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Contents for August 29, 2011
Jeanette Ingberman, FF Alumn, In Memoriam

1. Claes Oldenburg, Coosje Van Bruggen, FF Alumns, in The Wall Street Journal, August 20-21
2. Beverly Naidus, FF Alumn, at Burton Recreation Center, Vashon, WA, opening September 3, and more
3. John Cage, Mimi Goese, Norm Magnusson, FF Alumns, at Woodstock Artist Association Museum, Woodstock, NY, Aug. 29
4. elin o’Hara slavick, FF Alumn, at Form and Content Gallery, Minneapolis, MN, September 8-October 1, and more
5. Gabriel Martinez, FF Alumn, at Samson, Boston, MA, opening Sept. 9
6. Warren Neidich, FF Alumn, at Galerie Fons Welters, Amsterdam, The Netherlands, opening Sept. 3
7. Katherine Behar, FF Alumn, autumn calendar 2011
8. Jay Critchley, FF Alumn, in The Village Voice, August 24, and more
9. Olivia Beens, FF Alumn, at Abrons Art Center, Manhattan, Sept. 10-11
10. Vernita Nemec, FF Alumn, at North American Cultural Laboratory, Highland Lake, NY
11. Barbara Hammer, FF Alumn, at Banff Centre for the Arts, Alberta, Canada, Sept. 2
12. La Monte Young, Marian Zazeela, FF Alumns, at MELA, Manhattan, thru Sept. 17
13. Benoit Maubrey, FF Alumn, at Accroche-Couers Festival, Angers, France, Sept.
14. Cecilia Vicuña, FF Alumn, re-publishes Saborami

Jeanette Ingberman, FF Alumn, In Memoriam

The New York Times, August 26, 2011
Jeanette Ingberman, a Founder of Exit Art, Dies at 59
Jeanette Ingberman, a founder of the New York cultural center Exit Art, which for three decades has been a hotbed of avant-garde work by artists from around the world, died on Wednesday in Manhattan. She was 59.

Her death, from complications of leukemia, was announced by the center.
With the artist Papo Colo, Ms. Ingberman founded Exit Art in 1982. Now located in the Hell’s Kitchen section of Manhattan, it encompasses exhibition and performance spaces that present art, theater, poetry, music, film and video.

What unites its diverse offerings, Ms. Ingberman said in interviews, is the center’s founding ethos: that the making of art is inextricably interwoven with political and social commentary. With that, Exit Art has focused on showing the work of historically marginalized artists, including women, minorities, foreigners, and gays and lesbians.

Artists whose work has been presented there are today among the best known in the world. They include Krzysztof Wodiczko, a Warsaw-born artist known for slide and video projections of monumental scale; Tehching Hsieh, a Taiwanese-born performance artist whose harrowing works have involved his being caged or otherwise restrained; Julie Mehretu, born in Ethiopia, whose paintings feature dynamic, enticingly cryptic, quasi-architectural forms; Sue de Beer, a photographer and video artist known for haunting, ultra-realist images; and David Wojnarowicz, whose rage-filled works in various media dealt often with AIDS, of which he died in 1992.

The daughter of Polish Jews who had survived the Holocaust, Jeanette Ingberman was born in Brooklyn on Jan. 23, 1952. She attended high school at the Yeshivah of Flatbush and earned a bachelor’s degree in art history and studio art from Brooklyn College.

Ms. Ingberman later earned a master’s degree in art history from Columbia University, where her teachers included the distinguished art historian Meyer Schapiro. Concentrating on the history of modern art, Ms. Ingberman wrote her master’s thesis on the intersection — often a fraught and rocky place — between art and the law.

She began her career as a curator in the 1970s, first working for the International Center of Photography and later becoming the chief curator of the Bronx Museum of the Arts. In that capacity, she met Papo Colo, a Puerto Rico-born artist, who became her life partner. He was the center’s artistic director, she its executive director.

Exit Art was originally located on an upper floor of 578 Broadway, in SoHo; in 1992, the center (which during this period was known as Exit Art/The First World) moved to 548 Broadway.
Group shows organized by the couple over the years have included "Illegal America" (1982), an exhibition about art censorship that later moved to the New York Public Library, and "Reactions" (2002), a response to the Sept. 11 attacks in which solicitations they sent to thousands of people for works no bigger than 8 1/2 by 11 inches resulted in an outpouring of drawings, letters, photos and poems from well-known and unsung artists alike.

Exit Art moved to its present location, at 475 Tenth Ave (between 36th and 37th Streets), in 2003. Recent exhibitions have included "Fracking: Art and Activism Against the Drill" and "Autotopia: Cars for a Better Tomorrow," about ecologically friendly vehicles.

