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ABOUT GOINGS ON: How to subscribe and submit listings

Contents for March 1, 2011
1. Josh Harris, FF Alumn, now online at futureoflocalmedia.org
2. Halona Hilbertz, FF Alumn, at Brooklyn Art Library, thru Feb. 27, and more
3. Jeanine Oleson, FF Alumn, at The New School, March 2-3
4. Emily Roysdon, FF Alumn, at Art in General, Manhattan, opening March 25
5. David Medalla, Adam Nankervis, FF Alumns, in Manchester, UK, March 5-12
6. Martha Rosler, FF Alumn, in the Singapore Biennale, Mar. 13-May 15, and more
7. Hans Haacke, FF Alumn, at Specific Object, Manhattan, February 28-April 9
8. Alina Bliumis, FF Alumn, at Andrea Meislin Gallery, Manhattan, thru April 16
9. Joseph Nechvatal, FF Alumn, now online
10. Babs Reingold, FF Alumn, at New Jersey City University Galleries, Jersey City, March 4
11. Katherine Behar, FF Alumn, at Bar Basque Lounge, Manhattan, March 1
12. Gulsen Kalik, FF Alumn, in Pool Art Fair, Manhattan, March 4-6
13. Colette, FF Alumn, at the Armory Show, Manhattan, March 1
14. Gabrielle Hamilton, FF Alumn, publishes new book, and more
15. Eddy Falconer, FF Alumn, at Jackson Heights Cinema, Queens, March 5
16. Charles Clough, FF Alumn, at White Columns, Manhattan, March 1
17. Dara Birnbaum, FF Alumn, at CUNY Graduate Center, Manhattan, March 11

1. Josh Harris, FF Alumn, now online at futureoflocalmedia.org


thought you'd get a chuckle outta this...

at 15:36 in the time line.



2. Halona Hilbertz, FF Alumn, at Brooklyn Art Library, thru Feb. 27, and more


I am participating in The Sketchbook Project this year. Currently in Brooklyn (I was at the opening Saturday, but it was very crowded, and I had a wild toddler on my arm), my personal sketchbook can be viewed in Brooklyn until February 27, then will be touring the country.

I'd be tickled pink if you would check my sketchbook out in any given town. I treated it as I do my regular sketchbook - it was with me at all times, patiently receiving thoughts and images from me, unfiltered; not trying to be a pretty piece of art; very much my little companion. Tour Dates are:

Brooklyn, NY - February 19 – 27 at Brooklyn Art Library, 103A N 3rd St
Williamsburg, Brooklyn, NY 11211

Austin, TX - March 12 (during the SXSW Festival)
Portland, ME - March 30 - April 2
Atlanta, GA - April 8 - 9
Washington, DC - April 11 - 30
Seattle, WA - June 10 - 12
San Francisco, CA - June 18
Chicago, IL - July 14 - 17
Winter Park, FL - July 29 - 31.

Exact Locations: http://www.arthousecoop.com/projects/sketchbookproject/exhibitions?utm_source=Art+House+Co-op+List&utm_campaign=0b4f4aedcf-Sketchbook_second_reminder&utm_medium=email

Sketchbook is currently (until Feb.27) at: Brooklyn Art Library, 103A N. 3rd St., Brooklyn, NY 11211. Open Tue - Sun, Noon - 8pm; Closed Mondays. L train to Bedford Ave. http://www.arthousecoop.com/library




3. Jeanine Oleson, FF Alumn, at The New School, March 2-3

Dear Friends,
Please read and consider attending this conference organized by my department!
Jeanine Oleson, FF Alumn


The Photographic Universe: A Conference
Wednesday & Thursday, March 2 & 3, 2011
The New School
Theresa Lang Community and Student Center
55 West 13th Street, 2nd floor
New York City
Admission: Free

The Vera List Center for Art and Politics, the Photography Program in the School of Art, Media, and Technology at Parsons The New School for Design, The Aperture Foundation, and The Shpilman Institute for Photography jointly present The Photographic Universe: A Conference. This two-day symposium brings together a range of leading photographers, scientists, theoreticians, historians, and philosophers from Parsons as well as other institutions, to reflect and discuss photography at a pivotal moment in its history.

