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Contents for July 25, 2011
1. Franklin Furnace Archive in Book & Magazine Fair, Dublin, Ireland, thru July 31
2. Robert Wilson, Susan Martin, Nancy Drew, FF Alumns, at Watermill Center, NY, August 2011
3. Electric Junkyard Gamelan, FF Alumns, August tour
4. Annie Lanzillotto, FF Alumn, at Museum of the City of New York, Manhattan, July 28
5. Paul Zelevansky, FF Alumn, appointed first artist-in-residence at Fred Rogers Company, Pittsburgh, PA, and more
6. Felix Gonzalez-Torres, FF ALumn, at Arnolfini, Bristol, UK, thru Sept. 4
7. Robbin Ami Silverberg, FF Alumn, at NoMA, New Orleans, LA, thru Nov. 28
8. Bob Goldberg, FF Alumn, at Tenri Cultural Institute, Manhattan, July 31
9. LuLu LoLo, FF Member, at New York Public Library, Manhattan, Aug. 6
10. Josh Harris, FF Alumn, now online at thenextweb.com

1. Franklin Furnace Archive in Book & Magazine Fair, Dublin, Ireland, thru July 31 History of Disappearance: Live Art from New York 1975-present. Work selected from Franklin Furnace Archive

Dates: 15-31 July
Opening hours:
Mon to Sat 10.30-5.30pm
Sun 11-5.30pm
Book & Magazine Fair
FilmBase, Temple Bar,
Dublin 2
In 1996 Franklin Furnace closed its physical exhibition space and transformed into a ‘virtual institution’ to bring Internet-based art to audiences across the world. Franklin Furnace today continues its mission to make the world a safer place for avant-garde art by funding innovative artists and archiving their work.

History of Disappearance includes works by major international artists including Eleanor Antin, the Blue Man Group, Patty Chang, Karen Finley, Coco Fusco, Jenny Holzer, Barbara Kruger, Ana Mendieta, Linda Montano, Matt Mullican, Claes Oldenburg, Reverend Billy and William Wegman.

The show comprises video footage, artists’ books, online works, and artifacts from the archive.
Highlights of the exhibition include video works such as Swimming the Mississippi (1987-1997), by Billy X. Curmano, which documents the artist’s ten year quest to swim from the source of the Mississippi River to the Gulf of Mexico, footage one of William Pope.L’s famous street crawls from The Crawl Project and Reverend Billy’s peaceful protests against Starbucks and The Disney Store. Andrea Fraser offers an incisive and humorous guided tour through the Philadelphia Museum of Art in Museum Highlights: A Gallery Talk

(1989) and Tehching Hsieh’s One Year Performance (1980–1981) shows the artist punching in at a time clock, every hour on the hour, twenty-four hours a day, for an entire year.



2. Robert Wilson, Susan Martin, Nancy Drew, FF Alumns, at Watermill Center, NY, August 2011


Some Serious Business (SSB) is pleased to announce that it has received a grant from the Getty Foundation to produce a reinvention of Robert Wilson’s I WAS SITTING ON MY PATIO THIS GUY APPEARED I THOUGHT I WAS HALLUCINATING.

As in the original 1977 production, tThe performance will be co-directed by Wilson and renowned choreographer Lucinda Childs and premieres January 26,
2012 at the Roy and Edna Disney/CalArts Theater as part of Pacific Standard
Time: Art in L.A. 1945–1980. This intimate chamber piece will elucidate a side of Wilson’s work that has been rarely seen and link it solidly with the art of our time.

From 1977 to 1980 Some Serious Business produced more than fifty
performances throughout Los Angeles, the most ambitious of which was a preview of PATI0 co-directed and performed by Wilson and Childs. Originally produced presented by SSB for one night only on April 19, 1977 at the Wilshire Ebell Theater, it was Wilson’s first performance in Los Angeles and one of the first earliest performances in which he explored language and wrote the text. The world premiere of PATIO that also featured music by Alan Lloyd was produced by Richard Barr in May 1977 at the Cherry Lane Theater in New York..

