Franklin Furnace’s Goings On
May 2, 2006
CONTENTS:
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1. Doug Beube, FF Alumn, in the Sunday New York Times, April 23
2. Tobaron Waxman, FF Alumn, in “Carte Blanche,” and more
3. Deborah Garwood, FF Alumn, at Kentler Int’l Drawing Space, Brooklyn, thru May 18
4. Deb Margolin, FF Alumn, at Univ. of Tel Aviv, Israel, May 27-31
5. TWINART, FF Alumns, win 2006 Creative Arts EMMY!
6. Adrianne Wortzel, FF Alumn, in ASPECT DVD magazine
7. Matthew Geller, FF Alumn, at Evergreen House, Baltimore, May 7-September 24
8. Stephanie Trojan, FF Alumn, in performance art event, Kassel, Germany, May 6
9. Steed Taylor, FF Alumn, in Riverside Park, NY, dedication, May 4, 1 pm
10. Marcus Young, FF Alumn, named Artist in Residence for Saint Paul, MN, and more.
11. Maja Petric, FF Alumn, at NYU, May 2-5 & 9-10, and online.
12. Cary Peppermint, FF Alumn, announces new DV blog, http://dvblog.org/
13. Norene Leddy, FF Member, at Eyebeam, now thru May 13 closing reception.
14. Nao Bustamante, FF Alumn, at NYU, May 4, 5-7 pm
15. Ken Aptekar, FF Alumn, at JG Contemporary, NY, opening May 4, 6-8 pm
16. Frank Moore, FF Alumn, at Burnt Ramen, Richmond, CA, May 5, 7:30 til midnight
17. George Sanchez-Calderon, FF Alumni, in Miami, FL, opening May 4, 7:30-9 pm
18. Peter Grzybowski, FF Alumn, in Poland, May 9, 6 pm
19. Donna Henes, FF Alumn, in Park Slope, Brooklyn, May 20, 1-4 pm
20. DJ Spooky, FF Visionary, at Rubin Museum, NY, May 5
21. Jane Dickson, April Gornik, Guerilla Girls, Michele Handelman, Barry Holden, Jerry Kearns, Joyce Kozloff, Bibi Lencek, Bonnie Lucas, Kenneth Polinskie, Barbara Quinn, Robert Rauschenberg, Mira Schor, Richard Serra, Michelle Stuart, Robin Tewes, Martha Wilson, Nina Yankowitz, Brahna Yassky, FF Alumns, at Heidi Cho Gallery benefit for Parnassus Poetry in Review, May 30, 6-9 pm.
22. Penny Arcade, FF Alumn, at FusionArts Museum, thru May 31
23. Andy Warhol Foundation for the Visual Arts announces Major New Arts Writing Initiative ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
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1. Doug Beube, FF Alumn, in the Sunday New York Times, April 23
New York Times, April 23, 2006, Art
Wear This Book (but Bring It Back Friday) by Amy Sutherland
To make room for shiny new books, librarians cull the texts that have been loved literally to pieces, as well as volumes that haven’t been stamped with a due date in years. The rejected books are given away, tossed in Dumpsters, melted in acid, even burned — visions that could stop any author’s pen in midsentence. It is, as the librarian Michael Whittaker puts it, the book-lending world’s dirty little secret.
Mr. Whittaker works for the Portland Public Library in Maine, where a small portion of such ill-fated books are given a new life as art. And this art can now be checked out at public libraries across the country.
Last year, the Portland library joined forces with the Maine College of Art in Portland for a first-of-its-kind project: “Long Overdue: Book Renewal.” To inaugurate it, the library invited a Brooklyn-based book artist, Doug Beube, to lecture about his work. That was followed by a “book grab,” during which artists were invited to take any of the library’s discarded volumes and do with them as they pleased.
Nearly 200 artists, mostly from Maine but also from Boston, California and Wisconsin, participated. Megan Dunn transformed text into a spiny bracelet by cutting pages into long, skinny strips and attaching them to an elastic band. Susan Winn gutted a copy of Walt Whitman’s “Leaves of Grass” and remade it into “Field of Greens,” a potted patch of turf in which the waving blades of grass are lines sliced from the book.
“It’s like a magical recycling program,” Mr. Whittaker said. “They turned trash into art.”
The artists had about 90 days to work before their books were due back at the library. In February, the collection of 186 altered books were put into circulation, and within two weeks about 100 had been checked out. Some library patrons used them as centerpieces at dinner parties, others held mini-exhibitions in their homes.
The Dallas Public Library has inquired about borrowing some of the collection for an exhibition. So has the University of Alaska. The Portland library has yet to receive its first official request through the interlibrary loan system but says it stands ready to ship its book art to any member library in the country.
(To borrow a work, go to the Portland library’s Web site, catalog.portland.lib.me.us/. Under the subject heading Altered Books, find the title of a work you want, its artist and call number. Take that information to the reference desk at your local public library and request an interlibrary loan.)
Mr. Whittaker said the idea for the project came to him after reading a biography of the British playwright Joe Orton. Orton and his boyfriend would borrow books from a London library, insert sexual innuendos and collages in the pages, and then return them to circulation. It was “an act of vandalism,” Mr. Whittaker said. “But I liked it as an act of art.”