The field of photography is constantly changing. What constitutes a 'photographer' or a 'photograph' has always been redefined by technological innovations, never more so than during the last two decades of the emerging digital revolution and the Internet. Quite possibly, photography is now at a similar place to where it was during its invention ‹ a time when its cultural significance quickly grew due to fast and innovative technological development. The Photographic Universe: A Conference reflects on this current moment, with the persuasive digitalization of the medium and its speedy permeation into contemporary life. What is the importance of photography as a medium and a discipline? Prominent thinkers and practitioners discuss their roles in the expanding photographic field, evaluate its increasingly blurry relationship between art and life, and speculate on how photographic images will continue to change the way we see our world.

The conference features one-on-one conversations between individuals from disparate professional and research backgrounds. Each speaker contributes a ten-minute presentation on the subject of photography, followed by a twenty minute dialogue between the presenters.

March 2 ‹ Art & Philosophy
Chris Boot, Charlotte Cotton, Andrea Geyer, Anne Collins Goodyear, Susie Linfield, Susan Meiselas, Walter Benn Michaels, David Reinfurt, Penelope Umbrico, James Welling March 3 ‹ Science & Technology Anthony Aziz, Richard Benson, Wafaa Bilal, Julia Bryan-Wilson, Frank Cost, Simone Douglas, Michael T. Jones, Douglas Lanman, Trevor Paglen, Virginia Rutledge For more information, visit photographicuniverse.parsons.edu/format/schedule/.



4. Emily Roysdon, FF Alumn, at Art in General, Manhattan, opening March 25

Emily Roysdon's First Solo Exhibition in New York Opens March 25 at Art in General

Emily Roysdon
March 25-May 7, 2011
Opening reception Friday, March 25, 6-8 pm
Press preview Friday, March 25, 12 pm

Art in General is pleased to announce Positions, an exhibition of new and recent works by Emily Roysdon. Throughout her practice, Roysdon’s multidisciplinary approach to art making has incorporated photography, printmaking, performance, and an extensive history of collaboration. For her first solo exhibition in New York, Positions brings together a body of work that culminates around a dialectic consideration of language, choreography, and political representation.

In the artist’s words, "To take a position is both choreographic and discursive." This, alongside a consideration of the formal and public square, is the frame for Roysdon’s recent projects. Positions presents a series of three works that are defined by a short-term and improvisational working method with a focus on developing and articulating a vocabulary of movement while applying gesture to shifting concepts of site. Created specifically for her exhibition at Art in General, Roysdon produced three large silkscreened rectangular panels that lean—using the room as armature and exploring the weight of an image. Positions, for which the exhibition is titled, explores the intersection between figure and ground, the logic of the grid, and the repetition and accumulation of ungrounded figures.

Also included in the exhibition is Sense and Sense (2010), a site-specific project that the artist produced in Sergels Torg, a public square in Stockholm, Sweden. Sergels Torg is many things to the city—most notably, the site for all planned political protests and the de facto image of the city; its black and white triangular pattern coming to symbolize the city and the idea of the city. Approaching the site itself, Roysdon conceived of the square as both a panopticon and an abstraction, provoking questions about planned use and the representation of ‘free movement’. Subsequently, Roysdon collaborated with performance artist MPA to produce a site-specific performance from which she developed a photographic installation and a video diptych.

Building upon this original engagement, If I Don’t Move Can You Hear Me? is a series of square panels silkscreened with images depicting Roysdon’s movement vocabulary as well as deconstructed and assertive lines layered on geometric photographs of the Berkeley Art Museum. Each panel rests at 45 degrees along a long horizontal shelf, inserting a sense of movement, not only in the lines and figures themselves, but also in the weight of their form.

Roysdon collaborated with Stockholm design collective Studio SM to create a trio of posters documenting the artist’s working material and process. The third poster in the series, produced especially for this exhibition, will be distributed to visitors.