Besides Papo Colo, whom she married in 1992, Ms. Ingberman is survived by a brother, Israel.
If there was a defining thread that ran through all the couple’s artistic endeavors, it could best be characterized as a deliberate fluidity of definition. As Ms. Ingberman explained in an interview with The New York Times in 2000, "We’re constantly asking ourselves: ‘What is an exhibition, anyway?’ "

For more information please visit Exit Art’s website, http://www.exitart.org/



1. Claes Oldenburg, Coosje Van Bruggen, FF Alumns, in The Wall Street Journal, August 20-21

The Wall Street Journal
"A Pop Sculptor on Thinking Big"
By Kelly Crow
August 20-21, 2011

On Saturday, Pop sculptor Claes Oldenburg, 82, will begin installing his "Paint Torch," a 51-foot-high rendition of a paintbrush, in a new $7.5 million plaza next to the Pennsylvania Academy of the Fine Arts in Philadelphia.

Over the past six decades, Mr. Oldenburg has built an international reputation by transforming everyday objects like clothespins, hamburgers and electrical outlets into soft or oversized sculptures. His 11,000-pound paintbrush, commissioned by the art academy, is the first artwork he has created since the death of his wife and longtime collaborator, Coosje van Bruggen, two years ago.

Earlier this week, Mr. Oldenburg talked about "Paint Torch," his artistic beginnings and what it's like to work on his own. An edited transcript follows.

'I MET COOSJE in the Netherlands, and in 1976, I invited her to come to Philadelphia to see my first large-scale project, 'Clothespin,' being installed near City Hall. I took her to the academy's museum, this great Victorian building that shows mostly American art from the 19th century. I remember taking pictures of her standing around all these marble angels. The academy is still very associated with sculpture and painting in the classical sense, so a paintbrush seemed like a natural subject to go outside it.

Photos: Pop Sculptor

"I didn't really get involved in art until after college. I wanted to be a writer and I got a job at the City News Bureau in Chicago, where I grew up. They started you out reporting on the street, which I loved, but when they shifted me back into the office to do rewrites, I lost interest. I enrolled in evening classes at the Art Institute of Chicago.

"The institute was heavily oriented toward the Impressionists, so I started painting like Monet and Picasso, but I also focused on the younger people I met there. This was around the end of Abstract Expressionism, and many people were trying to find ways to proceed in other directions, like assemblage and collage. They'd find things on the street—junk sculpture. At the same time, there were these conservative figure painters in New York, so I was basically going between one and the other. I collected things but also began painting them.

"The turning point was 1959, not just for me but for many artists—the moment when all these stored-up ideas were released into the 1960s. It felt like door opened. I had moved to New York in 1956, and all the artists there felt it.

"By the end of 1961, I had a studio which I converted into a kind of store. I did works based on the types of items I found for sale in the Lower East Side, bridal dresses that hung in the window displays. I started by building up an irregular surface with chicken wire and canvas dipped in glue, and I covered that with paint enamel. The intention was to create a painting in space, to capture those dresses, fluttering.

"I moved to Los Angeles as vinyl was coming into style. The thickness of it was wonderful. My wife at the time, Patty, helped me sew these soft works.

"We moved back to New York, into a block-long studio. The space was so large, I started to think about making bigger things. I still like playing with scale. The average clothespin isn't as formal or beautiful as it should be, so I move the parts around while keeping it recognizable. My paintbrush doesn't look just like a real brush, either, but I wanted to show a particular gesture.

"After making 40 works with Coosje, this work was somewhat challenging. It feels tricky and dangerous to be doing this on my own. But I wanted to continue because of all the associations I have of that day with her at the academy."



2. Beverly Naidus, FF Alumn, at Burton Recreation Center, Vashon, WA, opening September 3, and more

EDEN REFRAMED will open to the public on September 3rd, between 5-7 pm. All members of the community are invited to attend and share food, music (internationally recognized musician, Amy Denio, will perform) and stories at a community potluck. Eden Reframed is located at Burton Recreation Center (BARC) 10500 SW 228th St., Vashon, WA 98070.

In 2010 Beverly Naidus was awarded the Royalty Research Foundation grant (from the University of Washington) to create a community-based, ecological art project entitled Eden Reframed. After a rich collaborative and interactive process with permaculture designers and fellow artist, Shahreyar Ataie, this public project will officially open to the public on September 3rd, 2011.

Eden Reframed contains a permaculture designed "food forest" bed, a soil remediation bed, dreams and wishes of the community woven into the fence and a "story hive" that contains a distinctly local "honey," the insights and reflections of Vashon farmers and gardeners.