Orton was an early, if unwitting creator of what has come to be known as the altered book, a parallel genre to artists’ books. Artists’ books are made entirely by artists. Altered books start their lives as literary endeavors before falling into the creative hands of an artist. Early examples were made by Marcel Duchamp and Joseph Cornell, but the medium took off in the 1960’s as artists tried to circumvent the museum-gallery system. In 1965, Jonathan Latham built a tower of books near the British Museum and set it afire. Today, Donald Lipsky is among the best-known artists making altered books.
When Mr. Whittaker was not aware of altered books as a genre, but thought his project would make for a natural collaboration with the Maine College of Art. He was referred to Adriane Herman, an artist on the faculty who teaches a class on alternative delivery systems for art.
“It was hard for my brain to compute — because it was the institution coming to the artist and proposing something,” she said. “It’s an idea I would have never proposed because I wouldn’t have thought the library would be receptive.” The library was so receptive that Ms. Herman and Mr. Whittaker had the project organized in a matter of weeks.
As Mr. Whittaker expected, many artists reworked the books the way Orton had, with subtle, insidious markings. Devon Berger neutered a copy of “Men Who Hate Women and the Women Who Love Them” by marking out all the male and female names and all the gender pronouns. Justin Richel created movable tabs on four portrait plates in “Pioneers of Evolution” — pull them and you reveal these noted scientists’ tongues. Gina Carlucci attached wheels and a leash to a manual on dog training, enabling the user to “walk” the book.
Sachiyo Yoshida created “Billy Goat the Counselor,” a play on the recycling theme in which a papier-mâché goat sits atop an open book, chewing a page. Martha Grimes’s mystery “The Five Bells and Bladebone” inspired Jen Haag to create a stained-glass window, with five brass bells, a bone and a few sections of text. “I took that stained-glass one out the first day and hung it in the window at home,” said Tom Wilsbach, the librarian who oversees the altered books collection.
The collection, not surprisingly, proved hard to catalog: the cards required longer descriptions than usual, and the artists were allowed to pick subject heading for their works. “Candy Dish,” for which Brandy Bushey carved out the middle of a book called “Feeding the Brain” and filled it with Reese’s Peanut Butter Cups, is listed under book arts and confectioners arts, for example, as well as candy.
Despite some unconventional sizes and unusual fragility, all but nine of the works can be borrowed, including one book that was remade into a hanging banner. “We’d have to call the maintenance guy to come with his ladder,” Mr. Wilsbach admitted.
The altered books that aren’t circulating are exceptionally delicate or are tricky to handle, like “Inaccessibility” by Joanna House, which is covered with dressmaker pins — with the sharp ends sticking out. “For liability reasons, we’d rather have people look at that here,” Mr. Wilsbach said.
Like any library book, these artworks, which are put in colorful, hand-made cloth bags at the checkout desk, face an uncertain fate. They may or may not be returned. It’s a new experience for many artists, accustomed to the protectiveness of the gallery and museum world.
The artists were willing to take the risk with their work because “we want to connect with people who will take it into their homes,” Ms. Herman said. “It was a guaranteed entry into a public collection.”
A few altered books are already overdue, and Mr. Beube is one of the culprits. He borrowed three works and has been debating keeping one or two and paying the standard replacement fee of $150. In the end, his conscience got the better of him. An artist had written a plea in one of the altered books begging people not to steal it. “I had to send it back,” Mr. Beube said. “I don’t want that guilt on my head.”
Mr. Beube is also the curator of Allan Chasanoff’s private collection of some 200 altered books. He said that Mr. Chasanoff, a New York City entrepreneur, is also keeping an altered book or two from the Portland library for his collection, along with the overdue notices. He will pay the replacement fee, Mr. Beube said.
A few of the altered books are already showing wear. A book that was squished into a mold with plaster is coming apart in the middle. Someone tried to open “Field of Greens.” Mr. Whittaker shrugs and carefully places the cover back in place. If all goes according to his plan, these recycled books will one day become trash again. “My goal is to have all these books wear out again,” he said, “because they have been used
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2. Tobaron Waxman, FF Alumn, in “Carte Blanche,” and more
My work “Shemoneh Esrei” from the series “Amidah” is in “Carte Blanche”.
http://www.magentafoundation.org/en/projects/carte_blanche.html
“Amidah” is a series of images from a performance for photograph, part of the project “letter from the 4th Son”, funded by the Franklin Furnace Fund for Performance Art 2003.
“Carte Blanche” is the first ever publication of its kind: a juried compendium of the best photographers in Canada.
Of an image in the “Amidah” series, Danya Ruttenberg, editor of ‘Yentl’s Revenge: The Next Wave of Jewish Feminism’ wrote : “Yes, sometimes prayer feels exactly like this.”
The Toronto launch is on April 26, 7-11pm at the Gladstone Hotel Ballroom, 1214 Queen Street West, Toronto, Canada.
Please come to this event if you can.
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3. Deborah Garwood, FF Alumn, at Kentler Int’l Drawing Space, Brooklyn, thru May 18
Greetings!