Emily Roysdon’s work was first shown at Art in General as a co-founder and editor of the feminist journal and artist collective, LTTR, whose exhibition and residency, Explosion LTTR: Practice More Failure, was on view in 2004.

About the Artist
Emily Roysdon (b. 1977) is an interdisciplinary artist and writer. Roysdon completed the Whitney Museum Independent Study Program in 2001 and an Interdisciplinary MFA at UCLA in 2006. In 2008 she was a resident at the International Artists Studio Program in Sweden (IASPIS). Her work has been shown at the 2010 Whitney Biennial, Greater NY at PS1; Manifesta 8, Bucharest Bienniale 4, Participant, Inc. (NY); Generali Foundation (Vienna); New Museum (NY); and the Power Plant (Toronto). Recent solo shows include Konsthall C in Stockholm and a Matrix commission from the Berkeley Art Museum. Her videos have been screened widely, most recently at the Berlinale and the Images Festival (Toronto). Recent solo shows include Konsthall C in Stockholm and a Matrix commission from the Berkeley Art Museum. Her videos have been screened widely, most recently at the Berlinale and the Images Festival (Toronto). Her writings have been published in numerous books and magazines, including the Journal of Aesthetics and Protest, Zehar, C Magazine, and Women & Performance: a Journal of Feminist Theory. Roysdon is a recipient of the Rema Hort Mann Foundation Award (2010) and a contributing member with the band MEN. She recently developed the concept "ecstatic resistance" to talk about the impossible and imaginary in politics. The concept debuted with simultaneous shows at Grand Arts in Kansas City, and X Initiative in New York in 2010.

The New Commissions Program is made possible by a grant from the U.S. Institute of Museum and Library Services; Andy Warhol Foundation for the Visual Arts; Jerome Foundation; The Pollock-Krasner Foundation; Agnes Gund; and The Greenwall Foundation. Support has also been provided by Commissioners Circle leaders Toby Devan Lewis and Cher Lewis, and Commissioners Circle members Pamela Averick, Joseph and Sue Berland, Louise Phillips Forbes, Sean Johnson, Mary Lapides, Diane Max, Joyce Siegel, and Jeremy Steinke.

General support of Art in General is provided by General Tools & Instruments LLC; the Lambent Foundation Fund of the Tides Foundation; Abraham and Lillian Rosenberg Foundation; public funds from the New York State Council on the Arts, celebrating 50 years of building strong, creative communities in New York State’s 62 counties; National Endowment for the Arts; Ralph E. Ogden Foundation; public funds from the New York City Department of Cultural Affairs in partnership with the City Council; Bloomberg; ConEdison; The Greenwich Collection; Cowles Charitable Trust; Foundation for Contemporary Arts; and by individuals.

About Art in General
Founded in 1981 in Lower Manhattan, Art in General is a nonprofit organization that assists artists with the production and presentation of new work. It changes in response to the needs of artists and engages the public with their work. Since it was established, the organization has emerged as one of New York City’s leading nonprofits devoted to supporting and stimulating the creation of contemporary art, providing an environment in which artists may exhibit unconventional work and exchange ideas with their peers.

Location: 79 Walker Street, NYC, at the southeast corner of Cortland Alley. One block south of Canal Street, between Lafayette and Broadway.
Subway directions: take the 6, A-C-E, N-Q-R, or J to Canal Street.
Gallery hours: Tuesday-Saturday 12-6 pm.
Admission: Always free. Art in General's 6th Floor Gallery and restrooms are wheelchair accessible, and we can provide assistance to visitors with disabilities as requested.



5. David Medalla, Adam Nankervis, FF Alumns, in Manchester, UK, March 5-12

David Medalla and Adam Nankervis, FF Alumns, will create a series of impromptus and live events entitled 'MERZ Flaneuries' in Manchester, England, from March 5 to March 12, 2011. This project is sponsored by Littoral Arts Trust directed by Ian Hunter and Celia Larner. The Littoral Arts Trust has been taking care of the MERZ Barn of Kurt Schwitters in Ambleside, Cumbria, England.

