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Contents for December 26, 2011

1. Andre Stitt, FF Alumn, at St. David's Hall, Cardiff, Wales, Jan. 13, 2012

exhibition preview 13th Jan. 2012
St. David's Hall

Nadolig Llawen



2. Eve Andrée Laramée, FF Alumn, at 7Eleven Gallery, Manhattan, Jan 12-Feb. 18, 2012

Eve Andrée Laramée will be presenting work in the exhibition, ALCHEMY at 7Eleven Gallery, 711 Washington Street in the West Village. The show runs from January 12 - February 18, 2012 and features artists Thomas Beale, Lucas Blalock, Nick Doyle, Adam Fuss, GAINES, Elissa Goldstone, Eve Andrée Laramée, Eva Lewitt, Dylan Lynch, Thomas McDonell, Casey Neistat, Lesley Raeside, Jason Reppert, Alex Rickard, Keith Sonnier, Michael St. John, William Stone and Rob Wynne.

Laramee's work on the culture of science manifests the information embedded in history and materiality. In the downstairs space her video "Uranium Decay," draws attention to radioactivity as a "dark, inverse" form of alchemy. Responding to the ongoing Fukushima nuclear reactor melt-downs the work illuminates the 4.47 billion-year half-life decay cycle of uranium-238 superimposed onto thermographs. As uranium decays over geological time, it transmutes into "uranium daughters" that cascade to other elements and finally to stable Lead-206. Adjacent is a site-specific installation, "Invisible Fire," built within an architectural anomaly: stairs leading to nowhere. Laramee repurposes Depression-era glass that fluoresces under ultraviolet light. Glass was historically used for alchemical vessels; and the use of uranium oxide as a pigment dates back to 79 AD Rome. Depression glass production sharply curtailed during the Cold War due to military "need" and it has since become a collectible. "Invisible Fire" poetically draws attention to the environmental, health and labor issues concerning nuclear weapons and their complex partnership with the nuclear energy industry.

Upstairs her two video sculptures: "Memories of the Stones" and "Dreams of the Plants" reference the evolution and transformation of materials from the mineral, vegetable and animal states of matter. Other sculptures correlate to her well-known installation, "Apparatus for the Distillation of Vague Intuitions" on the transformation of human thought and knowledge.



3. Ruth Wallen, FF Alumn, at The Athenaeum Music and Arts Library, LaJolla, CA, opening Jan. 6, and more

Cascading Memorials: Urbanization and Climate Change in San Diego County (main gallery) Ruth Wallen

North Reading Room: Ruth Wallen: Artist's Books

The Athenaeum Music and Arts Library
La Jolla, Ca. 92037

Jan 7- Feb. 11 2012
Opening Jan 6 6:30-8:30
hours: Tues-Sat. 10 AM-5:30 PM
Wed. 10SM-8:30 PM
In the last one hundred years, San Diego County has experienced an astounding rate of population growth--from 60,000 to over three million inhabitants. Correspondingly the county is home to more threatened and endangered species than any other county in the continental United States. "Cascading Memorials" fosters discussion about the future by bringing to public memory both recent and predicted losses brought about by rapid urbanization coupled with climate change. Memorials to particular sites indicative of the natural habitats that are rapidly changing or disappearing include sumptuous photomurals and journal/sketchbooks that provide scientific and historical context.
Memorials focus memory, providing a place both to mourn and celebrate. The exhibition invites gallery visitors to grieve the astounding losses of our rich local natural habitats. But grief need not be paralyzing. In contrast, the attentive reforestation of Cuyamaca State Park is a suggestive metaphor for future stewardship. Visitors will be asked to engage in dialogue sharing their visions for the future on leaves to be placed on bare trees along a gallery wall.

Announcing new web url for Ruth Wallen at http://www.ruthwallen.net

Thank you.



4. Ron Athey, Julie Tolentino, Martha Wilson, FF Alumns, on Artnet.com

Ron Athey
by Elisabeth Kley

Marking his 50th birthday last Friday with his first New York appearance since 2006, London-based extreme performance artist Ron Athey presented Resonate/Obliterate - the final incarnation of a piece created in 2007 and since seen in 18 cities in England, France, Spain, Italy, Poland and Canada.

Lauded in Europe, Athey is still notorious here for being turned into what he calls "a poster boy for bullshit" during the culture wars surrounding the National Endowment for the Arts in the 1990s. A 1994 Minneapolis performance involving blood-stained paper towels (funded through the Walker Art Center with a measly $150 of NEA money, which Athey never asked for) was sensationalized by the press, turning Athey into an icon of the right-wing campaign against avant-garde art (and more). In reality, the blood in question did not belong to Athey, who's been positive since 1991, but to his HIV negative co-star, Divinity P Fudge.