Both the dream weaving and the story hive are interactive, so more contributions can be added at the September 3rd ceremony and over time. Dream weavers are invited to share a dream for the future of the garden, park, community or planet. People who tend gardens have been asked what inspires them to plant seeds in a time of ecological crisis, and what legacies and experiences have nourished their work.

For more information about the project, please visit: edenreframed.blogspot.com or contact Beverly Naidus at bnaidus@uw.edu or 206-949-4764.


During the month of September 2011, VALISE gallery is pleased to host the exhibition "Imagining the Future We Want" curated by Beverly Naidus. The work on display was gathered via her Facebook networks and all submissions were accepted. Participants were not required to be professional artists.

Contributors to the exhibition were invited to create an image and/or text that would focus on a reconstructive vision of the future. The original invitation stated, "as the old system of dominant culture is collapsing, we need to be imagining the world we want to live in, and we want everyone to spend some time developing that vision." When asked for clarification about what system is collapsing, Naidus responded: "Neo-liberalism as a system has not worked for anyone except for those who are obscenely rich, and it is collapsing, as is the delicate balance of the ecosystems that determine the abundance or lack thereof of clean water, air and food. The systems that we have been using for education, creating energy, health care, solving conflict, offering equity, etc. are all in disrepair and need to be reshaped in profound ways if our species is going to survive and thrive (in balance with other species). Many options that have been imagined over the past century or so, need to be put back on the table, the wall and the web so that we can engage the imaginations of the public and develop more momentum."

In some cases, the works that have been submitted have come great distances, from as far away as Egypt, Iran, Norway, Malaysia, Toronto and New York City. Submissions have also been received from our neighbors on Vashon Island, Tacoma and Seattle. Some of the artists are internationally known, and a few are developing their creative voices for the first time with this project. Featured in this exhibition are twelve "Green Maps" that represent different international communities’ visions for their futures. In these times of global economic and ecological distress, we will need the imaginations of all who are willing and eager to be focused on the world we want to be living in.

Beverly Naidus is an internationally recognized artist whose work has been socially engaged for over 30 years. Interdisciplinary to her core, she works in many mediums, allowing the content to determine the form. Her subject matter includes transforming nuclear nightmares and the ecological crisis, healing body hate and fear of difference, finding meaningful work and developing her dreams for a reconstructed world. Her work has been written about extensively in contemporary journals and books. Since 2003 she has been co-creating a unique curriculum in art for social change and healing at UW Tacoma. Naidus is the author of several books and essays, including the recent Arts for Change: Teaching Outside the Frame (New Village Press, 2009). She lectures frequently on her work at universities and conferences, including Bioneers in CA. Her eco-art project, Eden Reframed, funded by UW’s Royalty Research Foundation, will open to the public at the Burton Adventure Recreation Center (BARC) on September 3rd, 2011. She has been a member of the VALISE collective since its inception. This is her last exhibition with the gallery.

Every Saturday of the exhibition, Beverly Naidus will do improvisational artwork in the gallery, both responding to the theme of reconstructive visions and working through some current events that need remediation. These works will be installed in the gallery as they emerge and when space allows.

On September 17th, the artist will facilitate a discussion of the works on display at 4 pm at VALISE Gallery and fellow Vashon Islander, Margot Boyer who is a writer, teacher, beekeeper and gardener, will do a reading.

The exhibition will be open 11-5 pm every Saturday during the month of September. VALISE Gallery is an artist collective, currently with ten Vashon members. VALISE is located at 17633 Vashon Highway SW, on Vashon Island, just a quick ferry ride from West Seattle, Washington.. For more information about "Imagining the Future We Want", please contact Beverly Naidus at bnaidus@uw.edu



3. John Cage, Mimi Goese, Norm Magnusson, FF Alumns, at Woodstock Artist Association Museum, Woodstock, NY, Aug. 29

Please visit the alphabetical press release at: http://fourthirty3.blogspot.com/ for more complete information.

The very first ever performance of this American classic was August 29, 1952 in Woodstock. This is the 59th anniversary.

Mimi Goese and Ben Neill will be performing the famous composition at the Woodstock Artists Association Museum (WAAM) at 7pm on Monday, August 29, 2011. WAAM is located at 28 Tinker St. in Woodstock and can be reached at (845) 679-2940.

There will be a Q&A after the performance with musicologist Kyle Gann, author of No Such Thing as Silence: John Cage's 4'33".
The piece was composed in 1952 for "any instrument (or combination of instruments), and the score instructs the performer not to play the instrument during the entire duration of the piece." It was first performed in Woodstock on August 29, 1952, presented by The Woodstock Artists Association at the Maverick Concert Hall.