Adam Nankervis and David Medalla's 'MERZ Flaneuries' will consist of an imaginary encounter between the Ghost of Marcel Duchamp and the Spirit of Kurt Schiwtters. Both Duchamp and Schwitters were great 'flaneurs'. This new work by Medalla and Nankervis is a follow-up of their now legendary 'Cosmic Wrestling Match Between the Ghost of Joseph Beuys and the Spirit of RRose Selavy' refereed by Guy Brett at the ICA (Institute of Contemporary Art) in London several years ago.

During their sojourn in Manchester, Medalla and Nankervis will collaborate with artists based in England's northern industrial city. They will give talks at Castlefield Art Gallery
and to other cultural groups in Lancashire.

The climax of their 'MERZ Flaneuries' will be the making of MERZ Tequila 'Four Cherries Brand', which they have named after a famous collage by Kurt Schwitters in the permanent collection of MoMA (Museum of Modern Art) of New York.



6. Martha Rosler, FF Alumn, in the Singapore Biennale, Mar. 13-May 15, and more

Martha Rosler, FF Alumn, is in Berlinm Germany for a DAAD residency and will also set up a gardening project at the Singapore Biennale.



7. Hans Haacke, FF Alumn, at Specific Object, Manhattan, February 28-April 9

"Hans Haacke: The Chocolate Master" will be shown at Specific Object, 601 W. 26th St. Room M285, Manhattan, from February 28-April 29, 2011. www.specificobject.com



8. Alina Bliumis & Jeff Bliumis, FF Alumns, at Andrea Meislin Gallery, Manhattan, thru April 16

Alina & Jeff Bliumis
Global Reach Inc.
February 26 - April 16, 2011

Andrea Meislin Gallery is pleased to present Global Reach Inc., the second solo exhibition by collaborative artists Alina and Jeff Bliumis. The exhibition thoughtfully examines the contemporary movement and relocation of peoples around the world as well as the growing commercialization of immigration by positing the question - can immigration be the new tourism? Opening Reception will be held on Saturday February 26th from 6 to 8 pm.

Transforming the gallery space into the headquarters of the fictitious travel conglomerate – Global Reach Inc. – Alina and Jeff have created a world where mobility is fluid and visas are cursory. By taking advantage of the artists' Relocation Consulting Services during bi-weekly office hours, you may have a private consultation to determine your ideal country to relocate to for a few years, or more. After conducting a visual quiz, Alina and Jeff will run your responses through their unique ranking system to establish the country most suited to you and provide information and facts, the cheapest available airfare there, and even on request a 'human link' for your arrival.

The exhibition features a large-scale installation titled Tourism A to Z of 195 postcards (one for each independent country on Earth), which depicts a tourist's view of each country coupled with screen-grabs relating to the immigration process. The installation visually encapsulates the often-homogenous representations of countries in the context of attracting immigrants and tourists. Eleven unique works on paper in the Which Country is the Best to Move to? Series capture the particular difficulties or benefits of immigrating to specific locales. Both the physical and the performative aspects of Global Reach Inc. speak to the dissonance between those who want to move and those in this world that need to move.

Alina and Jeff's work has been exhibited internationally including the 1st, 2nd and 3rd Moscow Biennale of Contemporary Art (Russia), Busan Biennale 2006 (South Korea), Assab One (Italy), Castlefield Gallery (UK). Additionally their work belongs to various private and public collections, including the Moscow Museum of Modern Art, the Saatchi Collection (UK) and the Victoria and Albert Museum (UK). For more information please contact the gallery at info@andreameislin.com.

Andrea Meislin Gallery
526 West 26th Street, Suite 214
New York, NY 10001
Telephone 212.627.2552
Fax 212.627.1216
Gallery Hours are Tuesday - Saturday 10 am - 6 pm



9. Joseph Nechvatal, FF Alumn, now online

SVA's podcast of Joseph Nechvatal's Viral Venture event has been uploaded. It can be download and viewed here via iTunes http://deimos3.apple.com/WebObjects/Core.woa/Browse/sva.edu.1371354006



10. Babs Reingold, FF Alumn, at New Jersey City University Galleries, Jersey City, March 4

Hi Friends,

There is still time to see FLESH ART at the New Jersey City University Galleries
Open through March 4, 2011

The Artist's closing reception is March 4, 4:30 – 7:30 p.m.
I will be at the closing party -- I look forward to seeing you there.