Please follow the link below to see more about this exhibition & event, including online bidding at the website.I contributed a small ink drawing. The works will be on view through May 18th, the date of the auction. Viewing Hours: Thursday, Friday, Saturday, Sunday, 12 – 5pm
Regards,
Deborah
125 Works on Paper Benefit
http://www.kentlergallery.org/pages/5_06.html
KENTLER INTERNATIONAL DRAWING SPACE
353 Van Brunt Street , Brooklyn, New York 11231
718.875.2098 info@kentlergallery.org
http://www.kentlergallery.org
Gallery Hours: Thursday – Sunday 12 – 5pm
The Kentler International Drawing Space Inc. is 501(c)(3) non-profit organization, presenting exhibitions of contemporary drawings and works on paper by local, national and international artists as part of the cultural fabric of the community. Founded in 1990, the gallery encourages artists to explore, experiment and expand the definitions of art in society.
DIRECTIONS: http://www.kentlergallery.org/pages/map.html
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4. Deb Margolin, FF Alumn, at Univ. of Tel Aviv, Israel, May 27-31
I’m going to Israel on a Fulbright Senor Specialist grant to direct my play Critical Mass at University of Tel Aviv, as part of their Beckett Centennial Conference. It’s going to be a demented, beautiful bilingual production, in which I’m going to play Narrator, and cast Israeli actors in the other roles. Since it’s a play about the impulse to criticize, much criticism of me will take place in Hebrew. It will be much fun. The conference is May 27-31, and I’ll be opening the festivities with Critical Mass. Director Merri Milwe is accompanying me and collaborating. Thank you. Deb Margolin, FF Alumn
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5. TWINART, FF Alumns, win 2006 Creative Arts EMMY!
Congratulations to TWINART, Franklin Furnace Alumns Ellen Kahn and Lynda Kahn who won a 2006 creative arts EMMY for their work on the main title design for “The Ellen DeGeneres Show” TwinArt, one of the country’s top creative design studios specializing in branding and identity of television networks and programs, has provided a new, refreshed Main Title Open and Graphics Package for “The Ellen DeGeneres Show” for Telepictures Productions.
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6. Adrianne Wortzel, FF Alumn, in ASPECT DVD magazine
Adrianne Wortzel, FF Alumn, 5-minute excerpt of “The Veils of Transference” included in the new issue of ASPECT, a DVD magazine. “The Veils of Transference” depicts a 20-minute psychoanalytic session between a human and a robot, where their roles as analyst and analysand become interchangeable.
ASPECT PPVolume 7: Personas and Personalities will be released the second week of May! Bridging reality, fantasy, insanity and duality, ASPECT
Volume 7 features 10 artists or artist groups working within the realm of identity, with commentary from established new media critics and curators. Linked by the idea of the persona the pieces examine, redefine, invent and deconstruct self, with perhaps the only constant being the challenging of accepted notions of identity. This volume of ASPECT aslo features the work of:
CARIANACARIANNE: Bequeaths, Oaths of Signature
with audio commentary by Julie Rodrigues Widholm
ANTHONY GOICOLEA: Tea Party
with audio commentary by Terri Smith
SACHIKO HAYASHI: Boop-opp-A-Doop
with audio commentary by Nicholas Economos
LYNN HERSHMAN: Becoming Roberta, DiNA
with audio commentary by Claudia Hart
CHRISTIAN JANKOWSKI: The Day We Met
with audio commentary by Bill Arning
ERIK LEVINE: More Man
with audio commentary by Elizabeth Smith
KRISTIN LUCAS: Involuntary Reception
with audio commentary by Marcia Tanner
JILL MAGID: Evidence Locker
with audio commentary by Jelle Bouwhuis
THE YES MEN: Dow
with audio commentary by Marisa Olson
http://www.aspectmag.com/issues/issue.cfm?issueID=12 to
pre-order you copy today!
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7. Matthew Geller, FF Alumn, at Evergreen House, Baltimore, May 7-September 24
Inside/Out: Sculpture at Evergreen
Sunday, May 7 through Sunday, September 24, 2006
Opening Reception: Sunday, May 7, 2 to 5 p.m.
Matthew Geller’s new outdoor sculpture, “Babble, Pummel & Pride” is included in “Inside/Out: Sculpture at Evergreen”, a biennial outdoor exhibition of 10 new outdoor sculptures that are both inspired by and created specifically for Baltimore’s historic Evergreen House—a 19th century Italianate mansion and museum owned by The Johns Hopkins University. Situated on 26 acres, Evergreen’s tranquil but urban setting allows viewers to wander the estate at their own pace to seek out the new sculptures and in doing so learn more about the estate’s landscape, architecture, history, and collections.
The 10 artists/artist groups selected for the show are the collaborative Bartow + Metzgar, formed by Paul Bartow, Harrisonburg, VA and Watkins Glen, NY, and Richard Metzgar, Owsego, NY; Suzanne Bocanegra, New York, NY; Susie Brandt, Baltimore, MD, and Kristine Woods, Brooklyn, NY; Alison Crocetta, Columbus, OH; Matthew Geller, New York, NY; Katherine Kavanaugh, Baltimore, MD; Bruno LaVerdiere, Hadley, NY; Winifred Lutz, Huntingdon Valley, PA; Michelle Rosenberg, Brooklyn, NY; and Suzy Sureck, New York, NY.
Guest curator: Julie Courtney.
A series of accompanying programs and activities will be held throughout the exhibition’s run. See website for list of events and directions. http://www.jhu.edu/~evrgreen/events.html
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8. Stephanie Trojan, FF Alumn, in performance art event, Kassel, Germany, May 6
How to perform?