It is an enormously influential piece in the world of art and is considered by many to be the perfect minimalist creation.
Norm Magnusson, who is producing this concert, saw it performed years ago by composer, percussionist, and avant-guardian David Van Tieghem and recounts that he was "surprised at how deeply moved he was by the purity of the work." He adds: "4’33", on one level, seems to be as close to artistic perfection as an artist can get." After hearing it performed, Magnusson researched the piece, discovered that it had debuted in Woodstock, and decided to put on an anniversary concert. This is it.

Mimi Goese is known as the lead singer/co-songwriter of Hugo Largo, the critically acclaimed minimalist punk/pop group who released two albums on Brian Eno’s Opal label. After touring with musician/producer Hector Zazou and co-writing/singing on the Moby album Everything is Wrong, Goese’s solo album Soak was released by Luaka Bop, David Byrne’s label.

Her collaboration with Ben Neill, Songs for Persephone, will be released on August 30, by Ramseur Records.
Ben Neill is a composer, performer, producer, and inventor of the mutantrumpet, a hybrid electro-acoustic instrument. He has recorded eight CDs of his music on labels including Universal/Verve, Thirsty Ear, Astralwerks and Six Degrees. His most recent CD Night Science was released in 2009 on Thirsty Ear.

The Woodstock Artists Association & Museum was founded in 1919 to exhibit and collect work in all media by area artists and to support the tradition of Woodstock as the "Colony of the Arts." It is a super awesome place that has attained even higher levels of awesomeness by agreeing to host this concert.

After the concert and the Q&A, Mimi and Ben will play one of their own pieces off of their new cd.


4. elin o’Hara slavick, FF Alumn, at Form and Content Gallery, Minneapolis, MN, September 8-October 1, and more

Current / Upcoming Exhibitions / Projects – please stop by if you are in the area
and/or forward to your friends and colleagues who are:

No Glory, group show on the cost of war, Form and Content Gallery, 210 2nd St. N, Minneapolis, MN 55401 http://www.formandcontent.org/
September 8 – October 1, 2011


Hiroshima: After Aftermath, solo exhibition, Former Imperial Bank of Japan,
an A-Bombed Building, 5-21 Fukuro-machi, Naka-ku, Hiroshima
September 17 – October 17, 2011
Opening Reception: September 17, 7-9pm
(Lecture by the artist: Thursday, September 15, 5:30pm, Hiroshima Peace Institute,
4-1-1 Ote-machi, Naka-ku, Hiroshima)


Behind the Atom Curtain: Life and Death in the Nuclear Age: the Atomic Photographers Guild, group show, Sol Mednick Gallery of Photography, University of the Arts,
Media Arts Department, 311 S. Juniper Street, Philadelphia PA 19102
September 23 – October 21, 2011

Philadelphia, PA – Founded by photographer Robert Del Tredici in 1987, the Atomic Photographers Guild is an international collective of photographers dedicated to making visible all aspects of the nuclear world. For eight years, Del Tredici documented nuclear weapons factories and reactors throughout the USA, the former USSR, Canada, and Europe. He crossed paths with many other photographers motivated, like himself, to shed light into the dark corners of the nuclear age and invited them to pool their imagery. The Guild now has 25 members worldwide and displays a wide variety of documentary styles and approaches to a challenging and elusive subject. This show highlights history’s gravest nuclear accident, still ongoing, in Fukushima, with special acknowledgment of the work of Kenji Higuchi of Tokyo. Higuchi is the preeminent photographer of Japan’s nuclear workers. The exhibition was curated by Robert Del Tredici and Harris Fogel.

"Behind the Atom Curtain: Life and Death in the Nuclear Age" features the work of 24 photographers including: Berlyn Brixner, Yoshito Matsushige, Jessie Boylan, Dan Budnik, James Crnkovich, Robert Del Tredici, Blake Fitzpatrick, Nancy Floyd, Harris Fogel, Carole Gallagher, Peter Goin, Kenji Higuchi, John Hooton, Igor Kostin, James Lerager, David McMillan, Patrick Nagatani, Barbara Norfleet, Mark Ruwedel, Paul Shambroom, Elin O'Hara Slavik, and Vaclav Vasku.

