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Contents for March 7, 2011
Jessie Jane Lewis, FF Alumn, In Memoriam

1. Irina Danilova, Hiram Levy, FF Alumns, at Set Gallery, Brooklyn, March 9-April 23
2. Peter Downsbrough, FF Alumn, at deSingel International Arts Campus, Antwerp, Belgium, thru May 22
3. Greg Sholette, FF Alumn, at Seaport Museum, Manhattan, March 9
4. Shirin Neshat, FF Alumn, at Parasol Unit, London, UK, opening March 8
5. Terry Dame, FF Alumn, at Joe’s Pub, Manhattan, March 13
6. Chris Sullivan, FF Alumn, now online at http://vimeo.com/18073792
7. Cary Peppermint, FF Alumn, at Alleyway Theater, Buffalo, NY, thru March 19
8. Robbin Ami Silverberg, FF Alumn, in Central Booking magazine, now online
9. Aaron Burr Society, FF Alumns, in The Progressive Magazine, now online
10. Adele Ursone, FF Alumn, launches new website adeleursone.com
11. Gabrielle Hamilton, FF Alumn, in The New York Times, March 1
12. Dread Scott, Brooke Singer, FF Alumns, at Abrons Art Center, thru April 16
13. Agnes Denes, Karen Finley, Bob Holman, Pooh Kaye, Richard Kostelanetz, Sol Lewitt, Paul D. Miller, Howardena Pindell, Dread Scott, FF Alumn, at Ringling College of Art and Design, Sarasota, FL, thru April 2

14. Ame Gilbert, FF Alumn, at Astor Center, Manhattan, March 28
15. Nicolas Dumit Estevez, FF Alumn, at Gallery Aferro, Newark, NJ, opening March 5
16. Diana Heise, FF Alumn, at The Studios, Kansas City, MO, opening March 11
17. Jon Keith Brunelle, FF Alumn, at Dixon Place, Manhattan, March 22
18. Mona Hatoum, FF Alumn, at Alexander and Bonin, Manhattan, opening March 12
19. Krzysztof Wodiczko, FF Alumn, at Galerie Lelong, Manhattan, thru March 19

Jessie Jane Lewis, FF Alumn, In Memoriam

"Grasp the nettle!" That’s what Jessie Jane Lewis, 63, an artist and disability rights activist from Manayunk, used to say about dealing with life’s obstacles. She died Saturday, Feb. 26th, of complications associated with multiple sclerosis. Born in Philadelphia, she earned a B.A. in Photography at the Philadelphia College of Art, and then attended the Pennsylvania Academy of Fine Arts for two years, before the school offered a Master’s degree. She was an artist until her dying day, taping large pieces of paper to the floor, to make art using her wheelchair when she could no longer use her hands. Her work, including video and performance art, has been shown at the Painted Bride Art Center, the Philadelphia Museum of Art, and the 1985 Whitney Biennial, among others. She served as president of Nexus Foundation for Today’s Art for ten years and was on the board of Woodmere Art Museum, the latter of which later named their foyer after her.

She was also an activist for disability rights, bringing suits against local businesses that neglected to meet ADA requirements. Despite the serious nature of her struggles, Lewis always managed to keep her sense of humor. She once said, "Business owners need to be enlightened. And when that doesn’t work, they need to be clobbered by the law." When the Roxborough library spent hundreds of thousands of dollars on renovations, Lewis organized a group to protest the absence of a handicapped ramp. "I need a ramp today, you may need it tomorrow," was one of the slogans. A ramp was soon put in, and it allowed people with disabilities, as well as parents with strollers, to use the library.

Lewis played a major role in requiring Philadelphia polling places to be accessible to the blind and disabled. Tired of bringing her own, portable ramp to vote, she served as a lead plaintiff in a suit against the city. She is quoted in a 1999 newspaper article as having said, "When a person with a disability sees a step or two in front of a building, it might as well read on the door, ‘No Disabled Allowed." Lewis was gregarious, and saw Election Day as a sort of community festival. For her, voting was a neighborhood event that brought people together. She could often be seen "tooling around" on her scooter, waving to the neighbors.

Before becoming too sick to work, Lewis was a Recreational Therapist. She led painting classes, philosophical discussions, and musical events for elderly patients. She often brought her dog, Cliff, into the homes to sit by her side as she sang and played the guitar for the patients. She was also well known for drawing patients’ portraits, and then using the drawings as a form of therapy to discuss the patients’ emotional health. During her last months, she kept up her own emotional well-being by telling jokes to anyone who would listen, and by asking visitors to contribute to an on-going art piece she had taped to the floor. She will long be remembered for her creativity, sensitivity, intelligence, and sense of humor.

Please visit JessieJaneLewis.wordpress.com for exact dates and location regarding her memorial service, and to learn more about her as an artist.



1. Irina Danilova, Hiram Levy, FF Alumns, at Set Gallery, Brooklyn, March 9-April 23

Selected works

March 9 - April 23,
Reception: March 13, 5-9

SET Gallery is pleased to present the first retrospective exhibition of
PROJECT 59, selected works by Irina Danilova and Hiram Levy.

Project 59 was created as a universal project that uses a random number (meaningless and therefore, conversely, applicable to anything) as a tool for artistic exploration. It started in1995 as a one-year project at the beginning of digital era: "95 as bread and butter, 59 as butter and bread – the same", but it did not finish there and has continued to expand ever since. As Agata Jordan from Yekaterinburg suggested – it is going to run for 59 years. Or forever. Whichever comes first.

Irina Danilova ran Project 59 for 8 years before Hiram Levy joined it 8 years ago. To celebrate the auspicious pairing of 8 + 8, their first collaborative project will be on display.