This time, blood really poured out of Athey's own forehead. His collaborator, Julie Tolentino, bled as well. A performance artist and AIDS activist who's worked with Athey since 1996, in 1990 Tolentino founded a lesbian club night known as the Clit Club. She also once posed with Madonna for the superstar's controversial 1992 book, SEX, and co-wrote the first Lesbian Safer Sex Handbook in 1993. Titled The Sky Remains the Same, Tolentino's contribution to the evening was part of her series of physical recreations of performances by other artists, including Athey, Lovett/Codagnone and Franko B.

An audience of stalwart supporters was on hand, including fellow endurance and transformation expert Genesis Breyer P-Orridge, Siberian-born artist, gay activist and writer Slava Mogutin, who calls himself a Pinko Commie Fag, and performer Johanna Constantine. Franklin Furnace founder and artist Martha Wilson also attended the event, which was produced by Participant Inc., Invisible Exports and House of Thought. "I'm here because I've presented Ron Athey's work on video," Wilson said, "and Julie Tolentino is a Franklin Furnace Fund winner."

The action took place in the rear of a darkened floor-through loft on Eldridge Street. Two rectangular chest-high black pedestals were placed about six feet apart, with removable panes of glass rising from the ends of each pedestal. Wearing a long blond wig, nude and covered with extraordinary tattoos (most strikingly a sunburst flaring out from his anus), Athey began by posing on all fours on the pedestal on the left, like a decorated sculpture of an animal displayed in an incomplete vitrine.

Violently brushing his artificial hair, sometimes banging the brush on the pedestal, Athey moved in time to a futuristic soundtrack. His face was invisible beneath the blond mane reflected before him in the glass until he rose to his knees and began teasing the hair into an impenetrable upward tangle. After he removed the pins attaching the wig to his bare head, blood flowed over his face, like Christ in a crown of thorns.

The references to religion are intentional, as artist and healer AA Bronson explained later. "There's a real spiritual fire to Ron Athey's performances that we cannot turn away from. The performance is a ritual, and the blood -- his HIV-positive blood -- is the Eucharist that turns this event into communion -- the audience is transformed."

More streams of blood dripped down Athey's face and torso as he cycled through a series of yoga poses, rubbing the glass on his body and sandwiching himself between the two panes like a gigantic scientific specimen. Lights came on over the pedestal on the left, revealing Tolentino, naked and slightly less tattooed, gracefully repeating Athey's actions, complete with a wig and a smaller amount of blood.

On his side, Athey mixed lubricant into his blood and massaged the slimy liquid into the wig that was back on his head, meanwhile covering himself with primordial goop as if reenacting his infant emergence from inside his mother's placenta. Back on all fours, he plunged his fist into his rectum, and then, as the spotlights went out, triumphantly began to laugh.

At the reception that followed, the audience recovered as assistants wearing surgical gloves mopped up the gory residue. "I was blown away!" exclaimed writer and curator Jane Harris. "It was really affirming to see that there are still people willing to go into such a deep place."

"I feel energized, filled with adrenaline," said artist Walt Cassidy. "It's a feat of endurance and rawness - just lifting those plates of glass was amazing, let alone bearing the pain."

The evening was summed up succinctly by writer, curator and licensed mortician Doug McClemont (who used to be the editor of the Honcho, the legendary gay porn rag where Athey wrote a monthly column), when he said, "For me, the performance is an elegant, bloody little opera about vanity and dying with a bit of old school gender politics thrown in."

After the performance, Athey came out, cleaned up and glowing with joy and relief. "I'm very thick-skinned," he said. "The cuts will be completely healed in a couple of days." The wounds on his head had indeed almost disappeared. "I feel a bit dizzy. I need to eat some sweets to get my blood sugar up," he added. Soon, as if on cue, he was blowing out the candles of a lime green birthday cake.

ELISABETH KLEY is a New York artist and art writer.

To see the entire review, with images, please visit


thank you.



5. Lenora Champagne, Lizzie Olesker, FF Alumns, at The Invisible Dog, Brooklyn, January 13-29, 2012

Lenora Champagne and Lizzie Olesker, FF Alumns, present "Tiny Lights" at The Invisible Dog in Brooklyn, from Jan. 13-29, 2012 - please call 347 560 3641 for tickets and full information.