Babs Reingold, FF Alumn

Curated by: José Rodeiro
A multimedia exhibition exploring varied meaning and implications of flesh through painting, sculpture, photography, installation, and video.

Featured works by: Williams Coronado, Orga Cruz, John Hardy, Ben Jones, Matthew Lahm, Jen Mazza, Babs Reingold, Hanneline Røgeberg, Herb Rosenberg, Joan Semmel, Giuseppe Satta and Sandra Silva

The Exhibition is simultaneously located in both New Jersey City University Galleries.

The Harold Lemmerman Gallery: 2039 Kennedy Blvd. Hepburn Hall, Room 323, 201-200-3246
The Visual Arts Gallery: 100 Culver Avenue, 201-200-2496

Two galleries are a half-block away from each other.

Gallery hours (for both galleries):
11:00 a.m. - 5:00 p.m., Monday through Friday. *

*For other days and times, please contact us to schedule an appointment.

For directions, see http://www.njcu.edu/i2e/visit/directions.asp

For further information, please contact Midori Yoshimoto, Gallery Director at 201-200-2197.



11. Katherine Behar, FF Alumn, at Bar Basque Lounge, Manhattan, March 1

Dear Friends,

If you're in New York for The Armory Show next week, please join me at The Big Screen Project for Green Screen Dreams, a video program curated by Nat Trotman, which includes my piece, Pipecleaner.

Please come by the opening Tuesday, March 1 from 7-10 and enjoy 80s-inspired drink specials at Bar Basque. Hope to see you there!

Green Screen Dreams gathers videos made in the mid-1980s using then-groundbreaking video processing technology, together with recent works by younger artists who have been inspired by that moment.

Green Screen Dreams
at the Big Screen Project
Curated by Nat Trotman
in association with

Opening reception / indoor viewing
Tuesday, March 1, 7:00-10:00 PM

Screening schedule
Mar 2, 3, 4 at 7pm 5, 6 @ 8 pm

Big Screen Project/Bar Basque Lounge
6th ave between 29th and 30th streets, NYC

Best wishes,



12. Gulsen Kalik, FF Alumn, in Pool Art Fair, Manhattan, March 4-6

It's that time of year again! I am in the Pool Art Fair; Suite 536. Do come and see my work, and the work of my suite-mates on March 4, 5 and 6. I will show new work from an egg repairing series I started in the 1990s, titled, Egg Mending. It's a paradoxical series. Its futility magnifies its power to delight, serving no function other than to give pleasure. Yes, metaphors abound!

Also, I will show several paintings from a recent series titled, Sulfur Spa. When my sister and I began emptying out my mother's house in Istanbul in 2001, I found photographs taken in Turkish hot springs--similar to baths, but with naturally hot water, inside buildings with vaulted ceilings. Men and women in shallow water, enriched with minerals. Sulfur Spa is based on the initial impact the photographs had on me. I painted the bathers, changing the scenery from indoor springs to the sea --each bather isolated, perhaps alienated, soaking in the the underground source.

I hope to see you at the Gershwin Hotel on Friday, March 4th, or on the 5th or the 6th, between 3 p.m. and 10 p.m. Details below:

POOL ART FAIR - SUITE 536 at the GERSHWIN HOTEL, 7 E 27th Street, NYC
March 4, 5, 6, 2011
Daily 3 p.m. - 10 p.m.
Vernissage on Friday 6 p.m. - 10 p.m.

