Franklin Furnace’s Goings On
July 17, 2006
CONTENTS:
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1. Cheri Gaulke, FF Alumn, in new textbook
2. Franc Palaia, FF Alumn, at Newburgh Sculpture Project, July 29-November 30, and more
3. Joni Mabe, FF Alumn, at Katonah Museum of Art, thru September 17
4. John Baldessari, Robert Barry, Martin Kippenberger, Joseph Kosuth, Nam June Paik, FF Alumns, Schirn Kunsthalle, Frankfurt, thru October 1
5. Yuliya Lanina, FF Member, at Van Der Plas Gallery, NY, opening August 15, and more
6. Tim Miller, FF Alumn, Summer/Fall 2006 news
7. Guerilla Girls On Tour at 3LD Art & Technology Center, NY, August 17, 8:30 pm
8. Sarah Reynolds, FF Alumn, at Where Eagles Dare Theatre, NY, July 18-August 4
9. Isabel Samaras, FF Alumn, at San Diego Comicon, July 20, 3-4 pm
10. Zhang Ga, FF Alumn, in Beijing, July 20, 4 pm
11. Lillian Ball at Art Sites, Riverhead, NY, August 4-27
12. Nicolás Dumit Estévez, FF Alumn, at Aljira, Newark, NJ, opening July 20, 5:30-8:30
13. Phyllis Bulkin Lehrer, FF Alumn, at Chashama, thru July 21
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1. Cheri Gaulke, FF Alumn, in new textbook
A photograph of Cheri Gaulke’s (FF Alumn) 1982 performance “This is My Body” has just been published in a new textbook called A Companion to Contemporary Art since 1945, edited by Amelia Jones and available from Blackwell Publishing. The photo and accompanying text can be found in Laura Meyer’s essay “Power and Pleasure: Feminist Art Practice and Theory in the United States and Britain.”
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2. Franc Palaia, FF Alumn, at Newburgh Sculpture Project, July 29-November 30, and more
Franc Palaia, FF Alumn, is included in two group shows this summer. The Newburgh Sculpture Project, an outdoor sculpture show on the waterfront opens July 29 through Nov 30, 06 and Silent Space, a new gallery in Kingston, NY. Organized by Jim C., veteran East Village artist, in fact the group show is kind of an East Village reunion. Artists include, Linus Corraggio, Peggy Cyphers, Dave Channon, Bronson Eden, KK Kozik, Clayton Patterson, Jim C. (Cornwell), and others. to Aug 30.
For info call 845-486-1378
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3. Joni Mabe, FF Alumn, at Katonah Museum of Art, thru September 17
Case Studies: Art in a Valise, June 25 – September 17, 2006. Katonah Musuem of Art, Route 22 at Jay Street, Katonah, NY 10536. www.katonahmuseum.org
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4. John Baldessari, Robert Barry, Martin Kippenberger, Joseph Kosuth, Nam June Paik, FF Alumns, Schirn Kunsthalle, Frankfurt, thru October 1
NOTHING
12 JULY – 1 OCTOBER 2006
SCHIRN KUNSTHALLE FRANKFURT
Römerberg
60311 Frankfurt, Germany
phone: (+49-69) 29 98 82-0
fax: (+49-69) 29 98 82-240,
welcome@schirn.de
http://www.schirn.de
Stillness, emptiness, silence – in the image-ridden visual society of today, the pause, the blank, the gap are increasingly gaining in significance. The avant-garde artists of the 1960s and ’70s like John Baldessari or Art & Language respond with skepticism or downright rejection to the idea of visual representation of a reality of ever more elusive complexity. Art counters the daily flood of visual information by emptying the image space. Post-minimalists and neo-conceptualists like Joëlle Tuerlinckx, Spencer Finch, or Martin Creed poetically or ironically translate the experience of nothingness into installations, paintings, or sculptures. Reduction of effects and sensations creates a particular awareness of things and phenomena that are not visible at first sight. The gaze into the void unveils the peripheral. What remains is multifarious, equivocal nothingness.