Re-enactment and documentation in performance art
Symposium, May 6, 2006, Kunsthalle Fridericianum, Kassel
On the occasion of the opening of the exhibition Seven Easy Pieces by Marina Abramović in the Kunsthalle Fridercianum, a symposium on the current state of performance art and its mediation is in preparation. The symposium will relate to the exhibition, which consists of seven documentation videos of Marina Abramovićs’ re-enactments of historical performances by Bruce Nauman (Body Pressure, 1974), Vito Acconci (Seed bed, 1972), VALIE EXPORT (Action Pants: Genital Panic, 1969), Gina Pane (The Conditioning, 1973), Joseph Beuys (How to Explain Pictures to a Dead Hare, 1965) and of her own works ( Lips of Thomas, 1975 and her new piece Entering the Other Side, 2005). While the Solomon R. Guggenheim Museum hosted the Seven Easy Pieces as live performances and the Kunsthalle Fridericianum presents a mediation of these reenactments, the essence of Seven Easy Pieces remains the same; a set of remarkable performances of the1960s and 1970s are brought to life, embodied and transmitted to a contemporary audience.
This exhibition situation and proposition as regards the challenge of tracing ephemeral art works raises several highly relevant issues that the symposium will be addressing. Our prime concern is thus the re-enactment, embodiment, historicity and documentation of performances in both the present and historical contexts of performance art. Artists, art historians and art critics will be invited for the discussion panels and lectures to confront the practice of performance with its historisation.
Re-enactment and documentation – Does the future of performance art derive from its past?
Re-enactment means acting out a performance again, re-making it with all the sentiments and knowledge engendered by the initial event and the here and now. It differs from pure mimicry or quotation in that is often based on (collective and individual) memories and thus entails translation from one time to another, one narrative to another, one performer to another, and from one audience to another. The symposium will focus on re-enactment as an act of re-positioning historical performances as well as the positioning of performance today. Performances relate in a particular way to time and presentation epitomized in the question of mediation (to an audience) e.g., in a museum and on the art market. Many performances from the 1970s can be accessed only through documentation and relicts or are now simply inaccessible. Contemporary performance artists now often integrate documentation as part of their performances, yet some insist on the particularity of the moment in which a performance takes place – why? This part of the symposium is dedicated to the implications of documenting and re-enacting performances, of copyright and authorship in these regards. What is the relationship between initial performance and re-enactment? How is meaning and experience transported in time through repetition of a performance? Can one speak of an ‘original’ performance? How is the documentation incorporated or reflected in the conception of performances in the media age? What distinguishes a performance from everyday actions? What is the difference between an artist investing his or her embodied self in a performance and when he or she instructs other as actors and audience?
Speakers: – Marina Abramović (Artist, New York)- Maja Bajević (Artist, Sarajevo and Paris)- Erika Fischer-Lichte (Theoretician of Drama, Director of the interdisciplinary research project „Kulturen des Performativen“ at Freie Universität, Berlin) Judith Hopf (Artist, Berlin) – Jaroslaw Kozlowski (Artist, Poznan) – Steven Henry Madoff (Art Critic, Writer, New York) – Stefanie Trojan (Artist, Frankfurt/ München) Sandra Umathum (Theoretician of Drama) Dorothea von Hantelmann (Art Historian and Curator, Berlin)
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9. Steed Taylor, FF Alumn, in Riverside Park, NY, dedication, May 4, 1 pm
MESSENGER, a road tattoo commemorating bicycle messengers in New York City
Location: Promenade from 105th – 103rd Street, Riverside Park
Materials: high-gloss black latex, names and prayer
Size:25 x 425
Dedication:5/4 1:00PM, prayer by Brother Michael Moran
For more information about my work or a location map of other works in this group exhibition please contact me at steed@steedtaylor.com Thank you.
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10. Marcus Young, FF Alumn, named Artist in Residence for Saint Paul, MN, and more.
Dear Friends,
Every now and again I send a few words about my work. I hope you don’t mind.
a)April 22 was Earth Day. For the occasion, in Hangzhou, China, Shen Pei and I created a trial-version of “Ground…Wishes for the Sky,” a kite-flying project that will premiere next Earth Day on Harriet Island in St. Paul, Minnesota. With 170 students and teachers from the Zhejiang Province Arts High School, we started Earth Day by picking up trash in a nearby park. Then, we gathered at the school’s sports field, consulted our hearts, wrote wishes on the kites, and flew them. We sent up 100 blue and green kites. We will bring home some of the kite-wishes to share with Minnesota. It was a meaningful event that taught the value of a clean earth and a hopeful mind. The experience will contribute greatly to our event in 2007.
On my blue kite, I wrote:
A kite in my mind
Is in my heart,
Is in your heart,
Is in the sky.
The 2007 event will be a nature-inspired experience incorporating kite-flying, temporary sculpture, chance-generated sound, composed music, poetry, visual arts, and public participation. It will be produced in partnership with St. Paul Parks & Recreation, Public Art Saint Paul, US-China Peoples Friendship Association of Minnesota, Families with Children from China, and The Center for Happiness.
b)In June I will premiere “Untitled Painting,” at the Walker Art Center. It will be part of the exhibition OPEN ENDED (the art of engagement) and will show June 1-18. The work is an art object and at times has a performative element. I hope you can come see it.
c)I will begin my position as Artist-in-Residence for the city of St. Paul, Minnesota in July. I look forward to keeping you posted on the developments of this 18-month term.