Hope to see you there!
Gülsen Calik



13. Colette, FF Alumn, at the Armory Show, Manhattan, March 1

Colette Apparition at the Art Show
"The Arrival of 'Mademoiselle Lumiere'"
Date: March 1st, 2011. New York
Location: Armory, Park Ave at 67th st.
Booth A21. Pavel Zoubok Gallery.
Time: 7:30 pm
Exhibition: TEN: Redefining Collage - Colette's art works will also be
presented March 2-6 2011. Wednesday – Saturday 12-8pm, Sunday 12-6pm.
"Colette has been celebrated AS A WALKING ART PERFORMANCE ... A true original, Colette has entered her fantasies to create a phenomenon thats art fashion theater and attitude" Jeffrey Deitch 1981- monograph on Colette - 10 years of work by Politi

For retrospective at Munster Kunstverein - Germany
"The arrival of 'Mademoiselle Lumiere'" is an apparition by Colette aka Lumiere, the latest in a series of historically based personae adopted by this trail-blazing artist. In this work Colette will transform herself into one of her signature light sculptures. Since the early 1970s Colette's unique approach to different media and disciplines has garned her significant critical attention. Her singular body of work includes painting, collage, sculpture, photography as well as elaborate silk installations and performances in which she is the central element. Colette's work has exhibited in prestigious museums worldwide: the MOMA, the Whitney Museum NYC,the Guggenheim, the MOCA, LA , Ludwig museum – Cologne, Germany. The artist also brought her "deadly feminine" aesthetic to a larger and more diverse audience by exhibiting her work and herself in nontraditional spaces (the street, her home, shop window, nightclubs, etc.) often incorporating elements of fashion, design and sound in her work.

For more on Colette's current exhibitions, please visit www.colettetheartist.com



14. Gabrielle Hamilton, FF Alumn, publishes new book, and more

The New York Times
February 24, 2011
Remembrance of Flavors Past


The Inadvertent Education of a Reluctant Chef

By Gabrielle Hamilton

291 pages. Random House. $26.

When Gabrielle Hamilton was a child, growing up in Pennsylvania, her family gave an annual party that was legendary in its small town — a spring lamb roast for almost 200 people, who came from as far away as New York City: former ballet dancer friends of her mother’s and artist friends of her father’s, along with local friends and neighbors, who all gathered in the meadow behind their house to feast on lamb and asparagus vinaigrette and shortcake. In preparation Gabrielle and her sister and brothers would fill dozens of brown paper lunch bags with sand and candles and set them along the stream’s edge under the weeping willows to light everyone’s way, and juice up glow-in-the-dark Frisbees in the car headlights, so they could send those "glowing greenish discs arcing through the jet black night."

The pastoral idyll of Ms. Hamilton’s childhood was abruptly shattered when her parents separated, and memories of their "luminous parties" and the meals they’d shared as a family would shape her adult life, from her marriage into an Italian family that shared her passion for food to her opening of a New York City restaurant named Prune, which would win kudos from critics for its homey, rustic cooking.

Though Ms. Hamilton’s brilliantly written new memoir, "Blood, Bones & Butter," is rhapsodic about food — in every variety, from the humble egg-on-a-roll sandwich served by Greek delis in New York to more esoteric things like "fried zucchini agrodolce with fresh mint and hot chili flakes" — the book is hardly just for foodies. Ms. Hamilton, who has an M.F.A. in fiction writing from the University of Michigan, is as evocative writing about people and places as she is at writing about cooking, and her memoir does as dazzling a job of summoning her lost childhood as Mary Karr’s "Liars’ Club" and Andre Aciman’s "Out of Egypt" did with theirs.

Ms. Hamilton nimbly cranks up her own literary time machine to transport us back to the hippie-ish world of rural Pennsylvania in the 1970s, and to New York City at the height of the coke-and-urban-cowboy era of the ’80s. She conveys what it was like to be a rebellious delinquent in the making, arriving by Peter Pan bus at Hampshire College where everyone was "discussing third world feminism, doing shifts at the on-campus food co-op, building eco-yurts for academic credit," and what it was like to be young and poor in Manhattan, surviving on stolen ketchup packets from McDonalds on Eighth Avenue and going to "Village Voice advertised bars that held happy hours with free hot hors d’oeuvres."