In the beginning, Irina explored the parameters of Project 59. She climbed up 59 floors to the top of the MetLife building in New York, dove 59 feet down onto the ocean floor off the Maine coast (in December), and walked through the Ural Mountains in Russia to the intersection of the 59th longitude and 59th latitude. Selected videos from that period will be screened in the gallery.

When Hiram joined Project 59, it opened the opportunity for realizing art projects of a bigger scale, national and international value, such as the 59 Seconds Video Festival, US59, and City Drawings that will also be presented in the gallery.

SET Gallery is located at 287 3rd Ave. in Brooklyn, between Carroll and President Streets. For any inquiries about this exhibition please contact Irina: 917-6215941



2. Peter Downsbrough, FF Alumn, at deSingel International Arts Campus, Antwerp, Belgium, thru May 22

Thu 3 March > Sun 22 May 2011, deSingel International Arts Campus, Antwerp
The American artist, Peter Downsbrough has published some 85 artist’s books. The exhibition "Peter Downsbrough: The Book(s)" offers for the first time an extensive overview of this impressive component of his oeuvre.

Peter Downsbrough belongs to that first generation of artists—including colleagues such as Robert Barry, Sol LeWitt, and Lawrence Weiner in New York and John Baldessari, Ed Ruscha, and Allan Ruppersberg from California—who use the book as a means for presenting their work. From the beginning he accords the word, and also the book, an objectlike, spatial, if not sculptural, quality. Consequently, one could even consider that he approaches the book as the ultimate exhibition space, in which he continuously regroups certain reflections, images, associations, compositions, and proportions. Indeed, Peter Downsbrough refers to the book as a "volume," a space within which to work. Generally, the haptic and compositorial starting point of his books could come across as quite rigid, sparse, and distant, but looking at the entire group of publications instead of at a single one reveals a particular virtuoso and rich interaction with this basic matter.

With his very first two books, Notes on Location (written in 1968 and published in 1972) and Notes on Location II (published in 1973), he laid out the basis for a particularly consistent research, which in the meantime spans over forty-five years, focusing mainly on the status of location and on the implication of locating something in relation to space and time. Already on the first page of the first book, Peter Downsbrough explicitly refers to these parameters by putting first the indication of time (9 a.m.) and place (800ʹ asl). In retrospect this first note within his work can be considered as a gauge: the day in 1968 when he started writing the manuscript at nine in the morning in a place situated 800 feet (243.8 meters) above sea level, a reference to where he was at the time, in his studio in Etna, New Hampshire. The most frequently appearing formal tools are mainly words— nouns such as altitude, place, line, structure, zone; adjectives such as locative, horizontal, static, vertical; verbs such as locate, post, reset; adverbs such as here, now, up; prepositions such as as, to —and horizontal or vertical lines and arrows. He would subsequently expand this vocabulary with grids, diagonals, technical plans, cuttings, photographs, punctuation marks, geographical maps, sketches, altered postcards, and film stills, which he still endlessly combines in ever-changing configurations.

The exhibition provides an overview of this impressive production of artist’s books through presenting the original books displayed in 10 large cabinets behind glass, separate copies for browsing and 25 short films. In addition, Peter Downsbrough has conceived several works for the exhibition space.

The exhibition is accompanied by an extensive catalogue
"Peter Downsbrough: The Book(s)"
with a foreword by Ira G.Wool and texts by Moritz Küng,
and published by Hatje Cantz.



3. Greg Sholette, FF Alumn, at Seaport Museum, Manhattan, March 9

"Make History Now"
A conversation between Greg Sholette, artist, author, activist, co-founder, REPOhistory and Assistant Professor of Sculpture at Queens College, New York, and John Kuo Wei Tchen, public historian, dumpster diver, co-founder of the Museum of the Chinese in the Americas and Associate Professor of Social and Cultural Analysis, Gallatin School, New York University, moderated by Frederick Kaufman, Professor at City University of New York's Graduate School of Journalism

Co-presented by Seaport Museum New York
Wednesday, March 9, 6:30PM
Seaport Museum New York, 12 Fulton Street

The RSVP link for this Access Restricted event goes live on our website at 12PM today. Visit www.LMCC.net/accessrestricted at 12PM to RSVP. Please mark your calendars accordingly.

How can local history become a tool to reclaim time and space from master narratives? When is the process of forgetting convenient for urban development? And how has history itself become a hip marketable means of gentrification? This evening's conversation will touch upon REPOhistory's Lower Manhattan Sign Project (1992) and Tchen's "below the grid" history of the intermingled and creative port culture of Mannahatta, informing a discussion of the politics of public space. The Seaport Museum attic space once housed the old Fulton Ferry Hotel.

Please note: This program will take place on the 5th floor of the Museum. Other exhibits will not be on view on the evening of this event; nor will there be a tour.

About Access Restricted
Access Restricted is a free nomadic lecture series that opens rarely visited and often prohibited spaces in Lower Manhattan to the general public. Once inside these unique interiors, the audience is treated to a site-specific or closely related lecture and discussion addressing a range of topics revolving around issues of architectural history and preservation, social justice, and urban development.

Please visit our website for the complete season’s schedule of talks.

Featured Speakers, Wednesday, March 9:

Gregory Sholette is a New York-based artist, writer, and founding member of Political Art Documentation/Distribution (PAD/D: 1980-1988), and REPOhistory (1989-2000). His recent publications include Dark Matter: Art and Politics in an Age of Enterprise Culture; Collectivism After Modernism: The Art of Social Imagination after 1945, with Blake Stimson; and The Interventionists: A Users Manual for the Creative Disruption of Everyday Life with Nato Thompson. He is an Assistant Professor of Sculpture at Queens College: City University of New York (CUNY). More information can be found at gregorysholette.com and darkmatterarchives.net.