The performance in L.A. was an "event." In the theater that night were a who’s who of creators ranging from Bob Wilhite and Guy de Cointet to Don Bachardy and Christopher Isherwood. Also there was Los Angeles Times theater critic Dan Sullivan 1977 who "chronicled" the event:

Big crowd outside waiting to pick up tickets. Robert Wilson is the name in New York avant-garde theater just now and he has never before done a piece in Los Angeles. Kenneth Tynan is here, Gordon Davidson and Ed Parone from the Taper, Ron Sossie from the Odyssey. The line takes forever.

Each act of PATIO focuses on the actions of a single character: a man in the first, and a woman in the second. In identical settings, the two performers enact their interpretations of the same text that incorporates more than one hundred short story fragments:

You’re beginning to seem a little strange to me . . . Don’t shoot . . .
You’re here for ulterior motives . . the reindeer are getting restless . . .
I don’t even know what to say to you any more. . . Rosemary stop swallowing air.

This sophisticated Minimalist piece is intensely aural and visual: In 1977, Wilson used piano and clavichord music, ta ringing of the telephone, the sound of waves and gunshots, and black- and- white film footage to created PATIO’s the dynamic atmosphere. of this highly sophisticated Minimalist piece. The last paragraph of critic Sullivan’s poetic exposition says it

We leave, not enraged, not enraptured. A voice heard in the mind—Andy Warhol’s—when asked what he thought of the 1970s: "‘I like them because they’re so empty."’

With this work conceived at the height of the "conceptual 70s" and informed by the boundary-shattering collaborations that characterized that period, Wilson was in the forefront of a radical new approach to performance—making works that were visual instead of verbal, architectural instead of representational, extravagant instead of modest, perceptual instead of emotional, theatrical instead of literary.

It is quite clear that the subject of this play is a nervous breakdown. . .
. "Hallucinating" is different from previous Wilsonian theater, which has always emphasized performance over script and exterior experience over interior states. Those familiar with his earlier works will be surprised.

—Richard Kostelanetz, New York Times, May 8, 1977

PATIO will be reinvented by Wilson, Childs and an innovative team of collaborators during a workshop at The Watermill Center in August 2011.
Watermill is a laboratory for performance founded by Robert Wilson as a haven for the next generations of artists, supporting their work among a network of international institutions and venues that embrace new

interdisciplinary approaches. A documentary film about the re-creation of
the piece by a group of talented young filmmakers is also planned. The producers of PATIO are SSB co-founders Susan Martin and Nancy Drew, and Julia Carnahan.

"SSB is honored to be a part of the Getty’s important initiative looking back at the lost art history of Los Angeles and looks to the future with this new production," says SSB Director Susan Martin. "We anticipate that PATIO will challenge and inspire new audiences as it did that one special evening more than three decades ago. "

About Some Serious Business
Some Serious Business (SSB) is a nonprofit organization founded in 1976 by Nancy Drew, Elizabeth Freeman, and Susan Martin in response to an extraordinary diversity and growth in artistic production and collaborations. Between 1977 and 1980 Some Serious Business produced more than 50fifty performance events, video screenings, installations, new music, dance, punk concerts, photography exhibitions,— and combinations of the above that defy easy categorization.

An "alternative space" without a permanent location, SSB used the City of Los Angeles itself as a resource, collaborating with established art organizations but also presenting performances on Venice Beach, in parking lots, within hotel rooms, deserted skyscrapers and derelict buildings, on broadcast television, even on Amtrak trains. It was a time that called for unique solutions to the particular requisites/requirements of creators, and resources for these groundbreaking artists were particularly limited on the West Coast. SSB instigated support systems and rounded up whatever was needed for pioneering artistic events by learning what it could from conventional museum, entertainment, and media practices—and— then inventing the rest.

Some Serious Business was founded in 1976 by Nancy Drew, Elizabeth Freeman and Susan Martin. It called itself "a nonprofit fine arts resource center and support facility for artists working principally in the fields of performance, videotape, installation and environmental works, and photography." An "alternative space" without a permanent space, SSB used Los Angeles as a resource presenting more than fifty events in partnership with established art and presenting organizations, but also producing performances on Venice Beach, in parking lots, hotel rooms, deserted skyscrapers and derelict buildings, on broadcast television, even on Amtrak trains.