This exhibition is concurrent with The Photo Review 2011 Competition Prize Winners’ "Best of Show" in Gallery 1401 (The Sol Mednick Gallery’s sister space).
The Sol Mednick Gallery, located on the 15th floor of Terra Hall (211 S. Broad St.) in the University’s Media Arts department, offers a regular schedule of exhibitions of contemporary photography. The only endowed gallery in Philadelphia dedicated solely to the exhibition of photography; the gallery earned the Photo Review Award for service to photography, and celebrated its 30th anniversary in 2009. Associate Professor of Photography Harris Fogel has been the director/curator of both galleries since 1997. Gallery hours are Monday through Thursday 10AM-8PM, Friday 10AM-5PM, Saturday and Sunday by appointment. Call 215-717-6300 for further information.

Images available upon request.


Dark Matters: Shadow, Technology and Art, group show, with a catalogue
The Whitworth Art Gallery, Manchester, UK
23 September – February 2012
(Artist Lecture to be scheduled.)


Mirror Image: Women Portraying Women, North Carolina Museum of Art, through November 27, 2011


Virilio Now, edited by John Armitage, Polity Press, Cambridge, UK, 2011, chapter Empathetic Vision: Aesthetics of Power and Loss by elin o'Hara slavick, pp. 115-144 (including works by Alfredo Jaar, Doris Salcedo, Sophie Ristelhueber, Cornelia Hesse-Honegger, Robert Polidori, William Kentridge, Nestor Gil, David Tinapple, Hiroshi Sunairi, Lisa Ross, Jane Marsching, among others)


Out of Rubble, Susanne Slavick, CHARTA, Milan, Italy, 2011, elin o'Hara slavick pp. 38 and 116-117. (This book is also a traveling show opening at Space Gallery in Pittsburgh, PA. Susanne and I are co-chairing a panel called Out of Rubble at CAA in Los Angeles in February, 2012.)




5. Gabriel Martinez, FF Alumn, at Samson, Boston, MA, opening Sept. 9

Gabriel Martinez
Solo Exhibition
Sept. 9 - Oct 15, 2011
Samson, Boston, MA

Opening Reception, Friday Sept. 9th 5-8pm
450 Harrison Ave./29 Thayer Street

For his second solo exhibition with Samsøn, Cuban American, Philadelphia-based
multidisciplinary artist Gabriel Martinez addresses the complex intersections at the core of contemporary, gay male sexual identities. The exhibition, a diverse mix of new works, questions male power dynamics; subverting and making reference to a wide range of cultural products at the heart of socio, political and sexual discourses on masculinity. In Martinez’s hands, these elements, playful at first, belie deeper meanings about sexual desire among men, reclaiming and bringing what seems to exist at the margins' full center. - David Acosta, August 2011

Gabriel Martinez



6. Warren Neidich, FF Alumn, at Galerie Fons Welters, Amsterdam, The Netherlands, opening Sept. 3

FRONT SPACE @ Galerie Fons Welters
3 September to 15 October
Opening: Saturday 3 September, 17:00 – 19:00
Opening hours: Tuesday to Saturday, 13:00 – 18:00

Warren Neidich
Horizon Swell

Before the time of Christopher Columbus’ discovery of America in 1492 man meditated upon the horizon as the site of his limitation both physical and mental. A site forever retreating where giant serpents awaited with gaping mouths to swallow unwary sailors in salty brine. The horizon instilled both fear and wonder and as such was a place of sublime contemplation. Today we live in a similar moment of uncertainty to say the least. That horizon is no longer the tangible line created by a natural phenomena and real physical conditions but instead a fragmented distributed network-continuum based on mathematical presumptions, which we assume to be true, linked together ad infinitum. We no longer peer out to infinity but instead gaze into a constructed virtuality and subsequently alienation.

For the work ‘Horizon Swell’, 2011, Warren Neidich has once again returned to Malibu, California, the site of his earlier work ‘Double Vision, Malibu’, 1999, to investigate the conditions of this alienation and anxiety as we enter into the new unknowns of the age of information. In ‘Double Vision, Malibu’ and other such works made between 1997-2003, Neidich constructed low-tech self-made apparatuses in front of an array of photographic, video and cinematic cameras. The metaphorical lack of super-imposability of the apparatuses of objective and rational science, and those of artistic practice, the cameras, represents a kind of incommensurable void that is the true essence of the earlier forms of alienation.

In ‘Horizon Swell’, 2011, made some 10 years later, using surfers as the metaphor of his investigations, Neidich has taken these one step further. In this moment of semio-capitalism, in which capitalism instead of producing goods is producing psychic stimulation, the surfers, or web surfers if you will, and the environments they find themselves, are delinked from their real significations first of all as bodies in space, next as icons of a counter culture in which individualism and radicality are lauded, to become something antonymous. Perhaps this is why Neidich has chosen to use perverted colours in these pictures; colours that frame the moment of the un-surfers failure and crashing.