Jack (John Kuo Wei) Tchen is a teacher, historian, curator, and dumpster diver. In 1980, he co-founded the Museum of Chinese in America. He is the author of award-winning books and is currently working on The Yellow Peril Reader and a book on intermingling and improvisation in the streets of New York City.

Moderator Frederick Kaufman's third book, A Short History of the American Stomach, won the Gourmand World Cookbook Award for "Best Culinary History Book, 2008." A Contributing Editor at Harper's Magazine, Kaufman has been a featured guest on National Public Radio, Bloomberg TV, and Democracy Now! He blogs at AmericanStomach.com.

Special Thanks
Art International Radio; Division of Interdisciplinary Studies at the Center for Worker Education, CUNY; L & L Holding Company, LLC; Seaport Museum New York; Silverstein Properties, Inc.; The Trust for Governors Island; and The Woolworth Building.



4. Shirin Neshat, FF Alumn, at Parasol Unit, London, UK, opening March 8

Parasol unit
foundation for contemporary art

I Know Something About Love
Shirin Neshat, Christodoulos Panayiotou, Yinka Shonibare MBE and Yang Fudong
9 March–22 May 2011
Tuesday, 8 March, 6.30–9:30 pm

Parasol unit
foundation for contemporary art
14 Wharf Road,
London N1 7RW
T +44 207 490 7373
F + 44 207 490 7775

'I know something about love', sing The Exciters in their first hit record ‘Tell him’ in 1962. This reoccurring lyric lends the multimedia group exhibition at Parasol unit its title. Shirin Neshat, Christodoulos Panayiotou, Yinka Shonibare, MBE and Yang Fudong investigate the theme of love in different times and cultures through the spectrum of their personal experience, observation and commentary.

Yinka Shonibare MBE will re-create the installation Jardin d'amour (Garden of Love), which he originally showed in 2007 at the Museé du Quai Branly in Paris, albeit in a different configuration. In this work Shonibare applies a playful, yet a political perspective to his exploration of the theme of love in the eighteenth-century Rococo period in France. He creates scenes that resemble those familiar to us from paintings of that period: Three legendary paintings by Jean-Honoré Fragonard were the source of inspiration for the British-Nigerian artist. Set in a maze of ivy covered trellis, the installation includes secret hideaways and walks, along which wandering visitors discover The Confession, The Pursuit and The Crowning, three sculptural tableaux of beautifully dressed and affectionately engaged couples.The figures also suggest to the nobility's last gasp of extravagance before the Revolution came grasping at its heels.

The Chinese artist, Yang Fudong uses the medium of moving image to explore the theme of love in one of his early works, the 3-channel video installation Flutter, Flutter... Jasmine, Jasmine, 2002. In it, Yang Fudong, known for his critical view on contemporary life in the rapidly changing society in China, looks into the private world of a young Chinese couple. Confused between traditional Chinese values and a modern way of looking at their relationship they question their feelings for one another.

Shirin Neshat examines the theme of love through the lens of gender, probably as established and enforced since the 1979 Islamic revolution in Iran. In her two-channel video work, Fervor, 2000, Iranian artist Neshat seems not only to highlight the frustration and helplessness of Iranian women in this paradigm, but also to demonstrate how the negative view of love within the revolutionary culture affects natural human feelings.

Slow dance marathon, 2005, by Cypriot artist Christodoulos Panayiotou, explores the social construction of love through pop music and the form of slow dancing. In this video documentation of a 24 hour long performance, a human chain is formed by strangers who slow dance to the music of well-known love songs.

The exhibition is accompanied by a new publication with essays by Ziba Ardalan and Eva Illouz. It will be distributed internationally by Koenig Books.

Visitor information
Gallery opening hours:
Monday: by appointment, Tuesday–Saturday: 10 am–6 pm and Sunday: 12–5 pm.

Admission: Free

From Angel Tube station, turn left and walk down City Road for ten minutes before turning left into Wharf Road at the Texaco petrol station. From Old Street Tube station, leave via Exit 1 and walk up City Road for five minutes. Turn right into Wharf Road after passing the Texaco petrol station.

Buses 43, 205 and 214 all travel down City Road.

Note to Editors
Parasol unit foundation for contemporary art is an independent educational charity devoted to promoting contemporary art for the benefit of the public. The core activity of the foundation is to showcase contemporary work of leading and young international artists in various media. In conjunction with each exhibition Parasol unit organises a series of talks and educational events. Each year, Parasol unit mounts four exhibitions in a variety of media, each of which is usually accompanied by a publication. In order to encourage the widest possible access to its exhibition programme, Parasol unit does not charge admission fees for its exhibitions.



5. Terry Dame, FF Alumn, at Joe’s Pub, Manhattan, March 13

Hello Music Lovers,
I hope you are enjoying the Spring teaser. Electric Junkyard Gamelan has a very exciting show coming up on March 13th at Joe's Pub. Its a special Women's History Month show double bill with the fabulous Rachelle Garniez. This will be a great show so please come out if you possibly can, I promise a you won't be disappointed. Get your tickets early, they are cheaper in advance plus you don't want to miss out. We also have a great tour planned in May out to the mid-west and a little south so check below for all upcoming dates near you.

And one final request, if you are a Facebook user please visit our Facebook page and become a fan.


There are often posts of new videos, music tracks, photos and all sorts of EJG tidbits. So please click this link above and "like" us. Its easy, painless and free! How many things in life can you say that about? Thanks for supporting live music and hope to see you at a show real soon.