Ever since Modernism or, at the latest, since the emergence of Concept Art in the 1960s, artists have intensively explored ideas of nothingness. The question of nothingness in Modernism quickly leads to the idea of non-representation – abstraction as the visual refusal of the representational image in art; an attitude that has many fathers: first of all, there is Kazimir Malevich with his Black Square of 1915, a Modernist myth and at the same time the “embryo of all possibilities” which marked the “zero point” of painting. Reduced to pure color and pure form, the emptying of the image surface seems complete in this monochrome rectangular shape. Final paintings, though, were made by many: Ad Reinhardt, for example, made – exclusively and almost obsessively – uniform, nearly indistinguishable black “ultimate paintings” from 1960 until his death. As the well-known saying by Harold Rosenberg puts it: “Rothko […] pulled down the shades, Newman closed the door, and Reinhardt shut off the lights.”
In the late 1960s, the idea of negation was followed by the negation of the negation. The broad theoretical background of the concept artists of the period – with their analytical view of the coordinates of the artwork, art production, and art business and their apparently untiring exploration of materiality and space – has affected, in its complexity, even the youngest generation of contemporary artists and makes itself felt today in a variety of strategies. Thus, for example, the post-minimalists and neo-conceptualists create poetic installations and paintings characterized by radically reduced representationalism, though often informed by a fine sense of irony. Reduction of effects and sensations creates a particular awareness of things and phenomena that are not visible at first sight.
Messages like these were often heard in this period. Joseph Kosuth, for example, created comprehensive series in which he used language to explore the conditions governing art, as did John Baldessari whose large canvases instigate astute reflections on the image itself, its references, methods, attitudes, and opinions on production and presentation. Everything is purged from this painting but art, no ideas have entered this work, one of his panels asserts. Baldessari does not only strip the image of any conventional artistic articulation but has these works made with strict artlessness by a sign painter, thus undercutting even any conceptual claim.
Given that artistic articulation in Concept Art derives from an idea, there is not much left if this very idea is exorcized in a play of language. Such ironic conceptualism has had lasting effects on contemporary art. Martin Creed owes it the larger part of his strategy which culminates in the laconic reticence of a piece like Work No. 401 (2005), consisting of a small loudspeaker with a sound loop that makes a lapidary “pfft” sound only. The sound was produced by the artist himself as an act of acoustic self-renunciation. It makes one think of a shrugging “What do I care?” Like Baldessari, Creed seems to adhere to an unassuming minimalism with this work, which places him in line with a whole number of contemporary art positions such as Martin Kippenberger, Ceal Floyer, or Tom Friedman. Friedman shows 1,000 Hours of Staring (1992–1997), a sheet of paper stared at by the artist for one thousand hours, which marks an art process beyond the concept of the instantia tion of the stroke of genius or divine inspiration. The work reflects the labors of a persistence leading to nothing. When Friedman is asked if he really took the trouble of staring at the paper for one thousand hours and when he starts speaking about how he made a meditation of it and kept note of his working hours, this is almost too explicit and specific, curtailing the imagination. In the end, the white paper induces a reflection on time, which, however, is almost entirely left to the viewer by the artists. Nothing is only where you don’t see anything.
Seeing is not enough: while the more recent art history has largely dismissed the visible, the heirs of Duchamp, in their nihilistic impulse, often go one step further, abandoning the object nature of art as such. This is the approach taken by Karin Sander in her piece Zeigen (2006), which confronts visitors with an existing empty room or empty gallery walls which only show the usual title labels of the works exhibited. The works themselves are missing or not to be seen. Their presence, however, is perceptible through a different sense. The artist asked a number of fellow artists such as Sylvie Fleury, Hamish Fulton, Mona Hatoum, or Lawrence Weiner to choose a work of their own and give an audio description of it. The viewer is liberated from vision and referred to an alternative mode of perception which leads him from a concrete, obvious, accustomed, trained to an imaginative, aural aesthetic experience. In this sense, nothingness cannot exist – for there is always im agination, the viewer’s mind power.
ARTISTS EXHIBITED: Art & Language, John Baldessari, Robert Barry, Joseph Beuys, Stefan Brüggemann, James Lee Byars, Martin Creed, Spencer Finch, Ceal Floyer, Tom Friedman, Jeppe Hein, Martin Kippenberger, Joseph Kosuth, Imi Knoebel, Christine Kozlov, Nam June Paik, Karin Sander, Joëlle Tuerlinckx, Luc Tuymans, Remy Zaugg.
