsis, Meridith McNeal, Viviane Rombaldi Seppey, Donna Ruff, Emna Zghal
The Nature of Building: An artist’s book exhibition built around the Sandstone Steps
The Sandstone Steps project was conceived as a transatlantic collaboration between Maddy Rosenberg (CENTRAL BOOKING) and Hugh Bryden (Roncadora Press), inspired by the Corsehill sandstone from Annan, Scotland, and its journey to New York. It is a tale of commerce, migration, but most of all art and the sometimes grandiose visions behind the making.
Though local Scottish folklore tells a story of the sandstone traveling as ballast from the port of Annan to form the base of the Statue of Liberty, the reality is much more complex and interesting. Due to its particular qualities of hardening slowly when exposed to air, while maintaining a feel of polished wood once hardened, the Corsehill sandstone was used for fine details in the brownstones in New York City. This led to the choice of using it extensively in the construction of the Great Western Staircase (also known as the Million Dollar Staircase, referring to its eventual cost) in the New York State Capitol building in Albany.
The sandstone may have traveled from the other side of the Atlantic and up the Hudson, but New York Harbor was an important stop along the way. It was a literal building block in the balance of the integration and coexistence of the human made with natural environments. Kentler International Drawing Space, based in Red Hook, the heart of maritime Brooklyn, is an ideal venue for artists who explore the natural harbor life with the dynamics that build and alter communities.
The Sandstone Steps is a limited edition artist’s book in a staircase wooden box, consisting of three “steps,” with each drawer individually housing its own complete art event of literary, musical, and visual elements, also working in unison to become a full spectrum experience. There are numerous themes touched on by the Sandstone Steps, explored by the more than forty artists in the Nature of Building exhibition. Architecture and design are what we see, but industry, geography, and relocation worked hand in hand over the years of construction of our thriving port city and the state capitol.
Unfortunately, the records burned in the library fire of the Capitol soon after the staircase was built, leaving the identity of only one Scottish carver known for certain, as he fell while working, unprotected by scaffolding, and is buried nearby. Back home in Dumfries and Galloway is the burial ground of lives known and celebrated, interpreted by Hugh Bryden into a sculptural artist’s book that combines modern verses with simulations of headstones. Agnes Murray mines the local quarries of New York with Widow Jane Mine, in atmospheric watercolors depicting the remains of what once contributed to building the iconic infrastructure of the state, including the actual foundation for the Statue of Liberty. Anne Gilman’s un-earthing, a scroll that stretches to the ceiling, with a drawn nickel mine at its center, settles on the ground as a home for the sculptures molded from the sand beneath.
In A Capacity to Listen: Notes from Our Collective, Lynn Sures traces an archeological path of the earliest immigrants by combining a possible text with linocut images, to relate an ancient story of beginnings. Letters to the Past is a testament to Ilse Schreiber-Noll’s memory of the country and countryside she left behind in Germany and observances of her adopted land, through layered images and text obscured by sand, which becomes a metaphor in itself. Heide Hatry, also transplanted from her native Germany, in Sediments of Memory begins with what once was there and alters it as a metaphor for the journey and remembrances, as the changes of a new life take hold. For Monique Allain, Stones 1 becomes the collection of the natural objects of building and the water that brought her, symbolizing her own path along countries as she attempts to find a place in the diaspora, building an identity as an amalgam of them all. Miriam Schaer’s Miniature Monuments to Everyday Traumas is a series of assemblages echoing the consistent gray tonality of a Louise Nevelson, becoming a sequence draped in the melancholia of a past and present, but with the hope of building a better place to be. With Go in there and give them your business card, Marianne R. Petit examines the pain of prejudice endured in a new environment, through the seemingly playful banality of a pop-up artist’s book of an American middle-class house, as her family still found a way to transform it into a home of their own.
The Vowel Trowel for Ellen Wiener is not only a physical tool for building but is transformed into an instrument for text and visual language in the need to communicate, even when a stranger in a strange land. Marilyn R. Rosenberg finds her own way through her senses with On the River Road, built up through layers of collage, gouache, ink, folds and its own asemic poetry. Despo Magoni responds to Jack Kerouac with a visualization of On the Road from her gestural linear perspective, as we follow along the unraveling drawings of her own journey. With Poem on Fire, Desiree Alvarez welcomes immigrants through the unusual format of a graphic novel on a fabric scroll, poetically updating the message of the Statue of Liberty with one more in keeping with the times. Nearby, Maddy Rosenberg, gathering existing architectural structures and details to construct three-dimensional reconfigured spaces, The Screening Room, from the shadows of neighboring Governors Island, is where she draws her ideal place to sit and watch.
With QUOD EST FUTURUM… [That Which Is To Come…] Sumi Perera quotes from John Bunyan on future uncertainty, as maps form the core of an accordion fold, fanning out to trace an uneasy personal journey from Sri Lanka to the shores of Britain. Cynthia Back, a former resident of the Brooklyn waterfront, has used her experience in her adopted country of Portugal to examine habitation, cohabitation, and abandonment in the hand printed and collaged Quem? Quando? Porquê? Onde? The streets of a left home reverberates from the Capitol to another capital city, in Don Burmeister’s Bacongo Tî Kaku Baporte Bilongi, taking us on a walk through Brazzaville, Republic of Congo, where each house front reflects the distinctiveness of the inhabitants. Brandstifter modifies a simple tourist postcard brochure, turning it into a giant identity-greetings from Lake Titi, an accordion-fold artist’s book with snippets of text collaged within the ordinary vacation scenes.