Terry & EJG


Upcoming shows
March 13th -Joe's Pub, NY, NY
April 23- Barbes, Brooklyn
April 29th -Transmodern Festival, Baltimore, MD
April 30 -Some Kind of Jam Music Festival, Schuukill Haven, PA
May 1 - Lemon Grove Cafe, Youngstown, OH
May 2- Hat Trick Concert Series, Grand Rapids, MI
May 4, Fox8 Cleveland Morning show appearance
May 5- The Grog Shop, Cleveland, OH
May 6- Friday Night Live, Detroit Institute of Art
May 7- Mayne Stage, Chicago, IL
May 8- Black Sparrow, Lafayette, IN
May 9- Ann Arbor Public Library, MI

Aug 12-Kennedy Center, D.C
Aug 17- Wade Oval Wednesdays, Cleveland, OH
Sept. 10-Riverside Park County Fair, NY, NY
Sept. 26-Thingamajig Festival, San Francisco



6. Chris Sullivan, FF Alumn, now online at http://vimeo.com/18073792

See a scene from Chris Sullivan's newest performance, The Outer Giants and Their Moon at


Thank you.



7. Cary Peppermint, FF Alumn, at Alleyway Theater, Buffalo, NY, thru March 19

March 3-19, 2011

My play THE SECOND ACT PROBLEM will be part of Alleyway Theatre’s festival of new one-act plays, directed by Joyce Stilson, staged for two consecutive weekends. (It’s lots of fun, BTW.) Full staging, world premiere!

Schedule: March 3-19, 2011. Thursdays, Fridays and Saturdays at 7:30 PM.

Alleyway Theatre
1 Curtain Up Alley
Buffalo, NY 14202
(716) 852-2600

Tickets: $25/general admission; $13/students, available with no service charges online at alleyway.com or at the box office 30 minutes before each performance. A Pay-What-You-Can Performance will be offered on a rush basis only Thursday, March 10th. Group rates available.



8. Robbin Ami Silverberg, FF Alumn, in Central Booking magazine, now online

Central Booking magazine February issue has an interview with Robbin Ami Silverberg & double page spread of her work.
You can view it here:
The title is "Objects and Ideas", the category: Speakings,
and the issue:

February 2011
Volume II: Issue I

Thanks -
Robbin Ami Silverberg



9. Aaron Burr Society, FF Alumns, in The Progressive Magazine, now online
One of our new members in Madison sent us a link to an article in The Progressive Magazine. We’re mentioned both with Union affiliation and as the Aaron Burr Society. We’re proud to be listed with Local and National Union leaders as well as Fellow Travelers like headliner Morello who used to be with Rage Against the Machine.

In case you haven’t heard, last Saturday 100,000 people were protesting outside the Capital Building in Madison Wisconsin during a freezing cold snowstorm.
Tom Morello Joins Madison Protest By Elizabeth DiNovella, February 21, 2011
"They’re making history in Madison—that’s why I’m here," said musician Tom Morello, as he kicked off the noon rally at Wisconsin’s capital.
We are one week into the showdown between workers and Governor Scott Walker. Despite the frigid temperatures (it feels like 14 degrees) and snowy skies, about 5000 people rallied outside the Capitol building at noon.

"My mom was a high school public teacher and union member," said Morello. Since teachers are one of the pillars of this movement, his comments were met with cheers.
"The future of this country will not be decided by Fox News or talk radio," he said. "The future of this country will be decided on the streets of Madison." (He also muttered it was "freezing ass cold here" under his breath.)

Morello read a letter of solidarity from Egypt. "Tahrir is in your heart. It’s everywhere," he read. "Breathe deep, Wisconsin—justice is in the air."
Morello then launched into "This Land Is Your Land," and got everyone singing. Heck, he even got the crowd pogoing, and it was beautiful to see thousands of people bundled up in winter coats and hats and mittens, jumping up and down on the Capitol steps.

"It’s an honor to stand shoulder to shoulder with you, Madison," he said. "Never give up and never give in."
Morello complained about his freezing cold fingers and has quite the potty mouth. He apologized for all his swearing but told the crowd, "The struggle for justice isn’t always rated PG-13."

Firefighters union chief Mahlon Mitchell followed Morello on stage. The Firefighters will be staying overnight at the Capitol tonight. "When the firefighters have a slumber party, we have a slumber party," he said and the crowd laughed.

While walking through the crowd, I saw lots of teachers and public workers and students—the usual suspects. And everyone continues to be creative with protest signs. (My favorite today was "Someone please get this governor laid.")

We are getting folks from out of town. The Daily Show’s correspondent John Oliver was interviewing people. Laura Flanders from GRITtv arrived this past weekend and is broadcasting from WORT-FM.

Jim Costanzo came all the way from Brooklyn, NY, to be at these rallies. He’s a union member—Local 1460 of the United Federation of College Teachers. He got in last night and is here till Wednesday. "I’ve been waiting for America to wake up," he told me, and handed me his Aaron Burr Society card.

His cousin works in a building on the Capitol Square and she told him how beautiful it is. He couldn’t resist her invitation. "This is the place to be," he told me. "Wisconsin is leading the way."

United Steelworkers International President Leo W. Gerard is here, too. He gave a fantastic old-school union speech, condemning the Koch Brothers and corporate thugs on Wall Street and calling for unity.

"It’s not about spending, it’s about revenue," Gerard said, pointing out the USA has lost 53,000 factories since 2000.
Gerard is going to spend the night in the Capitol. "You want to move steelworkers out of the Capitol? Come and get us."
Gerard is a Steelers fan, naturally, but he found solidarity with the Packer fans.
Charles Woodson, Green Bay Packers cornerback and one of the team’s elected representatives to the players union, released a statement supporting Wisconsin’s working families and Gerard read the statement.