Founded in response to the extraordinary diversity and growth in artistic production and collaborations, from 1977 to 1980 SSB produced more than 50 performance events, video screenings, installations, new music, dance, punk concerts, photography exhibitions—and combinations of the above that defy easy categorization. It was a time that called for unique solutions to the particular requisites of creators and resources for these groundbreaking artists were particularly limited on the West Coast. SSB instigated support systems and rounded up whatever was needed for pioneering artistic events by learning what it could from conventional museum, entertainment, and media practices—then inventing the rest.

SSB was a producer of firsts:
While Although based in L.A.,-based, SSB SSB was fully engaged in an international conversation with wide-ranging creators, —many of them at the earliest stages of their careers. From a full-scale Orgies Mysteries Theatre production by Viennese Actionist Hermann Nitsch deep in the heart of Venice to John Cage’s Empty Words at the Los Angeles County Museum of Art, from Laurie Anderson’s inaugural first performance in L.A. at Otis Art Institute to the first exhibition of work by Jenny Holzer and Louise Lawler, and from punk rock concerts on Hope Street to a performance by the Philip Glass Ensemble at the Roxy on the Sunset Strip, SSB offered L.A. artists and audiences peak artistic experiences.

Based on the principle that the artist always comes first, the organization was fundamentally collaborative, non-bureaucratic, and a vehicle to connect people and art: "We’re a telephone," the founders were fond of saying. "A conduit of energy. What do you need? We’ll find it!" It was just that easy.

That "can do" spirit and sense of fun—and the clearly- defined intention to present L.A. audiences with one magical moment—were the driving forces of the organization then and continue to be the motivation for SSB’s efforts today.

Support for I WAS SITTING ON MY PATIO THIS GUY APPEARED I THOUGHT I WAS HALLUCINATING has been generously provided by the Dr. Gerald J. & Dorothy R.
Friedman Foundation and the Getty Foundation.

About Robert Wilson
The New York Times described Robert Wilson as "a towering figure in the world of experimental theater." Wilson, born in 1941 in Waco Texas, is among the world's foremost theater and visual artists. His works for the stage unconventionally integrate a wide variety of artistic media, including dance, movement, lighting, sculpture, music, and text. His images are aesthetically striking and emotionally charged, and his productions have earned the acclaim of audiences and critics worldwide.

Wilson’s awards and honors include two Guggenheim Fellowship awards (’71 and ’80), the nomination for the Pulitzer Prize in Drama (’86), the Golden Lion for sculpture from the Venice Biennale (’93), the Dorothy and Lillian Gish Prize for lifetime achievement (’96), the Premio Europa award from Taormina Arte (’97), election to the American Academy of Arts and Letters (’00), and Commandeur des arts et des lettres (’02) among others.

Together with composer Philip Glass, he created the seminal opera Einstein on the Beach. With productions such as Deafman Glance, KA MOUTain and GUARDenia Terrace, Life and Times of Sigmund Freud, CIVIL warS, Death Destruction & Detroit or a Letter for Queen Victoria he redefined and expanded theater. Wilson’s collaborators include diverse writers and musicians such as Susan Sontag, Lou Reed, Heiner Müller, Jessye Norman, David Byrne, Tom Waits, and Rufus Wainwright. Wilson has also left his imprint on masterworks such as The Magic Flute, Wagner's Ring Cycle, Madama Butterfly, Dreamplay, Per Gynt, The Threepenny Opera, Shakesepeare’s Sonnets and Krapp's Last Tape.

About Lucinda Childs
Lucinda Childs is one of America’s most important modern choreographers. Of her work, which is often described as conceptual dance, she has said, "My dances are an intense experience, of intense looking and listening." Childs was born in New York City in 1940. In her second year at Sarah Lawrence College, she took a class with visiting professor Merce Cunningham. After she completed her degree, she went on to study at the Cunningham Studio.