Thank you for your interest in my work. Good wishes! marcus young
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11. Maja Petric, FF Alumn, at NYU, May 2-5 & 9-10, and online.
The time has come.
I am graduating from Interactive Telecommunication Program at Tisch Shool of The Arts and I want you to come and attend the biggest and baddest techno orgy this city has ever seen! On the more serious side,this is the grand moment for me and I would love to share it with you!
You are invited to attend ITP’s end of the year events!
ITP Spring Show 2006
Tuesday, May 9 from 5 to 9pm
Wednesday, May 10 from 6 to 9pm
A two-day explosion of interactive sight, sound and technology from the student artists and innovators at ITP. http://itp.nyu.edu/show
I will be participating in the show by presenting my thesis Atmospherizing Architecture – “outSIDEin”. You can read more about it at https://itp.nyu.edu/thesis/detail.php?firstname=&lastname=Petric
An oversized Greenwich Village loft houses the computer labs, rotating exhibitions, and production workshops that are ITP — the Interactive Telecommunications Program. Founded in 1979 as the first graduate education program in alternative media, ITP has grown into a living community of technologists, theorists, engineers, designers, and artists uniquely dedicated to pushing the boundaries of interactivity in the real and digital worlds. A hands-on approach to experimentation, production and risk-taking make this hi-tech fun house a creative home not only to its 230 students, but also to an extended network of the technology industry’s most daring and prolific practitioners.
Interactive Telecommunications Program
Tisch School of the Arts
New York University
721 Broadway, 4th Floor South Elevators
New York NY 10003
Take the left elevators to the 4th Floor
These events are free and open to the public
No need to RSVP
For questions: 212-998-1880
email: itp.inquiries@nyu.edu
http://itp.nyu.edu/show
ITP Thesis Week 2005 Live Webcast!
Tuesday, May 2 through Friday, May 5
See http://itp.nyu.edu/thesis for the updated schedule and list of presenters
ITP’s Thesis Week 2006 gives graduating students the chance to present their final thesis work. Each student will have 20 minutes to present their research and projects they have developed.
ITP will provide a live video stream of every presentation on the thesis website .
You are welcome to come personally or watch online my thesis presentation titled Atmospherizing Architecture – “outSIDEin” on Wednesday, May 3 at 12:40pm. https://itp.nyu.edu/thesis/detail.php?firstname=&lastname=Petric
A list of events are here: http://itp.nyu.edu/show
Read on for information about Thesis Week presentations (which will also be streamed live on the web), and talks.
We look forward to seeing you!
Feel free to pass this message along far and wide.
Maja Petric
+1 646 724 25 61
maja.petric@gmail.com
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12. Cary Peppermint, FF Alumn, announces new DV blog, http://dvblog.org/
Chapters from the DVD “A Series of Practical Performances In The Wilderness
– Summer 2005″ will be posted (three at a time) on DV Blog starting May 1st.
http://dvblog.org/
A Series of Practical Performances In The Wilderness, Summer 2005 is a video performance work made in the woods and on rural back-lots. Performative chapters on the DVD include, Move This Rock, Waiting On Bob, DoAble, Home Economics, Sticks Like Snakes, Digging for Chicory, and Springwater Finale. This video is the first in a series of forthcoming performance-art videos by Peppermint & Nadir which engage issues, ideas, and mythologies of the American concepts of wilderness, space, the frontier, and humans’ ethical relation to animals, forestlands, and nature.
This project is part of Cary Peppermint and Christine Nadir’s series of performance-art videos begun in 2002. Peppermint is an artist who works with new media technologies to create networked environments incorporating the internet, physical installations, experimental music and sound, and live performance. Until recently, Cary directed the Digital Art and Design program of Hartwick College, and in Fall 2006 he will assume the digital media position at Colgate University’s Department of Art and Art History. Christine Nadir teaches literature at State University of New York College at Oneonta and is a doctoral candidate at Columbia University where she is completing her dissertation. Its working title is “The Future of the World: Sacrifice, Economy, and Ethics in Environmental Literature and Ecocriticism.”
Christine feels that these videos capture some of the energy, activities, and thoughts that she and Cary have experienced as New Yorkers living in the wilderness for four months every year: trying to establish a functional home without running water, electricity, or maintained roads; developing relationships with locals; un-learning the romanticization of nature while re-learning humanity’s dependence on the environment for survival; and researching the details of the history of the land and the surrounding area (its previous deforestation, its logging, its near use for an auto salvage yard, its use as farmland and grazing ground one hundred years ago, the precolonial possession by Native Americans for centuries before that).
Cary says: The North American concepts of wilderness are informed by nationalist ideologies and concepts of freedom as a wild, un-checked frontier of possibility. I don’t believe there is any such thing as wilderness as we Americans are inclined to see it. How could one know or understand that which is truly wild much less employ it toward nation-building? Also, I find a certain intellectual humor in the offering of performances that purport to be both practical and wild.
http://www.restlessculture.net/practicalperformance
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13. Norene Leddy, FF Member, at Eyebeam, now thru May 13 th closing reception.