Here is Woodson’s statement:
"Last week I was proud when many of my current and former teammates announced their support for the working families fighting for their rights in Wisconsin. Today I am honored to join with them.

Thousands of dedicated Wisconsin public workers provide vital services for Wisconsin citizens. They are the teachers, nurses and child care workers who take care of us and our families. These hard working people are under an unprecedented attack to take away their basic rights to have a voice and collectively bargain at work.

It is an honor for me to play for the Super Bowl Champion Green Bay Packers and be a part of the Green Bay and Wisconsin communities. I am also honored as a member of the NFL Players Association to stand together with working families of Wisconsin and organized labor in their fight against this attempt to hurt them by targeting unions. I hope those leading the attack will sit down with Wisconsin’s public workers and discuss the problems Wisconsin faces, so that together they can truly move Wisconsin forward."

Now if only Aaron Rodgers would release a statement.



10. Adele Ursone, FF Alumn, launches new website adeleursone.com

Dear Friends,

I've just finished a new website---take a look!


thank you.



11. Gabrielle Hamilton, FF Alumn, in The New York Times, March 1

The New York Times
March 1, 2011
A Chef’s Life, With Scars and All
"I LOVE my scar," Gabrielle Hamilton said the other day. "I am covered in scars."
Ms. Hamilton, 45, was sitting at a kidney-shaped table in the basement beneath the dining room at Prune, the 30-seat restaurant on East First Street that she has run since 1999. She was talking about a reddish line on the left side of her face. She got it, she said, in that same year, when she was spending a weekend in Michigan.

There was a driving accident. Her car careered in the morass of a freezing fog. "I totally spun out," she said. "And I wasn’t wearing a seat belt." Her head smashed through the windshield and then was yanked back into the car.

"On the way back in," she said, "I ripped open my face."
As is clear to anyone who has met her — or anyone who has plunged into the heady rush of her memoir, "Blood, Bones & Butter," which Random House has sent into a third printing even before its official publication this week — Ms. Hamilton is not someone who has much use for dainty conversational censorship.

Her duel with a windshield doesn’t appear in the book, but almost everything else does, it seems, whether it’s the emotional fallout from her parents’ divorce, her stomach-churning peek at the catering business, the fugue states that envelop her when her blood sugar dips, or her memory of once encountering (and disposing of) a maggot-filled rat cadaver on a stairway outside Prune.

"I wrote a book in a way that I would like more people to write books," Ms. Hamilton said. "I’m not afraid of the real truth. There is nothing you can tell me about yourself that is going to make me clutch my pearls."

On the page and in the kitchen, Ms. Hamilton can be charming, tempestuous, persnickety, vulgar, poetic, provocative and mothering, sometimes all in the course of a single flurry of sentences. Whatever scars she has, she is not inclined to cover them.

Indeed, her menu at Prune could be seen as a companion memoir to "Blood, Bones & Butter," with dishes that have their roots in her own life, from her freewheeling upbringing along the Delaware River in New Hope, Pa., to a borderline-starvation backpacking trip through Europe and Turkey. (Consider one Sunday brunch offering: the Youth Hostel Breakfast.)

"What I love about Prune is how absolutely personal it is," said the chef Suzanne Goin, of Lucques and other restaurants in Los Angeles. "It is the personification of Gabrielle — Gabrielle between four walls, from the décor to the servers to the food itself."

"She holds true to what she knows," said the Boston-based chef Barbara Lynch. "She doesn’t try anything crazy. It is what she knows, and that is extremely influential."
Being influential was never part of the plan, though — maybe because there was no plan. Both Prune and the arc of Ms. Hamilton’s life come across as a series of happy (and miserable) accidents. "Blood, Bones & Butter" took half a decade to finish. She first sold the book idea to Penguin Press in 2005. Creatively blocked, and swamped with work and family responsibilities, Ms. Hamilton wound up giving back her advance. Soon after, in December 2008, she signed a new contract to write the book for Random House. "Who cares," she said. "It’s done. Here it is."

Prune, too, had a messy genesis. When she first glimpsed the space that would (after much hard labor) morph into Prune, it was the foul-smelling and apocalyptically abandoned crater of a restaurant that had failed. "There were legions of living cockroaches," she writes in a section of the book that calls to mind a culinary Cormac McCarthy. "Twenty-five pounds of apples had rotted away to black dust."

At the time, Ms. Hamilton was a budding novelist and occasional line cook with barely a flicker of interest in being a chef, but a vision began to take hold. She knew something of hunger. Suddenly she dreamed of opening a place that would, in its modest and neighborhoody way, fill bellies and souls.

"I’d always wished that I could go to this restaurant that I wanted to be in existence," she said, "so I just made one. It’s not like I invented anything. There’s already an omelet. The love song was already written, man. I’m just singing it."

Prune was an East Village ballad of longing for monkfish liver and anchovy butter and veal and eggs Benedict, for cocktails like the Negroni and the sidecar, for a sound system flush with Emmylou Harris and Elvis Costello — for elements of what Ms. Hamilton sees as an integrated, albeit unconventional approach to the concept of wellness.

"This is a health-food restaurant, in a way," she said. "People feel well here. In the sense that there’s no guilt, there’s no denial, there’s no self-deprivation." There’s no orthodoxy, either. "She’s got a knee-jerk hatred of the mainstream and food trends in general," said Ned Baldwin, Prune’s chef de cuisine.

Ms. Hamilton hasn’t read "The Omnivore’s Dilemma," Michael Pollan’s food manifesto; declines to follow the tenets of any current food philosophy; and seems to bristle at the way some of her contemporaries lapse into gastronomic piety. "I’m going to eat foie gras," she said. "I’m going to have sex with whoever I want to have sex with. I don’t want politics to deny me these experiences. And I’m not having them every day. So it’s not rapacious or gluttonous. Please."