6. Linda Montano, Barbara Carrellas, SC Durkin, Koosil-ja Hwang, Vernita N'Cognita, Esther K. Smith, Elizabeth Stephens & Annie Sprinkle, now online at lindamontano.com

The following 11 artists have just completed 7 YEARS OF LIVING ART and participated in: ANOTHER 21 YEARS OF LIVING ART (1998-2019): LINDA MARY

MISSION STATEMENT: ANOTHER 21 YEARS OF LIVING ART (1998-2019) is art that compassionately practices an appreciation for life and is a durational continuation of my exploration of the art of consciousness. The artist/lifeists invited to this experience, ecumenically choose their own unique methodologies and explore their work while remaining in virtual/internet communication with each other throughout their practice of compassionately transforming their life, via art. It is based on Linda MARY Montano's endurance: 7 YEARS OF LIVING ART + ANOTHER 7 YEARS OF LIVING ART = 14 YEARS OF LIVING ART, 12/8/1984-12/8/1998.

DESCRIPTION: "When I finished 14 YEARS OF LIVING ART, an art experience-endurance based on the 7 chakras, I became so enamored of working with time that I wanted to share that joy with others, and so I designed ANOTHER 21 YEARS OF LIVING ART. I felt that other artists could become virtual/internet art family and I would feel as if I were in good company, with like-minded friends, doing work based on time, endurance and with reference to my past work, but interpreted by each artist according to their discipline, practice and personal aesthetic. I am proud and honored to be in the company of the following life-artists." Linda M. Montano


12/8/2005-12/8/2012. I obsess on one sentence/statement and colour in relation to the chakras producing collaborative or interventionist and performance pieces each year.

BARBARA CARRELLAS: EIGHT NEW/ANCIENT SACRAMENTS OF PLEASURE AND CHANGE, 12/8/2004-12/8/2011. I create chakra-based rituals which I celebrate on the eight natural holidays (solstices, equinoxes, etc.) that explore and celebrate the paradoxes between the fixed commitments/initiations of the seven sacraments of the Catholic church and the ever-changing, fluid realms of intuition, pleasure and nature. EIGHT YEARS OF LIVING ART, www.barbaracarrellas.com

SC DURKIN: SEVEN YEARS OF MUSIC, 12/8/2005-12/8/2012. I endeavor to learn one musical instrument a year for the next seven years. SEVEN YEARS OF MUSIC, www.scdurkin.com

KOOSIL-JA HWANG: 12/8/2004-12/8/2011. www.dancekk.com

MY ART LEADS ME, 12/8/2004-12/8/2011. www.ncognita.com

12/8/2004-12/8/2011. Seven years in other people's houses. EK SMITH MUSEUM, www.purgatorypiepress.com

KRISTA KELLY WALSH: SEVEN MIRRORS, 2004-2011. My work is based on the Cabalist system of reading the will of the seven planetarty spirits in the seven mirrors that are made of seven metals and associated with the 7 days of the week, seven planets and cooresponding themes. Each year I will make a corresponding mirror and wear a bead of the same metal, make projects and performances based on the themes of that metal.

The satellite project is an ongoing congruent program of artists/lifeists within ANOTHER 21 YEARS OF LIVING ART.


RITUALS, 7/7/04-7/7/11. Kurtis celebrates the chakra colors of each 'year' with art projects on the 7th day of each month. Please see the video montage here:


12/8/2004-12/8/2011. We make art about love. LOVE ART LABORATORY, www.loveartlab.org



7. Shirin Neshat, FF Alumn, in The New York Times, Dec. 21

Please visit the following link to see an op-ed and interactive piece by Shirin Neshat


thank you.



8. Helène Aylon, Mierle Laderman Ukeles, FF Alumns, at Mishkan Le'Omanut, Museum of Art, Ein Harod, Israel, opening Jan. 27, 2012

Matronita:Jewish Feminist Art

This will be the first time in Israel that a museum will be organizing a major exhibition of Jewish feminist art by women who come from a traditional Jewish background
(David Sperber and Dvora Liss)

Central exhibition for the year 2012 at
The Mishkan Le'Omanut, Museum of Art, Ein Harod

Matronita: Jewish Feminist Art
Opening: Friday, 11:00 a.m. 27.1.2012
Curators: Dvora Liss and David Sperber

This will be the first time in Israel that a museum has organized a major exhibition of Jewish feminist art by women who come from a traditional Jewish background.