There she met Yvonne Rainer, who went on to co-found (with Steve Paxton) the influential Judson Dance Theater and invited Childs to be one of Judson’s original company members.

After she formed her own company in 1973, Childs collaborated with Robert Wilson and Philip Glass on the opera Einstein on the Beach, participating as leading performer in the original 1976 production. It was during rehearsals for Einstein that Childs and Glass came up with the original idea for DANCE, choreographed in 1979 with music by Glass and film/decor by Sol LeWitt. For subsequent productions of Einstein on the Beach, she became lead performer and choreographer in both the 1984 and 1992 revivals. Childs will choreograph the Lucinda Childs Dance Company in the upcoming remount of Einstein on the Beach, scheduled to premiere in 2012, part of a series of international events celebrating the composer’s 75th birthday.

Along with Glass, LeWitt and Wilson, Childs has worked with such artists, composers, and directors as John Adams, Frank Gehry, Henryk Górecki, Robert Mapplethorpe, Terry Riley, and Iaanis Xenakis. Childs received a Guggenheim Fellowship in 1979, the year she created Dance. She is also the recipient of the NEA/NEFA American Masterpiece Award, and in 2004 she was elevated from the rank of Officer to Commander in France’s Order of Arts and Letters. Most recently she has choreographed Tempo Vicino with music by John Adams for the Ballet National of Marseille, which premiered in May 2009.

About Pacific Standard Time: Art in L.A. 1945 – 1980 Pacific Standard Time is a collaboration of more than sixty cultural institutions across Southern California, coming together for six months beginning in October 2011 to tell the story of the birth of the Los Angeles art scene and how it became a major new force in the art world. Each institution will make its own contribution to this grand-scale story of artistic innovation and social change, told through a multitude of simultaneous exhibitions and programs. Exploring and celebrating the significance of the crucial post–-World War II years on through the tumultuous period of the 1960s and 1970s, Pacific Standard Time encompasses developments from L.A. Pop to post-minimalism; from modernist architecture and design to multi-media installations; from the films of the African American L.A. Rebellion to the feminist activities of the Woman’s Building; from ceramics to Chicano performance art; and from Japanese American design to the pioneering work of artists’ collectives.

Initiated through $10 million in grants from the Getty Foundation, Pacific Standard Time involves cultural institutions of every size and character across Southern California, from Greater greater Los Angeles to San Diego and Santa Barbara to Palm Springs.

High Resolution images available upon request. For further information, please contact:
Susan Martin / susan@martinmpr.com / 505 685 4664 (o) or 310 975 9970 (m) Norma Kelly / norma@martinmpr.com / 818 509 0575 (o) or 818 395 1342 (m)



3. Electric Junkyard Gamelan, FF Alumns, August tour

Dear Friends of EJG,
EJG has some exciting gigs coming up in August. We have been on a bit of a hiatus since our May tour and we are ready to get back to it. We'll be performing upstate NY at the Wasaic Arts Festival a FREE, annual, multi-disciplinary celebration of art, music, and community in the hamlet of Wassaic, NY with over 100 artists, 25 bands, poetry readings, dance performances, film screenings, and much more. August 12th we have a very exciting show at the Kennedy Center in D.C. at then we are back upstate at Catskill Arts Center on August 13th. Please check the dates and details below and stay tuned for fall plans as well. If you haven't already done so please pop into our Facebook page and "like us". Hope everyone's summer is going spectacularly and we will see you soon.

Peace and good music,
Terry & EJG



Upcoming shows

Saturday, Aug 6 @7pm - Wasaic Arts Festival The Maxon Mills
37 Furnace Bank Road
Wassaic, NY 12592

Friday, Aug 12 @6pm Kennedy Center Millennium Stage The John F. Kennedy Center for the Performing Arts 2700 F Street, NW Washington, DC 20566 www.kennedy-center.org/programs/millennium/schedule.html

Saturday, August 13 @7:30pm - Catskill Arts Center
48 Main Street,
Livingston Manor, NY 12758

and beyond...
Sept. 10 - Riverside Park County Fair, NY, NY Sept. 24 - Thingamajigs Festival, San Francisco

"Electric Junkyard Gamelan returned this September to Cleveland's Ingenuity Festival which features hundreds of musicians, performing and exhibiting artists. Again EJG rose to the occasion as one of the "cant miss" events of the three day festival with its edgy but melodic sounds, invented instruments, and amazing stage presence (cool, tough and zany) it is a performance that would compliment any festival anywhere."