The Aphrodite Project: Platforms
Eyebeam is pleased to present The Aphrodite Project: Platforms, new work from artist in residence Norene Leddy with technical lead Andrew Milmoe. This interactive artwork uses embedded technologies and online services to explore and unite the rich mythology of Aphrodite with the safety and advertising concerns of contemporary sex workers on the street.
May 2-13, 2006
Tues-Sat 12-6pm
http://www.eyebeam.org/engage/engage.php?page=exhibitions&id=95
www.sexygpsshoes.com
Eyebeam Art & Technology Center
540 W. 21st Street (between 10th & 11th Aves.)
212.937.6580
www.eyebeam.org
Closing Reception for
The Aphrodite Project: Platforms
Norene Leddy
Technical Lead: Andrew Milmoe
Closing Reception on Saturday May 13
Schedule of Events:
4pm Platforms panel discussion: “Sovereign Whores and Seditious Technology”
Moderated by Amanda McDonald Crowley, featuring Krzysztof Wodiczko,
Tracy Quan, Natalie Jeremijenko and Melissa Gira
4-6pm Live demo-performance of Platforms shoes
6pm Reading and booksigning by Tracy Quan
Melissa Gira presents ’30 Second Sex,’ a collaborative webcam performance
with Anna Voog and Echo Transgression
Music by DJ Natural Sphere
http://www.eyebeam.org/engage/engage.php?page=exhibitions&id=95
http://sexygpsshoes.com
http://www.tracyquan.net
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14. Nao Bustamante, FF Alumn, at NYU, May 4, 5-7 pm
NYU’s Center for Religion and Media and The Center for Media, Culture and History presents Nao Bustamante in Hero
The hag and the heroine metamorphise live, in video, and karaoke.
To be followed by a talk-back led by Jose Esteban Munoz (Performance Studies, NYU).
May 4, 2006, 5:00 -7:00PM
Performance Studies Studio, 6 th floor
Tisch School of the Arts 721 Broadway (between Washington and Waverly)
This event is co-sponsored by the department of Performance Studies.
Free and open to the public.? Seating is on a first-come, first seated basis.Please visit our website for more details http://www.nyu.edu/fas/center/religionandmedia/
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15. Ken Aptekar, FF Alumn, at JG Contemporary, NY, opening May 4, 6-8 pm
JG Contemporary, a department of James Graham & Sons, is pleased to announce an exhibition of new paintings by Ken Aptekar. An opening reception takes place Thursday, May 4, 6-8PM. The forthcoming exhibition, Aptekar’s ninth solo show in New York, will include fifteen paintings, all diptychs. In this new series Aptekar continues his dialogue with the history of art, encouraging the viewer to ask questions and to make up their own answers about historical works.
A new video diptych will also be shown. Titled “Round Trip,” the work was filmed in Paris and New York. It charts the artist’s efforts to reconcile the demands of adulthood with the desire for childhood satisfactions.
The show will take place at 1014 Madison Avenue (at 78th Street), on the Third Floor, and will be on view through June 10, 2006. A catalogue has been produced for the show.
“KEN APTEKAR: DIPTYCHS,” May 5-June 10, 2006, JG | Contemporary, a department of James Graham & Sons, 1014 Madison Avenue (at 78th Street), NY, NY 10021. Gallery hours are Tuesday- Friday, 9:30-5:30 and Saturday, 10-5:30. For more information, please call Jay Grimm at 212-535-5767 or visit our website at jamesgrahamandsons.com
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16. Frank Moore, FF Alumn, at Burnt Ramen, Richmond, CA, May 5, 7:30 til midnight
Inter-Relations presents
THE SHOW THEY DON’T WANT YOU TO EXPERIENCE!
The Night of Taboo Passions
May 5, 2006
7:30pm til midnight
Benefit show for www.luver.com
LISTENING TO LUVER.COM AN HOUR A DAY
KEEPS BIG BROTHER AWAY!
Location: Burnt Ramen
(GROUND ZERO OF THE UNDERGROUND!)
Richmond, California
http://www.burntramen.com
For Directions
Featuring
the blacklisted
Frank Moore’s Cherotic All-Star Band
In a rare Bay Area performance
And
The legendary Instagon
The subversive Urban Monks
The Shenanigoats, Sacramento’s own punk rock abomination
Sliding scale $5-$50
For more info
510-526-7858
fmoore@eroplay.com
www.eroplay.com
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17. George Sanchez-Calderon, FF Alumni, in Miami, FL, opening May 4, 7:30-9 pm
Metro Pictures, Part Two
Curated by Silvia Karmen-Cubinas
Metro Pictures brings together works by a selection of artists whose works define, interpret and/or reject the city, as well as describe how they navigate it. This exhibition includes works in a diversity of media including painting, sculpture, video, photography, performance and public art. The exhibit began and runs concurrently at The Moore Space.
Museum of Contemporary Art
770 NE 125 Street, North Miami, Fl 33161,
www.mocanomi.org
The Moore Space
4040 NE 2nd Avenue
Miami, Florida 33137
www.themoorespace.org
Opening Reception: May 4, Thursday / 7:30 to 9:30 p.m.