"I fear that people have lost a common-sense ability to decide for themselves — sometimes I’m not even sure they know what they want to eat," she said. "I’m always very clear about what I’m hungry for, and what I’m not hungry for."

One thing that Ms. Hamilton is not hankering for is imperial expansion. In an era when many of her comrades are hosting television game shows, churning out three cookbooks a year and running 16 restaurants at once, Ms. Hamilton still holds sway over a single Prune — the original one, with its cozily claustrophobic clustering of tables.

With her skills and experience, wouldn’t she qualify as "The Next Iron Chef"? In fact, she screen-tested for that Food Network show once, having already vanquished Bobby Flay in a televised "Iron Chef" battle.

"I was asked, ‘So why do you want to be the next Iron Chef?’ " Ms. Hamilton recalled. "And I said, ‘Um, I really don’t.’ " She removed her microphone and walked off the set.

That kind of gut reaction represents "so thoroughly who she is," said Mr. Baldwin of Prune. "As she told me the story, I was at first appalled to find out that she was doing the screen tests and then so proud of her that she threw it away."

What’s even more unusual is that she still cooks at Prune. Not always, but often enough. You could find her there on Valentine’s Day, finessing the evening’s dishes and bantering with her team in the elbow-to-elbow bunker of a kitchen minutes before customers began filing in for a romantic dinner.

"You need some marrow-bone sauce," she said. "Did you make your little lemon wheels? ... I’ve got to set up my station. ... This looks a little dead. Can we make this a little livelier? ... So, you’re still hunting for sage? ... O.K., don’t kill your sausage. ... I’ve got to brush my teeth. ... I need to set up my station. ..."

Such was the slow build of queries, tasks and muttered reminders-to-herself that at one point Ms. Hamilton stopped in her tracks and, like a human teakettle, let out a clenched, wordless sound somewhere between a moan and a squeal — as if her psyche needed a moment to exhale steam.

"I don’t want to work this way all night," she said. But it was hard not to get sidetracked. A stocky, grinning man with an Italian accent and two little boys materialized carrying bouquets of Valentine flowers. These were Ms. Hamilton’s sons — Marco, 6, and Leone, 4 — and their father, Dr. Michele Fuortes, a teacher and researcher at Weill Cornell Medical College.

"Some years ago I came to possess, of all things, a husband," Ms. Hamilton once wrote. "People who know me well are still scratching their heads about this." Before her marriage to Dr. Fuortes, after all, most of her romantic relationships had been with women. That said, she and Dr. Fuortes do not live together, and their union seems to have reached an endpoint. "We’re still married, technically, but we’re going to work that out," Ms. Hamilton said.

Ms. Hamilton set upon her brood with voracious hugs and kisses. "You guys!" she shouted. "You’re amazing! Oh, my God, I’m so tired and you’re making me so happy right now."

Not for long, though. Seconds after the bouquet-bearing visitors had dashed away, pressure began to mount again like an approaching siren. There was a tub of ice cream that wouldn’t melt. There were vegetarians in the dining room who wanted to know what they could eat, since rabbit braised with shallots was out of the question. Somehow there was already a dessert order. "Oh, my God," Ms. Hamilton said. "I don’t even have whipped cream yet."

At that point, she made a polite but steely request to bystanders.
"You know what I want?" she said. "I seriously want everyone out of here."
Having watched her in the weeds, you might wonder aloud why Ms. Hamilton even bothers to cook for customers anymore, or why she lives in a one-bedroom, one-bath tenement apartment in the East Village.

She wonders herself, especially when she shows up at a food festival and sees fellow chefs decked out in designer clothes, pulling up in chauffeured vehicles. She’ll put her own fingers to her nose and smell garlic and onions.

"I often feel like I haven’t figured this out," she said. "Maybe I’m still taking the hardest route possible because it’s habitual."
Perhaps it is telling that she carries at least one scar on her body that she received by design. A decade ago, in Boston for her 35th birthday, she paid a call on a body-modification artist. Ms. Hamilton wanted what’s known as a "slash and burn." She selected a spot on her right arm to be ritualistically cut, dabbed with alcohol and set aflame. "It’s sort of like a tattoo except 5,000 times more painful," she said. "And when they cut you, my God, they cut you."

Ms. Hamilton might scoff at fussy, doctrinaire belief systems when it comes to eating, but it’s safe to say that she does have a life philosophy, one that might be boiled down to the following roux: Life is messy. Get used to it.

"Books, movies, music, restaurants, advertising: something’s happened to us," she said. "We’re not telling the truth. We don’t stink. We don’t have yellow teeth. We don’t have crooked teeth. We don’t have to suffer disagreement or pain or setbacks anymore. You can go to your doctor and get a pill — you don’t even have to be melancholy anymore, right? I mean, it’s just incredible what the new way of being is. We’ll see how that works out."



12. Dread Scott, Brooke Singer, FF Alumns, at Abrons Art Center, thru April 16

New York, New York
Abrons Art Center
March 6, 2011—April 16, 2011
The Days of this Society are Numbered

Inspired by a famous statement by French thinker Guy Debord, proclaiming that THE DAYS OF THIS SOCIETY ARE NUMBERED, this exhibition plays with the notion that at the beginning of the XXI century one is experiencing a period of fin de siècle, in which the state of affairs is questioned and a collective anxiety is emerging, a situation caused by the feeling of political, economic, and cultural crisis that is permeating the Western world and is creating a social entropy.