--James Levin, Founder and Artistic Director



4. Annie Lanzillotto, FF Alumn, at Museum of the City of New York, Manhattan, July 28

I will call pushcart cries, and tell lasagna war stories at:
Museum of the City of New York
Thursday, July 28
6:30 pm
Food Markets and Immigrant Identity in New York City
>From the Lower East Side's legendary bialys to the pupusas of Red Hook
fields, the city's diverse ethnic markets have long helped New Yorkers maintain ties to their homelands and define new identities. Explore the customs, places, and innovations that shape how New Yorkers buy and sell food—and find out where to buy the best Sri Lankan chilis, West African gari flour, and mithai sweets from Pakistan. Jonathan Deutsch and Annie S.

Hauck-Lawson, coeditors of Gastropolis: Food and New York City (Columbia University Press, 2008), along with author and artist Annie Lanzillotto and Jennifer Berg, director, Graduate Program in Food Studies, New York University, discuss how the buying, selling, and eating of food has helped to define what it means to be a New Yorker, past and present. Presented in conjunction with the exhibition Moveable Feast: Fresh Produce and the NYC Green Cart Program.

$12 Non-Members
$8 Seniors and Students
$6 Museum Members
*A two dollar surcharge applies for unreserved, walk-in participants.
For more information please call 917-492-3395 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~

5. Paul Zelevansky, FF Alumn, appointed first artist-in-residence at Fred Rogers Company, Pittsburgh, PA, and more

Paul Zelevansky has been appointed the first artist-in residence at the Fred Rogers Company in Pittsburgh. January 2011.



he had video work in "Two-Minute Film Festival," Carnegie Museum of Art in Pittsburgh, July 21, 2011. Video: "Friendship is Hard Work (Facebook, quacking geese, and Julio Iglesias)"



6. Felix Gonzalez-Torres, FF ALumn, at Arnolfini, Bristol, UK, thru Sept. 4

The Sea Wall
Haegue Yang with an inclusion by Felix Gonzalez-Torres
16 July–4 September 2011

16 Narrow Quay, Bristol, BS1 4QA, U.K
0044 (0) 117 917 2300


The Sea Wall facilitates a conversation between the work of Felix Gonzalez-Torres and Haegue Yang. Their practices' talk of human relationships through the formation of abstract artworks, reflecting on such notions as, intimacy and activism, private and public, as well as place and people. Together, the works of these artists from different generations balance poetics and politics; they are emotionally charged, often through emphasizing the material qualities of domestic objects.

Gonzalez-Torres believed that power could be created by politicising aesthetic beauty, providing it with a new sense of purpose. This kind of 'reinvestment' in aesthetic languages can also be found in the work of Yang, who has inherited much from his particular 'post-minimal' approach, particularly towards her interest in narrative and abstraction. Combining ideas and practices that are informed by both post-structural theory and feminist discourses, Yang's works are emotionally charged, often with a sense of fragility or vulnerability, which through this conversation, seeks to offer a necessary level of complexity to today's discourses around identity politics. Of particular significance here will be the notion of 'community'—fragile, invisible or temporary community—an integral subject in the work of these artists.

Gonzalez-Torres' work "Untitled" (Water), 1995, an iridescent blue beaded curtain, is presented throughout the exhibition spaces, in entranceways and creating transitional spaces. This work is returning to Arnolfini, having been previously exhibited here a decade ago, this time presenting this type of work by the artist in this expanded, multi-locational form for the first time. The artist said he wanted to leave a viewer with "something else, non-artistic yet beautifully simple." In dialogue with this will be an atypical selection of works by Yang from the last ten years, including early formative works, focused on building a parallel relationship to Gonzalez-Torres.