The surfer is searching for the most gigantic wave with the most psychic capital and as such requiring the superstructure of cognitive capital with its virtual machinery of sponsors, high technology and branded super stars to engage with them. The un-surfer of Neidich’s work is finding ways to subvert these very conditions and is the trickster boarder, bucking bronco of the wave form, whose bodies is flung into the air and anti-gravity where new individual combinations of sensory and cognitive majesty are possible. A place of destabilized schizophrenia in which, like Deleuze and Guattari intuit the possibility for diversity of thought and assemblages of new meanings are possible.

Warren Neidich is an artist and writer living between Los Angeles and Berlin. His artworks have been exhibited internationally at such institutions as the PS1 MOMA, The Whitney Museum of American Art, Los Angeles County Museum of Art, The Ludwig Museum, ICA-London and Temporary Kunsthalle, Berlin. Selected future exhibitions 2011 include Galerie Moriarty, Madrid, The Emily Harvey Foundation, NYC, Extra City, Antwerp, Zentrum für Kunstprojekte, Vienna and The MAC Center, Vienna. He is recipient of the Vilem Flusser Theory Award, Berlin, Germany, 2010 and is a Fulbright Scholar Program Recipient, 2011. His monograph of drawing projects, Lost Between the Extensivity/Intensivity Exchange was recently published by Onomatopee, Einhoven. Cognitive Architecture: From Biopolitics to Noo politics was the outcome of his research and collaborative project with Deborah Hauptmann at the Delft School of Design, TU Delft School of Architecture, Delft.

Bloemstraat 140
1016 LJ Amsterdam
tel (+31)20 423 30 46
fax (+31)20 620 84 33



7. Katherine Behar, FF Alumn, autumn calendar 2011

Dear Friends,
I'm participating in some exhibitions this fall which I'd like to share with you. It would be lovely to see you at one of these events.
Best wishes,

First, Disorientalism's solo show, Ready Mix, will be on view in Portland at the Feldman Gallery + Project Space at PNCA, in association with PICA's TBA Festival. Ready Mix continues our series, The Food Groups, when the Disorientals encounter Aunt Jemima. Our new work for this show includes 3D lenticular images and bobbleheads!

Ready Mix
Curated by Mack McFarland
September 1 - October 22
Feldman Gallery + Project Space
PNCA Main Campus
1241 NW Johnson St
Portland, OR, 97209
Opening Reception: September 1, 6PM - 8PM
More info: http://cal.pnca.edu/events/225

In conjunction with our exhibition, Disorientalism is honored to give the 2011 Convocation Lecture at PNCA. We will be doing a new performance lecture about failure.
So Happy to be Here in the 21st Century
Convocation Talk by Katherine Behar and Marianne M. Kim
PNCA Main Campus
Swigert Commons
1241 NW Johnson St
Portland, OR, 97209
September 1, 12PM - 1:30PM
More info: http://cal.pnca.edu/haps/238

I'm very excited to participate in Don't Fence Me In... Or Out, a group show of recent feminist art at Lesley Heller Workspace.
Don't Fence Me In... Or Out
Curated by Lisa Corinne Davis
September 7 - October 16
Lesley Heller Workspace
54 Orchard Street
New York, NY 10002
Opening Reception: September 7, 6PM - 8PM
More info: http://www.lesleyheller.com/artists/dont_fence_me_in/index.html

I'm thrilled to be included in Interior-ity, a special project for the Moscow Biennale. This group show of new media works about inner life is set in an office, using office computers.
Moscow Biennale Special Project: Interior-ity
Curated by Dima Strakovsky and Lana Zaytseva
September 18 - October 30
Proekt Fabrika
18, Perevedenovsky side-street
Moscow, Russia
Opening Reception: September 20
More info: http://4th.moscowbiennale.ru/en/program/special_projects/interiority.html and http://www.interior-ity.com/

Lastly, I have been working on a new curatorial project in collaboration with Emmy Mikelson. Our exhibition, And Another Thing, shows historical and contemporary works that deal with non-anthropocentrism.