CATALOG: “Nichts/Nothing,” ed. by Martina Weinhart and Max Hollein, with a foreword by Max Hollein and contributions by Mieke Bal, Ulrike Gehring, and Martina Weinhart. German/English, 200 pages, 49 illustrations, Hatje Cantz Verlag, Ostfildern,
ISBN-10: 3-7757-1816-8, ISBN-13: 978-3-7757-1816-5
DIRECTOR: Max Hollein
CURATOR: Martina Weinhart
OPENING HOURS: Tue, Fri–Sun 10 a.m.–7 p.m., Wed and Thur 10 a.m.–10 p.m.
INFORMATION: http://www.schirn.de
PRESS CONTACT: Dorothea Apovnik and Simone Krämer, phone: (+49-69) 29 98 82-118, fax: (+49) 29 98 82-240, e-mail: presse@schirn.de, http://www.schirn.de (texts and pictures for download under PRESS).
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5. Yuliya Lanina, FF Member, at Van Der Plas Gallery, NY, opening August 15, and more
Dear friends,
I would like to share with you some good news.
July 18th opens “Playful Art” exhibition at Hangaram Art Museum, Seoul Arts Center, in which I am participating
http://www.sac.or.kr/eng/bannerPage2.jsp?htmlURL=/eng/lab2006/artnplaying/index.html
It will be up until August 20
Following this exhibition, NY Arts Beijing residency invited me to their space for a few weeks with the exhibition at NYArts Beijing Gallery at the end of the residency.
No. 2 International Art Camp
He Ge Zhuang Village
Shun Bai Road
Chao Yang Qu
Beijing 100103
August 15 opens a group show ” Mystical City”, which I am a part of as well
Van Der Plas Gallery
South Street Seaport Pier 17, 2nd Fl
New York, NY 10038
The show will be up until September 15th.
All the best,
Yuliya Lanina
www.yuliyalanina.com
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6. Tim Miller, FF Alumn, Summer/Fall 2006 news
Hi All,
Hope you are having a fab summer. I am totally enjoying a little time off from the road here at my beloved Venice Beach, CA and looking forward to hitting the road right after Labor Day with my new show 1001 BEDS as well as my performances US and GLORY BOX in the touring repertory. (I do all three full-evening pieces in a two week span in three different cities! That will be a good brain cell check!)
I will be doing two intensive University Residencies in September & October at Kutztown University in PA and at UNC Chapel Hill! Also performances & residencies coming up this year at Cincinnati Playhouse, Duke University, SMU in Dallas, Actors Theatre of Louisville, Hamilton College, Vortex Theatre in Austin, Rude Guerrilla Theater in CA and many more. The vibe has been very good on 1001 BEDS my new performance and book! I was very busy this Spring with runs LA, SF , Chicago, Winston-Salem, San Diego and just now in New Jersey. Here’s some juicy review qoutes on the show from the daily papers. Have a great summer and hope to see you in 06-07!
cheers, Tim Miller
http://hometown.aol.com/millertale/timmiller.html
http://timmillerperfomer.blogspot.com/
1001 BEDS PRESS QUOTES
Miller’s technique — a frisky, half-lidded fidget on high alert to audience energies — gives way to flashes of poetic stillness that demonstrate how gracefully Miller has matured without losing either his inquisitive ardor or wicked humor. An almost shamanic spirit emerges when least expected, with striking immediacy. Think casual seduction concealing urgent consciousness-raiser, and you have the measure of “1001 Beds” and the nonpareil explorer of self and spirit who recounts them with such potent assurance.
David Nichols, LOS ANGELES TIMES
Miller’s performance style in 1001 BEDS, which manages to synthesize incantatory segments with looser sections that feel almost improvisational, lends itself well to tracing the ups and downs of someone whose life and loves have often been shoved into the margins of society — and have also provided the key to his art. His travels for justice, art and personal revelation have led Miller into a lot of strange beds, but like most of us, what he wants most is one safe haven to share with one other simpatico soul.
Kerry Reid, CHICAGO TRIBUNE
Miller’s wily wordplay uses the metaphor of the bed as the stage for the beginning and end of life, and the site of the most important human experience in between — love. Miller brought to even his angriest screeds that benign, self-mocking humor that has helped him survive across three contentious decades with his social activism intact. The writing itself is thoroughly engaging; this Whittier-born artist, and his vision of a more humbly democratic and gay-friendly U.S., remains as compelling as ever.