The exhibition has been titled after the novel The Sea Wall by writer Marguerite Duras, which depicts her family life growing up in colonial-era French Indochina during the 1930s. Her mother buys a plot of land to live from after the death of her husband, which is flooded by the sea every year, ruining the harvest. The mother is a disadvantaged person affected by the injustice of colonial authorities, serving as a metaphor for an isolated yet tireless figure. Yang has long been interested in the life and work of Duras and has made numerous works that take her as the subject. There is a season of Marguerite Duras films to accompany the exhibition, opening with Hiroshima Mon Amour on 23 July.

A text by Liam Gillick has been commissioned to accompany the exhibition.

Exhibition curated by Nav Haq, Exhibitions Curator, Arnolfini

Exhibition Talks and Events

Talk: TJ Demos
Saturday 16 July 2pm, Free
Writer TJ Demos will give a response to the exhibition, coupled with his observations on the practice of Gonzalez-Torres and its aesthetic and political significance for today's context.

Screening: Haegue Yang - Video Works
Sunday 17 July 11am–6pm, Free
A day-long screening event presenting Haegue Yang's video works.

Exhibition Tour
Saturday 30 July 2pm, Free
Nav Haq, Exhibitions Curator, Arnolfini.
Individual or group exhibition tours are also available during weekdays.

The Apparatus is a year-long project running throughout 2011, to mark Arnolfini's 50th anniversary. This series of exhibitions and events will focus on the conditions of the art world today, particularly its systems of belief and valuation, its role within society, and its relationship to the wider political economy. The Apparatus is about the 'makings of' artists, of artworks, of institutions, and of a cultural infrastructure.



7. Robbin Ami Silverberg, FF Alumn, at NoMA, New Orleans, LA, thru Nov. 28

FF Alum Robbin Ami Silverberg is exhibiting in "Bookmarks" at NOMA (New Orleans Museums of Art).

June 17 - November 28, 2011
Bookmarks: The Artist's Response to Text http://www.noma.org/exhibitions.html#bookmarks



8. Bob Goldberg, FF Alumn, at Tenri Cultural Institute, Manhattan, July 31 Friends and Neighbors The "Original" Famous Accordion Orchestra (Carl, Mark, Genevieve and

Myself) will be performing at Dr. William Schimmel's annual Accordion Seminars, on Sunday July 31, at 7:00 PM. The theme of this year's seminars is "Walton, the Imperial, Crowned". We will therefore be performing two decidedly anti-imperialist pieces: Copland's "Fanfare for the Common Man", and "'Patriots' March".

If you're into accordions, there is a full weekend (Friday-Sunday) of workshops and concerts, great music in all shapes and sizes (of accordions).
Carl is playing on Saturday's program. Follow the link below for more details...

www.billschimmel.com www.ameraccord.com

If you're not into accordions, this could change your mind.




9. LuLu LoLo, FF Member, at New York Public Library, Manhattan, Aug. 6

"Soliloquy for a Seamstress: The Triangle Shirtwaist Factory Fire" a one-act three character drama, written and performed by LuLu LoLo Saturday, August 6, 2011 2:00 PM Free Performance Seward Park branch of the New York Public Library

192 East Broadway (at Jefferson St.) New York, NY 10002-5597
(212) 477-6770
In this play LuLu LoLo portrays the young seamstress Sarafina Saracino who shares drudgery and dreams with her little sister Teresina unaware they are about to perish in the Triangle Shirtwaist Factory fire; their Italian immigrant mother; and a young reporter William Gunn Shepherd who witnessed the fire and speaks of the infamous trail that acquitted the factory owners of any blame for the tragedy. http://www.lululolo.com/theater/soliliquy.html

LuLu LoLo



10. Josh Harris, FF Alumn, now online at thenextweb.com




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
Eben Shapiro, Program Coordinator
Jenny Korns, Webmaster
Mary Haberle, Digital Specialist