Artists: caraballo-farman (Argentina-Iran/Canada), Carolina Caycedo (Colombia), Hugo Canoilas (Portugal), Ruth Ewan (UK), John Hawke (US), Kiluanji Kia Henda (Angola), Nadja Marcin (Germany), Takashi Horisaki (Japan), Brooke Singer (US), Dread Scott (US) dreadscott.net Curated by Miguel Amado

OPENING RECEPTION: Sunday, March 6, 2011, 6–8 p.m.
Abrons Arts Center
466 Grand St / New York, NY 10002
info: 212.598.0400



13. Agnes Denes, Karen Finley, Bob Holman, Pooh Kaye, Richard Kostelanetz, Sol Lewitt, Paul D. Miller, Howardena Pindell, Dread Scott, FF Alumn, at Ringling College of Art and Design, Sarasota, FL, thru April 2

Sarasota, Florida
Ringling College of Art & Design
February 25, 2011—April 2, 2011
Rhythm and Structure: Mathematics, Art and Poetic Reflections
An exhibition exploring the connections between math-based art, music, poetry and contemporary society. Curated by John Sims, originally for the Bowery Poetry Club in New York City. The show focuses on the visual language of mathematical ideas and process as a way to explore a spectrum of themes from geometric landscapes to the socio-political.

Artists include Sol LeWitt, Karen Finley, John Sims, Dread Scott, Paul D. Miller (DJ Spooky), Howardena Pindell, Dorothea Rockburne, and Roman Verostko. Poets and performers include: Tara Betts, Bob Holman, Greg Tate and Kelly Tsai.

A catalog of the exhibition will be available.



14. Ame Gilbert, FF Alumn, at Astor Center, Manhattan, March 28

Umami food and art festival
Edible Architecture Gala

The life of Antonin Carême, the recognized founder of French grande cuisine, is the inspiration for the experimental documentary video entitled Meringue Diplomacy, produced and directed by Terri Hanlon. Umami food and art festival is proud to present a sneak-peek of this original work before its official premiere in April. The evening will open with whimsical hors d’oeuvres, special cocktails and other edible-architecture treats, and will close with chef Sam Mason’s fabulous desserts inspired by the video. Intermezzi by composer Fast Forward will be woven throughout the evening.

This special collaboration between chef and artist offers a unique opportunity to engage with both the food and the art in new and fantastic ways. Proceeds from the event go to support Umami food and art festival’s mission to open avenues of collaboration between artists and culinary professionals, present new ways to look at art and to integrate art into daily life, and offer an environment for non-traditional mediums and forms. Tickets to the gala are $150 and include, in addition to the screening, cocktails, tastings, desserts, a chance to hear from both the artist and the chef, and a limited addition Umami gift bag.

Monday, March 28th, 2011
7:00 to 9:00 PM
Astor Center for Food and Wine
399 Lafayette St (corner of East 4th St)


If you cannot attend, but would still like to support our efforts you can make a tax-deductible contribution here:




15. Nicolas Dumit Estevez, FF Alumn, at Gallery Aferro, Newark, NJ, opening March 5

On Our Minds and In Our Lenses curated by Norene Leddy and Liz Slagus
3/5/2011- 4/9/2011

Opening Reception March 5, 2011, 7 - 10 PM

Gallery Aferro is at 73 Market Street,
Newark, NJ 07102 USA
ewilcox@aferro.org or edavis@aferro.org

Galleries are open Thursday - Saturday from 12-6 and by appointment.
A four part curated program with a new thematic segment screening each Saturday through April 9. The curators have located "video responses to the current issues, interests, passions and obsessions bubbling to the surface in our heads and conversations and taking form in the videos we produce." Artists in order of screening: Visakh Menon, Jane Hsu, Austin Willis, Peter Lester, Steven Dressler and Delmira Valladares, Karla Carballar, Yuliya Lanina, Annie Heckman, Hilda Daniel, Lord Knows Compost, Susan Kirby, Karin Bandelin, Amanda Thackray, Rebecca Herman and Mark Shoffner, Andrew Demirjian, Nicolas Dumit Estevez.



16. Diana Heise, FF Alumn, at The Studios, Kansas City, MO, opening March 11

Dear family and friends.

You are cordially invited to my latest solo exhibition, Take Only What You Can Give. The show opens at The Studios (formally Review Studios) in Kansas City on March 11 from 6-9pm, which includes a new performance work during the reception. The exhibition then will run until April 22. I hope to see some of your lovely faces here.

Sincerely. Diana Heise

The Studios Inc
Take Only What You Can Give
by Diana Heise

The Studios Inc Exhibition Space is pleased to present Take Only What You Can Give, an exhibition by Diana Heise, on view from 3.11.11 to 4.22.11, with a performance and opening reception, Friday 3.11.11, 6 - 9 PM. This exhibition is made possible by the support of ArtsKC Fund and Kansas City Art Institute.

Take Only What You Can Give is the second solo exhibition by multi-disciplinary resident artist Diana Heise at The Studios Inc Exhibition Space.This show includes four new bodies of work from 2010 and 2011, including a series of videos, sculptural installations, photographs and a performance. Each work tackles ideas surrounding violence found in contemporary society, in order to highlight the fragile resilience of life. Through her work, Heise creates a visual language that engages the grotesque and the beautiful to address the effects of fear and domination. Her aim is to encourage catharsis, healing and sensations of freedom.

The title piece is a sculpture and participatory performance aimed at cultivating contemplation of the link between people and the environment. Three performers will lie on a reclaimed wood sculpture, covered by hundreds of pounds of local red clover seeds. The audience is invited to take handfuls of seeds, asked to take only what they can be responsible for cultivating.