The exhibit runs up to September 17,2006
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18. Peter Grzybowski, FF Alumn, in Poland, May 9, 6 pm
New Performances in Poland
‘Made In Poland’
performance:
Centrum Sztuki, ul. Dabrowskiego 5, Piotrkow Trybunalski
Tuesday, May 9th, 2006, 6 PM,
+ other locations as part of
INTERAKCJE
8th International Art Action Festival
Piotrkow Trybunalski, May 7 – 12, 2006
Bielsko-Biala , May 10 – 11
Krakow, Poznan, May 13 – 14
More information:
gordian_piec@piotrkow.pl
Greetings,
Peter
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19. Donna Henes, FF Alumn, in Park Slope, Brooklyn, May 20, 1-4 pm
Spirit Support Skills Seminar:
Spring Cleaning From The Inside Out
With Donna Henes, Urban Shaman
Learn How To Cleanse Your Environment,
Body, Mind And Spirit Of Acumulated Negativity.
Spring Into Life With A Renewed Sense Of Vigor.
$50
Saturday
May 20
1-4pm
Mama Donna’s Tea Garden And Healing Haven
Slope, Brooklyn
For directions
& info contact Mama Donna’s Tea Garden: (718) 857-1343
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20. DJ Spooky, FF Visionary, at Rubin Museum, NY, May 5
Hey people –
I’d like to invite those of you on the list who are in NYC to come check me out at the Rubin Museum of Himalayan Art on this Friday – 5/5/06. For those of you who are unfamiliar with The Rubin Museum, I’d like to invite you to come through and check out the amazing material they have on display. Aside from Tibet House, I tend to think of the Rubin Museum as one of the best collections of historical material from Tibet and The Himalayas in the United States. I’m not Buddhist, but there are so many amazing ideas that the religion presents, that it’s hard to not think of it in terms of art, philosophy, and aesthetics. Other speakers in the series include Laurie Anderson, Shahzia Sikander, Momus, Sanford Biggers, Naeem Mohaimen and others.
I’ll be doing a discussion sponsored by Art Asia Pacific Magazine as part of their Artists on Art discussion series. For the evening, I’ll present several aspects of digital media that coincide with Tibetan art and aesthetics from the viewpoint of the current exhibit from the Rubin Collection. One part of the exhibit is called Holy Madness: Portraits of Tantric Siddhas and the other is called Take to the Sky: Flying Mystics in Himalayan Art.
Rubin Museum of Art
150 West 17th Street
between 6th Ave. and 7th Ave.
Manhattan
7:30-9:30 pm, free
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21. Jane Dickson, April Gornik, Guerilla Girls, Michele Handelman, Barry Holden, Jerry Kearns, Joyce Kozloff, Bibi Lencek, Bonnie Lucas, Kenneth Polinskie, Barbara Quinn, Robert Rauschenberg, Mira Schor, Richard Serra, Michelle Stuart, Robin Tewes, Martha Wilson, Nina Yankowitz, Brahna Yassky, FF Alumns, at Heidi Cho Gallery benefit for Parnassus Poetry in Review, May 30, 6-9 pm.
Please join us for a Fine Art Silent Auction to benefit Parnassus Poetry in Review
May 30, 2006
Heidi Cho Gallery
522 W. 23 rd Street at 10 th Avenue
New York , NY 10011
6:00 pm to 9:00 pm
(Bidding will end at 8:30)
Admission $10
Participating artists as of April 27, 2006
David Alexander, Suzanne Anker, William Anthony, Alice Attie, Joan Banach, Lorna Bieber, Ports Bishop, Star Black, Nancy Brett, Susan Crile, Elizabeth Demeray, Lisa Corinne Davis, Jane Dickson, Cynthia Eardly, Tom Evans, Gwen Fabricant, Oriole Feshbach, Seth Michael Forman, Helen C. Frederick, Barbara Freidman, Nancy Friedemann, Mary Frank, Barbara Garber, April Gornik, Linda Gottesfeld, Regina Granne, Guerrilla Girls, Michele Handelman, Julie Heffernan, Kathrin Hilten, Barry Holden, Edith Isaac-Rose, Robin Kahn, Kazuko, Jerry Kearns, William Kentridge, Polly King, Joyce Kozloff , Max Kozloff, Jill Krementz, Bibi Lencek, Anne-Marie Levine, Ellen Levy, Morton Lichter, Martin Likton, Bonnie Lucas, Wendy Mark, Guy Mendes, William Meyers, Wade Miller, Roxie Munro, Roni Nicholson, Jacqueline Morreau, Julie Oakes, Will Pappenheimer, Olivia Parker, Carol Peligian, Leemour Pelli, Kenneth Polinskie, Barbara Quinn, Robert Rauschenberg, Beth Reisman, Lucy Reitzfeld, Robert Reitzfeld, Carol Ross, Arlene Rush, Hope Sandrow, Jonathan Santlofer, Mira Schor, Linda Schrank, Christina Schlesinger, Richard Serra, Dee Shapiro, Arlene Slavin, Tom Slaughter, Aviva Slesin, Hunt Slonem, Wendy Small, Michelle Stuart, Robin Tewes, Carolee Thea, Arnold meches, Michael Vitti, Conrad Vogel, Jonathan Waite, Jeffrey Wasserman, Madeline Weinrib, Martha Wilson, Nina Yankowitz, Brahna Yassky
For further information please visit www.parnassuspoetry.com or contact Robin Tewes at (212) 744-4632 or Nina Yankowitz at nyankowitz@aol.com
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22. Penny Arcade, FF Alumn, at FusionArts Museum, thru May 31
FusionArts Museum
57 Stanton Street between Forsyth and Eldridge Strs (212-995-5290). Subway: F or V to Second Avenue. Tues – Wed 1pm – 6pm, Sun and Thurs 1 pm – 7pm. free
gallery B
Hi Tek Hoop
presents:
“Legendary Ladies’ Torsos”
collaborations with:
Penny Arcade, Sally Kirkland, Ivy Nicholson, Phoebe LeGere, Tsaurah Litzky, Tammy Duffy, Gayle Dorsky, Barbara Slitkin, Mari-Claire Charba, Anna So Young Han, Ambrosia Sullivan, Angela Cohen, Marisha Scott, RoByn Thompson, Kate Jelly, Lisa Ingram, Eva Nebeska, Roberta Bennett, Jan LoeAba
Monday, May 1, 2006 through Wednesday, May 31, 2006
Opening reception will be on Thursday, May 11, 2006 from 7 pm – 11 pm
with poetry and musical performances
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23. Andy Warhol Foundation for the Visual Arts announces Major New Arts Writing Initiative