With a couple of sentences Ms. Hamilton effortlessly captures her father’s sorcery as a set designer and the world of make-believe she and her siblings got to inhabit: his scenery-building studio, where there were "oil drums full of glitter" and "mountains of rolled black and blue velour" laid out like carpets. And the extravagant parties he helped produce like the Valentine’s Day Lovers’ Dinner at which he had "hundreds of choux paste éclair swans with little pastry wings and necks and slivered almond beaks" swimming, in pairs, on a "Plexiglas mirror ‘pond’ the size of a king’s matrimonial bed with confectioner’s sugar snow drifts on the banks."

Fiercely conjured as well is the sudden tumble in dislocation and dysfunction that the young Ms. Hamilton and her 17-year-old brother, Simon, experienced in the wake of their parents’ breakup, when they were left alone in the house to fend for themselves for a summer.

She describes shoplifting and doing coke at the age of 13 and breaking into neighbors’ houses and stealing things she could pawn in town. She describes foraging in her mother’s pantry — which her father had not cleaned out, "the way a griever won’t empty the clothes closet of the deceased spouse" — and learning to improvise meals out of canned sardines and tinned asparagus. And she describes getting kitchen experience at a restaurant "called, ironically, Mother’s," where she washed dishes, helped with salads, and, in time, "made it on to the hot line."

There are some odd gaps and puzzling emotional elisions in this memoir. While Ms. Hamilton says her mother taught her "everything I know, pretty much, about eating, cooking, and cleaning" and describes her mother as being "the very heartbeat of the most cherished period" of her life, she abruptly notes in the middle of the book that she had not seen her mom in 20 years; she says she cannot explain their lack of communication except to observe, "I feel better without her." There is similarly not a lot of detail about what happened to her father and her other siblings (with the exception of her sister, Melissa, with whom she stayed in New York City) after her parents’ divorce.

The through-line in this volume remains Ms. Hamilton’s efforts to recapture the magic of her childhood, and her love of food, which would culminate in the decision to open a restaurant of her own in 1999. Readers who don’t log a lot of time with the Food Network may find some of her self-dramatized emotions baffling — like developing an urgent craving for "broccoli rabe with pepperoncini and braised rabbit" while driving around Brooklyn with her family, and warning that her hunger is becoming a "Code Red." Still, Ms. Hamilton proves adept at using tactile, aromatic prose to chronicle her apprenticeship as a cook: from the basics she learned from her mother, to her work with various catering companies (descriptions of which will make many readers hesitate before wolfing down a prettily arranged tidbit at the next catered event) to her adventures in eating around the world as a virtually penniless backpacker often dependent on the kindness of strangers.

The driving impulse behind her determination to open a restaurant, she explains, was to "harness a hundred pivotal experiences relating to food — including hunger and worry — and translate those experiences into actual plates of food," to reproduce the sort of hospitality she’d experienced traveling "from Brussels to Burma," in a 30-seat restaurant in "the as-yet-ungentrified and still heavily graffitied East Village," to give guests the sort of primal food experience that existed in small towns around the world, long before snooty words like "artisanal," "organic," "diver-picked," "free-range" and "heirloom" became trendy seals of approval in big-city restaurants.


Gabrielle Hamilton in conversation with Anthony Bourdain at Barnes and Noble Union Square, March 1, 2011 at 7 pm, 33 E. 17th St., FREE, 212-253-0810





15. Eddy Falconer, FF Alumn, at Jackson Heights Cinema, Queens, March 5

Jackson Heights Cinema 1,2,3, 40-31 82nd St., on March 5 at 1:30 pm:
Personal REVolts, work-in-progress by Eddy Falconer. Queens World Film Festival,

New York. 7 min. 22 sec.




16. Charles Clough, FF Alumn, at White Columns, Manhattan, March 1




Charles Clough was a co-founder - with Robert Longo - of Buffalo's legendary Hallwalls gallery in 1974. His current exhibition at White Columns is his first solo show in New York in more than a decade.