And Another Thing
Co-curated by Katherine Behar and Emmy Mikelson
September 14 - October 29
The James Gallery
CUNY Graduate Center
365 Fifth Avenue
New York, NY 10016
Opening Reception: September 14, 6PM - 8PM




8. Jay Critchley, FF Alumn, in The Village Voice, August 24, and more

The show, DEEP BONES at Freight + Volume Gallery, 530 West 24th St, Chelsea, is open through September 10. Thanks, Jay

"Best in Show", The Village Voice - by Robert Schuster

The Examiner - Chelsea Fine Arts Examiner, by Alison Martin



9. Olivia Beens, FF Alumn, at Abrons Art Center, Manhattan, Sept. 10-11

You are invited to my
September 10th & 11th, 2011 from 2-5pm
466 Grand Street @ Pitt St
( Downstairs Rm GO2)
New York, NY 10002
(F-train to East Broadway, walk north to Grand Street)
My very best,
Olivia Beens
Studio: Abrons Art Center GO2 / 466 Grand St / New York, NY 10002 / 917 929 0403 www.oliviabeens.com



10. Vernita Nemec, FF Alumn, at North American Cultural Laboratory, Highland Lake, NY

Vernita Nemec aka N'Cognita is doing a 10 day residency at NACL Theatre's North American Cultural Laboratory courtesy of The Field. While there, she will be working on her next performance artwork to be presented in 2012.




11. Barbara Hammer, FF Alumn, at Banff Centre for the Arts, Alberta, Canada, Sept. 2

Barbara Hammer, FF Alumn, mini-retrospective at Banff Centre for the Arts, Alberta, Canada
Media Maven:
Mini-Retrospective with Barbara Hammer
Friday, September 2, 2011 - 7:30 pm
Rice Studio, Jeanne and Peter Lougheed Bldg
All tickets $15

Explore the work of visual artist, filmmaker, and author Barbara Hammer - whose prolific career spans four decades and includes more than 80 films.

Hammer is hosting this public event to present a synopsis of her films created over four decades before her upcoming Tate Modern Retrospective in London, UK, in February 2012. She will select films from each decade (1960-2010) of her career, showing her movement from the early body-centered lesbian/feminist work of the '60s and '70s through the landscapes of the '80s, into the identity politics of the '90s, and finally issues of beauty and mortality in 2000 and beyond. She will also read selections from her new book, HAMMER! Making Movies Out of Sex and Life, a memoire and essay collection replete with dozens of unique photographs published a year ago. The book has won both the Triangle Judy Grahn Award for Nonfiction Writing, and the Lambda Literary Award for Memoire and Autobiography.

Films featured include:
Schizy, 1968, color/silent, 4 min.
Dyketactics, 1974, color/sound, 4 min.
Optic Nerve, 1985, color/sound by Helen Thorington, 16 min.
Sanctus, 1990, color/sound by Neil B. Rolnick, 20 min.
A Horse Is Not A Metaphor, 2008, color/sound by Meredith Monk, 30 min.

Barbara Hammer will also be faculty for a one-day Media Maven workshop with Film & Media at The Banff Centre on September 3. To find out more or to register for the 1-day workshop, contact the Office of the Registrar. Phone: 1.403.762.6180

HAMMER! Making Movies Out of Sex and Life
Available at www.feministpress.org & Amazon.com



12. La Monte Young, Marian Zazeela, FF Alumns, at MELA, Manhattan, thru Sept. 17

"I found Jung Hee Choi’s installation Ahata Anahata, Manifest Unmanifest moving and engrossing... the effect of [Choi’s] work is mesmerizing. I believe that this use of drawing with the moving light projections of her video works represents a new and original direction in art today." - Jon Hendricks, Silverman Fluxus Collection

MELA Foundation presents Jung Hee Choi: Ahata Anahata, Manifest Unmanifest IV

Jung Hee Choi
Ahata Anahata, Manifest Unmanifest IV
25 August – 17 September 2011
Thursday - Saturday, 6 pm to Midnight

MELA Foundation Dream House
275 Church Street, 3rd Floor, New York

Live Performances:
Tonecycle Base 65 Hz, 2:3:7
Saturdays, September 3 and 10, 2011, 9 pm

La Monte Young, voice
Marian Zazeela, voice
Jung Hee Choi, voice
sine wave frequencies

MELA Foundation presents Jung Hee Choi's Ahata Anahata, Manifest Unmanifest IV, illuminating various aspects of recent works and their relationships across different media. August 25 – September 17, 2011, Thursday through Saturday, 6 pm to midnight, MELA Dream House.

Ahata Anahata, Manifest Unmanifest IV features three large-scale multimedia installations, a series of drawings, videos and a new sound environment, Tonecycle Base 65 Hz, 2:3:7 Vocal Version with La Monte Young, Marian Zazeela and Jung Hee Choi improvising over the implied tonic that is imperceptibly changing. The relationship of the improvisations to the drone continuously elaborates the musical meaning of the pitch. This exhibition also premieres the installation work Composition 2011 #1 created with needlepoint drawings on black wrap with video. The drawings are viewed as indiscernibly moving light from video projection glowing through the pinholes creating abstract and analogous representation of Manifest Unmanifest.