Contact Joel Wachs, President; Pamela Clapp, Program Director (212) 387-7555
The Andy Warhol Foundation for the Visual Arts is pleased to announce the launch of the Andy Warhol Arts Writing Initiative, a three-year, three million dollar program to support independent, progressive arts publications and individual arts writers. The Initiative amplifies the Foundation’s longstanding support of critical writing about the arts by focusing attention on critical writing as an essential component of a thriving visual culture. Designed to encourage and reward accessible, intellectually rigorous writing about art, the program aims to strengthen the field as a whole and to highlight its significance in the cultural landscape.
The Arts Writing Initiative is the result of extensive research conducted by the Warhol Foundation into the current needs and challenges facing arts writers. The Foundation convened several gatherings of critics, art historians, editors, reporters, and journalism educators to determine which issues practitioners in the field deemed most crucial to address in the immediate future. The new program was designed directly in response to the information they provided and the insights they shared.
Following are some of the main concerns raised by participants:
With the demise of NEA grants for critics and the recent closure of the National Arts Journalism Program at Columbia University, traditional mechanisms of support, organization and advocacy for arts writing are scarce to non-existent. At the same time, the art world is increasingly large, complex and international in scope and demands flexibility, quick turn-around and extensive travel from writers. There is virtually no training system for arts writers and there are few residencies or journalism fellowships that recognize their work. Little is done to advance the visibility and prestige of the profession, though it is clearly a necessary component of a visually literate culture.
Cultural discourse on art is most often conducted through journals, newspapers and other art periodicals. However, many of these publications—especially small, regional and special interest journals—lack money, stability, management-expertise and the tools for proper self-promotion. Their survival is uncertain in a competitive marketplace dominated by larger commercial rivals, and if independent publications are to remain a vital platform for alternative voices, they must stabilize their business practices and increase their audiences.
Severely inadequate compensation for writers and the instability of published outlets for their work create an inhospitable environment for arts writers and threaten the viability of the profession. Yet thanks at least in part to on-line media, new voices are entering the dialogue on art all the time. With the explosion of exhibitions, festivals, biennials, and experimental art events around the country and the world, it is an exciting time to be a critic. However, in order for writers to do their best work and for its impact to be felt broadly in the culture, the infrastructure of the field must be reinforced and the importance of writers’ work recognized and rewarded.
The Andy Warhol Arts Writing Initiative takes a two-pronged approach to this task: one aimed at improving the viability of independent, progressive art publications through capacity-building grants and one aimed at sustaining the work of individual arts writers through project-based grants.
The grants to individual writers will be made for projects that range from books and essays to experiments in new media and will be administered by Creative Capital using their model of project-based grants augmented by individually tailored technical assistance and professional development. Art historians, critics, journalists, curators or experts from other disciplines who focus on the visual arts and culture are eligible to apply. The aim of the grants is to recognize talent, promote critical discourse that is both rigorous and accessible, foster innovation in arts writing and nurture connections between art and the public. We hope that the grants will function as both an honor and an opportunity for writers to explore challenging, risk-taking work.
Grants to independent, non-profit publications will be administered directly by the Warhol Foundation. Capacity-building grants to publications, including those representing unique regional, national or minority points of view, will allow them to stabilize business practices, increase audiences, and explore new forms of publishing, new partnerships and distribution channels. The Arts Writing Initiative hopes to encourage journals to take on creative risks and to showcase ambitious, intellectually committed writing.
Towards the end of the third year, the Foundation will organize an international convening of Arts Writing Initiative grantees and other professionals in the field to evaluate the program and to explore possibilities for its expansion. The Warhol Foundation is committed to keeping arts writing a dynamic and evolving part of the visual arts and hopes that the Arts Writing Initiative can serve as a model to others concerned about the future of the field.
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Goings On is compiled weekly by Harley Spiller
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click http://www.franklinfurnace.org/goings_on.html
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Harley Spiller, Administrator
Dolores Zorreguieta, Program Coordinator