NEW YORK, NY 10014




17. Dara Birnbaum, FF Alumn, at CUNY Graduate Center, Manhattan, March 11

CUNY Graduate Center /
Independent Curators International /
New Museum

What do museums of contemporary art stand for today? The last two decades has seen an unimaginable diversification of the museum as a place for exhibiting art and telling history, producing innovative education models, promoting international collaborations, forming alternative archives, and facilitating new productions.

This conference aims to tackle key questions around the museum as an institutional entity and contemporary art as an art historical category. Speakers will provide an overview of developments across the Americas, Europe, Asia, Africa, and the Middle East. Particular attention will be paid to the construction of historical narratives (or their abandonment) through collection displays, the role of research in relation to contemporary art, the alternative models that are already having an impact, and their relationship to more traditional museum infrastructures.

Presented by the Ph.D. Program in Art History at the CUNY Graduate Center, Independent Curators International, and the New Museum.

Thursday, March 10 | 7–9 p.m. | New Museum

7:15 p.m. "Exhibition Machines"
A conversation with artist Paul Chan and Philippe Vergne, Director, Dia Art Foundation, New York.

Friday, March 11 | 10 a.m.–6 p.m. | CUNY Graduate Center

10:15 a.m. "Revisiting The Late Capitalist Museum"
A panel discussion with Bruce Altshuler, Director, Program in Museum Studies, New York University; Manuel Borja-Villel, Director, Museo Nacional Reina Sofia, Madrid; and Beatriz Colomina, Professor, Department of Architecture, Princeton University.

Chaired by Johanna Burton, Director, Bard Center for Curatorial Studies.

12 p.m. "Sources of the Contemporary Museum"

A conversation with Carlos Basualdo, Curator of Contemporary Art at the Philadelphia Museum of Art, and Curator at MAXXI, Rome, and Pamela M. Lee, Professor, Department of Art and Art History, Stanford University.

2:30 p.m. "The Artist's Perspective"
A conversation with artist Dara Birnbaum and Ute Meta Bauer, Associate Professor and Director, Visual Arts Program, MIT.

3:40 p.m. "Contemporanizing History/Historicizing the Contemporary"
A panel discussion with Okwui Enwezor, Director, Haus der Kunst, Munich; Annie Fletcher, Curator, Van Abbe Museum, Eindhoven; Massimiliano Gioni, Associate Director and Director of Exhibitions, New Museum, New York; and Terry Smith, Professor of Contemporary Art History and Theory, University of Pittsburgh.

Chaired by Claire Bishop, Associate Professor of Art History, CUNY Graduate Center.

Saturday, March 12 | 12–6 p.m. | New Museum

12:15 p.m. "Extending Infrastructures, Part I: Platforms & Networks"
A panel discussion with Zdenka Badovinac, Director, Moderna Galerija, Ljubljana; Anthony Huberman, Distinguished Lecturer, Hunter College and Director, The Artist's Institute, New York; Maria Lind, Director, Tensta Konsthall, Stockholm; and Lu Jie, Director and Chief Curator, Long March Project, Beijing.

Chaired by Kate Fowle, Director, Independent Curators International, New York.

2:30 p.m. "Extending Infrastructures, Part II: Bricks & Mortar"
A panel discussion with Richard Armstrong, Director, Solomon R. Guggenheim Foundation; curator and artist Gabi Ngcobo, Johannesburg; and Gabriel Pérez-Barreiro, Director, Colección Patricia Phelps de Cisneros, New York and Caracas.

Chaired by Eungie Joo, Director and Curator of Education and Public Programs, New Museum.

4:45 p.m. "What does the museum stand for now?"
Responses by Katy Siegel, Professor, Department of Art, Hunter College and Dominic Willsdon, Curator of Education and Public Programs, San Francisco Museum of Modern Art.

Sunday, March 13 | 2–6 p.m. | New Museum

2 p.m. "Graduate Students Respond"
A graduate student symposium co-chaired by Claire Bishop, Kate Fowle, and Martin Grossmann, Professor, School of Art and Communications, University of São Paulo.

CUNY Graduate Center
365 Fifth Avenue
New York, NY 10016

Independent Curators International

New Museum
235 Bowery
New York, NY 10002



Goings On is compiled weekly by Harley Spiller

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