Anne Marie Welsh, SAN DIEGO UNION TRIBUNE
http://www.signonsandiego.com/news/features/20060603-9999-1c03miller.html
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7.Guerilla Girls On Tour at 3LD Art & Technology Center, NY, August 17 th, 8:30 pm
Tickets Now On Sale For The New York City Premiere Of Feminists Are Funny performed by Guerrilla Girls On Tour
August 17, 2006
8:30PM
3LD Arts & Technology Center
80 Greenwich Street
New York, NY 10006
( Rector Street)
This production is a part of HERE’s American Living Room Festival
Tickets are $15 and are extremely limited…to purchase tickets go to
http://www.smarttix.com/show.aspx?showCode=ANG4
Feminists Are Funny
A fast, physical and feminist romp through GUERILLA GIRLS ON TOUR’s herstory.
In Feminists Are Funny, GUERILLA GIRLS ON TOUR take you on a fast and physical romp through the highlights of their herstory as anonymous activists opposing sexism in the performing arts, politics and beyond. Songs, sketches and parodies are woven in between dramatizations of the accomplishments of some of the most prominent and amusing women of the 20th century. Engaging theatre with a focus on audience interaction, Feminists Are Funny will educate and entertain.
Written and directed by Aphra Behn featuring GUERILLA GIRLS ON TOUR.
“Guerrilla Girls On Tour’s satirical antics skewer the sexism of the theatre world.” — Alisa Solomon, The Village Voice
“They came bearing statistics, practical tips, sight gags and a clear desire to connect with their audience. And by the time the three Guerrilla Girls On Tour left their standing room only gig they had planted enough seeds to grow a forest.” — Ronald Ehmke, The Buffalo News
“With their signature symbiosis of wit and balls Guerrilla Girls On Tour have won the sobriquet: masked avengers of Broadway.” — Margo Ebling, The Village Voice
“Feisty!” — Elisa Turner, The Miami Herald
www.guerrillagirlsontour.com
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8. Sarah Reynolds, FF Alumn, at Where Eagles Dare Theatre, NY, July 18-Aug 4
It is time, as you may have heard, to rise up, come together, and sit down:
Midtown International Theatre Festival presents
The Sit-Down Show
a hungry and poetic three-dimensional essay
Created & Performed by Desiree Burch, with video by Sarah Reynolds, FF Alumn
Galapagos Smut Host and New York Neo-Futurist Desiree Burch takes the bold and humorous road through wicked merry fields of technology and deviance. Between cell phone, smoking and crime drama dependences, this underground comedian uses the language of TV culture to talk about race, sex, gender, self-destruction, image and faith with wit and candor.
Burch is known on the Downtown scene for work that is “surprisingly meaty,” (Off-Off Online) while being “pretty damn funny and pretty damn good.” (Yale Herald) With work that weaves the poetic and absurd, this “vibrant” (Gothamist) and “hilarious” (New York Daily News) the writer/comedian “stands out… taking on a variety of subjects and fancies.” (Drama Review)
Opens TUESDAY JULY 18th @ 6PM
with additional shows on
Thursday, July 27 @ 6 p.m. &
Friday, August 4 @ 6 p.m.
$18, $15/seniors & students
Where Eagles Dare Theatre
347 West 36th Street
Ground Floor
New York, NY 10018
(8th and 9th)
http://www.smarttix.com/show.aspx?showcode=SIT0
And
RIP ME OPEN
Featured in the 2006 HOT! Festival
July 15 & 22 @ 8 p.m.
258 Bowery, 2nd Floor (just below Houston)
$15
http://www.galapagosartspace.com/ripmeopen.html
www.dixonplace.org
Rip Me Open follows two wise-cracking, desperate souls as they investigate a strange case of threatened violence and psychosexual intrigue. Drawing on influences from Dennis Cooper and Haruki Murakami to classic film noir, it combines pulse-pounding mystery with crackling comedic dialogue.