Diana Heise’s work has been exhibited in galleries and festivals internationally, including at the Brooklyn Museum, the Film Anthology Archives, and Soho20 Chelsea Gallery, New York, NY. She is a recipient of a Performance Art Fund Grant from the Franklin Furnace Inc as well as a Presidential Fellowship at the American University in Cairo. She has spoken about her work in venues such as the Parsons School of Art and Design, the H&R Block Artspace and the Kansas City Art Institute.

Take Only What You Can Give
by Diana Heise
3.11.11 – 4.22.11

Opening Reception
3.11.11 Friday 6 - 9 PM

Gallery Talk
3.12.11 Saturday 12 PM

Gallery Hours
Tues – Friday 10 - 4 PM
Saturday 12 - 4 PM
4.01.11 6 - 9 PM

1708 Campbell Street
Kansas City, MO 64108




17. Jon Keith Brunelle, FF Alumn, at Dixon Place, Manhattan, March 22

Jon Keith Brunelle reveals the secrets of achieving romantic ideals through the embrace of privacy-shredding technologies, in the next session of his highly regarded seminar. See how estranged couples heal their relationships by mutual spying! Learn how to reach a dream lover by addressing Times Square surveillance cameras! Your participation recorded without your knowledge or consent, guaranteed.

Better Love through Surveillance
Written and performed by Jon Keith Brunelle
Followed by The Shell Museum, a play by Valerie Work

Tuesday, March 22, 7:30 pm at Dixon Place
161A Chrystie St, Lower East Side >> Between Rivington and Delancey
Admission: $15 ($12 students and seniors) >> Reservations: dixonplace.org

Watch a preview clip at psychasthenia.com/betterlove.mov



18. Mona Hatoum, FF Alumn, at Alexander and Bonin, Manhattan, opening March 12

An exhibition of recent works by Mona Hatoum will open at Alexander and Bonin on March 12th. The works on view were created initially for exhibitions in Amman, Venice and Beirut. This will be Hatoum’s fifth solo exhibition with Alexander and Bonin.

Bourj, the Arabic word for ‘tower,’ is the title of a work Hatoum created for a solo exhibition at the Beirut Art Center in 2010. This basic building structure is made up of stacked steel rectangular tube sections which have been subjected to cutting and burning giving it the appearance of a building scarred by war. This work utilizes an altered grid structure, which Hatoum has previously explored in seminal works such as Light Sentence (1992), Current Disturbance (1996), which is currently showing at the Whitechapel Gallery in London, as well as her 2008 Cube (9x 9 x9) recently on view in "On Line" at the Museum of Modern Art in New York. In the case of Bourj there is an underlying tone of irony as the work’s maquette-like scale suggests a future construction project in which signs of destruction are already present.

Featured in the exhibition is Interior/Exterior Landscape (2010), a room-size installation of altered household furniture. A bed frame threaded with long wiry hair remains bare save for a hair-embroidered pillow at the head that depicts flight routes between the artist’s most visited cities. Two circular wire hangers framing wall drawings of the Eastern and Western hemispheres and a market bag constructed from a cut-out print of a world map hang from a metal coat rack. A merged table and chair sit against a corner and a birdcage housing a single ball of hair hangs on the adjacent wall.

3-D Cities (2008-2009) consists of printed maps of the cities of Beirut, Baghdad and Kabul mounted on tables linked by wooden trestles. The surface of the maps have several delicately cut-out parts that create concave and convex areas referring to the cycle of destruction and rebuilding that these cities have gone (and still go) through. The recessed areas can be seen as a metaphor for bomb craters or construction sites and the protrusions can be a representation of explosions or architectural structures rising again from the rubble.

Hatoum was born into a Palestinian family in Beirut and has lived and worked in London since 1975. Her video, drawings, sculpture and installation works have been widely exhibited throughout the world. Since 1994, there have been more than twenty solo museum and institutional exhibitions of her work, the largest and most comprehensive of which was a survey initiated by the Hamburger Kunsthalle that also traveled to Kunstmuseum Bonn, Magasin 3 Stockholm Konsthall, and the Sydney Museum of Contemporary Art (2004 - 05). Hatoum was Artist-in-Residence on the DAAD program (Berliner Künstlerprogramm, Deutscher Akademischer Austrauschdienst) in 2003-2004 and has since divided her time between Berlin and London. Her work has also been shown in the Venice Biennale (1995 and 2005), the 1995 Istanbul Biennial, and Documenta XI in 2002. She was recently awarded the 2011 Joan Miró Prize, Barcelona. Concurrent with the Alexander and Bonin exhibition, White Cube will present two large installations by Hatoum (February 24 - April 2) in Mason’s Yard, London.

Additional information and images can be viewed on www.alexanderandbonin.com. For photographs or further information, please contact Kathryn Gile at 212/367-7474 or kg@alexanderandbonin.com.

Alexander and Bonin
132 Tenth Avenue
New York, New York 10011



19. Krzysztof Wodiczko, FF Alumn, at Galerie Lelong, Manhattan, thru March 19

Krzysztof Wodiczko: ...OUT OF HERE: The Veterans Project
February 12 - March 19, 2011
Galerie Lelong, New York

Shifting Connections: Krzysztof Wodiczko
by Kathleen MacQueen, March 3, 2011

Goings On About Town: Art
March 7, 2011
The New Yorker

528 West 26th St
New York, NY 10001
T. 212 315 0470
F. 212 262 0624



Goings On is compiled weekly by Harley Spiller

Franklin Furnace Archive, Inc.
80 Arts - The James E. Davis Arts Building
80 Hanson Place #301
Brooklyn NY 11217-1506 U.S.A.
Tel: 718-398-7255
Fax: 718-398-7256

Martha Wilson, Founding Director
Michael Katchen, Senior Archivist
Harley Spiller, Administrator
Judith L. Woodward, Financial Manager
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