Islam Aly challenges us in Mare Nostrum, Al Motawaset to sail the route of immigrant travelers across the sea, as his many layered interactive artist’s book guides us along the treacherous routes to a new land. While the voyage across the sea in Susan Bee’s Sail Away winds through fantastical creatures in full drawn/painted/collaged color, portrayed as one of magical discovery, leads us into the port of New York. Sabra Booth’s graphic woodcut technique finds a perfect collaboration in the gentle tonality of Sophie Sanders’ cyanotypes, as they sink into the sea of fabric in Blue: Water as Metaphor. In transatlantic conversation, Gerhild Ebel uses a blade to eliminate pieces of line and image in a dialogue that travels and translates across continents. MALA makes no bones about it and fills a suitcase of artist’s books from Brazil, compiled to travel internationally in the stead of their makers, as the individual artists deal and reflect on lives of displacement, memory, and transformation through migration. Rosaire Appel’s Disturbance tackles the loss of equilibrium in even charted courses, as the disruption of text and image conceptualizes the emotional upheaval of the immigrant. Margaret Craig, with Migrants of All Species, examines the idea of the invasive ones, value judgments, and the ultimate effect on the ecosystems, in a visual splendor of hand-colored etchings, bound by ceramics, paper, and cast in acrylic.
Animal Helpers of the Southwest: A Guide for Young Travelers is Art Hazelwood’s bilingual journey in woodcut and screenprint of imagined animal spirits, through both dangerous crossings and a celebration of indigenous cultures. In ADCSs, the creatures of C Bangs inhabit a different kind of space, one where they are strung together and hang in sequence in an attempt to defy gravity. Eunkang Koh’s Monument to Migration soars past the structure of the artist’s book, as her hybrid Canadian goose/human creatures blaze their own trail, adjusting yet transforming in their new environments. Listen to the Beavers! may be a charming puppet installation once touring 14th Street past, but through it Mary Ting approaches the very serious subject of the climate crisis and the lessons these creatures can teach us. Donna Maria de Creeft’s Flow is the latest in her series inspired by the Buddhist Prayer Flags, whichseeks to build consensus to solve the environmental dangers in its own way. April Vollmer takes the traditional woodcut printing form of Mokuhanga to a new level with Angry Egrets Book, as the snowy egret is captured fighting over sand crabs, while the true threats lurk more in loss of their habitat from opportunistic predators, pollution, and climate change. Florence Neal’s homage, A Building / A Life, rebuilds through Mokuhanga her architect father’s structure, destined for imminent destruction, re-envisioning the simplicity of the forms as a way of continuing her father’s legacy. Susan Happersett finds the mathematics behind it all, as in Spiral Mountain Lace, mapping the connections of the geography of nature’s planning to the human neural networks.
Honoring the fieldwork of mycologists, Kumi Korf sets out in Big Science to emulate the process of building through collecting and storing, a very different approach to constructing than that of the architect in her. Alan Rosner builds forms through language: The Evening Clears is a horizontal landscape turned vertical as it skirts two worlds. Upright stands tall, as Sarah Stengle combines the rigidity of engraved historical architectural elements with a dance of hand-marbling across their surfaces. Max Marek focuses in on the detail of Into the Void, as the hand moving from page to page reveals the layering of the ornamental.
The work of these CENTRAL BOOKING artists speaks in many voices, not as a cacophony but in true conversation. Joining them, to widen the discourse and in the collaborative spirit, is the selected book art–related work from the Kentler Flatfiles of David Ambrose, Jessie Nebraska Gifford, Shoichi Ido & Robert Kushner, Kostas Kiritsis, Meridith McNeal, Donna Ruff, Viviane Rombaldi Seppey, and Emna Zghal. From many vantage points, these artists piece together fragments of the complicated story of building a future from a past.
—Maddy Rosenberg is a Brooklyn-based artist and curator. In 2009, she founded CENTRAL BOOKING, an interdisciplinary curatorial project that promotes artist’s books, art and science. Rosenberg’s practice includes book art, oil painting, printmaking, drawing, animation, toy theater and installation. She holds a BFA from Cornell University and MFA from Bard College.
KENTLER INTERNATIONAL DRAWING SPACE 353 Van Brunt Street, Brooklyn
https://centralbookingnyc.com/exhibition/central-nature-building
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25. Adrianne Wortzel, Maya Ciarrocchi, FF Alumns, at SVA, Manhattan, opening Nov. 5
Dear Friends,
I am very pleased to share my artworks ELMO ROCCO, Polymath (2025), Battle of the Pyramids (2009), Tender Portraits: ELMO ROCCO Bronze Warrior (2025) and ELMO ROCCO Bronze Warrior (2012) will be included in Cybernetic Gems, a group exhibition by The School of Visual Arts (SVA) MFA Computer Arts alumni and faculty.
Having earned my MFA in Computer Arts from SVA in 1995, it’s an honor to return for this exhibition and celebrate the program’s 40-year legacy.
I would be delighted if you could join us for the reception on Thursday, November 5, from 6–8 PM. If you’re unable to attend, I hope you’ll have a chance to visit the exhibition at SVA Flatiron Gallery, on view October 31–November 23, 2026.
Cybernetic Gems
SVA Flatiron Gallery
133 West 21st Street
New York, NY 10010
Opening reception: Thursday, November 5th, 6–8 PM
On view: October 31 – November 23, Monday–Saturday, 10–6 PM
Hope to see you there!
Best,
Adrianne Wortzel
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Goings On is compiled weekly by Rohan Subramaniam, Archivist
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