“Rip Me Open has a buildup worthy of a panic attack and a payoff to die for!” -The Village Voice
“From start to finish, Rip Me Open zigzags from moments of hilarity to moments of deep sobriety”- The Gothamist
“…a piece whose darkness serves mostly to set off hope, humor and compassion like brilliant gems. Quietly intriguing, entertaining and definitely recommended.”- NY Blade and
IN THE FLESH Erotic Reading Series
Hosted by the near-holy Rachel Kramer Bussel
Happy Ending Lounge
WEDNESDAY JULY 19 at 8 PM
AT HAPPY ENDING LOUNGE, 302 BROOME STREET
(B/D to Grand, J/M/Z to Bowery, F to Delancey, http://www.happyendinglounge.com)
Admission: Free
Happy Ending Lounge: 212-334-9676
http://inthefleshreadingseries.blogspot.com
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9. Isabel Samaras, FF Alumn, at San Diego Comicon, July 20, 3-4 pm
If you’re planning to be at the San Diego Comicon (or know anybody headin’ down that-a-way), don’t miss this fantabulous panel yak-athon, “Masters of Lowbrow” —
Thursday, July 20th, 3:00 – 4:00pm
Masters of Lowbrow Art
“A new generation of painters who draw from comics, cartoons, and pop culture are now exhibiting in galleries worldwide, to great popular acclaim. They defy art world expectations and prove that museums can be fun! Among the most extraordinary are Josh Agle (The Art of Shag), Tim Biskup (The Jackson 500), Isabel Samaras (Devil Babe’s Big Book of Fun!), Mark Todd (Watcha Mean, What’s A Zine?), and Esther Pearl Watson (Unlovable). Get the lowdown as they highlight their finest work and share inside info about their imagery, influences and unique techniques with author Michael Dooley.”
Or you can just come and oogle Rosario Dawson — she’s on at 1pm.
For more info about Comicon: http://www.comic-con.org/
Isabel Samaras
izzycat@aol.com
www.devilbabe.com
Monster Illustration
www.monsterillo.com
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10. Zhang Ga, FF Alumn, in Beijing, July 20, 4 pm
Zhang Ga , FF Alumn, Artistic Director
Beijing International New Media Arts Exhibition and Symposium
http://newmediabeijing.org
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11. Lillian Ball at Art Sites, Riverhead, NY, August 4-27
art sites
651 west main street (route 25)
riverhead, ny 11901
hours: th-sun 12-5 T 631 591 2401
LIE exit 71- route 24, 3/4 around
traffic circle, then left onto route 25
Lillian Ball
“Leap of Faith”
Wetland Preservation Project
Photographs + Video Installations
August 4 – August 27, 2006
Reception: Sunday, August 6, 4-6 PM
talk by artist at 5 PM
Lillian Ball’s “Leap of Faith” will be on view at the newly opened Art Sites, at 651 West Main Street (Route 25), Riverhead from August 4 through August 27, 2006. A reception for the artist will be held Sunday, August 6, from 4-6, with a gallery talk at 5PM. A more extensive talk will be presented by the artist on August 26 at 4:30 PM. The gallery is open Thursdays through Sundays, from noon to 5 PM. For other hours call 631 591 2401.
“Leap of Faith” is a body of work based on an ongoing community project that is preserving a globally rare “maritime freshwater interdunal swale” on the North Fork of Long Island. The work witnesses nature’s fragility. and the efforts of humans to both develop and protect this unique Southold wetland ecosystem. Through the dedicated work of the artist, neighbors, landowners, biologists, and government officials, several acres will be permanently preserved. Without the collaboration evident in this project, economic pressures would have allowed more development in this area between Long Island Sound and Great Pond. Plants such as the endangered Iris Prismatica (this is the only known occurrence in all Southold town) and native cranberries would have disappeared. And the job continues, for more land needs to be preserved from development, but the very act of preservation increases the value of the land needing preservation.
The boundaries between activism and art blur in these new media sculptures by Lillian Ball. She creates a series of installations, each set in a darkened space, where video projections hover as digital spirits on mounds of sand. In another piece, cranberries, handpicked from North Fork wetlands have fallen to the bottom of an enormous hour glass in a video projection with their natural habitats. Large photographs record hints of human intervention within the natural textures and fragile plants of this sensitive ecosystem, acting as harbingers of change.
Lillian Ball, is an internationally acclaimed artist, whose solo exhibitions have included, in New York City, the Socrates Sculpture Park, and The Sculpture Center, Rubin Spangle Gallery, and Queens Museum. Internationally, Lillian Ball has exhibited in Canada, London, Switzerland, France, and Austria. Her fellowships and awards, including the John Simon Guggenheim Foundation Fellowship in the Visual Arts, and National Endowment for the Arts, Individual Sculpture Grant, are extensive as is her experience as a lecturer, panelist and juror. Her works have been extensively reviewed in prestigious books and journals including the New York Times, Art in America, and The Village Voice.