Jewish Feminist art shares its themes with feminist art in general. Usually these are familiar subjects, such as power and oppression, body image, women as periphery, object-subject, blood and menstruation, and so on. Feminist Jewish works deal with subjects unique to the Jewish experience: niddah and immersion, hair covering, halakhic questions such as the problem of the agunah or halakhic infertility, women's prayer, and women in the study hall.

These artists are informed by feminist art and gender discourse but also by traditional Judaism. They actively reexamine and reconstruct the tradition, while placing it in a critical yet constructive light.

Among the group of talented artists from Israel, North America and Europe the exhibition will showcase two well-known American artists who were pioneers in the field. Helène Aylon (b. 1931) will travel from New York to install her show. Helène is a prominent eco-feminist and in the 80s was involved in environmental activism. In the 90s she turned a feminist eye on to God and the Torah and she will exhibit three installations at Ein Harod. Mierle Laderman-Ukeles (b. 1939) is well known for her Maintenance art of the 70s. In 1969 she wrote Manifesto for Maintenance Art that questioned binary systems of opposition that articulate differences between art/life, nature/culture, and public/private. The manifesto proposed undoing boundaries that separate the maintenance of everyday life from the role of an artist in society. In 1977 she first performed Mikva dreams- A Performance part of Maintenance Art Tales at Franklin Furnace, New York. She will be showing two prints from the performance.

Matronita invites the viewer to reflect on the complexities of the feminist Jewish experience as the artists work at reconciling Jewish law and feminism.

Helène Aylon, My Bridal Chamber, 2001, installation: My Marriage Bed, bed and video projection, 6 min. loop; My Clean Days, installation: bed, black marker on photocopies, paper and gauze,collection of the artist

Chagit Molgan, Five plus Seven, 2004, video, 2:15 min., collection of the artist

Andi Arnovitz, Dress of the Unfaithful Wife, 2009, Japanese rice paper, hair, dirt and film, 110x46x13, collection of the artist

Nechama Golan, You Shall Walk in Good Ways, 1999, photocopies of Talmud pages and polymer glue, 30x12x18, collection of the artist

The United States artists: Helène Aylon, Mierle Laderman-Ukeles, Carol Hamoy and Doni Silver Simons.The European artists: Jacqueline Nicholls and Myriam Tangi.
The Israeli artists: Andi Arnovitz, Raya Brukental, Orit Freilich, Nechama Golan, Chana Goldberg, Hadassah Goldvicht, Hila karabelnikov, Ruth Kestenbaum Ben Dov. Chagit Molgan, Rivka Potchebutzky, Ruth Schreiber, Studio Armadillo (Anat Stein, Hadas Kruk), and Dafna Shalom.

Museum is open Sunday-Thursday 9:00-16:30
Friday 9:00-13:30
Saturday 10:00-16:30

Please feel free to call us for further info at: 046531670




9. China Blue, FF Alumn, received 2011 Rhode Island State Council of the Arts Fellowship Grant, and more

China Blue wins the coveted 2011 Rhode Island State Council of the Arts (RISCA) www.arts.ri.gov/ Fellowship Grant in the category of New Genres. The Rhode Island State Council for the Arts is charged by the state legislature to stimulate public interest and participation in the arts and to serve as the liaison to the state arts community. Fellowship Grants encourage the creative development of artists by enabling them to set aside time to pursue their work and achieve specific creative and career goals. The RISCA Panel said: "The panel was unanimously enthusiastic about awarding this applicant the Fellowship Award. The works employ technology in new and interesting ways and this application was the only one to explore robotics. The panel described the artist's integration of sculpture and technology as strong and they used words like "fun," "interesting," and "beautiful" to describe each piece."

She is also featured on the cover and in the book "To Be an Artist: Musicians, Artists, Writers and Dancers Speak," by Camille Colatosti. "To Be An Artist" is a conversation with today's successful and prominent artists from a variety of disciplines-musicians, visual artists, digital artists, poets, writers, activists and scholars. All of them discuss what it means to be an artist today, how they perceive their craft and their world, and the role of art in society. They agree that artists' creativity and success come not only from the intense focus on their craft, but, also, from their development of a worldview-from their wider vision and understanding of the world in which they live. Author Camille Colatosti, head of the Liberal Arts program at Berklee College of Music-a premier college of contemporary music and, with 4,000 undergraduate students, one of the largest arts colleges in the United States-shares her first hand experience with educating young artists. The book is also available for sale at www.kurdylapublishing.com/ and www.amazon.com/Be-Artist-Musicians-Artists-Writers/dp/1617510041.



Goings On is compiled weekly by Harley Spiller