Choi has written, "This series of environmental compositions involves the concept of "Manifest, Unmanifest" created with various media including video, drawing, incense, performance and sound. This synthesis of expression collectively creates an intersubjective space as a unified continuum. In rejecting our current mode of perception that stresses 'sight' as the primary model of organizing the sensorium, this series of works emphasizes the totality of sense perceptions as a single unit to create a state of immersion. It is especially meaningful for me to show my works in the Dream House space because my work has evolved from the visionary inspiration of La Monte Young and Marian Zazeela. With this exhibition audiences may experience Young and Zazeela's concept of eternity taking a form of ephemeral presence that is infinitely variable while flowing from the principles they have delineated."

About Jung Hee Choi

Utilizing both traditional and experimental techniques, Jung Hee Choi has worked in a variety of media. She has presented series of environmental compositions involving the concept of "Manifest, Unmanifest" created with video, drawing, incense, performance and sound. Choi’s work has been presented in the U.S., Europe and Asia, including at MELA Foundation and Guggenheim Museum Dream Houses, NYC; FRESH Festival, Bangkok; 8th Korea Experimental Arts Festival, Korea. Commissioned by MELA Foundation, her video sound performance and installation, RICE, in a setting of Marian Zazeela’s Imagic Light environment was chosen as one of The 10 Best of 2003 in the December Artforum.

In 1999, Choi became a disciple of La Monte Young and Marian Zazeela in the study of music and art, with the classical Kirana tradition gandha bandh red-thread ceremony in 2003. In 2002, with Young and Zazeela she became a founding member of The Just Alap Raga Ensemble and has performed as vocalist in every concert, including those at the MELA Dream House, the 2009 Yoko Ono Courage Award Ceremony, and the Merce Cunningham Memorial.

Choi graduated summa cum laude from NYU. She received The Experimental Television Center’s Finishing Funds 2006 award. Choi’s in-depth interview on her work is featured as part of the online Asian Contemporary Art Week presentations organized by Asia Society, NY.



13. Benoit Maubrey, FF Alumn, at Accroche-Couers Festival, Angers, France, Sept.

Benoit Maubrey
A Sculpture for Communication

In my immobile sculptural work I frequently use former public (disguarded) monuments and recycle them using modern technology and electronics.
In September 2011 during the ACCROCHE-COEURS festival in Angers/France I will realize the SPEAKERS WALL (MUR SONORE) Project.
For this electroacoustic sculpture I will use an original segment of the Berlin Wall and extend it with 2000 recycled loudspeakers, radios, and amplifiers. People can call up the sculpture and talk through it for 3 minutes. The whole sculpture amplifies peoples‘ statements and functions as a „Speakers Corner" through which people can talk through.

See pictures below of the Berlin Wall segment : on both sides of the Segment are wooden structures that will be used to place the 2000 loudspeakers . The Opening Day of the Wall is October 2nd:The sculpture is scheduled to run from Sept 2nd to October 2nd 2011.

The telephone number to call and participate is 0033 2 41 42 23 18.



14. Cecilia Vicuña, FF Alumn, re-publishes Saborami
First published in 1973, two months after the military coup in Chile, Cecilia Vicuña's SABORAMI is a document of the times and the way in which history can change art. It is filled with the urgent hope that art, too, can change history.

Put together when Vicuña was just twenty-five years old, the poems, paintings, and objects of SABORAMI enact a complex and multidimensional conversation. The meanings of the works (which were created over a seven year period) shifted radically after the events of September 11, 1973. Their meanings continue to shift and resonate in light of political events today.

This recreation of the original SABORAMI is published with a new afterword Vicuña wrote especially for this edition.
It is a shout of protest, an accident in the cosmos, as was the coup d'etat. Its objective, says the author herself, was to create a magic work, a revolutionary work, and an aesthetic work (in that order). For me the most salient aspect of this text is its value as a testimonial or a chronicle of the announced coup d'etat.

--Hugo Méndez-Ramírez
SABORAMI anticipated over three decades in advance the theory and practice of the fusion between the visual and the verbal, including as well the multimedia convergences of the world-wide-web, that now stand at the forefront of contemporary developments in poetry and the arts.

--Jonathan Monroe
. . . celebrations and melancholies of something that was and could continue being.
--Felipe Ehrenberg
Available September, 2011.
PRESALE DISCOUNT: between now and September 30 for $12 plus free shipping. We will ship to you when it becomes available.
After September 30, please order through SPD for $16.



Goings On is compiled weekly by Harley Spiller

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