Art Sites is a fitting venue for this show, as the site incorporates wetlands along the Peconic River. The gallery renovation utilized an existing structure instead of new and used the hay bale separations, evident in Ball’s works, to protect the wetlands from construction. The building incorporates such “green” concepts as geothermal heating and
cooling, introduced drainage, and cisterns to capture rainwater. Parking was placed in the rear of the structure to preserve two ancient oaks and maintain views of the natural landscape. Both Lillian Ball’s “Leap of Faith” and Art Sites’ architecture maintain a consistent environmental perspective.
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12. Nicolás Dumit Estévez, FF Alumn, at Aljira, Newark, NJ, opening July 20, 5:30-8:30
E7: Aljira Emerge 7 Exhibition
July 20th, 2006 – September 30th, 2006
Curator: Franklin Sirmans
Jennifer Moon
Opening Reception:
Thursday, July 20, 5:30-8:30 p.m.
Aljira
A Center for Contemporary Art
591 Broad Street
Newark, NJ 07102-4403
Tel: 973-622-1600
Fax: 973-622-6526
TTY 1-800-852-7699
E: info@aljira.org
http://www.aljira.org/
Artists: Bryan Zanisnik, Haeri Yoo, Emma Wilcox, Tim Whidden (MTAA), Alejandra Villasmil, Kathleen Vance, Yuken Teruya, Scott Taylor, Shinique Smith, Xaviera Vincenta Simmons, Changamire Semakokiro, Michael Sarff (MTAA), Bryony Romer, Kent Rogowski, German Pitre, William Ortega, Irvin Morazan, Tara Mateik, LJ Lindhurst, Steven Lam, Joel Kyack, Saeri Kiritani, Amy Kao, Bettina Johae, Curt Ikens, Leslie Hewitt, Jeffrey Hargrave, Lisa Hamilton, Tamara Gubernat, Asha Ganpat, Carla Gannis, Linda Ganjian, Chitra Ganesh, Cui Fei, Nicolás Dumit Estévez, Chrissy Conant, Chris Burns, Adam Brent, Afruz Amighi, Elia Alba
E7 includes work by a dynamic group of 24 women and 16 men who, with varying
experiences and artistic practices, were chosen to engage in Aljira Emerge
7, a professional development program for artists.
For the exhibition, co-organizers Franklin Sirmans, an independent curator
and critic, and Jennifer Moon, Associate Curator of Artists Space, were
interested in exploring alternative exhibition formats that activate the
gallery space at Aljira and create a more engaging context for the artists’
particular artistic practice, which vary in scope from painting to
performance. Conducting studio visits with each of the Emerge 7
participants, the organizers were led to the exploration of broad artistic
trends evident in the artwork. The exhibition is a culmination of highlights
in the “emerging” practices of this diverse group of talented artists.
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13. Phyllis Bulkin Lehrer, FF Alumn, at Chashama, thru July 21
Hi All
Just letting you know about the experimental video/dance performance project I’m presenting in July:
chashama is proud to present Oasis 2006, the 9th annual festival of modern dance, in chashama’s storefront window space located at 217 East 42nd Street (between 2nd & 3rd Avenues) Curated by Debbie Stamos & Marc Dale, Oasis 2006 features original work from over 40 choreographers, each offering up to 20-minute performances twice daily in the 217 window, Monday – Friday, July 10 – 21, at 12 – 1:30p & 5:30 – 7p,
Phyllis Bulkin Lehrer ( mixed live and pre- recorded video ) & Gloria McLean (Dance ) with Choreographer Gloria McLean , Dancers Stephanie Schwartz, Robert Yahner and Gloria McLean) will be performing Thursday July13 at noon ( we’ll go on about 12:20), then Thursday july 20th at 5:30 ( about 6:00) and Friday 21, 12 noon (about 12:20), ( Storefront theater) inside and out viewing… ITS FREE!
Stop by if you can.
Phyllis Bulkin Lehrer, FF Alumn
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Goings On is compiled weekly by Harley Spiller
~~end~~
click http://www.franklinfurnace.org/goings_on.html
to visit ‘This Month’s World Wide Events’.
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Brooklyn NY 11217-1506 U.S.A.
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Harley Spiller, Administrator
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